By The Department of Medieval Studies at the Central European University
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Additional info for Annual of Medieval Studies at Central European University 12 (2006)
Nova, w ho meets her death as she rejoices among the companions of her now past girlhood. nam nupta per herbas dum nova naiadum turba comitata vagatur, occidit in talum serpentis dente recepto. For while the new bride wanders among the grasses accompanied by a band of Naiads; she meets her death by a serpent's tooth received into her heel. (Met. 18 The contrast with the happy marriage of Iphis and Ianthe, which provides the narrative link between tales and between books, intensifies this pathos.
41]). 481-484), Ovid adds Tantalus, Prometheus' vulture, the Danaids, Sisyphus (Met. 41-44). 484) and Ovid's stupuitque Ixionis orbis (Met. 42). Through this and related modifications, Ovid transforms Virgil's stern and unbending underworld into a fanciful realm that shares the emotional coloring and erotic sympathies of the rest of Ovid's world. By becoming more fantastic, Ovid's Hades also be comes, paradoxically, more human. Ovid's breaking down of Virgil's finality about death is especially marked in the case of Eurydice.
The picture of the awful goddesses with tears running down their cheeks might, if pressed, verge on the ridiculous,21 and Ovid's self-conscious fama est shows his awareness of the strangeness of the scene. Yet Ovid has chpsen this artificial picture to underline the emotional sympathy between the singer and the underworld. To reinforce this same gentler and more fanciful tone, Ovid not only dampens the Furies' cheeks but also makes "the bloodless ghosts w eep" (exsangues flebant animae [Met. 41]).