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ovid medicamina faciei femineae

(The identification of the addressee of these Tibullan lines, which the misleading narrative makes ambiguous until line 15, is discussed by Damer,2 whom Johnson cites on p. The praeceptor alludes to ingredients with properties of rejuvenation to continue his quest refers heavily to the myth of Narcissus in this recipe, as he instructs his subject to add twelve narcissus bulbs without their skin (adice narcissi bis sex sine cortice bulbos…, 63). Calvin Blanchard. The commentaries would benefit from sustaining this method of reading, for in them Johnson falls back on a more biographical reading of Ovid that is inconsistent with her discussion of the poet in the introduction. Virgil describes exhausted fields (effetos agros) in relation to sterile land, for example (Virgil, Georgics 1.81, 84). [26] This interpretation is founded in Ovid’s approach to age and the pastoral more generally: dum licet, et vernos etiamnum educitis annos. [15] Ovid, Med. Discite quae faciem commendet cura, puellae, Et quo sit vobis forma tuenda modo. PARODY AND SUBVERSION IN OVID'S MEDICAMINA FACIEI FEMWEAE BY PATRICIA A. WATSON The Medicamina Facia Femineae ('Female cosmetics')1) is usuaUy regarded as Ovid's earnest attempt at didactic elegy.2) The poem faUs into two sections: a general introduction (1-50), in which the use of cosmetics is justified as part of the cultas of modern day Rome 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. The hypocrisy here does not amount to shaming women, but to exposing them. Although this is treated as a cautionary tale, Narcissus’ succumbing to the mirror’s powers stopped him from reaching a ‘well-ripened age’ (matura senecta), and thus he is immortalised in his youth within this flower, which is now an ingredient in a woman’s face pack. 343-56) “If one were to discuss it in isolation, it would present a decidedly distorted interpretation of the poet’s attitude toward such matters” (p. 126) indicate an underlying assumption of a consistent, historical Ovid. The praeceptor encourages women to use these strategies, but not to the detriment and deception of men. J.-C. et 2 ap. Ovid builds youth into the recipes themselves, which perpetuates his narrative of a quest against age. 3.346–8). 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. Discussions of parody are based in the ambiguous definition of cultus. 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. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Amazon.com.au: Books General Overviews. Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. However, when the adjective describes a person it implies strictness and severity — qualities which come with age, if we refer to the portraits of old women in Roman comedy — Cleostrata in Plautus’ Casina, for example. Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. 2.118 and Ex Ponto 1.4.2 evidence a strong connection between the pastoral and cultus, and time and age. Johnson does some work to ameliorate this risk. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. 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). 351–6 is a commonly cited instance of this. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) Kindle Edition Author(s): Ovid. [27] Cf. 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. 23-26 (on male cultus). [5] This has even led Watson to construe the Medicamina as a didactic parody. R. Ehwald. [18] Ibid, 55: Ovid, Rem. [22] The praeceptor even introduces his first recipe with the claim that it will make faces ‘shine fresh and fair’ (discite age…candida quo possint ora nitere modo, 51–2)– a description which implies renewed youth, and a glowing complexion.[23]. Livia’s beauty secrets are secret no more. Ovid's next poem, the Medicamina Faciei, a fragmentary work on women's beauty treatments, preceded the Ars Amatoria, the Art of Love, a parody of didactic poetry and a three-book manual about seduction and intrigue, which has been dated to AD 2 (Books 1–2 would go back to 1 BC). edidit ex Rudolphi Merkelii recognitione. [30] While this is indeed the case, I propose to extend the link between cultus and nature into the temporal narrative of age. Conj. [24] However, this advice does not detract from the anti-age rhetoric concerning physical appearance. 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. [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. Everyday low prices and free delivery on eligible orders. While a variety of readers will find this book useful, it may be most welcome to scholars outside the traditional boundaries of Classics, in fields such as gender studies, cultural history, and history of medicine (though Classicists will also find much to marvel at in the intricacies of Roman makeup and hair-dressing). [19] The praeceptor strips away the layers of female cultus before his readership, forming a narrative which culminates in transparency. Johnson has written the book with a broad audience in mind: “it aims to make a modest contribution to the post-postmodern shift in the direction of a shedding of the rigidities of scholarly disciplines and specified scholarship within them” (p. xi). Johnson supplements the technical discussions with briefer discussions of literary elements of these didactic texts. [29] This also reaffirms that Ovid’s skincare advice is aimed at rejuvenation. Search for Library Items Search for Lists Search for Contacts Search for a Library. J.-C.-0017) Titre principal : Medicamina faciei (latin) Langue : latin: Genre ou forme de l’œuvre : Œuvres textuelles: Date : 2: Note : Poème de forme didactique dont il ne subsiste que le début, écrit entre 1 av. Eds A. D. Melville and Edward J. Kenney (2008) Oxford World's Classics: Ovid: Metamorphoses. 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. Od. This absence is likely due to a misreading of the Tibullan text, for Johnson takes the reference to carefully arranged hair at Tib. Découvrez Ovid Amores, Medicamina Faciei Femineae, Ars Amato ainsi que les autres livres de au meilleur prix sur Cdiscount. Es handelt sich also um ein frühes Werk. The texts are preceded by a substantial introduction, which offers both historical and literary context, arranged in five sections. [6] Johnson, 2016, 19: Rosati, 1985, 30–32 & Gibson, 2003, 145. 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. The first, “Now and then … making-over a woman,” introduces a topic that resurfaces in the commentaries, namely the similarities between ancient and modern beauty practices and attitudes toward physical appearance. J.] 1.8.9-10 to refer to the puella rather than to Marathus, which obscures the passage’s connection to Ovid’s discussions of male cultus. Livraison rapide ! Des milliers de livres avec la livraison chez vous en 1 jour ou en magasin avec -5% de réduction . [13] Green, 1979, Balsdon, 1962 & Wilkinson, 1960 all view the second fifty lines as textbook-like and scientific. Sterility is a result of, indeed, a lack of cultivation, but also of age. and one of “modern texts” (recent scholarship). Green, Peter. Oxford World's Classics: Ovid: The Love Poems. [4] Johnson, 2016; Rimell, 2006; Watson, 2001. 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. For the Sabine women mentioned in the praeceptor’s aetiological description in lines 11–16, cultus refers to pastoral cultivation, as in the Georgics. The praeceptor’s recipes in the Medicamina, unlike the didaxis of the Ars Amatoria, have a clinical style, with no explicit mythological allusion. 2. The former is organized by the name of the ancient author, but cited in the text by the name of the modern editor, which makes checking a reference much slower. [3], Wilkinson’s view that the Medicamina’s fragmentary state is ‘hardly a matter of regret’ has been rightly taken to task, most recently by Rimell, Watson, and Johnson, to name a few. While on one hand, the clinical recipes are the greatest hurdle in the search for a ‘narrative’, the praeceptor’s measurements, ingredients, and periphrastic directions have the precision of forensic evidence for these beautification rituals. 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 … Rosati’s parallels with similar lines in Ars Am. [34] Rhode, 2016, 704; it should also be noted that this discussion intersects with issues of race and class, as rightly outlined by Rhode, 2016, 703. However, for Ovid’s Augustan audience cultus refers to beautification. Ovid's five recipes contain 23 ingredients that have been identified. [28] As Rimell points out, Ovid markets cultus to improve on nature. Saeculo I a.Ch.n. [20] Cic. [1] Rosati, 1985, 42f; Watson, 2001, 457; Johnson, 2016, xii. These are small critiques. [25] The implication from the praeceptor’s chronological narrative, is that, through cultus, these women can pass as being in the ‘right season for love’. Ancient testimony on related topics, by authors from Alexis to Vitruvius, gives evidence of the range of ancient views of beauty. Bryn Mawr PA 19010. Two opposing narratives can be unearthed in Ovid’s Medicamina Faciei Femineae: one which sets the audience on a quest to allay the physical detriments of ageing; and one that, recipe by recipe, unveils female beautification processes to the rest of Ovid’s audience. This question introduces us to a second narrative. Damer, Erika Zimmerman. Ovide (0043 av. 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. It is about men and power.’[33] As modern consumers, we are often sold a narrative which simultaneously recommends a natural yet highly modified look. Planc. In this specific instance, another productive line of analysis could be comparison with Tibullus 1.8, which displays a different approach to male cultus : the (male) Marathus has adorned himself excessively to attract the (female) Pholoe, who herself looks lovely even with an “uncultivated face” ( inculto … ore, 1.8.15). [8] Ovid, Ars Am. Why not just write as a narrative or exposé? As Cokayne adds, poets ‘made it abundantly clear that only the young and beautiful were seen as love objects’, citing Propertius’ assertion that ‘girls must be in the right season for love’ (Prop. It can suggest a greater coherence than the passages might have in the context of the larger works. The poem falls at the beginning of Ovid’s erotodidactic corpus, and was probably composed just before the third book of the Ars Amatoria. Rather than money, however, Ovid’s capital is poetic skill. 141.22: wives should rely on conversation, character, and comradeship, rather than beauty. Am. [35] The praeceptor retains a monopoly on women’s bodily autonomy, which mirrors the marketing of our modern beauty industry. Ovid Medicamina Faciei. 25; Ver. This is echoed in a recent paper by Rhode: ‘Yet even as the culture expects women to conform, they often face ridicule for their efforts…But neither should women “let themselves go,” nor look as if they were trying too hard not to. The last passage ( A.A. 1.505-524) stands out in the collection as the only one that addresses male, rather than female, cultus. Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. 1855. [9] Alison Sharrock takes this a step further, and has argued that a quasi-narrative can be read in Ovid’s Ars Amatoria out of the implied action of the central characters, which is manifested through the ‘directly instructional parts of the text’. The Medicamina reads more comfortably as an exposé of women’s beauty rituals than as a rigidly didactic poem. In “High maintenance … the Roman body,” Johnson lays out the common practices and tools of ancient beautification, as known through textual and archaeological evidence. 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. Ovid on Cosmetics Medicamina Faciei Femineae and Related Texts The anti-age anti-narrative runs through the Medicamina’s recipes. Yet, Ovid simultaneously lifts the veil on these very processes. ; additional ancient sources of evidence; and literary criticism of the passages. 1. Cultivation improves the bitter juice of fruit, and the cleft tree gains adopted richness. The concept of cultus forms the cornerstone of the Medicamina. It is funded by Knowledge Unlatched.The Medicamina Faciei Femineae is a didactic elegy that showcases an early example of Ovid's trademark combination … Eds Anne Wiseman and Peter Wiseman (2013) Oxford Classical Texts: P. Ovidi Nasonis: Tristium Libri Quinque; Ibis; Ex Ponto Libri Quattuor; Halieutica … 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 … 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 Amazon.fr. 101 N. Merion Ave., 2.1.64; cf. Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. The stated aim is to preserve beauty (forma tueri), from deterioration, one assumes, rather than uplift it. At the beginning of each commentary, she situates the selected text within the larger work from which it was taken (essential context for a reader encountering these works for the first time). 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. Books Don’t Have to Be Serious to Be Important, The Complexity of the Self-Help Book Genre, The Future is Soon: a review of Burn-in by Peter Singer and August Cole, Brief Interviews and the brief, aching heart of man, A Conversation with the Author Who Coined 2020’s Term of the Year. Ovid Medicamina Faciei. The praeceptor’s inclusion of narcissus bulbs therefore has implications of perpetual youth. [3] Latin taken from Kenney’s Oxford Classical Text and all translations, as befits, are taken from Mozley’s Loeb, unless otherwise stated. Sacred Texts Archive: Ovid Amores, Ars Amatoria, Medicamina Faciei Femineae, Metamorphoses, Remedia Amoris. Volk argues that didactic poetry retains a narrative — the ‘didactic plot’ — which conveys the development of the poet’s instructions and the poem itself. 99–100). Nur der einleitende Teil und vier Rezepte haben sich erhalten. Beauty must seem natural — even, or especially, when it can only be accomplished through considerable unnatural effort.’ [34]. Love Books of Ovid at sacred-texts.ocm. Ovid, Met. This post is an adapted and condensed excerpt from an essay I recently submitted for my MPhil. For each passage, the English and Latin texts are divided by paragraph breaks into sections that correspond to the sections of the commentary—a formatting feature that greatly facilitates reading the text with the commentary. Discite quae faciem commendet cura, puellae, Et quo sit vobis forma tuenda modo. The praeceptor amoris compares the stages of a woman’s life to the four seasons, here referring to her youth as ‘spring-time’. Ovid’s love poems—more strictly understood as the Amores, Medicamina faciei femineae, Ars amatoria, Remedia amoris, and the Heroides —are seen as “love songs” within the larger framework of Ovid’s Fasti, Tristia, and Epistulae ex Ponto in Liveley 2005. The poem falls at the beginning of Ovid’s … Ovid; Ovid, Medicamina Faciei Femineae; Search the Perseus Catalog for: Editions/Translations; Author Group; View text chunked by: text: line; Table of Contents: Amores Epistulae (vel Heroides) Medicamina faciei femineae Ars Amatoria Remedia amoris Click on a word to bring up parses, dictionary entries, and frequency statistics. [28] Gibson, 2003, 113: ire is commonly used of the passage of time and water. ("Agamemnon", "Hom. 5 Cultus et in pomis sucos emendat acerbo, Fissaque adoptivas accipit arbor opes. Do you have a suggestion for a future topic? 1–2). Ovid is considered as a master of the elegiac couplet and is ranked among the canonic poets of Latin literature, alongside Virgil and Horace. Ovid can be read as responding to this Tibullan mismatch, both in A.A. 1.505-524 and in his repeated declaration that a certain standard of feminine cultus is needed to match the modern standards of male cultus ( A.A. 3.107-8; Med. [27] His comparison of the years of a woman’s life (anni) to flowing water (fluentis aquae), or a wave (unda) suggests that age and the pastoral are inherently linked by their connection to nature and their reliance on time. Vite ! Once again the poetic woman is contorted for the poet to showcase his skill, as Ovid maintains two opposing narratives simultaneously. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. [21], Then why advise? P. Ovidius Naso. Stanford Libraries' official online search tool for books, media, journals, databases, government documents and more. [14] Toohey, 1996, 161: it is unclear whether puellae refers to slaves or freedwomen, which blurs the audience further; all Latin taken from Kenney’s Oxford Classical Text and all translations, as befits, are taken from Mozley’s Loeb, unless otherwise stated. The first of these strips women of their beauty regimes before Ovid’s readership. [7] It is clear already from the poem’s interaction with extant didactic poetry that the Medicamina is most richly received when not read as purely didactic. 1979. “ Ars Gratia Cultus : Ovid as Beautician.” American Journal of Philology 100: 381-392. 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. The English translations that accompany each text are clear, accurate, and literal, with line numbers and line breaks that mirror the Latin original for easy reference. [Ovid. Cultus humum sterilem Cerealia pendere iussit Munera: mordaces interiere rubi; Cultus et in pomis sucos emendat acerbos, 5 Fissaque adoptivas accipit arbor opes. Achetez neuf ou d'occasion Anne Mahoney. 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. 14 ingredients are derived from plants, four from animals, and four from minerals. Ovid reassures that character is also important (ingenio facies conciliante placet, 44). Accompanied by a form of ipse, the verb videre is commonly attested in Cicero to denote an eye-witness account. Home. Caec. MARGUERITE JOHNSON, Ovid on cosmetics: Medicamina faciei femineae and related texts. London-New York: Bloomsbury Academic, 2016, xiii+171 pp., ISBN 978-1-4725-0657-3. 3–6). 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. The praeceptor journeys with his subjects from tenerae…puellae (17), to young women (18–24), to nuptae (25–6), to old age (formam populabitur aetas, 45) and then, using his recipes, back to their youth. WorldCat Home About WorldCat Help. 65–6). editio: incognita fons: incognitus. R. Ehwald. [4], But, how do we construe the Medicamina in the grand scheme of didactic poetry? [10] Sharrock, 2006, 24; cf. P. Ovidius Naso. 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. Six well-chosen images accompany the text of this section and show examples of these tools, such as cosmetics boxes, combs, and mirrors. Culta placent. 29.). Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) 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! 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 … In the hundred extant verses, Ovid…

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