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Theme of transformation in metamorphosis by ovid
Psychology and literature essay
Theme of transformation in metamorphosis by ovid
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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. Arachne and Minerva reveal the conflict between the powerful and the powerless. As we can …show more content…
Even though she was innocent and didn’t really do anything besides getting the gods upset she was in danger, because of her irresponsible actions. Arachne, a mortal, generates tapestry that expresses a completely different story. Not only, but also when Arachne wins the battle and everyone recognizes her skills, this makes Minerva upset. That being acknowledged, when Minerva loses the battle since she had power on her side, Minerva takes advantage of Arachne through brutality. Minerva is so enraged by Arachne’s skills she begins to beat her. Furthermore, in this example, “a boxwood shuttle lay at hand-with that, three and four times struck Arachne’s forehead,” shows that the goddess Minerva doesn’t have sympathy or remorse when she acts out of fury which demonstrates the manipulation among the powerful and the
He had to get back at her by going through her family instead of going directly to her. Minerva was brave enough to slap the dictator. She was stronger than him, and she was incredible. Minerva was the most heroic of her sisters. She introduced her family to the rebellion.
could get into a lot of trouble but she didn't care. Minerva stated "She didn't mean any
“But Minerva, your own child—" I began and then I saw it did hurt her to make this sacrifice she was convinced she needed to make” (155). Minerva asks her sister to take her son, Manolito, because she is going to be moving a lot for her revolutionary activities. Her sister Patria at first doesn't understand how she could give up her child; but she realizes that it isn't that Minerva doesn't care. She's making an immense sacrifice for what she believes in. Minerva has consistently sacrifice herself in her combat of injustice, and expects the same of those around her. When Minerva got out of prison, she talks about sacrificing her peace of mind, “I hid my anxieties and gave everyone a bright smile. If they had only known how frail was their iron-will heroine.” (259) In the end Minerva finally sacrifices her life along with most of her other sisters.
While working, there were people who would come from remote areas and watch her weave skillfully. On page 19, the text says, “If Athene herself were to come were to come down and compete with me, she could do no better than I.” Her bold action was challenging Athene, a goddess, to a weaving competition. Additionally, on page 19, “Arachne herself flushed red for a moment, for she had really believed that the goddess would hear her.” Arachne took an action that could possibly embarrass herself. During their competition, Arachne had designed “a pattern of which showed evil or unworthy actions of the gods, how they had deceived fair maidens, resorted to trickery, and appeared on earth from time to time in the form poor and humble people.” and Athene had designed “a border of twined branches of the olive, Athene’s favorite tree, while in the middle, figures began to appear. As they looked at the glowing colors, the spectators realized that Athene was weaving into her pattern a last warning to Arachne.” Athene had created that embroidery to warn Arachne, and Arachne made an embroidery to disgrace the goddess. Arachne’s bold action caused Athene to be angry and then turned Arachne into a spider. Arachne’s consequence for her bold action was her descendants and herself to turn into
"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.
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.
Minerva, as is further revealed later in the story, always has a hero’s attitude to situations, in the sense that she feels it is her responsibility to be brave so that others don’t have to. The earliest example of this occurs when Sinita tells Minerva her secret concerning Trujillo. While Sinita is telling Minerva the secret, Minerva, frightened, begins to cry, but pinches her arm because she
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...
In the Homer's epic poem the Odyssey, there are many themes that serve to make a comment about the meanings of the story. The theme of women in the poem serves to make these comments but also establishes a point of view on women in the reader. From this point of view, a perspective is developed into the "best" and "worst" in women. Achievement of this is through the characterization of many women with single notable evil qualities. Similar to the biblical story of Adam and Eve, Eve like the many women in the Odyssey brings about pain and suffering for mankind. Contrary to the depicting of women as roots of evil, the reader sees the other traits of women that are most desirable. The roles of these women are achieved by their portrayal throughout the poem. This in return has a significant affect on how the poem and the message that is conveyed.
Death is the end to the natural cycle of life and is represented as dark, melancholic and even menacing. The underworld is depicted as a murky and sinister realm where the dead are trapped in a world of eternal darkness. Ancient drama, however, defies the conventional perceptions and representations of death. Despite the foreboding associated with it, characters in ancient drama embrace death in its frightening glory, rather than face the repercussions of their actions, especially when their honor and pride are at stake. Deceit is also an integral part of ancient drama and characters, particularly women, fall prey to it and unwittingly unleash chaos that more often that, negatively impacts the lives of the characters. This paper demonstrates how gender biases can be interpreted from the depiction of death and the characters’ justifications of it in two of Sophocles’ plays – Ajax and Women of Trachis and also demonstrates how female deception leads to the death of the principal character(s).
Minerva does not try and escape even though she “is always sad like a house on fire—always something wrong. She has many troubles, but the big one is her husband who left and keeps leaving” (Cisneros 63). Minerva is clearly unhappy, but because she is accepting of her role and she will not leave him. She does not have the power to leave her husband and if she tried she would probably be beaten or worse. Esperanza wants to help Minerva but there is nothing that she can do for her: “Next week she comes over black and blue and asks what can she do? Minerva. I don’t know which way she’ll go. There is nothing I can do” (Cisneros 63). Esperanza knows that she cannot do anything for Minerva. It will take the power of Minerva removing herself from the abusive situation to actually save herself. Minerva having no power in her marriage is a clear relationship back to the theme of women accepting their role with men as their superior.
The gods in power, like Zeus, exhibit bias, dishonor, betrayal, deception, and many other humanly characteristics. One memorable scene is when Zeus and Poseidon are in conflict with each other over the Achaens versus the Trojans. Zeus controls the battle by “lifting the famous runner Achilles’ glory higher,” (Homer 13: 404). Zeus plays both sides in this scene, acting like a double agent which is dishonorable. Zeus’s bias is prevalent throughout the poem; specifically, he is “bent on wiping out the Argives, down to the last man,” (Homer 12: 81-82). Just like mortals such as Agamemnon and Achilles view each other with suspicion and intolerance, the gods experience identical emotions of wariness, anger, and irritation. This human-like behavior is not restricted to Zeus. Later in the text, Hera lies to Aphrodite to use her powers to manipulate her own husband Zeus. If one looks at Hera as a heavenly entity, her reaction may not make sense, but when it is viewed as a manifestation of human emotion, it become almost reasonable. Her scheming response to Zeus’s meddling with the war is spurred by her support for the Trojans. Hera’s manipulation and Aphrodite’s ego don’t stand alone as examples of this divine humanity. These instances suggest that the deities are being presented in this unique way to help explain behavior of the humans in The
One of the best summarizes of Greeks’ gods attitude toward human is the claim of Aphrodite in Euripides’ Hippolytus that she will treat well the people who revere her power, but will “trip up” those who are proud towards her, and this pri...
In this essay, I hope to provide answers to how the actions of Hippolytus and Phaedra relate to the gods, whether or not the characters concern themselves with the reaction of the gods to their behavior, what the characters expect from the gods, how the gods treat the humans, and whether or not the gods gain anything from making the humans suffer. Before we can discuss the play, however, a few terms need to be defined. Most important would be the nature of the gods. They have divine powers, but what exactly makes the Greek gods unique should be explored. The Greek gods, since they are anthropomorphic, have many of the same characteristics as humans.
Transformations from one shape or form into another are the central theme in Ovid's Metamorphoses. The popularity and timelessness of this work stems from the manner of story telling. Ovid takes stories relevant to his culture and time period, and weaves them together into one work with a connecting theme of transformation throughout. The thread of humor that runs through Metamorphoses is consistent with the satire and commentary of the work. The theme is presented in the opening lines of Metamorphoses, where the poet invokes the gods, who are responsible for the changes, to look favorably on his efforts to compose. The changes are of many kinds: from human to animal, animal to human, thing to human, human to thing. Some changes are reversed: human to animal to human. Sometimes the transformations are partial, and physical features and personal qualities of the earlier being are preserved in mutated form.