Ibis
Ibis
Headnote
The Ibis is a single poem of some 640 elegiac verses, written from exile at Tomis around ad~11, and it is the strangest thing Ovid ever made: a sustained, learned curse against an unnamed enemy back in Rome who, the poet charges, has used his banishment as a chance to attack his good name, harass his wife, and seize what remained of his property. Ovid will not give the man his real name; he calls him only Ibis, after the Egyptian bird proverbial for filth, and promises that a harsher poem, in true iambics and with the true name, will follow if the enemy does not desist.
The model is openly named. Ovid is imitating a lost poem of the same title by Callimachus, who had cursed an enemy (said to be Apollonius of Rhodes) in deliberately obscure, riddling verse. Ovid takes over both the pseudonym and the method: he wraps his maledictions in historiae caecae, “blind tales,” naming almost no one outright but identifying each figure by a periphrasis — a parentage, a place, a manner of death — so that the poem becomes a glittering, malicious puzzle of mythological and historical learning. It is by far the densest concentration of allusion in the Ovidian corpus, and for that reason it has always been a quarry for scholars and a trial for readers; many of its references remain disputed, and a few are probably unrecoverable.
The architecture is that of a formal devotio, a ritual cursing. After a prologue protesting that the poet’s verse has been “unarmed” for fifty years and that one man alone has forced him to take up weapons, Ovid stages himself as a priest at an altar, summons every god of sky, earth, sea, and underworld, and pronounces the curse: that the enemy lack everything, wander destitute, die slow and unmourned, and be denied burial and rest among the damned. He invents a hideous nativity for him — born under every malign star, on the black day of the Allia, washed and suckled by the Furies. Then comes the great central movement, the catalogue: a relentless stream of couplets each wishing on the enemy the death or torment of some mythic or historical figure — Philoctetes’ wound, Bellerophon’s fall, the blinded seers, the cannibal feasts of Tantalus and Thyestes, the brazen bull of Phalaris, the fates of poets from Archilochus to Lycophron, the night-slaughters of Rhesus and of Nisus and Euryalus — mounting through hundreds of exempla to a final, terrible wish that the enemy live and die where Ovid himself does, among the arrows of the Danube tribes.
The Ibis divides readers: some find it cold, a virtuoso exercise in erudite spite; others hear in its violence the genuine fury of a broken man who has only his learning left to fight with. Both are true at once, which is very Ovidian. This English is translated from the Latin (The Latin Library text), rendering the elegiac couplet line for verse and keeping every figure in the veiled, periphrastic form the poem gives it — the glossary, not an inline note, supplies the identifications, so that the reader may choose to solve the riddle or simply feel the curse roll on.