Inspirational Fictions: Autobiography and Generic Reflexivity in Ovid's Proems
When the first edition of theMetamorphosesappeared in the bookshops of Rome, Ovid had already made a name for himself in the literary circles of the city. His literary début, theAmoves, immediately established his reputation as a poetic Lothario, as it lured his tickled readers into a typically Ovidian world of free-wheeling elegiac love, light-hearted hedonism, and (more or less) adept adultery. Connoisseurs of elegiac poetry could then enjoy hisHeroides, vicariously sharing stirring emotional turmoil with various heroines of history and mythology, who were here given a literary forum for voicing bitter feelings of loss and deprivation and expressing their strong hostility towards the epic way of life. Of more practical application for the Roman lady of the world were his verses on toiletry, theMedicamina Faciei, and once Ovid had discovered his talent for didactic expositionà la mode Ovidienne, he blithely continued in that vein. In perusing the urbane and sophisticated lessons on love which the self-proclaimederotodidaskalospresented in hisArs Amatoria, his (male and female) audience could hone their own amatory skills, while at the same time experiencing true Barthianjouissancein the act of reading a work, which is, as a recent critic put it, ‘a poem about poetry, and sex, and poetry as sex’. And after these extensive sessions in poetic philandering, his readers, having become hopeless and desperate eros-addicts, surely welcomed the thoughtful antidote Ovid offered in the form of the therapeuticRemedia Amoris, a poem written with the expressed purpose of freeing the wretched lover from the baneful shackles of Cupid.