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Influential mythological narrative poem by Roman poet Ovid

Metamorphoses
by Ovid
Page from the edition of Ovid'due south Metamorphoses published by Lucantonio Giunti in Venice, 1497
Original championship	Metamorphoses
First published in	8 AD
Language	Latin
Genre(s)	Narrative poetry, epic, elegy, tragedy, pastoral (see Contents)
Read online	Metamorphoses at Wikisource

Title page of 1556 edition published by Joannes Gryphius (decorative border added afterwards). Hayden White Rare Book Collection, University of California, Santa Cruz^[i]

The Metamorphoses (Latin: Metamorphōsēs, from Ancient Greek: μεταμορφώσεις: "Transformations") is an 8 Advertising Latin narrative verse form past the Roman poet Ovid, considered his magnum opus. Comprising 11,995 lines, xv books and over 250 myths, the verse form chronicles the history of the earth from its creation to the deification of Julius Caesar within a loose mythico-historical framework.

Although coming together the criteria for an epic, the poem defies unproblematic genre classification by its use of varying themes and tones. Ovid took inspiration from the genre of metamorphosis verse, and some of the Metamorphoses derives from earlier handling of the aforementioned myths; however, he diverged significantly from all of his models.

One of the well-nigh influential works in Western culture, the Metamorphoses has inspired such authors as Dante Alighieri, Giovanni Boccaccio, Geoffrey Chaucer, and William Shakespeare. Numerous episodes from the poem have been depicted in acclaimed works of sculpture, painting, and music. Although interest in Ovid faded later on the Renaissance, at that place was a resurgence of attention to his work towards the finish of the 20th century. Today 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.^[ii]

Sources and models [edit]

Ovid'south relation to the Hellenistic poets was like to the attitude of the Hellenistic poets themselves to their predecessors: he demonstrated that he had read their versions ... but that he could still treat the myths in his own fashion.

— Karl Galinsky^[3]

Ovid's conclusion to brand myth the dominant subject of the Metamorphoses was influenced past the predisposition of Alexandrian poetry.^[4] However, whereas it served in that tradition every bit the cause for moral reflection or insight, he fabricated it instead the "object of play and aesthetic manipulation".^[four] The model for a collection of metamorphosis myths derived from a pre-existing genre of metamorphosis poesy in the Hellenistic tradition, of which the primeval known example is Boio(s)' Ornithogonia—a now-fragmentary poem collecting myths about the metamorphoses of humans into birds.^[v]

There are three examples of Metamorphoses by later Hellenistic writers, merely little is known of their contents.^[iii] The Heteroioumena by Nicander of Colophon is better known, and clearly an influence on the poem—21 of the stories from this work were treated in the Metamorphoses.^[3] Nevertheless, in a way that was typical for writers of the period, Ovid diverged significantly from his models. The Metamorphoses was longer than any previous drove of metamorphosis myths (Nicander's work consisted of probably four or five books)^[6] and positioned itself within a historical framework.^[7]

Some of the Metamorphoses derives from earlier literary and poetic treatment of the same myths. This material was of varying quality and comprehensiveness—while some of it was "finely worked", in other cases Ovid may accept been working from limited fabric.^[eight] In the case of an frequently-used myth such as that of Io in Book I, which was the subject of literary adaptation as early as the fifth century BC, and as recently every bit a generation prior to his own, Ovid reorganises and innovates existing fabric in society to foreground his favoured topics and to embody the key themes of the Metamorphoses.^[9]

Contents [edit]

Scholars have found it hard to identify the Metamorphoses in a genre. The poem has been considered equally an ballsy or a blazon of ballsy (for example, an anti-epic or mock-epic);^[10] a Kollektivgedicht that pulls together a series of examples in miniature form, such as the epyllion;^[eleven] a sampling of one genre later on another;^[12] or simply a narrative that refuses categorization.^[13]

The poem is generally considered to meet the criteria for an epic; information technology is considerably long, relating over 250 narratives beyond fifteen books;^[fourteen] it is equanimous in dactylic hexameter, the meter of both the ancient Iliad and Odyssey, and the more contemporary epic Aeneid; and it treats the high literary field of study of myth.^[fifteen] However, the poem "handles the themes and employs the tone of almost every species of literature",^[16] ranging from epic and elegy to tragedy and pastoral.^[17] Commenting on the genre debate, Karl Galinsky has opined that "... it would exist misguided to pin the label of whatever genre on the Metamorphoses".^[thirteen]

The Metamorphoses is comprehensive in its chronology, recounting the creation of the earth to the expiry of Julius Caesar, which had occurred only a yr earlier Ovid'southward birth;^[12] it has been compared to works of universal history, which became important in the 1st century BC.^[16] In spite of its apparently unbroken chronology, scholar Brooks Otis has identified 4 divisions in the narrative:^[18]

Book I – Volume II (end, line 875): The Divine Comedy
Book Three – Book 6, 400: The Avenging Gods
Volume VI, 401 – Book XI (end, line 795): The Desolation of Dear
Volume XII – Book XV (end, line 879): Rome and the Deified Ruler

Ovid works his way through his subject matter, oft in an apparently arbitrary mode, by jumping from ane transformation tale to another, sometimes retelling what had come to exist seen as key events in the earth 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, information technology leaps from story to story with little connection.

The recurring theme, every bit with nearly all of Ovid's work, is love—be it personal love or love personified in the figure of Amor (Cupid). Indeed, the other Roman gods are repeatedly perplexed, humiliated, and made ridiculous by Amor, an otherwise relatively pocket-size 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 honey can confound the god out of reason. The work as a whole inverts the accepted order, elevating humans and homo passions while making the gods and their desires and conquests objects of low humor.

The Metamorphoses ends with an epilogue (Book Fifteen.871–879), 1 of merely 2 surviving Latin epics to do so (the other existence Statius' Thebaid).^[19] The catastrophe acts equally a announcement that everything except his poetry—even Rome—must give way to change:^[xx]

At present stands my job accomplished, such a work
As not the wrath of Jove, nor burn down nor sword
Nor the devouring ages can destroy.^[21]

Books [edit]

Book I – The Creation, the Ages of Mankind, the alluvion, Deucalion and Pyrrha, Apollo and Daphne, Io, Phaëton.
Book 2 – Phaëton (cont.), Callisto, the raven and the crow, Ocyrhoe, Mercury and Battus, the envy of Aglauros, Jupiter and Europa.
Book Iii – Cadmus, Diana and Actaeon, Semele and the birth of Bacchus, Tiresias, Narcissus and Echo, Pentheus and Bacchus.
Book Four – The daughters of Minyas, Pyramus and Thisbe, Mars and Venus, the Sun in love (Leucothoe and Clytie), Salmacis and Hermaphroditus, the daughters of Minyas transformed, Athamas and Ino, the transformation of Cadmus, Perseus and Andromeda.
Volume V – Perseus' fight in the palace of Cepheus, Minerva meets the Muses on Helicon, the rape of Proserpina, Arethusa, Triptolemus.
Book 6 – Arachne; Niobe; the Lycian peasants; Marsyas; Pelops; Tereus, Procne, and Philomela; Boreas and Orithyia.
Book VII – Medea and Jason, Medea and Aeson, Medea and Pelias, Theseus, Minos, Aeacus, the plague at Aegina, the Myrmidons, Cephalus and Procris.
Book Eight – Scylla and Minos, the Minotaur, Daedalus and Icarus, Perdix, Meleager and the Calydonian Boar, Althaea and Meleager, Achelous and the Nymphs, Philemon and Baucis, Erysichthon and his daughter.
Book 9 – Achelous and Hercules; Hercules, Nessus, and Deianira; the decease and apotheosis of Hercules; the birth of Hercules; Dryope; Iolaus and the sons of Callirhoe; Byblis; Iphis and Ianthe.
Book X – Orpheus and Eurydice, Cyparissus, Ganymede, Hyacinth, Pygmalion, Myrrha, Venus and Adonis, Atalanta.
Book XI – The expiry of Orpheus, Midas, the foundation and destruction of Troy, Peleus and Thetis, Daedalion, the cattle of Peleus, Ceyx and Alcyone, Aesacus.
Book XII – The expedition against Troy, Achilles and Cycnus, Caenis, the battle of the Lapiths and Centaurs, Nestor and Hercules, the death of Achilles.
Book 13 – Ajax, Ulysses, and the arms of Achilles; the Fall of Troy; Hecuba, Polyxena, and Polydorus; Memnon; the pilgrimage of Aeneas; Acis and Galatea; Scylla and Glaucus.
Book Xiv – Scylla and Glaucus (cont.), the pilgrimage of Aeneas (cont.), the isle of Circe, Picus and Canens, the triumph and apotheosis of Aeneas, Pomona and Vertumnus, legends of early Rome, the embodiment of Romulus.
Book XV – Numa and the foundation of Crotone, the doctrines of Pythagoras, the decease of Numa, Hippolytus, Cipus, Asclepius, the apotheosis of Julius Caesar, epilogue.^[22]

Themes [edit]

The different genres and divisions in the narrative allow the Metamorphoses to display a broad 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".^[23]

Metamorphosis [edit]

In nova fert counterinsurgency mutatas dicere formas / corpora;

—Ov., Met., Book I, lines i–2.

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; ("I intend to speak of forms changed into new entities;").^[24] Accompanying this theme is oftentimes violence, inflicted upon a victim whose transformation becomes part of the natural mural.^[25] This theme amalgamates the much-explored opposition between the hunter and the hunted^[26] and the thematic tension betwixt fine art and nature.^[27]

There is a dandy variety among the types of transformations that take identify: from human to inanimate object (Nileus), constellation (Ariadne's Crown), fauna (Perdix); from animal (ants) and fungus (mushrooms) to homo; of sex activity (hyenas); and of color (pebbles).^[28] The metamorphoses themselves are often located metatextually within the verse form, through grammatical or narratorial transformations. At other times, transformations are developed into sense of humor or absurdity, such that, slowly, "the reader realizes he is beingness had",^[29] or the very nature of transformation is questioned or subverted. This phenomenon is merely 1 aspect of Ovid's all-encompassing employ of illusion and disguise.^[30]

Influence [edit]

No work from classical antiquity, either Greek or Roman, has exerted such a continuing and decisive influence on European literature as Ovid's Metamorphoses. The emergence of French, English language, and Italian national literatures in the late Middle Ages merely cannot be fully understood without taking into account the effect of this extraordinary poem. ... The simply rival we have in our tradition which we can find to match the pervasiveness of the literary influence of the Metamorphoses is perhaps (and I stress perchance) the Old Testament and the works of Shakespeare.

— Ian Johnston^[25]

The Metamorphoses has exerted a considerable influence on literature and the arts, specially of the West; scholar A. D. Melville says that "It may exist doubted whether any poem has had then great an influence on the literature and art of Western civilization as the Metamorphoses."^[31] Although a majority of its stories practise non originate with Ovid himself, just with such writers as Hesiod and Homer, for others the poem is their sole source.^[25]

The influence of the poem on the works of Geoffrey Chaucer is all-encompassing. In The Canterbury Tales, the story of Coronis and Phoebus Apollo (Book Ii 531–632) is adapted to form the ground for The Manciple'south Tale.^[32] The story of Midas (Book XI 174–193) is referred to and appears—though much altered—in The Wife of Bathroom'southward Tale.^[33] The story of Ceyx and Alcyone (from Volume IX) is adapted by Chaucer in his poem The Volume of the Duchess, written to commemorate the expiry of Blanche, Duchess of Lancaster and married woman of John of Gaunt.^[34]

The Metamorphoses was as well a considerable influence on William Shakespeare.^[35] His Romeo and Juliet is influenced past the story of Pyramus and Thisbe (Metamorphoses Book IV);^[36] and, in A Midsummer Night'southward Dream, a band of apprentice actors performs a play nearly Pyramus and Thisbe.^[37] Shakespeare's early erotic poem Venus and Adonis expands on the myth in Book X of the Metamorphoses.^[38] In Titus Andronicus, the story of Lavinia'southward rape is fatigued 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.^[39] Most of Prospero'due south renunciative speech in Act V of The Tempest is taken word-for-word from a spoken language by Medea in Volume Vii of the Metamorphoses.^[twoscore] 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 patently knew it well^[35] ^[41]—and Edmund Spenser.^[42] In Italia, the poem was an influence on Giovanni Boccaccio (the story of Pyramus and Thisbe appears in his verse form L'Amorosa Fiammetta)^[25] and Dante.^[43] ^[44]

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 non being found in the work.^[45] ^[46] Many of the stories from the Metamorphoses accept been the subject of paintings and sculptures, especially during this menstruum.^[35] ^[47] Some of the most well-known paintings past Titian depict scenes from the poem, including Diana and Callisto,^[48] Diana and Actaeon,^[49] and Expiry of Actaeon.^[fifty] These works form office 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.^[51] Other famous works inspired past the Metamorphoses include Pieter Brueghel's painting Landscape with the Fall of Icarus and Gian Lorenzo Bernini'south sculpture Apollo and Daphne.^[35] The Metamorphoses as well 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 function of the creative person.^[52]

Though Ovid was pop for many centuries, interest in his piece of work began to wane after the Renaissance, and his influence on 19th-century writers was minimal.^[35] 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.^[53] In 1998, Mary Zimmerman's stage adaptation Metamorphoses premiered at the Lookingglass Theatre,^[54] and the following year there was an adaptation of Tales from Ovid by the Majestic Shakespeare Company.^[55] In the early on 21st century, the poem continues to inspire and be retold through books,^[56] films^[57] and plays.^[58] A series of works inspired by Ovid'due south book through the tragedy of Diana and Actaeon have been produced by French-based commonage LFKs and his moving picture/theatre manager, writer and visual artist Jean-Michel Bruyere, including the interactive 360° audiovisual installation Si poteris narrare, licet ("if yous are able to speak of it, so yous may do so") in 2002, 600 shorts and "medium" motion picture from which 22,000 sequences have been used in the 3D 360° audiovisual installation La Dispersion du Fils ^[59] from 2008 to 2016 besides as an outdoor performance, "Une Brutalité pastorale" (2000).

Manuscript tradition [edit]

This panel by Bartolomeo di Giovanni relates the second one-half of the story of Io. In the upper left, Jupiter emerges from clouds to society Mercury to rescue Io.^[60]

In spite of the Metamorphoses ' enduring popularity from its outset publication (around the time of Ovid's exile in 8 AD) no manuscript survives from antiquity.^[61] From the 9th and 10th centuries there are only fragments of the poem;^[61] it is simply from the 11th century onwards that manuscripts, of varying value, accept been passed down.^[62]

Influential in the form of the poem's manuscript tradition is the 17th-century Dutch scholar Nikolaes Heinsius.^[63] During the years 1640–52, Heinsius collated more than a hundred manuscripts and was informed of many others through correspondence.^[63]

But the poem's immense popularity in antiquity and the Centre Ages belies the struggle for survival it faced in late artifact. "A dangerously pagan piece of work,"^[64] the Metamorphoses was preserved through the Roman period of Christianization, but was criticized by the voices of Augustine and Jerome, who believed the only metamorphosis really was the transubstantiation.^{[ commendation needed ]} Though the Metamorphoses did not endure the ignominious fate of the Medea, no ancient scholia on the poem survive (although they did exist in antiquity^[65]), and the earliest manuscript is very late, dating from the 11th century.

The poem retained its popularity throughout Tardily Artifact and the Middle Ages, and is represented by an extremely high number of surviving manuscripts (more than 400);^[66] the earliest of these are iii fragmentary copies containing portions of Books 1–3, dating to the 9th century.^[67]

Collaborative editorial effort has been investigating the various manuscripts of the Metamorphoses, some forty-v complete texts or substantial fragments,^[68] all deriving from a Gallic classic.^[69] The result of several centuries of critical reading is that the poet's meaning is firmly established on the ground of the manuscript tradition or restored past conjecture where the tradition is scarce. There are two modern disquisitional editions: William South. Anderson'southward, first published in 1977 in the Teubner series, and R. J. Tarrant'south, published in 2004 past the Oxford Clarendon Press.

In English language translation [edit]

An illumination of the story of Pyramus and Thisbe from a manuscript of William Caxton's translation of the Metamorphoses (1480)—the first in the English linguistic communication

The full appearance of the Metamorphoses in English translation (sections had appeared in the works of Chaucer and Gower)^[70] coincides with the beginning of printing, and traces a path through the history of publishing.^[lxx] ^[71] William Caxton produced the offset translation of the text on 22 Apr 1480;^[72] set in prose, it is a literal rendering of a French translation known as the Ovide Moralisé.^[73]

In 1567, Arthur Golding published a translation of the poem that would become highly influential, the version read by Shakespeare and Spenser.^[74] Information technology was written in rhyming couplets of iambic heptameter. The next significant translation was past George Sandys, produced from 1621 to 1626,^[75] which set the poem in heroic couplets, a metre that would subsequently become dominant in vernacular English epic and in English translations.^[76]

In 1717, a translation appeared from Samuel Garth bringing together work "by the most eminent easily":^[77] primarily John Dryden, but several stories by Joseph Addison, one by Alexander Pope,^[78] and contributions from Tate, Gay, Congreve, and Rowe, likewise equally those of eleven others including Garth himself.^[79] Translation of the Metamorphoses afterwards this period was insufficiently limited in its achievement; the Garth volume continued to be printed into the 1800s, and had "no real rivals throughout the nineteenth century".^[eighty]

Effectually the later half of the 20th century a greater number of translations appeared^[81] as literary translation underwent a revival.^[80] This trend has connected into the 20-first century.^[82] In 1994, a collection of translations and responses to the verse form, entitled After Ovid: New Metamorphoses, was produced by numerous contributors in emulation of the process of the Garth volume.^[83]

Notes [edit]

^ "The Hayden White Rare Book Drove". University of California, Santa Cruz. Retrieved 15 April 2013.
^ More, Brookes. Commentary by Wilmon Brewer. Ovid'southward Metamorphoses (Translation), pp. 353–86, Marshall Jones Company, Francestown, NH, revised edition, 1978. ISBN 978-0-8338-0184-five, LCCN 77-20716.
^ ^a ^b ^c Galinsky 1975, p. ii.
^ ^a ^b Galinsky 1975, p. 1.
^ Fletcher, Kristopher F. B. (2009). "Boios' Ornithogonia every bit Hesiodic Didactic" (PDF). Classical Association of the Middle Due west and South (CAMWS).
^ Galinsky 1975, pp. 2–three.
^ Galinsky 1975, p. 3.
^ Anderson 1997, p. 14.
^ Anderson 1997, p. 19.
^ Farrell 1992, p. 235.
^ Wheeler 2000, p. one.
^ ^a ^b Solodow 1988, pp. 17–18.
^ ^a ^b Galinsky 1975, p. 41.
^ Galinsky 1975, p. 4.
^ Harrison 2006, p. 87.
^ ^a ^b Solodow 1988, p. 18.
^ Harrison 2006, p. 88.
^ Otis 2010, p. 83.
^ Melville 2008, p. 466.
^ Melville 2008, p. xvi.
^ Melville 2008, p. 379.
^ Melville 2008, pp. vii–viii.
^ Wheeler 1999, p. 40.
^ Swanson, Roy Arthur (1959). "Ovid's Theme of Alter". The Classical Journal. 54 (v): 201–05. JSTOR 3295215. (subscription required)
^ ^a ^b ^c ^d Johnston, Ian. "The Influence of Ovid's Metamorphoses". Project Silver Muse. University of Texas at Austin. Archived from the original on seven April 2014. Retrieved 15 April 2013.
^ Segal, C. P. Landscape in Ovid's Metamorphoses (Wiesbaden, 1969) 45
^ Solodow 1988, pp. 208–213.
^ Ian, Johnston. "The Transformations in Ovid'south Metamorphoses". Vancouver Isle University. Retrieved 9 May 2013.
^ Galinsky 1975, p. 181.
^ Von Glinski, M. L. Simile and Identity in Ovid's Metamorphoses. Cambridge: 2012. p. 120 inter alia
^ Melville 2008, pp. xxxvi–xxxvii.
^ Benson 2008, p. 952.
^ Benson 2008, p. 873.
^ "Influences". The World of Chaucer, Medieval Books and Manuscripts. University of Glasgow. Archived from the original on 1 June 2009. Retrieved 15 April 2013.
^ ^a ^b ^c ^d ^{due east} Melville 2008, p. xxxvii.
^ Halio, Jay (1998). Romeo and Juliet: A Guide to the Play. Westport: Greenwood Press. p. 93. ISBN978-0-313-30089-9.
^ Marshall, David (1982). "Exchanging Visions: Reading A Midsummer Night'due south Dream". ELH. 49 (3): 543–75. doi:10.2307/2872755. JSTOR 2872755. (subscription required)
^ Belsey, Catherine (1995). "Love equally Trompe-l'oeil: Taxonomies of Desire in Venus and Adonis". Shakespeare Quarterly. 46 (3): 257–76. doi:10.2307/2871118. JSTOR 2871118. (subscription required)
^ West, Grace Starry (1982). "Going by the Book: Classical Allusions in Shakespeare'southward Titus Andronicus". Studies in Philology. 79 (1): 62–77. JSTOR 4174108. (subscription required)
^ Vaughan, Virginia Bricklayer; Vaughan, Alden T. (1999). The Tempest. The Arden Shakespeare, 3rd Series. The Arden Shakespeare. pp. 26, 58–59, 66. ISBN978-ane-903436-08-0.
^ Melville 2008, pp. 392–393.
^ Cumming, William P. (1931). "The Influence of Ovid'south "Metamorphoses" on Spenser's "Mutabilitie" Cantos". Studies in Philology. 28 (2): 241–56. JSTOR 4172096. The indebtedness to Ovid of passages and ideas in Spenser'south Mutabilite cantos has been pointed out by various commentators; (subscription required)
^ Gross, Kenneth (1985). "Infernal Metamorphoses: An Estimation of Dante's "Counterpass"". MLN. 100 (1): 42–69. doi:10.2307/2905667. JSTOR 2905667. (subscription required)
^ Most, Glen W. (2006). "Dante's Greeks". Arion. xiii (3): 15–48. JSTOR 29737275. (subscription required)
^ Alpers, S. (1971). The Decoration of the Torre della Parada (Corpus Rubenianum Ludwig Burchard Part nine) . London. p. 151.
^ Allen 2006, p. 336.
^ "Who was Ovid?". The National Gallery. Retrieved 18 Apr 2013.
^ "Diana and Callisto". The National Gallery. Retrieved 18 Apr 2013.
^ "Diana and Actaeon". The National Gallery. Retrieved 18 April 2013.
^ "Decease of Actaeon". The National Gallery. Retrieved xviii April 2013.
^ "Titian's 'poesie': The commission | Titian: Dear Want Decease | National Gallery, London". www.nationalgallery.org.great britain . Retrieved 2021-02-08 .
^ Barolsky, Paul (1998). "As in Ovid, So in Renaissance Fine art". Renaissance Quarterly. 51 (2): 451–74. doi:ten.2307/2901573. JSTOR 2901573. (subscription required)
^ Hughes, Ted (1997). Tales from Ovid (2d print. ed.). London: Faber and Faber. ISBN978-0-571-19103-1.
^ "Metamorphoses". Lookingglass Theatre Company. Retrieved 21 April 2013.
^ "Archive Catalogue". Shakespeare birthplace trust. Archived from the original on 5 May 2013. Retrieved 21 April 2013.
^ Mitchell, Adrian (2010). Shapeshifters : tales from Ovid'due south Metamorphoses. Illustrated by Alan Lee. London: Frances Lincoln Children's Books. ISBN978-i-84507-536-1.
^ Beck, Jerry (2005). The Blithe Flick Guide (ane. ed.). Chicago: Chicago Review Pr. pp. 166–67. ISBN978-one-55652-591-ix.
^ Nestruck, J. Kelly. "Onstage pools and lots of water: The NAC's Metamorphoses (mostly) makes a splash". The Earth and Mail . Retrieved 21 Apr 2013.
^ Digitalarti Mag, The STRP Festival of Eindhoven, Dominique Moulon, Jan 2011
^ "The Myth of Io". The Walters Art Museum. Archived from the original on 2013-05-16. Retrieved 2012-ten-04 .
^ ^a ^b Anderson 1997, p. 31.
^ Anderson 1997, pp. 31–32.
^ ^a ^b Tarrant 1982, p. 343.
^ Cameron, Alan (2004). Greek Mythography in the Roman World. Oxford University Printing. ISBN978-0-xix-517121-1.
^ Brooks Otis (1936). "The Argumenta of the So-Called Lactantius". Harvard Studies in Classical Philology. 47: 131–163. doi:10.2307/310573. JSTOR 310573.
^ Tarrant 2004, p. vi.
^ Reynolds, L. D., ed., Texts and Transmission: A Survey of the Latin Classics, 277.
^ Tarrant 2004, Praefatio.
^ Richard Treat Bruere (1939). "The Manuscript Tradition of Ovid's Metamorphoses". Harvard Studies in Classical Philology. fifty: 95–122. doi:ten.2307/310594. JSTOR 310594.
^ ^a ^b Lyne 2006, p. 249.
^ Gillespie & Cummings 2004, p. 207.
^ Blake, N. F. (1990). William Caxton and English literary culture . London: Hambledon. p. 298. ISBN978-ane-85285-051-7.
^ Lyne 2006, pp. 250–251.
^ Lyne 2006, p. 252.
^ Gillespie & Cummings 2004, pp. 208–209.
^ Lyne 2006, p. 254.
^ Gillespie & Cummings 2004, p. 212.
^ Melville 2008, p. thirty.
^ Lyne 2006, p. 256.
^ ^a ^b Lyne 2006, p. 258.
^ Gillespie & Cummings 2004, pp. 216–218.
^ Gillespie & Cummings 2004, p. 218.
^ Lyne 2006, pp. 259–260.

References [edit]

Modern translation [edit]

Ovid (2008). Metamorphoses. Translated past A. D. Melville. Introduction and notes by Edward John Kenney. Oxford: Oxford University Printing. ISBN978-0-19-953737-2.

Secondary sources [edit]

Allen, Christopher (2006). "Ovid and art". In Philip Hardie (ed.). The Cambridge Companion to Ovid. Cambridge: Cambridge University Press. pp. 336–367. doi:10.1017/CCOL0521772818.022. ISBN978-0-521-77528-1.
Anderson, William S., ed. (1997). Ovid's Metamorphoses, Books ane–5. Norman: Academy of Oklahoma Press. ISBN978-0-8061-2894-8.
Benson, Larry D., ed. (2008). The Riverside Chaucer (3rd ed.). Oxford Academy Press. ISBN978-0-19-955209-ii.
Farrell, Joseph (1992). "Dialogue of Genres in Ovid's "Lovesong of Polyphemus" (Metamorphoses 13.719–897)". American Journal of Philology. 113 (2): 235–268. doi:10.2307/295559. JSTOR 295559. (subscription required)
Galinsky, Karl (1975). Ovid'southward Metamorphoses: an introduction to the basic aspects . Berkeley: University of California Press. ISBN978-0-520-02848-7.
Gillespie, Stuart; Cummings, Robert (2004). "A Bibliography of Ovidian Translations and Imitations in English". Translation and Literature. xiii (2): 207–218. doi:10.3366/tal.2004.13.2.207. JSTOR 40339982. (subscription required)
Harrison, Stephen (2006). "Ovid and genre: evolutions of an elegist". In Philip Hardie (ed.). The Cambridge Companion to Ovid. Cambridge: Cambridge University Press. ISBN978-0-511-99896-6.
Lyne, Raphael (2006). "Ovid in English translation". In Philip Hardie (ed.). The Cambridge Companion to Ovid. Cambridge: Cambridge University Press. ISBN978-0-511-99896-half dozen.
Otis, Brooks (2010). Ovid every bit an Epic Poet (2nd ed.). Cambridge: Cambridge University Printing. ISBN978-0-521-14317-2.
Solodow, Joseph B. (1988). The World of Ovid's Metamorphoses. Chapel Hill: University of North Carolina Press. ISBN978-0-8078-1771-1.
Tarrant, R. J. (1982). "Review Article: Editing Ovid's Metamorphoses: Problems and Possibilities". Classical Philology. 77 (4): 342–360. doi:10.1086/366734. JSTOR 269419. S2CID 162744932. (subscription required)
Tarrant, R. J. (2004). P. Ouidi Nasonis Metamorphoses. Oxford Classical Texts. Oxford: Clarendon Press.
Wheeler, Stephen Chiliad. (1999). A Discourse of Wonders: Audition and Performance in Ovid's Metamorphoses. Philadelphia: University of Pennsylvania Press. ISBN978-0-8122-3475-6.
Wheeler, Stephen M. (2000). Narrative dynamics in Ovid's Metamorphoses. Tübingen: Narr. ISBN978-3-8233-4879-five.

External links [edit]

Latin versions [edit]

Ovid Illustrated: The Renaissance Reception of Ovid in Image and Text – An elaborate environment allowing simultaneous access to Latin text, English language translations, commentary from multiple sources forth with woods cut illustrations by Virgil Solis.
Metamorphoses in Latin edition and English translations from Perseus – Hyperlinked commentary, mythological, and grammatical references)
University of Virginia: Metamorphoses – Contains several versions of the Latin text and tools for a side-by-side comparison.
The Latin Library: P. Ovidi Nasonis Opera – Contains the Latin version in several split up parts.
List of 16th-century printed editions

English translations [edit]

Ovid'south Metamorphoses trans. by Sir Samuel Garth, John Dryden et al., 1717.
Ovid's Metamorphoses trans. by George Sandys, 1632.
Ovid'south Metamorphoses trans. by Brookes More than, 1922, revised edition 1978, with commentary by Wilmon Brewer. OCLC 715284718.

Analysis [edit]

The Ovid Projection: Metamorphising the Metamorphoses – Illustrations by Johann Whilhelm Baur (1600–1640) and anonymous illustrations from George Sandys's edition of 1640.
A Honeycomb for Aphrodite by A. S. Kline.
Ovid's Metamorphoses, An introduction and commentary by Larry A. Brown.

Audio [edit]

Metamorphoses public domain audiobook at LibriVox
Ovid ~ Metamorphoses ~ 08-2008 – Selections from Metamorphoses, read in Latin and English by Rafi Metz. Approximately 4½ hours.

Images [edit]

"Neapolitan Ovid" – An illustrated manuscript from yard–1200 Advert, hosted past the World Digital Library.

parrishwought.blogspot.com

Source: https://en.wikipedia.org/wiki/Metamorphoses