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1

Descriptio monstri. Ovidrezeption im handschriftlichen Gedicht von Georg Bartholdus Pontanus (1550–1614)

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Vaculínová M.

Listy filologické (Folia philologica)

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2019

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vol. 142

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issue 1-2

161-181

EN

The reception of Ovid in the literature of the Early Modern Czech Lands has not been satisfactorily investigated up to now. He was undoubtedly the favourite ancient poet after Virgil, his works were part of many libraries, were avidly studied at universities and at Latin schools. His poems served as an important source and model for the poetry of humanists from the Czech Lands. Motifs from his poetry, phrases or even entire verses can be found in poems of various content – in religious and occasional poetry, in moralizing poems or in panegyrics. The poem by Georg Bartholdus Pontanus, poet laureate and member of the high Catholic clergy, represents a type of Ovid reception which occurred rarely – being a parodic invective. The composition written in about 1580 at the monastery in Louka in Moravia and consisting of 166 dactylic hexameters is in all probability based on an actual event, a delict by an unnamed Catholic priest in Austria. In the first part of the poem, Pontanus describes the priest and his metamorphosis into a monster in the cave. In the second part, called “fiction”, all of Protestantism is depicted as a dangerous monster, which can bring mankind into ruins and bring about the victory of Satan. Pontanus plays with the basic idea of the Metamorphoses by Ovid that the transformation and the loss of human appearance is the punishment of gods/God. He uses entire parts from ancient poems mainly by Ovid, Virgil and Silius Italicus, depicting various mythological beings and creatures in a cave. The motif of a monster was common in contemporary confessional polemic, wherein the poem by Pontanus is particularly offensive in the attack against Protestantism. Because of that, it could not be printed at the time of its composition and remained as a manuscript work shared by a few similarly thinking intellectuals in the monastery of Louka.

2

Portret żony idealnej w wygnańczej twórczości Owidiusza

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Kruk K.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2012

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vol. 22

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issue 1

59-72

EN

Ovid’s poetry from exile conveys numerous images of a perfect wife. The poet constantly reaches for the abundance of myth, only to underline that his own beloved one needs not to be ashamed or intimidated when compared to Penelope, Andromache or Alcestis. While praising traditional feminine virtues, namely pudicitia, virtus, fides and probitas, Ovid fails not to create an original portrait of a complex female personality, depicting his left-behind wife as a grieving widow, longing lover and devoted priestess. The way in which Ovid approaches the topic of love and femininity constitutes a certain novum throughout his poetry: never before had he paid such attention to a historical feminine figure. Once and for all abandoning the issue of amor tener, Ovid, in his dialogue with his wife, focuses around the idea of communicating love and pain in times of grievous separation.

3

Furiosa libido. Ovid on love and madness.

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Bielecka E.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2013

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vol. 23

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issue 2

141-151

PL

This paper presents Ovid’s views on the concept of love madness. Taking Ars amatoria, in particular the distich (1.281–282) in which the poet blames woman’s love fury on her lust as its research material, the paper investigates how the notion in question has been realized in this “textbook for lovers.” There, Ovid uses the mythological figures of women who committed crimes against social rules to illustrate the said concept; the paper, in turn, juxtaposes it with the narratives in Metamorphoses (the stories of Byblis and Myrrha). Additionally, it makes use of the tale of Iphis, a story not included in Ars amatoria which can nevertheless be also treated as illustrative of how madness can overcome enamored women. The paper both contrasts the above mentioned stories with the narratives showing men’s inclinations to insanity caused by passion and examines the notion of love madness in the context and with regard to the style of Ovid’s works.

4

Ichthyonymia Graeco-Latina. Die Bedeutung der Lexik neugriechischer und romanischer Dialekte für die richtige Identifizierung lateinischer Fischnamen

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Witczak K. T.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2014

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vol. 24

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issue 1

227-236

PL

Ichthyonymia Graeco-Latina. The Importance of the Modern Greek and Romance Lexical Data for Correct Identification of the Latin Fish-NamesIn his edition of Halieutica A. W. Mikołajczak leaves eight Latin names of the Mediterranean fishes, mentioned by Ovid, with no identification and explanation. The present author discusses them, taking into account the lexical data attested in the Modern Greek dialects, as well as the Italian ones. Four fish-names (cantharus, erythinus, iulis, smaris) may be securely identified on the basis of the modern (Greek and/or Romance) terminology for fishes of the Mediterranean Sea. No reflexes of four different fishes (cercyros, glaucus, lamiros, tragus) appear in the contemporary vocabulary of peoples of the Mediterranean area. This is why these Ovid’s fishes are hardly identifiable. M. Kokoszko’s book appears to be a valuable dictionary of the Greek fish-names, introducing an excellent presentation and convincing identification of most Mediterranean Sea fishes. His presentation agrees completely with the conclusions given in this paper.

5

Kogo strzegły Lares Praestites?

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Hartleb-Kropidło B.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2018

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vol. 28

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issue 1

EN

The paper discusses the Lares Praestites, whose role, customs, and festivities are described in Ovid’s Fasti 5, 129–139. The poet shows the Lares Praestites as archaic guardians of the City of Rome.

6

The Sacred and the Poetic: The Use of Religious Terminology in Ovid’s Words

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Kaczor I.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2019

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vol. 29

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issue 2

17-35

PL

The article investigates Ovid’s use of religious terminology and imagery, in particular in the Fasti and the Metamorphoses. As an educated Roman citizen, Ovid was conversant with Roman ritual practices and frequently drew on facets of the Roman religious experience in his writing, exploring topics such as ritual performance, religious nomenclature, festivals, customs and traditions. In the article, I argue that Ovid’s treatment of religious material is deliberately uneven. The poet, well-versed in the Roman ritual nomenclature, nevertheless flaunted his technical competence only in the rite-oriented Fasti: in his other works, above all in the myth-laden Metamorphoses, he abandoned drier technical details for artistic flair and poetic imagery, unconstrained by traditional practices of Roman piety. The mythological setting of the latter poem gave Ovid a chance to comment upon universal truths of human nature, espousing the prevailing Roman belief that maintaining good relations with the gods (pax deorum) through collective piety would win Rome divine favour in all her initiatives.

7

Pandarus Quotes Ovid in Geoffrey Chaucer’s Book One of Troilus and Criseyde

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Bobrowski A.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2019

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vol. 29

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issue 2

71-83

PL

The medieval epic poem Troilus and Criseyde by Chaucer describes the history of unhappy love with the Trojan War in the background. The story is constructed in the convention of courtly love, and the author draws abundantly from a range of plot motifs preserved in the ancient literary tradition. The article discusses the way of intertextual use of Ovid’s Heroides 5 in the course of events told in Book One of the poem.

8

Remarks on Ovid and the Golden Age of Augustus

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Łukaszewicz A.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2019

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vol. 29

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issue 2

37-56

PL

Publius Ovidius Naso was an outstanding poet of the Augustan age who after a period of successful activity was suddenly sent to exile without a formal judicial procedure. Ovid wrote frivolous poems but inserted into his works also the obligatory praises of Augustus. The standard explanation of his relegation to Tomis is the licentious content of his Ars Amatoria, which were believed to offend the moral principles of Augustus. However, the Ars had been published several years before the exile. The poet himself in his Pontic writings mentions an unspecified error and a carmen, pointing also to the Ars, without, however, a clear explanation of the reason for his fall. The writer of the present contribution assumes that the actual reason for the relegation of the poet without a trial were the verses of his Metamorphoses and especially the passage about the wicked stepmothers preparing poison. That could offend Livia who, according to gossip, used poison to get rid of unwanted family members. Ovid was exiled, but the matter was too delicate for a public justification of the banishment. When writing ex Ponto the poet could not explicitly refer to the actual cause of his exile.

9

Ovid and Statius, Thebaid 6.54–78. Necessary Allusions or a Metapoetic Dialogue?

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Pierzak D.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2019

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vol. 29

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issue 2

57-70

PL

Statius’ description of the funeral games held in honor of the baby Opheltes contains several utterances reminiscent of Ovid. The paper aims to show that these should not be read as the so-called necessary allusions, but rather as the poet’s complex dialogue with his predecessor.

10

Exempla z „Metamorfoz” Owidiusza w „Okręcie błaznów” Sebastiana Branta

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Lam A.

Prace Filologiczne. Literaturoznawstwo

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2013

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issue 3(6) cz.2

165-176

EN

From among around four hundred examples taken from the Bible, mythology and history, which in Sebastian Brant’s The Ship of Fools are designed to instruct and caution, more than twenty come from Ovid’s Metamorphoses. Brant does not make references to Ovid’s work and he mentions the poet only once, as the author of Ars amatoria (buler kunst), which brought Ovid nothing but misfortune.Most of them appear in Chapter XIII On Seduction (Von buolschaft) and single ones in Chapters: XXVI, LIII, LX, LXIV and LXVII. The references are allusive and abridged, they concern pathetic consequences of wicked or rash love, jealousy and hatred as well as self-loving and foolhardy imprudence. They stand as codes, which can not be deciphered without knowing the source and it implies that Brant either assumes the reader has the required knowledge or appeals to gain it. It is also possible that he refers to common at that time didactic modifications of Metamorphoses. Problematic and often tragic illustration of human fortunes in Ovid’s work is reduced in Brant’s satire to parenetic formula, which intrigues and is expressed with vivid and crude language. The most explicit example of dissonance between Brant’s and Ovid’s intention is a truly clown like character − Marsyas, who with obstinacy plays bagpipes, a clownish instrument, whereas in Metamorphoses he enraptured people playing his aulos and his death as martyr is mourned by not only nymphs and shepherds, but also by nature. The rights of the genre, in this case of moral satire, proved to be stronger than philosophical meaning of mythological message.

11

Artysta na obrzeżach świata, czyli wszyscy jesteśmy Odyseuszami. Kilka refl eksji ogólnych w nawiązaniu do Cycerona, Owidiusza i Seneki

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Wesołowska E.

Studia Europaea Gnesnensia

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2010

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issue 1-2

141-147

PL

Th e paper discusses three grand personalities of antiquity: Cicero, Ovid and Seneca in the circumstances of their exile, Th eir attitudes to the punishment received (whose severity varied) were diverse. Nevertheless, all they left a trace in the shape of literary works and letters. Upon reading, one discovers ambiguous attitudes towards their per-sonal misfortunes. Finally, the situation of the exiles and their return may be compared with the archetypal fi gure of Odysseus.

12

Winowajczyni, niewinna, femme fatale, pocieszycielka... – Muzy w twórczości wygnańczej Owidiusza

86%

Moskalewicz M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2021

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vol. 31

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issue 2

9-26

PL

The main purpose of this paper is to present the variable and diverse Ovid’s attitude towards Muses in his works from exile (Tristia, Epistulae ex Ponto and Ibis). The poet seeks in these goddesses both the comfort and the cause of his exile, identifies them with his poetry frequently, as their faithful servant feels deceived but also hopes that Muses can ease the anger of Augustus. The article is an attempt to analyze this complex relationship.

13

Lukrecja – wzór dla Rzymianek. Historia niezbyt słodka

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Miazek-Męczyńska M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2021

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vol. 31

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issue 1

153-168

EN

The article presents the story of Lucrece, legendary heroine and noble wife of Lucius Tarquinius Collatinus, whose suicide was presented many times in the ancient Roman and Renaissance literature by historiographers and poets. The author compares few versions of Lucrece’s story focusing on her virtues (like castitas, obstinata pudicitia, decus muliebris) that became canonical features characterising the Roman matrona.

14

Zwierzę, które pisze – mit o nimfie Io w Metamorfozach Owidiusza

81%

Witczak K.

Polonistyka. Innowacje

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2017

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issue 5

63-72

EN

The ratio of human to an animal is one of the most important relationships between nature and culture. The study of this issue can bring a new look on the body, especially the fact that today in the era of already developed animal studies. Ovid’s Metamorphoses were treated as text-pattern, which makes the transformation – the process of incorporation into an animal. The article is about the interpretation of the myth of the transfiguration mistress of Zeus nymph Io into a heifer and her attempts to communicate with the world of people using the letters. The myth of Io can thus be regarded as a story initialized to the creation of writing (the save characters), and the same placing as the animal in the center of the story – as the beginning of a discussion on the relationship occurring between what exists (nature) and what is produced (culture).

PL

Stosunek człowieka do zwierzęcia obrazuje istotny związek między naturą i kulturą, a badanie tego zagadnienia może przynieść nowe spojrzenie na ciało, zwłaszcza na to, które dziś w dobie rozwiniętych już studiów dotyczących kwestii nieantropocentrycznych gubi ludzką postać. Metamorfozy Owidiusza potraktowane zostały jako tekst-wzorzec, w którym dokonuje się transformacja – proces wcielenia się w zwierzę. Artykuł dotyczy interpretacji fragmentu dzieła poety opowiadającego o historii przemienienia kochanki Zeusa nimfy Io w jałówkę oraz jej prób porozumienia się ze światem ludzi za pomocą pisma. Mit o Io może być zatem traktowany jako opowieść inicjalna powstania pisma (systemu zapisywania znaków), a samo umieszczenie postaci zwierzęcej w centrum opowieści jako początek dyskusji o relacji występującej między tym, co zastane (naturą), a tym, co wytworzone (kulturą).

15

Dwa przypadki kulturowego przekładu Owidiusza: Juliusz Bocheński, Nazo poeta i Christoph Ransmayr, Die letzte Welt

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Dąbrowski M.

Rocznik Komparatystyczny

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2014

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vol. 5

p. 85-104

EN

The article presents two different cultural references to Ovid’s Metamorphoses. Both texts have the features of the postmodern aesthetic; however, Ransmayr assigns the historiosophical meaning to his novel, whereas Bocheński – political. The analysis introduces the process of the reactivation of a hypotext in the culture of the late twentieth century.

16

Old Women: Divination and Magic or anus in Roman Literature

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Migdał J.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2014

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vol. 24

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issue 2

57-67

PL

Word anus was used in a primarily negative sense to describe an old woman. Anus is usually presented as a libidinous and hideous hag who indulges in strong wine or practices black magic, mainly for erotic purposes. Though Latin literature brings as well examples of a different type of anus: goddesses assuming the shape of old women to guide or deceive the mortals and old prophetic women, inspired by the gods. Anus can be gifted with divine powers and secret knowledge. The paper traces the motif of anus as a witch or a divine woman on the basis of selected examples from the works of Horace, Ovid, Petronius, Apuleius and Silius Italicus.

17

Poeta i śmierć

72%

Głombiowska Z.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2016

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vol. 27

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issue 1

143-153

PL

The article concerns Klemens Janicki (1516–1543), a Polish poet who wrote in Latin. The author first presents the character and predilections of the poet (iuvenis iocosus), she also stresses – on the basis of Janicki’s own words – the difference of his fortune when compared with the fortune of Ovid (Naso beatus, the exile and the death). Finally, she analyses his vision of God (Pater blandissimus) and heaven, in which he found consolation in a deadly disease.

18

“Darkling I Listen”: Melancholia, Self and Creativity in Romantic Nightingale Poems

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Łuczyńska-Hołdys M.

Anglica. An International Journal of English Studies

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2014

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issue 23/1

105-114

EN

The present article is an attempt to look at selected Romantic poems which concentrate on the image of the nightingale. Starting from Charlotte Smith’s sonnets and continuing with poems by other writers of the period, I will try to trace the link between nature and poetic convention in English Romanticism. While some of the nightingales which sing in Romantic poetry seem deeply symbolic, other forsake poetic tradition and stubbornly persist in their birdy nature, resisting descriptions in terms of melancholia or woe. Nevertheless, the fate of Philomela, whose sad story of violation identifies the nightingale with loss, suffering and poetic creation, still remains an important context for Romantic nightingale poems.

19

Inque meo nullum carmine crimen erit. Owidiusza konflikt z prawem

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Łuka A.

Studia Prawnicze KUL

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2014

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issue 1 (57)

85-118

PL

Publiusz Owidiusz Nazon często używa w swych utworach żargonu zawodowego, np. militarnego, medycznego czy prawniczego. Artykuł dotyczy słownictwa prawniczego, a ściśle znaczeń i kontekstów użycia słowa crimen w zbiorze elegii miłosnych Amores oraz w poematach Ars amatoria i Remedia amoris, dla porównania ukazano tę kwestię również u Horacego, Propercjusza i Tibullusa (wraz z pozostałymi poetami z Corpus Tibullianum). Utwory elegików czasów Oktawiana są źródłem poznania obyczajowości rzymskiej, ale nie samego prawa, a używane przez nich słowo crimen występuje w wielu różnych znaczeniach, nie tylko w ściśle prawnym: oskarżenie, zarzut, podejrzenie, wina, oszczerstwo, podstęp, knowania, podstępna gra, grzeszki, niegodne postępowanie, nieobyczajność, perwersja, „charakterek”, przewrotność, powód do zmartwień, przyczyna plotek, obmowy, powód do wstydu, niesława, grzech, zabójstwo, hańba, zdrada, zbrodnia. Zwłaszcza u Owidiusza język prawniczy nie ma na celu komentowania ówczesnego prawodawstwa, a przede wszystkim jest na usługach komizmu.

EN

Ovid often uses professional jargon in his works, e. g. military, medical or legal. The paper considers legal one, and strictly meanings and contexts of use of a word crimen in Ovid’s love elegies Amores and his didactic love-poems Ars amatoria and Remedia amoris. The issue is being presented for comparison also in Horace, Propertius and Tibullus (with other poets of Corpus Tibullianum). Legal terms and phrases are here a source of knowledge of Roman customs in Octavian times, but not of the law itself. The word crimen may be translated as accusations, reproach, slander, charge, blame, fault, guilt, foul deeds, wrong-doing, guilty ways, sin, crime. Particularly Ovid does not use legal language to comment on Octavian’s legislation, but for comic effects above all.

RU

Публий Овидий Назон часто использует в своих работах профессиональный жаргон, например, военный, медицинский или юридический. Данная статья относится к правовой лексике, а именно к значениям и контекстам использования слова Crimen в собраниях стихов любовной эллегии Amores и поэм Ars и Remedia Amoris Amatori для сравнения представлен этот вопрос также в Горация, Проперция и Tибуллуса (наряду с другими поэтами из Corpus Tibullianum ). Сочинения эллегиков времен Октавиана являются источником знакомства с римскими обычаями, но не с самим законом, а использование ними слова Crimen выступает в разных значениях, не только в строго правовом поле: обвинения, подозрения, вины, клеветы, обмана, интриги, подступной игры, грешков, недостойного поведения, безнравственности, извращения, "характерка", извращенности, причины для беспокойства, причины сплетен, клеветы, стыда, позора, греха, убийства, предательства, преступления. Особенно юридический язык Овидия не предназначен для комментария современного ему законодательства, а между прочим, находится на службе комизма.

20

The Exile’s Lament. Solitude and Togetherness in Ovid’s Later Works

72%

Szynkaruk O.

Paedagogia Christiana

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2020

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vol. 1/45

217-224

EN

This article is a solitude-focused interpretation of the later works of Publius Ovidius Naso (43 BCE–AD 17/18): Tristia and Epistulae ex Ponto. A celebrated poet in his heyday, in AD 8 Ovid was exiled from Rome by Augustus, never to return to his homeland again. The circumstances and causes of such a harsh sentence have never been explicitly stated: neither by Ovid himself, nor by any of his contemporary authors. Some historians speculate that the causes are related to another of the poet’s works – the infamous Ars Amatoria that had once shocked the citizens of Rome. Others would argue that moral outrage was but a convenient disguise of Augustus’ actual motives, quite possibly related to scandalous affairs of a political or personal nature. Although an exploration of the aforementioned themes is made, as well as some considerations regarding the legal implications of exile in ancient Rome, the main subject of the article is the reading of Ovid’s later works as introspections that provide insight into his exile, understood as a period of loneliness. While removed from his home and from those close to his heart, the poet remained a Roman citizen, keenly identifying as part of that community. Though his proximity to other peoples never became togetherness, his loneliness, as evidenced by a copious body of introspective works, seems to have eventually evolved into solitude.

PL

Artykuł ten jest poświęconą problematyce izolacji i samotności interpretacją późniejszych dzieł Publiusza Owidiusza Nazo (43 BCE-17/18 CE) – Żalów i Listów znad Morza Czarnego. Mimo sławy i uznania, jakimi poeta cieszył się w szczytowym okresie popularności, w 8 roku n.e. został wygnany z Rzymu przez Oktawiana Augusta. Nigdy nie zezwolono mu na powrót do ojczyzny. Powody tak surowego wyroku i okoliczności jego wydania nigdy nie zostały opisane: nie wspomina o nich ani sam Owidiusz, ani inni współcześni mu autorzy. Według niektórych historyków, przyczyny należy poszukiwać w Sztuce Kochania, niesławnym poemacie, który Rzymianie uznać mieli za cokolwiek nieobyczajny. Inni sugerują, iż rzekome zgorszenie było jedynie pretekstem, jakim posłużył się August, by ukarać Owidiusza za udział w politycznym lub osobistym skandalu. W artykule zostają rozwinięte powyższe wątki, omówiona zostaje także kwestia wygnania w prawie rzymskim. Osią rozważań pozostaje jednak odczytanie późnych dzieł Owidiusza jako opisu przeżyć wewnętrznych osoby zmuszonej do życia wśród obcego sobie ludu. Nawet z daleka od domu poeta pozostał obywatelem rzymskim, czyniąc ten fakt kluczowym elementem swej deklarowanej tożsamości. Choć nie stał się w pełni częścią wspólnoty, do której został przywiedziony przez los, jego pierwotny stan – pełna żalu izolacja – zdaje się stopniowo przechodzić w świadomie wybraną, sprzyjającą przynajmniej częściowemu pogodzeniu się z losem samotność.

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Descriptio monstri. Ovidrezeption im handschriftlichen Gedicht von Georg Bartholdus Pontanus (1550–1614)

Portret żony idealnej w wygnańczej twórczości Owidiusza

Furiosa libido. Ovid on love and madness.

Ichthyonymia Graeco-Latina. Die Bedeutung der Lexik neugriechischer und romanischer Dialekte für die richtige Identifizierung lateinischer Fischnamen

Kogo strzegły Lares Praestites?

The Sacred and the Poetic: The Use of Religious Terminology in Ovid’s Words

Pandarus Quotes Ovid in Geoffrey Chaucer’s Book One of Troilus and Criseyde

Remarks on Ovid and the Golden Age of Augustus

Ovid and Statius, Thebaid 6.54–78. Necessary Allusions or a Metapoetic Dialogue?

Exempla z „Metamorfoz” Owidiusza w „Okręcie błaznów” Sebastiana Branta

Artysta na obrzeżach świata, czyli wszyscy jesteśmy Odyseuszami. Kilka refl eksji ogólnych w nawiązaniu do Cycerona, Owidiusza i Seneki

Winowajczyni, niewinna, femme fatale, pocieszycielka... – Muzy w twórczości wygnańczej Owidiusza

Lukrecja – wzór dla Rzymianek. Historia niezbyt słodka

Zwierzę, które pisze – mit o nimfie Io w Metamorfozach Owidiusza

Dwa przypadki kulturowego przekładu Owidiusza: Juliusz Bocheński, Nazo poeta i Christoph Ransmayr, Die letzte Welt

Old Women: Divination and Magic or anus in Roman Literature

Poeta i śmierć

“Darkling I Listen”: Melancholia, Self and Creativity in Romantic Nightingale Poems

Inque meo nullum carmine crimen erit. Owidiusza konflikt z prawem

The Exile’s Lament. Solitude and Togetherness in Ovid’s Later Works