[29] This also reaffirms that Ovid’s skincare advice is aimed at rejuvenation. The first, “Now and then … making-over a woman,” introduces a topic that resurfaces in the commentaries, namely the similarities between ancient and modern beauty practices and attitudes toward physical appearance. [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. [5] This has even led Watson to construe the Medicamina as a didactic parody. Damer, Erika Zimmerman. 2.118 and Ex Ponto 1.4.2 evidence a strong connection between the pastoral and cultus, and time and age. [6] Johnson, 2016, 19: Rosati, 1985, 30–32 & Gibson, 2003, 145. 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. 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 types of analysis laid out in the introduction guide the discussions in the commentaries, which develop three main topics: the technical aspects of cosmeceuticals, adornment, etc. [17] Her reading is founded in the idea that the process of beautification must not be seen, and that the reader has interrupted a woman at her dressing table. This view also influences the attention Johnson pays to “intratextual contradictions” such as the one she points out between A.A. 1.505-24 and Med. For the Sabine women mentioned in the praeceptor’s aetiological description in lines 11–16, cultus refers to pastoral cultivation, as in the Georgics. Discite quae faciem commendet cura, puellae, Et quo sit vobis forma tuenda modo. edited for Perseus. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) 99–100). 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. The texts are preceded by a substantial introduction, which offers both historical and literary context, arranged in five sections. [24] Cokayne, 2005, 138; cites Plut. Ovid on Cosmetics gathers together five passages from Ovid’s erotic poetry that directly address issues of beautification and appearance, unified by the theme not of “cosmetics” per se, as the title implies, but of cultus (consistently translated as “cultivation”) more broadly. 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. J.] This absence is likely due to a misreading of the Tibullan text, for Johnson takes the reference to carefully arranged hair at Tib. 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). R. Ehwald. Saeculo I a.Ch.n. 1.8.9-10 to refer to the puella rather than to Marathus, which obscures the passage’s connection to Ovid’s discussions of male cultus. [10] Sharrock, 2006, 24; cf. In seiner Ars amatoria verweist Ovid auf dieses kleine Buch. Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. Es handelt sich also um ein frühes Werk. 23-26 (on male cultus). Each Latin text is accompanied by an English translation and a commentary (though the book is explicitly not intended as a textbook for an undergraduate Latin language course). [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’. An example: She refers to poetic persona in the introduction in the context of Med. The praeceptor thereby proposes to solve the issue of age through cultus: cultus humum sterilem Cerealia pendere iussit, By cultivation was the sterile ground bidden render bounty of wheat, and the devouring briars slain. 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). 351–6 is a commonly cited instance of this. Discite, quae faciem commendet cura, puellae, Et quo sit vobis causa tuenda modo! Ovid reassures that character is also important (ingenio facies conciliante placet, 44). I read circumstantial, periphrastic descriptions as equivalent to legal eye-witness testimony, rather than rigid instruction. Acerbus, in terms of flavour, has links to immaturity, which might make this mean the exact opposite. Culta placent. 15.199–213: Pythagoras explicitly compares the four seasons to human life. New York. [14] 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. 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 … Noté /5. Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. Livia’s beauty secrets are secret no more. Anne Mahoney. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. 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). Cultivation improves the bitter juice of fruit, and the cleft tree gains adopted richness. [15] Sharrock views the lack of a named addressee in the Ars Amatoria as a means to slip between “Reader” and “reader”, or primary and external audience respectively. 1, 17, 26; Watson, 2001, 461 discusses the associations of cultus with ‘whorish behaviour’; see Ziogas, 2014, 736 for Ovid’s ‘socially unrecognisable’ readership in the Ars Amatoria. Ovid, Met. Johnson has written the book with a broad audience in mind: “it aims to make a modest contribution to the post-postmodern shift in the direction of a shedding of the rigidities of scholarly disciplines and specified scholarship within them” (p. xi). The praeceptor amoris, while uncovering these women’s secrets, implies that they are necessary nonetheless, and implements an anti-age rhetoric throughout. [28] Gibson, 2003, 113: ire is commonly used of the passage of time and water. [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’. [18] Ibid, 55: Ovid, Rem. P. Ovidius Naso. Discussions of parody are based in the ambiguous definition of cultus. R. Ehwald. The only deviation from this governing principle of clarity is the inclusion of two bibliographies: one of “ancient texts” (editions, etc.) 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. 3–6). Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. 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. 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. Ovid’s references to the pastoral bring together the two meanings to foster the anti-ageing, temporal narrative. [8] Ovid, Ars Am. As an auxiliary finding, we observed that the distinction between pharmaceuticals and substances used … 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 … 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. 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. Eds A. D. Melville and Edward J. Kenney (2008) Oxford World's Classics: Ovid: Metamorphoses. 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. 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. One of the delightful surprises of the Medicamina is Ovid’s emphasis on women taking pleasure in their beauty for themselves. 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). 141.22: wives should rely on conversation, character, and comradeship, rather than beauty. The Ovid of the Medicamina is not necessarily the Ovid of the Amores, for example. 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 Medicamina Faciei. Calvin Blanchard. ×Your email address will not be published. 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. Stanford Libraries' official online search tool for books, media, journals, databases, government documents and more. The anti-age anti-narrative runs through the Medicamina’s recipes. The English translations that accompany each text are clear, accurate, and literal, with line numbers and line breaks that mirror the Latin original for easy reference. Once again the poetic woman is contorted for the poet to showcase his skill, as Ovid maintains two opposing narratives simultaneously. For each passage, the English and Latin texts are divided by paragraph breaks into sections that correspond to the sections of the commentary—a formatting feature that greatly facilitates reading the text with the commentary. The praeceptor’s inclusion of narcissus bulbs therefore has implications of perpetual youth. 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’). This final warning, that age will ruin beauty, recalls the elegiac topos of fading beauty and encapsulates the aim of this second narrative: to prevent the ravages of age. This question introduces us to a second narrative. This can draw our attention to important connections, but may also allow us to overlook others and encourage us to read “Ovid on cosmetics” as a coherent entity. ; Centre Traditio Litterarum Occidentalium.] [28] As Rimell points out, Ovid markets cultus to improve on nature. Reflection and age are intertwined in Ovid’s account of the myth in the Metamorphoses: fatidicus vates “si se non noverit” inquit. London-New York: Bloomsbury Academic, 2016, xiii+171 pp., ISBN 978-1-4725-0657-3. auro sublimia tecta linuntur, Nigra sub imposito marmore terra latet: Vellera saepe eadem Tyrio … Culta placent. Liveley, 2012 for an approach to narratology in Roman elegy. [1] Rosati, 1985, 42f; Watson, 2001, 457; Johnson, 2016, xii. [16] 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’. Virgil describes exhausted fields (effetos agros) in relation to sterile land, for example (Virgil, Georgics 1.81, 84). The Medicamina is first and foremost an exercise in male power. The fourth section, “Ovid and Augustus’s moral legislation,” presents Ovid’s erotic compositions as conflicting with, sometimes even defiantly, Augustan moral precepts and laws such as the lex Iulia of 18 BCE. Conj. The stated aim is to preserve beauty (forma tueri), from deterioration, one assumes, rather than uplift it. Vite ! The Medicamina faciei femineae by the Roman poet Ovid is the first Latin text that transmits drugs for aesthetic dermatology. It is funded by Knowledge Unlatched.The Medicamina Faciei Femineae is a didactic elegy that showcases an early example of Ovid's trademark combination … In the hundred extant verses, Ovid… 65–6). In the case of the aforementioned facial treatment, she draws the reader’s attention to the sexual connotations of key verbs and the “overtly sexual implications due to the imagery of the young men with their muscular arms pounding away” (p. 71). (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. edidit ex Rudolphi Merkelii recognitione. 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. 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. 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]. Johnson supplements the technical discussions with briefer discussions of literary elements of these didactic texts. Livraison rapide ! Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) [Ovid, Kenney, E. 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. Medicamina faciei femineae Discite quae faciem … 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. Marguerite Johnson (who has books on Sappho, Boudicca, a source collection with Terry Ryan on gender and sexuality, and Alcibiades and the Socratic Lover/Educator [MXL ,EVSPH 8EVVERX S ìIVW YW XLMW RI[ ZSPYQI Ovid … For example: Sextantemque trahat gummi cum semine Tusco: Let gum and Tuscan seed weigh a sixth part of a pound, and let nine times as much honey go to that. and one of “modern texts” (recent scholarship). Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. *FREE* shipping on qualifying offers. [11] This method might also be transferred to the Medicamina. Retrouvez Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris et des millions de livres en stock sur Amazon.fr. 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. 5 Cultus et in pomis sucos emendat acerbo, Fissaque adoptivas accipit arbor opes. The section “Ovid on cultus, munditia, and ars ” introduces and defines the three key terms in Ovid’s discussions of beauty. Johnson applies to these texts a multidisciplinary analysis that takes evidence from the fields of archaeology, history, philology, and even dermatology and horticulture to elucidate the technical details of ancient beauty practices. Rosati’s parallels with similar lines in Ars Am. The introduction (esp. Noté /5. ("Agamemnon", "Hom. Nur der einleitende Teil und vier Rezepte haben sich erhalten. After all, a genuinely didactic reading would arguably isolate Ovid’s male audience. 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. Od. Six well-chosen images accompany the text of this section and show examples of these tools, such as cosmetics boxes, combs, and mirrors. Achetez neuf ou d'occasion Cultus humum sterilem Cerealia pendere iussit Munera: mordaces interiere rubi; Cultus et in pomis sucos emendat acerbos, 5 Fissaque adoptivas accipit arbor opes. The poem falls at the beginning of Ovid’s … Rather than money, however, Ovid’s capital is poetic skill. [27] Cf. P. Ovidius Naso. The worth of matronae stemmed from motherhood and housekeeping skills. Ovid is considered as a master of the elegiac couplet and is ranked among the canonic poets of Latin literature, alongside Virgil and Horace. These are small critiques. [32] She argues that the moral takeaway is that one cannot use a mirror without also being vulnerable to its powers. 2.15.21). [13] Green, 1979, Balsdon, 1962 & Wilkinson, 1960 all view the second fifty lines as textbook-like and scientific. The former is organized by the name of the ancient author, but cited in the text by the name of the modern editor, which makes checking a reference much slower. Ancient testimony on related topics, by authors from Alexis to Vitruvius, gives evidence of the range of ancient views of beauty. Why not just write as a narrative or exposé? on Amazon.com. [31] Plautus, Casina, 153–63, for example. 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. 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. 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. Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris: Kenney: Amazon.com.au: Books 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. 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. 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 This post is an adapted and condensed excerpt from an essay I recently submitted for my MPhil. 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. The theme of love looms large in Newlands 2015, which covers all of Ovid’s output. 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.’[6], 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. Medicamina faciei femineae/De medicamine faciei (nua Fragment dahoidn; Tipps fia Weiwa: Schminkn usw.) Ovid, Met. Ovid Medicamina Faciei. Create lists, bibliographies and reviews: or Search WorldCat. The first of these strips women of their beauty regimes before Ovid’s readership. 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 … Volk argues that didactic poetry retains a narrative — the ‘didactic plot’ — which conveys the development of the poet’s instructions and the poem itself. Oxford World's Classics: Ovid: The Love Poems. 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. Découvrez et achetez Ovid amores, medicamina faciei femineae, ars amatoria, remedia amoris 2/e. [10] She seeks to read instruction as narrative, and to read narrative back into instruction. One might imagine the Medicamina being performed with an ironic, mocking exaggeration of didactic elements, as if the praeceptor were walking his audience through the exposé. Eds A. D. Melville and Edward J. Kenney (2008) Oxford World's Classics: Ovid: Fasti. The Ars Amatoria, which is often paired with the Medicamina, is addressed to women, but has Ovid’s male audience at its core. Planc. 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’. allusion, voice, persona, and so on). This is picked up in Cokayne’s rejection of the idea that a woman’s status would decline as she aged. [14] He includes the young puella (17) and a respectable, married matrona (nupta, 26) adjacent to the traditional use of cultus by meretrices. Yet, Ovid simultaneously lifts the veil on these very processes. 1. The Medicamina reads more comfortably as an exposé of women’s beauty rituals than as a rigidly didactic poem. 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. 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. Two opposing narratives can be unearthed in Ovid’s Medicamina Faciei Femineae: one which sets the audience on a quest to allay the physical detriments of ageing; and one that, recipe by recipe, unveils female beautification processes to the rest of Ovid’s audience. Medicamina Faciei Femineae. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Amazon.sg: Books 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.

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