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    Metamorphoses The Metamorphoses, Ovid's most ambitious and well-known work, consists of a book catalogue written in dactylic hexameter about transformations in Greek and Roman mythology set within a loose mytho-historical framework.

    The word "metamorphoses" is of Greek origin and means "transformations. Within an extent of nearly 12, verses, almost different myths are mentioned. Each myth is set outdoors where the mortals are often vulnerable to external influences.

    The poem stands in the tradition of mythological and aetiological catalogue poetry such as Hesiod 's Catalogue of WomenCallimachus ' Aetia, Nicander 's Heteroeumena, and Parthenius ' Metamorphoses. The first book describes the formation of the world, the ages of manthe floodthe story of Daphne 's rape by Apollo and Io 's by Jupiter.

    The second book opens with Phaethon and continues describing the love of Jupiter with Callisto and Europa.

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    The third book focuses on the mythology of Thebes with the stories of CadmusActaeonand Pentheus. The fourth book focuses on three pairs of lovers: The fifth book focuses on the song of the Museswhich describes the rape of Proserpina. The sixth book is a collection of stories about the rivalry between gods and mortals, beginning with Arachne and ending with Philomela.

    The seventh book focuses on Medeaas well as Cephalus and Procris. The eighth book focuses on Daedalus ' flight, the Calydonian boar hunt, and the contrast between pious Baucis and Philemon and the wicked Erysichthon.

    The ninth book focuses on Heracles and the incestuous Byblis. The tenth book focuses on stories of doomed love, such as Orpheuswho sings about Hyacinthusas well as PygmalionMyrrhaand Adonis.

    The eleventh book compares the marriage of Peleus and Thetis with the love of Ceyx and Alcyone. The twelfth book moves from myth to history describing the exploits of Achillesthe battle of the centaursand Iphigeneia. The thirteenth book discusses the contest over Achilles' armsand Polyphemus. The fourteenth moves to Italy, describing the journey of AeneasPomona and Vertumnusand Romulus. The final book opens with a philosophical lecture by Pythagoras and the deification of Caesar.

    The end of the poem praises Augustus and expresses Ovid's belief that his poem has earned him immortality. In analyzing the Metamorphoses, scholars have focused on Ovid's organization of his vast body of material. The ways that stories are linked by geography, themes, or contrasts creates interesting effects and constantly forces the reader to evaluate the connections.

    Ovid also varies his tone and material from different literary genres; G. Conte has called the poem "a sort of gallery of these various literary genres. Ovid's use of Alexandrian epic, or elegiac couplets, shows his fusion of erotic and psychological style with traditional forms of epic.

    Fasti "The Festivals" [ edit ] Main article: Fasti poem Six books in elegiacs survive of this second ambitious poem that Ovid was working on when he was exiled.

    The six books cover the first semester of the year, with each book dedicated to a different month of the Roman calendar January to June. The project seems unprecedented in Roman literature. It seems that Ovid planned to cover the whole year, but was unable to finish because of his exile, although he did revise sections of the work at Tomis, and he claims at Trist. Like the Metamorphoses, the Fasti was to be a long poem and emulated aetiological poetry by writers like Callimachus and, more recently, Propertius and his fourth book.

    The poem goes through the Roman calendar, explaining the origins and customs of important Roman festivals, digressing on mythical stories, and giving astronomical and agricultural information appropriate to the season. The poem was probably dedicated to Augustus initially, but perhaps the death of the emperor prompted Ovid to change the dedication to honor Germanicus. Ovid uses direct inquiry of gods and scholarly research to talk about the calendar and regularly calls himself a vatesa priest.

    He also seems to emphasize unsavory, popular traditions of the festivals, imbuing the poem with a popular, plebeian flavor, which some have interpreted as subversive to the Augustan moral legislation. Ibis "The Ibis" [ edit ] Main article: Ibis Ovid The Ibis is an elegiac poem in lines, in which Ovid uses a dazzling array of mythic stories to curse and attack an enemy who is harming him in exile. At the beginning of the poem, Ovid claims that his poetry up to that point had been harmless, but now he is going to use his abilities to hurt his enemy.

    He cites Callimachus' Ibis as his inspiration and calls all the gods to make his curse effective.

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    Ovid uses mythical exempla to condemn his enemy in the afterlife, cites evil prodigies that attended his birth, and then in the next lines wishes that the torments of mythological characters befall his enemy. The poem ends with a prayer that the gods make his curse effective.

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    Tristia The Tristia consist of five books of elegiac poetry composed by Ovid in exile in Tomis. Book 1 contains 11 poems; the first piece is an address by Ovid to his book about how it should act when it arrives in Rome. Poem 3 describes his final night in Rome, poems 2 and 10 Ovid's voyage to Tomis, 8 the betrayal of a friend, and 5 and 6 the loyalty of his friends and wife. In the final poem Ovid apologizes for the quality and tone of his book, a sentiment echoed throughout the collection.

    Book 2 consists of one long poem in which Ovid defends himself and his poetry, uses precedents to justify his work, and begs the emperor for forgiveness. Book 3 in 14 poems focuses on Ovid's life in Tomis. The opening poem describes his book's arrival in Rome to find Ovid's works banned.

    Poems 10, 12, and 13 focus on the seasons spent in Tomis, 9 on the origins of the place, and 2, 3, and 11 his emotional distress and longing for home. The final poem is again an apology for his work. The fourth book has ten poems addressed mostly to friends. Poem 1 expresses his love of poetry and the solace it brings; while 2 describes a triumph of Tiberius. Poems 3—5 are to friends, 7 a request for correspondence, and 10 an autobiography. The final book of the Tristia with 14 poems focuses on his wife and friends.

    Poems 4, 5, 11, and 14 are addressed to his wife, 2 and 3 are prayers to Augustus and Bacchus4 and 6 are to friends, 8 to an enemy. Poem 13 asks for letters, while 1 and 12 are apologies to his readers for the quality of his poetry.

    Epistulae ex Ponto The Epistulae ex Ponto is a collection in four books of further poetry from exile. The Epistulae are each addressed to a different friend and focus more desperately than the Tristia on securing his recall from exile. The poems mainly deal with requests for friends to speak on his behalf to members of the imperial family, discussions of writing with friends, and descriptions of life in exile.

    The first book has ten pieces in which Ovid describes the state of his health 10his hopes, memories, and yearning for Rome 3, 6, 8and his needs in exile 3. Book 2 contains impassioned requests to Germanicus 1 and 5 and various friends to speak on his behalf at Rome while he describes his despair and life in exile.

    Book 3 has nine poems in which Ovid addresses his wife 1 and various friends.

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    It includes a telling of the story of Iphigenia in Tauris 2a poem against criticism 9and a dream of Cupid 3. Book 4, the final work of Ovid, in 16 poems talks to friends and describes his life as an exile further. Poems 10 and 13 describe Winter and Spring at Tomis, poem 14 is halfhearted praise for Tomis, 7 describes its geography and climate, and 4 and 9 are congratulations on friends for their consulships and requests for help.

    Poem 12 is addressed to a Tuticanus, whose name, Ovid complains, does not fit into meter. The final poem is addressed to an enemy whom Ovid implores to leave him alone. The last elegiac couplet is translated: The greatest loss is Ovid's only tragedy, Medea, from which only a few lines are preserved.

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    Quintilian admired the work a great deal and considered it a prime example of Ovid's poetic talent. Ovid also mentions some occasional poetry Epithalamium[51] dirge, [52] even a rendering in Getic [53] which does not survive. Also lost is the final portion of the Medicamina.

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    The poem opens by advising Livia not to try to hide her sad emotions and contrasts Drusus' military virtue with his death. Drusus' funeral and the tributes of the imperial family are described as are his final moments and Livia's lament over the body, which is compared to birds. The laments of the city of Rome as it greets his funeral procession and the gods are mentioned, and Mars from his temple dissuades the Tiber river from quenching the pyre out of grief.

    The poet asks Livia to look for consolation in Tiberius. The poem ends with an address by Drusus to Livia assuring him of his fate in Elysium. Although this poem was connected to the Elegiae in Maecenatemit is now thought that they are unconnected. The date of the piece is unknown, but a date in the reign of Tiberius has been suggested because of that emperor's prominence in the poem.

    The poem begins by describing how every animal possesses the ability to protect itself and how fish use ars to help themselves. The ability of dogs and land creatures to protect themselves is described.

    The poem goes on to list the places best for fishing, and which types of fish to catch. Although Pliny the Elder mentions a Halieutica by Ovid, which was composed at Tomis near the end of Ovid's life, modern scholars believe Pliny was mistaken in his attribution and that the poem is not genuine.

    In a monologue asking boys not pelt it with stones to get its fruit, the tree contrasts the formerly fruitful golden age with the present barren time, in which its fruit is violently ripped off and its branches broken.

    In the course of this, the tree compares itself to several mythological characters, praises the peace that the emperor provides and prays to be destroyed rather than suffer.

    The poem is considered spurious because it incorporates allusions to Ovid's works in an uncharacteristic way, although the piece is thought to be contemporary with Ovid. The poet describes a dream to an interpreter, saying that he sees while escaping from the heat of noon a white heifer near a bull; when the heifer is pecked by a crow, it leaves the bull for a meadow with other bulls. The interpreter interprets the dream as a love allegory; the bull represents the poet, the heifer a girl, and the crow an old woman.

    The old woman spurs the girl to leave her lover and find someone else. The poem is known to have circulated independently and its lack of engagement with Tibullan or Propertian elegy argue in favor of its spuriousness; however, the poem does seem to be datable to the early empire.

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    Like the other canonical elegiac poets Ovid takes on a persona in his works that emphasizes subjectivity and personal emotion over traditional militaristic and public goals, a convention that some scholars link to the relative stability provided by the Augustan settlement. Ovid has been traditionally seen as far more sexually explicit in his poetry than the other elegists.

    In his treatment of elegy, scholars have traced the influence of rhetorical education in his enumerationin his effects of surprise, and in his transitional devices. Heinze demonstrated that, "whereas in the elegiac poems a sentimental and tender tone prevails, the hexameter narrative is characterized by an emphasis on solemnity and awe The gods are "serious" in epic as they are not in elegy; the speeches in epic are long and infrequent compared to the short, truncated and frequent speeches of elegy; the epic writer conceals himself while the elegiac fills his narrative with familiar remarks to the reader or his characters; above all perhaps, epic narrative is continuous and symmetrical According to them, Virgil was ambiguous and ambivalent while Ovid was defined and, while Ovid wrote only what he could express, Virgil wrote for the use of language.

    Ovid's works have been interpreted in various ways over the centuries with attitudes that depended on the social, religious and literary contexts of different times. It is known that since his own lifetime, he was already famous and criticized.
    Administrative Palace[ edit ] This building was erected in and and opened on 27 April Like Robescu House, it was designed by Ion Mincu.

    Other features are two bronze flags and a large clock which plays the waltz, "Danube Waves" by Joseph Ivanovich — Places of worship[ edit ] St. Construction continued from to The church has one dome and no side isles. Fromrestoration work has been underway at the church.

    This includes cleaning of the paint work, paving around the cathedral and the construction of the St John Cassian centre, a building for cultural, pastoral and missionary work. At the church's centennial inthe relics of St. It was consecrated as a place of worship in September during the reign of Vasile Lupu.

    The church was dedicated to the Vatopedi Monastery on Mount Athos. It was built from local materials including stone, forest wood, brick and lime, sand from the beaches of the Danube and so on. As well as its typical Romanian church architecture, the monastery has some specific elements of interest such as a bell tower with battlements for observation of the Danube valley and for defense.

    The tower has two levels and a room to hide assets. There are two ramparts and a door to a balcony. The second floor is fitted with windows and battlements. Another of the church's defences is a reinforced bridge consisting of two parts, one above the nave and one above the altar. The bridge has 28 battlements. From tothe church was used as a museum. It was restored in the period — There may be a tunnel from the church beneath the Danube.

    However, the lack of funds prolonged the construction works and the church was only consecrated in The same house would become a hub for Bulgarian revolutionaries persecuted by the Ottoman authorities.

    In —72, Bulgaria's national poet Hristo Botev lived in the house during a part of his exile, as a commemorative plaque still reminds.

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    The church was dedicated to the "Transfiguration" on 17 September by the Bishop and the Archimandrite Melchizedek Eughenie Xiropotamo. In the nave is a marble plaque with the names of the founders and two marble plates with the names of the founders and major benefactors.

    The church is a cruciform tower with two bell towers on the west side. Papadopoulos of Adrianople was the artist. There are large icons representing the holy virgin Mary with child, the resurrection, St.

    There are eight stained glass church windows containing the holy apostles Peter, Andrew, Mark, Thomas, Bartholomew and Luke on the northern side and Paul Simon, John, James, Philip, on the southern side.

    Its general construction was completed but the interior layout is not. The basement of the Cathedral is a very small space, which will serve as a mortuary chapel. The official opening of the interior was planned for Church Mavromol[ edit ] Mavromol is a former monastery. Its name means "black rock" in Greek. It was built in and dedicated to the Assumption by George Ducas died and his son. There was rebuilding between and During the revolution of the church was burned by the Turks.

    The current building dates from to and respects the original plan. Interior murals and other valuable elements were restored between and They taught in Greek. Inteaching was conducted in Romanian under the orders of Constantin Moruz. The church is constructed in the style of a basilica with apses beyond the main walls. The church has a carved wooden icon of the "Virgin Mary" from the church of St. Sava Monastery in Bucharest. The ceiling is composed of three parts separated by double arches.

    The entrance is on the south side through a door marked by an icon and heraldic symbols: Also on the south side is the coat of arms of Moldova, carved in a stone medallion. During communist rule, the church, as a sacred place, was improperly appropriated. The Church of St. Spyridon[ edit ] Built inthis church has four buttresses, three towers and a dome supported by crossed arches.

    Although its murals are not maintained, it contains valuable icons.

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