<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p>Através de sua poesia pré-exílio, Ovídio revela grande interesse em <em>Fama/fama</em> em todos os seus significados e funções: reputação pessoal, fama literária, tradição literária e mitológica, rumor, boato. Ovídio é obcecado por sua própria reputação como poeta, enquanto também emprega <em>Fama/fama</em> como fonte de inspiração e como fonte de informação numa ampla variedade de temas e tópicos. Seu grande interesse em <em>Fama/fama</em> culmina em sua famosa descrição de seu domicílio no livro XII das <em>Metamorfoses</em>. O objetivo deste artigo é discutir o uso e o papel de <em>Fama/fama</em> na poesia do exílio de Ovídio, escrita num momento em que as circunstâncias da vida do poeta mudaram dramaticamente. O poeta se encontra em arredores bárbaros e incivilizados, longe da linda e confortável vida da capital. A discussão dos poemas selecionados dos <em>Tristia</em> e das <em>Epistulae ex Ponto</em> ilustrarão de forma promissória a relação de Ovídio com a Fama/fama.</p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><strong>Abstract</strong></p><p><span>Throughout his pre-exilic poetry Ovid shows a keen interest in Fama/fama in all its meanings and functions: personal reputation, literary fame, literary and mythological tradition, rumour, hearsay. Ovid is obsessed with his own reputation as a poet, while he also employs Fama/fama as a source of inspiration and as a source of information on a wide variety of themes and topics. His great interest in Fama/fama culminates in his famous description of her abode in the 12th book of the Metamorphoses. The object of this paper is to discuss the use and the role of Fama/fama in Ovid’s exilic poetry, written at a time when the circumstances of the poet’s life changed dramatically. The poet finds himself in barbaric and uncivilized surroundings, away from the beautiful and comfortable life of the capital. The discussion of selected poems from the Tristia and the Epistulae ex Ponto will hopefully illustrate Ovid’s relationship with Fama/fama. </span></p><p><strong>Keywords</strong><span><strong>:</strong> Ovid; </span><span>Fama</span><span>; exile poetry </span></p></div></div></div></div></div></div>
Suicide constitutes a thematic element that recurs frequently both in Greek and Latin literature, mainly, but not solely, 1 in tragedy, 2 comedy, 3 epigram, 4 and the novel. 5 The object of this paper is to examine the suicide attempts of Lucius, the main character in Apuleius' Metamorphoses. 6 I Lucius' first adventure after his unlucky transformation into an ass is his abduction by a gang of bandits and his stay with them in their hideout. His main concern is to find roses to eat, because, according to Fotis, the servant responsible for his transformation, this is the antidote to his metamorphosis (Met. 3.25). At a distance on the banks of a river Lucius thinks he sees a rose garden and starts running at full speed. Unfortunately, drawing near, he realizes that the flowers are not roses, but laurelroses, trees with poisonous flowers: Hae arbores in lauri faciem prolixe foliatae pariunt in modum floris odori porrectos caliculos modice punicantes, quos equidem fraglantis minime rurestri uocabulo uulgus indoctum rosas laureas appellant quarumque cuncto pecori cibus letalis est. (Met. 4.2.17-22) * This is an enhanced version of a paper presented at the 'Conference on the Roman Novel' held in Komotini on 17 May 2001. Particular thanks are owed to Professors Konstan, Paschalis, Maltby, Kyriakidis, and Frangoulidis, as well as to the anonymous referee of the CQ, for their valuable comments and support. 1 Suicides and suicide attempts in other genres: epic (Hom.
Th is paper examines the role and importance of Amphitrite in Catullus c. 64, the epyllion on the wedding of Peleus and Th etis. Catullus intends to conjure up Amphitrite's rich mythological background for the needs of his poem. Amphitrite's story contains thematic elements that recur in both narratives of c. 64, namely the main story of Peleus and Th etis, and the embedded story of Th eseus and Ariadne. At the same time Amphitrite's meaningful presence in the prologue of c. 64 is a pointer to Bacchylides' Dithyramb 17, which treats Th eseus' outbound journey to Crete and the test of his divine paternity, imposed by Minos. Th e several points of contact between B. Dith. 17 and Catul. c. 64 show that this Greek poem is an important subtext for c. 64, which has gone unnoticed so far.
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