The Poet in an Artificial Landscape: Ovid at Falerii

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dc.contributor.authorFarrell, Joseph
dc.date2023-05-17T16:23:54.000
dc.date.accessioned2023-05-22T13:02:44Z
dc.date.available2023-05-22T13:02:44Z
dc.date.issued2014-01-01
dc.date.submitted2017-01-03T08:33:14-08:00
dc.description.abstractFor Ovid, erotic elegy is a quintessentially urban genre. In the Amores, excursions outside the city are infrequent. Distance from the city generally equals distance from the beloved, and so from the life of the lover. This is peculiarly true of Amores, 3.13, a poem that seems to signal the end of Ovid’s career as a literary lover and to predict his future as a poet of rituals and antiquities. For a student of poetry, it is tempting to read the landscape of such a poem as purely symbolic; and I will begin by sketching such a reading. But, as we will see, testing this reading against what can be known about the actual landscape in which the poem is set forces a revision of the results. And this revision is twofold. In the first instance, taking into account certain specific features of the landscape makes possible the correction of the particular, somewhat limited interpretive hypothesis that a purely literary reading would most probably recommend, and this is valuable in itself. But paying more general attention to what can be known about this landscape over its long history raises some larger questions, most of which could hardly arise from a conventional literary reading. Nor, I should add, are such questions likely to arise from a consideration of landscape alone: it is the way in which literary and landscape studies seem to contradict one another, both superficially and on a deeper level, that makes this poem so fascinating. These contradictions cannot, in my view, be entirely resolved; and for this reason they give us an opportunity to reflect on certain theoretical issues that I will raise here only briefly, reserving them for fuller exploration elsewhere.
dc.identifier.citationFarrell, Joseph. (2014). “The Poet in an Artificial Landscape: Ovid at Falerii.” In D. P. Nelis and Manuel Royo (Eds.), Lire la Ville: fragments d’une archéologie littéraire de Rome antique (pp. 215–236). Bordeaux: Éditions Ausonius.
dc.identifier.urihttps://repository.upenn.edu/handle/20.500.14332/8006
dc.legacy.articleid1136
dc.legacy.fulltexturlhttps://repository.upenn.edu/cgi/viewcontent.cgi?article=1136&context=classics_papers&unstamped=1
dc.rightsPosted with permission from Ausonius Editions (http://ausoniuseditions.u-bordeaux-montaigne.fr/).
dc.source.beginpage215
dc.source.endpage236
dc.source.issue128
dc.source.journalDepartmental Papers (Classical Studies)
dc.source.journaltitleLire la Ville: Fragments d’une Archéologie Littéraire de Rome Antique
dc.source.statuspublished
dc.subject.otherArts and Humanities
dc.subject.otherClassics
dc.titleThe Poet in an Artificial Landscape: Ovid at Falerii
dc.typeBook Chapter
digcom.contributor.authorisAuthorOfPublication|email:jfarrell@sas.upenn.edu|institution:University of Pennsylvania|Farrell, Joseph
digcom.identifierclassics_papers/128
digcom.identifier.contextkey9508905
digcom.identifier.submissionpathclassics_papers/128
digcom.typechapter
dspace.entity.typePublication
relation.isAuthorOfPublicationc6f5c1b6-35a7-4d44-b41e-14238dec76c6
relation.isAuthorOfPublication.latestForDiscoveryc6f5c1b6-35a7-4d44-b41e-14238dec76c6
upenn.schoolDepartmentCenterDepartmental Papers (Classical Studies)
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