Completion of a commentary on Ovid, Tristia 2 (with a particular focus on lines 359-578)

奥维德的《特里斯提亚2》是奥维德流放诗歌的核心，但也为其他作家和奥维德自己的文学作品提供了很多启示（尤其是阿斯玛托里亚，奥维德在这部作品中认为这是他被流放的两个主要原因之一）。Tristia 2包含很多问题解释的读者,尤其是关于奥维德会谈的方式给他的地址(皇帝奥古斯都,指定的收件人的文学书信,以及其他隐含读者的诗)和作家奥维德的目录提供了作为人的例子写色情作品在他之前,还没有受到惩罚的写作,提供有偏见的对许多重大的古代文学作品的解读。这些问题在我打算进行研究的注释部分（第359-578行）是至关重要的。我的逐行注释将阐明用法、韵律、语气、历史和文学典籍的各种问题，这些都是任何学术经典注释的主要内容。此外，我将在整个过程中特别关注文学解释学的关键领域（《Tristia 2》的一个方面吸引了最近学者的最大兴趣，但这个领域需要对整个作者目录进行进一步详细的评论）。《Tristia 2》为奥古斯都诗歌提供了一种非常不同寻常的视角，它提供了一种文学史的视角，虽然有倾向性，但值得深入探索，并与西塞罗、贺拉斯和昆提连的其他更著名的文学宣言放在一起。在评论本身的详细说明和它的介绍将进一步提供一个非常需要的探索这种工作的一般从属关系。我的评论也集中在政治问题上，阐明诗人和驱逐他的首领之间的联系，以及奥维德反映奥古斯都晚期帝国意识形态运作的方式。因此，我的研究应该阐明一首诗，这首诗对奥维德的整个语料，对奥古斯都晚期的历史，希腊和罗马文学史，文学辩护史，以及从古典到现代文学中流亡艺术家的形象都很重要。

Ovid's Tristia 2 is a text which stands at the heart of Ovid's exilic poetry, but also sheds much light on literary works by other authors and by Ovid himself (in particular, the Ars amatoria, which Ovid in this work identifies as one of the two major causes of his banishment). Tristia 2 contains many problems of interpretation for the reader, particularly with reference to the way in which Ovid talks to his addressees (the emperor Augustus, the named addressee of this literary epistle, as well as other implied readers of the poem) and the catalogue of authors Ovid provides as examples of those who have written erotic works before him and have not been punished for their writing, offering tendentious interpretations of many major works of ancient literature. Such issues are crucial in the portion of the commentary (lines 359-578) on which I intend to conduct research.My line by line commentary will illuminate the sorts of issues of usage, metre, tone, and historical and literary allusions that are the staple of any scholarly classical commentary. In addition, I will focus particular attention throughout on the key area of literary hermeneutics (one of the aspects of Tristia 2 to have attracted the greatest amount of interest from recent scholars, but an area which requires further detailed comment on the entire catalogue of authors). Tristia 2 offers a very unusual vista in Augustan poetry by providing a vision of literary history, which, while tendentious, deserves to be explored in depth and set alongside other, more famous pronouncements on literature by Cicero, Horace, and Quintilian. Detailed notes in the commentary itself and its introduction will furthermore provide a much needed exploration of the generic affiliations of this work. My commentary also focuses throughout on political issues, elucidating the connections between the poet and the princeps who banished him, and the ways in which Ovid reflects the workings of late Augustan imperial ideology. My research should therefore illuminate a poem which is important for Ovid's corpus as a whole, as well as for the history of the late Augustan principate, Greek and Roman literary history, the history of the literary apologia, and the figure of the exiled artist in literature from the classical to the modern age.