By Peter E. Knox
A significant other to Ovid is a entire assessment of 1 of the main influential poets of classical antiquity.• beneficial properties greater than 30 newly commissioned chapters through famous students writing of their parts of specialization• Illuminates quite a few points of Ovid's paintings, resembling creation, style, and style• offers interpretive essays on key poems and collections of poems• comprises specific discussions of Ovid's basic literary impacts and his reception in English literature• offers a chronology of key literary and ancient occasions in the course of Ovid's lifetime
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11–34, and then compare the courtship of Daphne by Apollo in a speech of about the same length (Met. 504–24). Am. 3 starts with the poet speaking to the audience and claiming his right to expect, if not reciprocal love, at least that the woman will acquiesce in being loved, and Venus will heed his prayers. To the beloved he presents ﬁrst his personal merits: loyalty and good faith; to compensate for lack of high birth or wealth he enjoys the favor of Apollo, Bacchus, the Muses, and Love, ‘who presents me as a gift to you’.
Carm. 15; Serm. 10–20; Prop. 9; cf. also Virg. Ecl. 6–12); evidently, they knew that they were expected to write works of this kind. However, in spite of their resistance based on their faithfulness to the neoteric model, and though they never went so far as to write a panegyric epic, they nevertheless felt increasingly involved in the task of creating a poetry of far-reaching human and civil signiﬁcance, which, without renouncing the neoteric lesson in terms of penetration into the depths of subjectivity and the adoption of a style that combined elegance and natural simplicity, would maintain contact with the great problems of the community, and face up to the more challenging kinds of poetry.
15–21). Around the beginning of the ﬁrst century BC, we know of some Greek poets who wrote occasional verse and panegyric poems for rich Roman gentlemen, to whose Poetry in Augustan Rome 19 houses they were invited; we also begin to hear about senators and rich knights who compose poetry themselves. This is frivolous poetry, or sentimental verse, practiced by a Roman citizen in his spare time, and clearly very different from the timeconsuming production which had traditionally been reserved to professional poets.