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Quotations from the Ars come from Kenney, E.J. Ovidi Nasonis Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford 1994). All translations are my own.

In lieu of an abstract, here is a brief excerpt of the content: 30. BOOK REVIEWS / COHPTES RENOUS P. OVIDI NASONIS REMEDIA AMORIS edited with Introduction and Commentary by A.A.R. Edinburgh: Scottish University Press, and New York: Columbia University Press, 1979. This long-awaited commentary on the Remedia will fill one of the gaps in Ovidian scholarship.

It is to be hoped that someone, preferably the same author, will eventually do the same for all the AlIkltoria including the Medicomina Faaiei. The book is directed to senior undergraduates or to graduate students. The information is too compact and therefore too difficul t for the junior who is usually unwilling to verify a reference. Without a preliminary course in Elegiac Poetry, which is in any case a senior or graduate course, how can he know the difference between Ovid's elegiacs and others' or, in Ovid himself, the difference between his 'pure' and 'applied' elegy (p. And as far as general background knowledge is concerned he will not know what a genus iudieiale is (p. 28) or the difference between l.ex and l.egis actio and therefore note 665 (p.

121) will be meaningless to him. The terms stoic and epiauroan tossed casually (p. 58) into the discussion on sources for the section on otium may lead the first year student to identify stoicism with protestant work ethics and epicureanism wi th Zen-Buddhism. If, however, this book is meant for students who know some Latin and Greek literature and have the rudiments of philosophy, history and law, then we can safely say that, as a commentary, it is sOlUld and linguistically accurate. There is a breakdown by topic, e.g. Strutegic pZoys, Tactical pZoys etc., with a well-informed discussion for each topic, followed by the notes. The latter include accurate references to a great wealth of possible sources and of literature on the subject.

For example there are interesting notes on the 'sentimental oxymoron' iucundi.rruZi (1.138, p. 59); on fumus conpositus (1.185, p. 65); on forrrrido (1.203, p. 68); on Livor' (1.389, p. 91); on parva 01.421-2, p.

94); on the mock-heroic tone of 'tempora Phoebi' (1.585, p. 113); on luctus (1.736, p. 128); on 'et mea nescioquid carmina tale sonant' (1. The whole commentary presents an interesting interpretation of Ovid's poetry that has come a long way from Victorian strictures. Ovid here is not, as Pal grave would say, 'among the world famous poets perhaps the least true to the soul of poetry', but a poet for whom beauty. Found exclusively in the sound of poetry and the plastic imagery created by it, counts more than a universal message. This is his limitation and his ~lory at the same time.

Henderson has understood this. Thus far for the commentary. The introduction, however, presents a serious problem.

Apart from the chapter on the date of the poem and the one on the manuscripts, which are perfectly adequate, we come to an impasse in the chapter on literary character and aims (pp. Here there is a BOOK REV! EWS / COMPTES RENDUS 31. Discussion on sources (the elegiacs, Roman Comedy.

Lucretius, Cicero's TuscuZan Disputations) and on sources' sources, e.g. Although whatever echo there is of Call imachus and his erodidactic element has reached Ovid from Propertius (who, by the way, is inadequately quoted here), yet the Callimachean presence in Ovid suggests to Henderson that 'Ovid, far more than Propertius, deserves the title of Callimachus Romanus' (n.lS, p.

XV).!-Iore interesting is an amusing table that shows the reversal of advice given in the AI'S and its non-reversal, marked N.R., in three instances. Now that the sources have been more or less established, the author should keep the promise given in the title and talk about the literary character and the aims of the Remedia. Probably the original, a doctoral thesis, included a discussion on Ovid's poetics, wit, pictorial and musical vision of things.

By excessive ath-idgement. The most important point has been omitted and thus the Remedia ap~ears as a rhetorical exel.

Author by: Sarah Alison Miller Languange: en Publisher by: Routledge Format Available: PDF, ePub, Mobi Total Read: 58 Total Download: 590 File Size: 49,5 Mb Description: The medieval monster is a slippery construct, and its referents include a range of religious, racial, and corporeal aberrations. In this study, Miller argues that one incarnation of monstrosity in the Middle Ages—the female body—exists in special relation to medieval teratology insofar as it resists the customary marginalization that defined most other monstrous groups in the Middle Ages. Though medieval maps located the monstrous races on the distant margins of the civilized world, the monstrous female body took the form of mother, sister, wife, and daughter.