Ovid and Hesiod: The Metamorphosis of the Catalogue of Women
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The influence on Ovid of Hesiod, the most important archaic Greek poet after Homer, has been underestimated. Yet, as this book shows, a profound engagement with Hesiod's themes is central to Ovid's poetic world. As a poet who praised women instead of men and opted for stylistic delicacy instead of epic grandeur, Hesiod is always contrasted with Homer. Ovid revives this epic rivalry by setting the Hesiodic character of his Metamorphoses against the Homeric character of Virgil's Aeneid. Dr Ziogas explores not only Ovid's intertextual engagement with Hesiod's works but also his dialogue with the rich scholarly, philosophical and literary tradition of Hesiodic reception. An important contribution to the study of Ovid and the wider poetry of the Augustan age, the book also forms an excellent case study in how the reception of previous traditions can become the driving force of poetic creation.
6 (Theogony–Works and Days–Catalogue of Women). And although both Vergil and Ovid opt for a scientific cosmogony and suppress divine and heroic genealogies, the structure and contents of Eclogue 6 and the Metamorphoses13 suggest a strong affinity with Hesiod’s poetry. The story of Pyrrha and the creation of men from stones (Ecl. 6.41; Met. 1.348– 415) signals a shift from the Theogony to the Catalogue.14 In his Ehoiaisection, Silenus sings of Pasiphae’s sexual desire for the bull (Ecl. 6.45–7, 10
papyri which date the certamen to the classical period and relate it to Alcidamas’Mouseion, see Koniaris 1971; Renehan 1971; Mandilaras 1992. Some scholars trace the tradition of the competition back to the archaic period (Lamberton 1988, 6; cf. Koning 2010, 245–59). Bilinksi 1959, 114–15. 96 Cosmos and Eros main heroes (Achilles in the Iliad, Odysseus in the Odyssey) and as a goddess of war. In the Metamorphoses, Minerva depicts herself in full armor (cf. Met. 6.78–9), and her violent attack
Magnum 515); cf. Paschalis 1997, 260–1. Cf. et uetus in tela deducitur argumentum, Met. 6.69 ‘and an ancient tale is spun in the web’, the line which introduces the ekphrasis of Minerva’s tapestry. 101 Arachne ratification of his daughter’s marriage with the king of the underworld. Zeus’s consent is mentioned already in Hesiod (dwke d mht©eta ZeÅv, Theog. 914 ‘Zeus the resourceful granted her to him’). But Arachne depicts a different rape of Proserpina. The catalogue of Jupiter’s victims
’ is as deep as in the tales of the Muse and Orpheus. In Met. 14, Ovid tells about Macareus telling Achaemenides about Circe’s servant telling Macareus about Circe’s jealousy of the happily married Picus and Canens (see Nagle 1988, 123). The Atalanta-ehoie belongs either to the Catalogue of Women or the Megalai Ehoiai (on this issue see Hirschberger 2004, 458–9; D’Alessio 2005, 213–16). The problem of the attribution of the Atalantaehoie to the Catalogue or the Megalai Ehoiai does not affect my
invited to imagine them running over the ears of grain. In fact, what we are called upon to imagine is very close to what actually happens. The runners have just darted forth and are skimming the surface of the sand (cf. Met. 10.652–3). Unlike Camilla’s appearance in the Vergilian catalogue, the way Atalanta and Hippomenes are racing does not contrast with the images we are invited to picture. It is because Ovid’s story of Atalanta and Hippomenes belongs to the 76 See Chapter 3 for the term