Ovid before Exile: Art and Punishment in the Metamorphoses

Index

Aemilius Macer, 16, 18 Aeneas, 31, 56–57, 136n49, 139n37, 140n49 Aeneid (Vergil), 23, 28, 29, 31, 56, 61 Aeschylus, 89 aetiology, 9, 23, 60–61, 110 agriculture, 55–56, 73, 85 Ahl, Frederick M., 8, 12, 13, 79, 85, 110, 126n15, 153n51 Aitia (Callimachus), 9 Albinovanus Pedo, 17, 129n59 Alcaeus, 108–9 allusion: to artistic and singing contests, 38–39,42–47,135n47;togigantomachy, 52–53, 57–58, 61; intratextual, 27, 48, 49–50, 74–75, 79, 80, 97, 103, 106, 109, 115, 116, 120; to literary predecessors in Ovid’s works, 8, 71, 86, 102, 122, 135n47, 138n26, 138n28; Orpheus / Ovid link established through, 103– 4, 109, 116, 120; puns and, 42 Amores (Ovid), 7, 9, 24–25, 62, 72, 120, 123, 142n62 Anderson, William, 74, 88, 98, 101, 108, 139n40, 145n3, 149n55, 150n4, 151n29 animals: Egyptian iconography and, 60– 61; human consciousness retained after transformation into, 110; Olympians as humiliated by assuming animal forms, 60, 84; Orpheus and, 102, 142n62. See also specific narratives Annals (Tacitus), 14 anxiety, artistic, 5, 14, 39, 51, 72, 101, 102, 122 Apollo, 13, 26, 46, 53, 68, 84–85, 87, 110–11, 147n33 Apollonius, 35, 88, 100, 104 Arachne: as arrogant artist, 76, 79–80, 92; contest with Minerva, 6–7, 23–24, 29– 33, 74–95, 119; Emathides compared to, 75, 78, 80–81, 84, 90, 92, 93, 94–95; failure to praise Minerva, 89–90; punishment of, 92–95, 115; social status of, 80, 95; as subversive artist, 118–19; suicide attempt of, 93–94; transformation of, 93–95; as victim, 84–85, 93–94, 118 Aratea (Germanicus), 18 Aratus, 138n28 Arethusa, 46, 67, 69–70, 136n1, 142n66, 143n73 Argonautica (Apollonius), 35, 83, 88, 100, 104, 135n47 Ariadne, 37 Ars Amatoria (Ovid), 7, 11, 19, 72, 123; audience disclaimer and, 120; as cause of exile, 4–5, 12, 112; contexts of composition , 15–16; structure of, 24–25 167 Index Note: This general index includes subjects, names, and words discussed in the text. Specific textual references can be located using the index locorum that follows. artists, professional, 25–27 Asteria, 86 Astronomica (Hyginus), 106 Astronomica (Manilius), 18–19 audience: artistic strategies as reaction to, 6–7,20–21,36,51–52,117–18;Augustus as, 3–5, 12–13, 59, 102–3, 110, 114, 120; competing artists as, 78, 84; confrontationof ,61,84,85,87,118;critical reputation of Ovid’s works, 7–10, 12; disclaimers to exclude inappropriate, 112–13, 120; ekphrasis and, 28–29; flattery of the, 49, 79, 106–7; Germanicus as, 13, 49, 51; as hostile and dangerous , 3–5, 63,113–14,119–20;within the Iliad, 36; Minerva as, 24, 41–42, 51, 66, 74, 75; miscalculation of, 112– 13; morality of, 53, 117; Muses as, 20, 59, 66; nymphs as judges and, 20, 24, 34, 44–45, 64, 66–67, 69–70, 75–77, 118, 142n66; Ovid’s direct addresses to, 88, 112–13; within Ovid’s works, 20–21; Perilla as, 10–11; Pluto, Proserpina , and underworld as, 20, 54, 97, 105, 106, 108, 119, 152n45; power dynamic between artist and,6–7,20–21, 26–27, 63, 96, 109, 117–18, 119, 151n33; publication and distribution to wider, 123–24; sexual subjects as offensive to, 7, 24, 87, 92, 112–13, 118–20; in TheocritusIdylls ,37;thetransformed as, 110– 11, 119; for weaving contest, 76, 82 Augustan Rome: decline of culture in late Augustan era, 13–21, 39; as literary context, 6, 8, 14, 16–17, 19–20, 102, 121–22 Augustus: artistic freedom suppressed by, 11, 14, 15, 16, 19–20, 121–22; artistic preferences of, 17, 19; as audience, 3–5, 12–13, 59, 102–3, 110, 114, 120; cultural material as political instrument, 8; Jupiter linked to, 57–59, 89, 122, 140n50, 141n54; moral legislation, 12, 64, 70– 71; patronage and influence on artisticendeavor ,13,17,19–20;personal life linked to political repression, 15; as transformed, 96, 143n69 Barber, Elizabeth J. W., 77, 146n14 Barchiesi, Alessandro, 53–54, 62, 75, 125n1, 126–27n21, 127–28n32, 131– 32n12, 133n16, 136n1, 140n1 Barkan, Leonard, 23, 75, 147n32, 148n40 Bassus, 16, 129n53 Burton, Joan B., 83, 147nn26–27 C. Melissus, 18 Caesar, 50–51, 55–56, 58, 94, 96 calendrical tradition, 9, 13 Callimachus, 9, 136–37n3, 147n27 Calliope: audience for song of, 51–52, 53, 75, 87, 118; contest with Emathides, 27, 41–42, 49; Emathides “erased” by, 54, 93; in Fasti, 135n45; gigantomachy and, 57, 60, 61...