e assumption that the 'licentiousness' of the Ars amatoria was responsible in part for Ovid's relegation (banishment) by Augustus in AD 8 is dubious, and seems rather to reflect modern sensibilities than historical fact. For one thing, the Ars amatoria had been in circulation for eight years by the time of the relegation, and the book postdates the Julian Marriage Laws by eighteen years. Secondly, it is hardly likely that Augustus, after forty years unchallenged in the purple, felt the poetry of Ovid to be a serious threat or even embarrassment to his social policies. Thirdly, Ovid's own statement from his Black Sea exile that his relegation was because of 'carmen et error' ('a song and a mistake') is, for many reasons, hardly admissible.
It is more probable that Ovid was somehow caught up in factional politics connected with the succession: Postumus Agrippa, Augustus' adopted son, and Augustus' granddaughter, Vipsania Julilla, were both relegated at around the same time. This would also explain why Ovid was not reprieved when Augustus was succeeded by Agrippa's rival Tiberius. It is likely, then, that the Ars amatoria was used as an excuse for the relegation . This would be neither the first nor the last time a 'crackdown on immorality' disguised an uncomfortable political secret.
The Ars amatoria exerted considerable fascination from the start, and has remained a widely-read source of inspiration no doubt because of its literary brilliance and popular accessibility. A similar tone is struck on a smaller scale by the epigrams of Martial (late 1st-early 2nd cent. AD). The list of later manifestations of the poem's influence is immense: reference is made to the almost equally extensive literature on the subject. The Ars amatoria was included in the syllabuses of mediaeval schools from the second half of the 11th cent., and its influence on 12th and 13th cent. European literature was so great that the German mediaevalist and palaeographer Ludwig Traube dubbed the entire age 'aetas Ovidiana' ('the Ovidian epoch').
As in the years immediately following its publication, it has also subsequently fallen victim to outbursts (or exhibitions) of moral opprobrium. All of Ovid's works were burned by Savonarola in Florence in 1497; Christopher Marlowe's translation was banned in 1599, and another English translation of the Ars amatoria was seized by US Customs in 1930.
It seems possible that Edmond Rostand's fictionalized portrayal of Cyrano de Bergerac makes an allusion to the Ars amatoria: the theme of the erotic and seductive power of poetry is highly suggestive of Ovid's poem, and Bergerac's nose, a distinguishing feature invented by Rostand, calls to mind Ovid's cognomen, Naso (from nasus, 'large-nosed').