Reviewed by: Loving Writing/Ovid’s Amores by Ellen Oliensis Teresa Ramsby Ellen Oliensis. Loving Writing/Ovid’s Amores. Cambridge: Cambridge University Press, 2019. Pp. vii, 202. $99.99. ISBN 978-1-108-48230-1. The reader of this study is drawn through a dense thicket of interpretive approaches as our guide confidently explains what she believes Ovid is up to in his labyrinth of elegiac fantasy known as the Amores. In the process, Oliensis offers some very important insights to the Amores that everyone who studies Ovid will need to consider when they approach: 1) the authorial persona “Naso”—who he is and what motivates him; 2) to what extent we should credit the notion of distinguishing “Ovid the successful poet” from “Naso the failed lover;” and 3) what kind of amor Ovid’s Naso is presenting to us. Using Freudian theory combined with feminist, structuralist, deconstructionist, and narratological perspectives, and almost entirely eschewing the allusory turn of recent decades, Oliensis renders a convincing, if somewhat unsettling, portrait of the artist and the elegiac poetics that make the Amores so intriguing and elusive. Throughout her study, Oliensis makes, and readily defends, the case that Naso is the chief character of the Amores, the lover and the poet, the failure and the success, the id and the ego (and superego), and she only concedes the authorial presence of Ovid himself in the very last poem of the collection, 3.15, where he slips out from behind the curtain to sign off, saying he will write no more elegy. The collection thus solely features Naso stumbling through his attempts to get his poetics and his love life in order, and failing at both just enough to fool us into thinking that we are occasionally seeing realism (the wife in 3.13!). Oliensis claims it is all fantasy, and it is all designed to bring the reader closer and closer to the erotic center of this new version of elegy—a version that is built, as she poses, on infatuation with textuality itself. [End Page 358] Perhaps Oliensis’s most successful illustration of Naso as author, poet, and lover, and how that chordal triad resounds against its own echo, appears in her analysis (chapter 2) of the “parrot poem,” Amores 2.6, in conjunction with the poems that surround it. The parrot, that garrulous pet of Corinna, has died and enjoys the animal equivalent of Anchises’ fields of Elysium. The parrot has already been interpreted in various ways, all of them relevant to Ovid’s poetics: as an allusion to the Catullan sparrow, as a representative of old-fashioned virtues, as an avatar for the lover who talks his way into women’s beds, and even as a metaphor for Naso’s impotence. Oliensis notes in her preferred sequential readings, however, that the parrot poem comes just after Naso has discovered that Corinna has cheated on him (2.5), and just before two poems (2.7–8) in which Naso himself faces accusations of cheating on Corinna with her slave, Cypassis. Oliensis thus aligns the heavy mythological and allusory context of the parrot poem with Naso’s (not Ovid’s) desire for “reclaiming a measure of authorial dignity while chastening the steamy humiliations of Amores 2.5” (65). Then in 2.7, when Naso is himself accused of cheating with Corinna’s slave (whereupon he blames poor Cypassis in 2.8 for the betrayal), he has failed to notice that the parrot was quite capable of revealing to Corinna what Naso had been up to in her chambers, and likely lost its life for loquaciously replaying the salient moments in her presence. Thus, Oliensis explains, “Naso was obviously unaware of this back-story when he composed what turns out to be a totally inappropriate eulogy for the dead parrot, a poem that . . . seems calculated only to enrage her the more” (68). Naso is, therefore, “not only not master of the situation but doesn’t even know what the situation is” (68). I find this unique interpretation delightful, and Oliensis’s insistence that Naso remain at the center of the Amores pays off frequently throughout this volume. What motivates Naso, and what kind...
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