Gerard includes this poetic translation as part of his effort to discredit the commonplace that "Ouid speaking of [the] Adonis flower, is thought to describe [the] Anemone or Windflower, in the 10.
Writing about the philology of this plant's name, Gerard observes, "Some that are disposed to dissemble and iest with their friends and to make them merrie with pretie Poeticall figmentes, haue giuen it [saffron] the name of a Damsell, whereof Ouid maketh mention, which to recite were impertinent to our historic" Since this plant's Latin name, according to Gerard, is "Crocus", (30) it appears that he has in mind the story of Crocus and Smilax from book 4 of The Metamorphoses, (31) the details of which are never fully narrated there.
He keys the translation of Ovid's poem--"But as for bodie none remaind, instead whereof they found / A yellow flower, with milke white leaues, new sprang vpon the ground"--precisely to the descriptive category of natural history: "Of the first and second Daffodill, Ouid hath made mention in the third booke of his Metamorphosis." Let's assume that, in establishing this system of internal cross-reference, Gerard has not made a mistake that Mathias de L'Obel also failed to correct.
That 'in the compasse of this curious frame, | Ouid well knew there was much more intended' (stanza 117) refers not to his sexual intent but is an invitation to the reader to the sort of interpretation Sidney decried.
'The obiect whereto all his actions tend': George Chapman's Ouids Banquet of Sence and the Thrill of the Chase by Martin Wheeler
George Chapman's Ouids Banquet of Sence represents an original exegesis of a Neoplatonic eroticism.
Of the body of work that comprises that ephemeral but exuberant genre of late sixteenth-/early seventeenth-century England known as the epyllion, George Chapman's Ouids Banquet of Sence (published 1595) has proved the most challenging critically.
But where that poem merely renders a transparent versification of Ficino's philosophy, Ouids Banquet represents an artistically sophisticated dramatization of its ideas.
Holmes, Jay Sekulow, Robert OuIds
, Ramona Morrison, Rae Capitka, Tim Delmastro, and Cheryl K.
(21/) Martin Wheeler, '"The object whereto all his actions tend": George Chapman's "Ouids
Banquet of Sence" and the thrill of the chase', The Modern Language Review, vol.
46), recalls the textual ambiguity of Chapman's Ouids
Banquet of Sence, with its anamorphic statue of Niobe.
Of which sort are the Prosopopeyes of Iupiter, Apollo, and others in Ouids
Metamorphosis, Iuno, Neptune, Aeolus, Aeneas, Venus, Dido, &c Virgils Aeneids" (Brinsley 212-13).