Ovid, a Roman poet in the age Augustus’s day, and Horace captured the mood and atmosphere of the empire in the age. Horace wrote epistles, satires and odes that glorified Augustus and his reforms. Ovid, however, wrote poetry about love before 8 AD. He did this in a manner that defied Augustan morality reforms as well as Augustus. In 8 AD, Ovid was exiled from Rome to Tomis for his bold style and content, as well as the accidental discovery of an error in Augustus’s family. His once amorous, sharply-witted voice gave way to a more flattering, supplication-oriented style. Horace keeps his usual persona as an earnest observer but he eventually emphasizes Augustus’ deference and praise in his Epistle 2.1, Ovid’s exile poetry is a sad example of this.
Augustus was a Princeps of Rome whose main goal was to portray himself as the bringer and sustainer of Rome’s peace, prosperity, as well as fertility. Horace extolled Augustus in praise and was made the Carmen Saeculare’s composer. Horace sings this ode to celebrate the dawning in a new age of Augustus. Horace praises Augustus throughout his satires. Horace, Satire 1.8.46-50, uses Priapus as a symbol of Augustus’s fertility and masculinity to show his life-giving power over Rome. Horace makes clear in Epistle II.1 that Augustus was a god of his own time and always after. Horace separates Augustus form heroes like Romulus and Hercules. Augustus is deified only at death (Epistle 21.5-12). Horace praises Augustus by referring to Janus’ closed doors in the temple. It is an indication of the peace achieved. Horace thus portrays Augustus the way that Augustus wants him to be viewed. Ovid also uses his previous writing as an example of Augustan poetry. Horace proclaims that modern poetry is the most beautiful because Augustus has influenced it. Horace, Epistle I.1.28-31. He comments on the tendency of men in poetry writing (II.1.108-117), and the freedom given to them in the writing process (II.1.147). Ovid then says: “…the Joking began/ to turn into sheer madness and become a menace/ running unchecked through decent housing; its tooth drew blood/ and victims smarted; even those escaping were worried/ about how society is going” (II.1.148-52). He mentions that Augustus’ morality laws put an end to this. “At the last, a statute was enacted/ with penalties; none, it stated, should be translated/in scurrilous prose” (II.1.152-52).
Ovid also recognizes the errors in Augustan poetry and admits them to Tristia. Tristia 1.5-14 – Ovid says this book isn’t love’s teacher, like the Ars Amatoria. Also, it isn’t playful or temptingly moral (Tristia 1.67), as the Amores. Ovid refers back to the Metamorphoses and notes his personal transformation.
Ovid’s relationship is obvious from his personal life in Tristia, as well his explanation of Augustus’s position as a substitute in Book I, poetry 1 and Book III poem 6. He pleads “…pray Caesar/ will lower my penalty” (1.25-23). Ovid then flatters that the Palatine…where Caesars are, “Grant pardon!” (1.70-73). In fact, he admits to being in the wrong. However, he does not intend to.
This is in stark contrast to his earlier work. He was clearly embarrassed by Augustus’s sour tone and low self-esteem. He boldly reveals the joy of illicit affairs that do not respect Augustan morality or the Julian/Papia-Poppean Laws aimed promoting reproduction in the Amores. His philosophy states: “I believe you are faithful, even though you don’t know it.”/ You can continue with your current life but not admit it. Public appearances of modesty/persona shouldn’t be too embarrassing/ Impropriety is not allowed/ The Enclave, where all kinds of fun are the norm/ Restraints are rare” (Amores III.14.13-18). In his parody of debauchery, he also includes Venus and Cupid as characters, mocking Augustus’s claimed ancestors. He even takes himself into a superiority role by saying that “I,/ By Venus’s appointment I am made Loves’s artificer.” (Ars Amatoria, 1.6-7).
Ovid in exile has one hope to return home to Rome: to gain Augustus’s favor and mercy by meek submissions. He surrenders his own ideas of how poetry can create delight and says in his book, “If it has offended your reader, feel nothing shame” (Tristia.1.50). Horace adopts Ovid’s aesthetic of “return[ing]]to decent language and the business giving pleasure” (Horace Epistle II.1.154-5).
Ovid as well as Horace are able to allow us into the world Augustan Rome thanks to their honest comments and insightful observations. Ovid’s rebellious spirit and sharp-wit led to his expulsion from Rome. Horace was exiled from Rome because of the shift in his work from citizen into exile. This made it even more obvious what we had already seen about Horace: that Augustus, regardless of whether or not he was worthy, exuded a power no one else could resist, nor could anyone else.
