Metamorphoses


The Metamorphoses is a Latin narrative poem from 8 CE by the Roman poet Ovid. It is considered his magnum opus. The poem chronicles the history of the world from its creation to the deification of Julius Caesar in a mythico-historical framework comprising over 250 myths, 15 books, and 11,995 lines.
Although it meets some of the criteria for an epic, the poem defies simple genre classification because of its varying themes and tones. Ovid took inspiration from the genre of metamorphosis poetry. Although some of the Metamorphoses derives from earlier treatment of the same myths, Ovid diverged significantly from all of his models.
The Metamorphoses is one of the most influential works in Western culture. It has inspired such authors as Dante Alighieri, Giovanni Boccaccio, Geoffrey Chaucer, and William Shakespeare. Numerous episodes from the poem have been depicted in works of sculpture, painting, and music, especially during the Renaissance. There was a resurgence of attention to Ovid's work near the end of the 20th century. The Metamorphoses continues to inspire and be retold through various media. Numerous English translations of the work have been made, the first by William Caxton in 1480.

Contents

Scholars have found it difficult to place the Metamorphoses in a genre. The poem has been considered as an epic or a type of epic ; a Kollektivgedicht that pulls together a series of examples in miniature form, such as the epyllion; a sampling of one genre after another; or simply a narrative that refuses categorization.
The poem is generally considered to meet the criteria for an epic; it is considerably long, relating over 250 narratives across fifteen books; it is composed in dactylic hexameter, the meter of both the ancient Iliad and Odyssey, and the more contemporary epic Aeneid; and it treats the high literary subject of myth. However, the poem "handles the themes and employs the tone of virtually every species of literature", ranging from epic and elegy to tragedy and pastoral. Commenting on the genre debate, Karl Galinsky has opined that "... it would be misguided to pin the label of any genre on the Metamorphoses".
The Metamorphoses is comprehensive in its chronology, recounting the creation of the world to the death of Julius Caesar, which had occurred only a year before Ovid's birth; it has been compared to works of universal history, which became important in the 1st century BCE. In spite of its apparently unbroken chronology, scholar Brooks Otis has identified four divisions in the narrative:
  • Book I – Book II : The Divine Comedy
  • Book III – Book VI, 400: The Avenging Gods
  • Book VI, 401 – Book XI : The Pathos of Love
  • Book XII – Book XV : Rome and the Deified Ruler
Ovid works his way through his subject matter, often in an apparently arbitrary fashion, by jumping from one transformation tale to another, sometimes retelling what had come to be seen as central events in the world of Greek mythology and sometimes straying in odd directions. It begins with the ritual "invocation of the muse", and makes use of traditional epithets and circumlocutions. But instead of following and extolling the deeds of a human hero, it leaps from story to story with little connection.
The recurring theme, as with nearly all of Ovid's work, is love—be it personal love or love personified in the figure of Amor. Indeed, the other Roman gods are repeatedly perplexed, humiliated, and made ridiculous by Amor, an otherwise relatively minor god of the pantheon, who is the closest thing this putative mock-epic has to a hero. Apollo comes in for particular ridicule as Ovid shows how irrational love can confound the god out of reason. The work as a whole inverts the accepted order, elevating humans and human passions while making the gods and their desires and conquests objects of low humor. Love has also been proposed as one of the ordering principles of the work, in that the focus changes over the 15 books from male to female desire, for example, and asymmetrical, violent forms of love are replaced by the depiction of consensual relationships in the course of the entire work.
The Metamorphoses ends with an epilogue, one of only two surviving Latin epics to do so. The ending acts as a declaration that everything except his poetry—even Rome—must give way to change:

Books

The different genres and divisions in the narrative allow the Metamorphoses to display a wide range of themes. Scholar Stephen M. Wheeler notes that "metamorphosis, mutability, love, violence, artistry, and power are just some of the unifying themes that critics have proposed over the years".

Metamorphosis

or transformation is a unifying theme amongst the episodes of the Metamorphoses. Ovid raises its significance explicitly in the opening lines of the poem: In nova fert animus mutatas dicere formas / corpora;. Accompanying this theme is often violence, inflicted upon a victim whose transformation becomes part of the natural landscape. This theme amalgamates the much-explored opposition between the hunter and the hunted and the thematic tension between art and nature.
There is a great variety among the types of transformations that take place: from human to inanimate objects, constellations, animals, and plants ; from animals and fungi to human; from one sex to another ; and from one colour to another. The metamorphoses themselves are often located metatextually within the poem, through grammatical or narratorial transformations. At other times, transformations are developed into humour or absurdity, such that, slowly, "the reader realizes he is being had", or the very nature of transformation is questioned or subverted. This phenomenon is merely one aspect of Ovid's extensive use of illusion and disguise.

Influence

The Metamorphoses has exerted a considerable influence on literature and the arts, particularly of the West; scholar A. D. Melville says that "It may be doubted whether any poem has had so great an influence on the literature and art of Western civilization as the Metamorphoses." Although a majority of its stories do not originate with Ovid himself, but with such writers as Hesiod and Homer, for others the poem is their sole source.
The influence of the poem on the works of Geoffrey Chaucer is extensive. In The Canterbury Tales, the story of Coronis and Phoebus Apollo is adapted to form the basis for The Manciple's Tale. The story of Midas is referred to and appears—though much altered—in The Wife of Bath's Tale. The story of Ceyx and Alcyone is adapted by Chaucer in his poem The Book of the Duchess, written to commemorate the death of Blanche, Duchess of Lancaster and wife of John of Gaunt.
The Metamorphoses was also a considerable influence on William Shakespeare. His Romeo and Juliet is influenced by the story of Pyramus and Thisbe ; and, in A Midsummer Night's Dream, a band of amateur actors performs a play about Pyramus and Thisbe. Shakespeare's early erotic poem Venus and Adonis expands on the myth in Book X of the Metamorphoses. In Titus Andronicus, the story of Lavinia's rape is drawn from Tereus' rape of Philomela, and the text of the Metamorphoses is used within the play to enable Titus to interpret his daughter's story. Most of Prospero's renunciative speech in Act V of The Tempest is taken word-for-word from a speech by Medea in Book VII of the Metamorphoses. Among other English writers for whom the Metamorphoses was an inspiration are John Milton—who made use of it in Paradise Lost, considered his magnum opus, and evidently knew it well—and Edmund Spenser. In Italy, the poem was an influence on Giovanni Boccaccio and Dante.
File:TitianDianaCallistoEdinburgh.jpg|thumb|Diana and Callisto by Titian
During the Renaissance and Baroque periods, mythological subjects were frequently depicted in art. The Metamorphoses was the greatest source of these narratives, such that the term "Ovidian" in this context is synonymous for mythological, in spite of some frequently represented myths not being found in the work. Many of the stories from the Metamorphoses have been the subject of paintings and sculptures, particularly during this period. Some of the most well-known paintings by Titian depict scenes from the poem, including Diana and Callisto, Diana and Actaeon, and Death of Actaeon. These works form part of Titian's "poesie", a collection of seven paintings derived in part from the Metamorphoses, inspired by ancient Greek and Roman mythologies, which were reunited in the Titian exhibition at The National Gallery in 2020. Other famous works inspired by the Metamorphoses include Pieter Brueghel's painting Landscape with the Fall of Icarus and Gian Lorenzo Bernini's sculpture Apollo and Daphne. The Metamorphoses also permeated the theory of art during the Renaissance and the Baroque style, with its idea of transformation and the relation of the myths of Pygmalion and Narcissus to the role of the artist.
Though Ovid was popular for many centuries, interest in his work began to wane after the Renaissance, and his influence on 19th-century writers was minimal. Towards the end of the 20th century his work began to be appreciated once more. Ted Hughes collected together and retold twenty-four passages from the Metamorphoses in his Tales from Ovid, published in 1997. In 1998, Mary Zimmerman's stage adaptation Metamorphoses premiered at the Lookingglass Theatre, and the following year there was an adaptation of Tales from Ovid by the Royal Shakespeare Company. In the early 21st century, the poem continues to inspire and be retold through books, films and plays. A series of works inspired by Ovid's book through the tragedy of Diana and Actaeon have been produced by French-based collective LFKs and his film/theatre director, writer and visual artist Jean-Michel Bruyere, including the interactive 360° audiovisual installation Si poteris narrare, licet in 2002, 600 shorts and "medium" film from which 22,000 sequences have been used in the 3D 360° audiovisual installation La Dispersion du Fils from 2008 to 2016 as well as an outdoor performance, "Une Brutalité pastorale".