187:, everyday Roman life and general human experience. Ovid likens love to military service, supposedly requiring the strictest obedience to the woman. He advises women to make their lovers artificially jealous so that they do not become neglectful through complacency. Perhaps accordingly, a slave should be instructed to interrupt the lovers' tryst with the cry 'Perimus' ('We are lost!'), compelling the young lover to hide in fear in a cupboard. The tension implicit in this uncommitted tone is reminiscent of a flirt, and in fact, the semi-serious, semi-ironic form is ideally suited to Ovid's subject matter.
38:
865:
248:
172:
lovers' and 'trying young and older lovers'. Although the book was finished around 2 AD, much of the advice he gives is applicable to any day and age. His intent is often more profound than the brilliance of the surface suggests. In connection with the revelation that the theatre is a good place to meet girls, for instance, Ovid, the classically educated trickster, refers to the story of
840:
202:, the sexual positions are 'declined', and from them women are exhorted to choose the most suitable, taking the proportions of their own bodies into careful consideration. Ovid's tongue is again discovered in his cheek when his recommendation that tall women should not straddle their lovers is exemplified at the expense of the tallest hero of the Trojan Wars:
191:
of each book, so here again, form and content converge in a subtly ingenious way. Things, so to speak, always end up in bed. But here, too, Ovid retains his style and his discretion, avoiding any pornographic tinge. The end of the second book deals with the pleasures of simultaneous orgasm. Somewhat atypically for a Roman, the poet confesses,
343:
by eighteen years. Secondly, it is hardly likely that
Augustus, after forty years unchallenged in the purple, felt the poetry of Ovid to be a serious threat or even embarrassment to his social policies. Thirdly, Ovid's own statement from his Black Sea exile that his relegation was because of 'carmen
190:
Through all his ironic discourse, Ovid never becomes ribald or obscene. Embarrassing matters are not entirely excluded, for 'praecipue nostrum est, quod pudet, inquit, opus' ('what brings a blush ... is our especial business here'). Sexual matters in the narrower sense are only dealt with at the end
171:
The first two books, aimed at men, contain sections which cover such topics as 'not forgetting her birthday', 'letting her miss you - but not for long' and 'not asking about her age'. The third gives similar advice to women, sample themes include: 'making up, but in private', 'being wary of false
607:
e.g. Gibson, R., Green, S., Sharrock, A., (eds.) 'The Art of Love: Bimillennial Essays on Ovid's Ars amatoria and
Remedia Amoris', OUP 2007; Sprung, Robert C., 'The Reception of Ovid's Ars amatoria in the Age of Goethe', Senior Thesis, Harvard College, 1984; König, J. M., 'Ovids Ars amatoria und
158:
was written to show a man how to find a woman. In book two, Ovid shows how to keep her. The third book, written two years after the first books were published, gives women advice on how to win and keep the love of a man ("I have just armed the Greeks against the
Amazons; now,
447:. This work was well known to clerks in its Latin form, and when love became a matter of general theoretical interest, it was rendered into French and became the textbook of the subject. Thanks to its method, love became a department of
176:. It has been argued that this passage represents a radical attempt to redefine relationships between men and women in Roman society, advocating a move away from paradigms of force and possession, towards concepts of mutual fulfilment.
461:
was included in the syllabuses of mediaeval schools from the second half of the 11th century, and its influence on 12th and 13th centuries' European literature was so great that the German mediaevalist and palaeographer
338:
in 8 AD is dubious, and seems rather to reflect modern sensibilities than historical fact. For one thing, the work had been in circulation for eight years by the time of the relegation, and it postdates the
179:
The superficial brilliance, however, befuddles even scholars (paradoxically, Ovid consequently tended in the 20th century to be underrated as lacking in seriousness). The standard situations and
506:: the theme of the erotic and seductive power of poetry is highly suggestive of Ovid's poem, and Bergerac's nose, a distinguishing feature invented by Rostand, calls to mind Ovid's
217:
in the title is not to be translated coldly as 'technique', or as 'art' in the sense of civilized refinement, but as "textbook", the literal and antique definition of the word.
435:. It was mildly amusing in his day to assume that rules could be laid down, by the use of which any one could become 'a master of the art of love,' to use the phrase of
365:
was used as an excuse for the relegation. This would be neither the first nor the last time a 'crackdown on immorality' disguised an uncomfortable political secret.
909:
355:, were both relegated at around the same time. This would also explain why Ovid was not reprieved when Augustus was succeeded by Agrippa's rival
489:
was seized by U.S. Customs in 1930. Despite the actions against the work, it continues to be studied in college courses on Latin literature.
544:
Dutton, Jacqueline, The Rape of the Sabine Women, Ovid Ars amatoria Book I: 101-134, master's dissertation, University of
Johannesburg, 2005
904:
662:
290:
257:
741:
463:
383:'s epigrams take a similar context of advising readers on love. Modern literature has been continually influenced by the
173:
828:
400:
wrote that
Medieval Europe, deaf to the humor that Ovid intended, took seriously the mock-analytical framework of
617:
497:
389:, which has presented additional information on the relationship between Ovid's poem and more current writings.
397:
195:('I don't like intercourse that doesn't make both lovers come. That's why I'm less into the love of boys.').
889:
899:
608:
Remedia amoris im Licht ihrer
Rezeption. Rollenspiele erotodidaktischer Kommunikation', wbg Academic 2023.
261:
347:
It is more probable that Ovid was somehow caught up in factional politics connected with the succession:
37:
894:
436:
814:
734:
429:
231:
658:
444:
352:
641:
Haight, A. L. and
Grannis, C. B., Banned Books 387 BCE to 1978 CE, R.R. Bowker & Co, 1978
524:
348:
850:
227:
184:
714:
709:
704:
414:
toward the neat, the systematic, and the encyclopaedic, which made it so easy a prey to
785:
598:
F. Norwood (1964), 'The Riddle of Ovid's
Relegatio', in Classical Philology. 58: 150-63
493:
306:
17:
883:
868:
770:
763:
727:
448:
800:
313:
272:
137:
110:
652:
475:
has historically been victim of moral outcry. All of Ovid's works were burned by
379:
created considerable interest at the time of its publication. On a lesser scale,
193:
Odi concubitus, qui non utrumque resolvunt. Hoc est, cur pueri tangar amore minus
821:
432:
411:
160:
183:
of the subject are treated in an entertainment-intended way, with details from
839:
476:
207:
199:
690:
415:
344:
et error' ('a song and a mistake') is, for many reasons, hardly admissible.
340:
331:
49:
180:
418:, had the oddest results when directed toward the passion of love. Ovid's
793:
507:
480:
393:
356:
335:
807:
380:
318:
632:
McKinley, K.L., Reading the
Ovidian Heroine, Brill, Leiden, 2001, xiii
440:
303:
The work was such a popular success that the poet wrote a sequel,
268:
133:
85:
204:
Quod erat longissima, numquam
Thebais Hectoreo nupta resedit equo
751:
719:
141:
61:
723:
466:
dubbed the entire age 'aetas Ovidiana' ('the Ovidian epoch').
241:
234:, which are more usually associated with the didactic poem.
469:
As in the years immediately following its publication, the
163:, it remains for me to arm thee against the Greeks...")..
351:, Augustus' adopted son, and Augustus' granddaughter,
675:
now has an established place on university curricula.
206:('Since she was very tall, the daughter of Thebes (
106:
91:
81:
67:
57:
317:, however, S. Vivianus Rhesus, Roman governor of
324:The assumption that the 'licentiousness' of the
618:Putnam, Emily James, "The Lady of the Castle,"
735:
8:
321:, is noted as having walked out in disgust.
30:
783:
696:
670:
501:
484:
470:
456:
423:
401:
384:
374:
360:
325:
304:
221:
210:) as wife never mounted Hector as horse').
153:
120:
72:
43:
742:
728:
720:
271:. Please do not remove this message until
36:
29:
291:Learn how and when to remove this message
267:Relevant discussion may be found on the
198:At the end of the third part, as in the
537:
483:in 1497; an English translation of the
406:as a cue for further academic exegesis:
428:, was playfully set in a framework of
7:
451:, a matter of definition and rule.
330:was responsible in part for Ovid's
220:Appropriately for its subject, the
25:
311:(Remedies for Love). At an early
864:
863:
838:
246:
42:Title page of a 1644 edition of
910:Ancient Roman erotic literature
359:. It is likely, then, that the
496:'s fictionalized portrayal of
1:
136:series in three books by the
97:
651:Knox, Peter E., ed. (2012).
174:the rape of the Sabine women
273:conditions to do so are met
27:Elegy series by Ovid (2 AD)
926:
905:1st-century books in Latin
829:Medicamina Faciei Femineae
691:An English translation of
144:. It was written in 2 AD.
859:
847:
836:
758:
657:. John Wiley & Sons.
500:makes an allusion to the
35:
622:, Vol CVI (1910), p.355.
854:(authorship uncertain)
784:
697:
671:
580:Agr. De art. am. 378-9
502:
485:
471:
457:
453:
424:
402:
385:
375:
361:
326:
305:
222:
154:
132:) is an instructional
121:
73:
44:
18:The Art of Love (Ovid)
408:
620:The Atlantic Monthly
492:It is possible that
410:The tendency of the
341:Julian Marriage Laws
715:In Latin (book III)
654:A Companion to Ovid
260:of this section is
232:dactylic hexameters
68:Original title
32:
815:Epistulae ex Ponto
710:In Latin (book II)
514:, 'large-nosed').
498:Cyrano de Bergerac
398:Emily James Putnam
230:, rather than the
213:However, the word
877:
876:
705:In Latin (book I)
571:Ov, Ars am. 3,778
562:Ov, Ars am. 2,683
553:Ov, Ars am. 3,769
301:
300:
293:
116:
115:
107:Publication place
16:(Redirected from
917:
867:
866:
842:
789:
744:
737:
730:
721:
700:
678:
677:
674:
648:
642:
639:
633:
630:
624:
615:
609:
605:
599:
596:
590:
587:
581:
578:
572:
569:
563:
560:
554:
551:
545:
542:
525:Roman de la Rose
505:
488:
474:
460:
427:
405:
388:
378:
364:
353:Vipsania Julilla
349:Agrippa Postumus
334:(banishment) by
329:
310:
296:
289:
285:
282:
276:
250:
249:
242:
228:elegiac couplets
225:
157:
124:
102:
99:
93:Publication date
76:
47:
40:
33:
31:The Art of Love
21:
925:
924:
920:
919:
918:
916:
915:
914:
880:
879:
878:
873:
855:
851:Double Heroides
843:
834:
754:
748:
687:
682:
681:
665:
650:
649:
645:
640:
636:
631:
627:
616:
612:
606:
602:
597:
593:
588:
584:
579:
575:
570:
566:
561:
557:
552:
548:
543:
539:
534:
520:
481:Florence, Italy
371:
297:
286:
280:
277:
266:
251:
247:
240:
226:is composed in
185:Greek mythology
169:
150:
129:The Art of Love
100:
94:
53:
48:, published in
28:
23:
22:
15:
12:
11:
5:
923:
921:
913:
912:
907:
902:
897:
892:
890:Poetry by Ovid
882:
881:
875:
874:
872:
871:
860:
857:
856:
848:
845:
844:
837:
835:
833:
832:
825:
818:
811:
804:
797:
790:
786:Remedia Amoris
781:
774:
767:
759:
756:
755:
749:
747:
746:
739:
732:
724:
718:
717:
712:
707:
702:
686:
685:External links
683:
680:
679:
664:978-1118556665
663:
643:
634:
625:
610:
600:
591:
589:Ov. Tr., 2.207
582:
573:
564:
555:
546:
536:
535:
533:
530:
529:
528:
519:
516:
494:Edmond Rostand
370:
367:
307:Remedia Amoris
299:
298:
254:
252:
245:
239:
236:
168:
165:
149:
146:
114:
113:
108:
104:
103:
95:
92:
89:
88:
83:
79:
78:
69:
65:
64:
59:
55:
54:
41:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
922:
911:
908:
906:
903:
901:
900:Erotic poetry
898:
896:
893:
891:
888:
887:
885:
870:
862:
861:
858:
853:
852:
846:
841:
831:
830:
826:
824:
823:
819:
817:
816:
812:
810:
809:
805:
803:
802:
798:
796:
795:
791:
788:
787:
782:
780:
779:
775:
773:
772:
768:
766:
765:
764:Metamorphoses
761:
760:
757:
753:
745:
740:
738:
733:
731:
726:
725:
722:
716:
713:
711:
708:
706:
703:
701:
699:
694:
689:
688:
684:
676:
673:
666:
660:
656:
655:
647:
644:
638:
635:
629:
626:
623:
621:
614:
611:
604:
601:
595:
592:
586:
583:
577:
574:
568:
565:
559:
556:
550:
547:
541:
538:
531:
527:
526:
522:
521:
517:
515:
513:
510:, Naso (from
509:
504:
499:
495:
490:
487:
482:
478:
473:
467:
465:
464:Ludwig Traube
459:
452:
450:
449:scholasticism
446:
442:
438:
434:
431:
426:
421:
417:
413:
407:
404:
399:
395:
390:
387:
382:
377:
368:
366:
363:
358:
354:
350:
345:
342:
337:
333:
328:
322:
320:
316:
315:
309:
308:
295:
292:
284:
274:
270:
264:
263:
259:
253:
244:
243:
237:
235:
233:
229:
224:
218:
216:
211:
209:
205:
201:
196:
194:
188:
186:
182:
177:
175:
166:
164:
162:
156:
147:
145:
143:
139:
138:ancient Roman
135:
131:
130:
125:
123:
112:
109:
105:
96:
90:
87:
84:
80:
77:
75:
70:
66:
63:
60:
56:
51:
46:
39:
34:
19:
849:
827:
820:
813:
806:
799:
792:
778:Ars Amatoria
777:
776:
769:
762:
698:Ars amatoria
692:
672:Ars amatoria
668:
653:
646:
637:
628:
619:
613:
603:
594:
585:
576:
567:
558:
549:
540:
523:
511:
503:Ars amatoria
491:
486:Ars amatoria
472:Ars amatoria
468:
458:Ars amatoria
454:
425:Ars Amatoria
420:jeu d'esprit
419:
409:
403:Ars amatoria
391:
386:Ars amatoria
376:Ars amatoria
372:
362:Ars amatoria
346:
327:Ars amatoria
323:
312:
302:
287:
278:
256:
223:Ars amatoria
219:
214:
212:
203:
197:
192:
189:
178:
170:
155:Ars amatoria
152:Book one of
151:
128:
127:
122:Ars amatoria
119:
117:
111:Roman Empire
74:Ars amatoria
71:
45:Ars amatoria
895:Sex manuals
433:didacticism
430:Alexandrian
392:Pioneering
161:Penthesilea
101: 2 AD
884:Categories
532:References
477:Savonarola
412:Middle Age
396:historian
332:relegation
281:April 2021
258:neutrality
208:Andromache
200:Kama Sutra
148:Background
750:Poems by
445:Symposium
416:Aristotle
314:recitatio
269:talk page
238:Reception
50:Frankfurt
869:Category
794:Heroides
518:See also
508:cognomen
394:feminist
357:Tiberius
336:Augustus
262:disputed
82:Language
808:Tristia
437:Diotima
381:Martial
319:Thracia
181:clichés
167:Content
771:Amores
693:Amores
661:
422:, the
369:Legacy
58:Author
801:Fasti
512:nasus
441:Plato
140:poet
134:elegy
86:Latin
822:Ibis
752:Ovid
695:and
669:The
659:ISBN
455:The
373:The
255:The
142:Ovid
118:The
62:Ovid
479:in
443:'s
439:in
215:ars
886::
667:.
98:c.
743:e
736:t
729:v
294:)
288:(
283:)
279:(
275:.
265:.
126:(
52:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
