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. Women are held in a similar limbo in Ovid’s poem, between two hypocritical narratives. [8] Ovid, Ars Am. 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). Upon attempting to read a narrative into the Medicamina, I believe that two contradictory ones are in fact uncovered. Once again the poetic woman is contorted for the poet to showcase his skill, as Ovid maintains two opposing narratives simultaneously. An example: She refers to poetic persona in the introduction in the context of Med. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) [24] Cokayne, 2005, 138; cites Plut. Acerbus, in terms of flavour, has links to immaturity, which might make this mean the exact opposite. allusion, voice, persona, and so on). 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. [20] Cic. De medicamine faciei, auch bezeichnet mit dem Titel Medicamina faciei femineae, ist ein pharmakologisch-kosmetisches Lehrgedicht des römischen Dichters Publius Ovidius Naso. It is about men and power.’[33] As modern consumers, we are often sold a narrative which simultaneously recommends a natural yet highly modified look. [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. auro sublimia tecta linuntur, Nigra sub imposito marmore terra latet: Vellera saepe eadem Tyrio … on Amazon.com. ; additional ancient sources of evidence; and literary criticism of the passages. 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. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Amazon.sg: Books 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. J.] Buy Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris 2/e (Oxford Classical Texts) 2 by Kenney, E. J., Kenney, E. J. Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. The first of these strips women of their beauty regimes before Ovid’s readership. [29] This also reaffirms that Ovid’s skincare advice is aimed at rejuvenation. [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. Découvrez et achetez Ovid amores, medicamina faciei femineae, ars amatoria, remedia amoris 2/e. 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. When asked whether this child would live to reach well-ripened age, the seer replied: “If he ne’er know himself.” — (Ovid, Met. The Medicamina is first and foremost an exercise in male power. 23-8) —an argument that strikes me as deserving further comment than it receives. R. Ehwald. Medicamina Faciei Femineae. 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. 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). Cultivation improves the bitter juice of fruit, and the cleft tree gains adopted richness. Ovid builds youth into the recipes themselves, which perpetuates his narrative of a quest against age. ×Your email address will not be published. [2] 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. Everyday low prices and free delivery on eligible orders. In seiner Ars amatoria verweist Ovid auf dieses kleine Buch. 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. cultus humum sterilem Cerealia pendere iussit munera, mordaces interiere rubi; 5 cultus et in pomis sucos emendat acerbos, fissaque adoptivas accipit arbor opes. 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. [32] She argues that the moral takeaway is that one cannot use a mirror without also being vulnerable to its powers. 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. [5] This has even led Watson to construe the Medicamina as a didactic parody. Search. This is picked up in Cokayne’s rejection of the idea that a woman’s status would decline as she aged. Sterility is a result of, indeed, a lack of cultivation, but also of age. Accompanied by a form of ipse, the verb videre is commonly attested in Cicero to denote an eye-witness account. Poésie didactique latine. The anti-age anti-narrative runs through the Medicamina’s recipes. Anne Mahoney. Vite ! I have elected to use discite to mirror the opening line of the poem, and introduce the didactic section. Green, Peter. Do you have a suggestion for a future topic? [10] Sharrock, 2006, 24; cf. Despite first addressing puellae specifically (1), the praeceptor amoris addresses women of all social standings in its prooemium. Medicamina Faciei Femineae. editio: incognita fons: incognitus. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) Kindle Edition Author(s): Ovid. These are small critiques. 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. P. Ovidius Naso, Medicamina Faciei Femineae various, Ed. Praec. 351–6 is a commonly cited instance of this. But the awareness of personae displayed in the introduction is hard to find in the commentaries, where remarks such as “Ovid does not believe in such practices [as witchcraft]” (p. 55) and (of Rem. [13] Green, 1979, Balsdon, 1962 & Wilkinson, 1960 all view the second fifty lines as textbook-like and scientific. 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 … Sacred Texts Archive: Ovid Amores, Ars Amatoria, Medicamina Faciei Femineae, Metamorphoses, Remedia Amoris. The praeceptor amoris, while uncovering these women’s secrets, implies that they are necessary nonetheless, and implements an anti-age rhetoric throughout. 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. Damer, Erika Zimmerman. 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. Ovid, Met. The Ovid of the Medicamina is not necessarily the Ovid of the Amores, for example. Achetez neuf ou d'occasion [19] The praeceptor strips away the layers of female cultus before his readership, forming a narrative which culminates in transparency. MARGUERITE JOHNSON, Ovid on cosmetics: Medicamina faciei femineae and related texts. Fund for the Improvement of Postsecondary Education provided support … Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. 1–2). 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. Exploring female beauty and cosmeceuticals, with particular emphasis on the concept of cultus, the poem presents five practical recipes for treatments for Roman women. Send us a message and follow the Durham University Classics Society on Twitter (@DUClassSoc) and Facebook (@DUClassics Society) to keep up with this blog and our other adventures! 3.61–4). 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. [4], But, how do we construe the Medicamina in the grand scheme of didactic poetry? 101 N. Merion Ave., Rosati’s parallels with similar lines in Ars Am. The section “Ovid on cultus, munditia, and ars ” introduces and defines the three key terms in Ovid’s discussions of beauty. 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 : Do you have an idea to share with your friends? [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’. 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. 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; 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. 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. New York. Six well-chosen images accompany the text of this section and show examples of these tools, such as cosmetics boxes, combs, and mirrors. 1979. “ Ars Gratia Cultus : Ovid as Beautician.” American Journal of Philology 100: 381-392. 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. [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. [27] Cf. Ovide (0043 av. [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 first, “Now and then … making-over a woman,” introduces a topic that resurfaces in the commentaries, namely the similarities between ancient and modern beauty practices and attitudes toward physical appearance. Home. [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. 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. There is, however, a risk inherent in this kind of collection. Culta placent. Ovid Medicamina Faciei. It can suggest a greater coherence than the passages might have in the context of the larger works. The major contribution of this work is that it makes accessible a wide range of evidence about ancient beautification. By tracing women’s lifetimes, both aetiologically and chronologically, the praeceptor implements elegy’s topos of fading beauty. 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 … 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. [1] Rosati, 1985, 42f; Watson, 2001, 457; Johnson, 2016, xii. Stanford Libraries' official online search tool for books, media, journals, databases, government documents and more. The types of analysis laid out in the introduction guide the discussions in the commentaries, which develop three main topics: the technical aspects of cosmeceuticals, adornment, etc. — (Ovid, Med. The theme of love looms large in Newlands 2015, which covers all of Ovid’s output. After all, a genuinely didactic reading would arguably isolate Ovid’s male audience. 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 … J.-C. et 2 ap. Caec. Marguerite Johnson (who has books on Sappho, Boudicca, a source collection with Terry Ryan on gender and sexuality, and Alcibiades and the Socratic Lover/Educator [MXL ,EVSPH 8EVVERX S ìIVW YW XLMW RI[ ZSPYQI Ovid … In the case of the aforementioned facial treatment, she draws the reader’s attention to the sexual connotations of key verbs and the “overtly sexual implications due to the imagery of the young men with their muscular arms pounding away” (p. 71). 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. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) [Ovid, Kenney, E. 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). [28] Gibson, 2003, 113: ire is commonly used of the passage of time and water. Découvrez Ovid Amores, Medicamina Faciei Femineae, Ars Amato ainsi que les autres livres de au meilleur prix sur Cdiscount. [14] He includes the young puella (17) and a respectable, married matrona (nupta, 26) adjacent to the traditional use of cultus by meretrices. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Amazon.com.au: Books Eds Anne Wiseman and Peter Wiseman (2013) Oxford Classical Texts: P. Ovidi Nasonis: Tristium Libri Quinque; Ibis; Ex Ponto Libri Quattuor; Halieutica … Johnson supplements the technical discussions with briefer discussions of literary elements of these didactic texts. 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. Yet, Ovid simultaneously lifts the veil on these very processes. The second narrative is one of chronology and age. As an auxiliary finding, we observed that the distinction between pharmaceuticals and substances used … edidit ex Rudolphi Merkelii recognitione. He also wrote smaller pieces like the “Remedia Amoris” and “Medicamina Faciei Femineae”. Culta placent: auro sublimia tecta linuntur; Nigra sub … 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. Discite quae faciem commendet cura, puellae, Et quo sit vobis forma tuenda modo. *FREE* shipping on qualifying offers. Ovid reassures that character is also important (ingenio facies conciliante placet, 44). [10] She seeks to read instruction as narrative, and to read narrative back into instruction. In the introduction, much more than in the commentaries, Johnson addresses literary critical topics (e.g. This can draw our attention to important connections, but may also allow us to overlook others and encourage us to read “Ovid on cosmetics” as a coherent entity. edidit ex Rudolphi Merkelii recognitione. and one of “modern texts” (recent scholarship). 3.346–8). 141.22: wives should rely on conversation, character, and comradeship, rather than beauty. Am. Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris: Kenney: Amazon.com.au: Books 14 ingredients are derived from plants, four from animals, and four from minerals. 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. 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. Volk argues that didactic poetry retains a narrative — the ‘didactic plot’ — which conveys the development of the poet’s instructions and the poem itself. [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. ; Centre Traditio Litterarum Occidentalium.] The worth of matronae stemmed from motherhood and housekeeping skills. Love Books of Ovid at sacred-texts.ocm. The poem falls at the beginning of Ovid’s … The hypocrisy here does not amount to shaming women, but to exposing them. She consistently resolves such difficulties by explaining that they are the result of rhetoric, as here: “The key to understanding Ovid’s different attitudes to male cultus … is in his rhetorical imperative” (p. 135). 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. 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. 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. 3.569, Virgil, Aeneid 2.499. [15] Ovid, Med. [22] Watson, 2001, 470; Nisbet-Hubbard, 1970, 289. Reflection and age are intertwined in Ovid’s account of the myth in the Metamorphoses: fatidicus vates “si se non noverit” inquit. WorldCat Home About WorldCat Help. [3] Latin taken from Kenney’s Oxford Classical Text and all translations, as befits, are taken from Mozley’s Loeb, unless otherwise stated. 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. edited for Perseus. Ovid's five recipes contain 23 ingredients that have been identified. Cultus humum sterilem Cerealia pendere iussit Munera: mordaces interiere rubi; Cultus et in pomis sucos emendat acerbos, 5 Fissaque adoptivas accipit arbor opes. Ovid on Cosmetics gathers together five passages from Ovid’s erotic poetry that directly address issues of beautification and appearance, unified by the theme not of “cosmetics” per se, as the title implies, but of cultus (consistently translated as “cultivation”) more broadly. [30] While this is indeed the case, I propose to extend the link between cultus and nature into the temporal narrative of age. 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). Livia’s beauty secrets are secret no more. The stated aim is to preserve beauty (forma tueri), from deterioration, one assumes, rather than uplift it. 23-26 (“Here Ovid’s persona is that of the urbane sophisticate,” p. 18)—a statement that acknowledges the possibility of multiple personae. 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. Rather than money, however, Ovid’s capital is poetic skill. 2. The Medicamina faciei femineae by the Roman poet Ovid is the first Latin text that transmits drugs for aesthetic dermatology. The introduction (esp. The praeceptor’s inclusion of narcissus bulbs therefore has implications of perpetual youth. One of the delightful surprises of the Medicamina is Ovid’s emphasis on women taking pleasure in their beauty for themselves. Born in Sulmo (east of Rome) in 43 BC , Ovid trained as an orator before crafting his art as one of the canonical poets of Latin literature. pp. Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. 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. This absence is likely due to a misreading of the Tibullan text, for Johnson takes the reference to carefully arranged hair at Tib. 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. Why not just write as a narrative or exposé? [18] This, and an uncertain addressee, points towards an external audience. [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. Virgil describes exhausted fields (effetos agros) in relation to sterile land, for example (Virgil, Georgics 1.81, 84). 3–6). P. Ovidius Naso. Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. Noté /5. Medicamina faciei femineae/De medicamine faciei (nua Fragment dahoidn; Tipps fia Weiwa: Schminkn usw.) 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. [18] Ibid, 55: Ovid, Rem. In the hundred extant verses, Ovid… 2.118 and Ex Ponto 1.4.2 evidence a strong connection between the pastoral and cultus, and time and age. 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). [22] The praeceptor even introduces his first recipe with the claim that it will make faces ‘shine fresh and fair’ (discite age…candida quo possint ora nitere modo, 51–2)– a description which implies renewed youth, and a glowing complexion.[23]. Nur der einleitende Teil und vier Rezepte haben sich erhalten. 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. 69; Div. Discussions of parody are based in the ambiguous definition of cultus. [28] As Rimell points out, Ovid markets cultus to improve on nature. Livraison rapide ! This question introduces us to a second narrative. Achetez neuf ou d'occasion Od. 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. Medicamina faciei femineae. 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]. 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. Ovid is considered as a master of the elegiac couplet and is ranked among the canonic poets of Latin literature, alongside Virgil and Horace. 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. This post is an adapted and condensed excerpt from an essay I recently submitted for my MPhil. R. Ehwald. 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’). [24] However, this advice does not detract from the anti-age rhetoric concerning physical appearance. 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. For the Sabine women mentioned in the praeceptor’s aetiological description in lines 11–16, cultus refers to pastoral cultivation, as in the Georgics. 65–6). Ovid’s references to the pastoral bring together the two meanings to foster the anti-ageing, temporal narrative. The concept of cultus forms the cornerstone of the Medicamina. 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. [25] The implication from the praeceptor’s chronological narrative, is that, through cultus, these women can pass as being in the ‘right season for love’. It is funded by Knowledge Unlatched.The Medicamina Faciei Femineae is a didactic elegy that showcases an early example of Ovid's trademark combination … 23-26 (on male cultus). General Overviews. Discite, quae faciem commendet cura, puellae, Et quo sit vobis causa tuenda modo! In the last extant lines of the poem, for example, the praeceptor provides an account via autopsy of a woman blushing her cheeks: vidi quae gelida madefacta papavera lympha, I have seen one who pounded poppies moistened with cool water, and rubbed them on her tender cheeks — (Ovid, Med. Noté /5. The commentaries would benefit from sustaining this method of reading, for in them Johnson falls back on a more biographical reading of Ovid that is inconsistent with her discussion of the poet in the introduction. The only deviation from this governing principle of clarity is the inclusion of two bibliographies: one of “ancient texts” (editions, etc.) 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. Culta placent. 15.199–213: Pythagoras explicitly compares the four seasons to human life. Liveley, 2012 for an approach to narratology in Roman elegy.