The idea that the praeceptor himself has seen this technique offers an element of certainty, and, in the perfect tense, suggests a one-off incident. Green, Peter. Ancient testimony on related topics, by authors from Alexis to Vitruvius, gives evidence of the range of ancient views of beauty. 14 ingredients are derived from plants, four from animals, and four from minerals. Yet, Ovid simultaneously lifts the veil on these very processes. The last passage ( A.A. 1.505-524) stands out in the collection as the only one that addresses male, rather than female, cultus. Its advice centres around men’s actions, and how women should respond to them.. Johnson explains her translation choices for key terms, which is always welcome from a translator and especially helpful for any reader without extensive Latin training. In the hundred extant verses, Ovid… The section âOvid on cultus, munditia, and ars â introduces and defines the three key terms in Ovidâs discussions of beauty. Discite, quae faciem commendet cura, puellae, Et quo sit vobis causa tuenda modo! Am. 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 … Ovid Medicamina Faciei. The ideals set out for women are unattainable, and therefore ‘their task is boundless’, as Rhode writes. 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 Virgil describes exhausted fields (effetos agros) in relation to sterile land, for example (Virgil, Georgics 1.81, 84). In seiner Ars amatoria verweist Ovid auf dieses kleine Buch. [Ovid. Ovid reassures that character is also important (ingenio facies conciliante placet, 44). , Then why advise?  Sharrock, 2006, 24; cf. 1855. Eds A. D. Melville and Edward J. Kenney (2008) Oxford World's Classics: Ovid: Metamorphoses. 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).  Rhode, 2016, 704; it should also be noted that this discussion intersects with issues of race and class, as rightly outlined by Rhode, 2016, 703. Ovid builds youth into the recipes themselves, which perpetuates his narrative of a quest against age. 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. Beauty must seem natural — even, or especially, when it can only be accomplished through considerable unnatural effort.’ . 3.569, Virgil, Aeneid 2.499.  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. This absence is likely due to a misreading of the Tibullan text, for Johnson takes the reference to carefully arranged hair at Tib. 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. 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. nec quae praeteriit, iterum revocabitur unda, While you can, and still are in your spring-time, have your sport; for the years pass like flowing water; the wave that has gone by cannot be called back, the hour that has gone by cannot return.  Latin taken from Kenney’s Oxford Classical Text and all translations, as befits, are taken from Mozley’s Loeb, unless otherwise stated.  Gamel, 2012, 339, 353; Toohey, 1996, 162. Od.  This method might also be transferred to the Medicamina. Love Books of Ovid at sacred-texts.ocm. The Medicamina reads more comfortably as an exposé of women’s beauty rituals than as a rigidly didactic poem. 25; Ver. 22-35) also provides background on each of the four works that contribute excerpts, including information about date of composition and genre, as well as sources and models.  Cokayne, 2005, 138; cites Plut. The anti-age anti-narrative runs through the Medicamina’s recipes. It is about men and power.’ As modern consumers, we are often sold a narrative which simultaneously recommends a natural yet highly modified look. Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. These are small critiques. Calvin Blanchard. Es handelt sich also um ein frühes Werk. 99–100). The poem falls at the beginning of Ovid’s erotodidactic corpus, and was probably composed just before the third book of the Ars Amatoria. De medicamine faciei, auch bezeichnet mit dem Titel Medicamina faciei femineae, ist ein pharmakologisch-kosmetisches Lehrgedicht des römischen Dichters Publius Ovidius Naso. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. Caec. Pour analyser leurs œuvres à la lueur de ce genre littéraire, il est non seulement utile, mais aussi pertinent d’utiliser la théorie développée par Katharina Volk dans son ouvrage The Poetics of Latin Didactic.Lucretius, Vergil, Ovid, Manilius (Oxford : Oxford University Press, 2002) dans lequel elle énonce quatre critères pour définir ce genre :  However, this advice does not detract from the anti-age rhetoric concerning physical appearance. For the Sabine women mentioned in the praeceptor’s aetiological description in lines 11–16, cultus refers to pastoral cultivation, as in the Georgics. 3.5–6: non erat armatis aequum concurrere nudas/ sic etiam vobis vincere turpe, viri (‘it were not just that defenceless maids should fight with armed men; such a victory, O men, would be shameful for you also’). The Ovid of the Medicamina is not necessarily the Ovid of the Amores, for example. 5 Cultus et in pomis sucos emendat acerbo, Fissaque adoptivas accipit arbor opes.  Cic.  In the same way that Farrell argues that we, a secondary audience, are the interceptors of the Heroides, the Medicamina might resemble an intercepted piece of didaxis, and hence Rimell identifies the poem as an ‘anti-seduction’. Anne Mahoney. Bryn Mawr PA 19010. The commentary on the relatively neglected Medicamina Faciei Femineae may be the most welcome portion, as previously Rosatiâs 1985 Italian edition was the only modern commentary available. MARGUERITE JOHNSON, Ovid on cosmetics: Medicamina faciei femineae and related texts. Rosati’s parallels with similar lines in Ars Am. Ovidâs Medicamina Faciei Femineae, (âCosmetics for the Female Faceâ) is an unusual work, to say the least. New York. 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! Ovid's five recipes contain 23 ingredients that have been identified.  The praeceptor even introduces his first recipe with the claim that it will make faces ‘shine fresh and fair’ (discite age…candida quo possint ora nitere modo, 51–2)– a description which implies renewed youth, and a glowing complexion.. 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. 69; Div. At the beginning of each commentary, she situates the selected text within the larger work from which it was taken (essential context for a reader encountering these works for the first time). Medicamina Faciei Femineae: | ||Medicamina Faciei Femineae|| (|Cosmetics for the Female Face|, also known as |The Art o... World Heritage Encyclopedia, the aggregation of the largest online encyclopedias available, and the most definitive collection ever assembled. Buy Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris 2/e (Oxford Classical Texts) 2 by Kenney, E. J., Kenney, E. J. Sterility is a result of, indeed, a lack of cultivation, but also of age. Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. The poem falls at the beginning of Ovid’s … auro sublimia tecta linuntur, Nigra sub imposito marmore terra latet: Vellera saepe eadem Tyrio …  Volk, 2002, 40; the term is taken from Fowler, 2000. — (Ovid, Ars Am. The Medicamina Faciei Femineae is a didactic elegy that showcases an early example of Ovid's trademark combination of poetic instruction and trivial subject matter. Medicamina faciei femineae Discite quae faciem …  Watson, 2001, 470; Nisbet-Hubbard, 1970, 289. 2. I read circumstantial, periphrastic descriptions as equivalent to legal eye-witness testimony, rather than rigid instruction. 343-56) âIf one were to discuss it in isolation, it would present a decidedly distorted interpretation of the poetâs attitude toward such mattersâ (p. 126) indicate an underlying assumption of a consistent, historical Ovid. Ars amatoria (De Kunst vo da Liab) Remedia amoris (Heimiddl geng de Liab) Halieutica (nua Fragment dahoidn, Leahgdicht iwa'n Fiischfong; Echtheit bezweifed) Phaenomena (Gdicht iwa de Himmeseascheinunga; nua Fragment) Metamorphosen (Vawandlungsgschichtn … J.] Women are held in a similar limbo in Ovid’s poem, between two hypocritical narratives. 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 …  She argues that the moral takeaway is that one cannot use a mirror without also being vulnerable to its powers. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Amazon.com.au: Books And, while numerous commentaries exist for the other texts, Johnsonâs 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. Oxford World's Classics: Ovid: The Love Poems. This usefully updates Greenâs work.1 So, ladies, provided you can get your hands on some red natron gum and a rough millstone, you can concoct for yourself Ovidâs treatment that promises a gleaming face. , But, how do we construe the Medicamina in the grand scheme of didactic poetry? The first, âNow and then â¦ making-over a woman,â introduces a topic that resurfaces in the commentaries, namely the similarities between ancient and modern beauty practices and attitudes toward physical appearance. edidit ex Rudolphi Merkelii recognitione. Ovid is considered as a master of the elegiac couplet and is ranked among the canonic poets of Latin literature, alongside Virgil and Horace. While on one hand, the clinical recipes are the greatest hurdle in the search for a ‘narrative’, the praeceptor’s measurements, ingredients, and periphrastic directions have the precision of forensic evidence for these beautification rituals. P. Ovidius Naso, Medicamina Faciei Femineae various, Ed. Medicamina faciei femineae. The only deviation from this governing principle of clarity is the inclusion of two bibliographies: one of âancient textsâ (editions, etc.) I have elected to use discite to mirror the opening line of the poem, and introduce the didactic section. Home. 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.  Johnson, 2016, 19: Rosati, 1985, 30–32 & Gibson, 2003, 145. Discussions of parody are based in the ambiguous definition of cultus. 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. For each passage, the English and Latin texts are divided by paragraph breaks into sections that correspond to the sections of the commentaryâa formatting feature that greatly facilitates reading the text with the commentary. Eds A. D. Melville and Edward J. Kenney (2008) Oxford World's Classics: Ovid: Fasti. Liviaâs beauty secrets are secret no more. In the last extant lines of the poem, for example, the praeceptor provides an account via autopsy of a woman blushing her cheeks: vidi quae gelida madefacta papavera lympha, I have seen one who pounded poppies moistened with cool water, and rubbed them on her tender cheeks — (Ovid, Med.  Green, 1979, Balsdon, 1962 & Wilkinson, 1960 all view the second fifty lines as textbook-like and scientific. allusion, voice, persona, and so on). 29.). , 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.  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. Des milliers de livres avec la livraison chez vous en 1 jour ou en magasin avec -5% de réduction . 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. Rimell construes this as a reference to the poem’s mirror motif. Acerbus, in terms of flavour, has links to immaturity, which might make this mean the exact opposite. Medicamina Faciei Femineae. 1.  As Rimell points out, Ovid markets cultus to improve on nature. *FREE* shipping on qualifying offers.  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. on Amazon.com. Vite ! The fourth section, âOvid and Augustusâs moral legislation,â presents Ovidâs erotic compositions as conflicting with, sometimes even defiantly, Augustan moral precepts and laws such as the lex Iulia of 18 BCE. Reflection and age are intertwined in Ovid’s account of the myth in the Metamorphoses: fatidicus vates “si se non noverit” inquit. 9.1", "denarius") All ... Ovid's Art of Love (in three Books), the Remedy of Love, the Art of Beauty, the Court of Love, the History of Love, and Amours. The bookâs useful âextrasââa chronology of Ovidâs 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 measuresâlighten the readerâs work. There is, however, a risk inherent in this kind of collection. 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). Achetez neuf ou d'occasion The stated aim is to preserve beauty (forma tueri), from deterioration, one assumes, rather than uplift it. Découvrez Ovid Amores, Medicamina Faciei Femineae, Ars Amato ainsi que les autres livres de au meilleur prix sur Cdiscount. Discite quae faciem commendet cura, puellae, Et quo sit vobis forma tuenda modo. Six well-chosen images accompany the text of this section and show examples of these tools, such as cosmetics boxes, combs, and mirrors. Ovid, Met. The texts are preceded by a substantial introduction, which offers both historical and literary context, arranged in five sections. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Amazon.sg: Books Rather than money, however, Ovid’s capital is poetic skill. Johnson does a service to the field by making ancient texts, material evidence, and scholarship accessible to all readers, who will have clear direction for further study thanks to the workâs wide scope and up-to-date bibliography. Culta placent. 23-26 (on male cultus). Johnson does some work to ameliorate this risk. The praeceptor amoris compares the stages of a woman’s life to the four seasons, here referring to her youth as ‘spring-time’. ("Agamemnon", "Hom. When asked whether this child would live to reach well-ripened age, the seer replied: “If he ne’er know himself.” — (Ovid, Met. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. 141.22: wives should rely on conversation, character, and comradeship, rather than beauty. Exploring female beauty and cosmeceuticals, with particular emphasis on the concept of cultus, the poem presents five practical recipes for treatments for Roman women. 351–6 is a commonly cited instance of this. ; Centre Traditio Litterarum Occidentalium.] The praeceptor encourages women to use these strategies, but not to the detriment and deception of men. 65–6). This can draw our attention to important connections, but may also allow us to overlook others and encourage us to read âOvid on cosmeticsâ as a coherent entity. Retrouvez Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris et des millions de livres en stock sur Amazon.fr. 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). 3.346–8).  Kenney gives dic, which is disputed in Rosati and Goold. This is echoed in a recent paper by Rhode: ‘Yet even as the culture expects women to conform, they often face ridicule for their efforts…But neither should women “let themselves go,” nor look as if they were trying too hard not to. Search for Library Items Search for Lists Search for Contacts Search for a Library.  The praeceptor retains a monopoly on women’s bodily autonomy, which mirrors the marketing of our modern beauty industry.  This, and an uncertain addressee, points towards an external audience.  Plautus, Casina, 153–63, for example.  Toohey, 1996, 161: it is unclear whether puellae refers to slaves or freedwomen, which blurs the audience further; all Latin taken from Kenney’s Oxford Classical Text and all translations, as befits, are taken from Mozley’s Loeb, unless otherwise stated. 1.8.9-10 to refer to the puella rather than to Marathus, which obscures the passageâs connection to Ovidâs discussions of male cultus. Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris: Kenney: Amazon.com.au: Books Nur der einleitende Teil und vier Rezepte haben sich erhalten. 23-26 (âHere Ovidâs persona is that of the urbane sophisticate,â p. 18)âa statement that acknowledges the possibility of multiple personae. 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. The concept of cultus forms the cornerstone of the Medicamina. However, for Ovid’s Augustan audience cultus refers to beautification. It can suggest a greater coherence than the passages might have in the context of the larger works. The commentaries would benefit from sustaining this method of reading, for in them Johnson falls back on a more biographical reading of Ovid that is inconsistent with her discussion of the poet in the introduction. Tibullus 1.8, though quoted in the introduction (p. 29) as a precedent and possible model for the Amores, is absent from the commentaries on all three of these passages. Damer, Erika Zimmerman. Culta placent. Planc.  Ovid’s intended audience is arguably so unrecognisable that the addressee naturally becomes an external one instead.  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’. In âHigh maintenance â¦ the Roman body,â Johnson lays out the common practices and tools of ancient beautification, as known through textual and archaeological evidence. 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 Medicamina is first and foremost an exercise in male power. (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. Fund for the Improvement of Postsecondary Education provided support … While the other Augustan poets tended to perpetuate the view that cultus, or beautification and adornment, was for meretrices, Ovid subversively encourages it, in a way which opposes the ‘Augustan precept’ of modesty, and the poet later champions the idea that female cultus can be practised without ‘rejecting traditional societal values and respectability.’, While a didactic interpretation presents Ovid as knowledgeable and well researched, and provides a rich historicist reading, which indicates what recipes for cosmeceuticals might have looked like, Ovid’s advice, as Toohey remarks, cannot be taken entirely seriously. Wyke argues that nature, by analogy, demonstrates the legitimacy of the cultus of the female body, citing lines 3–4 as an example of this. Similarly, eggs (85) and honey (98) are animal products which represent rebirth and springtime pollination, and are arguably also ingredients which symbolise youth. Achetez neuf ou d'occasion Découvrez et achetez Ovid amores, medicamina faciei femineae, ars amatoria, remedia amoris 2/e. Saeculo I a.Ch.n. Despite enabling female cultus and adornment through his instruction, the praeceptor amoris maintains a level of transparency which undermines female agency, so as not to disadvantage his male audience. 2013-2014. âGender Reversals and Intertextuality in Tibullus.â The Classical World 107 (4): 493-514. 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. 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. The Ars Amatoria, which is often paired with the Medicamina, is addressed to women, but has Ovid’s male audience at its core.  This also reaffirms that Ovid’s skincare advice is aimed at rejuvenation. Stanford Libraries' official online search tool for books, media, journals, databases, government documents and more.
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