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At the cliff's edge: studies of the single Heroides
by Jacqueline Adrienne Jones
Institution: | University of Iowa |
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Year: | 2017 |
Keywords: | elegy; genre; Heroides; magic; Ovid; Sappho; Classics |
Posted: | 02/01/2018 |
Record ID: | 2151342 |
Full text PDF: | http://ir.uiowa.edu/etd/5527 |
My dissertation explores several topics recurring throughout Ovids single Heroides. When, how, and why does Ovid restructure tragic, epic, or pastoral stories into elegy? How do his heroines deal with their lovers starting relationships with new women, and what method of coping with abandonment is the most effective? What is the role of magic in the Heroides, what rules does it follow, and who uses it successfully? How does Ovid capitalize on the connection between elegy and lament, and which heroines does he use to do so? Finally, what is the role of writing in the Heroides, how does Ovid use the character of Sappho in the collection, and how does the Sappho epistle help readers interpret the rest of the Heroides? The letters of Briseis (3), Phaedra (4), Hermione (8), and Oenone (5) transform previously epic, tragic, and pastoral worlds and inhabitants into elegiac contexts to show how they wish their men to accept the role of the elegiac lover. Ovid uses these reclassifications to explore the boundaries of elegy and show how thorough knowledge of audience and the genre are necessary for success. Oenone (5), Hypsipyle (6), Deianira (9), and Medea (12) each see their lovers replace them with another woman; Ovid uses their different methodsemulating the new womans qualities, attempting to regain the lovers affection, and seeking revengeto discover which approach will achieve its desired purpose. Ovids construction of magic as a practical tool is established in the letter of Medea (12), and can be applied to the epistles of Deianira (9), Hypsipyle (6), and Laodamia (13) to interpret the magical practices in those epistles. Ovid explores a different facet of the elegiac genre by using the traditional link between elegy and epitaph in the letters of Phyllis (2), Dido (7), and Hypermnestra (14), but alludes to it in the epistles of Canace (11), Ariadne (10), and Deianira (9) to bridge the gap between literary characters and his readers reality. Finally, the Sappho epistle (15) provides a tool for interpreting both the individual letters of the Heroides and Ovids own concerns. By using the famous poetess as one of his heroines, Ovid connects himself and his reputation to hers. His character Sappho provides a lens through which we can examine all of the heroines who are at a crisis point, a metaphorical cliffs edge, as they write. Advisors/Committee Members: Ketterer, Robert (supervisor).
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