Pseudo-Ovid

Pseudo-Ovid or Pseudo-Ovidius is the name conventionally used to designate any author of a work falsely attributed to the Latin poet Ovid (43 BC – AD 17/18).

[6] Some works were only "intermittently Ovidian", that is, they were only occasionally ascribed to Ovid, like the Conflictus veris et hiemis, which was also attributed to Vergil, and the Birria, which was in fact by Vitalis of Blois.

[4] According to Ralph Hexter, Wilken Engelbrecht [nl] suggests that "when teachers and students relied for their study of the auctores [authors] increasingly on florilegia and excerpts, imitations of Ovid crafted only two centuries earlier could more readily be mistaken as ancient productions".

[10] Any inauthentic material would, by definition, be pseudo-Ovidian, although "the Heroides themselves pose a challenge to any stable concept of authenticity, since Ovid the author prides himself on masquerading in turn as Penelope, Phyllis, Briseis, Dido, Oenone et al."[11] In the fifteenth century, Juan Rodríguez del Padrón passed off three letters of his own—Carta de Madreselua a Manseol, Troylos a Brecayda and Brecayda a Troylo—as Ovid's in his Bursario, otherwise a Castilian translation of Heroides.

[12] Soon after, the Italian humanist Angelo Sabino composed letters that were included in editions of the Heroides and at times accepted as Ovid's own work.

[15] Excerpts of the 12th-century poem Facetus: Moribus et vita circulated under Ovid's name as supposed pieces of the authentic Ars amatoria and Remedia amoris.

Thus, Pamphilus was treated as his work in French and Spanish writings, as in Juan Ruiz's Libro de buen amor.