By Ovid; Downing, Eric; Mann, Thomas; Kierkegaard, Søren; Ovid
This research explores 3 works during which the protagonist undertakes to style a literary art
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Extra resources for Artificial I's : the self as artwork in Ovid, Kierkegaard, and Thomas Mann
6' But their overtones have become far more questionable in their extension and involvement of real people. Dissimulation (275,487), concealment (276,463), ambiguity (490) and deceit (431,446) come to be the characterizing conditions of this ars, conditions which might well, and in fact do, contribute to good, delightful poetry, but less clearly to a good and delightful affair. ' ' Cf. AA 1,569-78; 603-07. ). For hope, illa quidem fallax, sed tarnen apta, dea est (446). gpollicitisque favens, vulgus, adeste meis, 268; also 203; 205.
Quite simply, the character in the elegy is a lover, exuberantly animated by the natural spontaneity of his original emotion, and so personally and directly engaged in his erotic adventure. But the student-lover of the Ars is not a lover, is not supposed to be a lover: insofar as the praeceptor fears and suspects the natural spontaneity of emotion, his plan entails the somehow violent subjection of all such »originality« and amor in his pupil's experience. Rather, the student is to be an imitation of a lover, a counterfeit copy, and not at all »personally and directly engaged« in his erotic adventure.
72ff. with the erotic strategy urged upon the student-lover, with the same impudent but effective mimetic manipulation of language and the same absence of corresponding reality, either personal or external. We see the transposition of this poetic approach in the advice tendered to the student just after the encomium as to how he should comport himself vis-à-vis the foreseen Triumph, advice which echoes not only the poet's ploy but the nullus pulvis ploy as well: atque aliqua ex illis cum regum nomina quaeret, quae loca, qui montes quaeve ferantur aquae, omnia responde, nec tantum si qua rogabit; et quae nescieris, ut bene nota refer.