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auro sublimia tecta linuntur, Nigra sub imposito marmore terra latet: Vellera saepe eadem Tyrio … Accompanied by a form of ipse, the verb videre is commonly attested in Cicero to denote an eye-witness account. 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). Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Books (ISBN: 9780198149699) from Amazon's Book Store. Excerpting sections of a poem (as in the case of the Ars) or even complete poems from a larger collection ( Amores 1.14) places these texts in artificial dialogue. Praec. [13] Green, 1979, Balsdon, 1962 & Wilkinson, 1960 all view the second fifty lines as textbook-like and scientific. 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. Stanford Libraries' official online search tool for books, media, journals, databases, government documents and more. ×Your email address will not be published. Achetez neuf ou d'occasion General Overviews. [32] She argues that the moral takeaway is that one cannot use a mirror without also being vulnerable to its powers. Caec. J.] MARGUERITE JOHNSON, Ovid on cosmetics: Medicamina faciei femineae and related texts. Discussions of parody are based in the ambiguous definition of cultus. These are small critiques. Od. Ovid, Met. Green, Peter. [20] This perpetuates a relatively linear narrative of transparency and, recipe by recipe, the praeceptor peels back the façade created by female cultus. The poem falls at the beginning of Ovid’s erotodidactic corpus, and was probably composed just before the third book of the Ars Amatoria. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. Sterility is a result of, indeed, a lack of cultivation, but also of age. 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. 2013-2014. “Gender Reversals and Intertextuality in Tibullus.” The Classical World 107 (4): 493-514. This is Julian May's translation of Ovid's 'erotic' works: The Amores (the Loves), Ars Amatoria (the Art of Love), Remedia Amoris (The Cure for Love) and the fragmentary Medicamina Faciei Feminae (Women's Facial Cosmetics).This version was published in 1930 in a 'limited' edition with sensual art deco illustrations by Jean de Bosschere. The Medicamina faciei femineae by the Roman poet Ovid is the first Latin text that transmits drugs for aesthetic dermatology. J.-C. et 2 ap. 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. Cultus humum sterilem Cerealia pendere iussit Munera: mordaces interiere rubi; Cultus et in pomis sucos emendat acerbos, 5 Fissaque adoptivas accipit arbor opes. I have elected to use discite to mirror the opening line of the poem, and introduce the didactic section. Why not just write as a narrative or exposé? ; Centre Traditio Litterarum Occidentalium.] [28] Gibson, 2003, 113: ire is commonly used of the passage of time and water. The worth of matronae stemmed from motherhood and housekeeping skills. [18] This, and an uncertain addressee, points towards an external audience. In the hundred extant verses, Ovid… The Medicamina is first and foremost an exercise in male power. 14 ingredients are derived from plants, four from animals, and four from minerals. 23-26 (on male cultus). [20] Cic. The texts assembled in Ovid on Cosmetics are often discussed together, since they address similar topics and were composed in relatively close succession. discite quae faciem commendet cura, puellae, et quo sit vobis forma tuenda modo. In “High maintenance … the Roman body,” Johnson lays out the common practices and tools of ancient beautification, as known through textual and archaeological evidence. [27] Cf. [29] This also reaffirms that Ovid’s skincare advice is aimed at rejuvenation. 141.22: wives should rely on conversation, character, and comradeship, rather than beauty. This narrative of transparency and undressing is easier to conceptualise using Gamel’s theory of performance: that elegiac poems are open to more interpretations when viewed as ‘scripts for performance’. R. Ehwald. 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. Once again the poetic woman is contorted for the poet to showcase his skill, as Ovid maintains two opposing narratives simultaneously. 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. 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. Ovide (0043 av. 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). [19] The praeceptor strips away the layers of female cultus before his readership, forming a narrative which culminates in transparency. 3.61–4). 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. 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. 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. Do you have a suggestion for a future topic? Noté /5. 25; Ver. 1979. “ Ars Gratia Cultus : Ovid as Beautician.” American Journal of Philology 100: 381-392. 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. 23-8) —an argument that strikes me as deserving further comment than it receives. 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’). Ovid reassures that character is also important (ingenio facies conciliante placet, 44). [28] As Rimell points out, Ovid markets cultus to improve on nature. Medicamina Faciei Femineae and Related Texts, Ovid on Cosmetics, Marguerite Johnson, Bloomsbury Academic. [25] The implication from the praeceptor’s chronological narrative, is that, through cultus, these women can pass as being in the ‘right season for love’. 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 (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. [23] Kenney gives dic, which is disputed in Rosati and Goold. This book will provide a very useful point of entry for any reader interested in understanding ancient attitudes towards and knowledge about cosmetics, cosmeceuticals, and beautification practices in general. Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. [10] She seeks to read instruction as narrative, and to read narrative back into instruction. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Books The praeceptor journeys with his subjects from tenerae…puellae (17), to young women (18–24), to nuptae (25–6), to old age (formam populabitur aetas, 45) and then, using his recipes, back to their youth. 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 (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. 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. Achetez neuf ou d'occasion Planc. One of the delightful surprises of the Medicamina is Ovid’s emphasis on women taking pleasure in their beauty for themselves. In seiner Ars amatoria verweist Ovid auf dieses kleine Buch. Ovid is considered as a master of the elegiac couplet and is ranked among the canonic poets of Latin literature, alongside Virgil and Horace. 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]. The theme of love looms large in Newlands 2015, which covers all of Ovid’s output. 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 But the awareness of personae displayed in the introduction is hard to find in the commentaries, where remarks such as “Ovid does not believe in such practices [as witchcraft]” (p. 55) and (of Rem. [13] Ovid’s intended audience is arguably so unrecognisable that the addressee naturally becomes an external one instead. Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. [24] However, this advice does not detract from the anti-age rhetoric concerning physical appearance. [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. The major contribution of this work is that it makes accessible a wide range of evidence about ancient beautification. 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. [9] Volk, 2002, 40; the term is taken from Fowler, 2000. 3–6). The praeceptor amoris compares the stages of a woman’s life to the four seasons, here referring to her youth as ‘spring-time’. edidit ex Rudolphi Merkelii recognitione. 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. 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 work’s wide scope and up-to-date bibliography. Similarly, eggs (85) and honey (98) are animal products which represent rebirth and springtime pollination, and are arguably also ingredients which symbolise youth. Eds A. D. Melville and Edward J. Kenney (2008) Oxford World's Classics: Ovid: Fasti. [6] Johnson, 2016, 19: Rosati, 1985, 30–32 & Gibson, 2003, 145. 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. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. Do you have an idea to share with your friends? 5 Cultus et in pomis sucos emendat acerbo, Fissaque adoptivas accipit arbor opes. Retrouvez Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris et des millions de livres en stock sur 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. 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. It is about men and power.’[33] As modern consumers, we are often sold a narrative which simultaneously recommends a natural yet highly modified look. Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris: Kenney: Books and one of “modern texts” (recent scholarship). The ideals set out for women are unattainable, and therefore ‘their task is boundless’, as Rhode writes. The introduction (esp. Fund for the Improvement of Postsecondary Education provided support … Ovid; Ovid, Medicamina Faciei Femineae; Search the Perseus Catalog for: Editions/Translations; Author Group; View text chunked by: text: line; Table of Contents: Amores Epistulae (vel Heroides) Medicamina faciei femineae Ars Amatoria Remedia amoris Click on a word to bring up parses, dictionary entries, and frequency statistics. [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’. [1] The first fifty lines focus on cultus (broadly defined as adornment or cultivation), while the next fifty consist of intricate recipes for ointments written in a ‘Nicandrian’ style, before the extant lines of this poem abruptly end. Discite quae faciem commendet cura, puellae, Et quo sit vobis forma tuenda modo. London-New York: Bloomsbury Academic, 2016, xiii+171 pp., ISBN 978-1-4725-0657-3. 2.118 and Ex Ponto 1.4.2 evidence a strong connection between the pastoral and cultus, and time and age. [22] Watson, 2001, 470; Nisbet-Hubbard, 1970, 289. WorldCat Home About WorldCat Help. Rosati’s parallels with similar lines in Ars Am. Johnson supplements the technical discussions with briefer discussions of literary elements of these didactic texts. P. Ovidius Naso. There is, however, a risk inherent in this kind of collection. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) [Ovid, Kenney, E. The praeceptor’s recipes in the Medicamina, unlike the didaxis of the Ars Amatoria, have a clinical style, with no explicit mythological allusion. 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. 1–2). Noté /5. 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. [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.

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