Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Virgil and the underworld
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Virgil and the underworld
Ovid and Virgil are both talented writers from the First Century B.C. They are both known for creating amazing pieces of literature that are still enjoyed today. Since two talented Roman writers both lived in the same time period and the same area, is it possible that they have encountered each other at some point? Are their lives any similar or different? What about their writing styles? Understanding how Ovid lived, how Virgil lived, and their writing styles will answer these questions.
Publius Ovidius Naso was simple man from Sulmo, a little town about 90 miles east of Rome. Later, his father sent him and his older brother to Rome for better education. In Rome, Ovid studied rhetoric from some of the best teachers he had access too. Ovid was thought among his teachers of a remarkable speaker, but his father’s neglected his natural talent for verse-writing, so he had to pursue a more public lifestyle. First, he spent some time in Athens and then went to Asia and Sicily. “Afterward he held some minor judicial posts, the first steps on the official ladder, but he soon decided that public life did not suit him. From then on he abandoned his official career to cultivate poetry and the society of poets.”(Edward Kenney, 6-16-2013,”Ovid” pg.1) Ovid’s first work called the Amores had an instantaneous success, along with his other works: Epistolae Heroidum, or the Medicamina faciei, the Ars amatoria, and the Remedia amoris. All of these works reflected a brilliant, classy, pleasure-seeking culture in which he moved. The common theme of his early poems are love and amorous deception, but it is unlikely that they reflect Ovid’s own life. Of his three marriages, the first two were brief. But his third wife remained constant to him until h...
... middle of paper ...
...ansformation plays some part. The stories are told in order from creation of the universe to the death and deification of Julius Caesar. In many of the stories, mythological characters are used to demonstrate obedience or disobedience toward the gods, and for their actions they are either rewarded or punished by a transforming into an animal, vegetable, object, etc. The essential theme of the poem is passion, gives it more unity than other framing devices the poet uses. Ovid arrived in Tomis, his place of exile, in 9 A.D. In Tomis, books and civilized people were deficient, little Latin was spoken, and the atmosphere was harsh. In his loneliness and misery, Ovid turned back to poetry. The Tristia and Epistulae ex Ponto were composed and sent to Rome a year from 9 A.D. They consist of messages to the emperor, Ovid’s wife, and his friends describing his miseries.
A twenty-first century reading of the Iliad and the Odyssey will highlight a seeming lack of justice: hundreds of men die because of an adulteress, the most honorable characters are killed, the cowards survive, and everyone eventually goes to hell. Due to the difference in the time period, culture, prominent religions and values, the modern idea of justice is much different than that of Greece around 750 B.C. The idea of justice in Virgil’s the Aeneid is easier for us to recognize. As in our own culture, “justice” in the epic is based on a system of punishment for wrongs and rewards for honorable acts. Time and time again, Virgil provides his readers with examples of justice in the lives of his characters. Interestingly, the meaning of justice in the Aeneid transforms when applied to Fate and the actions of the gods. Unlike our modern (American) idea of blind, immutable Justice, the meanings and effects of justice shift, depending on whether its subject is mortal or immortal.
My Dear Oedipus, you are the love of my life. From the moment I laid eyes on you I knew that we were bound to each other in some way. These past years, we have done so much in both of our lives. We began a family, built a relationship, ruled Thebes with another, and more. In your eyes, it is anything a Son, Husband and a Father could ever hope for in life. Something dark and twisted that has been culmulating since I bore you, has now come to light.
Although Phillis?s poetry was well received throughout New England, there were people who did not believe all of the poetry was actually written by Phillis. Her expertise with the heroic couplet form perfected by her literary hero Alexander Pope and the allusions to classic Greek and English poetry caused the speculation. In order to prove the validity of her poetry, Joh...
In contrast, Ovid conceived a different purpose for his epic. He wrote fifteen books, compared to Virgil's twelve, with many of his stories originating from Greek and Roman myth, concerned with the transformations of shapes, from the creation of the world to Julius Caesar's death and deification. He focuses on entertaining the reader in a humorous fashion, and rather than establishing Rome's origins in history, he is more concerned with establishing his own fame, for the future ages. These different backgrounds of the two authors illustrate that they each had contrasting agendas for their books. Thus, the portrayal of the gods differs greatly-Virgil's are austere and purposeful, whereas, Ovid's are humorous, reflecting his neoteric style, and intentionally different from the Virgilian gods.
The complex pagan religious system of the Romans mirrored that of the Greeks, but what Ovid sought to create was a solid (nearly Bible-like) account of the formation of the world and the source of the multifarious gods. Essentially, Ovid is seeking to rationalize and dogmatize the dozens of deities. Ovid believed that the relationship between the gods and man was reciprocal; they depended on each other for existence:
In classical Greek literature the subject of love is commonly a prominent theme. However, throughout these varied texts the subject of Love becomes a multi-faceted being. From this common occurrence in literature we can assume that this subject had a large impact on day-to-day life. One text that explores the many faces of love in everyday life is Plato’s Symposium. In this text we hear a number of views on the subject of love and what the true nature of love is. This essay will focus on a speech by Pausanius. Pausanius’s speech concentrates on the goddess Aphrodite. In particular he looks at her two forms, as a promoter of “Celestial Love” as well as “Common Love.” This idea of “Common Love” can be seen in a real life context in the tragedy “Hippolytus” by Euripides. This brings the philosophical views made by Pausanius into a real-life context.
In The Aeneid there are rich implemented principles such as fate, discipline, and competition which greatly influenced the Roman empire causing it’s rise from obedience to the principles as well as it’s fall from disobedience. Virgil lived during the dawn of the rising sRoman empire, and his book was a catalyst to the greatness that grew within the nation. The Aeneid focused around the principle that fate’s power and dominance overrule human life, which in turn would bring indolence or proactivity depending on the individual’s capacity. Although fate can easily be ripped down as a belief it did many great things for the Romans whether it is real or not. Unfortunately the themes of deceit and trickery also crept into the book’s contents, which
One key idea in the books that Ovid explores in great detail throughout book 10 is the idea of love, both tragic and the madness of it. Orpheus is the secondary narrator of most of book 10. At the beginning of the book we are introduced to the tragic love of Orpheus and Eurydice, the result being Orpheus losing his love to the underworld for a second time after a failed attempt to get her back. As a result most of the stories Orpheus tells are of tragic love, like his and his doomed love Eurydice’s. The effect is that the stories of book ten have a structural link in the love theme. We see the lovers of Apollo suffer a similar fates as well as Myrrha and Adonis. All of these stories are linked by love that can be described as tragic as it results in someone’s transformation or downfall. However the love can be presented in another light as well. The love Ovid also explores is worrying or mad love. The love is Ate or madness in the hubris cycle in Greek literature. The love causes many negative things to happen. This is explored in great detail with Myrrha and her love for her father. The love is madness and is presented as an illness that resorts in her breaking the norms of society...
The Book six of the Aeneid is one of the most interesting passages of this poem. Finally the Trojan sets foot at the shore in Italy. In respect of her father’s commands Aeneid decides to go the temple of Apollo. It is within these confines that he is introduced to a priestess called Sibyl. Apparently the priestess warns them of awaiting trials likely to be faced in Italy. These passages in the poem contributed largely to the profession of Virgilis to the status of an Adored Christian prophet of the middle ages.
Charters, Ann, and Samuel Barclay. Charters. "Oedipus the King." Literature and Its Writers: A Compact Introduction to Fiction, Poetry, and Drama. 6th ed. Boston: Bedford/St. Martin's, 2004. 1129-173. Print.
Virgil. “The Aeneid, Book IV”. The Norton Anthology of Western Literature. 8th ed. Vol. 1. New York: W.W. Norton, 2006. 974-95. Print.
Virgil is not only an influence on Dante as a character of Dante's fashioning and in terms of the poem, but he is also (perhaps more importantly) an incredible inspiration to Dante as a fellow poet. It seems clear that there are many similarities between the Aeneid and the Divine Comedy - what at first glance may seem indefinite is the importance of those similarities. Virgil's Aeneid is intimately intertwined with Dante's Divine Comedy in the capacity of an entire poetic work with similar themes, and also as an integral reference for specific images.
For example, in the Aeneid, Virgil wrote about the love affair between Dido and Aeneas and Dido’s eventual demise; this particular linear link served as a bridge between book IV and book V. Another example of this interconnection between books occurred in the foretelling of Aeneas’s eventual travels to the Cumae and it served as a link between book V and book VI. In much the same fashion, Ovid employed a similar tactic in the interconnections that occurred in the Metamorphoses, but unlike the storyline of Virgil’s singular character-driven epic poem, Ovid linked all sorts of individuals, Gods, and mythological stories into his creative masterpiece. What is more, Ovid often placed stories within stories that also spanned multiple books in his epic poem. A prime example of this powerful storytelling tool was the chronological progression of the story about Baccus. The tale of Baccus began in the book III story of Semele, was expounded upon in the story of Pentheus and Baccus, further explored in the book IV story of Pyramus and Thisbe, and referenced or included in various books and stories that followed. This is just one of the hundreds of individuals, Gods, and mythological stories Ovid included in his poem and a singular example of how
This anti-epic certainly does not follow the adventurous theme of the epic. There is no protagonist hero to focus on unless you visualize the god's prey as the hero in his/her escape. The assembled writings seem to be more of a recording of the misdeeds of the gods. It appears that Ovid wanted to write about the desires of gods and people instead of a great adventure.
Naso, Publius O. Ovid: A Legamus Transitional Reader. Trans. Caroline A. Perkins and Denise Davis-Henry. Wauconda, IL: Bolchazy-Carducci, 2007. Print.