Several other incidents connected with the story of Aeacus are mentioned by Ovid.

The later writers Ovid ( Heroides 16. 71ff, 149 – 152 and 5. 35f ), Lucian ( Dialogues of the Gods 20 ), The Bibliotheca ( Epitome E. 3. 2 ) and Hyginus ( Fabulae 92 ), retell the story with skeptical, ironic or popularizing agendas.

Ovid tells this story shortly after the Judgement of Arms, where he shows how perceptions of Odysseus in Ovid's time were very different from the Archaic period in Greece.

Although the full story was described by Ovid, it was also mentioned by Philoxenus and Theocritus, and in Valerius Flaccus ' version of Argonautica, among the themes painted on the Argos, " Cyclops from the Sicilian shore calls Galatea back.

A story recorded by Herodotus, and later by Strabo, Athenaeus, Ovid and the Suda, tells of a relation between Charaxus and the Egyptian courtesan Rhodopis.

Zeus commanded Hermes to kill Argus ; Ovid added the detail that he lulled all hundred eyes to sleep, ultimately with the story of Pan and Syrinx.

In the sixth book of Metamorphoses, Ovid tells the story of the rape of Philomela, daughter of Pandion I, King of Athens.

Ovid, the Roman poet, makes reference to Sisyphus in the story of Orpheus and Eurydice.

Ovid twice told the story of Ino's sea-plunge with Melicertes in her arms.

Hyginus, whose story on the whole agrees with that of Ovid, and all the other writers who mention this adventure of Bacchus, call the crew of the ship Tyrrhenian pirates and derive the name of the Tyrrhenian Sea from them.

The story of Pentheus is also discussed by Ovid in his Metamorphoses ( 3.

This story is related somewhat differently by the Roman writer Ovid: Arethusa, a beautiful nymph, once while bathing in the river Alfeios in Arcadia, was surprised and pursued by the river god ; but the goddess Artemis took pity upon her and changed her into a well, which flowed under the earth to the island of Ortygia.

This story was told by Latin poet Ovid in the Heroides, a selection of eighteen story-poems that pretend to be letters from mythological women to their lovers and ex-lovers.

Ovid frames the tale within the story of Orpheus, whose failure to retrieve his bride Eurydice from the underworld causes him to forsake the love of women in favor of that of boys.

The story of Deucalion and Pyrrha is also retold in the Roman poet Ovid ’ s famous collection of Metamorphoses.

Ovid tells the end of the story a bit differently in the third of his books on The Art of Love.

Myths had it that she was abducted by ( and later married ) Zephyrus, the god of the west wind ( which, as Ovid himself points out, was a parallel to the story of his brother Boreas and Oreithyia ).

The Bibliotheca gives the most complete story followed by slight variations of his from Seneca and Ovid.

Still, Ovid distances himself in three steps from the horrifying story:

First he does not tell the story himself, but has one of his in-story characters, Orpheus, sing it ; second, Ovid tells his audience not even to believe the story ( cf.

First then does Ovid begin telling the story describing Myrrha, her father and their relationship, which Doll compares to the mating of Cupid and Psyche: here the lovemaking occurs in complete darkness and only the initiator ( Cupid ) knows the identity of the other as well.

Ovid also incorporates the story of Cycnus and Phylius in his Metamorphoses: in his version, Phylius performs the three tasks but refuses to deliver the tamed bull to Cycnus.

Ovid creates or recounts the myth of how the fountain came to be so in the story of Hermaphroditus and Salmacis.

8. 183-235 ) in Pieter Bruegel the Elder ’ s Landscape with the Fall of Icarus " Essay on Brueghel's visualisation of Ovid.

Ovid, on the other hand, supposes that the island was not uninhabited at the time of the birth of Aeacus, and states that, in the reign of Aeacus, Hera, jealous of Aegina, ravaged the island bearing the name of the latter by sending a plague or a fearful dragon into it, by which nearly all its inhabitants were carried off, and that Zeus restored the population by changing the ants into men.

Later Republican writers, such as Lucretius, Catullus and even Cicero, wrote their own compositions in the meter and it was at this time that many of the principles of Latin hexameter were firmly established, ones that would govern later writers such as Virgil, Ovid, Lucan, and Juvenal.

It refers primarily to the erudite, shorter hexameter poems of the Hellenistic period and the similar works composed at Rome from the age of the neoterics ; to a lesser degree, the term includes some poems of the English Renaissance, particularly those influenced by Ovid.

Тhe myth of Narcissus has inspired artists for at least two thousand years, even before the Roman poet Ovid featured a version in book III of his Metamorphoses.

In the early Imperial era, Ovid describes the opening of Cerealia ( mid to late April ) with a horse race at the Circus, followed by the nighttime release of foxes into the stadium, their tails ablaze with lighted torches.

The two gods ( with a charm ) evoked Jupiter, who was forced to come down to earth at the Aventine ( hence named Iuppiter Elicius, according to Ovid ).

Ovid gives a vivid description of the rural rite at a boundary of fields of neighbouring peasants on February 23 ( the day of the Terminalia.

Scythians at the Tomb of Ovid ( c. 1640 ), by Johann Heinrich Schönfeld.

Sometimes he hung garlands on her doorpost wet with his tears, and lay with his soft flank on the hard threshold, complaining at the pitiless bolts barring the way .” According to Ovid, the statue was preserved at Salamis in Cyprus, in the temple of Venus Prospiciens.

Ovid places him also at the hunt of the Calydonian Boar, although the hunt occurred after the Argonauts ' return.

Both Homer and Hesiod and their listeners were aware of the details of this myth, but no surviving complete account exists: some papyrus fragments found at Oxyrhynchus are all that survive of Stesichorus ' telling ; the myth repertory called Bibliotheke (" The Library ") contains the gist of the tale, and before that was compiled the Roman poet Ovid told the story in some colorful detail in his Metamorphoses.

Aphrodite gave him three golden apples – which came from her sacred apple-tree in Tamasus, Cyprus, according to Ovid, or from the garden of the Hesperides according to Servius – and told him to drop them one at a time to distract Atalanta.

Ovid and Servius suggest that Hippomenes forgot to pay the tribute to Aphrodite he had promised for helping him, and consequently, during the two's stay at Cybele's temple, Aphrodite caused them to have sex after going mad with lust, knowing that this would scorn Cybele, and this indeed resulted in Cybele ( or Zeus according to Hyginus ) transforming them into lions.

She had the ability to change her shape at will, a gift of her lover Poseidon according to Ovid.

Ovid in his Fasti ( 3. 523f ) provides a vivid description of the revelry and licentiousness of her outdoor festival where tents were pitched or bowers built from branches, where lad lay beside lass, and people asked that Anna bestow as many more years to them as they could drink cups of wine at the festival.

Ovid then notes that some equate Anna Perenna with the Moon or with Themis or with Io or with Amaltheia, but he turns to what he claims may be closer to the truth, that during the secessio plebis at Mons Sacer ( the Sacred Mountain ) the rebels ran short on food and an old woman of Bovillae named Anna baked cakes and brought them to the rebels every morning.

Ovid's conflation of the goddesses is likely to have been his poetic invention, but it has also been conjectured that Carna was a contracted form of Cardina, and at minimum Ovid was observing that their traditions were congruent.

Entering the Order at St. Germer, he studied with great zeal, devoting himself at first to the secular poets Ovid and Virgil — an experience which left its imprint on his works.

Ovid, writing at the time of Tibullus's death ( Am.

Using words like those of Leander in the seventeenth of Ovid ’ s Epistles he said: ' If only I had the wings of a dove / to fly back to you at will / Many and many a time I would come '.

Ovid offers an aetiological explanation: long ago, at ancient Carleoli, a farm-boy caught a fox stealing chickens and tried to burn it alive.

In his Fasti, a long-form poem covering Roman holidays from January to June, Ovid presents a unique look at Roman antiquarian lore, popular customs, and religious practice that is by turns imaginative, entertaining, high-minded, and scurrilous ; not a priestly account, despite the speaker's pose as a vates or inspired poet-prophet, but a work of description, imagination and poetic etymology that reflects the broad humor and burlesque spirit of such venerable festivals as the Saturnalia, Consualia, and feast of Anna Perenna on the Ides of March, where Ovid treats the assassination of the newly deified Julius Caesar as utterly incidental to the festivities among the Roman people.