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The Fasti (Latin: Fāstī [ˈfaːstiː], [2] "the Calendar"), sometimes translated as The Book of Days or On the Roman Calendar, is a six-book Latin poem written by the Roman poet Ovid and made public in AD 8. Ovid is believed to have left the Fasti incomplete when he was exiled to Tomis by the emperor Augustus in 8 AD.
This list was the origin of the public Roman calendar, in which the days were divided into weeks of eight days each, and indicated by the letters A–H. Each day was marked by a certain letter to show its nature; thus the letters F., N., N.P., F.P., Q. Rex C.F., C., EN., stood for fastus , nefastus , nefastus in some unexplained sense, fastus ...
Ovid's Fasti is a lengthy elegiac poem on the first six months of the Roman calendar. The Romans adopted the Alexandrine habit of concealing the name of their beloved in the poem with a pseudonym. Catullus' Lesbia is notorious as the pseudonym of Clodia. But as the form developed, this habit becomes more artificial; Tibullus' Delia and ...
In the final poem Ovid apologizes for the quality and tone of his book, a sentiment echoed throughout the collection. Book 2 consists of one long poem in which Ovid defends himself and his poetry, uses precedents to justify his work, and begs the emperor for forgiveness. Book 3 has 14 poems focusing on Ovid's life in Tomis.
The Roman calendar was the calendar used by the Roman Kingdom and Roman Republic. Although the term is primarily used for Rome's pre-Julian calendars, it is often used inclusively of the Julian calendar established by Julius Caesar in 46 BC. [a] According to most Roman accounts, their original calendar was established by their legendary first ...
This means that the first day is called the calends; six days after the calends is the nones of May, October, July and March, while the nones comes only four days later for the other months; the ides comes eight days after the nones.
The Fasti, a didactic poem about the Roman calendar by Ovid, has, in the words of classicist Alessandro Barchiesi, "the strongest claim to be a full-scale imitation of the Aetia". [24] However, not all Roman commentators held favourable views of the work: the epigrammatist Martial dedicated a poem (10.4) to the sentiment that the Aetia , with ...
Ovid raises its significance explicitly in the opening lines of the poem: In nova fert animus mutatas dicere formas / corpora; ("I intend to speak of forms changed into new entities;"). [24] Accompanying this theme is often violence, inflicted upon a victim whose transformation becomes part of the natural landscape. [ 25 ]