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2 results

  • Chapter 3 - Allusion and Referentiality in Late Antique Epic

  • from Part 1 - A ‘Late’ Perspective on the Literary Tradition
  • Edited by Berenice Verhelst, Universiteit van Amsterdam, Tine Scheijnen, Universiteit Gent, Belgium
  • Book:
    Greek and Latin Poetry of Late Antiquity
    Published online:
    16 June 2022
    Print publication:
    30 June 2022, pp 51-68

  • Summary

    This chapter discusses modern trends in the study of late antique Latin poetry, namely the aesthetics of the jeweled style and especially the scholarly discourse on ‘nonreferentiality’ in allusion, and seeks to apply the concepts underlying this scholarship to late antique Greek epic, in particular to Triphiodorus and Quintus of Smyrna. As a case study and the focus of the chapter, allusions to Apollonius’ Argonautica, previously noted but undiscussed in scholarship on Triphiodorus, are discussed at length. The chapter ends with a re-examination of the in-proem in Book 12 of Quintus’ Posthomerica, and argues, in a nuancing of recent scholarship, that the passage’s much-discussed allusion to Callimachus can be read as ultimately ‘nonreferential’ in function.

  • 21 - Ovid

  • from PART IV - THE AGE OF AUGUSTUS
  • Edited by E. J. Kenney, W. V. Clausen
  • Book:
    The Cambridge History of Classical Literature
    Published online:
    28 March 2008
    Print publication:
    18 March 1982, pp 420-457

  • Summary

    The design and execution of the Amores can be properly understood only in relation to Ovid's predecessors. The chronology of Ovid's early poetry is perplexed and obscure, so that the composition of the Heroides cannot be exactly placed in a sequence with the two editions of the Amores and with the Ars amatoria. The material of the Heroides comes principally from Greek epic and tragedy. Ovid's language implies that the Metamorphoses will manage to be both Callimachean and un-Callimachean at once. Attempts have been made to detect a unity and hence a message in such aspects of the poem as its structure or its symbolism, even in its very diversity. In the technical sphere Ovid left a mark on the Latin poetic tradition that still endures: for the modern composer of elegiac couplets is normally expected to abide by the Ovidian rules.