Nadel, Ira Bruce, editor. “Chronology; Introduction”. The Cambridge Companion to Ezra Pound, Cambridge University Press, pp. xvii - xxxi; 1.
6
Ovid
Standard Name: Ovid
Connections
| Connections | Author name Sort descending | Excerpt |
|---|---|---|
| Education | Marie de France | MF was an effective user of both the English and Latin languages, though she wrote in French (that is, Old French). She also had some Breton. She was familiar with the Latin poet Ovid
as... |
| Occupation | Christopher Marlowe | It may have been as an undergraduate that CM
began writing work that was later published. His several translations from Latin included love-poetry by Ovid
. He soon moved on from poetry to drama, and... |
| Education | Mary Eleanor Bowes, Countess of Strathmore | As a girl, Mary Eleanor Bowes received an excellent education and could speak several languages, reading French and Italian authors in the original. It was said that she did not learn Latin, but also that... |
| Textual Features | Amelia Opie | Both in an Address to the Editor and in a series of explanatory footnotes, AO
positions herself on the one hand as a historian with a proper regard for available evidence, and on the other... |
| Textual Production | Alexander Pope | His early translation Sapho
to Phaon—which, like Ovid
's original, represents the woman poet as despairingly in love with a man who has rejected her—appeared in print in 1712 in the eighth edition of... |
| Textual Features | Alexander Pope | These two poems celebrate passionate love and loss experienced by fictional women, victimised by an unfeeling world; the first is a tour de force of ventriloquism, as Pope persuasively adopts a female voice. Pope's Eloisa... |
| Intertextuality and Influence | Ezra Pound | Pound weaves classical mythology and legend into the first set of cantos, with allusions to Odysseus, Dionysus, and Ovid
. |
| Intertextuality and Influence | Sally Purcell | Again this book inhabits the borders between living and dead, dream and waking; many short poems create self-contained moments in the progress of some quest or pilgrimage. The rather longer Tomis, December, speaks... |
| Intertextuality and Influence | Mary Robinson | MR
's preface quotes that of Charlotte Smith
to her Elegiac Sonnets. Robinson, Mary. “Introduction”. Mary Robinson: Selected Poems, edited by Judith Pascoe, Broadview, pp. 19-64. 45 |
| Textual Features | Carol Rumens | Its tributes to earlier women poets are grounded in Portrait of the Poet as a Little Girl (a belated, oblique answer to James Joyce
), which concludes on the patrilineal prize / which she, disarmed... |
| Family and Intimate relationships | Sappho | Interest in her sexuality was disseminated in Europe by Ovid
in his Heroides (or Heroines), a collection from the first century AD of fictional epistles, mostly from women (all of them except Sappho mythological)... |
| Intertextuality and Influence | Gladys Henrietta Schütze | The title phrase opens one of the best-known poems by scholar and poet Francis William Bourdillon
. GHS
quotes a stanza from it, along with other, more canonical poets from Ovid
through Milton
and Wordsworth |
| Intertextuality and Influence | Jo Shapcott | The prefatory poem To Her Book translates the traditional farewell from creator to creation (as written by Ovid
and imitated by Chaucer
, Robert Louis Stevenson
, and others, and popularly called Go, little book... |
| Textual Production | Mary Shelley | At her husband's prompting, MS
composed in 1818, the year of Frankenstein, a translation of Mirra, a drama by the Italian Romantic playwright Vittorio Alfieri
, whose subject-matter (from Ovid
's Metamorphoses) is father-daughter incest. Purinton, Marjean D. “Polysexualities and Romantic Generations in Mary Shelley’s Mythological Dramas <span data-tei-ns-tag="tei_title" data-tei-title-lvl="m">Midas</span> and <span data-tei-ns-tag="tei_title" data-tei-title-lvl=‘m’>Proserpine</span>”;. Women’s Writing, Vol. 6 , No. 3, pp. 385-11. 388 |
| Intertextuality and Influence | Ali Smith | Autumn centres around the intergenerational friendship of 32-year-old art-history lecturer Elisabeth Demand and her childhood neighbour, the clever and lively Daniel Gluck, now 101 years old and quietly existing in a care home. Through silent... |
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