Ovid in Exile: Power and Poetic Redress in the Tristia and Epistulae Ex Ponto (Mnemosyne, Bibliotheca Classica Batava Supplementum)

After being banished to the Black Sea by the Roman emperor Augustus in 8 AD, Ovid responded in verse by composing the "Tristia and Epistulae ex Ponto". Here the poet establishes for himself a place of intellectual refuge, where he can reflect out loud on how and why his own art has been legally banned and left for dead on the margins of the empire. As the last of the Augustan poets, Ovid is in a unique position to take stock of his own standing and of the place of poetry itself in a Rome deeply restructured during the lengthy rule of the city's first emperor. This study considers exile in the "Tristia and Epistulae ex Ponto" as at once a place of genuine suffering and a metaphor for poetry's marginalization from Rome. It analyzes, in particular, Ovid's representation of himself and the emperor Augustus against the background of Roman religion, law, and poetry. Acknowledgments -- Introduction. The Redress Of Exile -- 1. Historical Reality And Poetic Representation -- -- Myth And History -- 2. Crimes And Punishments -- -- The Law And Ovid -- -- The Crimen In Carmen -- -- Summary -- 3. God And Man -- -- Princeps Divus -- -- Augustus Deus Praesens -- 4. Religious Ritual And Poetic Devotion -- -- Reading Religion -- -- The Cult Of The Caesars -- -- The Theologia Tripertita In Varro -- -- Di Quoque Carminibus Si Fas Est Dicere Fiunt -- -- Preliminary Conclusion -- 5. Space, Justice, And The Legal Limits Of Empire -- -- Lus, Lex, And The Limits Of Rome -- -- Vates Et Exul -- -- Germanicus : Vates Et Princeps -- -- Summary -- 6. Ovidius, Naso, Poeta Et Exul -- -- Ovid And Homer -- -- Ovid, Homer, And The Ira Principis -- -- Ars, Ingenium, And The Representation Of Lived Experience -- Conclusion. The Exile's Last Word -- Bibliography -- -- Reference Works -- -- Abbreviations In Bibliography -- -- Authors -- Index Locorum -- Index Verborum -- Index Rerum. By Matthew M. Mcgowan. Includes Bibliographical References (p. [217]-231) And Indexes. Contents 8 Acknowledgments 10 Introduction. The Redress of Exile 12 Chapter One. Historical Reality and Poetic Representation 28 Myth and History 36 Chapter Two. Crimes and Punishments 48 The Law and Ovid 52 The crimen in carmen 66 Summary 72 Chapter Three. God and Man 74 Princeps Divus 76 Augustus deus praesens 95 Chapter Four. Religious Ritual and Poetic Devotion 104 Reading Religion 105 The cult of the Caesars 109 The theologia tripertita in Varro 118 di quoque carminibus si fas est dicere fiunt 123 Preliminary Conclusion 129 Chapter Five. Space, Justice, and the Legal Limits of Empire 132 Ius, Lex, and the Limits of Rome 144 Vates et Exul 162 Germanicus: vates et princeps 166 Summary 175 Chapter Six. Ovidius Naso, poeta et exul 180 Ovid and Homer 182 Ovid, Homer, and the ira principis 202 Ars, Ingenium, and the Representation of Lived Experience 208 Conclusion. The Exile's Last Word 214 Bibliography 228 Reference Works 228 Abbreviations in Bibliography 228 Authors 229 Index Locorum 244 Index Verborum 260 Index Rerum 264 9004170766,9789004170766 In response to being exiled to the Black Sea by the Roman emperor Augustus in 8 AD, Ovid began to compose the Tristia and Epistulae ex Ponto and to create for himself a place of intellectual refuge. From there he was able to reflect out loud on how and why his own art had been legally banned and left for dead on the margins of the empire. As the last of the Augustan poets, Ovid was in a unique position to take stock of his own standing and of the place of poetry itself in a culture deeply restructured during the lengthy rule of Rome's first emperor. This study considers exile in the Tristia and Epistulae ex Ponto as a place of genuine suffering and a metaphor for poetry's marginalization from the imperial city. It analyzes, in particular, Ovid's representation of himself and the emperor Augustus against the background of Roman religion, law, and poetry. This study considers exile in Ovid's Tristia and Epistulae ex Ponto as a place of genuine suffering and a metaphor for poetry's marginalization from Rome. It analyzes, in particular, the poet's representation of himself and the emperor Augustus against the background of Roman religion, law, and poetry.