Reviewed by: Ovid: Dichter und Werk William S. Anderson Niklas Holzberg. Ovid: Dichter und Werk. Munich: C. H. Beck, 1997. 218 pp. Cloth, DM 48, SFr 44.50, ÖS 350. Looking at the dust cover of this volume, which features a Pompeiian wall painting with an impetuous satyr tightly grasping a nude, buxom, and resistant female, a reader might be led to expect a conventionally shallow literary biography of Ovid, the poet of erotic enjoyment. Probably Holzberg had nothing to do with the choice of the cover, which was designed only to attract buyers. If he did, he would have been ironically aware of the surprises he had in store for unsuspecting readers: there is little in this book to excite the average modern satyr. Instead of titillating his audience with erotic images, Holzberg focuses our attention on the elegiac system, from which, as he shows, the poet Ovid ingeniously worked. The reader receives warning in the foreword, where Holzberg says little about the historical personage Ovid but directs us instead to the variety of roles the poet Ovid developed in his different works. It is these roles that have familiarized us with Ovid, not the historical facts that have accumulated around him [End Page 651] outside his poems. Holzberg declares, then, that he wishes to read Ovid’s poetry as “novels,” that is, as fictional accounts by a fictional speaker who uses the first person. Before proceeding to the poetic works in chronological order, Holzberg devotes two important introductory chapters to discussing his approach first to the work, then to the poet. That of course reverses the order of his subtitle, but by way of correction: this writer and this book are primarily interested in the poetry that Ovid created and that we can still critically read: the poet is far more problematical. So we start with a paradox: our present time is an Ovidian Age (aetas Ovidiana), as was the era in cultivated Western Europe about a thousand years ago. We probably read Ovid today as well as, if not better than, the people who rushed to multiply Ovidian manuscripts in that previous era. However, the question is: do we read and hear Ovid with the awareness of those original Roman audiences, nearly a millennium earlier, who enjoyed what we may consider the first aetas Ovidiana, when Ovid himself was present to register his amazing effects in Rome (and to recall them fondly in exile)? The answer that Holzberg produces is: no, we don’t read Ovid as a Latin audience; instead, we pick out what makes him like us, modern. To read his works as Holzberg wants, then, we must first grasp the features which belong to the doctus poeta. Ovid was what Holzberg calls “a poet between texts” (a clever variation on Fraenkel’s famous phrase for Ovid, “a poet between two worlds”). That stresses the literary practice of intertextuality rather than the cultural interrelationships that occupied Fraenkel and his contemporaries. It also justifies the role of Holzberg, who steps in to help the helpless “modern reader” and to explain some of the key intertexts that functioned directly for Ovid’s first audiences. Similarly, a modern reader needs to step back from the trap of the plausibly witty story that Ovid’s first-person speaker narrates, to appreciate the conventions with which the poet ably plays for the amusement of his well-read audiences; and this means understanding what Holzberg calls the “elegiac system,” which serves as the basis of all Ovid’s work. Recognizing the fundamental elements of the system, we can see better how he modifies and innovates with familiar material, whether it is a form like that of the exclusus amator or the interesting variations he creates on the “slavery of love.” Holzberg’s approach to Ovid the poet is deliberately skeptical. Our only contemporary “evidence” about him is the dubious and fictional series of details and events which emerge from the mouth of the “speaker” in the poems. Holzberg distrusts even the prodigious memory of Seneca the Elder. And it is notable that Tacitus, who had the opportunity of giving Ovid an obituary around A.D. 17, in what survives of the...
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Nov 1, 2002
Katalin Kroó 
