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Critical essays on the metamorphosis
The metamorphosis critical essay
Metamorphosis and modern life
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Some describe Ovid’s The Metamorphoses as the introduction and development of moral order through the stories of the gods and mortals. Usually in these stories, a mortal commits a grave error, perhaps by being greedy or adulterous, and the gods punish the mortal for his wrongdoing. The story of the hunter, Actaeon, does not fit this mold. The story goes that after a long day’s hunt on a hot mountain, Actaeon stumbled across a pool fed by a waterfall in a hidden cave. Diana, the Goddess of hunting, claimed this cave and its waters as her own sacred sanctuary. Diana transformed Actaeon into a stag when he accidentally found her naked, being bathed by her nymphs. In a reversal of roles, Actaeon’s hunting hounds eat their master, the biggest trophy in a successful day of hunting. Ovid and I agree that Actaeon did not deserve his punishment.
Actaeon’s punishment is attributable to destiny, not error on his part. The first stanza ends with “It is no crime to lose your way in a dark wood” (Hughes 97). Actaeon cannot be blamed for taking the unfortunate path that led to Diana’s cave. Actaeon was simply taking the most direct route to return home so he could rest for the next day’s hunt. Anyone would have stopped and marveled at the cave, which was so naturally beautiful that it “might have been carved out with deliberate art from the soft volcanic rock” (Hughes 98). Water is precious to a hunter who has spent a full day’s hunt treading on rocks so hot that they burned the feet. The sound of rushing water inside the cavern made it impossible for Actaeon to resist a tour of the cavern. Although he was apprehensive, Actaeon’s fate, disguised as curiosity, drove him into the cave (Hughes 99). I can’t recall reading a poem in The Metamorphose...
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...gustus abused his power as Diana did in the story of Actaeon, but unfortunately, the Romans in the first century A.D. did not enjoy the same freedom of speech that we do today.
Ovid is similar to Actaeon in the sense that their destinies led them down unfortunate paths. Actaeon’s destiny was disguised as curiosity. Ovid’s destiny was disguised in the form of his carefree attitude towards sex and adultery. The story of Actaeon did not match the majority of the stories in The Metamorphoses, in which a mortal was justly punished for greedy or adulterous behavior. Perhaps the gods, working through Augustus, punished Ovid for encouraging adultery by banishing him to Tomis. If this were the case, Ovid would be forced to admit that his own punishment was justified.
Works Cited
Ovid, and Ted Hughes. Tales from Ovid. New York: Farrar, Straus and Giroux, 1997. Print.
In "The Ultimate Punishment: A Defense", why does the author believe maldistribution of punishment in itself does not make the death penalty unjust?
The Punishment Imperative, a book based on the transition from a time when punishment was thought to be necessarily harsh to a time where reform in the prion system is needed, explains the reasons why the grand social experiment of severe punishment did not work. The authors of the book, Todd R. Clear and Natasha A. Frost, strongly argue that the previous mindset of harsh punishment has been replaced due to political shifts, firsthand evidence, and spending issues within the government. Clear and Frost successfully assert their argument throughout the book using quantitative and qualitative information spanning from government policies to the reintegration of previous convicts into society.
Nashville, TN: Broadman 1977. Ovid. Metamorphoses. The Norton Anthology of World Masterpieces.
...gustus. (n.d.). The Internet Classics Archive | The Deeds of the Divine Augustus by Augustus. Retrieved March 28, 2014, from http://classics.mit.edu/Augustus/deeds.html
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.
...for success, he robs his audience of the right to make certain determinations about characters such as Tarquin Superbus and Romulus because of his bias toward the motivation behind their actions. Livy’s The Rise of Rome was a grand effort and an amazing undertaking. Cataloguing the years of Roman history consolidated rumor and legend into fact, creating a model for Rome to follow. Livy’s only error in this vast undertaking was in imprinting his own conception of morality and justice onto his work, an error that pulls the reader away from active thought and engaging debate. In doing so, Livy may have helped solidify a better Rome, but it would have been a Rome with less of a conception of why certain things are just, and more of a flat, basely concluded concept of justice.
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.
In conclusion, it becomes obvious by these three plays that for a woman to achieve kleos in ancient Greece, she usually had to become more man-like in her role. The murders committed by Electra and Medea, the bravery of Antigone—all three of these were fulfilled by what would have normally been considered a man’s role. A woman could rarely be considered a hero unless she became like a man in her actions. Otherwise, she would be only a simple woman.
Virgil’s The Aeneid, to this day, remains one of the most influential epics to ever grace the merciless limitations of manuscript, inspiring, in pop culture as well as literature, an onslaught of themes, mythology, values, and the general sense of what a hero must be-or do- in order to overcome the obstacles of the gods and man. Written somewhere between 29 and 19 BC, consisting of twelve books (although never completely finished), The Aeneid takes us through the turbulent journeys and prophesied triumphs of Aeneas, a warrior and man bound by piety and destiny. Like usual, in every great epic, there are many battles: heads gashed open and gore galore; however, to say that this master piece is just for men would be atrocious, considering that Venus, Aeneas’s mother (the goddess of hunt, extremely beautiful), plays a major role in the book from beginning to end, but, although women are portrayed as a symbol of strength (most of the time, at least), one cannot ignore the invocation to the muse at the very beginning: “I sing of arms and of the man” (3). Through the wars, travels, monsters, and grief that awaits our protagonist, I feel that the relationship between Aeneas and Dido, the queen of Carthage, holds special relevance in my life, for I have loved and lost as well, but one thing may surprise you, I have seen it through the eyes of Dido, not Aeneas. Fortunately, for me, I didn’t have to sacrifice myself, but I did learn to love, relish it, and then, sadly, let it go.
In 1757 through 1837 there was a shift in prison rules and laws. They established a new form of law that removed torture and established punishment by the law. Punishment has many consequences because it was created to be a source to stop the criminal behavior from occurring again. However, torture was removed because it focused on a physical penalty. Foucault main point is that he wants to challenge the system by using history by explaining how the system has changed over time and how the new power and genealogy presents power and rules. Also, how the system is it affected by the power relations in punishment and the structure of society. Torture and punishment are inhumane and punishment doesn’t focus on criminal acts and focuses
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.
There was no shortage of powerful female characters throughout the Archaic world. In fact, many of the most widely renowned figures in history are found in the works of Homer and other authors from this time period. These women often play an influential—and essential—role in the story. However, despite the presence of multiple powerful and strong-willed women in works such as Homer’s Odyssey, the most significant of these characters were created as hinderences to the male hero by means of their sexuality. Through Odysseus’ encounters with the likes of Calypso and Circe—contrasted by young Narsicaa’s morality and Penelope’s fidelity—the negative light shed on female sexuality in Archaic Greece is apparent.
Society has many different views on crime and punishment. During earlier times, the crime fit the punishment meaning an “eye for an eye” approach. If a thief was caught, their hands would be cut off. If a man killed another man, they would be killed as well. They did not have a chance to tell their side of the story, if people thought they were guilty, they were. Much has changed in the way we handle crime in the world today. In today’s world, when a person commits a crime they have rights to a fair trial and have the luxury of the Fifth Amendment. Now when a killer kills someone they get to tell their side of the story and have to be proven guilty. However, it does not matter where you go, if there are people then there will always be crime.
The role of women in ancient Greece when put side by side with the role of men is relatively insignificant, yet in Greek tragedies such as Agamemnon, Oedipus the King and Orestes, the women are often given the title of “main character,” thus revealing the ideal standards of how women are treated and thought of in society at the time. Many, if not most of the popular Greek tragedies have several female roles that aren’t simple and irrelevant but rather, they are complex and thoroughly thought out to be involved well into the play. Usually, the feminine characters take up the role as the heroine, the victim or the villain. Sometimes, to make the play extra dramatic, the playwrights will incorporate all three of the personalities into one female role. A well known woman who accomplished that was Clytemnestra in Aeschylus’ Agamemnon who threw many twists and turns into the plot.
Mandelbaum, Allen, trans. The Metamorphoses of Ovid. By Ovid. San Diego: Harcourt Brace & company, 2008.