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Fasti
يبدو ديوان " التقويم " أقرب اعمال أوفيديوس إلى أخلاق النظام الأوغسطى وميوله . لقد سار على خطى بروبرتيوس فى " إليجاته الرومانية " ، حيث كرس نفسه لتأليف أشعار مدنية. لقد حاول أوفيديوس فى هذا الزى الجديد أن يقدم ، كشاعر يحتفى بعظمة روما ، أبحاثاً ذات طابع ثقافى فى الكثير من من المصادر التراثية القديمة . وقد استمد مادته من فرويس فلاكوس وآخرين ، وبذلك جنى محصولاً وفيراً من المعلومات فى مجال الآثار والديانة والقانون والفلك ، التى وظفها ليوضح المعتقدات والطقوس وأسماء الأماكن من أجل إعادة إكتشاف الأصول القديمة ، وهو ما يعد من الاتجاهات الأساسية للفكر الأوغسطى . ويعتبر ديوان التقويم مؤلفاً متعدد الوجوه ، إذ يشتمل على تأثيرات من الشعر الهللينستى والشعر الإليجى العاطفى والشعر الملحمى والأحداث التاريخية.
Paperback
First published January 1, 13
About the author
Ovid
3,023 books2,158 followersPublius Ovidius Naso (20 March 43 BC – AD 17/18), known in English as Ovid was a Roman poet who lived during the reign of Augustus. He was a younger contemporary of Virgil and Horatius, with whom he is often ranked as one of the three canonical poets of Latin literature. The Imperial scholar Quintilian considered him the last of the Latin love elegists. Although Ovid enjoyed enormous popularity during his lifetime, the emperor Augustus exiled him to Tomis, the capital of the newly-organised province of Moesia, on the Black Sea, where he remained for the last nine or ten years of his life. Ovid himself attributed his banishment to a "poem and a mistake", but his reluctance to disclose specifics has resulted in much speculation among scholars.
Ovid is most famous for the Metamorphoses, a continuous mythological narrative in fifteen books written in dactylic hexameters. He is also known for works in elegiac couplets such as Ars Amatoria ("The Art of Love") and Fasti. His poetry was much imitated during Late Antiquity and the Middle Ages, and greatly influenced Western art and literature. The Metamorphoses remains one of the most important sources of classical mythology today.
Ovid is most famous for the Metamorphoses, a continuous mythological narrative in fifteen books written in dactylic hexameters. He is also known for works in elegiac couplets such as Ars Amatoria ("The Art of Love") and Fasti. His poetry was much imitated during Late Antiquity and the Middle Ages, and greatly influenced Western art and literature. The Metamorphoses remains one of the most important sources of classical mythology today.
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Displaying 1 - 30 of 57 reviews
November 16, 2015
Preface
Maps
Introduction
Further Reading
Translation and Latin Text
Summary of 'Fasti'
Omissions from 'Fasti'
--Fasti
Notes
List of Abbreviations
Glossary
Maps
Introduction
Further Reading
Translation and Latin Text
Summary of 'Fasti'
Omissions from 'Fasti'
--Fasti
Notes
List of Abbreviations
Glossary
May 7, 2026
For a long time war gripped men: swords were more useful
Than ploughs, horses surpassed the tilling ox.
The poet aches for his homeland but more importantly his former self, one dripping with acclaim. Ovid examines the first half of the Roman calendar and attaches narrative flourishes to many of the holidays—most are gruesome with a few being glib. The origin story of Aeneas fleeing Troy is knotted in relation with serial rape and the caprice of the divine made all the more appalling in the face of the mountain of visceral offered as burnt offerings. All the ontology of the poet’s Metamorphosis makes curtain calls amidst the furtive nods to lumpen misery and some dream of redemption. The poem isn’t much longer than 150 pages with the endnotes being twice such. We can refute Berkeley between butterfly dreams but only the Elect wear the purple.
Than ploughs, horses surpassed the tilling ox.
The poet aches for his homeland but more importantly his former self, one dripping with acclaim. Ovid examines the first half of the Roman calendar and attaches narrative flourishes to many of the holidays—most are gruesome with a few being glib. The origin story of Aeneas fleeing Troy is knotted in relation with serial rape and the caprice of the divine made all the more appalling in the face of the mountain of visceral offered as burnt offerings. All the ontology of the poet’s Metamorphosis makes curtain calls amidst the furtive nods to lumpen misery and some dream of redemption. The poem isn’t much longer than 150 pages with the endnotes being twice such. We can refute Berkeley between butterfly dreams but only the Elect wear the purple.
July 25, 2011
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Les Fastes sont un poème du célèbre Ovide, connu pour ses Métamorphoses, ses Héroïdes et son art d’aimer. Expulsé de Rome pour la mer noire, il a beaucoup regretté sa mère patrie, comme un Dante ou un Casanova après lui : il a trompé sa mélancolie avec la rédaction de cette œuvre originale qui prend pour trame le calendrier romain et les fêtes qui le jalonnent. Ovide alterne heureusement des thèmes mythologiques, des allusions historiques, des faits de société ou d’actualité : le ton est tour à tour sublime, cocasse, piquant et léger. Les explications étymologiques sont tantôt fantaisistes, tantôt édifiante. C’est une lecture aussi délassante qu’instructive, dont le seul défaut est d’être très malheureusement tronqué des six derniers mois de d’année.
Les Fastes sont un poème du célèbre Ovide, connu pour ses Métamorphoses, ses Héroïdes et son art d’aimer. Expulsé de Rome pour la mer noire, il a beaucoup regretté sa mère patrie, comme un Dante ou un Casanova après lui : il a trompé sa mélancolie avec la rédaction de cette œuvre originale qui prend pour trame le calendrier romain et les fêtes qui le jalonnent. Ovide alterne heureusement des thèmes mythologiques, des allusions historiques, des faits de société ou d’actualité : le ton est tour à tour sublime, cocasse, piquant et léger. Les explications étymologiques sont tantôt fantaisistes, tantôt édifiante. C’est une lecture aussi délassante qu’instructive, dont le seul défaut est d’être très malheureusement tronqué des six derniers mois de d’année.
February 20, 2013
What better way to learn about roman holidays / festivals and rites than through a didactic poem? Too bad it's quite short.
The bullocks, innocent of toil, which Faliscan grass has fattened on its plains, offer their necks to be struck. When Jupiter from his citadel looks out over the whole earth, he has nothing to gaze on but what belongs to Rome.
----
' To the brave every land is the homeland, as to fishes the sea, as to birds the whole open space of the empty world. But fierce weather doesn’t rage all the year long. For you too, believe me, the time of spring will come. '
----
Conquered, Troy, yet you will conquer! Overthrown, you will rise again! That ruin of yours buries the homes of your enemies. Burn Neptune’s Pergamum, victorious flames! Are not these ashes still loftier than all the world?
‘Now pious Aeneas will bring the sacred things and, sacred too, his father. Vesta, receive the gods of Ilium! The time will come when you and the world have the same guardian, and your rites will be carried out with a god himself officiating, and the protection of the homeland will rest in Augustan hands. It is proper that this house should hold the reins of power. '
----
Romulus, you will give way. This man makes your walls great by defending them; you had given them to Remus to leap across. Tatius and little Cures and Caenina were aware of you; under this man’s leadership both sides of the sun are Roman. You had some small area of conquered ground; whatever there is beneath high Jupiter, Caesar has. You snatch wives; this man bids them be chaste under his leadership. You receive guilt in your grove; he has repelled it. To you violence was welcome; under Caesar the laws flourish. You had the name of master; he has the name of princeps. Remus accuses you; he has given pardon to enemies. Your father made you a god; he made his father one.
----
For the first mortals, bread was the green plants that the earth gave without anyone’s stimulus. Sometimes they gathered living grass from the turf, at times their feast was a treetop with tender leaves. Later the acorn became known; they were well off now with the acorn discovered, and the hard oak held sumptuous wealth.
Having called man to better nourishment,
Ceres was first to change acorns for more beneficial food. She compelled bulls to offer their neck to the yoke; then for the first time the upturned soil saw the sun.
Bronze was valued; the Chalybean ore lay hidden.
Alas, it should have been concealed for ever! Ceres delights in peace—and you farmers, pray for perpetual peace and a leader who brings it!
You may give the goddess spelt, and the honour of leaping salt, and grains of incense on ancient hearths. And if there’s no incense, kindle smeared torches. Small things, be they only pure, are pleasing to good Ceres.
You attendants with your robes girt up, take your knives away from the ox! Let the ox plough, sacrifice a lazy sow. A neck that is fit for a yoke should not be struck by an axe. Let it live and often work on the hard soil.
The bullocks, innocent of toil, which Faliscan grass has fattened on its plains, offer their necks to be struck. When Jupiter from his citadel looks out over the whole earth, he has nothing to gaze on but what belongs to Rome.
----
' To the brave every land is the homeland, as to fishes the sea, as to birds the whole open space of the empty world. But fierce weather doesn’t rage all the year long. For you too, believe me, the time of spring will come. '
----
Conquered, Troy, yet you will conquer! Overthrown, you will rise again! That ruin of yours buries the homes of your enemies. Burn Neptune’s Pergamum, victorious flames! Are not these ashes still loftier than all the world?
‘Now pious Aeneas will bring the sacred things and, sacred too, his father. Vesta, receive the gods of Ilium! The time will come when you and the world have the same guardian, and your rites will be carried out with a god himself officiating, and the protection of the homeland will rest in Augustan hands. It is proper that this house should hold the reins of power. '
----
Romulus, you will give way. This man makes your walls great by defending them; you had given them to Remus to leap across. Tatius and little Cures and Caenina were aware of you; under this man’s leadership both sides of the sun are Roman. You had some small area of conquered ground; whatever there is beneath high Jupiter, Caesar has. You snatch wives; this man bids them be chaste under his leadership. You receive guilt in your grove; he has repelled it. To you violence was welcome; under Caesar the laws flourish. You had the name of master; he has the name of princeps. Remus accuses you; he has given pardon to enemies. Your father made you a god; he made his father one.
----
For the first mortals, bread was the green plants that the earth gave without anyone’s stimulus. Sometimes they gathered living grass from the turf, at times their feast was a treetop with tender leaves. Later the acorn became known; they were well off now with the acorn discovered, and the hard oak held sumptuous wealth.
Having called man to better nourishment,
Ceres was first to change acorns for more beneficial food. She compelled bulls to offer their neck to the yoke; then for the first time the upturned soil saw the sun.
Bronze was valued; the Chalybean ore lay hidden.
Alas, it should have been concealed for ever! Ceres delights in peace—and you farmers, pray for perpetual peace and a leader who brings it!
You may give the goddess spelt, and the honour of leaping salt, and grains of incense on ancient hearths. And if there’s no incense, kindle smeared torches. Small things, be they only pure, are pleasing to good Ceres.
You attendants with your robes girt up, take your knives away from the ox! Let the ox plough, sacrifice a lazy sow. A neck that is fit for a yoke should not be struck by an axe. Let it live and often work on the hard soil.
June 25, 2016
This is a lively prose translation of Ovid's Fasti, his aetiological poem of the Roman festivals and notable dates, originally written in elegiac couplets. It is typically `Ovidian': witty, erudite, changeable in mood, politically slippery, densely intertextual - but is probably not a good place to start for anyone unfamiliar with Ovid and Latin literature from the late Republic and Augustan period (Catullus, Virgil, Livy especially).
There are some fabulous set pieces here: the marvellously comic story of Faunus trying to get into bed with Hercules and Omphale; the travels of Anna, Dido's sister, beyond the Aeneid; and a strong retelling of the rape of Lucretia drawing deeply on Livy. Ovid, as usual, also refers to his own previously-written works quoting from himself when he gives us Dido's epitaph, for example.
A poem which is so densely intertextual (that is, alludes to or quotes words, phrases, situations and stories) with other Latin texts, perhaps needs fuller notes than this Oxford edition provides: on occasions notes give us a line reference to the original but we have to go and look up the Latin reference for ourselves. In other cases the allusion is not noted at all (e.g. book 3.709 `this was the task, this the duty' where the Ovidian original is `hoc opus' quoting Virgil's famous `hoc opus, hic labor' from Aeneid 6.129).
Explanations of names are not always given which may confuse some readers: Hercules is sometimes called Alcides (from his mother, Alcmena), and Turnus and Aeneas are described as fighting over who should be the son-in-law of `Latian Amata' which depends on a knowledge of the Aeneid to make sense. It's also irritating that the bibliography is given in chronological rather than conventional alphabetical order - why?
So this is certainly a clearer and far more readable translation than the terrible old Loeb, and takes a different approach from the Penguin Fasti which puts the poem into an English version of elegiac end-stopped couplets. For anyone wanting to read this poem in English, this works well. But if you want to try Ovid for the first time I would recommend the Metamorphoses in the Raeburn translation before this.
There are some fabulous set pieces here: the marvellously comic story of Faunus trying to get into bed with Hercules and Omphale; the travels of Anna, Dido's sister, beyond the Aeneid; and a strong retelling of the rape of Lucretia drawing deeply on Livy. Ovid, as usual, also refers to his own previously-written works quoting from himself when he gives us Dido's epitaph, for example.
A poem which is so densely intertextual (that is, alludes to or quotes words, phrases, situations and stories) with other Latin texts, perhaps needs fuller notes than this Oxford edition provides: on occasions notes give us a line reference to the original but we have to go and look up the Latin reference for ourselves. In other cases the allusion is not noted at all (e.g. book 3.709 `this was the task, this the duty' where the Ovidian original is `hoc opus' quoting Virgil's famous `hoc opus, hic labor' from Aeneid 6.129).
Explanations of names are not always given which may confuse some readers: Hercules is sometimes called Alcides (from his mother, Alcmena), and Turnus and Aeneas are described as fighting over who should be the son-in-law of `Latian Amata' which depends on a knowledge of the Aeneid to make sense. It's also irritating that the bibliography is given in chronological rather than conventional alphabetical order - why?
So this is certainly a clearer and far more readable translation than the terrible old Loeb, and takes a different approach from the Penguin Fasti which puts the poem into an English version of elegiac end-stopped couplets. For anyone wanting to read this poem in English, this works well. But if you want to try Ovid for the first time I would recommend the Metamorphoses in the Raeburn translation before this.
April 29, 2012
The Fasti is an exploration of the ancient roman calendar. Written by Ovid in the early first century, only six books of the poem are extant today (one for each month from January through June). Whether the other books were lost over the years or never written at all is unknown. But believe me, six is enough.
I don’t want to trash this poem. The Fasti is considered a “classic” only in the broadest possible use of the term, so I knew what I was getting into. I read this because I was reading everything else by Ovid anyway and it was sitting in the library shelf staring at me, so what the hell. The poem is an important source of information on Roman religion and ritual, so there’s that. Every once in a while there is an interesting fact or two. For example, while I knew that Rome symbolically opened the Gates of Mars when the city was at war, I didn’t realize until the Fasti that this was to signify that the road for Rome’s soldiers return was open for them. And Ovid has a great line when discussing why Rome used to have a ten month calendar: “To be sure, Romulus, thou wert better versed in swords than stars.”
But this poem is a real slog. I have gushed shamelessly over Ovid’s Metamorphoses, and less shamelessly over the Heroides, so I am a fan of his work. This is not his best effort. For the most part, the poem marches grimly through the calendar year in chronological order explaining the significance of each and every notable date. And there are a lot of notable dates. Many of these explanations resort to a particularly tiresome kind of language-based aetiology. This type of aetiology, which obsessed many Greeks and Romans for some mysterious reason, is a process where the origins of something are traced by examining the sound and spelling of its name. So, applying this to a modern holiday, Easter sounds like “east” so this day must celebrate when the first pilgrims landed on the eastern seaboard. Or something. Other than graduate students focusing on Roman History, I can’t think of anyone I would recommend this to. Aesthetically there’s just not much to enjoy here; even fans of Ovid’s other work should steer clear.
I read the translation by James Frazer (more famous for The Golden Bough). This translation is now around 83 years old, but it’s still considered one of the top (if not the top) English translations available. That’s partly because over the last eight decades, few others have gone to the trouble to translate this poem. Frankly, it’s hard to blame them. 1.5 stars.
I don’t want to trash this poem. The Fasti is considered a “classic” only in the broadest possible use of the term, so I knew what I was getting into. I read this because I was reading everything else by Ovid anyway and it was sitting in the library shelf staring at me, so what the hell. The poem is an important source of information on Roman religion and ritual, so there’s that. Every once in a while there is an interesting fact or two. For example, while I knew that Rome symbolically opened the Gates of Mars when the city was at war, I didn’t realize until the Fasti that this was to signify that the road for Rome’s soldiers return was open for them. And Ovid has a great line when discussing why Rome used to have a ten month calendar: “To be sure, Romulus, thou wert better versed in swords than stars.”
But this poem is a real slog. I have gushed shamelessly over Ovid’s Metamorphoses, and less shamelessly over the Heroides, so I am a fan of his work. This is not his best effort. For the most part, the poem marches grimly through the calendar year in chronological order explaining the significance of each and every notable date. And there are a lot of notable dates. Many of these explanations resort to a particularly tiresome kind of language-based aetiology. This type of aetiology, which obsessed many Greeks and Romans for some mysterious reason, is a process where the origins of something are traced by examining the sound and spelling of its name. So, applying this to a modern holiday, Easter sounds like “east” so this day must celebrate when the first pilgrims landed on the eastern seaboard. Or something. Other than graduate students focusing on Roman History, I can’t think of anyone I would recommend this to. Aesthetically there’s just not much to enjoy here; even fans of Ovid’s other work should steer clear.
I read the translation by James Frazer (more famous for The Golden Bough). This translation is now around 83 years old, but it’s still considered one of the top (if not the top) English translations available. That’s partly because over the last eight decades, few others have gone to the trouble to translate this poem. Frankly, it’s hard to blame them. 1.5 stars.
July 2, 2016
Ovidius'un "Dönüşümler"deki anlatımına bu sefer Roma takviminde yer alan festivaller, dinsel törenler ve ayinler gününden başlayıp Haziran ayının son gününe kadar devam ettirdiği şiiri "Fasti (I-VI) Roma Takvimi ve Festivaller", ünlü ozanın son eseri olması ve mitoloji ve tarih açısından önemli bilgiler barındırması sebebiyle göz atılması gereken Latin eserlerinden biri; fakat Asuman Coşkun Abuagla'nın genel okuyucu kitlesine ulaşmakta başarısız kötü çevirisiyle herkes tarafından okunabilir mi? İşte bunun cevabı soru işareti. Şiir türünden ödün vermemek için cümlelerin aynı devrik yapısının korunduğu eseri okurken ne kadar zorlandığımı anlatamam. Bu yüzden kitabı okurken zevk aldığımı söyleyemeyeceğim. Bana kalırsa bu tarz kitapların modern bir dille okuyucuya sunulması gerekiyor. Aksi takdirde eserin değerini anlamak gerçekten çok zor. Buna rağmen Ovid'in engin bilgisine burada da tanıklık ediyorsunuz. Ünlü ozanın aynı şekilde mitolojiden verdiği örneklerle Roma İmparatoru'nu övmeye devam ettiği eserde Roma kültürüne de yakından bakma şansı buluyoruz. Sadece benim gibi Latin Edebiyatı'nı bitirmek isteyenlere önerilir.
10.08.2016
İstanbul, Türkiye
Alp Turgut
http://www.filmdoktoru.com/kitap-labo...
10.08.2016
İstanbul, Türkiye
Alp Turgut
http://www.filmdoktoru.com/kitap-labo...
June 26, 2018
A little Metamorphoses, the Ursa Minor to its Major, with the same kind of etiological storytelling revolving around festivals and rituals. Ovid is still playful, though it's a bit more muted, especially with the calendar structure to adhere to. The great joke of the Fasti is that it stopped just before July and August seemingly to spite the caesars, but after reading it's clear that was just more of a funny coincidence where it happened to cut off.
June 24, 2020
While the subject matter may be about the Roman calendar, there is a lot to look into with the Fasti . At its most basic level, Ovid focuses on the etiological stories behind both the naming of and the activities during religious events. Ovid often leaves multiple reasons for things. One that sticks out in my mind is the several different reasons why May and June are called what they are. This area of the poem reminds me the most of the Metamorphoses . Often times the major festivals give way to multiple pages of mythological stories. These stories range widely, going from the rape of Persephone to the killing of Servius Tullius. There is a good smattering of Greco-Roman myth and stories found in the first 6 books of Livy.
What was of specific interest to me was how ingrained into the Roman calendar Augustus had become. Julius, Augustus, Germanicus, Drusus, Livia, and the interestingly unnamed Tiberius are all woven into the calendar. I've always been fascinated with the early Julio-Claudian focus on the imperial family and this is no exception. Temples dedicated by Augustus and Livia are discussed side by side with similar temples dedicated during major turning points in Mid-Republican history. Who can forget the entire day dedicated to the creation of the temple of Mars Ultor? The Pax Romana seeps into discussions ranging as widely as warfare and why the gods are still given "rustic" sacrifices in an age of such immense wealth.
A hint of Ovid himself is noticeable in the poem. Germanicus is mentioned several times directly by the narrator to notice Ovids efforts and his exile. Similar phrases and motifs to the Amores are found throughout the poem(setting sail, horse racing, and Ovid as a warrior of poetry over arms).
I can see why this poem is not particularly popular. It draws on the Metamorphoses which is naturally more popular for people interested in mythology. The Roman calendar can be quite dry (I'll admit there were parts that were a bit of a slog for me) and add on etiology and its not hard to imagine that the Fasti is not for everyone. But if you're interested in the early principate and/or Ovid's extant works, this is a great read.
What was of specific interest to me was how ingrained into the Roman calendar Augustus had become. Julius, Augustus, Germanicus, Drusus, Livia, and the interestingly unnamed Tiberius are all woven into the calendar. I've always been fascinated with the early Julio-Claudian focus on the imperial family and this is no exception. Temples dedicated by Augustus and Livia are discussed side by side with similar temples dedicated during major turning points in Mid-Republican history. Who can forget the entire day dedicated to the creation of the temple of Mars Ultor? The Pax Romana seeps into discussions ranging as widely as warfare and why the gods are still given "rustic" sacrifices in an age of such immense wealth.
A hint of Ovid himself is noticeable in the poem. Germanicus is mentioned several times directly by the narrator to notice Ovids efforts and his exile. Similar phrases and motifs to the Amores are found throughout the poem(setting sail, horse racing, and Ovid as a warrior of poetry over arms).
I can see why this poem is not particularly popular. It draws on the Metamorphoses which is naturally more popular for people interested in mythology. The Roman calendar can be quite dry (I'll admit there were parts that were a bit of a slog for me) and add on etiology and its not hard to imagine that the Fasti is not for everyone. But if you're interested in the early principate and/or Ovid's extant works, this is a great read.
July 23, 2021
Ovid juxtaposes oppressive power (Mars, Romulus etc) with playful folkways (Venus, Quirites etc). Many of the vignettes are superb.
January 16, 2019
My favorite part was how relentlessly wrong Ovid was about astronomy.
June 2, 2020
It took a minute (or a week), but Fasti started clicking, and after reading the intro in the Penguin edition, I'm blown away by its political subversion---perfect for the times. It's as though Ovid's attempting to justify his exile, and sees the writing on the wall in Tomis that here's an empire in decline. The intro mentions Ovid's depiction of Romulus as a ruffian culpable for Remus's death, while elevating Evander as a proto-founder of Roma (palindrome of Amor, under threat from the emperor's morality initiatives). Considering that Augustus aligned himself with Romulus, it's a nasty move, like suggesting that Reagan was senile throughout his presidency while Trump is claiming that lineage. Then Ovid uses elegiac meter while commenting that, oops, his subjects are too major for the form? It's so bitchy and subversive, like he's playing the national anthem in a minor key: elegy for a nation in decline. I sensed that in Tristia and Black Sea Letters. Maybe it's part protest---Ovid's got an ethical streak; the aristocratic dude had some degree of integrity---and proto-Italian temper---the short fuse, the long game toward vengeance. I'll end here cuz I'm already over my head.
June 19, 2023
At times funny and informative, the book meanders from story to story. A greater sense of narrative would benefit the book more. Yet, this is supposed to be a calendar and as such it's lack of narrative focus shouldn't detract from the experience.
This is also a book that would benefit greatly from a deeper read, or having other resources near while dreading. While footnotes are provided they are often scraps of info.
This is also a book that would benefit greatly from a deeper read, or having other resources near while dreading. While footnotes are provided they are often scraps of info.
February 5, 2024
FLUL, aula com o professor Gabriel Silva.
Extraordinário: povoado de referências, possibilidades de leitura e ambiguidades (basta o "recusatio" no início do primeiro livro contraposto com o constante recurso à linguagem épica para o constatar).
Uma leitura rica em busca de sentidos e na sua relação com a restante literatura romana (augustana).
Extraordinário: povoado de referências, possibilidades de leitura e ambiguidades (basta o "recusatio" no início do primeiro livro contraposto com o constante recurso à linguagem épica para o constatar).
Uma leitura rica em busca de sentidos e na sua relação com a restante literatura romana (augustana).
May 14, 2022
poems slandering jupiter <33
“no gods protect the nones”
“no gods protect the nones”
October 1, 2024
If you can understand what he's talking about, than this is some good stuff, although sadly incomplete.
June 9, 2021
The quality of the poetry is okay, I guess, and I suppose this gives some insight into the myths, traditions, and customs that were built into and onto the Roman calendar. It's only half-done, and that's fine. I suppose it's important, but it's not particularly good reading.
June 28, 2020
“Borde ej nyåret helst firas när våren är här?
Då vaknar åter naturen till liv och markerna blommar,
knoppar som svällt spricker ut på alla spirande skott.
Myllade sädeskorn som grott skjuter upp i det fria,
med sina utsprungna löv höljer sig buskar och träd,
luften är ljummen och smekt av flerstämmigt jublande fåglar,
boskapen skuttar omkring ystert på ängar och fält.
Solen är lagom varm och svalan, främlingen, bygger
boet av lera högt under ett skyddande tak,
jorden får tåla att odlas igen, förnyad av plogen.
Nyårets rätta tid vore väl just dessa dar.” (Första boken, 1 januari, rad 150-160)
“Följande dag då morgonen gryr är midvintern inne;
lika lång tid som har gått kvarstår av vinter alltjämt.” (Första boken, 10 januari, 459-460)
“Folk i det gamla Rom trodde reningsceremonier
tvättade bort all synd, undanröjde allt ont.
Tanken uppstod hos grekerna först: de ansåg en brottsling
kunde bli fri från sin skuld genom en renande rit.” (Andra boken, rad 35-38)
“Vörda gravarna högt. Dina fäders andar bör blidkas;
om så blott ringa, bär fram gåvor till dem som har bränts.
Manernas krav är små; ej kostbara skänker men fromhet
gläder dem; girighet ryms inte i stygiska djup.
En platta tegel är nog om du virat en blomsterkrans omkring den.
Lägg på en krukskärva sen, som mitt på vägen du ställt,
ett stycke bröd du fuktat med vin och några violer,
därtill en gnutta salt, korn av säd du strör ut.
Offra mer om du vill, men tillfreds är skuggor med detta.
Ge dem dessutom en härd, böner och gravritens ord.
Detta bruk har Aeneas, han som är fromhetens fader,
ädle Latinus, en gång medfört hit till ditt land.
Han bar åt faderns ande fram sina heliga gåvor;
det är av honom vi lärt hur dessa riter går till.”
(Andra boken, 21 februari, rad 533-546)
“Redan fäderna tillbad Mars framför andra; den gudom
var han som passade bäst romarna, lystna på krig.
Kekrops’ folk vördar Pallas, Minos’ Kreta Diana
och Hypsipyles ö ägnar Hefaistos sin kult,
det pelopeiska Mykenes och Spartas gudinna är Hera,
Mainalos’ höga berg dyrkar en pinjekrönt Pan.
Vapnens herre, Mars, bör Latien vörda, ty vapen
gav åt vårt stridbara folk rikedom, ära och makt.”
(Tredje boken, 79-86)
“Nu tvingas också till slut den frostiga vintern ge vika,
snön smälter bort och dör under en värmande sol,
löven som härjats av isande köld vänder åter till träden,
knoppen, fuktig och späd, sväller på växande skott.
Gräset som länge låg gömt tar sig fram längs hemliga vägar
sen det väckts åter till liv, upp emot solljus och luft.
Fälten är bördiga, nu föds killingen, lammet och kalven,
nu reder fåglarna bon, bygger i träden sitt hem.”
(Tredje boken, 1 mars, 235-242)
“Anna Perennas glada fest brukar firas på Idus
alldeles nära din strand, Tiber, du långväga flod.
Då kommer folk och sprids i gröngräset där för att dricka,
liggande par om par sträcker de ut sig bekvämt.
Några slår upp sina tält, bar himmel föredrar de flesta,
somliga reser små hus, byggda med grenar från träd,
andra sätter upp pinnar att tjäna som bärande stöttor,
sedan breder de mantlar däröver som tak.
Sol och vin värmer; de ber om år, lika många till antal
som de tömt bägare vin, räknar alla de tömt.
Där ser man män som når upp till Nestors år, och en kvinna
som blir Sibyllan lik om hennes bön får gehör.
De sjunger sånger de nyligen hört på någon teater
och svänger händerna mjukt, följer tonernas rytm,
sätter sen bägarna från sig och börjar klumpiga danser,
flickor som klätt sig fint skuttar med fladdrande hår.
När de till slut vänder hemåt raglar de fram - ett spektakel
är de för mötande. Folk utropar: ‘Lyckliga de!’
Följet kom nyss i min väg, och jag såg ibland dem en rusig
gumma; hon hade på släp gubben, också plakat.
“Falska rykten går om gudinnans verkliga ursprung,
så låt mig röja nu sanningen om vem hon är.
Dido, den arma som brann av förtärande eld för Aeneas
brann sedan själv på ett bål hon hade rest för sin död.
Askan samlades upp, och ett distikon hon hunnit forma
stunden innan hon dog ristades på hennes grav:
‘Skäl var Aeneas till drottningens död; han gav henne svärdet.
Fallen för egen hand utsläckte Dido sitt liv.’”
(Tredje boken, 15 mars, 523-550)
Numidier ockuperar staden och Anna flyr:
“Anna drivs bort från sitt hem, och gråtande lämnar hon staden
Dido byggde, men först sen hennes syster begravts.
Doftande olja, blandad med gråt, dricker askan, och locken
Anna klippt ur sitt hår tar den som offer emot.
Tre gånger tar hon farväl och tre gånger kysser hon askan,
som om i detta stoft systern än var vid liv.
Hon fann ett skepp och flyr med vänner för gynnsamma vindar,
blickande än mot den stad systern så kärleksfullt byggt.”
(559-566) Kommer till Rom (Aeneas land)
“Varför det sjungs så oanständiga visor när flickor
samlas till Annas fest, det skall jag nu tala om.
Hon hade uppsökts av Mars när just hon blivit gudinna.”
(675-678)
“Ingen tid kunde passa Venus bättre än våren:
jorden skimrar som ny, lucker är åkrarnas mull,
nu skjuter gräsets första strån ur den sprickande marken,
nu på svällande bark framtränger vinrankans knopp.”
(Fjärde boken, 125-128)
“Vörda så som sig bör gudinnan, o mödrar och hustrur
och även ni som ej bär hårband och anständig dräkt!
Bortlyft från halsen av marmor dess gyllne halsband och bortlyft
smyckena, tvätta sen ren Venus från hjässa till fot.
Torka så halsen, sätt på hennes halsband igen, och med blommor,
friska rosor hölj in hennes gudomliga kropp.”
(Fjärde boken, 1 april, 133-138)
“Nu skall kastrater dra fram och slå sina håliga pukor,
kopparcymbalers brak ljuda med skrällande klang”
(Fjärde boken, 4 april, 183-184)
Flora
“‘Jag kallas Flora, men heter egentligen Chloris - en bokstav
har ditt latinska språk bytt i mitt grekiska namn.’”
(Femte boken, 2 maj, 195-196)
“Honungen är min skänk. Det är jag som till timjan, violer,
klöver och blå luzern kallar bevingade bin.” (271-272)
“Jag tänkte fråga nu varför hennes fest mer än andra
tillåter lättfärdig lek, frigjord sedeslöshet,
men kom ihåg att pryd och sträng har aldrig hon varit
och att de gåvor hon ger krävs för vår glädje och lust.
Tinningen viras vid dryckeslag med flätade kransar
och över blänkande bord utströs rosor i mängd,
rusiga gäster dansar med kronor av lindbast i håret
och följer varje nyck vinet kan locka dem till,
framför den skönas hårda dörr sjunger älskaren sånger,
drucken, med en girland kring sitt parfymdränkta hår.
Inga affärer avhandlar man med blommor runt pannan,
rent vatten, vem dricker det när man är krönt med en krans?” (331-343)
“Inget har Flora emot en oanständig teater;
tragisk högstämdhet, tro mig, vet hon ej av.
Varför det lätta gardet i Rom gärna samlas i mängder
när dessa skådespel ges är inte svårt att förstå.
Hon tillhör inte de dystras krets och de uppblåstas skara
och vill att enkelt folk deltar i hennes rit,
manar oss njuta av livets sköna medan det blommar,
ty när en ros vissnat ner väcker dess törnen blott hat.” (347-354)
Offer:
Bacchus: “kanel och rökverk och rostat
inälvskött av en tjur, tagen i kriget som rov.
Efter sin upphovsman fick vinoffren namn och de kakor
av vilka altarets eld mottar som gåva en bit.
Guden får kakor och gläds åt skänker ljuva för tungan.
Honungen, okänd till dess, upptäckte han allra först.”
(Tredje boken, 17 mars, 731-732)
“Honungen gläder vår far, och att han som fann den får kakor
som man med honung dränkt in är därför rimligt och rätt.”
(761-762)
Venus: “Tveka ej, pressa honung du också ur kakan och blanda
denna med snövit mjölk, vallmofrön som du malt.”
(Fjärde boken, 1 april, 151-152)
Kybele: “örter som malts och sedan blandats med ost.” (Fjärde boken, 4 april, 371-372)
Ceres: “sprakande salt och speltmjöl” (Fjärde boken, 12 april, 409)
“Räven får brinna vid Ceres’ fest” (Fjärde boken, 19 april, 711)
“Tellus får offerdjur, havande liksom hon själv.” (kor med kalvar)
(Fjärde boken, 15 april, 634)
Pales: “bönstrån och aska av kalv
ofta gjort mina hopp över tre rader glödande lågor” (Fjärde boken, 21 april, 726-727)
“stora kakor av hirs.” (776)
“snövit mjölk blandad med purpurröd must.” (780)
Vinsliefesten, gatflickor till Venus: “Skänk harskarinnan mynta som hon älskar och myrten,
kransar av flätad siv ni virat rosor omkring.”
(Fjärde boken, 23 april, 869-870)
Ceres: vin och rökelseskrin
“Fårets inälvor, rökelse vin såg jag först honom offra,
sedan en smutsig hunds vidriga inne organ. (Fjärde boken, 25 april, 935-936)
Då vaknar åter naturen till liv och markerna blommar,
knoppar som svällt spricker ut på alla spirande skott.
Myllade sädeskorn som grott skjuter upp i det fria,
med sina utsprungna löv höljer sig buskar och träd,
luften är ljummen och smekt av flerstämmigt jublande fåglar,
boskapen skuttar omkring ystert på ängar och fält.
Solen är lagom varm och svalan, främlingen, bygger
boet av lera högt under ett skyddande tak,
jorden får tåla att odlas igen, förnyad av plogen.
Nyårets rätta tid vore väl just dessa dar.” (Första boken, 1 januari, rad 150-160)
“Följande dag då morgonen gryr är midvintern inne;
lika lång tid som har gått kvarstår av vinter alltjämt.” (Första boken, 10 januari, 459-460)
“Folk i det gamla Rom trodde reningsceremonier
tvättade bort all synd, undanröjde allt ont.
Tanken uppstod hos grekerna först: de ansåg en brottsling
kunde bli fri från sin skuld genom en renande rit.” (Andra boken, rad 35-38)
“Vörda gravarna högt. Dina fäders andar bör blidkas;
om så blott ringa, bär fram gåvor till dem som har bränts.
Manernas krav är små; ej kostbara skänker men fromhet
gläder dem; girighet ryms inte i stygiska djup.
En platta tegel är nog om du virat en blomsterkrans omkring den.
Lägg på en krukskärva sen, som mitt på vägen du ställt,
ett stycke bröd du fuktat med vin och några violer,
därtill en gnutta salt, korn av säd du strör ut.
Offra mer om du vill, men tillfreds är skuggor med detta.
Ge dem dessutom en härd, böner och gravritens ord.
Detta bruk har Aeneas, han som är fromhetens fader,
ädle Latinus, en gång medfört hit till ditt land.
Han bar åt faderns ande fram sina heliga gåvor;
det är av honom vi lärt hur dessa riter går till.”
(Andra boken, 21 februari, rad 533-546)
“Redan fäderna tillbad Mars framför andra; den gudom
var han som passade bäst romarna, lystna på krig.
Kekrops’ folk vördar Pallas, Minos’ Kreta Diana
och Hypsipyles ö ägnar Hefaistos sin kult,
det pelopeiska Mykenes och Spartas gudinna är Hera,
Mainalos’ höga berg dyrkar en pinjekrönt Pan.
Vapnens herre, Mars, bör Latien vörda, ty vapen
gav åt vårt stridbara folk rikedom, ära och makt.”
(Tredje boken, 79-86)
“Nu tvingas också till slut den frostiga vintern ge vika,
snön smälter bort och dör under en värmande sol,
löven som härjats av isande köld vänder åter till träden,
knoppen, fuktig och späd, sväller på växande skott.
Gräset som länge låg gömt tar sig fram längs hemliga vägar
sen det väckts åter till liv, upp emot solljus och luft.
Fälten är bördiga, nu föds killingen, lammet och kalven,
nu reder fåglarna bon, bygger i träden sitt hem.”
(Tredje boken, 1 mars, 235-242)
“Anna Perennas glada fest brukar firas på Idus
alldeles nära din strand, Tiber, du långväga flod.
Då kommer folk och sprids i gröngräset där för att dricka,
liggande par om par sträcker de ut sig bekvämt.
Några slår upp sina tält, bar himmel föredrar de flesta,
somliga reser små hus, byggda med grenar från träd,
andra sätter upp pinnar att tjäna som bärande stöttor,
sedan breder de mantlar däröver som tak.
Sol och vin värmer; de ber om år, lika många till antal
som de tömt bägare vin, räknar alla de tömt.
Där ser man män som når upp till Nestors år, och en kvinna
som blir Sibyllan lik om hennes bön får gehör.
De sjunger sånger de nyligen hört på någon teater
och svänger händerna mjukt, följer tonernas rytm,
sätter sen bägarna från sig och börjar klumpiga danser,
flickor som klätt sig fint skuttar med fladdrande hår.
När de till slut vänder hemåt raglar de fram - ett spektakel
är de för mötande. Folk utropar: ‘Lyckliga de!’
Följet kom nyss i min väg, och jag såg ibland dem en rusig
gumma; hon hade på släp gubben, också plakat.
“Falska rykten går om gudinnans verkliga ursprung,
så låt mig röja nu sanningen om vem hon är.
Dido, den arma som brann av förtärande eld för Aeneas
brann sedan själv på ett bål hon hade rest för sin död.
Askan samlades upp, och ett distikon hon hunnit forma
stunden innan hon dog ristades på hennes grav:
‘Skäl var Aeneas till drottningens död; han gav henne svärdet.
Fallen för egen hand utsläckte Dido sitt liv.’”
(Tredje boken, 15 mars, 523-550)
Numidier ockuperar staden och Anna flyr:
“Anna drivs bort från sitt hem, och gråtande lämnar hon staden
Dido byggde, men först sen hennes syster begravts.
Doftande olja, blandad med gråt, dricker askan, och locken
Anna klippt ur sitt hår tar den som offer emot.
Tre gånger tar hon farväl och tre gånger kysser hon askan,
som om i detta stoft systern än var vid liv.
Hon fann ett skepp och flyr med vänner för gynnsamma vindar,
blickande än mot den stad systern så kärleksfullt byggt.”
(559-566) Kommer till Rom (Aeneas land)
“Varför det sjungs så oanständiga visor när flickor
samlas till Annas fest, det skall jag nu tala om.
Hon hade uppsökts av Mars när just hon blivit gudinna.”
(675-678)
“Ingen tid kunde passa Venus bättre än våren:
jorden skimrar som ny, lucker är åkrarnas mull,
nu skjuter gräsets första strån ur den sprickande marken,
nu på svällande bark framtränger vinrankans knopp.”
(Fjärde boken, 125-128)
“Vörda så som sig bör gudinnan, o mödrar och hustrur
och även ni som ej bär hårband och anständig dräkt!
Bortlyft från halsen av marmor dess gyllne halsband och bortlyft
smyckena, tvätta sen ren Venus från hjässa till fot.
Torka så halsen, sätt på hennes halsband igen, och med blommor,
friska rosor hölj in hennes gudomliga kropp.”
(Fjärde boken, 1 april, 133-138)
“Nu skall kastrater dra fram och slå sina håliga pukor,
kopparcymbalers brak ljuda med skrällande klang”
(Fjärde boken, 4 april, 183-184)
Flora
“‘Jag kallas Flora, men heter egentligen Chloris - en bokstav
har ditt latinska språk bytt i mitt grekiska namn.’”
(Femte boken, 2 maj, 195-196)
“Honungen är min skänk. Det är jag som till timjan, violer,
klöver och blå luzern kallar bevingade bin.” (271-272)
“Jag tänkte fråga nu varför hennes fest mer än andra
tillåter lättfärdig lek, frigjord sedeslöshet,
men kom ihåg att pryd och sträng har aldrig hon varit
och att de gåvor hon ger krävs för vår glädje och lust.
Tinningen viras vid dryckeslag med flätade kransar
och över blänkande bord utströs rosor i mängd,
rusiga gäster dansar med kronor av lindbast i håret
och följer varje nyck vinet kan locka dem till,
framför den skönas hårda dörr sjunger älskaren sånger,
drucken, med en girland kring sitt parfymdränkta hår.
Inga affärer avhandlar man med blommor runt pannan,
rent vatten, vem dricker det när man är krönt med en krans?” (331-343)
“Inget har Flora emot en oanständig teater;
tragisk högstämdhet, tro mig, vet hon ej av.
Varför det lätta gardet i Rom gärna samlas i mängder
när dessa skådespel ges är inte svårt att förstå.
Hon tillhör inte de dystras krets och de uppblåstas skara
och vill att enkelt folk deltar i hennes rit,
manar oss njuta av livets sköna medan det blommar,
ty när en ros vissnat ner väcker dess törnen blott hat.” (347-354)
Offer:
Bacchus: “kanel och rökverk och rostat
inälvskött av en tjur, tagen i kriget som rov.
Efter sin upphovsman fick vinoffren namn och de kakor
av vilka altarets eld mottar som gåva en bit.
Guden får kakor och gläds åt skänker ljuva för tungan.
Honungen, okänd till dess, upptäckte han allra först.”
(Tredje boken, 17 mars, 731-732)
“Honungen gläder vår far, och att han som fann den får kakor
som man med honung dränkt in är därför rimligt och rätt.”
(761-762)
Venus: “Tveka ej, pressa honung du också ur kakan och blanda
denna med snövit mjölk, vallmofrön som du malt.”
(Fjärde boken, 1 april, 151-152)
Kybele: “örter som malts och sedan blandats med ost.” (Fjärde boken, 4 april, 371-372)
Ceres: “sprakande salt och speltmjöl” (Fjärde boken, 12 april, 409)
“Räven får brinna vid Ceres’ fest” (Fjärde boken, 19 april, 711)
“Tellus får offerdjur, havande liksom hon själv.” (kor med kalvar)
(Fjärde boken, 15 april, 634)
Pales: “bönstrån och aska av kalv
ofta gjort mina hopp över tre rader glödande lågor” (Fjärde boken, 21 april, 726-727)
“stora kakor av hirs.” (776)
“snövit mjölk blandad med purpurröd must.” (780)
Vinsliefesten, gatflickor till Venus: “Skänk harskarinnan mynta som hon älskar och myrten,
kransar av flätad siv ni virat rosor omkring.”
(Fjärde boken, 23 april, 869-870)
Ceres: vin och rökelseskrin
“Fårets inälvor, rökelse vin såg jag först honom offra,
sedan en smutsig hunds vidriga inne organ. (Fjärde boken, 25 april, 935-936)
May 5, 2014
This book 'Fasti' is organized according to the Roman calendar and explains the origins of Roman holidays and associated customs, often making references to deities, the constellations and more. The poem was left unfinished when the poet was exiled to Tomis, so only the first six months of the year appear here. This being said, you really need to pay attention to the index at the back since, unless you are an expert in Greek and Roman customs and myths, you'll have difficulty understanding Ovid's verses. In places, Ovid shows off his writing ability, but most of all he praises the Gods, Augustus, anyone with whom he can gain favor, as was the tradition of the times. In fact this book is dedicated to Germanicus, a high-ranking member of the emperor Augustus's family. But he can only do so much with what seems to me, a subject of little interest. Not my cup of tea, but worth a read.
November 22, 2021
Eens startte Ovidius het titanenwerk van de gehele Romeinse kalender met de oorsprong van de feestdagen uiteen te zetten, en dit ik dichtvorm. Dit werk is echter nooit voltooid geraakt. Ovidius strandde om onbekende redenen (al zijn er speculaties) na de maand juni.
Marietje D'Hane-Scheltema brengt in samenwerking met uitgeverij Athenaeum een toegankelijke vertaling van deze klassieke literatuur.
Zulke oude teksten kunnen soms een hele worsteling zijn voor de moderne lezer, maar de vertaler heeft de tekst erg behapbaar gemaakt, door enerzijds het moderne Nederlands te gebruiken zonder dat de tekst zijn literaire karakter verliest, en anderzijds minder interessante passages samen te vatten om ons niet te doen knikkebollen bij saaie uiteenzettingen.
Het was ook erg fijn om mythologische verhalen op te frissen, en voor mij onbekende verhalen te ontdekken, en dit in compacte beschrijvingen.
Ik ben erg blij dat ik Fasti aan mijn collectie klassieke Romeinse literatuur kan toevoegen!
Ook andere werken van Ovidius, waaronder zijn beroemde Methamorphosen, staan nog op mijn 'te lezen'-lijstje. Ik ga zeker het vertaalwerk van Marietje D'Hane-Scheltema hiervoor raadplegen.
Hartelijk bedankt Athenaeum en L&M Books voor dit recensie-exemplaar!
Marietje D'Hane-Scheltema brengt in samenwerking met uitgeverij Athenaeum een toegankelijke vertaling van deze klassieke literatuur.
Zulke oude teksten kunnen soms een hele worsteling zijn voor de moderne lezer, maar de vertaler heeft de tekst erg behapbaar gemaakt, door enerzijds het moderne Nederlands te gebruiken zonder dat de tekst zijn literaire karakter verliest, en anderzijds minder interessante passages samen te vatten om ons niet te doen knikkebollen bij saaie uiteenzettingen.
Het was ook erg fijn om mythologische verhalen op te frissen, en voor mij onbekende verhalen te ontdekken, en dit in compacte beschrijvingen.
Ik ben erg blij dat ik Fasti aan mijn collectie klassieke Romeinse literatuur kan toevoegen!
Ook andere werken van Ovidius, waaronder zijn beroemde Methamorphosen, staan nog op mijn 'te lezen'-lijstje. Ik ga zeker het vertaalwerk van Marietje D'Hane-Scheltema hiervoor raadplegen.
Hartelijk bedankt Athenaeum en L&M Books voor dit recensie-exemplaar!
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November 23, 2023O grande paradoxo da mitologia clássica é que Ovídio, que já não cria tanto assim nos mitos, foi quem no-los legou. A filosofia clássica nos ensina que a existência do tempo está em ser a medida do movimento. O tempo cronológico, claro, por marcar o movimento mais objetivo e patente, ou seja do sol, lua e astros, pode parecer também absoluto. Mas isso seria negar os outros movimentos, principalmente o da vida das pessoas. O calendário sagrado romano, com sua semana de oito dias, seus dias fastos e nefastos etc, é o tempo da vida dos romanos. Portanto é de inegável valor e interesse.
No primeiro livro pude perceber o zelo e reverência com que o jovem Ovídio tocava no tema: derivado da sincera gratidão ao império que garante sua prodigalidade. Já observaram inclusive certa semelhança com Propércio 4.1. Mas de Fevereiro em diante vemos o Ovídio das Metamorfoses, infinitamente criativo e talentoso mas muitas vezes em trabalho de um chiste, de uma risada cínica ou imagem mais erótica. O poeta encontrava-se degredado e dedicou a obra a Germanicus, que sucederia Augustus mas morreu antes de se tornar Imperador.
No primeiro livro pude perceber o zelo e reverência com que o jovem Ovídio tocava no tema: derivado da sincera gratidão ao império que garante sua prodigalidade. Já observaram inclusive certa semelhança com Propércio 4.1. Mas de Fevereiro em diante vemos o Ovídio das Metamorfoses, infinitamente criativo e talentoso mas muitas vezes em trabalho de um chiste, de uma risada cínica ou imagem mais erótica. O poeta encontrava-se degredado e dedicou a obra a Germanicus, que sucederia Augustus mas morreu antes de se tornar Imperador.
January 31, 2024
A very interesting if somewhat difficult read, mostly because it’s so reference heavy that it feels almost every third word would need to be explained to fully grasp the meaning of the text. From the various less known names of otherwise famous gods, heroes and historical figures to allusions to obscure events, places and deities, it’s easy to get lost despite the generous number of explanatory notes included in the edition I read.
Since the calendar includes a lot of Roman religious holidays, Ovid goes to some length describing animal sacrifices at times which can be a bit hard to digest for a modern reader. That being said, Ovid’s lyricism and wit occasionally shine through, despite this not being his most exciting work.
Since the calendar includes a lot of Roman religious holidays, Ovid goes to some length describing animal sacrifices at times which can be a bit hard to digest for a modern reader. That being said, Ovid’s lyricism and wit occasionally shine through, despite this not being his most exciting work.
July 27, 2023
Just finished a read-through of the entire book, and while there are certainly some great stories here (the foremost, in my opinion, being that of Lucretia and Tarquin the Proud), I would argue that none of them represents Ovid at his best--that honor is reserved for select stories from his Metamorphoses and select letters from his Heroides. This book--ingenious in its arrangement around the Roman calendar and feast days--is better suited for the history and mythology buff than for the lover of stories which are truly great in their own right.
February 5, 2024
Rome: Let’s hold festivals commemorating all the times the gods abused humans. What’s that? We need more festivals? Well, we could also commemorate the times the gods tried to abuse humans, didn’t get their way, and then punished the humans. Boy, our gods sure are virtuous. Good thing we have all these festivals venerating our surpassingly virtuous gods.
I’m being glib here, but the Greco-Roman pantheon is just awful.
I’m being glib here, but the Greco-Roman pantheon is just awful.
March 1, 2024
Ovid, where is the rest. Why won't you return my calls. Ovid.
There's something magical about an author who's been dead for centuries getting a laugh out of you. I love his commentary, I love how subtle he is, how smart and sassy.
The edition I read was a bit too dense, and as someone with cursory knowledge of Roman customs and culture, I had to turn to the notes every two pages or so.
So sad this is an incomplete work, but I enjoyed it for what it was.
There's something magical about an author who's been dead for centuries getting a laugh out of you. I love his commentary, I love how subtle he is, how smart and sassy.
The edition I read was a bit too dense, and as someone with cursory knowledge of Roman customs and culture, I had to turn to the notes every two pages or so.
So sad this is an incomplete work, but I enjoyed it for what it was.
September 10, 2021
I could have skipped this one. I had high hopes - I thought that a book of poetry based on the calendar and the various festivals would be interesting. I certain learned about Roman Gods and Roman culture, but it did not hold my attention in the same way that other Ovid has in the past.
October 4, 2024
This book is so interesting to me because it really illustrated the immense complexity of the Roman mythological canon like no other work really does. There is such an expansive cast to the mythos, and sooo many different stories that are all of equal importance.
December 15, 2018
A little like the Metamorphoses but not as good. Interesting in parts. Worth the time if you’ve already read the Metamorphoses, but also check out the Heroides.
March 10, 2019
Hight effort, low reward.
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October 28, 2021Review to come :)
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