This article argues for an emendation to Ovid, Amores 3.9, Ovid's lament for Tibullus. The transmitted text of line 59 would seem to present a contradiction: Ovid speculates about aliquid nisi nomen et umbra surviving death, and then proceeds in the next few lines to identify that aliquid as, precisely, Tibullus’ umbra. Ovid's original text was most likely aliquid nisi nomen et ossa, referring to a burial site and funerary inscription; with this text, Ovid reproduces details from Tibullus 1.3, a poem which he reworks throughout his elegy.

This article argues that the incomplete acrostic INCIP- at Ov. Met. 15.871–5 can be completed. If viewed as a ‘gamma-acrostic’, we can supply -iam from line 871, so that it receives its termination in retrospect. Ovid's manipulation of gamma-acrostic conventions caps his persistent confusion of beginnings and endings, and emphasizes the role of the reader as co-creator of his metamorphic œuvre.

This article takes as its starting point the frequency with which Ovid refers to his earlier works in his Tristia and Epistulae ex Ponto. Alongside his treatment of the Metamorphoses in the exile poetry, it is suggested that Ovid refers, on a number of occasions, to his Fasti and the progress he is making on it. He does so by using the incipit of his calendar poem, Tempora; this term is sometimes combined with signa (‘stars’), which are also mentioned in the opening couplet of the Fasti. It is proposed that Ovid's attitude toward his Fasti changes over the course of his exile, during which time he is, at various junctures, editing his calendar, and that some of these changes are discernible in the exile poetry; they result in part from his entertaining the possibility of using his Fasti as leverage in securing a mitigation of his punishment. Poems discussed in detail are Tristia 1.1, 1.7, 2.547–52, 5.3; Epistulae ex Ponto 2.1, 4.8.

This paper allows Ovid to shape a reading of Martial, and Martial to shape a reading of Ovid. It proceeds through close readings of some 40 epigrams, and is organized into three large sections respectively addressing receptions in Martial of Ovid's poetry of elegiac love (I), of exile (II), and of myth (III). The final section offers sustained discussion of Martial's early Apophoreta (Book 14) and Liber Spectaculorum. Issues addressed include genre, intertextuality, sexual vocabulary and euphemism, exile as a figure for status anxiety, the metapoetics of book production, ecphrastic movement between art and epigrammatic text, and the aesthetics of myth in the Roman arena.