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compare greek and roman literature
greek and roman literature similarities
ovids metamorphosis essay
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In Ovid Metamorphoses, the Roman literature described the ruthless act of Pluto of rape, to seize and carry away Proserpine without the consent of Ceres and in parallel in the Homeric Hymns of Demeter; Persephone was seized and carried away by Hades without the consent of Demeter. The invariant theme that was identified in both the Greek and Roman literature was the loss of innocence of Persephone/Proserpine. Despite the various differences the story was presented, it reinforced the innocence that was stolen from the god of the underworld, Hades or also known as Pluto. Throughout this paper, it will discuss the similar characteristics of the two myths such as the motive that led and encouraged the god of the underworld to kidnap Persephone/Proserpine, and the aftermath caused by the grief of the mother of the abducted Persephone/Proserpine. The paper will also discuss the differences between the two literatures, such as the involvement of other gods and goddesses.
In the earlier Greek source, the Homeric Hymns to Demeter illustrated Persephone as a youthful innocent goddess picking flowers with her youthful playmates “the girl was playing with the deep-bosomed daughters of Okeanos picking flowers, roses, and crocus, and beautiful violets” (HHDem. 4-6). In parallel, in Ovid’s text, features and characteristics of the youthful goddess were still retained. Proserpine, the equivalent Greek goddess of Persephone, was also found playing and picking flowers “Here Proserpine was playing in a glade of flowers… filling her basket and her lap to gather more than the other girls” (Met., p. 111). In Ovid Metamorphoses, Proserpine’s sphere of influence was still retained with equivalent Greek goddess of Persephone, the goddess of spring, si...
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...caused by the grieving mother from the abduction Persephone/Proserpine. However, despite the similarities of the two literatures, Ovid incorporated and altered new elements and characters into the myth of the abduction of Persephone/Proserpine. Incorporation of Venus and Cupid greatly altered the similar story of the Greek and Roman literature, involving cupid’s arrow though Pluto’s heart, Venus not wanting another girl to remain a virgin, and her desire to extend her power. In conclusion, each argument that was discussed in the paper reinforced the invariant theme that was identified in both the Greek and Roman literature, the loss of the innocence of Persephone/Proserpine.
Works Cited
Shelmerdine, Susan. The Homeric Hymns. Newburyport MA: Focus Publishing, 1995. Print.
Melville, D, A. Ovid Metamorphoses. Oxford New York: Oxford University Press, 2008. Print.
The book then talks about viewpoints of women, both real and those who face tragedy. Women during this time were very secluded and silent, but the heroines contradicted that. This chapter talks about the images of women in the classical literature in Athens, and the role they had in society. Many tragedies were ones that formed by mythes during the Bronze Age. It showed the separation in what made women heroic, rather than average. While viewing other Scholarly sourcese, Pomerory writes her own theory, she used others
Being described as “like four goddesses” while Demeter herself is divine and yet, unrecognisable as such seems to hark back to their youth and beauty as a divine gift, while Demeter, in her grief, appears to lose divine status (Hymn to Demeter,108, 94-95, 108). Her grief is almost transformative, the lines “men nor… women recognised her when they looked” characterises grief as something that has made Demeter look human (Hymn to Demeter, 94-95). In travelling from Mount Olympus to earth, an action fuelled by her grief, she becomes a metaphor for a step-down in status from deity to mortal (Hymn to Demeter, 92-93). This reflects the implications of women losing their status as mothers and membership to a family in ancient Greece, when they either cannot bear children, or lose their children.
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.
The depiction of the Greek and roman myths are given unique insights from different authors. The Hymn to Demeter and Ovid's Metamorphosis provide and insight to Demeter's love for her daughter, Persephone, and explores its affect on the surrounding environments. The theme of separation and isolation is present in both of these myths, however, in Ovid's Metamorphosis, he symbolizes the environment in important events, has characters playing different roles, and empowers female deities.
The purpose of the paper is to compare and contrast the characters of Penelope in the epic, The Odyssey, Lysistrata in the comedy, Lysistrata, and Medea in the tragedy, Medea. The writer will first give a brief synopsis of each character, followed by a comparison and climaxing with the contrast.
In The Metamorphoses, Ovid’s book six tells us a story about Arachne who is the daughter of Idmon and an incredible weaver, challenged by the goddess Minerva. When Arachne wins the challenge it causes Minerva to strike back with violence. While reading Ovid’s stories, we recognize that he wrote stories based on the way the mind contemplates trauma. Ovid is interested in human awareness, and he helps us comprehend the emotions of the powerful and powerless. The gods express possessiveness, envy, and anger towards each other. At this time, in Ovid’s Roman World the gods have the power to manipulate and use their evil strategies. I will be concentrating on Arachne and Minerva; how their emotions take a big sorrow during the time when the powerful takes over the less powerful and punishes them abusively. I will deliberate primarily on the themes of emotions, power, of the gods to show the powerless.
In Ovid’s Metamorphoses the myth of “Diana and Actaeon” is written using descriptive diction and symbolism. The symbolism creates ambiguity leading to many possible interpretations of the myth. One symbolic line is that shows the fear expressed by Actaeon and Diana is: “so deeply blushed Diana, caught unclothed” (Ovid, III, 188). Both Diana and Actaeon become caught figuratively and literally in the myth. Caught prey reacts instinctively and both Actaeon and Diana react likewise. By viewing the myth from Diana and Actaeon’s individual perspective they both experience mental anguish for being caught.
There are many women in the poem that acquire such extraordinary elements, all of which have been evaluated and considered in to demonstrate their impact against the affairs that delay the foundation of Rome. The ideal woman in ancient Rome is distinguished as someone who is apathetic, honest, and primarily, a women showcases qualities that are of which are the contradictory to men. The dominant ideology of Ancient Rome in the Aeneid, indicates that anything different or contrary to this assumption will cause chaos. Vergil’s work in this epic disputes the binaries of male and female, expressing higher capacity to women and the depths to which their behaviour stimulates warfare in Italy. The Aeneid accommodates many circumstances regarding female roles and what attaining these inhospitable characteristics bears. By intensely analyzing the detrimental and unpleasant characters of Juno and Allecto, it is evident to comprehend how their characters in the epic illustrate women who are anarchic, lethal, and better voluntarily. The goddess Juno seeks to end the Trojan line, simply because of the judgement made in a beauty contest by the Trojan Paris. Not only Juno loath the Trajan race entirely, she takes it upon herself to utterly upset the natural balance by enticing Aeolus, the god of winds, to create a storm so vast that it throws Aeneas and his men off course. Juno upsets Jupiter, the mightiest of all gods, as her wrath reaches the highest peaks of Olympus, yet even after Jupiter speaks her to, Juno continuously attempts to eliminate Aeneas and his crew. The goddess does not stop here; she invites Allecto up from the depths of the underworld with intentions of delivering hell on earth, and astonishingly opens gates of war. The demon Allecto who thirsts for strife and craves destruction, plays a
Prometheus Bound is quite different from other tragedies in that it is peopled entirely by gods. The play focuses on the story of Prometheus, and we have versions of this myth in Hesiod's famous works. There is reason to think that the author of Prometheus Bound was not only acquainted with Hesiod's version but actually drew on Hesiod directly in this play. This essay therefore aims to establish in what ways the author of Prometheus Bound seems to have drawn from Hesiod's version of myth, in what ways he has diverged from it, and what reasons he might have had for making these changes and innovations. This might therefore highlight any particular emphasis or purpose of Prometheus Bound and what its author might have been trying to get across. Though there is not space in this essay to discuss the problems of attributing this play, it must be recognised that this ambiguity of authorship and dating makes it even more difficult than usual to look at views and purposes behind the play.
The gender roles in Vergil’s Aeneid are a complex composition that can be read differently from varying contextual views. Particularly nuanced is his representation of female characters, both goddess and mortal. The intricacy of this representation stems from the dichotomy of a modern reading compared to the contemporary values of the time. Current values and norms have socialized the modern viewer to view Vergil’s female representations through culturally constructed roles, or tropes. Juno and Venus both exemplify traits that a modern viewer may identify as that of a woman scorned. Similarly, Dido and Amata reflect the typical characterization of the hysterical woman. It is these culturally constructed concepts that are subliminally framing the work for the modern reader that can cause a discrepancy in representation. Therefore, readers can interpret that Vergil is depicting the female characters as irrational, and are a stark contrast to the males of the epic, particularly Aeneas. However, contemporary values revealed that the motivations of the female characters were in fact normal. Pietas, the Roman value that called for devotion to the state, gods, and family, can be seen as the catalyst of action for all of the female characters. Consequently, the female characters actually embody many of the same values of Aeneas. For this reason, modern viewers can be faced with difficulty determining the representation of women in the Aeneid. Throughout the epic, Vergil seems to portray women as irrational and meddlesome from a modern point of view. However, their motivations are driven by virtues of devotion that were typically accepted by contemporary standards and associated with men as represented in the epic, such as Aeneas.
Willner, Dorothy. “The Oeduipus Complex, Antigone, and Electra: The Woman as Hero and Victim.”American Anthropologist, New Series, Vol. 84, No. 1. (Mar., 1982), pp. 58-78. JSTOR. http://links.jstor.com 6 Dec 2004.
The purpose of this essay is to demonstrate that the events in Oedipus the King, written by Sophocles, are the result of the hero’s self determination and restless attempt to escape a terrifying destiny predicted for him by the oracle of Apollo at Delphi. My intention is to prove that although the Fates play a crucial part in the story, it is Oedipus'choices and wrong doing that ultimately lead to his downfall.
It is inferred that the parents should take care of their children and have their best interest at heart. This however, is not the case in Greek and Roman mythology. The killing of ones own children, or filicide, was not viewed as negative upon in their era. The contemporary times contrast with the ancient Greek and Roman’s because it was justified to use any means necessary to obtain a higher status. The Greeks and Romans valued keeping a high social reputation and having respect for those of great power. The motherly union between their children conflict with the reality that the father strives to retain or gain control. These circumstances cause a tense bond between the members of the family. The strained parent to child relationship in Greco-Roman myths is prevalent in the fact that the parents are fearful of being overtaken by their children, and endeavor to limit their upbringing.
The ancient Roman tale known as the “Rape (or seizure) of Sabine Women” depicts women, taken against their will by Roman captures and married to Roman men. These women later, intervene in a battle between their new husbands and their angry brothers and fathers. The ancient tale depicts Roman ideology and practices of marriage. It shows how a bride was transferred from living under her father’s jurisdiction to being ruled by her husband. The capture of the Sabine women, the war that follows, and the final truce brought upon the Sabine women themselves are direct relation to the separation of a young bride from her maternal family, the transfer of authority, and her beginning in her new family. The tale is told by two philosophical figures of Roman history. Livy, whom writes about the events in 30 B.C.E and Ovid whom rights about them nearly a generation later1. Both have different views on the event, its meaning, and its relevance. The two men also share the same thoughts in regards to their view masculinity and power.
If nothing else, this essay has proven the synthesis of Aristotelian and unconventional tragic elements, through the use of the tragic hero, the three unities and the support of a cathartic response from the audience. Also though, with disregard to many Aristotelian rules, to create perhaps not a dramatic success by Aristotle?s ideals, but undoubtedly an effective and challenging text which is Medea.