Metamorphoses

The Metamorphoses (Latin: Metamorphōseōn librī: "Books of Transformations") is

Metamorphoses
a Latin narrative poem by the Roman poet Ovid, considered his magnum opus.
Comprising 11,995 lines, 15 books and over 250 myths, the poem chronicles the by Ovid
history of the world from its creation to the deification of Julius Caesar within a
loose mythico-historical framework.

Although meeting the criteria for anepic, the poem defies simple genre classification
by its use of varying themes and tones. Ovid took inspiration from the genre of
metamorphosis poetry, and some of the Metamorphoses derives from earlier
treatment of the same myths; however, he diverged significantly from all of his
models.

One of the most influential works in Western culture, the Metamorphoses has
inspired such authors as Dante Alighieri, Giovanni Boccaccio, Geoffrey Chaucer,
and William Shakespeare. Numerous episodes from the poem have been depicted in
acclaimed works of sculpture, painting, and music. Although interest in Ovid faded
after the Renaissance, there was a resurgence of attention to his work towards the
end of the 20th century. Today the Metamorphoses continues to inspire and be retold
through various media. The work has been the subject of numerous translations into
Title page of 1556 edition published
English, the first by William Caxton in 1480.[2]
by Joannes Gryphius (decorative
border added subsequently).
Hayden White Rare Book Collection,
Contents University of California, Santa
Sources and models
Cruz[1]

Contents Original Metamorphoseon libri

Books title
Themes First 8 AD
Metamorphosis published
Influence in
Manuscript tradition Language Latin
In English translation
Genre(s) Narrative poetry, epic,
See also elegy, tragedy, pastoral
Notes (see Contents)
References
Modern translation
Secondary sources
Further reading
External links

Sources and models

Ovid's relation to the Hellenistic poets was similar to the attitude of the
Hellenistic poets themselves to their predecessors: he demonstrated
Ovid's decision to make myth the dominant that he had read their versions ... but that he could still treat the myths
subject of the Metamorphoses was influenced by in his own way.
the predisposition of Alexandrian poetry.[4] — Karl Galinsky[3]
However, whereas it served in that tradition as
the cause for moral reflection or insight, he
made it instead the "object of play and artful manipulation".[4] The model for a collection of metamorphosis myths derived from a
pre-existing genre of metamorphosis poetry in theHellenistic tradition, of which the earliest known example is Boio(s)' Ornithogonia
[5]
—a now-fragmentary poem collecting myths about the metamorphoses of humans into birds.

There are three examples of Metamorphoses by later Hellenistic writers, but little is known of their contents.[3] The Heteroioumena
by Nicander of Colophon is better known, and clearly an influence on the poem—21 of the stories from this work were treated in the
Metamorphoses.[3] However, in a way that was typical for writers of the period, Ovid diverged significantly from his models. The
Metamorphoses was longer than any previous collection of metamorphosis myths (Nicander's work consisted of probably four or five
books)[6] and positioned itself within a historical framework.
[7]

Some of the Metamorphoses derives from earlier literary and poetic treatment of the same myths. This material was of varying
quality and comprehensiveness—while some of it was "finely worked", in other cases Ovid may have been working from limited
material.[8] In the case of an oft-used myth such as that ofIo in Book I, which was the subject of literary adaptation as early as the 5th
century BC, and as recently as a generation prior to his own, Ovid reorganises and innovates existing material in order to foreground
his favoured topics and to embody the key themes of theMetamorphoses.[9]

Contents
Scholars have found it difficult to place the Metamorphoses in a genre. The poem
has been considered as an epic or a type of epic (for example, an anti-epic or mock-
epic);[10] a Kollektivgedicht that pulls together a series of examples in miniature
form, such as the epyllion;[11] a sampling of one genre after another;[12] or simply a
narrative that refuses categorization.[13]

The poem is generally considered to meet the criteria for an epic; it is considerably
long, relating over 250 narratives across fifteen books;[14] it is composed in dactylic
hexameter, the meter of both the ancient Iliad and Odyssey, and the more A woodcut from Virgil Solis,
contemporary epic Aeneid; and it treats the high literary subject of myth.[15] illustrating the apotheosis of Julius
However, the poem "handles the themes and employs the tone of virtually every Caesar, the final event of the poem
(XV.745–850)
species of literature",[16] ranging from epic and elegy to tragedy and pastoral.[17]
Commenting on the genre debate, G. Karl Galinsky has opined that "... it would be
misguided to pin the label of any genre on theMetamorphoses."[13]

The Metamorphoses is comprehensive in its chronology, recounting the creation of the world to the death of Julius Caesar, which had
occurred only a year before Ovid's birth;[12] it has been compared to works of universal history, which became important in the 1st
century BC.[16] In spite of its apparently unbroken chronology [18]
, scholar Brooks Otis has identified four divisions in the narrative:

Book I–Book II (end, line 875): The Divine Comedy

Book III–Book VI, 400: The Avenging Gods
Book VI, 401–Book XI (end, line 795): The Pathos of Love
Book XII–Book XV (end, line 879): Rome and the Deified Ruler
Ovid works his way through his subject matter, often in an apparently arbitrary fashion, by jumping from one transformation tale to
another, sometimes retelling what had come to be seen as central events in the world of Greek mythology and sometimes straying in
odd directions. It begins with the ritual "invocation of the muse", and makes use of traditional epithets and circumlocutions. But
instead of following and extolling the deeds of a humanhero, it leaps from story to story with little connection.
The recurring theme, as with nearly all of Ovid's work, is love—be it personal love or love personified in the figure of Amor (Cupid).
Indeed, the other Roman gods are repeatedly perplexed, humiliated, and made ridiculous by Amor, an otherwise relatively minor god
of the pantheon, who is the closest thing this putative mock-epic has to a hero. Apollo comes in for particular ridicule as Ovid shows
how irrational love can confound the god out ofreason. The work as a whole inverts the accepted order, elevating humans and human
passions while making the gods and their desires and conquests objects of low humor
.

The Metamorphoses ends with an epilogue (Book XV.871–9), one of only two surviving Latin epics to do so (the other being Statius'
Thebaid).[19] The ending acts as a declaration that everything except his poetry—even Rome—must give way to change:
[20]

"Now stands my task accomplished, such a work

As not the wrath of Jove, nor fire nor sword
Nor the devouring ages can destroy".[21]

Books
Book I – The Creation, the Ages of Mankind, the flood, Deucalion
and Pyrrha, Apollo and Daphne, Io, Phaëton.
Book II – Phaëton (cont.), Callisto, the raven and the crow,
Ocyrhoe, Mercury and Battus, the envy of Aglauros, Jupiter and
Europa.
Book III – Cadmus, Diana and Actaeon, Semele and the birth of
Bacchus, Tiresias, Narcissus and Echo, Pentheus and Bacchus.
Book IV – The daughters of Minyas, Pyramus and Thisbe, the Sun
in love, Salmacis and Hermaphroditus, the daughters of Minyas
transformed, Athamas and Ino, the transformation of Cadmus,
Perseus and Andromeda.
Book V – Perseus' fight in the palace ofCepheus, Minerva meets
the Muses on Helicon, the rape of Proserpina, Arethusa,
Triptolemus.
Book VI – Arachne; Niobe; the Lycian peasants; Marsyas; Pelops;
Tereus, Procne, and Philomela; Boreas and Orithyia.
Book VII – Medea and Jason, Medea and Aeson, Medea and
Pelias, Theseus, Minos, Aeacus, the plague at Aegina, the
Myrmidons, Cephalus and Procris.
Book VIII – Scylla and Minos, the Minotaur, Daedalus and Icarus,
Perdix, Meleager and the Calydonian Boar, Althaea and Meleager,
A depiction of the story ofPygmalion,
Achelous and the Nymphs, Philemon and Baucis, Erysichthon and
his daughter. Pygmalion adoring his statueby Jean
Book IX – Achelous and Hercules; Hercules, Nessus, and Raoux (1717)
Deianira; the death and apotheosis of Hercules; the birth of
Hercules; Dryope; Iolaus and the sons of Callirhoe; Byblis; Iphis
and Ianthe.
Book X – Orpheus and Eurydice, Cyparissus, Ganymede, Hyacinth, Pygmalion, Myrrha, Venus and Adonis,
Atalanta.
Book XI – The death of Orpheus, Midas, the foundation and destruction ofTroy, Peleus and Thetis, Daedalion, the
cattle of Peleus, Ceyx and Alcyone, Aesacus.
Book XII – The expedition against Troy, Achilles and Cycnus, Caenis, the battle of the Lapiths and Centaurs, Nestor
and Hercules, the death of Achilles.
Book XIII – Ajax, Ulysses, and the arms of Achilles; theFall of Troy; Hecuba, Polyxena, and Polydorus; Memnon;
the pilgrimage of Aeneas; Acis and Galatea; Scylla and Glaucus.
Book XIV – Scylla and Glaucus (cont.), the pilgrimage of Aeneas (cont.), the island of Circe, Picus and Canens, the
triumph and apotheosis of Aeneas,Pomona and Vertumnus, legends of early Rome, the apotheosis of Romulus.
Book XV – Numa and the foundation of Crotone, the doctrines of Pythagoras, the death of Numa, Hippolytus, Cipus,
Asclepius, the apotheosis of Julius Caesar, epilogue.[22]

Themes
The different genres and divisions in the narrative allow the Metamorphoses to
display a wide range of themes. Scholar Stephen M. Wheeler notes that
"metamorphosis, mutability, love, violence, artistry, and power are just some of the
[23]
unifying themes that critics have proposed over the years".

Metamorphosis

“ In nova fert animus mutatas dicere formas /

corpora; ”
— Ov., Met., Book I, lines 1–2.
Metamorphosis or transformation is a unifying theme amongst the episodes of the
Metamorphoses. Ovid raises its significance explicitly in the opening lines of the
poem: In nova fert animus mutatas dicere formas / corpora; ("I intend to speak of
forms changed into new entities;").[24] Accompanying this theme is often violence,
inflicted upon a victim whose transformation becomes part of the natural
landscape.[25] This theme amalgamates the much-explored opposition between the
hunter and the hunted[26] and the thematic tension between art and nature.[27]
Apollo and Daphne by Antonio
Pollaiuolo, one tale of transformation
There is a huge variety among the types of transformations that take place: from
in the Metamorphoses—he lusts
human to inanimate object (Nileus), constellation (Ariadne's Crown), animal after her and she escapes him by
(Perdix); from animal (Ants) and fungus (Mushrooms) to human; of sex (Hyenas); turning into a bay laurel.
and of colour (Pebbles).[28] The metamorphoses themselves are often located
metatextually within the poem, through grammatical or narratorial transformations.
At other times, transformations are developed into humour or absurdity, such that, slowly, “the reader realizes he is being had”,[29] or
the very nature of transformation is questioned or subverted. This phenomenon is merely one aspect of Ovid's extensive use of
illusion and disguise.[30]

Influence
No work from classical antiquity, either Greek or Roman, has exerted
such a continuing and decisive influence on European literature as
Ovid's Metamorphoses. The emergence of French, English, and Italian
national literatures in the late Middle Ages simply cannot be fully
understood without taking into account the effect of this extraordinary
poem. ... The only rival we have in our tradition which we can find to
match the pervasiveness of the literary influence of the Metamorphoses
is perhaps (and I stress perhaps) the Old Testament and the works of
Shakespeare.
— Ian Johnston[25]
The Metamorphoses has exerted a considerable
influence on literature and the arts, particularly
of the West; scholar A. D. Melville says that "It
may be doubted whether any poem has had so
great an influence on the literature and art of
Western civilization as the Metamorphoses."[31]
Although a majority of its stories do not
originate with Ovid himself, but with such
writers as Hesiod and Homer, for others the
poem is their sole source.[25]

The influence of the poem on the works of

Geoffrey Chaucer is extensive. In The Canterbury Tales, the story of Coronis and Phoebus Apollo (Book II 531–632) is adapted to
form the basis for The Manciple's Tale.[32] The story of Midas (Book XI 174–193) is referred to and appears—though much altered
—in The Wife of Bath's Tale.[33] The story of Ceyx and Alcyone (from Book IX) is adapted by Chaucer in his poem The Book of the
Duchess, written to commemorate the death ofBlanche, Duchess of Lancasterand wife of John of Gaunt.[34]

The Metamorphoses was also a considerable influence on William Shakespeare.[35] His Romeo and Juliet is influenced by the story
of Pyramus and Thisbe (Metamorphoses Book IV);[36] and, in A Midsummer Night's Dream, a band of amateur actors performs a
play about Pyramus and Thisbe.[37] Shakespeare's early erotic poem Venus and Adonis expands on the myth in Book X of the
Metamorphoses.[38] In Titus Andronicus, the story of Lavinia's rape is drawn from Tereus' rape of Philomela, and the text of the
Metamorphoses is used within the play to enable Titus to interpret his daughter's story.[39] Most of Prospero's renunciative speech in
Act V of The Tempest is taken word-for-word from a speech by Medea in Book VII of the Metamorphoses.[40] Among other English
writers for whom the Metamorphoses was an inspiration are John Milton—who made use of it in Paradise Lost, considered his
magnum opus, and evidently knew it well[41][42] —and Edmund Spenser.[43] In Europe, the poem was an influence on Giovanni
Boccaccio (the story of Pyramus and Thisbe appears in his poemL'Amorosa Fiammetta)[25] and Dante.[44][45]

During the Renaissance and Baroque periods, mythological subjects were

frequently depicted in art. TheMetamorphoses was the greatest source of these
narratives, such that the term "Ovidian" in this context is synonymous for
mythological, in spite of some frequently represented myths not being found in
the work.[46][47] Many of the stories from the Metamorphoses have been the
subject of paintings and sculptures, particularly during this period.[35][48]
Some of the most well-known paintings by Titian depict scenes from the
poem, including Diana and Callisto,[49] Diana and Actaeon,[50] and Death of
Actaeon.[51] Other famous works inspired by it include Pieter Brueghel's
painting Landscape with the Fall of Icarus and Gian Lorenzo Bernini's
sculpture Apollo and Daphne.[35] The Metamorphoses also permeated the
theory of art during the Renaissance and the Baroque style, with its idea of
Diana and Callisto (1556–59) by Titian
transformation and the relation of the myths of Pygmalion and Narcissus to the
role of the artist.[52]

Though Ovid was popular for many centuries, interest in his work began to wane after the Renaissance, and his influence on 19th-
century writers was minimal.[35] Towards the end of the 20th century his work began to be appreciated once more. Ted Hughes
collected together and retold twenty-four passages from the Metamorphoses in his Tales from Ovid, published in 1997.[53] In 1998,
Mary Zimmerman's stage adaptation Metamorphoses premiered at the Lookingglass Theatre,[54] and the following year there was an
adaptation of Tales from Ovid by the Royal Shakespeare Company.[55] In the early 21st century, the poem continues to inspire and be
retold through books,[56] films[57] and plays.[58] A series of works inspired by Ovid's book through the tragedy of Diana and Actaeon
have been produced by French-based collective LFKs and his film/theatre director, writer and visual artist Jean-Michel Bruyere,
including the interactive 360° audiovisual installation Si poteris narrare, licet ("if you are able to speak of it, then you may do so") in
2002, 600 shorts and "medium" film from which 22,000 sequences have been used in the 3D 360° audiovisual installation La
Dispersion du Fils[59] from 2008 to 2016 as well as an outdoor performance, "Une Brutalité pastorale" (2000).

Manuscript tradition
In spite of the Metamorphoses' enduring
popularity from its first publication
(around the time of Ovid's exile in 8
AD) no manuscript survives from
antiquity.[61] From the 9th and 10th
centuries there are only fragments of the
poem;[61] it is only from the 11th
century onwards that manuscripts, of
varying value, have been passed
down.[62] This panel by Bartolomeo di Giovannirelates the second half of the story of
Io. In the upper left, Jupiter emerges from clouds to order Mercury to rescue
Influential in the course of the poem's Io.[60]
manuscript tradition is the 17th-century
Dutch scholar Nikolaes Heinsius.[63]
During the years 1640–52, Heinsius collated more than a hundred manuscripts and was informed of many others through
correspondence.[63]
But the poem's immense popularity in antiquity and the Middle Ages belies the struggle for survival it faced in late antiquity. "A
dangerously pagan work,"[64] the Metamorphoses was preserved through the Roman period of Christianization, but was criticized by
the voices of Augustine and Jerome, who believed the only metamorphosis really was the transubstantiation. Though the
Metamorphoses did not suffer the ignominious fate of the Medea, no ancient scholia on the poem survive (although they did exist in
antiquity[65] ), and the earliest manuscript is very late, dating from the 1th
1 century.

The poem retained its popularity throughout Late Antiquity and the Middle Ages, and is represented by an extremely high number of
surviving manuscripts (more than 400);[66] the earliest of these are three fragmentary copies containing portions of Books 1–3, dating
to the 9th century.[67]

Collaborative editorial effort has been investigating the various manuscripts of the Metamorphoses, some forty-five complete texts or
substantial fragments,[68] all deriving from a Gallic archetype.[69] The result of several centuries of critical reading is that the poet's
meaning is firmly established on the basis of the manuscript tradition or restored by conjecture where the tradition is deficient. There
are two modern critical editions: William S. Anderson's, first published in 1977 in the Teubner series, and R. J. Tarrant's, published in
2004 by the Oxford Clarendon Press.

In English translation
The full appearance of the Metamorphoses in English translation (sections had
appeared in the works of Chaucer and Gower)[70] coincides with the beginning of
printing, and traces a path through the history of publishing.[70][71] William Caxton
produced the first translation of the text on 22 April 1480;[72] set in prose, it is a
literal rendering of a French translation known as theOvide Moralisé.[73]

In 1567, Arthur Golding published a translation of the poem that would become
highly influential, the version read by Shakespeare and Spenser.[74] It was written in
rhyming couplets of iambic heptameter. The next significant translation was by
George Sandys, produced from 1621–6,[75] which set the poem in heroic couplets, a
metre that would subsequently become dominant in vernacular English epic and in
English translations.[76]

In 1717, a translation appeared from Samuel Garth bringing together work "by the
most eminent hands":[77] primarily John Dryden, but several stories by Joseph
Addison, one by Alexander Pope,[78] and contributions from Tate, Gay, Congreve,
and Rowe, as well as those of eleven others including Garth himself.[79] Translation
of the Metamorphoses after this period was comparatively limited in its An illumination of the story of
Pyramus and Thisbe from a
achievement; the Garth volume continued to be printed into the 1800s, and had "no
manuscript of William Caxton's
real rivals throughout the nineteenth century".[80]
translation of the Metamorphoses
(1480)—the first in theEnglish
Around the later half of the 20th century a greater number of translations
language
appeared[81] as literary translation underwent a revival.[80] This trend has continued
into the twenty-first century.[82] In 1994, a collection of translations and responses
to the poem, entitled After Ovid: New Metamorphoses, was produced by numerous contributors in emulation of the process of the
Garth volume.[83]

See also
List of Metamorphoses characters
Isis (Lully), a French opera based on the poem

Notes
 1. "The Hayden White Rare Book Collection"(http://library.ucsc.edu/special-collections-exhibits). University of
California, Santa Cruz. Retrieved 15 April 2013.
2. More, Brookes. Commentary byWilmon Brewer. Ovid's Metamorphoses (Translation) (https://books.google.com/boo
ks?id=uL0mAQAAIAAJ&dq=ISBN9780833801845&hl=en&sa=X&ei=7LBJVY -iKsvlaKXHgLgG&ved=0CCAQ6AEwA
A), pp. 353–86, Marshall Jones Company , Francestown, NH, revised edition, 1978.ISBN 978-0-8338-0184-5,
LCCN 77-20716 (https://lccn.loc.gov/77020716).
3. Galinsky 1975, p. 2.
4. Galinsky 1975, p. 1.
5. Fletcher, Kristopher F. B. (2009). "Boios' Ornithogonia as Hesiodic Didactic" (http://www.camws.org/meeting/2009/pr
ogram/abstracts/10F3.Fletcher.pdf) (PDF). The Classical Association of the Middle West and South (CAMWS).
6. Galinsky 1975, pp. 2–3.
7. Galinsky 1975, p. 3.
8. Anderson 1998, p. 14.
9. Anderson 1998, p. 19.
10. Farrell 1992, p. 235.
11. Wheeler 2000, p. 1.
12. Solodow 1988, pp. 17–18.
13. Galinsky 1975, p. 41.
14. Galinsky 1975, p. 4.
15. Harrison 2006, p. 87.
16. Solodow 1988, p. 18.
17. Harrison 2006, p. 88.
18. Otis 2010, p. 83.
19. Meville 2008, p. 466.
20. Melville 2008, p. xvi.
21. Melville 2008, p. 379.
22. Melville 2008, pp. vii–viii.
23. Wheeler 1999, p. 40.
24. Swanson, Roy Arthur (1959). "Ovid's Theme of Change".The Classical Journal. 54 (5): 201–05. JSTOR 3295215 (ht
tps://www.jstor.org/stable/3295215). (subscription required)
25. Johnston, Ian. "The Influence of Ovid's Metamorphoses"(https://web.archive.org/web/20140407101129/http://uts.cc.
utexas.edu/cgi-bin/cgiwrap/silver/frame.cgi?ovid,influ) . Project Silver Muse. University of Texas at Austin. Archived
from the original (http://uts.cc.utexas.edu/cgi-bin/cgiwrap/silver/frame.cgi?ovid,influ)on 7 April 2014. Retrieved
15 April 2013.
26. Segal, C. P. Landscape in Ovid’s Metamorphoses (Wiesbaden, 1969) 45
27. Solodow, J. B. The World of Ovid’s Metamorphoses (Chapel Hill, 1988) 208–13
28. Ian, Johnston. "The Transformations in Ovid'sMetamorphoses" (http://records.viu.ca/~johnstoi/ovid/transformations.
htm). Vancouver Island University. Retrieved 9 May 2013.
29. Galinsky 1975, p. 181
30. Von Glinski, M. L. Simile and Identity in Ovid’s Metamorphoses . Cambridge: 2012. p. 120inter alia
31. Melville 2008, pp. xxxvi–xxxvii.
32. Benson 2008, p. 952.
33. Benson 2008, p. 873.
34. "Influences" (https://web.archive.org/web/20090601062538/http://special.lib.gla.ac.uk/exhibns/chaucer/influences.ht
ml). The World of Chaucer, Medieval Books and Manuscripts. University of Glasgow. Archived from the original (htt
p://special.lib.gla.ac.uk/exhibns/chaucer/influences.html)on 1 June 2009. Retrieved 15 April 2013.
35. Melville 2008, p. xxxvii.
36. Halio, Jay (1998). Romeo and Juliet: A Guide to the Play. Westport: Greenwood Press. p. 93. ISBN 978-0-313-
30089-9.
37. Marshall, David (1982). "Exchanging Visions: Reading A Midsummer Night's Dream". ELH. 49 (3): 543–75.
doi:10.2307/2872755 (https://doi.org/10.2307%2F2872755). JSTOR 2872755 (https://www.jstor.org/stable/2872755).
(subscription required)
38. Belsey, Catherine (1995). "Love as Trompe-l'oeil: Taxonomies of Desire inVenus and Adonis". Shakespeare
Quarterly. 46 (3): 257–76. doi:10.2307/2871118 (https://doi.org/10.2307%2F2871118). JSTOR 2871118 (https://ww
w.jstor.org/stable/2871118). (subscription required)
39. West, Grace Starry (1982). "Going by the Book: Classical Allusions in Shakespeare'sTitus Andronicus". Studies in
Philology. 79 (1): 62–77. JSTOR 4174108 (https://www.jstor.org/stable/4174108). (subscription required)
40. Vaughan, Virginia Mason; Vaughan, Alden T. (1999). The Tempest. The Arden Shakespeare, Third Series. The
Arden Shakespeare. pp. 26, 58–59, 66.ISBN 978-1-903436-08-0.
41. Meville 2008, p. xxxvii.
42. Meville 2008, pp. 392–93.
43. Cumming, William P. (1931). "The Influence of Ovid's "Metamorphoses" on Spenser's "Mutabilitie" Cantos". Studies
in Philology. 28 (2): 241–56. JSTOR 4172096 (https://www.jstor.org/stable/4172096). "The indebtedness to Ovid of
passages and ideas in Spenser's Mutabilite cantos has been pointed out by various commentators; " (subscription
required)
44. Gross, Kenneth (1985). "Infernal Metamorphoses: An Interpretation of Dante's "Counterpass
" ". MLN. 100 (1): 42–
69. doi:10.2307/2905667 (https://doi.org/10.2307%2F2905667). JSTOR 2905667 (https://www.jstor.org/stable/29056
67). (subscription required)
45. Most, Glen W. (2006). "Dante's Greeks".Arion. 13 (3): 15–48. JSTOR 29737275 (https://www.jstor.org/stable/297372
75). (subscription required)
46. Alpers, S. (1971). The Decoration of the Torre della Parada (Corpus Rubenianum Ludwig Burchard Part ix)
. London.
p. 151.
47. Allen 2006, p. 336.
48. "Who was Ovid?" (http://www.nationalgallery.org.uk/paintings/who-was-ovid). The National Gallery. Retrieved
18 April 2013.
49. "Diana and Callisto" (http://www.nationalgallery.org.uk/paintings/titian-diana-and-callisto). The National Gallery.
Retrieved 18 April 2013.
50. "Diana and Actaeon" (http://www.nationalgallery.org.uk/paintings/titian-diana-and-actaeon). The National Gallery.
Retrieved 18 April 2013.
51. "Death of Actaeon" (http://www.nationalgallery.org.uk/paintings/titian-the-death-of-actaeon). The National Gallery.
Retrieved 18 April 2013.
52. Barolsky, Paul (1998). "As in Ovid, So in Renaissance Art". Renaissance Quarterly. 51 (2): 451–74.
doi:10.2307/2901573 (https://doi.org/10.2307%2F2901573). JSTOR 2901573 (https://www.jstor.org/stable/2901573).
(subscription required)
53. Hughes, Ted (1997). Tales from Ovid: twenty-four passages from he
t metamorphose (2nd print. ed.). London: Faber
and Faber. ISBN 978-0-571-19103-1.
54. "Metamorphoses" (https://lookingglasstheatre.org/event/metamorphoses/)
. Lookingglass Theatre Company.
Retrieved 21 April 2013.
55. "Archive Catalogue" (https://archive.is/20130505154415/http://calm.shakespeare.org.uk/dserve/dserve.exe?dsqIni=
Dserve.ini&dsqApp=Archive&dsqDb=Performance&dsqSearch=PerfCode=='T AF199904'&dsqCmd=Show.tcl).
Shakespeare birthplace trust. Archived fromthe original (http://calm.shakespeare.org.uk/dserve/dserve.exe?dsqIni=
Dserve.ini&dsqApp=Archive&dsqDb=Performance&dsqSearch=PerfCode==%27T AF199904%27&dsqCmd=Show.tc
l) on 5 May 2013. Retrieved 21 April 2013.
56. Mitchell, Adrian (2010).Shapeshifters : tales from Ovid's Metamorphoses
. Illustrated by Alan Lee. London: Frances
Lincoln Children's Books.ISBN 978-1-84507-536-1.
57. Beck, Jerry (2005). The Animated Movie Guide(https://books.google.com/books?id=fTI1yeZd-tkC&lpg=PP1&pg=PP
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58. Nestruck, J. Kelly. "Onstage pools and lots of water: The NAC's Metamorphoses (mostly) makes a splash"(https://w
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References

Modern translation

Metamorphoses. Translated by A. D. Melville; introduction and notes by E. J. Kenney. Oxford:

Oxford University Press. 2008. ISBN 978-0-19-953737-2.

Secondary sources

Allen, Christopher (2006). "Ovid and art". In Philip Hardie (ed.). The Cambridge companion to
Ovid. Cambridge: Cambridge University Press. ISBN 978-0-511-99896-6.
William S. Anderson, ed. (1998). Ovid's Metamorphoses, Books 1–5. Norman: University of
Oklahoma Press. ISBN 978-0-8061-2894-8.
William S. Anderson, ed. (1989). Ovid's Metamorphoses, Books 6–10. University of Oklahoma
Press. ISBN 978-0-8061-1456-9.
Larry D. Benson, ed. (2008). The Riverside Chaucer (Third ed.). Oxford UP. ISBN 978-0-19-
955209-2.
Farrell, Joseph (1992). "Dialogue of Genres in Ovid's "Lovesong of Polyphemus" (Metamorphoses
13.719–897)". The American Journal of Philology. 113 (2): 235–68. JSTOR 295559.
(subscription required)
Galinsky, Karl (1975). Ovid's Metamorphoses: an introduction to the basic aspects. Berkeley:
University of California Press. ISBN 978-0-520-02848-7.
Gillespie, Stuart; Robert Cummings (2004). "A Bibliography of Ovidian Translations and Imitations
in English". Translation and Literature. 13 (2): 207–18. doi:10.3366/tal.2004.13.2.207.
JSTOR 40339982. (subscription required)
Harrison, Stephen (2006). "Ovid and genre: evolutions of an elegist". In Philip Hardie (ed.). The
Cambridge companion to Ovid. Cambridge: Cambridge University Press. ISBN 978-0-511-
99896-6.
A. S. Hollis, ed. (1970). Ovid. Metamorphoses, Book VIII. Oxford: Oxford UP. ISBN 978-0-19-
814460-1.
Lyne, Raphael (2006). "Ovid in English translation". In Philip Hardie (ed.). The Cambridge
companion to Ovid. Cambridge: Cambridge University Press. ISBN 978-0-511-99896-6.
Otis, Brooks (2010). Ovid as an epic poet (2nd ed.). Cambridge: Cambridge University Press.
ISBN 978-0-521-14317-2.
Solodow, Joseph B. (1988). The World of Ovid's Metamorphoses. Chapel Hill: University of North
Carolina Press. ISBN 978-0-8078-1771-1.
Tarrant, R. J. (1982). "Review Article: Editing Ovid's Metamorphoses: Problems and Possibilities".
Classical Philology. 77 (4): 342–60. doi:10.1086/366734. JSTOR 269419. (subscription
required)
Wheeler, Stephen M. (1999). A Discourse of Wonders: Audience and Performance in Ovid's
Metamorphoses. Philadelphia: University of Pennsylvania Press. ISBN 978-0-8122-3475-6.
Wheeler, Stephen M. (2000). Narrative dynamics in Ovid's Metamorphoses. Tübingen: Narr.
ISBN 978-3-8233-4879-5.

Further reading
Elliot, Alison Goddard (1980). "Ovid's Metamorphoses: A Bibliography 1968–1978". The Classical
World. 73 (7): 385–412. doi:10.2307/4349232. JSTOR 4349232. (subscription required)
Charles Martindale, ed. (1988). Ovid renewed: Ovidian influences on literature and art from the
Middle Ages to the twentieth century. Cambridge: Cambridge University Press. ISBN 978-
0-521-39745-2.

External links
Latin versions

Ovid Illustrated: The Renaissance Reception of Ovid in Image and extT – An elaborate environment allowing
simultaneous access to Latin text, English translations, commentary from multiple sources along with wood cut
illustrations by Virgil Solis.
Metamorphoses in Latin edition and English translationsfrom Perseus – Hyperlinked commentary, mythological, and
grammatical references)
University of Virginia: Metamorphoses – Contains several versions of the Latin text and tools for a side-by-side
comparison.
The Latin Library: P. Ovidi Nasonis Opera – Contains the Latin version in several separate parts.
List of 16th-century printed editions
English translations

Ovid's Metamorphoses trans. by Sir Samuel Garth, John Dryden et al., 1717.
Ovid's Metamorphoses trans. by George Sandys, 1632.
Ovid's Metamorphoses trans. by Brookes More, 1922, revised edition 1978, with commentary by
Wilmon Brewer.
OCLC 715284718.
Analysis

The Ovid Project: Metamorphising theMetamorphoses – Illustrations by Johann Whilhelm Baur (1600 – 1640) and
anonymous illustrations from George Sandys's edition of 1640.
A Honeycomb for Aphroditeby A. S. Kline.
Ovid's Metamorphoses, An introduction and commentaryby Larry A. Brown.
Audio reading

Ovid ~ Metamorphoses ~ 08-2008 – Selections from Metamorphoses, read in Latin and English by Rafi Metz.
Approximately 4½ hours.
Metamorphoses public domain audiobook atLibriVox
Images

"Neapolitan Ovid" – An illustrated manuscript from 1000 CE – 1200 CE, hosted by theWorld Digital Library.

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