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By John Edwin Sandys

Sir John Edwin Sandys (1844-1922) used to be a number one Cambridge classicist and a Fellow of St. John's university. His most famed paintings is that this three-volume heritage of Classical Scholarship, released among 1903 and 1908, which is still the one large-scale paintings at the topic to span the full interval from the 6th century BCE to the top of the 19th century. The heritage of classical reports was once a favored subject through the 19th century, relatively in Germany, yet Sandys sticks out for the formidable scope of his paintings, even if a lot of it was once in line with past scholarship. His chronological account is subdivided by way of style and area, with a few chapters dedicated to fairly influential participants. quantity 2 covers the interval from the Renaissance to the eighteenth century.

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Extra info for A history of classical scholarship / Vol. 2, From the revival of learning to the end of the eighteenth century (in Italy, France, England, and the Netherlands)

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Sheer generic ambition is a possible motive (indeed perhaps the most credible one) for Ovid’s venture into tragedy, the most confining of literary forms and the one most remote from his accustomed subject and mood. The Medea was apparently Ovid’s only tragedy; one was enough to make 13 14 The meaning of artes . . amoris in line 19 is disputed; for even-handed discussion see McKeown (1998) 385–6. Translation from Lee (1968); ‘all-embracing’ for ambitiosus also in Humphries (1957). 17 Cambridge Companions Online © Cambridge University Press, 2006 richard tarrant the point.

The many references to a vindictive Augustus would have been fatally offensive if Ovid were still in Rome. 69 It proceeds with minorkey rewritings of earlier programmatic statements. 17–18 si quis, ut in populo, nostri non immemor illic, si quis, qui, quid agam, forte requirat, erit ‘if anyone there, as can happen in a large populace, has not forgotten me, if anyone should chance to ask what I am doing’). At Trist. 17–19 Ovid reverses his usual claim to be one of the canonical quadriga of elegists (19 utinam numero non nos essemus in isto ‘how I would wish not to be in that company’).

The god is Amor rather than Apollo, which lightens the mood and foreshadows the erotic nature of the poetry Ovid will be forced to write. There is also no hint that Ovid is unsuited to epic or that epic is an inappropriate choice of genre; in turning Ovid’s second hexameter into an elegiac pentameter Amor seems to be playing a mischievous joke rather than directing Ovid to his proper poetic vocation. The same message is conveyed by Ovid’s distinctive impersonation of the lover-poet. In Propertius and Tibullus the lover’s professed fidelity to the mistress mirrors the poet’s adherence to elegy.

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