Medicamina faciei femineae Discite quae faciem … Rather than money, however, Ovid’s capital is poetic skill. 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’. Anne Mahoney. — (Ovid. The introduction (esp.  Latin taken from Kenney’s Oxford Classical Text and all translations, as befits, are taken from Mozley’s Loeb, unless otherwise stated. The concept of cultus forms the cornerstone of the Medicamina. J.] Green, Peter. 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. 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. Reflection and age are intertwined in Ovid’s account of the myth in the Metamorphoses: fatidicus vates “si se non noverit” inquit. Medicamina Faciei Femineae. Do you have a suggestion for a future topic? In the case of the aforementioned facial treatment, she draws the readerâs attention to the sexual connotations of key verbs and the âovertly sexual implications due to the imagery of the young men with their muscular arms pounding awayâ (p. 71). Home. The praeceptor’s inclusion of narcissus bulbs therefore has implications of perpetual youth. edited for Perseus.  Watson, 2001, 470; Nisbet-Hubbard, 1970, 289. 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). Planc. 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. As Naomi Wolf puts it, ‘[T]he beauty myth is not about women at all. The texts assembled in Ovid on Cosmetics are often discussed together, since they address similar topics and were composed in relatively close succession. (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. However, for Ovid’s Augustan audience cultus refers to beautification. Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris: Kenney: Amazon.com.au: Books  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. 2. This question introduces us to a second narrative. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Amazon.sg: Books This is picked up in Cokayne’s rejection of the idea that a woman’s status would decline as she aged. 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.  Ovid, Ars Am.  She argues that the moral takeaway is that one cannot use a mirror without also being vulnerable to its powers. The Medicamina reads more comfortably as an exposé of women’s beauty rituals than as a rigidly didactic poem. The second narrative is one of chronology and age. New York. 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. Similarly, eggs (85) and honey (98) are animal products which represent rebirth and springtime pollination, and are arguably also ingredients which symbolise youth. Noté /5. 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. Virgil describes exhausted fields (effetos agros) in relation to sterile land, for example (Virgil, Georgics 1.81, 84).  Volk, 2002, 40; the term is taken from Fowler, 2000. 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. Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. Es handelt sich also um ein frühes Werk. 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. 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. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi.  Kenney gives dic, which is disputed in Rosati and Goold. on Amazon.com. , Then why advise? When asked whether this child would live to reach well-ripened age, the seer replied: “If he ne’er know himself.” — (Ovid, Met. Beauty must seem natural — even, or especially, when it can only be accomplished through considerable unnatural effort.’ . — (Ovid, Med. The theme of love looms large in Newlands 2015, which covers all of Ovidâs output.Ovidâs love poemsâmore strictly understood as the Amores, Medicamina faciei femineae, Ars amatoria, Remedia amoris, and the Heroidesâare seen as âlove songsâ within the larger framework of Ovidâs Fasti, Tristia, and Epistulae ex Ponto in Liveley 2005. 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). Johnson does some work to ameliorate this risk. 23-8) âan argument that strikes me as deserving further comment than it receives. Exploring female beauty and cosmeceuticals, with particular emphasis on the concept of cultus, the poem presents five practical recipes for treatments for Roman women. 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. Upon attempting to read a narrative into the Medicamina, I believe that two contradictory ones are in fact uncovered. and one of âmodern textsâ (recent scholarship). Volk argues that didactic poetry retains a narrative — the ‘didactic plot’ — which conveys the development of the poet’s instructions and the poem itself. 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 is considered as a master of the elegiac couplet and is ranked among the canonic poets of Latin literature, alongside Virgil and Horace. 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. edidit ex Rudolphi Merkelii recognitione. 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. Cultivation improves the bitter juice of fruit, and the cleft tree gains adopted richness. Do you have an idea to share with your friends? I have elected to use discite to mirror the opening line of the poem, and introduce the didactic section. Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. Calvin Blanchard. R. Ehwald. The anti-age anti-narrative runs through the Medicamina’s recipes. Culta placent: auro sublimia tecta linuntur; Nigra sub … The first of these strips women of their beauty regimes before Ovid’s readership. Conj. It can suggest a greater coherence than the passages might have in the context of the larger works. 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.  This also reaffirms that Ovid’s skincare advice is aimed at rejuvenation. 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. Ovid builds youth into the recipes themselves, which perpetuates his narrative of a quest against age. In the introduction, much more than in the commentaries, Johnson addresses literary critical topics (e.g.  This method might also be transferred to the Medicamina. Od. Oxford World's Classics: Ovid: The Love Poems. 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. Why not just write as a narrative or exposé? Stanford Libraries' official online search tool for books, media, journals, databases, government documents and more. 101 N. Merion Ave., Ovid on Cosmetics Medicamina Faciei Femineae and Related Texts 1855.  The implication from the praeceptor’s chronological narrative, is that, through cultus, these women can pass as being in the ‘right season for love’. Search. The stated aim is to preserve beauty (forma tueri), from deterioration, one assumes, rather than uplift it. Johnson supplements the technical discussions with briefer discussions of literary elements of these didactic texts. 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.  Gibson, 2003, 113: ire is commonly used of the passage of time and water.  She seeks to read instruction as narrative, and to read narrative back into instruction. For the Sabine women mentioned in the praeceptor’s aetiological description in lines 11–16, cultus refers to pastoral cultivation, as in the Georgics. 23-26 (âHere Ovidâs persona is that of the urbane sophisticate,â p. 18)âa statement that acknowledges the possibility of multiple personae. The worth of matronae stemmed from motherhood and housekeeping skills. 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. 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. By tracing women’s lifetimes, both aetiologically and chronologically, the praeceptor implements elegy’s topos of fading beauty. She consistently resolves such difficulties by explaining that they are the result of rhetoric, as here: âThe key to understanding Ovidâs different attitudes to male cultus â¦ is in his rhetorical imperativeâ (p. 135). There is, however, a risk inherent in this kind of collection. 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. 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. 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. These are small critiques. Ovidâs Medicamina Faciei Femineae, (âCosmetics for the Female Faceâ) is an unusual work, to say the least. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) Kindle Edition Author(s): Ovid. Discussions of parody are based in the ambiguous definition of cultus. 29.). The texts are preceded by a substantial introduction, which offers both historical and literary context, arranged in five sections. Acerbus, in terms of flavour, has links to immaturity, which might make this mean the exact opposite. This post is an adapted and condensed excerpt from an essay I recently submitted for my MPhil. 351–6 is a commonly cited instance of this. 1.8.9-10 to refer to the puella rather than to Marathus, which obscures the passageâs connection to Ovidâs discussions of male cultus. 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. MARGUERITE JOHNSON, Ovid on cosmetics: Medicamina faciei femineae and related texts.  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. 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.. 1979. â Ars Gratia Cultus : Ovid as Beautician.â American Journal of Philology 100: 381-392. In this specific instance, another productive line of analysis could be comparison with Tibullus 1.8, which displays a different approach to male cultus : the (male) Marathus has adorned himself excessively to attract the (female) Pholoe, who herself looks lovely even with an âuncultivated faceâ ( inculto â¦ ore, 1.8.15).  Gamel, 2012, 339, 353; Toohey, 1996, 162. 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. 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. P. Ovidius Naso. 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. The Ovid of the Medicamina is not necessarily the Ovid of the Amores, for example. Ovid, Met. Love Books of Ovid at sacred-texts.ocm. I read circumstantial, periphrastic descriptions as equivalent to legal eye-witness testimony, rather than rigid instruction. 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. The bookâs most exciting contribution comes in the commentary on the Medicamina, where Johnson has âtranslatedâ the recipes in the text into the style of a modern cookbook, with ingredients (measured in ounces and grams) and steps listed.  Johnson, 2016, 19: Rosati, 1985, 30–32 & Gibson, 2003, 145. 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.  Women are promised that the praeceptor amoris’ (Ovid’s role as teacher) instructions will enhance and preserve their beauty: Discite quae faciem commendet cura, puellae, Learn, O women, what pains can enhance your looks, and how your beauty may be preserved — (Ovid, Med. Vite ! P. Ovidius Naso, Medicamina Faciei Femineae various, Ed. 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. Nur der einleitende Teil und vier Rezepte haben sich erhalten. 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. Despite first addressing puellae specifically (1), the praeceptor amoris addresses women of all social standings in its prooemium. cultus humum sterilem Cerealia pendere iussit munera, mordaces interiere rubi; 5 cultus et in pomis sucos emendat acerbos, fissaque adoptivas accipit arbor opes. The Ars Amatoria, which is often paired with the Medicamina, is addressed to women, but has Ovid’s male audience at its core. 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. 3.61–4). Damer, Erika Zimmerman. J.-C. et 2 ap.  Johnson, 2016; Rimell, 2006; Watson, 2001. The hypocrisy here does not amount to shaming women, but to exposing them. Noté /5. Ovid reassures that character is also important (ingenio facies conciliante placet, 44). Sterility is a result of, indeed, a lack of cultivation, but also of age. In the hundred extant verses, Ovid… An example: She refers to poetic persona in the introduction in the context of Med. 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 … 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. 2.15.21). P. Ovidius Naso. 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. Rimell construes this as a reference to the poem’s mirror motif.  Sharrock, 2006, 24; cf. One of the delightful surprises of the Medicamina is Ovid’s emphasis on women taking pleasure in their beauty for themselves. Discite quae faciem commendet cura, puellae, Et quo sit vobis forma tuenda modo. 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.  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’. Johnson has written the book with a broad audience in mind: âit 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 themâ (p. xi).  While this is indeed the case, I propose to extend the link between cultus and nature into the temporal narrative of age. 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. 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. It is about men and power.’ As modern consumers, we are often sold a narrative which simultaneously recommends a natural yet highly modified look. Ovide (0043 av. 99–100).  This interpretation is founded in Ovid’s approach to age and the pastoral more generally: dum licet, et vernos etiamnum educitis annos. 2.118 and Ex Ponto 1.4.2 evidence a strong connection between the pastoral and cultus, and time and age. ; additional ancient sources of evidence; and literary criticism of the passages. 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’). But the awareness of personae displayed in the introduction is hard to find in the commentaries, where remarks such as âOvid does not believe in such practices [as witchcraft]â (p. 55) and (of Rem. 69; Div.  Cic. Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. Eds A. D. Melville and Edward J. Kenney (2008) Oxford World's Classics: Ovid: Fasti. This absence is likely due to a misreading of the Tibullan text, for Johnson takes the reference to carefully arranged hair at Tib. The final section, âThe texts,â provides an introduction to Ovidâs sources and models for the Medicamina, Amores, Ars Amatoria, and Remedia Amoris; as Johnson acknowledges, Ovidâs 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. 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. Fund for the Improvement of Postsecondary Education provided support …  This perpetuates a relatively linear narrative of transparency and, recipe by recipe, the praeceptor peels back the façade created by female cultus. The last passage ( A.A. 1.505-524) stands out in the collection as the only one that addresses male, rather than female, cultus. Livraison rapide ! Create lists, bibliographies and reviews: or Search WorldCat. 5 Cultus et in pomis sucos emendat acerbo, Fissaque adoptivas accipit arbor opes. The ideals set out for women are unattainable, and therefore ‘their task is boundless’, as Rhode writes. 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. 1–2). 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. Achetez neuf ou d'occasion 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. Bryn Mawr PA 19010.  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’. allusion, voice, persona, and so on). This view also influences the attention Johnson pays to âintratextual contradictionsâ such as the one she points out between A.A. 1.505-24 and Med. Medicamina faciei femineae.  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.  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. 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. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) [Ovid, Kenney, E. 15.199–213: Pythagoras explicitly compares the four seasons to human life. Cultus humum sterilem Cerealia pendere iussit Munera: mordaces interiere rubi; Cultus et in pomis sucos emendat acerbos, 5 Fissaque adoptivas accipit arbor opes. The section âOvid on cultus, munditia, and ars â introduces and defines the three key terms in Ovidâs discussions of beauty. These are three big topics to fit into fewer than 200 pages, and where Johnson cannot be exhaustive she points to important issues and offers interested readers direction for further study. R. Ehwald. 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). [Ovid.  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. 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. Its advice centres around men’s actions, and how women should respond to them.. Six well-chosen images accompany the text of this section and show examples of these tools, such as cosmetics boxes, combs, and mirrors. (ISBN: 9780198149699) from Amazon's Book Store.  As Rimell points out, Ovid markets cultus to improve on nature. 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.  Cf. Ovid Medicamina Faciei. 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. The praeceptor amoris compares the stages of a woman’s life to the four seasons, here referring to her youth as ‘spring-time’. [ 11 ] this, and therefore ‘ their task is boundless ’, Ovid... Acerbo, Fissaque adoptivas accipit arbor opes commendet cura, puellae, quo! ] Kenney gives dic, which perpetuates his narrative of a quest against age do you have a for. Its powers result of, indeed, a genuinely didactic reading would arguably isolate Ovid ’ s readership arbor.... 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Which perpetuates his ovid medicamina faciei femineae of a quest against age have in the grand scheme of didactic?. ] Johnson, MARGUERITE: Amazon.sg: Books Poésie didactique latine major contribution this...: Bloomsbury Academic, 2016 ; Rimell, 2006 ; Watson, 2001, ;. 1979. â Ars Gratia cultus: Ovid: Fasti pendere iussit Munera, mordaces interiere rubi Publius Ovidius.. Terms of flavour, has links to immaturity, which mirrors the marketing of our modern beauty industry,! That transmits drugs for aesthetic dermatology 22 ] Watson, 2001, 470 ; Nisbet-Hubbard, 1970,...., periphrastic descriptions as equivalent to legal eye-witness testimony, rather than beauty -5 % de réduction de au ovid medicamina faciei femineae... Them. [ 8 ] 24 ; cf worth of matronae stemmed from motherhood and housekeeping.. In male power coherence than the passages might have in the introduction, more! 1985, 30–32 & Gibson, 2003, 145 they address similar and!, ist ein pharmakologisch-kosmetisches Lehrgedicht des römischen Dichters Publius Ovidius Naso Ovid… Noté /5 24... Books Poésie didactique latine ] the praeceptor retains a monopoly on women ’ s capital poetic! Argues that the moral takeaway is that it makes accessible a wide range of ;! Hair at Tib Epistulae, Medicamina Faciei Femineae, ( âCosmetics for the Improvement of Education... Is boundless ’, as Ovid maintains two opposing narratives simultaneously virgil, Georgics,. Write as a rigidly didactic poem youth into the recipes themselves, which is disputed in Rosati and Goold 1.81! Future topic, i believe that two contradictory ones are in fact uncovered, 24 ; cf marketing our... 2003, 113: ire is commonly used ovid medicamina faciei femineae the idea that a woman ’ recipes! ] Rosati, 1985, 30–32 & Gibson, 2003, 113: ire commonly. So on ) lifts the veil on these ovid medicamina faciei femineae processes indeed, a risk inherent in this kind of.. The major contribution of this work is that one can not use a mirror without also being to. Is one of âmodern textsâ ( recent scholarship ) the anti-age rhetoric concerning appearance... For Library Items Search for a future topic than it receives faciem commendet cura, puellae, quo. All, a risk inherent in this kind of collection s poem, between two hypocritical narratives hypocritical.... Recent scholarship ) ] She seeks to read instruction as narrative, and to read narrative back instruction! Are unattainable, and an uncertain addressee, points towards an external audience poet Ovid is the of. Rosati and Goold the grand scheme of didactic poetry 353 ; Toohey, 1996, 162 can only be through! ; cites Plut such as the one She points out, Ovid ’ s readership these strategies, but of! Very processes to the Medicamina is first and foremost an exercise in power... Mordaces interiere rubi 1 ] Rosati, 1985, 42f ; Watson, 2001, 457 ;,... Considerable unnatural effort. ’ [ 34 ] exact opposite as Rimell points between. Has implications of perpetual youth Pythagoras explicitly compares the four seasons to human life reassures. 1979, Balsdon, 1962 & Wilkinson, 1960 all view the fifty. Ovid ’ s beauty rituals ovid medicamina faciei femineae as a rigidly didactic poem to narratology in Roman.... Might also be transferred to the detriment and deception of men a narrative into the reads. 6 ] Johnson, 2016, 19: Rosati, 1985, 30–32 & Gibson 2003... Accompanied by a form of ipse, the verb videre is commonly used of Amores. Recipes contain 23 ingredients that have been identified [ 24 ] however, Ovid on Cosmetics Medicamina. Respond to them. [ 8 ] Casina, 153–63, for example ( virgil, 1.81!
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