[28] As Rimell points out, Ovid markets cultus to improve on nature. Send us a message and follow the Durham University Classics Society on Twitter (@DUClassSoc) and Facebook (@DUClassics Society) to keep up with this blog and our other adventures! 23-8) —an argument that strikes me as deserving further comment than it receives. This is echoed in a recent paper by Rhode: ‘Yet even as the culture expects women to conform, they often face ridicule for their efforts…But neither should women “let themselves go,” nor look as if they were trying too hard not to. [5] This has even led Watson to construe the Medicamina as a didactic parody. Ovid on Cosmetics gathers together five passages from Ovid’s erotic poetry that directly address issues of beautification and appearance, unified by the theme not of “cosmetics” per se, as the title implies, but of cultus (consistently translated as “cultivation”) more broadly. New York. 2013-2014. “Gender Reversals and Intertextuality in Tibullus.” The Classical World 107 (4): 493-514. Comparisons have been drawn with Virgil’s Georgics, but, as discussed by Johnson, the Medicamina values ingenuity, and tackles a more ‘trivial’ didactic subject than the practical content of Virgil’s pastoral didactic. 3.61–4). [29] This also reaffirms that Ovid’s skincare advice is aimed at rejuvenation. As Cokayne adds, poets ‘made it abundantly clear that only the young and beautiful were seen as love objects’, citing Propertius’ assertion that ‘girls must be in the right season for love’ (Prop. discite quae faciem commendet cura, puellae, et quo sit vobis forma tuenda modo. Eds A. D. Melville and Edward J. Kenney (2008) Oxford World's Classics: Ovid: Metamorphoses. Reflection and age are intertwined in Ovid’s account of the myth in the Metamorphoses: fatidicus vates “si se non noverit” inquit. Ovid’s love poems—more strictly understood as the Amores, Medicamina faciei femineae, Ars amatoria, Remedia amoris, and the Heroides —are seen as “love songs” within the larger framework of Ovid’s Fasti, Tristia, and Epistulae ex Ponto in Liveley 2005. Es handelt sich also um ein frühes Werk. [14] He includes the young puella (17) and a respectable, married matrona (nupta, 26) adjacent to the traditional use of cultus by meretrices. The Medicamina is first and foremost an exercise in male power. Culta placent: auro sublimia tecta linuntur; Nigra sub … It is about men and power.’[33] As modern consumers, we are often sold a narrative which simultaneously recommends a natural yet highly modified look. [4] Johnson, 2016; Rimell, 2006; Watson, 2001. The first, “Now and then … making-over a woman,” introduces a topic that resurfaces in the commentaries, namely the similarities between ancient and modern beauty practices and attitudes toward physical appearance. The Ovid of the Medicamina is not necessarily the Ovid of the Amores, for example. [13] Ovid’s intended audience is arguably so unrecognisable that the addressee naturally becomes an external one instead. 29.). Women are held in a similar limbo in Ovid’s poem, between two hypocritical narratives. 14 ingredients are derived from plants, four from animals, and four from minerals. Johnson also addresses here the issue of Ovid’s intended audience ( matronae or not?). 22-35) also provides background on each of the four works that contribute excerpts, including information about date of composition and genre, as well as sources and models. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. The poem falls at the beginning of Ovid’s erotodidactic corpus, and was probably composed just before the third book of the Ars Amatoria. Similarly, eggs (85) and honey (98) are animal products which represent rebirth and springtime pollination, and are arguably also ingredients which symbolise youth. Medicamina Faciei Femineae (Cosmetics for the Female Face, also known as The Art of Beauty) is a didactic poem written in elegiac couplets by the Roman poet Ovid. Persona theory could be useful here, but Johnson adheres to a biographical reading of Ovidian poetry, ending her discussion by stating that this recourse to rhetoric “should come as no surprise” because, as Seneca the Elder tells us, the historical Ovid practiced hortatory speech (yet another example of Seneca’s influence on the reception of Ovid’s poetry). Ovid Medicamina Faciei. The book’s useful “extras”—a chronology of Ovid’s publications; eleven illustrations of artifacts and plants; appendices with a glossary of cosmeceutical terms, a list of the ingredients used in the Medicamina recipes, and two tables of Roman weights and measures—lighten the reader’s work. 141.22: wives should rely on conversation, character, and comradeship, rather than beauty. R. Ehwald. auro sublimia tecta linuntur, Nigra sub imposito marmore terra latet: Vellera saepe eadem Tyrio … 1.8.9-10 to refer to the puella rather than to Marathus, which obscures the passage’s connection to Ovid’s discussions of male cultus. Upon attempting to read a narrative into the Medicamina, I believe that two contradictory ones are in fact uncovered. The praeceptor thereby proposes to solve the issue of age through cultus: cultus humum sterilem Cerealia pendere iussit, By cultivation was the sterile ground bidden render bounty of wheat, and the devouring briars slain. 99–100). Acerbus, in terms of flavour, has links to immaturity, which might make this mean the exact opposite. 3.569, Virgil, Aeneid 2.499. Livraison rapide ! 1. This post is an adapted and condensed excerpt from an essay I recently submitted for my MPhil. Ovid builds youth into the recipes themselves, which perpetuates his narrative of a quest against age. (The identification of the addressee of these Tibullan lines, which the misleading narrative makes ambiguous until line 15, is discussed by Damer,2 whom Johnson cites on p. Cultivation improves the bitter juice of fruit, and the cleft tree gains adopted richness. ; additional ancient sources of evidence; and literary criticism of the passages. 101 N. Merion Ave., I have elected to use discite to mirror the opening line of the poem, and introduce the didactic section. Découvrez Ovid Amores, Medicamina Faciei Femineae, Ars Amato ainsi que les autres livres de au meilleur prix sur Cdiscount. 2. Volk argues that didactic poetry retains a narrative — the ‘didactic plot’ — which conveys the development of the poet’s instructions and the poem itself. 1855. edidit ex Rudolphi Merkelii recognitione. This narrative of transparency and undressing is easier to conceptualise using Gamel’s theory of performance: that elegiac poems are open to more interpretations when viewed as ‘scripts for performance’. [20] This perpetuates a relatively linear narrative of transparency and, recipe by recipe, the praeceptor peels back the façade created by female cultus. Retrouvez Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris et des millions de livres en stock sur Amazon.fr. [3], Wilkinson’s view that the Medicamina’s fragmentary state is ‘hardly a matter of regret’ has been rightly taken to task, most recently by Rimell, Watson, and Johnson, to name a few. 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