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ovid medicamina faciei femineae

[21] Gamel, 2012, 339, 353; Toohey, 1996, 162. This is picked up in Cokayne’s rejection of the idea that a woman’s status would decline as she aged. Create lists, bibliographies and reviews: or Search WorldCat. The Ovid of the Medicamina is not necessarily the Ovid of the Amores, for example. 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. 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. Vite ! For example: Sextantemque trahat gummi cum semine Tusco: Let gum and Tuscan seed weigh a sixth part of a pound, and let nine times as much honey go to that. [26] This interpretation is founded in Ovid’s approach to age and the pastoral more generally: dum licet, et vernos etiamnum educitis annos. Once again the poetic woman is contorted for the poet to showcase his skill, as Ovid maintains two opposing narratives simultaneously. The second narrative is one of chronology and age. ; additional ancient sources of evidence; and literary criticism of the passages. The ideals set out for women are unattainable, and therefore ‘their task is boundless’, as Rhode writes. [24] However, this advice does not detract from the anti-age rhetoric concerning physical appearance. 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 Ovid’s references to the pastoral bring together the two meanings to foster the anti-ageing, temporal narrative. By tracing women’s lifetimes, both aetiologically and chronologically, the praeceptor implements elegy’s topos of fading beauty. WorldCat Home About WorldCat Help. 3.346–8). 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. Love Books of Ovid at sacred-texts.ocm. [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. Caec. allusion, voice, persona, and so on). Accompanied by a form of ipse, the verb videre is commonly attested in Cicero to denote an eye-witness account. [Ovid. Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. 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. 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 stated aim is to preserve beauty (forma tueri), from deterioration, one assumes, rather than uplift it. This question introduces us to a second narrative. When asked whether this child would live to reach well-ripened age, the seer replied: “If he ne’er know himself.” — (Ovid, Met. — (Ovid, Med. — (Ovid. Culta placent: auro sublimia tecta linuntur; Nigra sub … 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. Home. 101 N. Merion Ave., [4], But, how do we construe the Medicamina in the grand scheme of didactic poetry? [4] Johnson, 2016; Rimell, 2006; Watson, 2001. 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! Cultus humum sterilem Cerealia pendere iussit Munera: mordaces interiere rubi; Cultus et in pomis sucos emendat acerbos, 5 Fissaque adoptivas accipit arbor opes. Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. ; Centre Traditio Litterarum Occidentalium.] 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). Livia’s beauty secrets are secret no more. The texts assembled in Ovid on Cosmetics are often discussed together, since they address similar topics and were composed in relatively close succession. 1–2). Nur der einleitende Teil und vier Rezepte haben sich erhalten. Rosati’s parallels with similar lines in Ars Am. 2.15.21). 1. and one of “modern texts” (recent scholarship). 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). 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. Saeculo I a.Ch.n. Discussions of parody are based in the ambiguous definition of cultus. [31] Plautus, Casina, 153–63, for example. 15.199–213: Pythagoras explicitly compares the four seasons to human life. Découvrez Ovid Amores, Medicamina Faciei Femineae, Ars Amato ainsi que les autres livres de au meilleur prix sur Cdiscount. This absence is likely due to a misreading of the Tibullan text, for Johnson takes the reference to carefully arranged hair at Tib. One of the delightful surprises of the Medicamina is Ovid’s emphasis on women taking pleasure in their beauty for themselves. 2. Exploring female beauty and cosmeceuticals, with particular emphasis on the concept of cultus, the poem presents five practical recipes for treatments for Roman women. 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. As Naomi Wolf puts it, ‘[T]he beauty myth is not about women at all. ×Your email address will not be published. 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. [21], Then why advise? Eds Anne Wiseman and Peter Wiseman (2013) Oxford Classical Texts: P. Ovidi Nasonis: Tristium Libri Quinque; Ibis; Ex Ponto Libri Quattuor; Halieutica … Bryn Mawr PA 19010. 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). [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. [17] Her reading is founded in the idea that the process of beautification must not be seen, and that the reader has interrupted a woman at her dressing table. Do you have an idea to share with your friends? Ovid, Met. Search. 351–6 is a commonly cited instance of this. The five Ovidian passages are: the surviving hundred lines of the Medicamina Faciei Femineae; Amores 1.14; Ars Amatoria 3.101-250; Remedia Amoris 343-356; and Ars Amatoria 1.505-524. 2.118 and Ex Ponto 1.4.2 evidence a strong connection between the pastoral and cultus, and time and age. Ovid Medicamina Faciei. De medicamine faciei, auch bezeichnet mit dem Titel Medicamina faciei femineae, ist ein pharmakologisch-kosmetisches Lehrgedicht des römischen Dichters Publius Ovidius Naso. 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 major contribution of this work is that it makes accessible a wide range of evidence about ancient beautification. 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 section “Ovid on cultus, munditia, and ars ” introduces and defines the three key terms in Ovid’s discussions of beauty. 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. The Ars Amatoria, which is often paired with the Medicamina, is addressed to women, but has Ovid’s male audience at its core. 23-8) —an argument that strikes me as deserving further comment than it receives. edidit ex Rudolphi Merkelii recognitione. This usefully updates Green’s work.1 So, ladies, provided you can get your hands on some red natron gum and a rough millstone, you can concoct for yourself Ovid’s treatment that promises a gleaming face. [27] Cf. Conj. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. Johnson does some work to ameliorate this risk. London-New York: Bloomsbury Academic, 2016, xiii+171 pp., ISBN 978-1-4725-0657-3. General Overviews. [13] Green, 1979, Balsdon, 1962 & Wilkinson, 1960 all view the second fifty lines as textbook-like and scientific. Similarly, eggs (85) and honey (98) are animal products which represent rebirth and springtime pollination, and are arguably also ingredients which symbolise youth. 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). Culta placent. The poem falls at the beginning of Ovid’s … The hypocrisy here does not amount to shaming women, but to exposing them. (ISBN: 9780198149699) from Amazon's Book Store. 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. Ovid is considered as a master of the elegiac couplet and is ranked among the canonic poets of Latin literature, alongside Virgil and Horace. J.] [23] Kenney gives dic, which is disputed in Rosati and Goold. There is, however, a risk inherent in this kind of collection. 3.569, Virgil, Aeneid 2.499. 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. It is made clear that these beautification rituals are necessary to counter the ravages of age — a hypocrisy which is mirrored in our modern beauty standards.[12]. [6] Johnson, 2016, 19: Rosati, 1985, 30–32 & Gibson, 2003, 145. 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. Born in Sulmo (east of Rome) in 43 BC , Ovid trained as an orator before crafting his art as one of the canonical poets of Latin literature. 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). Upon attempting to read a narrative into the Medicamina, I believe that two contradictory ones are in fact uncovered. The Medicamina is first and foremost an exercise in male power. P. Ovidius Naso. 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. 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. [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. 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. [19] The praeceptor strips away the layers of female cultus before his readership, forming a narrative which culminates in transparency. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Amazon.com.au: Books 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. [20] This perpetuates a relatively linear narrative of transparency and, recipe by recipe, the praeceptor peels back the façade created by female cultus. [15] Sharrock views the lack of a named addressee in the Ars Amatoria as a means to slip between “Reader” and “reader”, or primary and external audience respectively. R. Ehwald. Calvin Blanchard. The types of analysis laid out in the introduction guide the discussions in the commentaries, which develop three main topics: the technical aspects of cosmeceuticals, adornment, etc. 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. [32] She argues that the moral takeaway is that one cannot use a mirror without also being vulnerable to its powers. 5 Cultus et in pomis sucos emendat acerbo, Fissaque adoptivas accipit arbor opes. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) [Ovid, Kenney, E. 2013-2014. “Gender Reversals and Intertextuality in Tibullus.” The Classical World 107 (4): 493-514. For the Sabine women mentioned in the praeceptor’s aetiological description in lines 11–16, cultus refers to pastoral cultivation, as in the Georgics. 1855. The praeceptor encourages women to use these strategies, but not to the detriment and deception of men. This can draw our attention to important connections, but may also allow us to overlook others and encourage us to read “Ovid on cosmetics” as a coherent entity. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. [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’. Reflection and age are intertwined in Ovid’s account of the myth in the Metamorphoses: fatidicus vates “si se non noverit” inquit. 1, 17, 26; Watson, 2001, 461 discusses the associations of cultus with ‘whorish behaviour’; see Ziogas, 2014, 736 for Ovid’s ‘socially unrecognisable’ readership in the Ars Amatoria. 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). [18] Ibid, 55: Ovid, Rem. 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 … 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. R. Ehwald. I read circumstantial, periphrastic descriptions as equivalent to legal eye-witness testimony, rather than rigid instruction. Johnson applies to these texts a multidisciplinary analysis that takes evidence from the fields of archaeology, history, philology, and even dermatology and horticulture to elucidate the technical details of ancient beauty practices. Noté /5. 69; Div. MARGUERITE JOHNSON, Ovid on cosmetics: Medicamina faciei femineae and related texts. Es handelt sich also um ein frühes Werk. (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. ("Agamemnon", "Hom. 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. cultus humum sterilem Cerealia pendere iussit munera, mordaces interiere rubi; 5 cultus et in pomis sucos emendat acerbos, fissaque adoptivas accipit arbor opes. He also wrote smaller pieces like the “Remedia Amoris” and “Medicamina Faciei Femineae”. The first of these strips women of their beauty regimes before Ovid’s readership. Noté /5. Medicamina Faciei Femineae and Related Texts, Ovid on Cosmetics, Marguerite Johnson, Bloomsbury Academic. Beauty must seem natural — even, or especially, when it can only be accomplished through considerable unnatural effort.’ [34]. editio: incognita fons: incognitus. 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. Its advice centres around men’s actions, and how women should respond to them.[8]. Medicamina Faciei Femineae. However, for Ovid’s Augustan audience cultus refers to beautification.

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