His brothers, nymphs, gods and goddesses mourned his death, and their tears, according to Ovid's Metamorphoses, were the source of the river Marsyas in Phrygia, which joins the Meander near Celaenae, where Herodotus reported that the flayed skin of Marsyas was still to be seen, and Ptolemy Hephaestion recorded a " festival of Apollo, where the skins of all those victims one has flayed are offered to the god.

* in exclamations, such as me miseram, " wretched me " ( spoken by Circe to Ulysses in Ovid's Remedium Amoris ; note that this is feminine: the masculine form would be me miser < ins > um </ ins >).

The sentiment is summarized in a line from Ovid's Amores I. 1. 27 Sex mihi surgat opus numeris, in quinque residat-" Let my work rise in six steps, fall back in five.

This is described in Ovid's Metamorphoses Book IX.

Ovid's self-conscious and urbane report appears to be suggesting in his uncharacteristic depiction of Polyphemus that it is possible for the way that readers view a character to drastically change over time.

In Ovid's Ars Amatoria Pasiphaë is reduced to unflattering human terms: Pasiphae fieri gaudebat adultera tauri —" Pasiphaë took pleasure in becoming an adulteress with a bull.

Published in 1818, it was based on a number of sources, including Ovid's myth of Prometheus ( indeed, the novel is subtitled " The Modern Prometheus "), Milton's Paradise Lost, Coleridge's The Rime of the Ancient Mariner, and William Beckford's Gothic novel Vathek.

Thrace is also mentioned in Ovid's Metamorphoses in the episode of Philomela, Procne, and Tereus.

In Ovid's Fasti, Mercury is assigned to escort the nymph Larunda to the underworld.

Such a correction concerns the temples dedicated on the Capitol ; it does not address the question of the dedication of the temple on the Island, which is puzzling, since the place is attested epigraphically as dedicated to the cult of Iuppiter Iurarius and Vediove in the Fasti Praenestini and to Jupiter according to Ovid's.

This is supported by records of an inscription from Ovid's Ars Amatoria, which was on the now-lost original frame of the Arnolfini Portrait, and by the many Latin inscriptions in van Eyck paintings, using the Roman alphabet, then reserved for educated men.

The primary source for the rape and mutilation of Lavinia, as well as Titus ' subsequent revenge, is Ovid's Metamorphoses ( c. AD 8 ), which is featured in the play itself when Lavinia uses it to help explain to Titus and Marcus what happened to her during the attack.

The earliest known mention of the game is in Ovid's Ars Amatoria ( The Art of Love ) ( written between 1 BC and 8 AD ).

Ovid's Heroides give us an idea of how ancient and, in particular, Roman authors imagined Helen in her youth: she is presented as a young princess wrestling naked in the palaestra ; an image alluding to a part of girls ' physical education in classical ( and not in Mycenaean ) Sparta.

In Ovid's Metamorphoses, King Pentheus is warned by the blind seer Tiresias to welcome Bacchus or else " Your blood be poured out over your mother and sisters ..." Pentheus dismisses Tiresias and ignores his warnings.

The most detailed and literary version of the story of Adonis is a late one, in Book X of Ovid's Metamorphoses.

The more widely accepted version, recounted in Ovid's Metamorphoses, is that Aphrodite compelled Myrrha ( or Smyrna ) to commit incest with her father Theias, the king of Assyria.

In Ovid's Metamorphoses, Aesacus is an illegitimate son of King Priam secretly born to the nymph Alexirhoe, daughter of the river Granicus.

Ali Smith's 2007 novel Girl Meets Boy is based on Ovid's story of Iphis and Ianthe, and is part of the Canongate Myth Series.

Ovid touches upon the theme of Marsyas twice, very briefly telling the tale in Metamorphoses vi. 383-400, where he concentrates on the tears shed into the river Marsyas, and making an allusion in Fasti, vi. 649-710, where Ovid's primary focus is on the aulos and the roles of flute-players rather than Marsyas, whose name is not actually mentioned.

Ovid's Cyparissus is so grief-stricken at accidentally killing his pet that he asks Apollo to let his tears fall forever.

In Ovid's later account, the goddess of the dawn, Eos ( Aurora to the Romans ) seizes Cephalus while he is hunting, but Cephalus begins to pine for Procris.

Cerinthus was most likely a pseudonym, in the style of the day ( e. g. Catullus ' Lesbia, Ovid's Corinna ).

Ovid's first century Roman audience would surely have had a basic knowledge of Polyphemus ' role as an uncivilized cannibal in Book IX of the Odyssey, and this episode gives an amusing contrast to that characterization.

Sexual manuals have existed since antiquity, such as Ovid's Ars Amatoria, the Kama Sutra of Vatsyayana, the Ananga Ranga and The Perfumed Garden for the Soul's Recreation.

Less than two generations after Ovid's publication, Acts 14: 11-12 relates the ecstatic reception given to Paul of Tarsus and Barnabas: " The crowds shouted ' The gods have come down to us in human form!

In Ovid's Metamorphoses, she becomes one with Hermaphroditus, and Hermaphroditus curses the fountain to have the same effect on others.

Salmacis could also have been intended simply as a contrast to the previous tales in Ovid's Metamorphoses, as others involve a dominant male pursuing an elusive female.

Janus intervenes in the miracle of the hot spring during the battle between Romulus and Tatius: Juturna and the nymphs of the springs are clearly related to Janus as well as Venus, that in the Ovid's Metamorphoses cooperates in the miracle and that may have been confused with Venilia, or perhaps the two were originally one.

Furthermore the poisonous vipers of the Sahara, in the Argonautica 4. 1515, Ovid's Metamorphoses 4. 770 and Lucan's Pharsalia 9. 820, were said to have grown from spilt drops of her blood.

He is said to have had Ovid's erotic poetry and " a book about Apicius " ( presumably Apion's On the Luxury of Apicius ) as bedside reading, and to have personally invented the luxury dish tetrapharmacum.

His symphonies ( around 120 of them ) include twelve based on Ovid's Metamorphoses ( six of which have survived to the present day ).

The introduction of the myth of the mountain nymph Echo into the story of Narcissus, the beautiful youth who rejected sexuality and falls in love with his own reflection, appears to have been Ovid's invention.

The second volume takes the form of a plea to Augustus to end the unhappy exile brought about by the famous carmen et error — the nature of the mistake is never made clear, although some speculate it may have had something to do with Ovid's overhearing-or rather discovery-of the adulterous nature of Augustus ' daughter, Julia.

** The character of Corinna in Ovid's poems have widely been thought to be Julia the Elder, daughter of Augustus.

Titus Labienus, Caninius Rebilus, and Ovid's erstwhile friend Sabinus have been proposed, but such a wildly exaggerated figure as " Ibis " may have been a composite.

Some scholars believe that Ovid's Pyramus and Thisbe, as well as the story of Ariadne at Naxos might have also contributed to the development of the Tristan legend.

In Ovid's version of the story, Dryope was wandering by a lake, suckling her baby Amphissus, when she saw the bright red flowers of the lotus tree, formerly the nymph Lotis who, when fleeing from Priapus, had been changed into a tree.

The word has also been linked to Lycaon, a king of Arcadia who, according to Ovid's Metamorphoses, was turned into a ravenous wolf in retribution for attempting to serve human flesh ( his own son ) to visiting Zeus in an attempt to disprove the god's divinity.

The word has also been linked to the original werewolf of classical mythology, Lycaon, a king of Arcadia who, according to Ovid's Metamorphoses, was turned into a ravenous wolf in retribution for attempting to serve his own son to visiting Zeus in an attempt to disprove the god's divinity.

Marino employed him on illustrations to his poem Adone ( untraced ) and on a series of illustrations for a projected edition of Ovid's Metamorphoses, took him into his household, and in 1624 enabled Poussin ( who had been detained by commissions in Lyon and Paris ) to rejoin him at Rome.

It has been suggested that the taboo of incest marks the difference between culture and nature and that Ovid's version of Myrrha showed this.

A translation of Ovid's Myrrha, done by English poet John Dryden in 1700, has been interpreted as a critique of the society of that day linking Myrrha to Mary II and Cinyras to James II.

The myth of Myrrha has been chronicled in several other works than Ovid's Metamorphoses.

The transformation of Myrrha in Ovid's version has been interpreted as a punishment for her breaking the social rules through her incestuous relationship with her father.

This episode furthermore has been treated repeatedly in opera, notably by Jacopo Peri ( Dafne ) in 1597 and Richard Strauss ( Daphne, with a libretto that deviates significantly from Ovid's account ) in 1938.

It has been interpreted as Ovid's challenge to the prevailing orthodoxy of Augustus's religious reforms, which were often innovations of Imperial propaganda under the cloak of archaic revivalism.

Ovid's account of Medusa's mortality tells that she had once been a woman, vain of her beautiful hair, who had lain with Poseidon in the Temple of Athena.

** The flower Adonis turns into after having been torn to pieces by a boar in Ovid's ' Venus and Adonis ' and in the various translations of that story by Shakespeare, Ted Hughes, etc.

Modern literature has been continually influenced by the Ars Amatoria, which has presented additional information on the relationship between Ovid's poem and more current writings.

The expression Numen inest appears in Ovid's Fasti ( III, 296 ) and has been translated as ' There is a spirit here '.