Download e-book for iPad: Ovid and Hesiod: The Metamorphosis of the Catalogue of Women by Ioannis Ziogas


By Ioannis Ziogas

The effect on Ovid of Hesiod, crucial archaic Greek poet after Homer, has been underestimated. but, as this publication exhibits, a profound engagement with Hesiod's subject matters is valuable to Ovid's poetic global. As a poet who praised ladies rather than males and opted for stylistic delicacy rather than epic grandeur, Hesiod is usually contrasted with Homer. Ovid revives this epic contention via surroundings the Hesiodic personality of his Metamorphoses against the Homeric personality of Virgil's Aeneid. Dr Ziogas explores not just Ovid's intertextual engagement with Hesiod's works but additionally his discussion with the wealthy scholarly, philosophical and literary culture of Hesiodic reception. an enormous contribution to the research of Ovid and the broader poetry of the Augustan age, the publication additionally kinds an outstanding case learn in how the reception of earlier traditions can develop into the driver of poetic production.

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Additional info for Ovid and Hesiod: The Metamorphosis of the Catalogue of Women

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10 M–W). If we read Paris’ words against the background of the Hesiodic episode of the wooing of Helen, then the Trojan prince is the most qualified suitor since he is the richest. At the same time, Paris is selective in his reading of the Catalogue. He refers to Greece as poor compared to Asia (o quotiens dices ‘quam pauper Achaia nostra est’! Her. ”’) and to Sparta as parca (‘frugal’, Her. 191). Sparta’s frugality is of course an anachronism which Paris employs to serve his purpose. He passes over the fact that in the Catalogue Menelaus is the richest suitor, and brings up the classical, but not archaic, stereotype of a poor Sparta.

Ovid’s suitor 29 also enters the Hesiodic world, presenting himself as one of the suitors who wooed Helen. He turns himself into a character of the work he is referring to. For Paris, poetic memory is not something bygone; it is instead a reality he wants to bring into life. Fama’s power of –n†rgeia (‘vividness’) or fantas©a (‘creative imagination’) is thus pointed out26 as Paris lives (and is trapped) in a world conjured up by the nuntia fama. He does not just refer back to a poetic tradition; it is rather the poetic tradition that is projected into his life.

66 The narrative complexity of the Metamorphoses with its numerous internal narrators and embedded tales also clashes with the scarcity of embedded speeches in the Catalogue. The grammarian Diomedes refers to the Hesiodic Catalogue as an example of narrative poetry (enarratiuum) without speeches of characters other than the poet himself, unlike the Iliad or the Aeneid, which contain a great many speeches made by the characters and belong to the ‘common or mixed’ genre (commune uel mixtum; see Keil, Grammatici Latini v.

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