Parallel latin & English texts.

Students of Latin have long enjoyed the poetry of Ovid, but his love poems, aptly titled Amores, have proved more difficult to introduce into the classroom. Curricular changes and increased appreciation of sophisticated love poetry are finally making room for the Amores. This edition of the first book of the Amores—the only one available for both intermediate- and advanced-level classes—addresses the needs of students of varying abilities and experience, helping them comprehend, and more fully enjoy, the rich complexities of Ovid's poetry. In their introduction to the volume, Maureen B. Ryan and Caroline A. Perkins recount Ovid's career as a poet, describe the elegiac genre, and explain elegiac meter and style. For the Latin text, they briefly introduce each poem, acquainting students with relevant subject matter and themes. Their commentary provides helpful notes clarifying grammatical constructions, word order, ellipsis, and other complexities of the Latin language that can challenge even the most experienced student. On the assumption that students will gain skills as they work through each poem, Ryan and Perkins give extensive and repeated assistance at the beginning of the text, tapering off as the student's facility increases. Throughout their commentary, they highlight thematic points of interest; explain mythological, cultural, and literary allusions; and stress the importance of Ovid's literary innovations. In addition to the critical apparatus accompanying each poem, this volume features a glossary of literary terms, a comprehensive Latin-to-English vocabulary, and an up-do-date bibliography.

Offers detailed reading of the Amores, oriented toward the writer's and reader's pleasure, that reframes the discussion around elegy and identity.

This is the first intermediate-student edition of a selection from Ovid's Amores. Poems 2.2, 2.4, 2.6, 2.10, 2.12 are included as Latin text with an accompanying commentary and vocabulary. Focusing on a deliberately limited number of poems, this edition is designed to be manageable for students reading the text for the first time while also perfectly encapsulating the interest of Ovid's other work and inspiring further study of it. A detailed introduction explains points of historical and stylistic interest, including analysis of a further six poems: 2.1, 2.9 (both parts), 2.11, 2.15, 2.17, 2.18. Ovid's Amores represent the culmination of Roman love elegy, and the selection from Book II presented here shows the poet at the height of his literary and sexual powers. From dead parrots and eunuch slaves to the elusive mistress Corinna, Ovid teases and tantalises, deftly reworking themes and motifs from his elegiac predecessors to produce verse of effortless sophistication, wit and charm, poems that for the last two thousand years have scandalised and delighted readers in equal measure.

The first book of its kind, Marlowe's Ovid explores and analyzes in depth the relationship between the Elegies-Marlowe's translation of Ovid's Amores-and Marlowe's own dramatic and poetic works. Stapleton carefully considers Marlowe's Elegies in the context of his seven known dramatic works and his epyllion, Hero and Leander, and offers a different way to read Marlowe. Stapleton employs Marlowe's rendition of the Amores as a way to read his seven dramatic productions and his narrative poetry while engaging with previous scholarship devoted to the accuracy of the translation and to bibliographical issues. The author focuses on four main principles: the intertextual relationship of the Elegies to the rest of the author's canon; its reflection of the influence of Erasmian humanist pedagogy, imitatio and aemulatio; its status as the standard English Amores until the Glorious Revolution, part of the larger phenomenon of pan-European Renaissance Ovidianism; its participation in the genre of the sonnet sequence. He explores how translating the Amores into the Elegies profited Marlowe as a writer, a kind of literary archaeology that explains why he may have commenced such an undertaking. Marlowe's Ovid adds to the body of scholarly work in a number of subfields, including classical influences in English literature, translation, sexuality in literature, early modern poetry and drama, and Marlowe and his milieu.

The most sophisticated and daring poetic ironist of the early Roman Empire, Publius Ovidius Naso, is perhaps best known for his oft-imitated Metamorphoses. But the Roman poet also wrote lively and lewd verse on the subjects of love, sex, marriage, and adultery—a playful parody of the earnest erotic poetry traditions established by his literary ancestors. The Amores, Ovid's first completed book of poetry, explores the conventional mode of erotic elegy with some subversive and silly twists: the poetic narrator sets up a lyrical altar to an unattainable woman only to knock it down by poking fun at her imperfections. Ars Amatoria takes the form of didactic verse in which a purportedly mature and experienced narrator instructs men and women alike on how to best play their hands at the long con of love. Ovid's Erotic Poems offers a modern English translation of the Amores and Ars Amatoria that retains the irreverent wit and verve of the original. Award-winning poet Len Krisak captures the music of Ovid's richly textured Latin meters through rhyming couplets that render the verse as playful and agile as it was meant to be. Sophisticated, satirical, and wildly self-referential, Ovid's Erotic Poems is not just a wickedly funny send-up of romantic and sexual mores but also a sharp critique of literary technique and poetic convention.