Lost in Translation: Ovid, Amores #5
Ovid’s Amores, which were originally written in Latin, have been translated by many English translators in order to allow the enjoyment and understanding of his works in more parts of the world. Looking at translations from three different authors allows comparisons and contrasts to be made between them to allow light to be shone on the original ideas which Ovid brings forth in his Latin writing. A.D Melville, Catherine A. Salmons, as well as G.S Fraser have all translated Ovid’s Amores 5, enabling English cultures to see what Latin literature customarily used or show what the translator uses to input their own ideas into these popular works. These ideas from Latin literature as well as the translators
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Each of these names has a historical reference to the roman times in which Semiraimis was an Assyrian Queen who became associated over legends of time with being a romantic figure as well as being very well known for her powerful reign as Queen and the influence she had over her people as she provided the stability they needed. ("Semiramis.") Lais on the other hand, was a mere Corinthian courtesan, a prostitute with high-class clients, who was known for her astonishing beauty. ("Lais of Corinth."). Using these allusions of Semiramis and Lais, allows the comparison of Corinna, Ovid’s lover, to them, giving the ready the opportunity to paint a picture in the minds and imagine the pure beauty and perfection of such a woman. Corinna in many ways is viewed as a Goddess as she ‘appears’ in the bedroom, which is a Goddess like quality. In saying this Corinna is of a high rank which would only sub come to a man of similar status. Corinna is also used as an allusion in this poem as she is a representation of a Greek poet ("Diotima."), who was well known for her multifaceted and skillful writing as a poet. Ovid also uses this allusion of Corinna as a comparison to himself as a poet. If this woman will come to him in such a manner of love, then he must be worthy of such. In A.D Melville’s translation of Amores 5, Juno, also known as Jupiter, is mentioned at the end of the poem, “Jove send me more such afternoon as this!” (line 26). Juno is the God of the Sky, therefore in praying to him this request allows for Ovid to have hope for another such day as the one he had just endured. This allows for him to have wishful thoughts for the future, which for Ovid, is not only for another enjoyable occasion such as the one he had with Corinna, but also in hopes that he has many more successful poems such as
Heath, J. (1991). Diana's understanding of Ovid's Metamorphoses. Th classical Journal , 186 (3), 223-243.
As one of the most well known ancient Roman love poets, Ovid has demonstrated bountiful talents within his writing. When reading myths from his book titled Metamorphoses, you gain an enlightening insight of how he viewed mythology. To Ovid, love was the origin of everything. Therefore, it should not come as a surprise that most of his poems relate to the theme of love. However, not all poets are the same and every re-telling of a myth has its own unique perspective. In this paper I will compare and contrast the myth of Medea in Euripides Medea and Ovid’s Metamorphoses Book 7. I will then explain how Ovid’s approach to love and loss correlate to his general approach to myth as a whole. I will support my belief with evidence from Ovid’s Metamorphoses Book 14.
"Where did man come from? Where did time begin? Who, or what, created all things?" These are questions that mankind has sought to answer from the beginning of existence as it is known today. Many stories and fables have been told and passed down from generation to generation, yet two have survived the test of time and criticism.
Ovid wrote the Metamorphoses nearly two thousand years ago and Dante wrote Purgatorio 1600 years after that - two pieces of literature that dealt with topics which transcend humanity's perceived reality. Each piece of literature attempts to arrive at a truth concerning the essence of human existence, Dante seeks answers within the confines of Catholic dogma while Ovid approaches existence from a paganistic perspective. This demonstrates two very different approaches to the same exact query. Mankind has questioned the existence of a metaphysical realm for generations and consequently shapes the nature of the supernatural world.
Ovid's Metamorphoses is an example of chaos versus order. I think that is what makes it hard to follow. There is just so much chaos moving from one book to another with barely a transition. I think what the anti-epic is trying to show is that everyone has flaws.
The elaborate soliloquy spoken by Othello as he approaches his sleeping wife (V.ii.1-22) contains some splendid images, such as “chaste stars,” “monumental alabaster,” “flaming minister,” and “Promethean heat,” but its key words are simple and used repeatedly: cause, soul, blood, die, light, love, and weep. In his last sustained speech (V.ii.338-56), the images are fewer and approached through the simplest words (“Speak of me as I am”) and most blatant antitheses (“loved not wisely, but too well”). (xiv)
Ovid’s Metamorphoses is an anti-epic that was written in an attempt to poke fun at the seriousness of Virgil’s Aeneid. Although the Aeneid and Metamorphoses differ vastly from one another, both of these two revolutionary Roman works provide contemporary readers with insight into Rome’s treatment of women during the age of Augustus. However, Ovid’s Metamorphoses portrays women in a much more positive light than Virgil does in the Aeneid, and this informs readers that Ovid, not Virgil, was at least somewhat concerned with the oppression of women in ancient Roman society.
The beginnings of the world are mythologically recorded by the poet Ovid, who lived from 43 BC to 17 or 18 AD. During this time period, he wrote a collection of poetry that spanned the history of Rome’s beginnings up to Julius Caesar. His poetry had political purposes, but was also well known for its codification of love affairs. While it met the standards of traditional epic poetry, the style of his couplets varied in rhythm and length, so it was labelled more ambiguously as “Roman mythological poetry.” In his largest and most famous work, The Metamorphoses covers hundreds of Roman myths. It is comprised of a series of 15 books, each with a different theme or virtue. The theme of Book 10 seemed to center around the love affairs of the gods. Each love story has an initial period of happiness, followed by a tragic event, resulting in the lovers being separated. There is a lot of sex and passion, but also a focus on mourning and sorrow. Nature also plays a large part in the lives of Ovid’s characters. By entwining nature and its animals with the human protagonists of his myths, Ovid wrote a creation epic that appealed to Medieval authors like Boccaccio, as well as writers such as Shakespeare and Dante.
This juxtaposition is what leads the reader to understand the true meaning of the poem. For example, “Danae” is a “vessel” for “Jove” (lines 56). Danae is belittled to an object and claimed by Jove while Jove remains “golden” and godly. In lines seven and eight, “Jove the Bull” “bore away” at “Europa”. “Bore”, meaning to make a hole in something, emphasises the violent sexual imagery perpetrated in this poem. Jove disguises himself as a bull in order to take Europa away to Crete so he can rape her. Not only that, but she becomes pregnant afterwards and “bore” a child. Europa was physically “away” from her home because Jove had stolen her, but Jove “bore away” at her physically as well as emotionally. Finally, in line 8, the “Swan’s featherless bride” refers to Leda, who was raped by Zeus in the form of a swan. Not only is she not mentioned by name but she is owned by the “Swan” as demonstrated by the possessive noun. While the other women had minor historical context, Leda is reduced to three words. Not only that but Jove 's violence against the women increase with every name, Leda being alluded to last drives home the pain he
The Yellow Wallpaper” by Charlotte Perkins Gilman and “The Metamorphosis” by Franz Kafka both incorporate “irreal” elements throughout their works. These elements provide an alternative point of view where the lives of main characters are recreated and imagined as part of their surroundings. It’s almost as if the characters are watching their lives from an outside vantage point, rather than living in the moment, which makes it easier to cope with their difficult circumstances. These two works are complementary in establishing relationships, exposing internal conflicts, and escaping the reality that these characters yearn for in their lives.
Botticelli’s Primavera can be labeled as one the most notable interpretative challenges of art history, due to the plethora of differing interpretations of its meaning. Some interpret the Primavera as a mythological depiction surrounding a wedding in the painting’s patron’s family, others believe it is an allegorical representation of the arrival of spring or a symbolic portrayal of Neoplatonic philosophies concerning the nature of love. Although scholars disagree on what exactly Botticelli trying to express in Primavera, most do agree on the identity of the figures in the painting which include mythological figures based primarily on the works of the Greek poet, Ovid. Although the exact meaning will remain unknown, considering differing interpretations can assist in understanding the notions presented and can aid in analysing the findings accordingly.
Similar to the rape of Io, Ovid describes Callisto as a “girl” (Ovid 16) in order to provoke the characterization of innocence within the readers. Furthermore, much like Io tried to flee Jupiter, Callisto “fought him” (Ovid 16), which means that she was unwilling, and the victim of this crime. Additionally, after she is raped, when Diana gathers her and all the nymphs, Callisto feels severely isolated from her own friends and family caused by the “guilt” (Ovid 16) of no longer being a pure virgin, which makes the readers sympathize with her because being lonely is depressing and harmful. Ovid conveys disdain towards Jupiter that is very similar to Book I as well. Again, Jupiter knew acting upon his lust was wrong, but he still accomplished it by disguising himself with “the face and dress of Diana” in order to hide the crime from the rest of the Gods and Earth. In addition, Jupiter states that “my wife will not see my cunning” (Ovid 16), which further characterizes the God as manipulative and dishonest. Overall, Ovid conveys sympathy of the victims of rape by using common insecurities and social problems among humans in order to invoke empathy from the readers. On the same note, Ovid conveys disdain towards the rapists by obviously characterizing them as manipulative, dishonest, and immoral, which is very distasteful among the Roman
(2) Young people want to experience new things, get a grasp for the world. Older people would rather stick with the same routine that they’ve gotten used to. (3) Phaethon disregards his father’s warning because of his urgent desire to prove to the disbelievers that his father is the Sun God. (4) In this story, Ovid acknowledges that the Sun revolves around the earth and is “pulled” by a force, in this instance, a chariot rather than gravity. We see the Sun laggardly inching its way across the Earth. Furthermore, evaporation of water, deforestation, and atmosphere depletion are all recognized in this story. (5) Flying horses are typically known as pegasuses. The sun’s stallions could be considered similar to Santa’s reindeer, since they’re both creatures that do not actually fly in reality, they have been given names, and can only be controlled by one figure. (6) If not for the Greek era, then we might’ve imagined cross species animals in the Renaissance, as it brings about a second Greek era, and atone for the ideas not yet created. (7) Ovid is saying that oftentimes, humans tend to bite off more than they can chew. As for leadership, Ovid acknowledges that some youths may be overzealous in their ambitions to rise through the ranks and take off impossible responsibility. (8) Ovid is not using horses in the same metaphorical fashion as Socrates. The horses in
Naso, Publius O. Ovid: A Legamus Transitional Reader. Trans. Caroline A. Perkins and Denise Davis-Henry. Wauconda, IL: Bolchazy-Carducci, 2007. Print.
...ses may be read and interpreted separately, taken together rather than apart, the stories can be more effectively linked. The use of repetition throughout the work and constant symbolism in each tale help connect the stories. The entire work is in poetic form, and the literary techniques used are consistent with the time period. Common symbols are used throughout. A common motif is the stretching out of arms preceding metamorphosis. Also, the imagery of hunting coincides with that of sexual passion. Daphne is a huntress and is associated strongly with the forest and nature. It is fitting then that she is the character pursued by Apollo. The vocabulary of hunger and thirst, or devouring and drinking are associated with acts of violence. The constant repetition and the imagery in Metamorphoses are key to interpreting what Ovid is trying to convey to the reader. The power of change is the central issue in each story and in all the stories combined. Change as a vehicle of escape, punishment, or any means to an end is apparent in virtually every story in the book.