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Jak powiedzieć, żeby nie powiedzieć (lub odwrotnie), czyli kłopoty z przekładem elegii wygnańczej Owidiusza „Ex P.” IV 12

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Wesołowska E.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2022

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tom 32

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nr 2

77-86

EN

Aside from its wealth of meaning and contexts, Ovid’s poetry seems to be sometimes difficult to translate into Polish. This paper shows such an extreme situation using the example of Ex P IV 12, where the translator is virtually helpless in the face of the poet’s subtle sense of humor and sophisticated play with a reader on the grounds of the nature of Roman elegiac distich.

2

Owidiusz: Metamorfozy I 5-363

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Mączka W.

Meander

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2008

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tom 63

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nr 1-4

129-141

EN

A Polish translation of a well-known passage of Ovid’s masterpiece by an army offi cer who died in 1950. In his short introduction Juliusz Domański tries to establish some facts pertaining to the life of this forgotten personage, his wife’s uncle.

3

Oparte na mitologii adynata w wygnańczych elegiach Owidiusza

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Puk M.

Meander

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2008

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tom 63

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nr 1-4

142-150

EN

The article discusses Ovid’s use of adynata based on mythological themes in his last collections of elegies: Tristia and Ex Ponto.

4

Furiosa libido. Ovid on love and madness.

88%

Bielecka E.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2013

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tom 23

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nr 2

141-151

PL

This paper presents Ovid’s views on the concept of love madness. Taking Ars amatoria, in particular the distich (1.281–282) in which the poet blames woman’s love fury on her lust as its research material, the paper investigates how the notion in question has been realized in this “textbook for lovers.” There, Ovid uses the mythological figures of women who committed crimes against social rules to illustrate the said concept; the paper, in turn, juxtaposes it with the narratives in Metamorphoses (the stories of Byblis and Myrrha). Additionally, it makes use of the tale of Iphis, a story not included in Ars amatoria which can nevertheless be also treated as illustrative of how madness can overcome enamored women. The paper both contrasts the above mentioned stories with the narratives showing men’s inclinations to insanity caused by passion and examines the notion of love madness in the context and with regard to the style of Ovid’s works.

5

Ichthyonymia Graeco-Latina. Die Bedeutung der Lexik neugriechischer und romanischer Dialekte für die richtige Identifizierung lateinischer Fischnamen

88%

Witczak K. T.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2014

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tom 24

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nr 1

227-236

PL

Ichthyonymia Graeco-Latina. The Importance of the Modern Greek and Romance Lexical Data for Correct Identification of the Latin Fish-NamesIn his edition of Halieutica A. W. Mikołajczak leaves eight Latin names of the Mediterranean fishes, mentioned by Ovid, with no identification and explanation. The present author discusses them, taking into account the lexical data attested in the Modern Greek dialects, as well as the Italian ones. Four fish-names (cantharus, erythinus, iulis, smaris) may be securely identified on the basis of the modern (Greek and/or Romance) terminology for fishes of the Mediterranean Sea. No reflexes of four different fishes (cercyros, glaucus, lamiros, tragus) appear in the contemporary vocabulary of peoples of the Mediterranean area. This is why these Ovid’s fishes are hardly identifiable. M. Kokoszko’s book appears to be a valuable dictionary of the Greek fish-names, introducing an excellent presentation and convincing identification of most Mediterranean Sea fishes. His presentation agrees completely with the conclusions given in this paper.

6

Portret żony idealnej w wygnańczej twórczości Owidiusza

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Kruk K.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2012

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tom 22

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nr 1

59-72

EN

Ovid’s poetry from exile conveys numerous images of a perfect wife. The poet constantly reaches for the abundance of myth, only to underline that his own beloved one needs not to be ashamed or intimidated when compared to Penelope, Andromache or Alcestis. While praising traditional feminine virtues, namely pudicitia, virtus, fides and probitas, Ovid fails not to create an original portrait of a complex female personality, depicting his left-behind wife as a grieving widow, longing lover and devoted priestess. The way in which Ovid approaches the topic of love and femininity constitutes a certain novum throughout his poetry: never before had he paid such attention to a historical feminine figure. Once and for all abandoning the issue of amor tener, Ovid, in his dialogue with his wife, focuses around the idea of communicating love and pain in times of grievous separation.

7

Descriptio monstri. Ovidrezeption im handschriftlichen Gedicht von Georg Bartholdus Pontanus (1550–1614)

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Vaculínová M.

Listy filologické (Folia philologica)

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2019

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tom 142

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nr 1-2

161-181

EN

The reception of Ovid in the literature of the Early Modern Czech Lands has not been satisfactorily investigated up to now. He was undoubtedly the favourite ancient poet after Virgil, his works were part of many libraries, were avidly studied at universities and at Latin schools. His poems served as an important source and model for the poetry of humanists from the Czech Lands. Motifs from his poetry, phrases or even entire verses can be found in poems of various content – in religious and occasional poetry, in moralizing poems or in panegyrics. The poem by Georg Bartholdus Pontanus, poet laureate and member of the high Catholic clergy, represents a type of Ovid reception which occurred rarely – being a parodic invective. The composition written in about 1580 at the monastery in Louka in Moravia and consisting of 166 dactylic hexameters is in all probability based on an actual event, a delict by an unnamed Catholic priest in Austria. In the first part of the poem, Pontanus describes the priest and his metamorphosis into a monster in the cave. In the second part, called “fiction”, all of Protestantism is depicted as a dangerous monster, which can bring mankind into ruins and bring about the victory of Satan. Pontanus plays with the basic idea of the Metamorphoses by Ovid that the transformation and the loss of human appearance is the punishment of gods/God. He uses entire parts from ancient poems mainly by Ovid, Virgil and Silius Italicus, depicting various mythological beings and creatures in a cave. The motif of a monster was common in contemporary confessional polemic, wherein the poem by Pontanus is particularly offensive in the attack against Protestantism. Because of that, it could not be printed at the time of its composition and remained as a manuscript work shared by a few similarly thinking intellectuals in the monastery of Louka.

8

Cyfrowe metamorfozy, czyli słów kilka o Owidiuszu w serwisie YouTube. Rekonesans

88%

Dominas K.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2023

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tom 33

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nr 1

91-102

EN

The article is an attempt to classify and analyse videos dedicated to Ovid on YouTube. This text can be treated as a broad introduction to research on Greco–Roman heritage in the space of social media. The review of the materials presented here clearly shows that YouTube has three basic functions in this context: 1) as a space for publishing and sharing materials about the poet from Sulmona; 2) as an educational or quasi–educational platform; 3) as a place for the reception of the work and life of Ovid. In addition, these examples not only supplement the traditional knowledge about the author of Metamorphoses, but also an important point of reference, one of the artifacts responsible for the changes that take place in the understanding and perception of ancient culture in the postmodern world.

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Pandarus Quotes Ovid in Geoffrey Chaucer’s Book One of Troilus and Criseyde

87%

Bobrowski A.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2019

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tom 29

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nr 2

71-83

PL

The medieval epic poem Troilus and Criseyde by Chaucer describes the history of unhappy love with the Trojan War in the background. The story is constructed in the convention of courtly love, and the author draws abundantly from a range of plot motifs preserved in the ancient literary tradition. The article discusses the way of intertextual use of Ovid’s Heroides 5 in the course of events told in Book One of the poem.

10

The Sacred and the Poetic: The Use of Religious Terminology in Ovid’s Words

87%

Kaczor I.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2019

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tom 29

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nr 2

17-35

PL

The article investigates Ovid’s use of religious terminology and imagery, in particular in the Fasti and the Metamorphoses. As an educated Roman citizen, Ovid was conversant with Roman ritual practices and frequently drew on facets of the Roman religious experience in his writing, exploring topics such as ritual performance, religious nomenclature, festivals, customs and traditions. In the article, I argue that Ovid’s treatment of religious material is deliberately uneven. The poet, well-versed in the Roman ritual nomenclature, nevertheless flaunted his technical competence only in the rite-oriented Fasti: in his other works, above all in the myth-laden Metamorphoses, he abandoned drier technical details for artistic flair and poetic imagery, unconstrained by traditional practices of Roman piety. The mythological setting of the latter poem gave Ovid a chance to comment upon universal truths of human nature, espousing the prevailing Roman belief that maintaining good relations with the gods (pax deorum) through collective piety would win Rome divine favour in all her initiatives.

11

Kogo strzegły Lares Praestites?

87%

Hartleb-Kropidło B.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2018

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tom 28

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nr 1

EN

The paper discusses the Lares Praestites, whose role, customs, and festivities are described in Ovid’s Fasti 5, 129–139. The poet shows the Lares Praestites as archaic guardians of the City of Rome.

12

Remarks on Ovid and the Golden Age of Augustus

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Łukaszewicz A.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2019

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tom 29

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nr 2

37-56

PL

Publius Ovidius Naso was an outstanding poet of the Augustan age who after a period of successful activity was suddenly sent to exile without a formal judicial procedure. Ovid wrote frivolous poems but inserted into his works also the obligatory praises of Augustus. The standard explanation of his relegation to Tomis is the licentious content of his Ars Amatoria, which were believed to offend the moral principles of Augustus. However, the Ars had been published several years before the exile. The poet himself in his Pontic writings mentions an unspecified error and a carmen, pointing also to the Ars, without, however, a clear explanation of the reason for his fall. The writer of the present contribution assumes that the actual reason for the relegation of the poet without a trial were the verses of his Metamorphoses and especially the passage about the wicked stepmothers preparing poison. That could offend Livia who, according to gossip, used poison to get rid of unwanted family members. Ovid was exiled, but the matter was too delicate for a public justification of the banishment. When writing ex Ponto the poet could not explicitly refer to the actual cause of his exile.

13

Ovid and Statius, Thebaid 6.54–78. Necessary Allusions or a Metapoetic Dialogue?

76%

Pierzak D.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2019

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tom 29

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nr 2

57-70

PL

Statius’ description of the funeral games held in honor of the baby Opheltes contains several utterances reminiscent of Ovid. The paper aims to show that these should not be read as the so-called necessary allusions, but rather as the poet’s complex dialogue with his predecessor.

14

Ovid, ‘Metamorphoses’ 5,254–6,2, and the Terms for the Muses in Greek and Roman Culture

75%

Mojsik T.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2023

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tom 33

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nr 1

243-259

EN

Epithets used to describe the Muses are an essential component of metapoetic language, starting as early as the time of Homer and Hesiod. However, it has never been a static phenomenon, as the cultural transformations entailed the changes in the language describing the Muses. Its scope included physical appearance, ancestry, voice/sound, relations with the poet/musician and – a rather important aspect – geographical associations. Revealing traces of this imagery is not an easy task: we lack cult hymns, and in most literary works, we encounter merely 2–3 epithets at the most. In this respect, Ovid is exceptional. In his Metamorphoses (5,254–6,2), in the story of the contest between the Muses of Helicon and the false Pierides, the poet deploys a uniquely rich descriptive terminology concerning the Muses (Mnemonides, Thespiades, Aonides, Emathides, [Pierides], doctae sorores, etc.). In this article, I look at the poet’s choices in this story and analyze the origins, functions and connotations of the epithets and terms he uses.

15

Owidiusz w międzygatunkowej rozterce – „Amores” II 18

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Miazek-Męczyńska M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2023

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tom 33

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nr 1

219-226

EN

Elegy 18 from Book II of Amores, presented in the article in a new translation into Polish, explains why Ovid decided to abandon epic poetry and tragedy in favour of elegiac poetry. Although the poet jokingly points to Cupid, Corinna and his own laziness as the reasons, in fact, he shows that this literary genre is extremely attractive to authors who, like himself, writing about love can refer not only to personal experiences, but also to threads traditionally reserved for epics or tragedy. As evidence, Ovid invokes his Heroides and invites his friend, the poet Pompey Macer, to follow him in elegiac poetry. By recalling the works of Macer and Sabinus, Amores II 18 is also proof of the importance of friendship between the writers of the Augustan era, whose works bear visible traces of mutual influences and interactions.

16

Mityczny potwór Kampe w „Fasti” Owidiusza

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Witczak K. T.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2023

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tom 33

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nr 1

451-465

EN

The paper discusses Greek and Roman literary sources describing Campe or Kampe (Gk. Κάμπη), a mythical female monster killed by the god Dionysus (Diodorus, Bibl. III 72) or by Zeus (Ps.-Apollodorus, Bibl. I 2,1; Nonnos, D. XVIII 233–264). Campe was a large monster who guarded the Cyclopes and Hundred-Handers prisoned in Tartarus (according to Pseudo-Apollodorus and Nonnos). The same mythical monster seems to be attested in Ovid’s Fasti (III 793–808). The Roman poet presents an unknown version of the Greek myth, describing a wondrous monster (line 799: monstrum mirabile), born of Mother Earth (l. 799: Matre satus Terra). She is portrayed with the upper body of a bull and the tail of a serpent in place of legs (l. 799–800: taurus parte sui serpens posteriore fuit). Ovid does not mention the Greek or Latinized name of this mythical monster but introduces the acrostic CAMPH (= Gk. Κάμπη) in his description (Ov., Fast. III 797–801). Unfortunately, the Ovidian acrostic in question is preserved in the corrupted form CQMPH in most medieval manuscripts. It is suggested that the ancient editor, who prepared the final version of the six books of the Fasti after Ovid’s death (18 AD), failed to notice the Ovidian acrostic and introduced his own improvement in line 798 (quaeque instead of atque or the like).

17

Winowajczyni, niewinna, femme fatale, pocieszycielka... – Muzy w twórczości wygnańczej Owidiusza

75%

Moskalewicz M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2021

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tom 31

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nr 2

9-26

PL

The main purpose of this paper is to present the variable and diverse Ovid’s attitude towards Muses in his works from exile (Tristia, Epistulae ex Ponto and Ibis). The poet seeks in these goddesses both the comfort and the cause of his exile, identifies them with his poetry frequently, as their faithful servant feels deceived but also hopes that Muses can ease the anger of Augustus. The article is an attempt to analyze this complex relationship.

18

Lukrecja – wzór dla Rzymianek. Historia niezbyt słodka

75%

Miazek-Męczyńska M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2021

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tom 31

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nr 1

153-168

EN

The article presents the story of Lucrece, legendary heroine and noble wife of Lucius Tarquinius Collatinus, whose suicide was presented many times in the ancient Roman and Renaissance literature by historiographers and poets. The author compares few versions of Lucrece’s story focusing on her virtues (like castitas, obstinata pudicitia, decus muliebris) that became canonical features characterising the Roman matrona.

19

Exempla z „Metamorfoz” Owidiusza w „Okręcie błaznów” Sebastiana Branta

75%

Lam A.

Prace Filologiczne. Literaturoznawstwo

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2013

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nr 3(6) cz.2

165-176

EN

From among around four hundred examples taken from the Bible, mythology and history, which in Sebastian Brant’s The Ship of Fools are designed to instruct and caution, more than twenty come from Ovid’s Metamorphoses. Brant does not make references to Ovid’s work and he mentions the poet only once, as the author of Ars amatoria (buler kunst), which brought Ovid nothing but misfortune.Most of them appear in Chapter XIII On Seduction (Von buolschaft) and single ones in Chapters: XXVI, LIII, LX, LXIV and LXVII. The references are allusive and abridged, they concern pathetic consequences of wicked or rash love, jealousy and hatred as well as self-loving and foolhardy imprudence. They stand as codes, which can not be deciphered without knowing the source and it implies that Brant either assumes the reader has the required knowledge or appeals to gain it. It is also possible that he refers to common at that time didactic modifications of Metamorphoses. Problematic and often tragic illustration of human fortunes in Ovid’s work is reduced in Brant’s satire to parenetic formula, which intrigues and is expressed with vivid and crude language. The most explicit example of dissonance between Brant’s and Ovid’s intention is a truly clown like character − Marsyas, who with obstinacy plays bagpipes, a clownish instrument, whereas in Metamorphoses he enraptured people playing his aulos and his death as martyr is mourned by not only nymphs and shepherds, but also by nature. The rights of the genre, in this case of moral satire, proved to be stronger than philosophical meaning of mythological message.

20

Artysta na obrzeżach świata, czyli wszyscy jesteśmy Odyseuszami. Kilka refl eksji ogólnych w nawiązaniu do Cycerona, Owidiusza i Seneki

75%

Wesołowska E.

Studia Europaea Gnesnensia

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2010

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nr 1-2

141-147

PL

Th e paper discusses three grand personalities of antiquity: Cicero, Ovid and Seneca in the circumstances of their exile, Th eir attitudes to the punishment received (whose severity varied) were diverse. Nevertheless, all they left a trace in the shape of literary works and letters. Upon reading, one discovers ambiguous attitudes towards their per-sonal misfortunes. Finally, the situation of the exiles and their return may be compared with the archetypal fi gure of Odysseus.