The anti-age anti-narrative runs through the Medicamina’s recipes. 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. 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. [15] Ovid, Med. [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. The book’s useful “extras”—a chronology of Ovid’s 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 measures—lighten the reader’s work. However, for Ovid’s Augustan audience cultus refers to beautification. Od. 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. 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 … Vite ! [18] Ibid, 55: Ovid, Rem. Ovid Medicamina Faciei. on Amazon.com. It is funded by Knowledge Unlatched.The Medicamina Faciei Femineae is a didactic elegy that showcases an early example of Ovid's trademark combination … Ovid's five recipes contain 23 ingredients that have been identified. The theme of love looms large in Newlands 2015, which covers all of Ovid’s output. 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 “uncultivated face” ( inculto … ore, 1.8.15). [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. [24] However, this advice does not detract from the anti-age rhetoric concerning physical appearance. Medicamina faciei femineae. Des milliers de livres avec la livraison chez vous en 1 jour ou en magasin avec -5% de réduction . 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]. This is picked up in Cokayne’s rejection of the idea that a woman’s status would decline as she aged. 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. pp. 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. Conj. The Ars Amatoria, which is often paired with the Medicamina, is addressed to women, but has Ovid’s male audience at its core. discite quae faciem commendet cura, puellae, et quo sit vobis forma tuenda modo. 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. 1979. “ Ars Gratia Cultus : Ovid as Beautician.” American Journal of Philology 100: 381-392. [1] Rosati, 1985, 42f; Watson, 2001, 457; Johnson, 2016, xii. [32] She argues that the moral takeaway is that one cannot use a mirror without also being vulnerable to its powers. 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. Medicamina Faciei Femineae. In seiner Ars amatoria verweist Ovid auf dieses kleine Buch. P. Ovidius Naso. Culta placent. 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. edidit ex Rudolphi Merkelii recognitione. Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. 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. [9] Volk, 2002, 40; the term is taken from Fowler, 2000. 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. 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. Sacred Texts Archive: Ovid Amores, Ars Amatoria, Medicamina Faciei Femineae, Metamorphoses, Remedia Amoris. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Amazon.com.au: Books Do you have an idea to share with your friends? 69; Div. The praeceptor amoris compares the stages of a woman’s life to the four seasons, here referring to her youth as ‘spring-time’. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) Women are held in a similar limbo in Ovid’s poem, between two hypocritical narratives. 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. The hypocrisy here does not amount to shaming women, but to exposing them. The stated aim is to preserve beauty (forma tueri), from deterioration, one assumes, rather than uplift it. [7] It is clear already from the poem’s interaction with extant didactic poetry that the Medicamina is most richly received when not read as purely didactic. [24] Cokayne, 2005, 138; cites Plut. 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). The worth of matronae stemmed from motherhood and housekeeping skills. 1–2). Découvrez Ovid Amores, Medicamina Faciei Femineae, Ars Amato ainsi que les autres livres de au meilleur prix sur Cdiscount. Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. — (Ovid, Ars Am. Everyday low prices and free delivery on eligible orders. 23-26 (on male cultus). Eds Anne Wiseman and Peter Wiseman (2013) Oxford Classical Texts: P. Ovidi Nasonis: Tristium Libri Quinque; Ibis; Ex Ponto Libri Quattuor; Halieutica … 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. The section “Ovid on cultus, munditia, and ars ” introduces and defines the three key terms in Ovid’s discussions of beauty. Nur der einleitende Teil und vier Rezepte haben sich erhalten. Beauty must seem natural — even, or especially, when it can only be accomplished through considerable unnatural effort.’ [34]. Ovid, Met. 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. 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. 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. [26] This interpretation is founded in Ovid’s approach to age and the pastoral more generally: dum licet, et vernos etiamnum educitis annos. [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’. [18] This, and an uncertain addressee, points towards an external audience. 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 erotodidactic corpus, and was probably composed just before the third book of the Ars Amatoria. 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. Upon attempting to read a narrative into the Medicamina, I believe that two contradictory ones are in fact uncovered. 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. Medicamina faciei femineae Discite quae faciem … 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. 25; Ver. Search for Library Items Search for Lists Search for Contacts Search for a Library. 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. Eds A. D. Melville and Edward J. Kenney (2008) Oxford World's Classics: Ovid: Fasti. [14] He includes the young puella (17) and a respectable, married matrona (nupta, 26) adjacent to the traditional use of cultus by meretrices. 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 … ; Centre Traditio Litterarum Occidentalium.] 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’). Achetez neuf ou d'occasion — (Ovid, Med. Ovid on Cosmetics Medicamina Faciei Femineae and Related Texts Praec. The last passage ( A.A. 1.505-524) stands out in the collection as the only one that addresses male, rather than female, cultus. 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. 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. As an auxiliary finding, we observed that the distinction between pharmaceuticals and substances used … Rather than money, however, Ovid’s capital is poetic skill. edited for Perseus. 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. [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. 23-26 (“Here Ovid’s persona is that of the urbane sophisticate,” p. 18)—a statement that acknowledges the possibility of multiple personae. The Medicamina is first and foremost an exercise in male power. [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. [29] This also reaffirms that Ovid’s skincare advice is aimed at rejuvenation. Rimell construes this as a reference to the poem’s mirror motif. I read circumstantial, periphrastic descriptions as equivalent to legal eye-witness testimony, rather than rigid instruction. and one of “modern texts” (recent scholarship). Johnson also addresses here the issue of Ovid’s intended audience ( matronae or not?). Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. 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. Fund for the Improvement of Postsecondary Education provided support … 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. Accompanied by a form of ipse, the verb videre is commonly attested in Cicero to denote an eye-witness account. [35] The praeceptor retains a monopoly on women’s bodily autonomy, which mirrors the marketing of our modern beauty industry. 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. 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). He also wrote smaller pieces like the “Remedia Amoris” and “Medicamina Faciei Femineae”. allusion, voice, persona, and so on). 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. Once again the poetic woman is contorted for the poet to showcase his skill, as Ovid maintains two opposing narratives simultaneously. The Ovid of the Medicamina is not necessarily the Ovid of the Amores, for example. [22] Watson, 2001, 470; Nisbet-Hubbard, 1970, 289. 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’. 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. 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. Exploring female beauty and cosmeceuticals, with particular emphasis on the concept of cultus, the poem presents five practical recipes for treatments for Roman women. 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. Love Books of Ovid at sacred-texts.ocm. Caec. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. Ovid reassures that character is also important (ingenio facies conciliante placet, 44). Johnson supplements the technical discussions with briefer discussions of literary elements of these didactic texts. [23] Kenney gives dic, which is disputed in Rosati and Goold. Noté /5. There is, however, a risk inherent in this kind of collection. J.] Anne Mahoney. Discite quae faciem commendet cura, puellae, Et quo sit vobis forma tuenda modo. Livraison rapide ! Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. Persona theory could be useful here, but Johnson adheres to a biographical reading of Ovidian poetry, ending her discussion by stating that this recourse to rhetoric “should come as no surprise” because, as Seneca the Elder tells us, the historical Ovid practiced hortatory speech (yet another example of Seneca’s influence on the reception of Ovid’s poetry). 2.15.21). Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Amazon.sg: Books 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. MARGUERITE JOHNSON, Ovid on cosmetics: Medicamina faciei femineae and related texts. In “High maintenance … the Roman body,” Johnson lays out the common practices and tools of ancient beautification, as known through textual and archaeological evidence. 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. In the hundred extant verses, Ovid… Ovid Medicamina Faciei. J.-C. et 2 ap. [21] Gamel, 2012, 339, 353; Toohey, 1996, 162. 14 ingredients are derived from plants, four from animals, and four from minerals. Noté /5. 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. Cultus humum sterilem Cerealia pendere iussit Munera: mordaces interiere rubi; Cultus et in pomis sucos emendat acerbos, 5 Fissaque adoptivas accipit arbor opes. cultus humum sterilem Cerealia pendere iussit munera, mordaces interiere rubi; 5 cultus et in pomis sucos emendat acerbos, fissaque adoptivas accipit arbor opes. 15.199–213: Pythagoras explicitly compares the four seasons to human life. 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. Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. 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. [20] This perpetuates a relatively linear narrative of transparency and, recipe by recipe, the praeceptor peels back the façade created by female cultus. 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. ; additional ancient sources of evidence; and literary criticism of the passages. 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). Calvin Blanchard. (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. Buy Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris 2/e (Oxford Classical Texts) 2 by Kenney, E. J., Kenney, E. J. [34] 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. 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. The texts assembled in Ovid on Cosmetics are often discussed together, since they address similar topics and were composed in relatively close succession. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) [Ovid, Kenney, E. Discussions of parody are based in the ambiguous definition of cultus. 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. The second narrative is one of chronology and age. Liveley, 2012 for an approach to narratology in Roman elegy. 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. In the introduction, much more than in the commentaries, Johnson addresses literary critical topics (e.g. These are small critiques. Reflection and age are intertwined in Ovid’s account of the myth in the Metamorphoses: fatidicus vates “si se non noverit” inquit. The poem falls at the beginning of Ovid’s … 23-8) —an argument that strikes me as deserving further comment than it receives. Culta placent: auro sublimia tecta linuntur; Nigra sub … Livia’s beauty secrets are secret no more. The major contribution of this work is that it makes accessible a wide range of evidence about ancient beautification. [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’. The praeceptor amoris, while uncovering these women’s secrets, implies that they are necessary nonetheless, and implements an anti-age rhetoric throughout. Green, Peter. Why not just write as a narrative or exposé? — (Ovid. Achetez neuf ou d'occasion 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. Am. [10] She seeks to read instruction as narrative, and to read narrative back into instruction. Sterility is a result of, indeed, a lack of cultivation, but also of age. 2.118 and Ex Ponto 1.4.2 evidence a strong connection between the pastoral and cultus, and time and age. After all, a genuinely didactic reading would arguably isolate Ovid’s male audience. editio: incognita fons: incognitus. ("Agamemnon", "Hom. Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris: Kenney: Amazon.com.au: Books Cultivation improves the bitter juice of fruit, and the cleft tree gains adopted richness. Virgil describes exhausted fields (effetos agros) in relation to sterile land, for example (Virgil, Georgics 1.81, 84). 2013-2014. “Gender Reversals and Intertextuality in Tibullus.” The Classical World 107 (4): 493-514. Home. It can suggest a greater coherence than the passages might have in the context of the larger works. 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. Volk argues that didactic poetry retains a narrative — the ‘didactic plot’ — which conveys the development of the poet’s instructions and the poem itself. 351–6 is a commonly cited instance of this. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) Kindle Edition Author(s): Ovid. As Naomi Wolf puts it, ‘[T]he beauty myth is not about women at all. Discite, quae faciem commendet cura, puellae, Et quo sit vobis causa tuenda modo! [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. The book’s most exciting contribution comes in the commentary on the Medicamina, where Johnson has “translated” the recipes in the text into the style of a modern cookbook, with ingredients (measured in ounces and grams) and steps listed. Discite quae faciem commendet cura, puellae, Et quo sit vobis forma tuenda modo. [3] Latin taken from Kenney’s Oxford Classical Text and all translations, as befits, are taken from Mozley’s Loeb, unless otherwise stated. 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 :
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