Propertius is a poet of the Augustan period, a successor of the great Hellenistic elegiac poets Callimachus and Philitas, and a precursor of Ovid. His account of his fictionalized affair with his beloved alter ego Cynthia is the purest expression of the spirit of love elegy, setting them as a pair against war, epic and (apparently) Augustus himself. The treatment of their love is tender and at times delightfully macabre, in pursuing their love beyond the grave. This is a text read by virtually all students of Classical Latin, and it is now available in a radical new edition, more readable and based on the latest research into the manuscript tradition. This is fully explained in the English preface, which also contains important comments on the way texts are edited and read. Some significant emendations discovered in the papers of A. E. Housman are published here for the first time.

Classical Constructions is a collection of ground-breaking and scholarly papers on Latin literature by a number of distinguished Classicists, produced in memory of Don Fowler, who died in 1999 at the age of 46. The authors were all inspired by the desire to commemorate a beloved colleague and friend and have produced papers of great freshness and insight. The essays, including that by Don Fowler himself, are much concerned with the reception of theclassical world, extending into the realms of modern philosophy, art history, and cultural studies. There are fundamental studies of Horace''s style and Ovid''s exile. The volume is unusual in the informality of the style of a number of pieces, and the openness with which the contributors have reminisced about thehonorand and reflected on his early death.

Propertius is a poet of the Augustan period, a successor of the great Hellenistic elegiac poets Callimachus and Philitas, and a precursor of Ovid. His account of his fictionalized affair with his beloved alter ego Cynthia is the purest expression of the spirit of love elegy, setting them as a pair against war, epic, and (apparently) Augustus himself. This is an author read by virtually all students of Classical Latin. Cynthia provides a lucid attempt to understand and correct the many difficulties in the transmitted text. It consists of a commentary on the whole corpus, together with a prose translation (including alternative versions of ambiguous phrasing). In its clear exposition of technical problems, the book will serve as an introduction to Latin textual criticism in the modern age, and to elegiac poetic style.

Propertius is a poet of the Augustan period, a successor of the great Hellenistic elegiac poets Callimachus and Philitas, and a precursor of Ovid. His account of his fictionalized affair with his beloved alter ego Cynthia is the purest expression of the spirit of love elegy, setting them as a pair against war, epic and (apparently) Augustus himself. The treatment of their love is tender and at times delightfully macabre, in pursuing their love beyond the grave. This is a text read by virtually all students of Classical Latin, and it is now available in a radical new edition, more readable and based on the latest research into the manuscript tradition. This is fully explained in the English preface, which also contains important comments on the way texts are edited and read. Some significant emendations discovered in the papers of A. E. Housman are published here for the first time.

The Aeneid, generally considered the greatest poem of Roman literature, is a story of migration, and Book 3 is at the heart of this story-the arrestingly dramatic account that Aeneas gives to the Carthaginian Queen Dido of his people's journey from the sacked city of Troy. This journey sees them encounter a series of brilliantly characterized individuals and visit some of the most extraordinary places in the central Mediterranean, both real and imaginary: shrines and volcanoes, floating islands and monsters. Yet though it is on one level a thrilling traveller's tale, it is also a profound story of a voyage from a dead past to an uncertain, but ultimately glorious, future in Augustan Rome. This new edition contains an introduction, the Latin text, and a detailed commentary, as well as an extensive Appendix illustrating the rich variety of texts that Vergil used as his models through an ample collection of relevant passages: from the heroic voyages described in the Odyssey and the Argonautica, to tragic explorations of the aftermath of Troy's fall (especially Euripides' Hecuba, Troades, and Andromache) and texts on Delos and Etna. The introduction grounds the book in its historical and literary contexts, while the commentary itself aims to bring out the poet's artistry and learning, keeping the dramatic situation of Aeneas' story-telling in view throughout. Translations of all cited Latin and Greek and regular references to Roman history will provide readers new and old with a clear understanding not only of the original text, but also of the poet's vision of Rome, history, and humanity.

The Aeneid, generally considered the greatest poem of Roman literature, is a story of migration, and Book 3 is at the heart of this story-the arrestingly dramatic account that Aeneas gives to the Carthaginian Queen Dido of his people's journey from the sacked city of Troy. This journey sees them encounter a series of brilliantly characterized individuals and visit some of the most extraordinary places in the central Mediterranean, both real and imaginary: shrines and volcanoes, floating islands and monsters. Yet though it is on one level a thrilling traveller's tale, it is also a profound story of a voyage from a dead past to an uncertain, but ultimately glorious, future in Augustan Rome. This new edition contains an introduction, the Latin text, and a detailed commentary, as well as an extensive Appendix illustrating the rich variety of texts that Vergil used as his models through an ample collection of relevant passages: from the heroic voyages described in the Odyssey and the Argonautica, to tragic explorations of the aftermath of Troy's fall (especially Euripides' Hecuba, Troades, and Andromache) and texts on Delos and Etna. The introduction grounds the book in its historical and literary contexts, while the commentary itself aims to bring out the poet's artistry and learning, keeping the dramatic situation of Aeneas' story-telling in view throughout. Translations of all cited Latin and Greek and regular references to Roman history will provide readers new and old with a clear understanding not only of the original text, but also of the poet's vision of Rome, history, and humanity.

The Fasti is Ovid's six-book elegy on the first six months of the Roman calendar; it brings the ancient city to life in a way that few other texts achieve. Nevertheless there has been no previous Oxford Classical Text: this book serves as a companion to the OCT published simultaneously. It consists of four parts: (i) a detailed description of the manuscripts used; (ii) notes on the text, passage by passage, book by book; (iii) translations of the six books as printed in the OCT; (iv) a list of errors in the MSS, sorted by type.Although published under Tiberius, the earliest copy of the Fasti belongs to the 10th century, and even that survives for just over four books. We are mainly dependent on the more than thirty copies dating from 1050 to 1250, a period when there was intense interest in the poem, spreading from the great Benedictine abbeys. The first section describes 26 manuscripts (including three from the 15th century), and explores their character, history, and interconnexions.The notes are the core of the volume: they explain and justify the text printed in the OCT; and as an acknowledgement that no text is definitive, they attempt to contribute to ongoing debate about the correct readings and the meaning and significance of each couplet, and about the poet's style. Though the discussion in the notes is primarily textual, at times there is consideration of thorny questions of Roman topography, religion, history, and the calendar. Before each section, there are selective bibliographies, including items of importance for literary interpretation or textual criticism.The volume culminates in an English translation of the text printed in the OCT, and a catalogue of mistakes made by the scribes, with a particular focus on categories such as anagrams, mistakes in the middle of words, contextual and semantic substitutions, interpolations, and intrusive glosses.

Classical Constructions is a collection of ground-breaking and scholarly papers on Latin literature by a number of distinguished Classicists, produced in memory of Don Fowler, who died in 1999 at the age of 46. The authors were all inspired by the desire to commemorate a beloved colleague and friend and have produced papers of great freshness and insight. The essays, including that by Don Fowler himself, are much concerned with the reception of the classical world, extending into the realms of modern philosophy, art history, and cultural studies. There are fundamental studies of Horace's style and Ovid's exile. The volume is unusual in the informality of the style of a number of pieces, and the openness with which the contributors have reminisced about the honorand and reflected on his early death.

Propertius is a poet of the Augustan period, a successor of the great Hellenistic elegiac poets Callimachus and Philitas, and a precursor of Ovid. His account of his fictionalized affair with his beloved alter ego Cynthia is the purest expression of the spirit of love elegy, setting them as a pair against war, epic, and (apparently) Augustus himself. This is an author read by virtually all students of Classical Latin. Cynthia provides a lucid attempt to understand and correct the many difficulties in the transmitted text. It consists of a commentary on the whole corpus, together with a prose translation (including alternative versions of ambiguous phrasing). In its clear exposition of technical problems, the book will serve as an introduction to Latin textual criticism in the modern age, and to elegiac poetic style.

Propertius is a poet of the Augustan period, a successor of the great Hellenistic elegiac poets Callimachus and Philitas, and a precursor of Ovid. His account of his fictionalized affair with his beloved alter ego Cynthia is the purest expression of the spirit of love elegy, setting them as a pair against war, epic, and (apparently) Augustus himself. This is an author read by virtually all students of Classical Latin. Cynthia provides a lucid attempt to understand and correct the many difficulties in the transmitted text. It consists of a commentary on the whole corpus, together with a prose translation (including alternative versions of ambiguous phrasing). In its clear exposition of technical problems, the book will serve as an introduction to Latin textual criticism in the modern age, and to elegiac poetic style.

The most passionate, individual, and controversial of the Latin love elegists, Propertius in Book 3 covers a broad range of subject matter and a vast geographical reach. After books focused on his mistress Cynthia, he maintains his elegiac role but expands his range to provide a lover's commentary on life, discussing luxury, nudity, art, the empire, and the dangers of travel for profit and war. This detailed commentary uses the text recently published in the Oxford Classical Texts series, and sets out to build on the richness of the material in the book by providing clear introductions to the genres the poems explore - the Greek elegy of Callimachus, epic, tragedy, hymn and epigram - and to topics such as patronage, philosophy, and the images of love as slavery and as warfare.

The most passionate, individual, and controversial of the Latin love elegists, Propertius in Book 3 covers a broad range of subject matter and a vast geographical reach. After books focused on his mistress Cynthia, he maintains his elegiac role but expands his range to provide a lover's commentary on life, discussing luxury, nudity, art, the empire, and the dangers of travel for profit and war. This detailed commentary uses the text recently published in the Oxford Classical Texts series, and sets out to build on the richness of the material in the book by providing clear introductions to the genres the poems explore - the Greek elegy of Callimachus, epic, tragedy, hymn and epigram - and to topics such as patronage, philosophy, and the images of love as slavery and as warfare.

The Fasti is Ovid's six-book elegy on the first six months of the Roman calendar; it brings the ancient city to life in a way that few other texts achieve. Nevertheless there has been no previous Oxford Classical Text of the poem. This new edition is founded on thorough re-examination both of the medieval manuscript tradition and of the poet's style and heritage. Besides the text itself, it focuses on providing information about the manuscripts and their readings; editorial judgements are explained in a companion volume, along with broader discussion of the manuscripts.The Fasti was conceived as a sister poem to the Metamorphoses, as is shown in the first two books of Ovid's Tristia (poems from exile). Each reflects on time from creation to the poet's own day through multiple narratives: whereas the epic has a meandering flow from beginning to end, the elegiac poem breaks its stories into disconnected units, day by day. Direct and implicit references to exile show that the poet wants us to see the poem as written in Rome and in Tomis, before exile and years later, after the death of Augustus. Tristia 2.549–50 tells us that books 7–12 were drafted; their absence from the transmitted work points to a reluctance to celebrate the imperial regime by writing of July and August. The political edge such elements give to the poem has appealed to modern readers, which has attracted rich scholarly attention in recent decades. But there has been no new independent edition since 1978.Although published under Tiberius, the earliest copy of the Fasti belongs to the 10th century, and even that survives for just over four books. We are mainly dependent on the more than thirty copies dating from 1050 to 1250, a period when there was intense interest in the poem, spreading from the great Benedictine abbeys: it was a source of information on ancient myth, history, and the calendar. This edition focuses on 22 of these, outlining the value of each in the preface, and using them to establish the critical apparatus. A few humanistic copies complete the picture.

Ovid is now firmly established as a central figure in the Latin poetic canon, and his Fasti is his most complex elegy. Drafted alongside the Metamorphoses before the poet's exile, it was only published after the death of Augustus, and involves a wide range of myth, Roman history, religion, astronomy and explication of the calendar. In its aetiology and conversations with gods, it is a Latin equivalent of Callimachus' Aetia. This invaluable new commentary on a central book of the poem explores Ovid's playful inversion of genre, his witty but challenging style of Latin, his use of the elegiac couplet, intertextuality and much more. With a comprehensive introduction providing key background for students and instructors, this guide to Book 3, the first in English for nearly a century, makes use of the latest scholarly research to illuminate Ovid's wide-ranging and amusing account of Roman life.

Ovid is now firmly established as a central figure in the Latin poetic canon, and his Fasti is his most complex elegy. Drafted alongside the Metamorphoses before the poet's exile, it was only published after the death of Augustus, and involves a wide range of myth, Roman history, religion, astronomy and explication of the calendar. In its aetiology and conversations with gods, it is a Latin equivalent of Callimachus' Aetia. This invaluable new commentary on a central book of the poem explores Ovid's playful inversion of genre, his witty but challenging style of Latin, his use of the elegiac couplet, intertextuality and much more. With a comprehensive introduction providing key background for students and instructors, this guide to Book 3, the first in English for nearly a century, makes use of the latest scholarly research to illuminate Ovid's wide-ranging and amusing account of Roman life.

Ovid is now firmly established as a central figure in the Latin poetic canon, and his Fasti is his most complex elegy. Drafted alongside the Metamorphoses before the poet''s exile, it was only published after the death of Augustus, and involves a wide range of myth, Roman history, religion, astronomy and explication of the calendar. In its aetiology and conversations with gods, it is a Latin equivalent of Callimachus'' Aetia. This invaluable new commentary on a central book of the poem explores Ovid''s playful inversion of genre, his witty but challenging style of Latin, his use of the elegiac couplet, intertextuality and much more. With a comprehensive introduction providing key background for students and instructors, this guide to Book 3, the first in English for nearly a century, makes use of the latest scholarly research to illuminate Ovid''s wide-ranging and amusing account of Roman life.

Propertius is a poet of the Augustan period, a successor of the great Hellenistic elegiac poets Callimachus and Philitas, and a precursor of Ovid. His account of his fictionalized affair with his beloved alter ego Cynthia is the purest expression of the spirit of love elegy, setting them as a pair against war, epic and (apparently) Augustus himself. The treatment of their love is tender and at times delightfully macabre, in pursuing their love beyond the grave. This is a text read by virtually all students of Classical Latin, and it is now available in a radical new edition, more readable and based on the latest research into the manuscript tradition. This is fully explained in the English preface, which also contains important comments on the way texts are edited and read. Some significant emendations discovered in the papers of A. E. Housman are published here for the first time.

Classical Constructions is a collection of ground-breaking and scholarly papers on Latin literature by a number of distinguished Classicists, produced in memory of Don Fowler, who died in 1999 at the age of 46. The authors were all inspired by the desire to commemorate a beloved colleague and friend and have produced papers of great freshness and insight. The essays, including that by Don Fowler himself, are much concerned with the reception of theclassical world, extending into the realms of modern philosophy, art history, and cultural studies. There are fundamental studies of Horace''s style and Ovid''s exile. The volume is unusual in the informality of the style of a number of pieces, and the openness with which the contributors have reminisced about thehonorand and reflected on his early death.

Propertius is a poet of the Augustan period, a successor of the great Hellenistic elegiac poets Callimachus and Philitas, and a precursor of Ovid. His account of his fictionalized affair with his beloved alter ego Cynthia is the purest expression of the spirit of love elegy, setting them as a pair against war, epic, and (apparently) Augustus himself. This is an author read by virtually all students of Classical Latin. Cynthia provides a lucid attempt to understand and correct the many difficulties in the transmitted text. It consists of a commentary on the whole corpus, together with a prose translation (including alternative versions of ambiguous phrasing). In its clear exposition of technical problems, the book will serve as an introduction to Latin textual criticism in the modern age, and to elegiac poetic style.

Propertius is a poet of the Augustan period, a successor of the great Hellenistic elegiac poets Callimachus and Philitas, and a precursor of Ovid. His account of his fictionalized affair with his beloved alter ego Cynthia is the purest expression of the spirit of love elegy, setting them as a pair against war, epic and (apparently) Augustus himself. The treatment of their love is tender and at times delightfully macabre, in pursuing their love beyond the grave. This is a text read by virtually all students of Classical Latin, and it is now available in a radical new edition, more readable and based on the latest research into the manuscript tradition. This is fully explained in the English preface, which also contains important comments on the way texts are edited and read. Some significant emendations discovered in the papers of A. E. Housman are published here for the first time.

The Aeneid, generally considered the greatest poem of Roman literature, is a story of migration, and Book 3 is at the heart of this story-the arrestingly dramatic account that Aeneas gives to the Carthaginian Queen Dido of his people's journey from the sacked city of Troy. This journey sees them encounter a series of brilliantly characterized individuals and visit some of the most extraordinary places in the central Mediterranean, both real and imaginary: shrines and volcanoes, floating islands and monsters. Yet though it is on one level a thrilling traveller's tale, it is also a profound story of a voyage from a dead past to an uncertain, but ultimately glorious, future in Augustan Rome. This new edition contains an introduction, the Latin text, and a detailed commentary, as well as an extensive Appendix illustrating the rich variety of texts that Vergil used as his models through an ample collection of relevant passages: from the heroic voyages described in the Odyssey and the Argonautica, to tragic explorations of the aftermath of Troy's fall (especially Euripides' Hecuba, Troades, and Andromache) and texts on Delos and Etna. The introduction grounds the book in its historical and literary contexts, while the commentary itself aims to bring out the poet's artistry and learning, keeping the dramatic situation of Aeneas' story-telling in view throughout. Translations of all cited Latin and Greek and regular references to Roman history will provide readers new and old with a clear understanding not only of the original text, but also of the poet's vision of Rome, history, and humanity.

The Aeneid, generally considered the greatest poem of Roman literature, is a story of migration, and Book 3 is at the heart of this story-the arrestingly dramatic account that Aeneas gives to the Carthaginian Queen Dido of his people's journey from the sacked city of Troy. This journey sees them encounter a series of brilliantly characterized individuals and visit some of the most extraordinary places in the central Mediterranean, both real and imaginary: shrines and volcanoes, floating islands and monsters. Yet though it is on one level a thrilling traveller's tale, it is also a profound story of a voyage from a dead past to an uncertain, but ultimately glorious, future in Augustan Rome. This new edition contains an introduction, the Latin text, and a detailed commentary, as well as an extensive Appendix illustrating the rich variety of texts that Vergil used as his models through an ample collection of relevant passages: from the heroic voyages described in the Odyssey and the Argonautica, to tragic explorations of the aftermath of Troy's fall (especially Euripides' Hecuba, Troades, and Andromache) and texts on Delos and Etna. The introduction grounds the book in its historical and literary contexts, while the commentary itself aims to bring out the poet's artistry and learning, keeping the dramatic situation of Aeneas' story-telling in view throughout. Translations of all cited Latin and Greek and regular references to Roman history will provide readers new and old with a clear understanding not only of the original text, but also of the poet's vision of Rome, history, and humanity.

The Fasti is Ovid's six-book elegy on the first six months of the Roman calendar; it brings the ancient city to life in a way that few other texts achieve. Nevertheless there has been no previous Oxford Classical Text: this book serves as a companion to the OCT published simultaneously. It consists of four parts: (i) a detailed description of the manuscripts used; (ii) notes on the text, passage by passage, book by book; (iii) translations of the six books as printed in the OCT; (iv) a list of errors in the MSS, sorted by type.Although published under Tiberius, the earliest copy of the Fasti belongs to the 10th century, and even that survives for just over four books. We are mainly dependent on the more than thirty copies dating from 1050 to 1250, a period when there was intense interest in the poem, spreading from the great Benedictine abbeys. The first section describes 26 manuscripts (including three from the 15th century), and explores their character, history, and interconnexions.The notes are the core of the volume: they explain and justify the text printed in the OCT; and as an acknowledgement that no text is definitive, they attempt to contribute to ongoing debate about the correct readings and the meaning and significance of each couplet, and about the poet's style. Though the discussion in the notes is primarily textual, at times there is consideration of thorny questions of Roman topography, religion, history, and the calendar. Before each section, there are selective bibliographies, including items of importance for literary interpretation or textual criticism.The volume culminates in an English translation of the text printed in the OCT, and a catalogue of mistakes made by the scribes, with a particular focus on categories such as anagrams, mistakes in the middle of words, contextual and semantic substitutions, interpolations, and intrusive glosses.

Classical Constructions is a collection of ground-breaking and scholarly papers on Latin literature by a number of distinguished Classicists, produced in memory of Don Fowler, who died in 1999 at the age of 46. The authors were all inspired by the desire to commemorate a beloved colleague and friend and have produced papers of great freshness and insight. The essays, including that by Don Fowler himself, are much concerned with the reception of the classical world, extending into the realms of modern philosophy, art history, and cultural studies. There are fundamental studies of Horace's style and Ovid's exile. The volume is unusual in the informality of the style of a number of pieces, and the openness with which the contributors have reminisced about the honorand and reflected on his early death.

Propertius is a poet of the Augustan period, a successor of the great Hellenistic elegiac poets Callimachus and Philitas, and a precursor of Ovid. His account of his fictionalized affair with his beloved alter ego Cynthia is the purest expression of the spirit of love elegy, setting them as a pair against war, epic, and (apparently) Augustus himself. This is an author read by virtually all students of Classical Latin. Cynthia provides a lucid attempt to understand and correct the many difficulties in the transmitted text. It consists of a commentary on the whole corpus, together with a prose translation (including alternative versions of ambiguous phrasing). In its clear exposition of technical problems, the book will serve as an introduction to Latin textual criticism in the modern age, and to elegiac poetic style.

Propertius is a poet of the Augustan period, a successor of the great Hellenistic elegiac poets Callimachus and Philitas, and a precursor of Ovid. His account of his fictionalized affair with his beloved alter ego Cynthia is the purest expression of the spirit of love elegy, setting them as a pair against war, epic, and (apparently) Augustus himself. This is an author read by virtually all students of Classical Latin. Cynthia provides a lucid attempt to understand and correct the many difficulties in the transmitted text. It consists of a commentary on the whole corpus, together with a prose translation (including alternative versions of ambiguous phrasing). In its clear exposition of technical problems, the book will serve as an introduction to Latin textual criticism in the modern age, and to elegiac poetic style.

The most passionate, individual, and controversial of the Latin love elegists, Propertius in Book 3 covers a broad range of subject matter and a vast geographical reach. After books focused on his mistress Cynthia, he maintains his elegiac role but expands his range to provide a lover's commentary on life, discussing luxury, nudity, art, the empire, and the dangers of travel for profit and war. This detailed commentary uses the text recently published in the Oxford Classical Texts series, and sets out to build on the richness of the material in the book by providing clear introductions to the genres the poems explore - the Greek elegy of Callimachus, epic, tragedy, hymn and epigram - and to topics such as patronage, philosophy, and the images of love as slavery and as warfare.

The most passionate, individual, and controversial of the Latin love elegists, Propertius in Book 3 covers a broad range of subject matter and a vast geographical reach. After books focused on his mistress Cynthia, he maintains his elegiac role but expands his range to provide a lover's commentary on life, discussing luxury, nudity, art, the empire, and the dangers of travel for profit and war. This detailed commentary uses the text recently published in the Oxford Classical Texts series, and sets out to build on the richness of the material in the book by providing clear introductions to the genres the poems explore - the Greek elegy of Callimachus, epic, tragedy, hymn and epigram - and to topics such as patronage, philosophy, and the images of love as slavery and as warfare.

The Fasti is Ovid's six-book elegy on the first six months of the Roman calendar; it brings the ancient city to life in a way that few other texts achieve. Nevertheless there has been no previous Oxford Classical Text of the poem. This new edition is founded on thorough re-examination both of the medieval manuscript tradition and of the poet's style and heritage. Besides the text itself, it focuses on providing information about the manuscripts and their readings; editorial judgements are explained in a companion volume, along with broader discussion of the manuscripts.The Fasti was conceived as a sister poem to the Metamorphoses, as is shown in the first two books of Ovid's Tristia (poems from exile). Each reflects on time from creation to the poet's own day through multiple narratives: whereas the epic has a meandering flow from beginning to end, the elegiac poem breaks its stories into disconnected units, day by day. Direct and implicit references to exile show that the poet wants us to see the poem as written in Rome and in Tomis, before exile and years later, after the death of Augustus. Tristia 2.549–50 tells us that books 7–12 were drafted; their absence from the transmitted work points to a reluctance to celebrate the imperial regime by writing of July and August. The political edge such elements give to the poem has appealed to modern readers, which has attracted rich scholarly attention in recent decades. But there has been no new independent edition since 1978.Although published under Tiberius, the earliest copy of the Fasti belongs to the 10th century, and even that survives for just over four books. We are mainly dependent on the more than thirty copies dating from 1050 to 1250, a period when there was intense interest in the poem, spreading from the great Benedictine abbeys: it was a source of information on ancient myth, history, and the calendar. This edition focuses on 22 of these, outlining the value of each in the preface, and using them to establish the critical apparatus. A few humanistic copies complete the picture.

Ovid is now firmly established as a central figure in the Latin poetic canon, and his Fasti is his most complex elegy. Drafted alongside the Metamorphoses before the poet's exile, it was only published after the death of Augustus, and involves a wide range of myth, Roman history, religion, astronomy and explication of the calendar. In its aetiology and conversations with gods, it is a Latin equivalent of Callimachus' Aetia. This invaluable new commentary on a central book of the poem explores Ovid's playful inversion of genre, his witty but challenging style of Latin, his use of the elegiac couplet, intertextuality and much more. With a comprehensive introduction providing key background for students and instructors, this guide to Book 3, the first in English for nearly a century, makes use of the latest scholarly research to illuminate Ovid's wide-ranging and amusing account of Roman life.

Ovid is now firmly established as a central figure in the Latin poetic canon, and his Fasti is his most complex elegy. Drafted alongside the Metamorphoses before the poet's exile, it was only published after the death of Augustus, and involves a wide range of myth, Roman history, religion, astronomy and explication of the calendar. In its aetiology and conversations with gods, it is a Latin equivalent of Callimachus' Aetia. This invaluable new commentary on a central book of the poem explores Ovid's playful inversion of genre, his witty but challenging style of Latin, his use of the elegiac couplet, intertextuality and much more. With a comprehensive introduction providing key background for students and instructors, this guide to Book 3, the first in English for nearly a century, makes use of the latest scholarly research to illuminate Ovid's wide-ranging and amusing account of Roman life.

Ovid is now firmly established as a central figure in the Latin poetic canon, and his Fasti is his most complex elegy. Drafted alongside the Metamorphoses before the poet''s exile, it was only published after the death of Augustus, and involves a wide range of myth, Roman history, religion, astronomy and explication of the calendar. In its aetiology and conversations with gods, it is a Latin equivalent of Callimachus'' Aetia. This invaluable new commentary on a central book of the poem explores Ovid''s playful inversion of genre, his witty but challenging style of Latin, his use of the elegiac couplet, intertextuality and much more. With a comprehensive introduction providing key background for students and instructors, this guide to Book 3, the first in English for nearly a century, makes use of the latest scholarly research to illuminate Ovid''s wide-ranging and amusing account of Roman life.