Following a historical decision, the exile of the poet Ovidius at the Euxin Pontus was revoked, 2,000 years after his death. The City Council in Rome adopted the decision to abrogate the edict signed by the emperor Octavian Augustus in the year 8th The act had brought Publius Ovidius Naso, a poet appreciated to the court, the forever burst. Posted in Tomis (today’s Constanţa), on the edge of the Roman Empire, Ovidius disappeared nine years later, in despair.
The effects of this contemporary decision are only symbolic. The governors have specified that the action is intended to repair the injustice done to Ovidius, who was “the victim of a mistake over personal conflicts, not for good reasons” committed by the forefathers of the helm of Rome.
The rehabilitation of one of the greatest poets in the history of mankind was approved, with visible emotion and rattling of applause, at the meeting on Thursday, December 14, 2017, of the municipality of Rome. The initiative came from the M5S party, majority in the Rome City Council. Leaders have argued, among other things, the right to artistic expression, “offense” for which Ovidius was punished. A similar approach was taken in the case of Dante, rehabilitated by the municipality of Florence in 2008.
Publius Ovidius Naso was born on March 20, 43, in Sulmo, today Sulmona / Aquila – Italy, and died at Tomis, today in Constanta, Romania. He was one of the greatest Romanian poets, known in Romanian as Ovidiu. He passes as one of the classics of Latin literature alongside Horatiu and Vergiliu.
The Land of the Poets
After the mythical history, the first great poet of the world was Orpheus, the king of kykons, the son of King Oeagrus and the Calliope. Of course, it is easy to get closer to the kyonic ethnonym and the famous Kogaion of the Getae. On the other hand, Orpheus’ birthplace, recorded in myths, was Dion or Diom, and there was a hypothesis that it was even the old name of Tomis, considering the paronymy of these toponyms. So Orpheus could have been the first great poet of the Getae, especially since almost all the ancient authors mention their bending to poetry and music. They say that even the laws and put them in the lyrics!
It is interesting to note that, over time, the Romanian land has been the host for great foreign poets, some born here, others coming from different causes, some voluntarily, others forced by adverse circumstances: AS Puskin, surrendered to Chisinau ; Bulgarian poets Liuben Karavelov, Hristo Botev and Vasil Levski, activating for the freedom of their country; Petoffi Sandor, died in the Battle of Albesti, close to Sighisoara, enraged by the Tarsi troops; Ady Endre, the greatest modern poet of Hungarian literature, born in Mecentiu village, Salaj county; the great German poet Nikolaus Lenau, born in a village near Timisoara, today Lenauheim. The list could continue …
Carmen et error
Ovid’s father belonged to the nobility and assigned him to public functions. But, after a brief rhetorical study, Ovidiu devoted himself to artistic creation. After completing his culture in Athens, he and his friend, Aemilius Macer, made a trip to Sicily and Asia Minor. Returning to Rome, he entered the literary circle led by Messala Corvinus, leading in parallel an extravagant and worry-free life in the midst of the Roman counter-order. The high Romanian society appreciates the works, and among the protectors of the poet is the emperor Octavianus Augustus himself. After Horatiu’s death, in the 8th century BC, Ovidius became the most famous and appreciated poet in Rome.
While the poet was on the island of Elba in the autumn of AD 8, altogether unexpectedly, without a prior consultation of the Senate, Augustus decided Ovidius to overthrow the remote Black Sea coast, just at Tomis. The form of his exile was relatively lighter, “relegatio,” and did not include the “aquae et ignis interdictio” clause in the sense of “outlawed”. The mysteries declared by Ovidiu himself, as if it were “carmen et error”, a poetry and a mistake, I do not know who knows what act of Emperor Augustus.
Many researchers have assumed and assume that the poetry in question is “Ars amatoria”, which would have come in contradiction with the strict moral principles of the emperor; but this work had been published a few years earlier. In “Tristia” Ovidiu also refers to the fact that he would have seen something he would not have been allowed to see. Researchers believe the poet would have witnessed Julia’s granddaughter’s mistrustful affairs, Julia’s granddaughter. Everything else has seen the poet, far more dangerous than amorous adventures!
Defeated by talent
The overcrowded poet has repeatedly tried to get Augustus’ grace without success. Even after Augustus’ death, his descendant, Tiberius, did not recall him in Rome.
After the chronicle of Heronim, Ovidius would have died in 17 a. Ch. at Tomis, where he was buried. This date is not safe. From the “Fasti” calendar, verses 223-226, it appears that in the spring of 18 AD. the poet was still alive. For his funeral vault, Ovidiu composed the following text in the form of a letter to his wife (“Tristia”, III, 73-76): “Hic ego qui iaceo tenerorum lusor amorum / Ingenio perii, Naso poeta meo. / At tibi qui transis, we sit grave quisquis amasti, / Dicere: Nasonis molliter ossa cubent “. The text, in Theodor Naum’s free translation, is this: “Below that stone Ovidiu falls, the singer / lovers have been tired of his / her talent, / O, you, what you pass, if you ever loved / She asks for the dance: “Let it sleep smoothly.” From the original text, we see that Ovidiu prefers to say Naso, especially as in the language of the ghettos, which the poet taught, Naso means “The Tied One; (Nissi), as well as the Naissus Thracian-Moesian, today Nis, in Serbia.
The Gods, the emperor and the poet
Emperor Augustus was deeply religious and heavily attached to the Roman traditions. Of course, reading Ovid’s “Fasten”, he had to get angry. Instead of piety and godliness, the reader learns from “Faste” the romantic adventures of the Roman gods, whose image is often grotesque and laughable. At the same time, Augustus insists on his return to the ancient and austere customs of Rome. It seems strange that even though he was so much interested in mythology, Tomis Ovidius does not mention anything about the gods of the Getae! He describes the habits of the natives, their clothing and their weapons, the relief, the climate and the vegetation between the Danube and the Black Sea, and even recognizes that he has written poetry in the getic language. Why, from all the work of the Romanian poet, these lyrics would have been lost? Why did the poet, who had shown himself so skeptical about Roman religion, did not attack the gods of the Danube? Here is the mystery of the exile at Tomis, which neither he nor the emperors Augustus and Tiberius have unveiled! Ovidius had been initiated into the divine mysteries of the Nordic Thracians, the fearful adversaries of his conationals.
Worshiping the same saint
Among other things, Emperor Octavianus had the titles of Augustus “Sacred,” usually reserved for sanctuaries, and Pontifex Maximus “Supreme Priest” and thus a status of god. His follower at Rome was called Tiberius Caesar Divi Augusti Filius Augustus Pontifex Maximus, that is, “Caesar Tiberius, the Divine Augustus, the Son of the Supreme Pontiff Augustus.” So, both Augustus and Tiberius believed divine, and their subjects were bound to worship them as gods! Well, Ovidiu challenged the gods of the Emperors of Rome! Whatever was risky, he left a message on the true reason of his exile. Thus, in a prayer from the Pontic, addressed to the exiled young Kotys prince, who was himself a poet, Ovidius writes: “At least this thing with you brings me / We are both worshipers of the same saint / I poet, stretching out the praying arms of another poet. “Here it is! Who was the same divinity Ovid and Kotys worshiped? It is obvious that the latter worship a god of Thracian or Gentile. But why the novel? Remember that Ovidiu, with his friend Aemilius Macer, had a trip to Asia Minor, exclusive Thracian territory to Greek colonization. In Asia Minor, there were several Thracian kingdoms, among which the most brilliant was the one of the Phrygian. It was embellished that a Thracian phrase contained sounds N, A, S and O, that is, the name of the poet. It is VIRGINASO, attested also as a getic locality in Scythia Minor, in Dobrogea, by Procopius of Caesarea. In the Thracian language, the expression, pronounced Virg (h) and Naso, meant “Poetul Naso” (cf. Albanians varg “vers” and vargezues “versificator”), which apparently was only a confirmation from the Thracians of the poet’s talent. Ovidius had no reason to fear, and in Rome he was fully recognized for his poetic talent.
The true God is in Heaven!
Like other Thracian syntaxes, the above one is pretending to be more interpretations. Thus, pronounced Vir G (h) in the so-called, what the Roman secret services must have reported to August, the phrase became the motto of a cult unapproved by the Roman Empire, its meaning being “The True God is Up” (cf. vero “really tell the truth”, Albanian hyjni “god, divinity”, rom. Therefore, in this sense, regarding Ovid’s mystical confession, neither Augustus nor Tiberius, who believed gods, did not forgive the poet, losing him and being buried on the harsh shore of the Black Sea. that confession, which the poet may have learned from Phrygia, is the famous Trac Knight, with a high frequency in the territories populated by our ancestors. This expression was inherited by the Romans in the greeting after the Lord’s Ascension, “True He has ascended!”, because Vir G (h) means “True: the God has ascended!”
Where is the poet’s tomb
The exact place of Ovid’s tomb is unknown, but it can also be deduced, also by the talmaciation of the formula that appears in the Virginaso toponymy of Dobrudja, mentioned by Procopius of Caesarea. Of course, the poet’s eternal place, remembered by tomites, was called Virgi Naso, that is, “Poetul Naso”. But nothing was said by the Getae, so another translation of this expression, pronounced Virg (h) inaso, was “Virgo”, as Albanian understands, the Thracian language, where virgjeneshe means “virgin.” But this was also one of the attributes of the goddess Kybele, who traveled to the Greeks and to the Romans, was considered the Great Mother of the Gods. From this last attribute of the goddess is drawn the strange name of the current resort Mamaia, near Tomis-Constanta. There, the archaeologists have to find the funerary monument of the poet who worships the same gods as our Getae ancestors.