Elegiac couplet in the context of "Dactylic pentameter"

Publius Ovidius Naso (Latin: [ˈpuːbliʊs ɔˈwɪdiʊs ˈnaːsoː]; 20 March 43 BC – AD 17/18), known in English as Ovid (/ˈɒvɪd/ OV-id), was a Roman poet who lived during the reign of Augustus. He was a younger contemporary of Virgil and Horace, with whom he is often ranked as one of the three canonical poets of Latin literature. The Imperial scholar Quintilian considered him the last of the Latin love elegists. Although Ovid enjoyed enormous popularity during his lifetime, the emperor Augustus exiled him to Tomis, the capital of the newly organised province of Moesia, on the Black Sea, where he remained for the last nine or ten years of his life. Ovid himself attributed his banishment to a carmen et error ("poem and a mistake"), but his reluctance to disclose specifics has resulted in much speculation among scholars.

Ovid is most famous for the Metamorphoses, a continuous mythological narrative in fifteen books written in dactylic hexameters. He is also known for works in elegiac couplets such as Ars Amatoria ("The Art of Love") and Fasti. His poetry was much imitated during Late Antiquity and the Middle Ages, and greatly influenced Western art and literature. The Metamorphoses remains one of the most important sources of classical mythology today.

In Ancient Greece, the symposium (Ancient Greek: συμπόσιον, sympósion, from συμπίνειν, sympínein, 'to drink together') was the part of a banquet that took place after the meal, when drinking for pleasure was accompanied by music, dancing, recitals, or conversation. Literary works that describe or take place at a symposium include two Socratic dialogues, Plato's Symposium and Xenophon's Symposium, as well as a number of Greek poems, such as the elegies of Theognis of Megara. Symposia are depicted in Greek and Etruscan art that shows similar scenes.

In modern usage, it has come to mean an academic conference or meeting, such as a scientific conference. The Latin equivalent of a Greek symposium in Roman society is convivium.

The Fasti (Latin: Fāstī [ˈfaːstiː], "the Calendar"), sometimes translated as The Book of Days or On the Roman Calendar, is a six-book Latin poem written by the Roman poet Ovid and made public in AD 8. Ovid is believed to have left the Fasti incomplete when he was exiled to Tomis by the emperor Augustus in 8 AD. Written in elegiac couplets and drawing on conventions of Greek and Latin didactic poetry, the Fasti is structured as a series of eye-witness reports and interviews by the first-person vates ("poet-prophet" or "bard") with Roman deities, who explain the origins of Roman holidays and associated customs—often with multiple aetiologies. The poem is a significant, and in some cases unique, source of fact in studies of religion in ancient Rome; and the influential anthropologist and ritualist J.G. Frazer translated and annotated the work for the Loeb Classical Library series. Each book covers one month, January through June, of the Roman calendar, and was written several years after Julius Caesar replaced the old system of Roman time-keeping with what would come to be known as the Julian calendar.

The popularity and reputation of the Fasti has fluctuated more than that of any of Ovid's other works. The poem was widely read in the 15th–18th centuries, and influenced a number of mythological paintings in the tradition of Western art. However, as scholar Carole E. Newlands has observed, throughout the 20th century "anthropologists and students of Roman religion … found it full of errors, an inadequate and unreliable source for Roman cultic practice and belief. Literary critics have generally regarded the Fasti as an artistic failure." In the late 1980s, however, the poem enjoyed a revival of scholarly interest and a subsequent reappraisal; it is now regarded as one of Ovid's major works, and has been published in several new English translations. Ovid was exiled from Rome for his subversive treatment of Augustus, yet the Fasti continues this treatment—which has led to the emergence of an argument in academia for treating the Fasti as a politically weighted work.

Octo Mundi Miracula is a series of engravings published in 1572 by the Flemish engraver Philips Galle, based on a set of eight drawings by Dutch painter Maarten van Heemskerck, with accompanying elegiac couplet verses written by Hadrianus Junius. Heemskerck's primary source was Pedro Mexía's 1540 Silva de varia lección, which noted how the classical sources for the Seven Wonders of the Ancient World do not agree on a consistent list.

The series is considered the first known complete visual representation of the Seven Wonders of the Ancient World, and created the modern canonical list of seven wonders – the specific list had not existed in the various classical sources. Despite creating the modern canonical seven, the engravings included an eighth monument—the Colosseum—following van Heemskerck's 1533 Self-Portrait with the Colosseum.

The adjective elegiac has two possible meanings. First, it can refer to something of, relating to, or involving, an elegy or something that expresses similar mournfulness or sorrow. Second, it can refer more specifically to poetry composed in the form of elegiac couplets.

An elegiac couplet consists of one line of poetry in dactylic hexameter followed by a line in dactylic pentameter. Because dactylic hexameter is used throughout epic poetry, and because the elegiac form was always considered "lower style" than epic, elegists, or poets who wrote elegies, frequently wrote with epic poetry in mind and positioned themselves in relation to epic.

The Heroides (The Heroines), or Epistulae Heroidum (Letters of Heroines), is a collection of fifteen epistolary poems composed by Ovid in Latin elegiac couplets and presented as though written by a selection of aggrieved heroines of Greek and Roman mythology in address to their heroic lovers who have in some way mistreated, neglected, or abandoned them. A further set of six poems, widely known as the Double Heroides and numbered 16 to 21 in modern scholarly editions, follows these individual letters and presents three separate exchanges of paired epistles: one each from a heroic lover to his absent beloved and from the heroine in return.

The Heroides were long held in low esteem by literary scholars but, like other works by Ovid, were re-evaluated more positively in the late 20th century. Arguably some of Ovid's most influential works (see below), one point that has greatly contributed to their mystique—and to the reverberations they have produced within the writings of later generations—is directly attributable to Ovid himself. In the third book of his Ars Amatoria, Ovid argues that in writing these fictional epistolary poems in the personae of famous heroines, rather than from a first-person perspective, he created an entirely new literary genre. Recommending parts of his poetic output as suitable reading material to his assumed audience of Roman women, Ovid wrote of his Heroides: vel tibi composita cantetur Epistola voce: / ignotum hoc aliis ille novavit opus (Ars Amatoria 3.345–6: "Or let an Epistle be sung out by you in practiced voice: he [sc. Ovid] originated this sort of composition, which was unknown to others"). The full extent of Ovid's originality in this matter has been a point of scholarly contention: E. J. Kenney, for instance, notes that "novavit is ambiguous: either 'invented' or 'renewed', cunningly obscuring without explicitly disclaiming O[vid]'s debt to Propertius' Arethusa (4.3) for the original idea." In spite of various interpretations of Propertius 4.3, consensus nevertheless concedes to Ovid much of the credit in the thorough exploration of what was then a highly innovative poetic form.

Medicamina Faciei Femineae (Cosmetics for the Female Face, also known as The Art of Beauty) is a didactic poem written in elegiac couplets by the Roman poet Ovid. In the hundred extant verses, Ovid defends the use of cosmetics by Roman women and provides five recipes for facial treatments. Other writers at the time condemned women's usage of cosmetics.

The Tristia ("Sad things" or "Sorrows") is a collection of poems written in elegiac couplets by the Augustan poet Ovid during the first three years following his banishment from Rome to Tomis on the Black Sea in AD 8. Despite five books in which he bewails his fate copiously, the immediate cause of Augustus' banishment of the most acclaimed living Latin poet to Pontus remains a mystery. In addition to the Tristia, Ovid wrote another collection of elegiac epistles on his exile, the Epistulae ex Ponto, as well as a 642-line curse poem called Ibis, directed against the unnamed enemy who had apparently caused his downfall. He spent several years in the outpost of Tomis and died in AD 17 or 18 without ever returning to Rome.

The Tristia was once viewed unfavorably in Ovid's œuvre, but has become the subject of scholarly interest in recent years.