Poem xiv is far less personal than the earlier epistle. The only mention of Tuticanus is at the poem's beginning:

Haec tibi mittuntur quem sum modo carmine questus non aptum numeris nomen habere meis, in quibus, excepto quod adhuc utcumque ualemus, nil te praeterea quod iuuet inuenies.

The bulk of the poem is a defense against charges raised by some of the Tomitans that he has defamed them in his verse. Ovid answers that he was complaining about the physical conditions at Tomis, not the people, to whom he owes a great debt. It is characteristic of the fourth book of the _Ex Ponto_ that Ovid complains less of his exile than in his earlier verse from exile; this poem furnishes the most explicit demonstration that the years spent in exile and the dwindling likelihood of recall has made Ovid reach an accommodation with his new conditions of life.

The topic of the poem clearly has no relation to Tuticanus; Professor R.

J. Tarrant points out to me Ovid's use of the same technique in some of the _Amores_, such as I ix (_Militat omnis amans_), and II x, to Graecinus on loving two women at once, where there is no apparent connection between the addressee and the subject of the poem. Professor E. Fantham notes that the bulk of xiv could even have been written before Ovid chose Tuticanus as its addressee.

Other letters to poets

Three other poems in the book are addressed to poets. In all of them poetry itself is a primary subject.

The letter to Severus

The second poem in the book, addressed to the epic poet Severus, opens with a contrast of the situations of the two poets. The main body of the poem is concerned with the difficulty of composing under the conditions Ovid endures at Tomis, and the comfort that he even so derives from pursuing his old calling. The poem is well constructed and the language vivid. A particularly fine example of the use Ovid makes of differing levels of diction is found at 35-38:

excitat auditor studium, laudataque uirtus crescit, et immensum gloria calcar habet.

hic mea cui recitem nisi flauis scripta Corallis, quasque alias gentes barbarus Hister obit?

The emotional height of the tricolon, where Ovid describes poetic inspiration, gives way to a comparatively prosaic distich where he explains that the conditions necessary for inspiration do not exist at Tomis.

At the poem's conclusion Ovid reverts to Severus, asking that he send Ovid some recent piece of work.

The letter to Albinovanus Pedo

In the tenth poem of the book, poetry is not the main subject; instead, Ovid describes the hardships he endures at Tomis, and then describes at length the reasons the Black Sea freezes over. Towards the end of the letter, however, he explains why he is writing a poem to Albinovanus on this seemingly irrelevant topic[8]. The language recalls the poem to Severus:

'detinui' dicam 'tempus, curasque fefelli; hunc fructum praesens attulit hora mihi.

abfuimus solito dum scribimus ista dolore, in mediis nec nos sensimus esse Getis.'

[Footnote 8: However, Albinovanus' poem on Germanicus' campaigns may have had a strong geographical element; as Professor E. Fantham notes, Ovid may here be appealing to this interest, or demonstrating competitive skill in handling the topic.]

(67-70)

In the poem's concluding lines he links his own situation with the _Theseid_ Albinovanus is engaged on: just as Theseus was faithful, so Albinovanus should be faithful to Ovid.

The letter to Gallio

This letter is remarkable for its economy of structure, and indeed is so short as to seem rather perfunctory. Only twenty-two lines in length, it is a letter of consolation addressed to Gallio on the death of his wife. In the first four lines Ovid apologizes for not having written to him earlier. Ovid's exile serves as a bridge to the main topic of the poem:

atque utinam rapti iactura laesus amici sensisses ultra quod quererere nihil

(5-6)

The remainder of the poem consists of the ingenious interweaving of various commonplaces of consolation. The poem is a good illustration of the secondary importance Ovid often gives his own misfortune in the fourth book of the _Ex Ponto_.

The letter to Carus

The thirteenth poem, like the second letter to Tuticanus, shows Ovid's acceptance of his life in Tomis. In it he tells Carus of the favourable reception given a poem he had written in Getic on the apotheosis of Augustus. The poem's opening is of interest as showing Ovid's consciousness of verbal wit as a special characteristic of his verse. He starts the poem with a play on the meaning of Carus' name, then tells him that the opening will by itself tell him who his correspondent is.

In the lines that follow he discusses the individuality of his own style and that of Carus; this serves to introduce the subject of his Getic verse.

The letter to Vestalis

The subordination of the topic of Ovid's exile to another subject can be clearly seen in the seventh poem of the book, addressed to Vestalis, _primipilaris_ of a legion stationed in the area of Tomis. As in the letter to Gallio, mention of Ovid's personal misfortune is confined to one short passage near the start of the poem:

aspicis en praesens quali iaceamus in aruo, nec me testis eris falsa solere queri

(3-4)

The descriptions that follow of wine freezing solid in the cold and of the Sarmatian herdsman driving his wagon across the frozen Danube are so picturesque that the reader's attention is drawn away from Ovid's personal situation. Ovid describes the poisoned arrows used in the region; then, in language recalling his letter to Gallio, expresses his regret that Vestalis has had personal experience of these weapons:

atque utinam pars haec tantum spectata fuisset, non etiam proprio cognita Marte tibi!

(13-14)

The remainder of the poem is a description of Vestalis' capture of Aegissos. The description is conventional and unfelt; Ovid seems merely to have assembled a few standard topics of military panegyric.

The third poem

Poem iii, addressed to an unidentified friend who had proved faithless, is a well-crafted but not particularly original warning that Fortune is a changeable goddess, and his friend might well find find himself one day in Ovid's position. The familiar examples of Croesus, Pompey, and Marius are used; as the last and therefore most important example Ovid uses his own catastrophe. The device recalls the _Ibis_, where Ovid's final curse is to wish his enemy's exile to Tomis.

Poem xvi

The concluding poem of the book is a defence of Ovid's poetry. The poem's argument is that poets generally become famous only after their death, but that Ovid gained his reputation while still alive. The greater part of the poem is a catalogue of Ovid's contemporary poets, the argument being that even in such company he was illustrious.

As elsewhere he equates his exile with death; the defence of his poetry therefore includes only the poetry that he wrote before his exile.

TEXTUAL INTRODUCTION

The Manuscripts

The manuscript authority for the text of the fourth book of the _Ex Ponto_ is significantly poorer than for the earlier books because of the absence of _A_, _Hamburgensis scrin. 52 F_. This ninth-century manuscript has been recognized since the time of Heinsius as the most important witness for the text of the _Ex Ponto_; it breaks off, however, at III ii 67.

The manuscript authorities for the fourth book can be placed in three categories. The fragmentary _G_ is from a different tradition than the other manuscripts. _B_ and _C_ are closely related, and offer the best witness to the main tradition. The other manuscripts I have collated are more greatly affected by contamination and interpolation; of them _M_ and _F_ show some independence, while no subclassification can be made of _H_, _I_, _L_, or _T_.