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	Metamorphoses (poem) - Wikipedia, the free encyclopedia
		The Metamorphoses by the Roman poet Ovid is a poem in fifteen books that describes the creation and history of the world in terms of Greek and Roman mythology.
		The poem begins with the transformations of creation and Prometheus metamorphizing earth into Man and ends with the transformation of the spirit of Julius Caesar into a star.
		The entire poem is written in dactylic hexameter meter, the form of the great heroic and nationalistic epic poems both of the ancient tradition (the Iliad and Odyssey) and of Ovid's own day (the Aeneid).
	en.wikipedia.org /wiki/Metamorphoses_(poem) (602 words)

	Metamorphoses - Wikipedia, the free encyclopedia
		The novel Metamorphoses written by Lucius Apuleius and generally known in English as The Golden Ass
		The prose work Metamorphoses written by Antoninus Liberalis
		This is a disambiguation page: a list of articles associated with the same title.
	en.wikipedia.org /wiki/Metamorphoses (107 words)

	Project on Ovid's Metamorphoses
		The poem is filled with examples of Gods changing forms at will, humans changing form as reward or punishment, and the changes of form brought on by death.
		These examples are useful for understanding the rather abstract concept that the essence of the soul remains the same, despite changes in form; however, the"fact" of this continuity exists even where the explicit connection between one form and the next is not developed or obvious.
		Because the soul itself never dies, merely changing form instead, this narrative poem is actually a celebration of the continuity which transcends the life of individual forms, rather than strictly an exploration of change.
	www.auburn.edu /~downejm/change.html (894 words)

	Amazon.com: Metamorphoses (Oxford World's Classics): Books: Ovid,A. D. Melville,E. J. Kenney (Site not responding. Last check: 2007-11-05)
		Metamorphoses--the best-known poem by one of the wittiest poets of classical antiquity--takes as its theme change and transformation, as illustrated by Greco-Roman myth and legend.
		What is formally a long digression is accommodated to the argument of the poem with great skill bridging the long interval between Numa and Augustus and achieving a climax on a theme that informs and dominates the whole book: apotheosis, divinization, the supreme change to which human beings can aspire.
		"Metamorphoses" is the most comprehensive look at the myth by any of the ancient writers, but Ovid's work is inherently flawed in the sense that he is clearly not a believer.
	www.amazon.com /exec/obidos/tg/detail/-/019283472X?v=glance (2061 words)

	Who is this Ovid person anyway
		Metamorphoses 2 BCE – 8 CE Exiled from
		Metamorphoses continued to be influential through the European middle ages (used as an intertext in John Gower and Geoffrey Chaucer, Marie de France, Christine de Pizan, Dante Alighieri, etc.).
		He was the poet of secularity, the anti-establishment author who wrote about love rather than morality, though he was also considered an expert on ethics and an authority on storytelling.
	www.rci.rutgers.edu /~kabbey/cblit/lec_whoisovid.htm (385 words)

	Metamorphoses, Ovidius - Timeline Index
		Metamorphoses, the best-known poem by one of the wittiest poets of classical antiquity, takes as its theme change and transformation, as illustrated by Greco-Roman myth and legend.
		The Metamorphoses, written in dactylic hexameters, appeared when Ovid was 52 years old.
		In the Metamorphoses men are transformed into women and vice versa; stones become people; a statue is changed into a woman; a girl becomes a laurel tree, Neptune changes into a fierce-looking ox.
	www.timelineindex.com /content/view/1342 (255 words)

	BookLab II News and Links
		The Metamorphoses is a narrative of over 100 stories from myth and legend loosely connected by the theme of transformation.
		By the time of the Renaissance, the Metamorphoses was regarded as a classic, and it was reprinted many times for an enthusiastic audience of scholars and laymen who demanded more and more translations, adaptations and illustrated versions of the poem.
		Of all the classics, the Metamorphoses was one of the most frequently illustrated; the first printed edition of Ovid's poem adorned with woodcuts was issued by Colard Mansion in Bruges in 1484, while it is estimated that from 1500 to 1599 some one hundred illustrated versions appeared in print.
	booklab.bookways.com /2003/07/11 (287 words)

	[No title] (Site not responding. Last check: 2007-11-05)
		These latter are then realized in many different forms in the poem, most notably in the first and last of its metamorphoses of human beings, Lycaon turned into a wolf, Julius Caesar and Augustus turned into gods.
		He argues cogently against the teleological views of W. Ludwig, E. Zinn, and others (the poem progresses from chaos to Augustan cosmos) by noting that the violence inherent in human nature continues all the way to the story of Julius Caesar's assassination at the end, even though this is compensated by his and Augustus's apotheoses.
		He insists that no single unifying scheme is adequate to the multiplicity and variety of the poem and, what is perhaps more important, he does not see this situation as a defect.
	www.infomotions.com /serials/bmcr/bmcr-v3n04-segal-ovids.txt (2441 words)

	type_Document_Title_here
		The speaker in his poem corresponds to the female Echo while the 'coy mistress' is reflective of Narcissus in Ovid's work.
		George Sandys's translation of the Metamorphoses seems to be the source of Marvell's depictions in his poem.
		Thus, beyond being the possible source of certain specific phrases in Marvell's poem, Sandys's Ovid seems to be employed by Marvell to add dimensions to the characters of the lady and the speaker.
	www.geocities.com /magdamun/marvellsandys.html (935 words)

	97.9.11 (Site not responding. Last check: 2007-11-05)
		At the same time, a commentary whose evident goal is to introduce Ovid's poem to new readers might have tried a little harder to bridge the gap.
		In general, however, the approach to the poem is somewhat ahistorical.
		The statement is clearly programmatic: any reading of the poem needs to take both plot and poetics, Ovid's narrative material and the way he renders it, into careful consideration.
	ccat.sas.upenn.edu /bmcr/1997/97.9.11.html (3947 words)

	wheeler (Site not responding. Last check: 2007-11-05)
		One of the strengths of recent criticism has been a pars pro toto approach to the poem, which has enabled a new generation to read selected passages of the text closely and to pose new questions about poetics, politics, narratology, and gender.
		One of the shortcomings of this method of reading, however, is that results of local investigation are often isolated and inapplicable to a global interpretation of the poem.
		The conclusions to be drawn from this data are: (a) the primary narrator is prominent at the beginning of the poem and each pentad; (b) as the poem continues, he gradually recedes into the background and allows his characters to narrate in his place.
	www.apaclassics.org /AnnualMeeting/98mtg/abstracts/wheeler.html (375 words)

	Poetry Daily Prose Feature: Mark Jarman, "Ovid, Our Contemporary" (Site not responding. Last check: 2007-11-05)
		It was horrible to imagine how later Hercules innocently donned the garment, given him when his wife suspected him of infidelity, only to have it stick to his flesh and burn like napalm.
		For all the rapes and assaults and catastrophes the gods visit on the hapless humanity they love and hate, their interest in that humanity is never questioned.
		We still speak of a Midas touch, refer to the family of spiders as arachnids, and most recently have seen the namesake of Diana, the huntress, eulogized by her brother as one of the most hunted creatures in the world.
	www.poems.com /essajarm.htm (2263 words)

	Christie and Eric's Western Traditions Online Project
		Parallelism between the individual metamorphoses and art is drawn through a simile used in the beginning of the poem which makes connections between the processes of metamorphosis and the creation of art.
		A description of Diana's grotto serves as a clear statement of the poem's view of the way in which art is related to nature and that art is not the imitator, but is the definer and creator of reality.
		The narration of the poem gives a very clear image of the characters and it is through his use of words and stories that he creates his most exquisite art.
	classes.colgate.edu /dhoffmann/core151/Ovid/OVIDFI~1.HTM (1995 words)

	Ovid's Metamorphosis
		In the first verses of the Metamorphoses, Ovid claims to write one continuous epic, not an anthology of myths.
		Chronological progression: Ovid begins his poem with the story of creation and the flood, and ends in his own day with Augustus on the throne.
		Daphne and Apollo: with focus on the chase, her metamorphosis into a tree serves as Daphne's means of escape.
	larryavisbrown.homestead.com /files/xeno.ovid1.htm (1095 words)

	Ovid: Metamorphoses
		That this is a work adapted from Ovid's poem is evident from the prominent authorial emphasis given to Johannes Posthius of Germersheim (1537-1597) on the title-page: he is the author of the German and Latin tetrastichs which make up the text of the book.
		Considering that Ovid's original poem ran to nearly 12,000 lines in 15 books, it is clear that in this version the commentary of quatrains is of secondary importance to the forceful illustrations.
		Certainly, these cuts for the Metamorphoses proved to be extremely popular and were widespread, the blocks being re-used in 25 successive editions up to 1652, with accompanying texts in Dutch, Flemish, German, Latin and Spanish.
	special.lib.gla.ac.uk /exhibns/month/sep1999.html (912 words)

	Amazon.com: The Metamorphoses of Ovid: Books: Ovid,Allen Mandelbaum (Site not responding. Last check: 2007-11-05)
		Publius Ovidius Naso, whom we know as Ovid, was already established as a writer when The Metamorphoses was published in A.D. 8, when he was 52 years old.
		It had taken him a decade to compose his great poem, during which time he published little, but the Roman world was still abuzz with excitement over his richly erotic Art of Love.
		Ovid's poem begins with a creation out of chaos and into the golden age, traces the famous careers of Orpheus, Hercules, and Achilles, and culminates with the ascension of Augustus Caesar.
	www.amazon.com /exec/obidos/tg/detail/-/0156001268?v=glance (1469 words)

	Amazon.ca: The Metamorphoses of Ovid: Books (Site not responding. Last check: 2007-11-05)
		The first part is a prose translation of Ovid's fifteen-book, 12,000-line Latin poem on transformations effected by the Roman versions of the Greek gods, with footnotes indicating when, how and why Simpson is departing from a commonly used text (the Loeb Classical Library edition).
		So are complex problems of the structure of the whole poem, and its parts, such as the tangle of cross-reference, tales told by characters in stories told by characters in Ovid's narrative.
		In Latin, the Metamorphoses is a vivid and swiftly-paced poem, a richly-textured mix of stories that are amusing, witty, and always entertaining.
	www.amazon.ca /exec/obidos/ASIN/1558493999 (1283 words)

	Great Works in Dialogue
		The scenes Vulcan has carved on the doors of the Sun's palace are presented as an ekphrasis (the rhetorical term for a formal description in poetry of a natural setting or an artwork).
		This is the first of three instances of ekphrasis in the poem.
		The other two are the tapestries of Minerva and Arachne (6.70-128) and the scenes engraved on Aeneas' wine-mixing bowl (13.685-99 – although you have not been assigned this passage, you may want to consult it for fun).
	www.stanford.edu /group/areaone/clross/quarter3/ovid (835 words)

	Study questions 11
		In a poem without a single protagonist in the story, his continuous presence through the long poem makes the narrator himself into the epic hero in a sense.
		His is a style, therefore, that blends the "classical" model for epic [Homer, Virgil] with the "Hellenistic" [Apollonius, Catullus, Virgil (that is to say that since Virgil himself blends epic styles, he can variously be used as a model for either style)].
		Identify some ways in which this stylistic blending plays out in such areas as form and scope of the poem, narrative technique, subject matter, etc. Identify a specific passage in the Metamorphoses that can be analyzed in these terms as either "classical" epic in nature or more "Hellenistic" in its orientation.
	www-unix.oit.umass.edu /~class263/questions11.html (421 words)

	[No title]
		Recent scholarship on the poem, disseminated in three major collections of essays---Ovidian Transformations (Cambridge 1999), The Cambridge Companion to Ovid (Cambridge 2002), and The Brill Companion to Ovid (Leiden 2002)—and in other major books, has pushed critical understanding of the poem in provocative and fruitful new directions.
		At the same time, Ovid’s Metamorphoses has retained its popular appeal; Mary Zimmerman’s play Metamorphosis attracted full audiences in New York after 9/11, a sign of the poem’s enduring and transformative attraction, as each generation appropriates the poem and interprets it according to its specific social and political conditions.
		Drawing on recent scholarship on the poem, we will discuss some of the critical issues raised by the poem, issues involving genre, gender, the aestheticisation of violence, Roman politics, the role of wit and word play, the complex meaning of ‘metamorphosis.’ Students will be expected to report on scholarship on the poem.
	www.wisc.edu /english/renaissance/files/Metseminar.doc (601 words)

	Ovid's Metamorphoses
		Metamorphoses, composed between 2 and 8 C.E. and completed just before our poet's relegation to the Black Sea, in Tomi (today Costanza).
		Metamorphoses: The Mulberry Tree in the Tale of Pyramus and Thisbe.”
		Tissol, G. “The House of Fame: Roman History and Augustan Politics in Metamorphoses 11-15.” Companion to Ovid, ed.
	www3.baylor.edu /~Antonios_Augoustakis/Ovid.html (1018 words)

	Bryn Mawr Classical Review 2004.09.46
		Simpson's translation of Ovid's Metamorphoses includes a table of contents listing the stories in each book (vii-ix), a brief introduction to Ovid and the poem (1-6), a prose translation (9-272), endnotes in the form of a running commentary (273-469), a bibliography (471-478), and an index of names (479-97).
		First time readers, whether undergraduates studying the poem in a class, or general readers with little or no Latin, will get a good sense of Ovid's poem from the translation.
		They might be daunting to an undergraduate who is overwhelmed by the complexity of Ovid's poem and only wants to find out who, say, Hermaphroditus is. Some of the notes are two or more pages long.
	ccat.sas.upenn.edu /bmcr/2004/2004-09-46.html (1680 words)

	Middlebrook describes hypertext teaching: 2/98
		"Students who came to the course on Ovid's Metamorphoses were walking into a longstanding desire of mine that had never found an academic home before to dedicate myself for 10 weeks to my interest in and fascination with the poem," Middlebrook said about the focus of the freshman and sophomore seminar.
		Noting that the 17,000-line poem never has been out of circulation in the 2,000 years since it was written, Middlebrook said, "The kinds of questions the poem poses really do provide an occasion for the acquisition of skills in research in the humanities."
		In addition to exploring the literary context of the poem, students also choose an object or historical topic to research, such as a bow and arrow, lyre or Mount Parnassus.
	stanford.edu /dept/news/report/news/1998/february18/middlebrook218.html (857 words)

	Fiona's Epics Page (Site not responding. Last check: 2007-11-05)
		Analysis of major characters - a brief character analysis of the main characters of the poem.
		The structure of Ovid's Metamorphoses a very basic breakdown of each book in the poem.
		'Ovid's Poetology in the Metamorphoses' - an essay on Ovid's poetic aims in the Metamorphoses.
	ilex.cc.kcl.ac.uk /year1/2003/leaper/page3.html (728 words)

	hum110-kerr
		Ovid is retelling stories and thus his text is like the characters he is writing about something that is being transformed.
		Also pay careful attention to who is telling a given story and note when the narrator of the poem seems to speak himself.
		The dactylic hexameter of the poem's meter identifies the work as, in fact, an epic.
	academic.reed.edu /Humanities/Hum110/kerr/class/spring5.html (649 words)

	ENGL 2111 Blog » Metamorphoses Assignment (Site not responding. Last check: 2007-11-05)
		The poem “Metamorphoses” encompasses the true meaning of love.
		Metamorphoses is full of unhappily ever afters, most of the time because the love that one person or god feels is not reciprocated by their love interest.
		However, in the case of Iphis and Ianthe there is a happily ever after and their love truly does conquer all of the obstacles they faced.
	litmuse.maconstate.edu /~dsidore/2111blog?cat=12 (515 words)

	Rupp: Ovid’s Never-Ending Metamorphoses
		Tristia I.vii contains Ovid’s own commentary on the Metamorphoses in which he states that he was unable to finish the poem because of his exile by Augustus.
		Tristia II.63 reads “Inspice maius opus, quod adhuc sine fine reliqui.” Scholars have noted that this may be interpreted as a reference to the poetic career of Vergil, who reportedly never had chance to add his finishing touches to the Aeneid and wished that it be burned instead of published.
		The Metamorphoses, as a collection of bodies changed into new forms, can never end and never be truly finished; Ovid is joking with his readers and any claims of a finished draft of the poem are riddled with irony.
	www.camws.org /meeting/2004/abstracts2004/rupp.html (241 words)

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