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Change is inevitable essay
Change is inevitable essay
Purpose of transformation in literature
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Change is inevitable in life, whether it’s for good or bad. Ovid makes us reflect about something as basic as change, which can alter dramatically our lives, as we know them. According to Lively’s context for Ovid, Ovid in each of his literary career effectively transformed the world of elegy, playfully modeling each and every character along with its personality. He began a new approach of work in which he would change characters into new shapes, a feature of his approach to poetry that would reappear in his most important piece of work, Metamorphoses (3). Ovid’s works of art are all written in Latin, making their translation hard to comprehend when trying to understand the meaning of his stories. Most of the motifs in Ovid’s metamorphoses are juxtapositions such as good and bad, and caring and selfish. Throughout the entire piece of work, we are able to see how Ovid pokes fun at love affairs of gods, enjoyment of personal pleasure and transitory nature of life which leads into the beginning of the story; the creation. Ovid characterizes gods as foolish creatures that are as immoral as they are irrational; gods who have no credit for anything in particular; but for their own unwitty arrangements.
Ovid’s artwork is very intriguing for various reasons; one of them being that he calls on gods for inspiration rather than muses. By calling on the entire god’s at the same time, he doesn’t leave much room for credit to any particular one. Lively states that “it is the gods, who are given the credit or perhaps the blame, for inspiring Ovid… The gods are directly responsible for inflicting numerous metamorphoses upon their mortal victims… occasionally as a punishment, but most often through anger, jealousy or lust” (10). Also, since O...
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...al of Ovid, to make your poem continue to live in eternity.
Works Cited
Johnson J., Patricia. Ovid before Exile [electronic Resource]: Art and Punishment in the Metamorphoses. Madison, Wisconsin: University of Wisconsin, 2008. Print. Wisconsin Studies in Classics.
Feldherr, Andrew. Playing Gods [Electronic Resource] : Ovid's Metamorphoses And The Politics Of Fiction / Andrew Feldherr. n.p.: Princeton : Princeton University Press, 2010., 2010. Mercyhurst University's Catalog. Web. 23 Feb. 2014.
Liveley, Genevieve. Ovid's Metamorphoses [Electronic Resource] : A Reader's Guide / Genevieve Liveley. n.p.: New York : Continuum, 2011., 2011. Mercyhurst University's Catalog. Web. 23 Feb. 2014.
Kline, Anthony. "The Ovid Collection--A. S. Kline, Ovid's Metamorphoses." The Ovid Collection--A. S. Kline, Ovid's Metamorphoses. N.p., 2000. Web. 21 Feb. 2014.
In contrast, Ovid conceived a different purpose for his epic. He wrote fifteen books, compared to Virgil's twelve, with many of his stories originating from Greek and Roman myth, concerned with the transformations of shapes, from the creation of the world to Julius Caesar's death and deification. He focuses on entertaining the reader in a humorous fashion, and rather than establishing Rome's origins in history, he is more concerned with establishing his own fame, for the future ages. These different backgrounds of the two authors illustrate that they each had contrasting agendas for their books. Thus, the portrayal of the gods differs greatly-Virgil's are austere and purposeful, whereas, Ovid's are humorous, reflecting his neoteric style, and intentionally different from the Virgilian gods.
Clearly, there is a distinction between the world of the Roman gods and the world that everyday people live in. Man, according to Ovid, has experienced a gold, sil...
Aeschylus’ tragic trilogy, the only play to survive from Ancient Greece, repeatedly calls our attention upon a central concept of justice: justice as revenge. This is a relatively simple concept, with a powerful emotional appeal, linking vengeance to the family and their feelings for each other and for their collective honor. However, one must look past this superficial theme in order to fully appreciate and understand the depth and beauty of Aeschylus’ work, and regard it as a philosophical investigation into the concepts of justice rather than a great artistic fiction or a poetic exploration. The former approach is unfortunate because the Oresteia is not a rational argument. It is, on the other hand, an artistic exploration of abstract and theoretical issues. What matters in this case is the complexity of the feeling that emerges from the characters, the imagery, the actions, and the ideas in the story. In other words, the writer is dealing with a case of how human bei...
In 3.2, we see Ovid using his rhetorical skill to woo a lady at the races. This poem seems to present almost an idealistic or fantasy view of love, which is highlighted by the abundance of mythological and religious references: in this poem alone we see Pelops, the legs of Atalanta and Diana and the parade of the effigies of Gods. Ovid uses various devices to encapsulate his little world of love in the circus. He marks out his area by talking about the lines which marked out the seats (“cogit nos linea iungi”) which push the two characters together into their own little world. When, in lines 21 to24, their little world is broken into by various other spectators, Ovid turns on them and scolds them, which is emphasised by the har...
"Book One of Ovid's Metamorphoses establishes the book's theme of metamorphoses with a tale of creation that progresses into human stories leading to the current breed of man. The creation piece is followed by a flood story and a discussion of the ages of mankind. The ages of mankind - gold, silver, bronze, and iron - describe man's slow progression from a good, wholesome society into a miserable, self-destructive one. The next stories concern tales of gods and goddesses and their manipulations of the human population and each other. Book one ends (appropriately) with Phaethon's journey to meet his father, the sun, thus establishing Ovid's theme of quests for change."(auburn. edu)
There is a theory that dream and myth are related which is conveyed through the writing of Douglas Angus’ Kafka's Metamorphosis and "The Beauty and the Beast" Tale and supported by Franz Kafka’s Metamorphosis. The stories are very symbolic when conveying the metamorphosis of a human being. Unlike Beauty and the Beast, in the Metamorphosis some suggest love is received through acts of cruelty yet in actuality it appears that cruelty results in heartache. Due to being a beast, the repulsiveness requires genuine love which can achieve the “magical transformation.” This “magical transformation” is not achieved and creates a twist in the plot derived from the concepts in the “Beauty and the Beast.”
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 book metamorphoses wrote by Ovid explain us how first the world was created, and how things that couldn’t be explain have a explanation, but the most important in this book are the lessons, each myth have their lesson, his lesson often refer, too much of something can be bad, like Arachne, there Is nothing wrong in being confident but over confidence is an inconvenient, and ruined her life also Ovid refers a lot in filial piety, we should always respect the Gods or superiors, often the characters in those myth die because they did not respect their parents or Gods .In conclusion this book was wrote to explain and teach us how the world and its element has been created, and that they are gods that we should respect or we will be punish ,and transform into an animal or element.
Sophocles’ Oedipus Rex has fascinated readers for over two millennia with its tale of a man who falls from greatness to shame. The enigmatic play leaves many questions for the reader to answer. Is this a cruel trick of the gods? Was Oedipus fated to kill his father and marry his mother? Did he act of his own free will? Like the Greeks of centuries past, we continue to ponder these perennial questions. Part of the genius of Sophocles is that he requires a great deal of mental and spiritual involvement from his audience.
Gioia, Dana, and X.J. Kennedy. "Oedipus the King." Literature: An Introduction to Fiction, Poetry, Drama, and Writing, Compact Edition, Interactive Edition. 5th ed. New York: Pearson; Longman Publishing, 2007. 887-924. Print.
house. This way of narrating it is very opened to us, and makes us feel like we
Berger, Harry Jr. Revisionary Play: Studies in the Spenserian Dynamics. Los Angeles: University of California Press, 1998.
Gardner, Helen. “Othello: A Tragedy of Beauty and Fortune.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from “The Noble Moor.” British Academy Lectures, no. 9, 1955.
Ovid uses diction to make his audience feel how a selfish person truly is or to express the cruel things. There are people who hurt themselves and others by being selfish. They give up family or innocent people just to satisfy themselves. Ovid wants people to know the consequences there are from the actions of a selfish person through the characters he portrays. Through the the collection of short stories, Tales From Ovid, Ovid uses many characters to show the consequences a selfish person