Esta contribución tiene como objetivo fundamental presentar tres manuscritos iluminados de las Metamorfosis de Ovidio, dos conservados en la Biblioteca Nacional de España (BNE) y uno en Dresde, en ...Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB). Las iluminaciones de los tres códices presentan una falta de correspondencia aparente con el contenido mitológico del texto y hasta la fecha no se han tenido en cuenta en los estudios sobre las Metamorfosis iluminadas. Su análisis permite poner en relación entre sí de manera clara los tres manuscritos, así como profundizar en el panorama de la miniatura del poema ovidiano durante los últimos siglos de la Edad Media.
This paper reexamines the grove of Orpheus in Ovid, Metamorphoses 10, arguing that it is a space of complex ambiguity as activated and determined by the dual meaning of umbra. It conceptualizes the ...space as an atmospheric doublet of the Underworld, designed to give Orpheus imaginative access to his lost wife Eurydice by providing a second set of shade(s) as an audience for his song. By calling attention to the ways in which Orpheus’ summoning of the grove casts it as a neo-Underworld, this paper seeks to unsettle the grove’s persistent designation as the originary locus amoenus. Altogether, across the levels of narrative, Orpheus and Ovid engage in a receptive repurposing and manipulation of both the idea of literary shade (as inherited and adapted from Virgil) and the trope of the tree catalogue (as familiarised in epic) to create a landscape of profound liminality.
This article examines the evolution of medieval interpretations of the myth of Narcissus (Ovid, The Metamorphoses, Book III) in French literature of the first half of the 16th century. Jeanne Flore ...in the “Comptes amoureux” develops the courtesan interpretation of the myth, in which Narcissus, who rejects Cupid’s omnipotence, is combined with the figure of Belle dame sans mercy. In the tradition of moral and allegorical commentary, the young man in love with himself served as a symbol of hubris excessively immersed in worldly goods; in the mid-century, this tradition changed under the influence of humanism: with François Habert and Barthélémy Aneau the story of Narcissus illustrates the maxim “know thyself.” Reception of the Metamorphoses in the Middle Ages implied a fragmentation of the text of the poem: the courtly interpretation referred to its separate subjects, while the allegorical interpretation transformed it into a list of symbolic characters with a stable independent meaning and into a set of didactic maxims of a universal character. During the Renaissance, literati seek to restore the coherence of Ovid’s text. This tendency is embodied not only in new translations (by Clément Marot, F. Habert, B. Aneau) but also, paradoxically, within the genre of the emblem. The “Metamorphose d’Ovide figurée” inherits the medieval florilegiums and transforms the tradition of illuminated manuscripts: on the one hand, it replaces the text of the poem with a series of engravings, while, on the other, its emblems arrangement recreates the unity of the poem. Ovid’s emblematic treatment embodies Horace’s principle of ut pictura poesis.
Through the study of the preparatory papers of d’Annunzio’s Phaedra preserved in the Archivio Privato del Vittoriale, the article aims to demonstrate the leading role of the medieval vulgarisation of ...Ovidian’s Metamorphoses by Arrigo Simintendi for the composition of the tragedy. Through a careful work of compulsion and auscultation of the fourteenth-century text, d’Annunzio recovers formal and lexical tesserae to build Phaedra’s hendecasyllables, to recreate congenial images, to provide the most appropriate sounds and musicality, and to suggest psychological insights through the comparison between his characters and the mythological archetypes dear to his theatre, of which Ovid’s masterpiece is an admirable compendium. Ultimately, the essay suggests that the influence of Simintendi’s vulgarization and the method of compulsion extends beyond the tragedy of 1909.
In the Rájec nad Svitavou chateau there is a Flemish cabinet from the period from about 1650-1680 decorated with scenes from Ovid's metamorphoses. The cabinet comes from the former collections of the ...house of Salm. The provenance is attributed to one of the suppliers of the Forchondt family art dealership. This cabinet was the subject of a conservation treatment in 2020. During this intervention, various surveys were completed. One of them was a dendrochronological survey of the larch construction panel found at the bottom of the cabinet. The presence of coniferous wood in the structure, together with the found inscription from 1845, called into question the authenticity of the cabinet. Dendrochronology proved that the larch panel was entirely contemporary and came from the French Maritime Alps. The last datable annual ring from an annual ring series of over 200 years was dated back to 1651. The cabinet case is certainly not the product of nineteenth century repairs in Prague. The result of dendrochronology is clear evidence of the use of imported softwoods in the manufacture of cabinets in Antwerp. The material was probably imported for the manufacturing of ships for the Dutch fleet, and the leftovers were sold on the local market. It can be assumed that more examples like this will appear in the future and should not be surprising.
This article compares three passages of two Catalan recreations of Ovid’s Metamorphoses dating to the fifteenth century: the translation Transformacions by Francesc Alegre and the Lamentacions by ...Joan Roís de Corella. Our comparison allows us to propose the hypothetical reconstruction of a third text, now lost, from which some of these common passages could have derived. Our comparison of these passages also helps us reflect on the importance of the Transformacions for the study of the textual transmission of Corella’s Lamentacions. Last, we suggest that remnants of that third text may also be found in Joanot Martorell’s Tirant lo Blanc.
Pierre Bersuire's Ovidius moralizatus, one of the major medieval commentaries on Ovid's Metamorphoses, exists in two principal versions, Avignon (A) and Paris (P). This article examines certain ...textual developments and additions related to the myth of Aesculapius (Met. 2.598-632 + 15.622-744) that distinguish the Parisian version from the Avignon version of the Ovidius moralizatus.
