An Imaginary Life

by

David Malouf

Teachers and parents! Our Teacher Edition on An Imaginary Life makes teaching easy.

An Imaginary Life: Chapter 1 Summary & Analysis

Summary
Analysis
The desolate nature of Ovid’s new home shows him new “perspectives.” Winter lasts eight months, and little grows even in the summer. The land feels barren, devoid of cultivated gardens or places created for enjoyment. Ovid lives in exile in an isolated village called Tomis, consisting of a hundred wooden huts with stables in the lower portions and living areas built above, where families huddle together for entire winters. He lives with the village headman and the headman’s elderly mother, daughter-in-law, and grandson. Ovid thinks these people are “barbarian[s],” but they are kind enough, largely ignoring his presence.
Ovid’s opinion that the landscape looks desolate and the villagers are barbaric—even though they share their home with him—demonstrates his disdain for his new environment. The long, hard winters and meager plant growth in summer suggests that in Tomis, nature is a powerful, dominating force which will require a different lifestyle than Ovid led in Rome.
Themes
Suffering and Personal Growth Theme Icon
Language, Perception, and Nature Theme Icon
Frivolity vs. Practicality Theme Icon
Tomis is so remote that there is nowhere for Ovid to escape to, so the villagers allow him to wander. He does not stray too far from them, since “savages” from other tribes often raid the village. All of Tomis is an “armed camp.” As an aging man, unsuited to their harsh lives, Ovid feels that he is the least useful among them. He cannot speak their language and none of them speak Latin. Ovid has not spoken with anyone in over a year, so he is effectively “rendered dumb.” Often he talks to himself or shouts at the wild in his own tongue just to remember the words.
Ovid’s inability to speak with the other villagers establishes language and communication as a central conflict in the story, as Ovid is not only exiled away from his homeland but entirely isolated from his new community. Meanwhile, the constant danger of foreign raiders parallels the danger of Tomis’s severe winters. Together, this threatening environment contrasts with the Ovid’s idyllic childhood in Rome.
Themes
Suffering and Personal Growth Theme Icon
Language, Perception, and Nature Theme Icon
Ovid finds his life in Tomis “terrible beyond description.” At night, he dreams that he wanders into the wilderness and frantically digs in the earth, looking for his own grave—the grave of Publius Ovidius Naso, “Roman of the equestrian order, poet.” As he writes his narrative, Ovid reflects that he is writing to no one in particular. At best, this letter will be read by someone 1,000 years after the Roman Empire falls, after it no longer has the power to “silence” him. Ovid asks the reader if his legacy, his writing, somehow survived, and if thus he himself survived.
Ovid’s dreams of digging for his own grave nods to Ovid’s belief in fate, since it seems to suggest that he believes he’ll die in the wilderness. It also seems that some part of him may yearn for such a death, though he does not realize it yet. Ovid’s reflection on his writing only being read far in the future seems to refer to the historical Ovid’s Epistulae ex Ponto, which he wrote during his real-life exile in Tomis and through which he endures in the modern reader’s mind.
Themes
Suffering and Personal Growth Theme Icon
Childhood, Fate, and Identity Theme Icon
Ovid writes at night by candlelight while spiders crawl over him. He wonders if the spiders have their own language, and thinks that learning it would be no more trouble than learning the “barbarous guttural tongue” of his captors in Tomis. Ovid begins to recognize repeated sounds within the villagers’ language, but understands none of it. He reflects that Roman law cast him out of “society” into the world of those not yet “fully human,” since these villagers have not submitted themselves to Roman society and civilization. He longs to hear the sophistication of Latin, which he regards as the perfect language. He longs to know the spiders’ language, and thinks that he would write his New Metamorphoses in it, if only he could understand.
Ovid’s theory that spiders speak their own language suggests that, perhaps due to Ovid’s childhood bond with the wild Child and the strange language they shared, he believes that nature holds untold potential and an entirely separate realm of communication. Additionally, Ovid’s thought that he could write his New Metamorphoses foreshadows the way that language will come to fundamentally change Ovid’s view of himself and of nature, constituting his own metamorphosis. Meanwhile, Ovid’s belief that Latin is the ultimate language reveals his prejudice against less urbanized, more primitive lifestyles.
Themes
Suffering and Personal Growth Theme Icon
Language, Perception, and Nature Theme Icon
Get the entire An Imaginary Life LitChart as a printable PDF.
An Imaginary Life PDF
In the village language, Ovid can recognize the tone and mood of words, but no more. Although the village women grind seeds Ovid might recognize the Latin names of, he cannot discern one from the other even by taste, removed from the context of Roman cooking. He wonders if he will have to relearn the world like a child, “with all things deprived of the special magic of the names in my own tongue.”
Ovid’s inability to recognize seeds without their Latin names suggests that one’s language greatly impacts one’s perception of the surrounding world. His feeling of being a child and needing to relearn the world positions him to embark on his aforementioned metamorphic journey to rediscover the world.
Themes
Language, Perception, and Nature Theme Icon
Quotes
Ovid thinks there is little to Tomis aside from the huts, separated by narrow paths made of mud and compacted dung. There are a few swaths of grain outside the village walls, which the women occasionally harvest. To one side flows a river. When it is thawed, as it presently is, the villagers can wander freely. However, when the river freezes, everyone must remain within the Tomis’s walls because raiders ride across the frozen river to plunder the village. Compared to the raiders, whom Ovid fears but has not yet seen, he thinks Tomis’s people are only “relatively savage.”
The village’s simplicity and the fact that their only crop exists outside their walls indicates that Tomis is not an agrarian community—they do not farm or cultivate. The river  symbolizes boundaries throughout the story, either between one literal place and another or between one way of understanding of the world and another.
Themes
Suffering and Personal Growth Theme Icon
Frivolity vs. Practicality Theme Icon
One night, Ovid dreams that he walks onto the river. Horsemen ride out of the sky, whom Ovid recognizes as all the gods he does not believe in. They implore him to let them cross his river and enter. They ask him to “believe.” Ovid starts awake and speaks a word in a language he does not know. He feels that something in the wilderness is waiting for him.
In Ovid’s dream, the river represents the boundary he must cross between rational skepticism and belief in the mystical natural world. Waking up speaking a word in an unknown language suggests that Ovid is on the cusp of new knowledge, a new way of seeing the world.
Themes
Suffering and Personal Growth Theme Icon
Language, Perception, and Nature Theme Icon
Quotes
Ovid remarks that he is called Naso “because of the nose.” In Rome, he has a nose for what will find a large audience. Ovid grows up in the Augustan Age, when all wars have ceased and Roman society has grown “soft.” As a poet, he helps form the new “national style,” which is a rejection of patriotism, militarism, and belief in the gods, who no longer seem necessary. Emperor Augustus created a society that was “orderly” but “dull.” In response, Ovid advocates for a society that is “ephemeral” and “fun” and that throws off all sense of duty. Augustus despises Ovid for this and exiles him to Tomis, winning the battle between them. However, Ovid knows that beneath one of the Emperor’s family’s porticos, people are having sex as an act of “public defiance,” because Ovid made it a symbolic act in one of his poems.
The exact reason for the historical Ovid’s exile is unknown, though in one writing Ovid said that it was partially due to his work Ars armatoria, a guide to romance and sex that many Romans found indecent. In the story, Ovid’s “national style” embodies frivolity, especially since it actively rejects duty and responsibility. Ovid can only build such a belief in an era of unusual peace and luxury, which suggests that such frivolous, even hedonistic living is only viable for certain privileged individuals. Peace and luxury thus seem to enable a frivolous lifestyle.
Themes
Suffering and Personal Growth Theme Icon
Frivolity vs. Practicality Theme Icon
Quotes
Despite his symbolic antagonism, all Ovid can do in exile is rage at his imposed silence. He wanders the empty countryside shouting, hoping his words will somehow make their way to Rome. He reflects that the landscape one feels was “given” by the gods, “ready-made in all its placid beauty,” is in fact only made by men. When one feels the presence of gods in such a place, it is because one summons them out of one’s own consciousness. Ovid thinks such gods are certainly felt, but “have to be recognized to become real.” Such gods are neither purely external nor purely internal, but arise from the relationship between people and their surrounding environments.
Ovid’s belief that all beauty, even natural beauty, is man-made suggests that in his Latin worldview, something is only valuable if human hands shape it. This establishes Ovid as antagonistic toward unmade, unrefined nature, since it does not bear the human mark. Ovid’s changing relationship to nature parallels his changing attitude toward languages, forming one of the main thematic arcs in the story.
Themes
Language, Perception, and Nature Theme Icon
Childhood, Fate, and Identity Theme Icon
Quotes
Ovid imagines that all creatures can dream new realities for themselves, into which they are then able to enter. The stone imagines itself alive and becomes a toad. The toad imagines itself flying like a bird and takes to the skies, even while still a toad. Ovid remarks, “Our bodies are not final,” but moving from form to form, until men become gods. He imagines the end of all things, “the earth transfigured and the gods walking upon it.” Ovid can imagine this progress because he presently sits amidst the “unmade earth,” so far fallen from the civilization he once knew.
Ovid’s narration is full of mysticism—even to the point of becoming abstract—but evokes the idea of metamorphosis and personal transformation. The “unmade earth” represents not only nature’s potential, but Ovid’s own potential to grow and change. His belief that “our bodies are not final” foreshadows his eventual epiphany that his death is merely the process through which he changes forms, from living human to fertile soil.
Themes
Suffering and Personal Growth Theme Icon
Language, Perception, and Nature Theme Icon
Childhood, Fate, and Identity Theme Icon
Even in the “utter desolation” of Tomis, Ovid sees the potential for growth. While walking, he spots a scarlet poppy. The bright red is the first real color he’s seen in months. When Ovid speaks the word “scarlet” he is so overjoyed that he dances—which he finds absurd, since his friends know him as a “cynical metropolitan poet”—and feels as if, by speaking the word, he has brought the color back “into being,” as if he is “making the spring.” Ovid’s mind is filled with flowers, and he thinks that just by naming them, he can cause each in turn to appear in the wilderness and open their colors. Ovid feels a renewed sense of purpose, as if his whole life until this point was only wasted time. He decides he will be “transformed.”
Ovid’s feeling that he brings flowers into existence by imagining and naming them is not literal. Instead, it suggests that language so heavily influences one’s perception of reality that it helps one to see things they otherwise would not. Ovid does not create flowers out of thin air when he names them, but he does bring them to the forefront of his mind, so that he can see and appreciate them in nature. Without language, those flowers remain minor and largely unnoticeable variations in the landscape, not beautiful objects worthy of admiration.
Themes
Suffering and Personal Growth Theme Icon
Language, Perception, and Nature Theme Icon
Frivolity vs. Practicality Theme Icon