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The metamorphosis literary analysis
The metamorphosis analysis essay
The metamorphosis analysis essay
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There were two major rape narratives in the Metamorphoses: one in Book I, when Jupiter rapes the nymph, Io; and one in Book II, when Jupiter rapes Diana’s follower, Callisto. After the first instance, Ovid sympathizes considerably with Io. First, he addresses her with the title “fleeing girl” (Ovid 9), which gives her the characterization of being innocent and unwilling towards Jupiter. In addition, after the rape, Io is turned into a heifer then taken away from her home to be kept in captivity by Argus, which makes the readers sympathize with her because she is being held against her will for being the victim of rape. Lastly, Ovid conveys sympathy for Io when she looks into a river and sees that she is a heifer and becomes “terrified of herself” …show more content…
Similar to the rape of Io, Ovid describes Callisto as a “girl” (Ovid 16) in order to provoke the characterization of innocence within the readers. Furthermore, much like Io tried to flee Jupiter, Callisto “fought him” (Ovid 16), which means that she was unwilling, and the victim of this crime. Additionally, after she is raped, when Diana gathers her and all the nymphs, Callisto feels severely isolated from her own friends and family caused by the “guilt” (Ovid 16) of no longer being a pure virgin, which makes the readers sympathize with her because being lonely is depressing and harmful. Ovid conveys disdain towards Jupiter that is very similar to Book I as well. Again, Jupiter knew acting upon his lust was wrong, but he still accomplished it by disguising himself with “the face and dress of Diana” in order to hide the crime from the rest of the Gods and Earth. In addition, Jupiter states that “my wife will not see my cunning” (Ovid 16), which further characterizes the God as manipulative and dishonest. Overall, Ovid conveys sympathy of the victims of rape by using common insecurities and social problems among humans in order to invoke empathy from the readers. On the same note, Ovid conveys disdain towards the rapists by obviously characterizing them as manipulative, dishonest, and immoral, which is very distasteful among the Roman
In the 1930s, who would have perpetrated violent acts against women in the name of sexual gratification yet still hold expectations that women take care of them? By making men in general the placeholder for “you” in the poem, it creates a much stronger and universal statement about the sexual inequality women face. She relates to women who have had “a god for [a] guest” yet it seems ironic because she is criticising the way these women have been treated (10). It could be argued, instead, that it is not that she sees men as gods, but that it is the way they see themselves. Zeus was a god who ruled Olympus and felt entitled to any woman he wanted, immortal or otherwise.
Sophocles' Oedipus Tyrannus can be argued that it is related loosely to Rita Dove's The Darker Face of the Earth. This comparative and contrasting characteristics that can be seen within both plays make the reader/audience more aware of imagery, the major characters, plot, attitudes towards women, and themes that are presented from two very different standpoints. The authors Sophocles and Dove both have a specific goal in mind when writing the two plays. In this paper I will take a closer look of the two, comparing and contrasting the plays with the various elements mentioned previously.
... challenged by the Pierides, to Minerva. The story is told by a woman to a goddess, about another goddess. So the reason for Ovid's empowerment of women may be for Calliope to satisfy a great, powerful audience, the Pierides and Minerva.
Yet, despite the fact that no two women in this epic are alike, each—through her vices or virtues—helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks. Before we delve into the traits of individual characters, it is important to understand certain assumptions about women that prevailed in the Homeric Age. By modern standards, the Ancient Greeks would be considered a rabidly misogynistic culture. Indeed, the notoriously sour Boetian playwright Hesiod-- who wrote about fifty years before Homer-- proclaimed "Zeus who thunders on high made women to be evil to mortal men, with a nature to do evil (Theogony 600).
A main purpose of women in the poem is to define the characters of Odysseus and Penelope. Women's seductive natures serve as a test of character for Odysseus. His choice to leave the sexual pleasures of Kirke and Calypso is proof of his virtue and desirability as a husband. The same depiction causes the virtuous Penelope to stand out in the large pool of vileness as a desirable wife. The contradictions also have a significant affect on the poem and the reader.
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 concept of love seems to vary from character to character. In one case, a god in the form of a man desperately seeks a particular woman and refuses to relent until he has her. In another instance, a female goddess cares deeply for a man and goes to great lengths to protect him from danger. In yet another case, both who are arranged to be married seem indifferent about the matter.
Livy’s narration of the rape is different from Ovid’s as it clearly describes the effort put forth by Romulus to appease the women that were taken. Livy is able to develop the significance of the women taken by showing how his treatment of the gender roles is a direct reflection of what is acceptable in Rome, and that his narrative is not simply marital based but also has themes in the political and social realms. In the world today western culture recognizes persecution and oppression. Yet, the allegorical characterization of victims is not identified or taken as seriously. The Sabine woman are not viewed as victims for sexual innuendos in Livy’s tale. Instead they take the role of a counterfeit desire that seems ...
For centuries women have fought to obtain basic civil rights and today, they are still fighting to obtain equal rights. From the right to vote to their right to birth control, women have always been trying to assert their own independence in order to expand their freedom. While much progress has been made, there is still room for improvement. However, the evolution of women’s rights and the role of women is mirrored in literature and can be used to illustrate the progression throughout history. Sophocles’ Oedipus Rex is no different. Through the character Jocasta, Sophocles creates a counterpart to Oedipus and uses her to reveal the oppression of women by contrasting her and Oedipus’ relationships and reactions to the prophecy. Throughout the play Oedipus Rex, Sophocles illustrates Jocasta’s vulnerability and supportive nature in order to women as fragile, doting, and obedient wives and mothers to facilitate the necessity of self-assertion.
In The Odyssey by Homer, the worlds of Odysseus and Ithaca is a complete surreal world in which is unimaginable. This is a tricky epic that twists the true and makes the lies a reality. Odysseus is shown to be an untrustworthy man who uses others for his own success, specifically women. Not only does he take advantage of them but uses the limited gender roles to enhance himself. Even though Odysseus is king and has a lot of power, he still exhibits gender roles and claims that females are inferior to males. Gender roles are used to his advantage allowing him to become powerful and giving him the ability to control what he needs in order for him to triumph.
First, there are the repeating adulterous crimes of the gods, Jupiter in particular. He is king of the gods, and I believe that gives him the idea that he can do whatever he pleases and not face any consequences. There is also a continuous lack of respect for women. It does not matter what they want, Jupiter uses their bodies as it suits him and again is not punished for his actions. There is also a repeating idea that women are dangerous, and that every man needs to be cautious and suspicious of his wife or lover. An example of this is when Agamemnon comes home and is killed by his wife and her lover. Another repeating idea is that women will be men’s downfall in the end, even if men try to change their fate. A good example of this is when Aphrodite sleeps with Ares. Hephaestus tries to shame her by letting other gods see the crime she has committed, and instead he is the one who is shamed. Another similarity is the hold that men have over women. Women do not have much of a choice in what will happen to them in any of these works. If a god or a man wants her, he will have her, even if he has to rape her. To be honest the way rape is talked about in the works is way too nonchalant, and I believe that reveals a lot about Ovid’s opinion on rape and adultery. It seems like he believed it is something that was okay to do. Another similarity would be that both gods and humans are adulterous, and have relations with each other. This is seen with Jupiter and all of his lovers who are
In the plays female sexuality is not expressed variously through courtship, pregnancy, childbearing, and remarriage, as it is in the period. Instead it is narrowly defined and contained by the conventions of Petrarchan love and cuckoldry. The first idealizes women as a catalyst to male virtue, insisting on their absolute purity. The second fears and mistrusts them for their (usually fantasized) infidelity, an infidelity that requires their actual or temporary elimination from the world of men, which then re-forms [sic] itself around the certainty of men’s shared victimization (Neely 127).
Heraclitus said “We can never step into the same river twice, for different water is ever flowing” (12). The “river” Heraclitus refers to can be a metaphor for one’s soul. A river acts as a guide through forests for animals, while the soul acts as a guide for humans throughout their life. Stepping into the river taints the purity of the water just as stepping into someone heart taints the purity of the soul. Tainted souls are those that are punished by never being able to return to its pure state – never stepping into the same river twice. This tainting is usually done by an outside force through the use of words and actions, but can be done internally as well as one succumbs to his or her desires and corrupts the usage of words, twisting ideas to fit the darkness inside
The birth of the goddess from the castrated genitals of Uranus is an obvious allegory for how ancient poets viewed the nature of human sexuality. The images the Greek poets used to represent the erotic experience, figured as a type of suffering, a violent and intense aggression, are emphasized in the myth.
...ses may be read and interpreted separately, taken together rather than apart, the stories can be more effectively linked. The use of repetition throughout the work and constant symbolism in each tale help connect the stories. The entire work is in poetic form, and the literary techniques used are consistent with the time period. Common symbols are used throughout. A common motif is the stretching out of arms preceding metamorphosis. Also, the imagery of hunting coincides with that of sexual passion. Daphne is a huntress and is associated strongly with the forest and nature. It is fitting then that she is the character pursued by Apollo. The vocabulary of hunger and thirst, or devouring and drinking are associated with acts of violence. The constant repetition and the imagery in Metamorphoses are key to interpreting what Ovid is trying to convey to the reader. The power of change is the central issue in each story and in all the stories combined. Change as a vehicle of escape, punishment, or any means to an end is apparent in virtually every story in the book.