Ovid Poet Quotes

I am the poet of the poor, because I was poor when I loved; since I could not give gifts, I gave words.

Reading list (1972 edition)[edit] 1. Homer – Iliad, Odyssey 2. The Old Testament 3. Aeschylus – Tragedies 4. Sophocles – Tragedies 5. Herodotus – Histories 6. Euripides – Tragedies 7. Thucydides – History of the Peloponnesian War 8. Hippocrates – Medical Writings 9. Aristophanes – Comedies 10. Plato – Dialogues 11. Aristotle – Works 12. Epicurus – Letter to Herodotus; Letter to Menoecus 13. Euclid – Elements 14. Archimedes – Works 15. Apollonius of Perga – Conic Sections 16. Cicero – Works 17. Lucretius – On the Nature of Things 18. Virgil – Works 19. Horace – Works 20. Livy – History of Rome 21. Ovid – Works 22. Plutarch – Parallel Lives; Moralia 23. Tacitus – Histories; Annals; Agricola Germania 24. Nicomachus of Gerasa – Introduction to Arithmetic 25. Epictetus – Discourses; Encheiridion 26. Ptolemy – Almagest 27. Lucian – Works 28. Marcus Aurelius – Meditations 29. Galen – On the Natural Faculties 30. The New Testament 31. Plotinus – The Enneads 32. St. Augustine – On the Teacher; Confessions; City of God; On Christian Doctrine 33. The Song of Roland 34. The Nibelungenlied 35. The Saga of Burnt Njál 36. St. Thomas Aquinas – Summa Theologica 37. Dante Alighieri – The Divine Comedy;The New Life; On Monarchy 38. Geoffrey Chaucer – Troilus and Criseyde; The Canterbury Tales 39. Leonardo da Vinci – Notebooks 40. Niccolò Machiavelli – The Prince; Discourses on the First Ten Books of Livy 41. Desiderius Erasmus – The Praise of Folly 42. Nicolaus Copernicus – On the Revolutions of the Heavenly Spheres 43. Thomas More – Utopia 44. Martin Luther – Table Talk; Three Treatises 45. François Rabelais – Gargantua and Pantagruel 46. John Calvin – Institutes of the Christian Religion 47. Michel de Montaigne – Essays 48. William Gilbert – On the Loadstone and Magnetic Bodies 49. Miguel de Cervantes – Don Quixote 50. Edmund Spenser – Prothalamion; The Faerie Queene 51. Francis Bacon – Essays; Advancement of Learning; Novum Organum, New Atlantis 52. William Shakespeare – Poetry and Plays 53. Galileo Galilei – Starry Messenger; Dialogues Concerning Two New Sciences 54. Johannes Kepler – Epitome of Copernican Astronomy; Concerning the Harmonies of the World 55. William Harvey – On the Motion of the Heart and Blood in Animals; On the Circulation of the Blood; On the Generation of Animals 56. Thomas Hobbes – Leviathan 57. René Descartes – Rules for the Direction of the Mind; Discourse on the Method; Geometry; Meditations on First Philosophy 58. John Milton – Works 59. Molière – Comedies 60. Blaise Pascal – The Provincial Letters; Pensees; Scientific Treatises 61. Christiaan Huygens – Treatise on Light 62. Benedict de Spinoza – Ethics 63. John Locke – Letter Concerning Toleration; Of Civil Government; Essay Concerning Human Understanding;Thoughts Concerning Education 64. Jean Baptiste Racine – Tragedies 65. Isaac Newton – Mathematical Principles of Natural Philosophy; Optics 66. Gottfried Wilhelm Leibniz – Discourse on Metaphysics; New Essays Concerning Human Understanding;Monadology 67. Daniel Defoe – Robinson Crusoe 68. Jonathan Swift – A Tale of a Tub; Journal to Stella; Gulliver's Travels; A Modest Proposal 69. William Congreve – The Way of the World 70. George Berkeley – Principles of Human Knowledge 71. Alexander Pope – Essay on Criticism; Rape of the Lock; Essay on Man 72. Charles de Secondat, baron de Montesquieu – Persian Letters; Spirit of Laws 73. Voltaire – Letters on the English; Candide; Philosophical Dictionary 74. Henry Fielding – Joseph Andrews; Tom Jones 75. Samuel Johnson – The Vanity of Human Wishes; Dictionary; Rasselas; The Lives of the Poets

the gods are created by poets" --Ovid

For such a career I lacked both endurance and inclination: the stress of ambition left me cold, while the Muse, the creative spirit, was forever urging on me that haven of leisure to which I'd always leaned. The poets of those days I cultivated and cherished: for me, bards were so many gods.

I prate of ancient poets' monstrous lies, Ne'er seen or now or then by human eyes.

We which were Ovids five books, now are three, For these before the rest preferreth he: If reading five thou plainst of tediousnesse, Two tane away, thy labor will be lesse: With Muse upreard I meant to sing of armes, Choosing a subject fit for feirse alarmes: Both verses were alike till Love (men say) Began to smile and tooke one foote away. Rash boy, who gave thee power to change a line? We are the Muses prophets, none of thine. What if thy Mother take Dianas bowe, Shall Dian fanne when love begins to glowe? In wooddie groves ist meete that Ceres Raigne, And quiver bearing Dian till the plaine: Who'le set the faire treste sunne in battell ray, While Mars doth take the Aonian harpe to play? Great are thy kingdomes, over strong and large, Ambitious Imp, why seekst thou further charge? Are all things thine? the Muses Tempe thine? Then scarse can Phoebus say, this harpe is mine. When in this workes first verse I trod aloft, Love slackt my Muse, and made my numbers soft. I have no mistris, nor no favorit, Being fittest matter for a wanton wit, Thus I complaind, but Love unlockt his quiver, Tooke out the shaft, ordaind my hart to shiver: And bent his sinewy bow upon his knee, Saying, Poet heers a worke beseeming thee. Oh woe is me, he never shootes but hits, I burne, love in my idle bosome sits. Let my first verse be sixe, my last five feete, Fare well sterne warre, for blunter Poets meete. Elegian Muse, that warblest amorous laies, Girt my shine browe with sea banke mirtle praise. -- P. Ovidii Nasonis Amorum Liber Primus ELEGIA 1 (Quemadmodum a Cupidine, pro bellis amores scribere coactus sit)

I will give the last word to the poet Ovid, who has the Sibyl of Cumae speak, not only for herself, but also — we suspect — for him, and for the hopes and fates of all writers: But still, the fates will leave me my voice, and by my voice I shall be known.

Now I have finished my work, which nothing can ever destroy - not Jupiter's wrath, nor fire or sword, nor devouring time. That day which has power over nothing except this body of mine may come when it will and end the uncertain span of my life. But the finer part of myself shall sweep into eternity, higher than all of the stars. My name shall never be forgotten. Where-ever the might of Rome extends in the lands she has conquered, the people shall read and recite my words. Throughout all ages, if poets have vision to prophecy truth, I shall live in my fame.

One of the greatest Roman poets was Ovid, an older contemporary of Jesus (his dates: 43 BCE–17 CE). His most famous work is his fifteen-volume Metamorphoses, which celebrates changes or transformations described in ancient mythology. Sometimes these changes involve gods who take on human form in order to interact, for a time, with mortals.

Among other attendees is Priapus, a minor fertility god with an enormous erection. Ovid can’t tell us much about the gods’ banquet. It’s not allowed, he says. They spent the whole night drinking. 24 This is another reason I love Ovid: bored by poets bleating on about divine banquets? Just tell the audience that you’re not allowed to say much, but everyone drank a lot, and move on.

it is the Mediterranean, specifically Italy, that gave us the poet Ovid, who in the Metamorphoses deplored the eating of animals, and the vegetarian Leonardo da Vinci, who envisioned a day when the life of an animal would be valued as highly as that of a person, and Saint Francis, who once petitioned the Holy Roman Emperor to scatter grain on fields on Christmas Day and give the crested larks a feast.

I’ve made a masterpiece Jove’s wrath cannot destroy, nor flame, nor steel, nor gnawing time. 935 That day, which governs nothing but my body, can end at will my life’s uncertain span. And yet my finer half will be eternal, borne among stars. My name can’t be erased. Where Roman power spreads through conquered lands, 940 I will be read on people’s lips. My fame will last across the centuries. If poets’ prophecies can hold any truth, I’ll live.

I liked to call myself a poet and had affected a habit of reading classical texts (in translation, of course – I was a lazy student). I would ride the Greyhound for thirty-six hours down from the Midwest to Leechfield, then spend days dressed in black in the scalding heat of my mother’s front porch reading Homer (or Ovid or Virgil) and waiting for someone to ask me what I was reading. No one ever did. People asked me what I was drinking, how much I weighed, where I was living, and if I had married yet, but no one gave me a chance to deliver my lecture on Great Literature.

Nobody knew how it all began, neither Homer nor Hesiod. Nor Ovid nor Vergil. But it was said that at the beginning, there was Chaos, which meant confusion & disorder, & there was Eros, which meant love. And confusion & disorder were what all those who were smitten by love [Eros] felt at the beginning & what all lovers felt when they fell out of love. Thus, it appeared that confusion & disorder [Chaos] was the flip-side of love & that Eros was the other face of chaos. And, thus, Eros & Chaos were in fact one. And the poets saw other aspects of Eros, such as Himeros[Passion or Desire], Anteros[Reciprocal or Mutual Love] & Pothos[Longing]. And they also saw other aspects of Chaos, such as Phobos[Fear] & Deimos[Terror]. And that since Eros & Chaos were one,all these aspects of the two were the aspects of love.

If one considers the characters in the plays of Shakespeare, in the poems of the Roman poet Ovid, in the Greek tragedies of Sophocles and Euripides, and even in the hieroglyphics of ancient Egypt, they can be recognized in our daily lives. Their actions were driven by the same motives as ours—ambition, love, pride, fear, anger, sympathy, and fun.

a poet of ancient Rome called Ovid, who most assuredly was not a Christian.” The magister looked sadly at Father Willibald

Most of the books of erotic poetry available today are either too old or are big anthologies covering the same poets and poems. There is a lack of new and original work. Most of us have read something from Ovid, Sappho, Shakespeare, the ancient Greeks, the Romans, or from the Kama Sutra. But love is a theme that should be celebrated with freshness.

As a matter of fact, if either of the two men were Buckingham or Ovid or Byron, they might have respectively realized that “love is the salt of life,” and “the perpetual source of fears and anxieties,” and “a capricious power”—but they weren’t poets, they

the Greek philosophical tradition thought of the world as, first and foremost, an overarching order: at once harmonious, just, beautiful, and good. The word “cosmos” connotes all of this. For the Stoics, for example, to whom the Latin poet Ovid defers in his Metamorphoses—when reinterpreting after his fashion the great myths dealing with the origins of the world—the universe resembles a magnificent living organism. If we want to get an idea of this, we might think of what doctors or physiologists or biologists discover when they dissect a rabbit or a mouse. What do they find? Firstly, that each organ is marvelously adapted to its function: What is better constructed than an eye for seeing, than lungs for oxygenating the muscles, than a heart for pumping blood via an irrigation system? These organs are a thousand times more ingenious, more harmonious and complex, than almost all of the machines devised by man. Moreover, our biologist discovers something else: that the ensemble of these organs, which considered individually are sufficiently astonishing, together form a quite perfect and “logical” whole—what the Stoics indeed named the logos, to refer to the coherent ordering of the world as well as to verbal discourse—and a whole that is infinitely superior again to any human invention. From this point of view, we must humbly acknowledge that the creation of even the humblest being—a tiny ant, a mouse, or a frog—is still far beyond the reach of our most sophisticated scientific laboratories.

Later, at four in the morning, Myron encounters his eldest son, Sean, in the kitchen. They talk about schoolwork (Sean has an imminent exam), about what Sean would like to become (a physicist and a poet). “Medio tutissimus ibis,” Sean’s father says, and the son translates, “You will be safest in the middle.” (All three boys know their Ovid.) Son and father regard each other, and Myron says, or perhaps merely thinks, the following: “My son, I remember when our family was only you and your mother and I. . . . I remember when this refrigerator was hung with your nursery drawings. I remember when you put your child’s hand so gently against Leo’s infant cheek, silk touching silk, I remember so much, I would keep you here until morning telling you, beloved boy, but now I must go to bed.

Sure, there is Ovid, the Roman poet who wrote The Art of Love; Don Juan, the mythical womanizer based on the exploits of various Spanish noblemen; the Duke de Lauzun, the legendary French rake who died on the guillotine; and Casanova, who detailed his hundred-plus conquests in four thousand pages of memoirs. But the undisputed father of modern seduction is Ross Jeffries, a tall, skinny, porous-faced self-proclaimed nerd from Marina Del Rey, California. Guru, cult leader, and social gadfly, he commands an army sixty thousand horny men strong, including top government officials, intelligence officers, and cryptographers. His

Zero-sum thinking is a name for envy. Ovid, in his Metamorphoses, gives an apt description of the “House of Envy” (as a poet in that most zero-sum of political systems, the Roman empire, might): “Envy within, busy at the meal of snake’s flesh... her tongue dripped venom. Only the sight of suffering could bring a smile to her lips. She never knew the comfort of sleep, but... looked with dismay on men’s good fortune... She could hardly refrain from weeping when she saw no cause for tears.” I didn’t know Hillary Clinton’s involvement in politics dated back to the reign of Augustus. Then

Ovid, the Roman poet, said, “Take rest; a field that has rested gives a bountiful crop.

Romantic poetry with its matrist and oral values survived and actually prevailed. Geoffrey Chaucer imported the ideology to England with his Knight's Tale and some of his shorter rondels; by Elizabethan times this had virtually become the whole of poetry. Thus, Shakespeare could write about anything that struck his imagination when he was writing for the stage, but as soon as he started writing poetry for the printed page, he fell inevitably into the language, the themes, the traditional conceits and the entire apparatus of troubadour love-mysticism. So great was Shakespeare's influence, in turn, that when modern poets finally began writing about other subjects around 1910, established opinion was shocked and it was said that such material was "unpoetic"—as if Homer's battles, Ovid's mysticism, Juvenal's indignation, Villon's earthiness, Lucretius's rationalism, the Greek Anthology's cynicism, Piers Plowman's social protest, etc., had never existed and only the troubadour love-mystique had ever been poetry.

These creatures had no names for me. They might have come from any verse in Ovid, or from the writing of Lucretius, or indeed from the blind poet, Homer. It was no matter to me. I lost myself in depicting uplifted arms and graceful throats, in painting oval faces and garments blowing gently in the breeze.

In The Metamorphoses, the Roman poet Ovid tells the story of a handsome youth named Narcissus, a tale he learned from Greek mythology. Narcissus is so intent on his own desires that he is unable to fall in love, rejecting the advances of all who are attracted to him. Never having seen his own image, he understands the power of his beauty only through the reactions others have to him. When he rebuffs the love of Echo, a nymph, her unrequited passion causes her to waste away and die. When one of Echo’s handmaidens prays to Nemesis, the goddess of revenge, Nemesis responds by declaring that Narcissus shall get a taste of his own medicine: If he should ever fall in love, he will be denied the very thing he so desires. One day, while stopping to drink from a forest pool, Narcissus catches a glimpse of his reflection in the smooth water. Smitten by the sight, he falls madly in love with his own beautiful image. He lies next to the pond, staring at his own reflection in the water. But whenever he reaches into the water and tries to embrace the image, it dissolves. Unable to kiss, or hold, or in any way capture his true heart’s desire, he too dies of unrequited love.

Something like this did indeed happen. Certainly, Ovid was not a lover of simplicity, coarse ways of thinking, moral prejudices, god-fearing peasant life, hands ennobled by the handling of the plow and always ready to draw a sword in need. He hated all this ancient Roman stuff with its overrated virtues, constantly shoved down the young generations’throats. He loved the urban civilization: like Messalla, that aristocrat by birth but radical by conviction. He loved the independence of thought and secularism of manners. With time, he did notice that this urban civilization, though still so very young, was already giving birth to something he hated even more, namely self-interested ways of thinking, a tendency to live like a merchant, a calculating contempt for everything that could not be exchanged for money or some other material possession. I cannot wear your poetry, Corinna once said. What a strange certainty that poetry has no value because it is intangible!

After all, Ovid was never haunted by the skeptical suspicion that history might have two contradictory courses, one appointed by the ruling god, the other by man’s antlike resistance, and that the writer, if he is a spokesman for history, must choose between these two orders. Ovid succumbed to the third order, which was unhistorical, abstract, and determined only by the logic of composition and rhythm. It was this order alone that guided his work. And it had something mathematical about it, even if it did not lack the charms of dancing.

Scholars have struggled to explain why an epitaph to Shakespeare references Nestor (who wrote nothing), Socrates (who also wrote nothing—his observations were recorded by others), and Virgil (who, though a poet, was not one with whom the Ovid-loving Shakespeare was associated).

Minister and favorite of the Emperor Augustus. He was distinguished for the wisdom of his counsels, and his rare abilities as a statesman. Although himself an indifferent poet, he was still a patron of literature and literary men; Virgil, Horace, Ovid and other celebrated writers of the Augustan age, were among his most intimate friends. Such was the care with which Mæcenas sought out and rewarded every species of merit, that his name is proverbially used to denote a generous patron.

Much is written about Pushkin's literary idealisation of the Russian countryside. The poet not only was fond of villatic seclusion but actually needed it, especially during the long winter months, to spark his creativity.

Roman poet Ovid wrote: “Be patient and tough; some day this pain will be useful to you.

Who or what gave May its name is unclear. Ovid’s poet admits being at a loss even after the Muses, Polyhymnia, Urania, and Calliope, offered him explanations (Fast. 5.1–5.110). Maiestas (majesty), sings Polyhymnia, lays behind the month’s name, for after the creation of the world and all the species, no god was more supreme than Maiestas. She then yielded supremacy to Jupiter. Urania’s focus is on the history of early Rome, the elders (maiores), and the Fathers (patres), on whom Romulus conferred his city’s government. Calliope points to the nymph Maia, the mother of Hermes, worshiped by the Arcadians. The Arcadian Evander, who founded a city on the spot where Rome eventually would stand, brought his gods, among them Maia, to Latium. If May can be linked to the linguistic root mag-, in a sense of increase, then one could further speculate that May was the month of growth.

In his timeless collection, Metamorphoses, [the great Roman poet Ovid] says... everything changes, nothing is extinguished. Try and remember this...

Aelia, please stop worrying. You look beautiful. We've had large parties before and you haven't been nervous." There was the clink of cosmetic pots and bottles of nard used to perfume the forehead. "I wasn't nervous until you mentioned Ovid would be coming," Aelia said. Aelia was not alone in her love of Ovid's poetry. Passia had read every word the man had ever written. He was considered to be one of Rome's experts on both love and beauty, and most women I knew owned several of his books. When Passia heard he would be in attendance I thought she might swoon. There was the ruffle of a scroll being unraveled. "Could this be one of the sources of your concern? Women's Facial Cosmetics?" I remembered the book. Apicius had bought it and other Ovid titles for Aelia two years earlier as a Saturnalia gift. "I know, I shouldn't worry. But if he didn't know so much, how could he write it down? It is as though he were the mouthpiece for Venus herself!

the poet Ovid lamented that his dreams had become “tortures,” dark visions of barbarian attacks, enslavement, or, worst of all, “my friends, and my dear wife distorted, disappearing, the wounds of our separation torn open again.