Ovid

Ovid's deliciously witty and exuberant epic starts with the creation of the world and brings together a series of ingeniously linked Greek and Roman myths and legends in which men and women are transformed, often by love - into flowers, trees, stones and stars. This new verse translation, in simple and swift English hexameters, allows Ovid's narrative to flow - pulling the reader along with it.Read more at https://www.penguin.co.uk/books/25646...

In the first century a.d., Ovid, author of the groundbreaking epic poem Metamorphoses, came under severe criticism for The Art of Love, which playfully instructed women in the art of seduction and men in the skills essential for mastering the art of romantic conquest. In this remarkable translation, James Michie breathes new life into the notorious Roman’s mock-didactic elegy. In lyrical, irreverent English, he reveals love’s timeless dilemmas and Ovid’s enduring brilliance as both poet and cultural critic.

In the twenty-one poems of the Heroides, Ovid gave voice to the heroines and heroes of epic and myth. These deeply moving literary epistles reveal the happiness and torment of love, as the writers tell of their pain at separation, forgiveness of infidelity or anger at betrayal. The faithful Penelope wonders at the suspiciously long absence of Ulysses, while Dido bitterly reproaches Aeneas for too eagerly leaving her bed to follow his destiny, and Sappho - the only historical figure portrayed here - describes her passion for the cruelly rejecting Phaon. In the poetic letters between Paris and Helen the lovers seem oblivious to the tragedy prophesied for them, while in another exchange the youthful Leander asserts his foolhardy eagerness to risk his life to be with his beloved Hero.

‘Drawn on by his eagerness for the open sky, he left his guide and soared upwards . . .’ Enduring myths of vengeful gods and tragically flawed mortals from ancient Rome’s great poet. Ovid tells the tales of Theseus and the Minotaur, Daedalus and Icarus, the Calydonian Boar-Hunt, and many other famous myths.(Taken from Books VIII and IX of Mary M. Innes’s translation of Metamorphoses.)[ Ovid (Publius Ovidius Naso) 43 BC–17 AD ]Little Black Classics celebrates Penguin’s 80th birthday, introducing 80 works from the classics.

This collection of Ovid’s poems deals with the whole spectrum of sexual desire, ranging from deeply emotional declarations of eternal devotion to flippant arguments for promiscuity. In the Amores, Ovid addresses himself in a series of elegies to Corinna, his beautiful, elusive mistress. The intimate and vulnerable nature of the poet revealed in these early poems vanishes in the notorious Art of Love, in which he provides a knowing and witty guide to sexual conquest – a work whose alleged obscenity led to Ovid’s banishment from Rome in AD 8. This volume also includes the “Cures for Love,” with instructions on how to terminate a love affair, and “On Facial Treatment for Ladies,” an incomplete poem on the art of cosmetics.

The Metamorphoses is a Latin narrative poem by the Roman poet Ovid, considered his magnum opus. Comprising fifteen books and over 250 myths, the poem chronicles the history of the world from its creation to the deification of Julius Caesar within a loose mythico-historical framework.Book I – The Creation, the Ages of Mankind, the flood, Deucalion and Pyrrha, Apollo and Daphne, Io, Phaëton.Book II – Phaëton (cont.), Callisto, the raven and the crow, Ocyrhoe, Mercury and Battus, the envy of Aglauros, Jupiter and Europa.Book III – Cadmus, Diana and Actaeon, Semele and the birth of Bacchus, Tiresias, Narcissus and Echo, Pentheus and Bacchus.Book IV – The daughters of Minyas, Pyramus and Thisbe, the Sun in love, Salmacis and Hermaphroditus, the daughters of Minyas transformed, Athamas and Ino, the transformation of Cadmus, Perseus and Andromeda.Book V – Perseus' fight in the palace of Cepheus, Minerva meets the Muses on Helicon, the rape of Proserpina, Arethusa, Triptolemus.Book VI – Arachne; Niobe; the Lycian peasants; Marsyas; Pelops; Tereus, Procne, and Philomela; Boreas and Orithyia.Book VII – Medea and Jason, Medea and Aeson, Medea and Pelias, Theseus, Minos, Aeacus, the plague at Aegina, the Myrmidons, Cephalus and Procris.Book VIII – Scylla and Minos, the Minotaur, Daedalus and Icarus, Perdix, Meleager and the Calydonian Boar, Althaea and Meleager, Achelous and the Nymphs, Philemon and Baucis, Erysichthon and his daughter.(source: wiki)

In the year A.D. 8, Emperor Augustus sentenced the elegant, brilliant, and sophisticated Roman poet Ovid to exile—permanently, as it turned out—at Tomis, modern Constantza, on the Romanian coast of the Black Sea. The real reason for the emperor's action has never come to light, and all of Ovid's subsequent efforts to secure either a reprieve or, at the very least, a transfer to a less dangerous place of exile failed. Two millennia later, the agonized, witty, vivid, nostalgic, and often slyly malicious poems he wrote at Tomis remain as fresh as the day they were written, a testament for exiles everywhere, in all ages.The two books of the Poems of Exile, the Lamentations (Tristia) and the Black Sea Letters (Epistulae ex Ponto), chronicle Ovid's impressions of Tomis—its appalling winters, bleak terrain, and sporadic raids by barbarous nomads—as well as his aching memories and ongoing appeals to his friends and his patient wife to intercede on his behalf. While pretending to have lost his old literary skills and even to be forgetting his Latin, in the Poems of Exile Ovid in fact displays all his virtuoso poetic talent, now concentrated on one objective: ending the exile. But his rhetorical message falls on obdurately deaf ears, and his appeals slowly lose hope. A superb literary artist to the end, Ovid offers an authentic, unforgettable panorama of the death-in-life he endured at Tomis.

Written after he had been banished to the Black Sea city of Tomis by Emperor Augustus, the Fasti is Ovid's last major poetic work. Both a calendar of daily rituals and a witty sequence of stories recounted in a variety of styles, it weaves together tales of gods and citizens together to explore Rome's history, religious beliefs and traditions. It may also be read as a subtle but powerful political manifesto which derides Augustus' attempts to control his subjects by imposing his own mythology upon them: after celebrating the emperor as a Jupiter-on-earth, for example, Ovid deliberately juxtaposes a story showing the king of the gods as a savage rapist. Endlessly playful, this is also a work of integrity and courage, and a superb climax to the life of one of Rome's greatest writers.

Excerpt from P. Ovidii Nasonis AmoresPeu on excusera les erreurs que nous avons commises, en considération de celles que nous avons corrigées.

Latin, English

One of the most influential and popular works in all literature, Ovid’s Metamorphoses is a weaving-together of classical myths, extending in time from the creation of the world to the death of Julius Caesar. This volume provides the Latin text of the first five books of the poem and the most detailed commentary available in English for these books. In his introduction to the volume, editor William S. Anderson provides essential background information, discussing Ovid’s life, the reception of the Metamorphoses during Ovid’s day and after, and the poem’s central issues. The Latin text of the five books is Anderson’s own edition, based on years of study of the surviving manuscripts. In the extensive notes that follow the text, Anderson offers both useful summaries of the stories and detailed line-by-line comments. Unlike other epic poems, which concern wars and heroism, the Metamorphoses centers on ordinary human beings, women as well as men, who live in a world of continuous change. The first five books, which include such well-known stories as Apollo and Daphane, Diana and Actaeon, and Narcissus and Echo, deal especially with the relationship between human beings and the gods. Arrogant and lustful, but all-powerful, the gods of Ovid’s universe selfishly pursue their own pleasures, frequently at the expense of their human targets. Yet these gods escape unscathed, while the humans, unjustly, are punished. Helpless to defend themselves, they are changed into animal or nonhuman forms. A resource for students and scholars of Latin, this volume enhances understanding and enjoyment of Ovid’s changeable poem about our changeable existence.

El arte de amar (Ars Amatoria) es probablemente su obra representativa y lograda.Libro irónico, paródico, lúdico, en el que el poeta relata los lances de amor en tres partes de singular frescura y valor artístico.Los remedios... fue compuesto a poca distancia del Arte de amar, y en él retorna sobre los mismos temas, variándolos con enfoques siempre distintos.

This is an electronic edition of the complete poems complemented by Ovid biography. This book features the table of contents linked to every chapter. The book was designed for optimal navigation on the Kindle, PDA, Smartphone, and other electronic readers. It is formatted to display on all electronic devices including the Kindle, Smartphones and other Mobile Devices with a small display. **************The Ars amatoria (Latin: 'Art of Love') is a poem in three books by the Roman poet Ovid. It claims to provide teaching in three areas of general preoccupation: how and where to find girls (and husbands) in Rome, how to seduce them, and how to prevent others from stealing them.Remedia Amoris (Love's Remedy or The Cure for Love) is a 814 line poem in Latin by the Roman poet Ovid. In this poem, Ovid offers advices and strategies to avoid being hurt by love feelings , or to fall out of love, with a stoician overtone.Medicamina Faciei Feminae ("Women's Facial Cosmetics"), also known as The Art of Beauty, 100 lines surviving. Published ca. 5 BC.— Excerpted from Wikipedia, the free encyclopedia. Table of ContentsOvid's Art of Love Book I Book II Book III Ovid's Remedy of Love Ovid's Art of BeautyThe Court of Love, a Tale from ChaucerHistory of Love, by Charles Hopkins Admiration Perseus and Andromeda Desire Pygmalion Hippomenes and Atalanta Jealousy Cephalus and Procris Despair Orpheus and Eurydice The Parting The Parting of Achilles and Deidamia Absence Leander's Epistle to Hero Narcissus and Echo Salmacis and Hermaphroditus

This edition of the first part of Ovid's witty, and unjustifiably infamous, love poem reproduces E.J. Kenny's authoritative text with the first detailed commentary in English, and includes an introduction dealing with the poem's style and history.

Soon after his marriage to Eurydice, Orpheus loses his bride to a serpent's bite. The tale of Orpheus' search for her through the underworld is one of the most beloved episodes from Ovid's masterpiece, The Metamorphoses. It's a classic myth of love beyond death, translated by Mary M. Innes.

The Tristia of Ovid is David Slavitt's poetry with drawings by Raymond Davdison. It is a book that gets better with each re-reading, and is especially of interest to classics scholars and lovers of modern poetry who want more out of their work than they have been given.

Ovid (Publius Ovidius Naso, 43 BCE-17 CE), born at Sulmo, studied rhetoric and law at Rome. Later he did considerable public service there, and otherwise devoted himself to poetry and to society. Famous at first, he offended the emperor Augustus by his Ars Amatoria, and was banished because of this work and some other reason unknown to us, and dwelt in the cold and primitive town of Tomis on the Black Sea. He continued writing poetry, a kindly man, leading a temperate life. He died in exile. Ovid's main surviving works are the Metamorphoses, a source of inspiration to artists and poets including Chaucer and Shakespeare; the Fasti, a poetic treatment of the Roman year of which Ovid finished only half; the Amores, love poems; the Ars Amatoria, not moral but clever and in parts beautiful; Heroides, fictitious love letters by legendary women to absent husbands; and the dismal works written in exile: the Tristia, appeals to persons including his wife and also the emperor; and similar Epistulae ex Ponto. Poetry came naturally to Ovid, who at his best is lively, graphic and lucid. The Loeb Classical Library edition of Ovid is in six volumes.

The Heroides is a collection of 21 poems in elegiac couplets. The Heroides take the form of letters addressed by famous mythological characters to their partners expressing their emotions at being separated from them, pleas for their return, and allusions to their future actions within their own mythology. The first 14 letters are thought to comprise the first published collection and are written by the heroines Penelope, Phyllis, Briseis, Phaedra, Oenone, Hypsipyle, Dido, Hermione, Deianeira, Ariadne, Canace, Medea, Laodamia, and Hypermestra to their absent male lovers. Letter 15 is from the historical Sappho to Phaon. The final letters (16–21) are paired compositions comprising a letter to a lover and a reply. Paris and Helen, Hero and Leander, and Acontius and Cydippe are the addressees of the paired letters. These are considered a later addition to the corpus because they are never mentioned by Ovid and may or may not be spurious.(source: wiki)Ovid s Amores are three books of love poetry ostensibly about the poet's love affair with his mistress Corinna.

The timeless verse of the great Roman poet Ovid revels in universal themes of sensuality, desire, joy, passion, and love, in this translation of the ancient Latin works.

Ovid (Publius Ovidius Naso, 43 BCE17 CE), born at Sulmo, studied rhetoric and law at Rome. Later he did considerable public service there, and otherwise devoted himself to poetry and to society. Famous at first, he offended the emperor Augustus by his "Ars Amatoria, " and was banished because of this work and some other reason unknown to us, and dwelt in the cold and primitive town of Tomis on the Black Sea. He continued writing poetry, a kindly man, leading a temperate life. He died in exile.Ovid's main surviving works are the "Metamorphoses, " a source of inspiration to artists and poets including Chaucer and Shakespeare; the "Fasti, " a poetic treatment of the Roman year of which Ovid finished only half; the "Amores, " love poems; the "Ars Amatoria, " not moral but clever and in parts beautiful; "Heroides, " fictitious love letters by legendary women to absent husbands; and the dismal works written in exile: the "Tristia, " appeals to persons including his wife and also the emperor; and similar "Epistulae ex Ponto." Poetry came naturally to Ovid, who at his best is lively, graphic and lucid.This volume:Book IX – Achelous and Hercules; Hercules, Nessus, and Deianira; the death and apotheosis of Hercules; the birth of Hercules; Dryope; Iolaus and the sons of Callirhoe; Byblis; Iphis and Ianthe.Book X – Orpheus and Eurydice, Cyparissus, Ganymede, Hyacinth, Pygmalion, Myrrha, Venus and Adonis, Atalanta.Book XI – The death of Orpheus, Midas, the foundation and destruction of Troy, Peleus and Thetis, Daedalion, the cattle of Peleus, Ceyx and Alcyone, Aesacus.Book XII – The expedition against Troy, Achilles and Cycnus, Caenis, the battle of the Lapiths and Centaurs, Nestor and Hercules, the death of Achilles.Book XIII – Ajax, Ulysses, and the arms of Achilles; the Fall of Troy; Hecuba, Polyxena, and Polydorus; Memnon; the pilgrimage of Aeneas; Acis and Galatea; Scylla and Glaucus.Book XIV – Scylla and Glaucus (cont.), the pilgrimage of Aeneas (cont.), the island of Circe, Picus and Canens, the triumph and apotheosis of Aeneas, Pomona and Vertumnus, legends of early Rome, the apotheosis of Romulus.Book XV – Numa and the foundation of Crotone, the doctrines of Pythagoras, the death of Numa, Hippolytus, Cipus, Asclepius, the apotheosis of Julius Caesar, epilogue.(source: wiki)

Nicht-exklusives Verkaufsrecht für: Gesamte Welt.

Since it first appeared in 1961 this has been the standard critical edition of Ovid's love poems. For this new edition the text has been thoroughly revised to take account of published scholarship and the further thoughts of the editor. Conjectures have been admitted to both text and apparatuscriticus more freely than in the first edition. Punctuation has been improved, spelling has been normalized, and the long poems have been paragraphed. The apparatus criticus now incorporates the reading of the important Berlin manuscript Hamilton 471; it has also been streamlined by the omission ofexplanatory material more conveniently accessible in commentaries.

This edition of the first book of Ovid's "Amores" was first published in 1973 by OUP. It has been kept in print by BCP because it remains an outstandlingly useful volume. It was one of two editions (the other being Gordon Williams' "Horace 'Odes' III", 1969) in which OUP pioneered a new kind of continuous running commentary particularly suited to short poems, one 'likely to be more illuminating than a series of disconnected notes on isolated problems, which may contribute little to the total understanding of the poem as the poet conceived it'. This approach was intended to promote in sixth-formers and undergraduates not just an understanding of the Latin but a critical appreciation of literary quality. In this aim, the edition has been a continued success.

Testo latino a fronte

La création du monde et la naissance de l’homme, l’âge d’or, le déluge, l’orgueil d’Arachné, Écho et Narcisse, Dédale et Icare, Orphée et Eurydice, Apollon et Daphné. Des récits mythiques et poétiques qui fascinent l’homme en quête des ses origines. Cette édition originale propose de découvrir vingt-cinq histoires de métamorphoses parmi les plus représentatives de l’œuvre d’Ovide.

Les Métamorphoses d'Ovide (43 av. J.- C.-17 ap.) sont pour la poésie latine une sorte de livre des records, de longueur (11995 vers évoquant ou narrant 250 métamorphoses en quelque 150 épisodes), mais aussi de variété des genres, des styles et des procédés narratifs. Couvrant toute l'histoire du monde, du chaos originel au temps d'Auguste où écrit le poète, sorte d'œuvre-univers dont la structure labyrinthique fait un véritable et fascinant palais des mirages, « Légende dorée » ou « Vatican du paganisme », « Mille et une nuits de l'Antiquité » elles s'ouvrent sur un récit de la Genèse et s'achèvent, après un long et passionnant prêche philosophique prononcé par Pythagore (569-475 av. J.- C.), sur la promesse de divinisation de l'empereur régnant et d'immortalité du poète, après avoir offert au lecteur, sans jamais l'ennuyer, une profusion de récits épiques et de contes burlesques, édifiants, émouvants ou galants dont la postérité n'a cessé de recycler les inépuisables joyaux.Olivier Sers a traduit Ovide, entreprise sans précédent, vers pour vers, en 11995 alexandrins classiques restituant fidèlement le phrasé et la frappe poétique des hexamètres latins. Pour la première fois le lecteur moderne des Métamorphoses est placé dans la situation même du lecteur antique.

"Ibis", Mısır’da bataklık alanlarda, akreplerle ve zehirli yılanlarla yaşadığı söylenen bir kuşun adıdır ve Ovidius altı yüz kırk dört dizelik şiirinde lanetler yağdırdığı düşmanını bu isimle anar. Iambus vezniyle yazılan "Ibis", hem Ovidius’un şiirinde mitolojiyi kullanma gücünü gösteren hem de sürgün yıllarında içinde bulunduğu ruh halini resmeden en önemli eserlerinden biridir.

The source of Ovid’s enduring appeal is his Amores are written with the wit and humor—and sometimes the regret—of one who has seen love fi rst hand. His Metamorphoses, an epic tale of transformations, is the sparkling work of a consummate storyteller. This edition is organized to facilitate reading, comprehension, and enjoyment of a poet whose sometimes startling voice rings as clear and true today as it did in his own day. This edition • introduction to each passage • unadapted Latin texts of six Amores and fi ve selections from the Metamorphoses • samepage grammatical/syntactical/vocabulary notes • translation questions and answers, to prompt reading comprehension • glossaries of metrical terms and fi gures of speech • high-frequency vocabulary list • translation tips for reading Ovid • topical bibliography

In Greek mythology Echo was a wood nymph who loved a youth by the name of Narcissus. He was a beautiful creature loved by many but Narcissus loved no one. He enjoyed attention, praise and envy. In Narcissus' eyes nobody matched him and as such he considered none were worthy of him.Echo's passion for Narcissus was equaled only by her passion for talking as she always had to have the last word. One day she enabled the escape of the goddess Juno's adulterous husband by engaging Juno in conversation. On finding out Echo's treachery Juno cursed Echo by removing her voice with the exception that she could only speak that which was spoken to her.Echo often waited in the woods to see Narcissus hoping for a chance to be noticed. One day as she lingered in the bushes he heard her footsteps and called out “Who's here?” Echo replied “Here!” Narcissus called again "Come", Echo replied "Come!". Narcissus called once more “Why do you shun me?... Let us join one another.” Echo was overjoyed that Narcissus had asked her to join him. She longed to tell him who she was and of all the love she had for him in her heart but she could not speak. She ran towards him and threw herself upon him.Narcissus became angry “Hands off! I would rather die than you should have me!” and threw Echo to the ground. Echo left the woods a ruin, her heart broken. Ashamed she ran away to live in the mountains yearning for a love that would never be returned. The grief killed her. Her body became one with the mountain stone. All that remained was her voice which replied in kind when others spoke.Narcissus continued to attract many nymphs all of whom he briefly entertained before scorning and refusing them. The gods grew tired of his behaviour and cursed Narcissus. They wanted him to know what it felt like to love and never be loved. They made it so there was only one whom he would love, someone who was not real and could never love him back.One day whilst out enjoying the sunshine Narcissus came upon a pool of water. As he gazed into it he caught a glimpse of what he thought was a beautiful water spirit. He did not recognise his own reflection and was immediately enamoured. Narcissus bent down his head to kiss the vision. As he did so the reflection mimicked his actions. Taking this as a sign of reciprocation Narcissus reached into the pool to draw the water spirit to him. The water displaced and the vision was gone. He panicked, where had his love gone? When the water became calm the water spirit returned. “Why, beautiful being, do you shun me? Surely my face is not one to repel you. The nymphs love me, and you yourself look not indifferent upon me. When I stretch forth my arms you do the same; and you smile upon me and answer my beckonings with the like.” Again he reached out and again his love disappeared. Frightened to touch the water Narcissus lay still by the pool gazing in to the eyes of his vision.He cried in frustration. As he did so Echo also cried. He did not move, he did not eat or drink, he only suffered. As he pined he became gaunt loosing his beauty. The nymphs that loved him pleaded with him to come away from the pool. As they did so Echo also pleaded with him. He was transfixed; he wanted to stay there forever. Narcissus like Echo died with grief. His body disappeared and where his body once lay a flower grew in it's place. The nymphs mourned his death and as they mourned Echo also mourned.- retrieved from: http://www.echo.me.uk/legend.htmExtracts taken from the "The Age of Fable" written by THOMAS BULFINCH were used in the story above.

Ovid is a poet to enjoy, declares William S. Anderson in his introduction to this textbook. And Anderson’s skillful introduction and enlightening textual commentary will indeed make it a joy to use.In these books Ovid begins to leave the conflict between men and the gods to concentrate on the relations among human beings. Subjects of the stories include Arachne and Niobe; Tereus, Procne, and Philomela; Medea and Jason; Orpheus and Eurydice; and many others, familiar and unfamiliar. For students of Latin-and teachers, too-they provide an interesting experience.In his introduction the editor discusses Ovid’s career, the reputation of the Metamorphoses during Ovid’s time and after, and the various manuscripts that exist or have been known to exist. He describes the general plan of the poem, its main theme, and the problem of its tone. Technical matters, such as style and meter, are also considered. In notes the editor summarizes the story being told before proceeding to the line-by-line textual comments.