chapter six Conclusion
Prior to his relegation, Ovid was a celebrity; he was, after all, the greatest living Latin poet of his day. The comparison of his fall to that of Icarus seems apt (Tr. 1.1.90; 3.4a.22); Ovid’s shocking statement in Tr. 5.10 that in Tomis he is the barbarian (37) illustrates the depths of his degradation. As an exile, he has become a persona non grata. Despite repeated requests for assistance, it seems clear that none of his influential friends will intercede on his behalf and that his wife appears too timid to be a strong advocate. Ovid is doomed to spend the remainder of his life separated from family, friends, and his beloved Rome. Despite his emotional trauma and his resentment toward Augustus for his lack of clemency, Ovid manages to maintain a high level of artistry in his Tristia. The poetry is original: Ovid adapts themes from his pre-exilic love poetry and repurposes them to his exilic circumstances. The poetry is imaginative: Ovid skillfully varies recurring themes throughout this series of independent books. The poetry is carefully crafted: Ovid integrates his poems through circular structures that often are complex and intricate.←143 | 144→
Structural analysis supports Hall’s separation of Tr. 1.5, 1.9, 3.4, 4.4, 5.2, and 5.7 into two poems. Ring patterns define the beginning and end of these twelve literary pieces. In addition, Ovid appears to be experimenting with the intersection of theme and form in Tr. 3.4b and 5.7b. The consecutive-ring structure of Tr. 3.4b elegantly...
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