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Kenney_and_Clausen B.M.W.(eds.) - Get a Free Blog

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ACHIEVEMENT AND CHARACTERISTICS<br />

in a new <strong>and</strong> timeless synthesis; in the Metamorphoses Greek myth is translated<br />

<strong>and</strong> transposed into a contemporary idiom. The two poems dem<strong>and</strong> from the<br />

reader a fundamentally different response. Without firsth<strong>and</strong> knowledge of<br />

(at least) Homer innumerable <strong>and</strong> essential resonances <strong>and</strong> implications in the<br />

Aeneid will simply be missed. The reader of the Metamorphoses, though he<br />

may relish in passing the contrast between Ovid's sources (if he chance to<br />

recognize them) <strong>and</strong> what Ovid made of them, does not depend on such<br />

recognition for the underst<strong>and</strong>ing <strong>and</strong> enjoyment of the poem. In this sense the<br />

Metamorphoses is more autonomous <strong>and</strong> more universal than die Aeneid; Ovid<br />

has rendered his models (almost) expendable. It is here that Ovid st<strong>and</strong>s in<br />

truth between two worlds: his response to the riches of the Greek poetic<br />

imagination bore fruit, paradoxically, in a self-sufficient work of art that could<br />

serve, <strong>and</strong> in the Middle Ages perforce did serve, as a substitute for direct<br />

access.<br />

This is the most important respect in which Ovid is ' un-Augustan \ A man<br />

of his sceptical <strong>and</strong> rationalist disposition growing up in the generation after<br />

Actium was bound, it might be surmised, to react against the Augustan 'myth'<br />

which was developing at this time <strong>and</strong> which depended heavily on an implicit<br />

<strong>and</strong> of course highly selective appeal to the authority of the past. Overt resistance<br />

is hardly to be detected in his work on any significant scale before the<br />

Tristia; the pin-pricks administered to official pomposity in the Ars amatoria 1<br />

are hardly sufficient to identify its author as a dissident. So far as his poetry is<br />

concerned his reaction took the form of simply going his own way, which was<br />

the way of a poet to whom what mattered were individual human beings. It<br />

is this confidence in his fellow creatures, expressed with an exuberance <strong>and</strong><br />

gaiety to which extant Latin literature offers no counterpart, that has chiefly<br />

recommended Ovid to the posterity on the ultimate Tightness of whose judgement<br />

he has told us that he relied.<br />

1 Rudd (1976) 13—29; but cf. Holleman (1971).<br />

457<br />

Cambridge Histories Online © Cambridge University Press, 2008

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