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Noté /5. R. Ehwald. And, while numerous commentaries exist for the other texts, Johnson’s interest in the history, archaeology, and chemistry of ancient beauty practices leads her to delve into topics not addressed in the average Ovidian commentary, which tends to focus on literary issues. [19] The praeceptor strips away the layers of female cultus before his readership, forming a narrative which culminates in transparency. Ovid, Met. Send us a message and follow the Durham University Classics Society on Twitter (@DUClassSoc) and Facebook (@DUClassics Society) to keep up with this blog and our other adventures! Retrouvez Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) by Ovid(1994-09-15) et des millions de livres en stock sur Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. Search. The praeceptor encourages women to use these strategies, but not to the detriment and deception of men. London-New York: Bloomsbury Academic, 2016, xiii+171 pp., ISBN 978-1-4725-0657-3. Ovid on Cosmetics Medicamina Faciei Femineae and Related Texts 3.569, Virgil, Aeneid 2.499. Each Latin text is accompanied by an English translation and a commentary (though the book is explicitly not intended as a textbook for an undergraduate Latin language course). [10] Sharrock, 2006, 24; cf. De medicamine faciei, auch bezeichnet mit dem Titel Medicamina faciei femineae, ist ein pharmakologisch-kosmetisches Lehrgedicht des römischen Dichters Publius Ovidius Naso. Wyke argues that nature, by analogy, demonstrates the legitimacy of the cultus of the female body, citing lines 3–4 as an example of this. She consistently resolves such difficulties by explaining that they are the result of rhetoric, as here: “The key to understanding Ovid’s different attitudes to male cultus … is in his rhetorical imperative” (p. 135). The stated aim is to preserve beauty (forma tueri), from deterioration, one assumes, rather than uplift it. And, while numerous commentaries exist for the other texts, Johnson’s interest in the history, archaeology, and chemistry of ancient beauty practices leads her to delve into topics not … Sacred Texts Archive: Ovid Amores, Ars Amatoria, Medicamina Faciei Femineae, Metamorphoses, Remedia Amoris. This view also influences the attention Johnson pays to “intratextual contradictions” such as the one she points out between A.A. 1.505-24 and Med. The final section, “The texts,” provides an introduction to Ovid’s sources and models for the Medicamina, Amores, Ars Amatoria, and Remedia Amoris; as Johnson acknowledges, Ovid’s command of his literary precedents was vast, and so her discussion must be limited to especially salient examples, with attention to key figures within the genres of didactic and elegy. There is, however, a risk inherent in this kind of collection. — (Ovid. The book’s useful “extras”—a chronology of Ovid’s publications; eleven illustrations of artifacts and plants; appendices with a glossary of cosmeceutical terms, a list of the ingredients used in the Medicamina recipes, and two tables of Roman weights and measures—lighten the reader’s work. [4], But, how do we construe the Medicamina in the grand scheme of didactic poetry? The hypocrisy here does not amount to shaming women, but to exposing them. Love Books of Ovid at sacred-texts.ocm. The section “Ovid on cultus, munditia, and ars ” introduces and defines the three key terms in Ovid’s discussions of beauty. Johnson supplements the technical discussions with briefer discussions of literary elements of these didactic texts. The book’s most exciting contribution comes in the commentary on the Medicamina, where Johnson has “translated” the recipes in the text into the style of a modern cookbook, with ingredients (measured in ounces and grams) and steps listed. These are three big topics to fit into fewer than 200 pages, and where Johnson cannot be exhaustive she points to important issues and offers interested readers direction for further study. Sterility is a result of, indeed, a lack of cultivation, but also of age. It can suggest a greater coherence than the passages might have in the context of the larger works. 69; Div. On the whole, Johnson has achieved an admirable feat by bringing together such a varied collection of primary and secondary materials in a clear and approachable way. The major contribution of this work is that it makes accessible a wide range of evidence about ancient beautification. [18] Ibid, 55: Ovid, Rem. — (Ovid, Ars Am. nec quae praeteriit, iterum revocabitur unda, While you can, and still are in your spring-time, have your sport; for the years pass like flowing water; the wave that has gone by cannot be called back, the hour that has gone by cannot return. [21], Then why advise? But the awareness of personae displayed in the introduction is hard to find in the commentaries, where remarks such as “Ovid does not believe in such practices [as witchcraft]” (p. 55) and (of Rem. [31] From the prooemium, then the praeceptor makes a direct correlative link between both definitions of cultus, and the physical effects of age, and sets the addressee on a quest against age’s toll. 65–6). Women are held in a similar limbo in Ovid’s poem, between two hypocritical narratives. New York. [28] As Rimell points out, Ovid markets cultus to improve on nature. ; additional ancient sources of evidence; and literary criticism of the passages. The worth of matronae stemmed from motherhood and housekeeping skills. The last passage ( A.A. 1.505-524) stands out in the collection as the only one that addresses male, rather than female, cultus. The poem falls at the beginning of Ovid’s … and one of “modern texts” (recent scholarship). Ovid's five recipes contain 23 ingredients that have been identified. Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris: Kenney: Books The second narrative is one of chronology and age. Stanford Libraries' official online search tool for books, media, journals, databases, government documents and more. 3–6). Ovid reassures that character is also important (ingenio facies conciliante placet, 44). Bryn Mawr PA 19010. Discite quae faciem commendet cura, puellae, Et quo sit vobis forma tuenda modo. J.] By tracing women’s lifetimes, both aetiologically and chronologically, the praeceptor implements elegy’s topos of fading beauty. Medicamina faciei femineae. Des milliers de livres avec la livraison chez vous en 1 jour ou en magasin avec -5% de réduction . One might imagine the Medicamina being performed with an ironic, mocking exaggeration of didactic elements, as if the praeceptor were walking his audience through the exposé. 23-26 (“Here Ovid’s persona is that of the urbane sophisticate,” p. 18)—a statement that acknowledges the possibility of multiple personae. Medicamina Faciei Femineae. Rimell construes this as a reference to the poem’s mirror motif. 15.199–213: Pythagoras explicitly compares the four seasons to human life. 1855. This absence is likely due to a misreading of the Tibullan text, for Johnson takes the reference to carefully arranged hair at Tib. The fourth section, “Ovid and Augustus’s moral legislation,” presents Ovid’s erotic compositions as conflicting with, sometimes even defiantly, Augustan moral precepts and laws such as the lex Iulia of 18 BCE. Caec. When asked whether this child would live to reach well-ripened age, the seer replied: “If he ne’er know himself.” — (Ovid, Met. P. Ovidius Naso, Medicamina Faciei Femineae various, Ed. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. The praeceptor amoris compares the stages of a woman’s life to the four seasons, here referring to her youth as ‘spring-time’. ("Agamemnon", "Hom. He also wrote smaller pieces like the “Remedia Amoris” and “Medicamina Faciei Femineae”. Découvrez et achetez Ovid amores, medicamina faciei femineae, ars amatoria, remedia amoris 2/e. 22-35) also provides background on each of the four works that contribute excerpts, including information about date of composition and genre, as well as sources and models. [35] The praeceptor retains a monopoly on women’s bodily autonomy, which mirrors the marketing of our modern beauty industry. The concept of cultus forms the cornerstone of the Medicamina. Once again the poetic woman is contorted for the poet to showcase his skill, as Ovid maintains two opposing narratives simultaneously. [24] Cokayne, 2005, 138; cites Plut. 2013-2014. “Gender Reversals and Intertextuality in Tibullus.” The Classical World 107 (4): 493-514. editio: incognita fons: incognitus. Ars amatoria (De Kunst vo da Liab) Remedia amoris (Heimiddl geng de Liab) Halieutica (nua Fragment dahoidn, Leahgdicht iwa'n Fiischfong; Echtheit bezweifed) Phaenomena (Gdicht iwa de Himmeseascheinunga; nua Fragment) Metamorphosen (Vawandlungsgschichtn … ; Centre Traditio Litterarum Occidentalium.] The poem falls at the beginning of Ovid’s erotodidactic corpus, and was probably composed just before the third book of the Ars Amatoria. Calvin Blanchard. The idea that the praeceptor himself has seen this technique offers an element of certainty, and, in the perfect tense, suggests a one-off incident. [1] The first fifty lines focus on cultus (broadly defined as adornment or cultivation), while the next fifty consist of intricate recipes for ointments written in a ‘Nicandrian’ style, before the extant lines of this poem abruptly end. 29.). 23-26 (on male cultus). Medicamina faciei femineae Discite quae faciem … For the Sabine women mentioned in the praeceptor’s aetiological description in lines 11–16, cultus refers to pastoral cultivation, as in the Georgics. Volk argues that didactic poetry retains a narrative — the ‘didactic plot’ — which conveys the development of the poet’s instructions and the poem itself. ×Your email address will not be published. Create lists, bibliographies and reviews: or Search WorldCat. 1979. “ Ars Gratia Cultus : Ovid as Beautician.” American Journal of Philology 100: 381-392. cultus humum sterilem Cerealia pendere iussit munera, mordaces interiere rubi; 5 cultus et in pomis sucos emendat acerbos, fissaque adoptivas accipit arbor opes. — (Ovid, Med. pp. The commentary on the relatively neglected Medicamina Faciei Femineae may be the most welcome portion, as previously Rosati’s 1985 Italian edition was the only modern commentary available. Search for Library Items Search for Lists Search for Contacts Search for a Library. While the other Augustan poets tended to perpetuate the view that cultus, or beautification and adornment, was for meretrices, Ovid subversively encourages it, in a way which opposes the ‘Augustan precept’ of modesty, and the poet later champions the idea that female cultus can be practised without ‘rejecting traditional societal values and respectability.’[6], While a didactic interpretation presents Ovid as knowledgeable and well researched, and provides a rich historicist reading, which indicates what recipes for cosmeceuticals might have looked like, Ovid’s advice, as Toohey remarks, cannot be taken entirely seriously. The praeceptor’s recipes in the Medicamina, unlike the didaxis of the Ars Amatoria, have a clinical style, with no explicit mythological allusion. Medicamina Faciei Femineae (Cosmetics for the Female Face, also known as The Art of Beauty) is a didactic poem written in elegiac couplets by the Roman poet Ovid.In the hundred extant verses, Ovid defends the use of cosmetics by Roman women … Comparisons have been drawn with Virgil’s Georgics, but, as discussed by Johnson, the Medicamina values ingenuity, and tackles a more ‘trivial’ didactic subject than the practical content of Virgil’s pastoral didactic. Medicamina Faciei Femineae (Cosmetics for the Female Face, also known as The Art of Beauty) is a didactic poem written in elegiac couplets by the Roman poet Ovid.In the hundred extant verses, Ovid defends the use of cosmetics by Roman women and provides five recipes for facial treatments. The theme of love looms large in Newlands 2015, which covers all of Ovid’s output. Ovid on Cosmetics gathers together five passages from Ovid’s erotic poetry that directly address issues of beautification and appearance, unified by the theme not of “cosmetics” per se, as the title implies, but of cultus (consistently translated as “cultivation”) more broadly. 9.1", "denarius") All ... Ovid's Art of Love (in three Books), the Remedy of Love, the Art of Beauty, the Court of Love, the History of Love, and Amours. 5 Cultus et in pomis sucos emendat acerbo, Fissaque adoptivas accipit arbor opes. Six well-chosen images accompany the text of this section and show examples of these tools, such as cosmetics boxes, combs, and mirrors. Reflection and age are intertwined in Ovid’s account of the myth in the Metamorphoses: fatidicus vates “si se non noverit” inquit. This final warning, that age will ruin beauty, recalls the elegiac topos of fading beauty and encapsulates the aim of this second narrative: to prevent the ravages of age. In the case of the aforementioned facial treatment, she draws the reader’s attention to the sexual connotations of key verbs and the “overtly sexual implications due to the imagery of the young men with their muscular arms pounding away” (p. 71). Rosati’s parallels with similar lines in Ars Am. One of the delightful surprises of the Medicamina is Ovid’s emphasis on women taking pleasure in their beauty for themselves. Marguerite Johnson (who has books on Sappho, Boudicca, a source collection with Terry Ryan on gender and sexuality, and Alcibiades and the Socratic Lover/Educator [MXL ,EVSPH 8EVVERX S ìIVW YW XLMW RI[ ZSPYQI Ovid … Tibullus 1.8, though quoted in the introduction (p. 29) as a precedent and possible model for the Amores, is absent from the commentaries on all three of these passages. [29] This also reaffirms that Ovid’s skincare advice is aimed at rejuvenation. 3.5–6: non erat armatis aequum concurrere nudas/ sic etiam vobis vincere turpe, viri (‘it were not just that defenceless maids should fight with armed men; such a victory, O men, would be shameful for you also’). Ovid Medicamina Faciei. I have elected to use discite to mirror the opening line of the poem, and introduce the didactic section. Praec. The introduction (esp. [13] Green, 1979, Balsdon, 1962 & Wilkinson, 1960 all view the second fifty lines as textbook-like and scientific. I read circumstantial, periphrastic descriptions as equivalent to legal eye-witness testimony, rather than rigid instruction. Liveley, 2012 for an approach to narratology in Roman elegy. Ovid Written 2 millennia ago, Ovid's Medicamina Faciei Femineae ( Cosmetics for the Female Face ) provides a unique insight into Roman dermatological practices and attitudes toward beauty. allusion, voice, persona, and so on). [27] Cf. Vite ! The first of these strips women of their beauty regimes before Ovid’s readership. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Books edidit ex Rudolphi Merkelii recognitione. In “High maintenance … the Roman body,” Johnson lays out the common practices and tools of ancient beautification, as known through textual and archaeological evidence. In seiner Ars amatoria verweist Ovid auf dieses kleine Buch. Home. 14 ingredients are derived from plants, four from animals, and four from minerals. Johnson explains her translation choices for key terms, which is always welcome from a translator and especially helpful for any reader without extensive Latin training. 2.118 and Ex Ponto 1.4.2 evidence a strong connection between the pastoral and cultus, and time and age. Noté /5.

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