Ars Amatoria; or, The Art Of Love: Literally Translated into English Prose, with Copious NotesOvid
General
Ars Amatoria; or, The Art Of Love: Literally Translated into English Prose, with Copious Notes
Ovid
Latin poetry -- Adaptations; Latin poetry -- Translations into English
[Footnote 1023: Round features.--Ver. 139. See the Pontic Epistles, Book
iii Ep. iii. 1. 15, and the Note.]
[Footnote 1024: Figure of the tortoise.--Ver. 147. Salmasius thinks that
the 'galerus,' or 'wig of false hair,' is alluded to in this passage.
Others think that a coif or fillet of net-work is alluded to. He
probably means a mode of dressing the hair in the shape of a lyre, with
horns on each side projecting outwards. Mercury, the inventor of the
lyre, was born on Mount Cyllene, in Arcadia.]
[Footnote 1025: The waves.--Ver. 148. Juvenal mentions a mode of
dressing the hair to a great height by rows of false curls.]
[Footnote 1026: The herbs from Germany.--Ver. 163. He alludes, probably,
to herbs brought from Germany, which were burnt for the purpose of
making a soap used in turning the hair of a blonde colour. See the
Amores, Book i. El. xiv. 1. 1, and the Note.]
[Footnote 1027: For money--Ver. 166. See 1. 45 of the above Elegy.]
[Footnote 1028: The eyes of Hercules.--Ver. 168. He means that the
wig-makers']
shops were in the neighbourhood of the Temple of Hercules Musagetes, in
the Flaminian Circus. See the Sixth Book of the Fasti, 1. 801.]
[Footnote 1029: Gold flounces.--Ver. 169. 'Segmenta' are probably broad
flounces to the dresses inlaid with plates of gold, or gold threads
embroidered on them.]
[Footnote 1030: On one's person.--Ver. 127. Like our expression, 'To
carry a fortune on one's back.']
[Footnote 1031: That art said.--Ver. 175. He refers to the colour of
the Ram with the Golden Fleece, that bore Helle and Phryxus over the
Hellespont.]
[Footnote 1032: Resembles the waves.--Ver. 177. He evidently alluded
to dresses which resemble the surface of the waves, and which we term
'watered'; and which the Romans called 'undulatae,' from 'unda,' a
'wave.' Varro makes mention of 'undulatæ togæ.' Some Commentators,
however, fancy that he alludes here to colour, meaning 'glaucus,' or
'sea-green,' which Lucretius also calls ' thalassinus.']
[Footnote 1033: Amaryllis.--Ver. 183. See the last Book, 1. 267, and the
Note.]
[Footnote 1034: And wax.--Ver. 184. Plautus mentions the 'Carinarii,'
who dyed garments of a waxen, or yellow colour]
[Footnote 1035: Seriphos.--Ver. 192. See the Metamorphoses, Book v. 1.
242, and the Note.]
[Footnote 1036: Shocking goat.--Ver. 193. See the Note to 1. 522: of
the First Book.]
[Footnote 1037: Application of wax.--Ver. 199. Wax is certainly used as
a cosmetic, but 'creta' seems to be a preferable reading, as chalk in
a powdered state was much used for adding to the fairness of the
complexion. Ovid would hardly recommend a cosmetic of so highly
injurious a tendency as melted wax.]
[Footnote 1038: The eye-brows.--Ver. 201. We learn from Juvenal, that
the colour of them was heightened by punctures with a needle being
filled with soot.]
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