Fasti (poem): Difference between revisions

The earliest classical calendrical poem which might have inspired Ovid is the ''[[Works and Days]]'' of [[Hesiod]], which includes mythological lore, astronomical observations, and an agricultural calendar. For the astronomical sections, Ovid was preceded by [[Aratus]]' ''Phaenomena'' as well as lost poetry on constellations and probably [[Germanicus]]' adaptation of Aratus (''Fasti'' 1.17–27). The most significant influence on Ovid were the Roman ''fasti'', the Roman calendrical lists, which included dates, notices of festivals, ritual prohibitions and proscriptions, anniversaries of important events, and sometimes aetiological material. Ovid often mentions consulting these calendars, such as his reference at 1.11 to ''pictos fastos'' and his references to the actual annotation marks of the calendar. The most important of these calendars for Ovid were probably the ''Fasti Praenestini'', a contemporary calendar constructed and annotated by the grammarian [[Verrius Flaccus]], whose fragments include much ritual material that can be found in Ovid's poem.<ref>{{cite web|url=http://penelope.uchicago.edu/~grout/encyclopaedia_romana/calendar/praenestini.html|title=Fasti Praenestini (Praeneste calendar)|website=penelope.uchicago.edu}}</ref> The concept of putting these calendars into verse however, seems to be a uniquely Ovidian concept.<ref name="ghb">{{cite book|first= Geraldine |last= Herbert-Brown, |title= Ovid and the Fasti.: An Historical Study. |location= Oxford: |publisher= Clarendon Press, |date= 1994}}</ref>

Besides his use of calendars and astronomical poetry, Ovid's multi-generic, digressive narrative and learned poem depends on the full range of ancient poetry and prose. In this, one of the most important works for Ovid was [[Callimachus]]' ''[[Aetia (poem)|Aetia]]''; the use of divine interlocutors, elegiac meter, various generic registers, and a focus on explaining the origins of customs and festivals are all significant features of Callimachus' work. The Fourth Book of [[Propertius]], who claimed to be the Roman Callimachus, might also be a model since it also deals with aetiologies of Roman customs and myths. His etymologizing implies an interest in Roman antiquarianism, particularly the works of [[Varro]] on etymology and Roman religion. He similarly makes use of much Roman history writing, which must include lost historical poetry as well as the annal tradition (Ovid says in the prologue that one of his sources are ancient annals (''annalibus&nbsp;... priscis'' (1.7)). In his longer narrative sections, Ovid makes use of tragedy, epic poetry, elegy, and Hellenistic mythological poems. For some episodes, the sources Ovid used are untraceable. On the Roman side, Ovid particularly focuses on and employs [[Virgil]]'s ''[[Aeneid]]'' and ''[[Eclogues]]'', most notably in the long section on Anna in Book 3. As in the ''Metamorphoses'', Ovid's use of Virgil is multifaceted; he often prefers to invert or abbreviate Virgil's episodes. Ovid will regularly deliberately pass over material covered in the ''Aeneid'' and expand a small section or a neglected episode into an elaborate narrative.<ref>Murgatroyd, P. ''Mythical and Legendary Narrative in Ovid's Fasti'' (Leiden, 2005)</ref>

Ovid opens book 2 with an etymological derivation of February from ''februa'' (instruments of purification) (1–54). He continues relating several shorter narratives, including the stories of [[Arion]] and the dolphin (79–118), Augustus' assumption of the title ''pater patriae'' (119-148), the myth of [[Callisto (mythology)|Callisto]] (153–192), the fall of the [[Fabii]] at the [[battle of [[the Cremera]] (193–242), and the fable of the constellations of the Raven, Snake, and Crater (243–266). The next long section in the book discusses the festival of the [[Lupercalia]] (267–474). The poet aetiologizes the nakedness of the Luperci with a story of Faunus' sexual humiliation when he tries to rape Hercules dressed as [[Omphale]] and the story of Remus' defeat of cattle rustlers. The narrative of the she-wolf suckling Romulus and Remus is also included. Lines 475–532 describe Romulus' transformation into [[Quirinus]], which is followed by the narrative of Lara in connection to the [[Feralia]] (533–616). The final extensive section describing the [[Regifugium]] describes the legends associated with the fall of the [[Tarquins]], [[Lucretia]]'s rape and suicide, and [[Lucius Junius Brutus|Brutus]]' revenge (685–855).

The third book is dedicated by Ovid to [[Mars (mythology)|Mars]], the patron of the month; in connection to the god, the poet narrates the rape of [[Rhea Silvia|Silvia]], the birth and discovery of Romulus and Remus, and ends with a discussion of March as the former first month of the year (1–166). Next, the poet interviews Mars who tells the story of [[the rape of the [[Sabine women]] to explain why women worship him, and of Numa's capture of Jupiter and the gift of the ritual shields, the ''ancilia'' and the introduction of the ''salii'' (167–398). Next Ovid relates two short narratives, the story of Romulus' [[Asylum (antiquity)|asylum]] and the temple of Jupiter Veiovis (429–458) and Ariadne's complaint of unfaithfulness to Bacchus and subsequent enskymentkatasterism asof [[Ariadne's crown]] (459–516). A long section describes the feast of [[Anna Perenna]] on the Ides, focusing on the story of the Vergilian Anna's escape from Carthage and journey to Italy where she becomes the river [[Numicius]], the legend of Anna's deceit of Mars when he attempted to woo Minerva, and ending with a note on the murder of Caesar (523–710). The end of the month includes the legends of Bacchus' discovery of honey for the [[Liberalia]] (713–808), a prayer to Minerva for the [[Quinquatrus]] (809–848), and the story of [[Phrixus]] and [[Helle (mythology)|Helle]] for the [[Tubilustrium]] (849–878).

April begins with the appearance of Venus, who chides Ovid for his abandonment of erotic elegy; Ovid goes on to trace the genealogy of the Roman kings and Augustus from Venus and ends with a celebration of Venus as the goddess of creation (1–132). The first long episode of the book is the festival of the [[Magna Mater]], the [[Ludi Megalenses]]. For this festival Ovid recounts the birth of [[Rhea (mythology)|Rhea]]'s children, the castration of [[Attis]], the goddess' transfer to Rome, and the story of [[Claudia Quinta]] (179–375). The next narrative, which is the longest and most elaborate in the ''Fasti'' describes the [[CerialiaCerealia]] and the rape of Persephone, the wandering of Ceres, and the return of Persephone to [[Mount Olympus|Olympus]] (393–620). The next extended section is regarding the festival of the [[Parilia]] which includes agricultural prayers, aetiologies of customs, and the story of the founding augury and death of Remus (721–862). The final sections tell the story of [[Mezentius]] in connection to the [[Vinalia]] (863–900) and include an agricultural prayer on the [[Robigalia]] (901–942).

This book opens with the presentation by the Muses of three etymologies for the name of the month: the goddess Maiestas, the Roman elders (''maiores''), and [[Maia (mythology)|Maia]] the mother of [[Mercury (mythology)|Mercury]] (1–110). Ovid is unable to decide on a correct etymology. In the next section the goddess [[Flora (mythology)|Flora]] appears and discusses her origin, her help in Juno's conceiving of a child, and the political origin of her games (159–378). The next notable narrative discusses the rituals of the [[Lemuria (festival)|Lemuria]] and the funeral of Remus (419–490). The birth of Orion from the urine (''ouron'') of the gods comes next (493–544). This is followed by the origin of the [[Temple of Mars Ultor]] (545–598), the end of human sacrifice at Rome (603–662), the worship of Mercury (663–692), and the death of [[Castor and Pollux|Castor]] and [[Castor and Pollux|Pollux]] (693–720).

The sixth book begins with a prologue in which the goddesses Juno and Juventas ([[Hebe (mythology)|Hebe]]) dispute over which goddess the month is named after (1–100). Ovid goes on to relate the story of the affair of Carna, the goddess of hinges, and Janus as well as the story of how Proca was defended from murderous owls by Cranae (101–195). The next large narrative is the discussion of iconography and aetiology of the [[Vestalia]], the festival of Vesta. The cosmic identification of Vesta with the earth, the story of Priapus' attempted rape, the origin of the altar of Jupiter Pistoris (of the bakers) in the Gallic invasion of Rome, and the rescue of the [[Palladium (classical antiquity)|Palladium]] by Metellus in a fire at the temple are recounted (249–468). A short astronomical notice precedes the long discussion of the [[Matralia]] in which Ovid explains the origin of the cult of [[Mater Matuta]] who as [[Ino (Greek mythology)|Ino]] journeyed to Italy and was made a goddess (473–569). This is followed by the story of the murder of King [[Servius Tullius]], a lover of Mater Matuta. The [[Lesser Quinquatrus]]' legend follows about the exile and return of Roman flute players (649–710). The final notable episodes of the poem are the punishment of [[Aesculapius]] (733–762) and the praise of [[Marcia (given name)|Marcia]] by Clio (797–812).

While Carole E. Newlands wrote in 1995 that the poem had suffered by comparison with other works of Ovid,{{sfn|Newlands|1995|p=3}} ''Fasti'' "ishas nowsince come to be "widely acclaimed as the final masterwork of the poet from Sulmo."<ref>{{cite book|url=https://books.google.com/books?id=zS6L1dA_z8AC|title=Fasti|author=Ovid|translator1-last=Boyle|translator1-first=Anthony|translator2-last=Woodard|translator2-first=Roger|publisher=[[Penguin UK]]|date=2004|isbn=0141913339}}</ref> One of the chief concerns that has occupied readers of the poem is its political message and its relationship with the Augustan household. The work contains much material on Augustus, his relatives, and the imperial cult, as signalled in the preface by his address to Germanicus that explains that he will find "festivals pertaining to your house; often the names of your father and grandfather will meet you on the page." (1.9–10)

A current trend in ''Fasti'' scholarship has been towards a subversive and cynicalthe reading of Ovid's voice in the poem as subversive and cynical. Carole Newlands has read the poem as particularly subversive of the regime and imperial propaganda; she believes that several passages point to the problem of curtailed free speech and artistic freedom under the empire without an influential patron to protect artists.{{sfn|Newlands|1995}} She points out that Ovid seems to use divine interlocutors and especially divine disagreements to avoid authority and responsibility for the poem's statements, that there is an inherent and destabilizing tension with the presence of traditional Roman ''matronae'' in an elegiac poem (an erotic genre and meter), and that Ovid often uses astronomical notices and undermining narrative juxtapositions as a way of subverting seemingly [[encomium|encomiastic]] episodes.

Earlier scholars posited that the imperial festivals are actually the central focus of the poem embedded in an elaborated frame of charming stories which serve to draw attention to the "serious" imperial narratives — a concept which Herbert-Brown argues against while taking a less subversifying position than Newlands. Herbert-Brown argues that Ovid's main consideration is versifying the calendar; although some sections may be subversive, Herbert-Brown believes that for the most part Ovid's poem harmonizes with imperial ideology in an attempt to gain favor with the imperial household from exile. Seemingly problematic passages reflect mythological ambiguities that Ovid is playing with rather than subversion of the imperial family, and his burlesque treatments of religion are part of an established Roman attitude. An architectural framework is posited by Herbert-Brown who feels that the poem is structured around the great contemporary architectural monuments of Rome.<ref name="ghb"/>

* {{cite book|url=https://booksarchive.google.comorg/books?iddetails/playingwithtimeo00newl_0|url-access=ksQjSZ17zgsCregistration|title=Playing with Time: Ovid and the Fasti|author-last=Newlands|author-first=Carole Elizabeth|publisher=[[Cornell University Press]]|date=1995|isbn=0801430801|ref=harv}}

* [httphttps://www.gutenberg.org/etextebooks/8738 Project Gutenburg (original text in Latin)]