As a picture, Perseus and Andromeda ( Plate 3.6 ) can non narrate the events in the same manner as Ovid ‘s text, but alternatively captures the minute of Perseus ‘ battle with the sea monster. Tiziano vecellio ‘s picture could be considered a interlingual rendition of Ovid ‘s verse form insomuch as the cardinal elements of Ovid ‘s myth remain ; it is reliable in its representation and there are adequate correspondences between the two pieces to do it clear that Ovid ‘s Metamorphoses is Titian ‘s original beginning. Having said that, Titian produced Perseus and Andromeda for a specific individual and intent, in the mode of other Renaissance creative persons, and, it was intended to be viewed together with the remainder of the Poesie ( Gould ) , so the picture could be described as a loanblend, or even a refiguration of the Ovidian fable.
The picture shows Andromeda chained to a stone, her vulnerable pose contrasting obviously with Perseus ‘ powerful lurch. There is no reference in Ovid ‘s text of either Perseus or Andromeda ‘s vesture, except for Perseus ‘ sandals ; Titian has respected Ovid ‘s work in this facet, giving Perseus his winged sandals alternatively of the Pegasus that other creative persons have favoured. Andromeda ‘s nudity in the picture symbolizes her artlessness and exposure, features besides shown in Metamorphoses ( Ovid 670-675 ) , and besides reflects the Renaissance civilization in which the picture was produced. Gould quotes Titian ‘s letters to Philip II as grounds of the titillating facet of Andromeda ‘s nakedness, peculiarly when considered with the other poesia. ( Gould ) This nakedness, when taken together with the bright colorss used for Perseus ‘ vesture, places the accent clearly on the soon-to-be twosome ; our eyes are instantly drawn to the incapacitated miss expecting deliverance by her hero. Ovid besides seems to foreground the hero ‘s battle, giving about a 3rd of the full narration to it. Titian parts from his beginning nevertheless, by consigning Andromeda ‘s parents to the background, if in fact, they appear at all – in the utmost right background, a metropolis is seeable, and on the shore, a group of people ; it is non clear nevertheless, whether this group includes her parents, or are those mentioned towards the terminal of Ovid ‘s narrative ( Ovid 735 ) . Titian once more follows the Metamorphosiss with his inclusion of what appear to be shells and coral at Andromeda ‘s pess. The shells presumptively represent the Nereids and are a reminder of the ground for Andromeda ‘s destiny, while the coral recalling Ovid ‘s allegorical description of its creative activity ( Ovid 740-753 ) . The staying portion of Ovid ‘s narrative, Perseus ‘ forfeits to the Gods, does non look in Titian ‘s picture. This may be merely because, in concentrating on Perseus ‘ battle with a sea monster, the painting needfully becomes a seascape and the forfeits that Ovid describes occur on land.
In my sentiment, Titian ‘s representation of Perseus and Andromeda is sympathetic to his beginning and invokes the exhilaration of Ovid ‘s ain words. The Renaissance representation reflects some of Ovid ‘s more misogynous elements. My lone unfavorable judgment of the Titian piece is the figure of Perseus, who seems to me to be falling, non contending. Personally, this gives the painting a amusing facet that I ‘m certain the creative person had non intended and detracts from Ovid ‘s ain emphasized relation of the myth.
Part 2 ( 75 Markss )
Write an essay of non more than 2,000 words on the followers.
In what ways does Ovid pull strings a myth in order to foreground his subject of metabolism? Do you see that this technique can decrease the myth ‘s impact and coherency at times? Answer with mention to a specific mythic narrative in Metamorphoses.
Ovid ‘s heroic poem verse form brings together a aggregation of once unrelated myths connected by a common subject ; metabolism. The transmutations described by Ovid normally occur as a consequence of love or lecherousness, consensual or otherwise, and are frequently used to explicate the beginnings of peculiar animate beings, workss or natural phenomena. Since Ovid wrote his Metamorphosiss, it has frequently been used as a beginning of myth, nevertheless, when compared to other beginnings, it is clear that Ovid manipulated the myths, exposing his cognition of the myths and uniting and dividing them into new signifiers to accommodate his ain docket. Of class, it is the nature of myth that they should be moulded and transformed in each retelling, and this is evidenced in the extant plants of the Grecian tragedians. Ovid is, at times, faithful to his beginnings, but at others, he appears to please in his use of the traditional myths.
Ovid ‘s chosen subject of transmutation is non merely seen explicitly within the myths, for illustration in Arachne ‘s transmutation into a spider ( Ovid 6.140-145 ) , but besides implicitly in Ovid ‘s ain transmutation of the standard version of the myths in the classical universe. Homer or Hesiod ‘s intervention of myth is serious and deliberate, uncovering much about the Gods ‘ destructiveness, unpredictable tempers, loves, and personal blood feuds, looking to specify the writers ‘ perceptual experiences of life itself. While the events may be dramatic, irrational or even amusing, they are presented as serious perceptual experiences on the ‘way things are ‘ . Modern readers can understand how such narratives would explicate things such as natural phenomena or the being of certain animals. Ovid ‘s Metamorphoses nevertheless, appears to be chiefly a aggregation of narratives for the interest of amusement and Ovid ‘s ain celebrity. Whilst some of the myths retain their didactic elements, for illustration, Teiresias ‘ prognostication that Narcissus would populate a long life “ so long as he ne’er knows himself ” ( Ovid 3.348 ) , others appear to merely stress the Gods desire to penalize, for illustration Diana ‘s penalty of Actaeon ( Ovid 3.139-252 ) . In fact, this alteration in attitude to the myths in the remotion of some of the moral significance can besides be described as a metabolism. Ovid besides includes other transmutations in his heroic poem verse form, such as transmutations in human civilization or in the natural universe. Ovid foreground his subject throughout the Metamorphoses, stressing that everything alterations, and that in fact, is the lone invariable ( Ovid 15.176-452 ) .
The transmutation of Narcissus is one of the best-known of the Grecian myths and has inspired authors and creative persons for over two thousand old ages. There are several extant versions of the myth ; the most well-known of these is Ovid ‘s version, found in Book III of his Metamorphosiss ( completed 8AD ) . Until late, bookmans assumed that Ovid ‘s version was the earliest ; nevertheless an earlier version was discovered among the Oxryynchus papyri motivating Dr Benjamin Henry, the Oxford bookman who discovered the verse form, to claim that “ the myth was altered by Ovid to broaden its entreaty ” ( Keys ) . This version, attributed to the poet Parthenius of Nicaea, is thought to hold been composed some 40 old ages before Ovid ‘s version, and ends with Narcissus perpetrating self-destruction. Conon, a coeval of Ovid ‘s, tells the same myth in his Narratives and like Parthenius, ends it with Narcissus ‘ self-destruction, while Pausanias ‘ ulterior version has Narcissus autumn in love non with himself, but with his twin sister ( Jacoby ) .
Conon ‘s version is a more moral relation of the myth that sees Narcissus punished by the Gods for his pride and amour propre. The immature adult male Aminias fell in love with Narcissus, and, like his fellow suers was spurned by him, so “ took his blade and killed himself by the door, naming on the goddess Nemesis to revenge him. ” ( Atsma ) As a consequence of Nemesis ‘ expletive, Narcissus fell in love with a contemplation of himself in a watercourse, and in desperation and guilt over his intervention of Aminias, Narcissus killed himself. That his decease was more barbarous than that portrayed in Ovid ‘s Metamorphoses is clear in Conon ‘s claim that “ From his blood sprang the flower. ” ( Atsma )
Ovid ‘s version of the myth begins with Teiresias ‘ prognostication that Narcissus should ne’er cognize himself ( Ovid 3.348 ) , and so digresses with the narrative of Echo. Echo, cursed by Juno for assisting Jupiter to hide his criminal conversation, was merely able to “ reiterate the words she heard at the terminal of a sentence and ne’er answer for herself ” ( Ovid 3.369 ) . When she saw Narcissus runing in the forests, she, like many others before her, fell in love with him and followed him, reiterating his last words in an effort to pass on with him. When eventually, feels encouraged plenty by his words – “ We must come together! ” ( Ovid 3.386 ) – to demo herself, he rejects her harshly, “ Hands off! May I die before you enjoy my organic structure! ” This is an dry pick of words give his at hand death, and Ovid is pull stringsing the tone here to reflect his earlier description of Narcissus as “ difficult and proud ” ( Ovid 3.353 ) . Echo was left ashamed and broken-hearted, finally blowing off until merely her voice, an reverberation, remained. The connexion between Echo and Narcissus appears to be Ovid ‘s ain innovation since there are no earlier histories that link the two characters. Ovid ‘s going from the received narrative enables him to include two farther metabolisms in this verse form. The first of these occurs when, in her choler, Juno transforms Echo from the cunning nymph with a “ prattling lingua ” ( Ovid 3.367 ) to a “ hapless animal ” ( Ovid 3.374 ) who could merely reiterate others ‘ words, the 2nd when Narcissus ‘ rejection of Echo triggers her farther transmutation into “ a mere voice ” ( Ovid 3.359 ) .
The inclusion of Echo in the Narcissus narration may non hold been usual in Ovid ‘s clip, but my first reading of the Narcissus myth was in Ovid ‘s Metamorphoses, so for me, the two characters have become genuinely interlinked. I am non inclined to commiseration Narcissus, so for me, the Echo narrative heightens the tragic timber of the full narration. Without the inclusion of Echo, the Narcissus myth becomes merely a narrative of a proud, chesty male child acquiring his deserts, but Echo ‘s narrative invites compassion and even a desire for justness. Together with the extra chances for metabolisms that her narrative provides, Ovid ‘s inclusion of Echo as a new portion of the Narcissus myth was in my sentiment, inspired, and resulted in a more compelling narrative.
With his metabolisms of Echo complete, Ovid returns the focal point to Narcissus ; at the entreaty of “ one of his despised supporters ” ( Ovid 3.404 ) , Nemesis curses Narcissus to “ fall in love and ne’er obtain his desire ” ( Ovid 3.405 ) . We so encounter the first of Narcissus ‘ ‘transformations ‘ – the alteration from thirsting for H2O to thirsting for himself. Another transmutation is Narcissus ‘ ain character, altering from an chesty young person with a “ bosom so difficult and proud ” ( Ovid 3.354 ) through love to an anguished young person who welcomes decease as an terminal to his grief. Ovid subtly alludes to these more inexplicit transmutations that infuse his Metamorphosiss.
Of class the most expressed transmutation of the Echo and Narcissus narrative is Narcissus ‘ ain transmutation into the narcissus flower. This is the flood tide of the myth, the realization of the subject of metabolism. Narcissus ‘ metabolism is the consequence of his pride, amour propre, and his intervention of his supporters ; as he rejected others, he is rejected by himself, going both the topic and object of unanswered love. Even in decease, Ovid suggests that his haughtiness continues ; “ as he crossed the Styx to ghostly Hades, he gazed at himself in the river ” ( Ovid 3.504 ) . Ovid builds the suspense of the transmutation itself bit by bit, non uncovering the result until the concluding line in the narrative ; “ The organic structure, nevertheless, was non to be found – merely a flower with a cornet of gold and pale white petals ” ( Ovid 3.510 ) . The fact that the narrative terminals with the ensuing metabolism illustrates Ovid ‘s desire to foreground his subject. Ovid uses metabolism to research the societal and cultural branchings of the events in his verse form, for illustration, Narcissus ‘ rough intervention of Echo resulted in her transmutation into “ a mere voice ” ( Ovid 3.359 ) – Echo basically ‘lost herself ‘ to love.
Gildenhard and Zissos believe that the poetic signifier of Metamorphoses is interrupted by the narrative of Narcissus, claiming that this confirms that the inclusion of this myth was an reconsideration that Ovid felt was necessary to verify Teiresias ‘ prognostications. They believe that the Narcissus myth is a replacing for the Oedipal figure that would be expected at this point in the Theban books, citing Hardie ‘s remarks that “ Behind the Narcissus narrative there hovers the figure of the Sophoclean Oedipus, the glowering absence from the narrative surface of Ovid ‘s Theban books, Metamorphoses 3 and 4, but a ghostly presence in much of the play of sightlessness, sight, and insight, peculiarly of the 3rd book. ” ( Gildenhard and Zissos 3 ) Their essay explores the intertextuality between Sophocles ‘ Oedipus Tyrannus and Ovid ‘s Narcissus myth, claiming that “ Oedipus and Narcissus emerge as thematic mirror contemplations of each other ” ( Gildenhard and Zissos 13 ) . Gildenhard and Zissos conclude that Ovid ‘s inclusion of Narcissus over Oedipus stems from a desire to concentrate on the members of Cadmus ‘ household, and that Oedipus ‘ narrative “ would [ non ] have lent itself easy to inclusion within the tightly knit patterning of Cadmus ‘ girls and nephews ” ( Gildenhard and Zissos 17 ) . However, in my sentiment, the narrative of Echo and Narcissus is merely more appropriate to Ovid ‘s chosen subject. Even if Ovid did include it as an reconsideration, or a manner of turn outing Teiresias ‘ prognostications, he does so in such a manner that it amplifies his metabolism subject.
The narrative of Echo and Narcissus is one of my favorite classical myths, and besides inspired one of my favorite pictures – Salvador Dali ‘s Metamorphosis of Narcissus. The calamity, the choler and the justness of the myth come together with the transmutations of the characters to bring forth a capturing narrative. The freshness and originality with which Ovid presents a well-known narrative make it unambiguously Ovidian. His authorship is graphic and the narrative moves rapidly, and whilst some may see the inclusion of Echo a aside, the narrative still flows. In my sentiment, Ovid ‘s use of some of the cardinal elements of the myth helps to heighten it farther. The Parthenius and Conon versions of the myth that terminal in the self-destruction of Narcissus lack the poetic justness of Ovid ‘s slow diminution. In Ovid ‘s versions of the myth, Narcissus ‘ gradual melting off mirrors Echo ‘s death, and in this manner, one time once more high spots Ovid ‘s subject of metabolisms. When Narcissus is deceasing, he is non concerned about the universe around him, approximately nutrient, drink or slumber ; he takes his last breath by the image he has fallen in love with but can ne’er obtain ( Ovid 3.405 ) , and so dies entirely, without love. Ovid ‘s consummate handling of the narrative gives it an strength that can be difficult to happen in retellings of classical myths, but Ovid ‘s Echo and Narcissus has stood the trial of clip and continues to animate other authors and creative persons even today.
WORD COUNT: 1829