Metamorphoses
by Ovid
Translated and edited by Charles Martin
“I am dragged along by a strange new force. Desire and reason are pulling in different directions. I see the right way and approve it, but follow the wrong.” ― Ovid, Metamorphoses
Metamorphoses is a poem in fifteen books by the Augustan Roman poet Ovid describing the history of the world from its creation to the deification of Julius Caesar within a loose myth-based historical framework. It is often called a mock-epic, as it is written in dactylic hexameter (the form of the great epic poems of the ancient tradition, such as “The Iliad”, “The Odyssey” and “The Aeneid”), unlike Ovid's other works. But, rather than following and extolling the deeds of a great hero like the traditional epics, Ovid’s work leaps from story to story, often with little or no connection other than that they all involve transformations of one sort or another. Sometimes, a character from one story is used as a (more or less tenuous) connection to the next story, and sometimes the mythical characters themselves are used as the story-tellers of “stories within stories”.
Completed in AD 8, it is recognized as a masterpiece of Golden Age Latin literature. The recurring theme, as with nearly all of Ovid's work, is that of love (and especially the trans-formative power of love), whether it be personal love or love personified in the figure of Cupid, an otherwise relatively minor god of the pantheon who is the closest thing this mock-epic has to a hero. Unlike the predominantly romantic notions of love that were "invented" in the Middle Ages, however, Ovid viewed love more as a dangerous, destabilizing force than a positive one, and demonstrates how love has power over everyone, mortals and gods alike.
It is notable that the other Roman gods are repeatedly perplexed, humiliated and made to appear ridiculous by fate and by Cupid in the stories. This is particularly true of Apollo, the god of pure reason, who is often confounded by irrational love. The poem inverts the accepted order to a large extent, elevating humans and human passions while making the gods (and their own somewhat petty desires and conquests) the objects of low humor, often portraying the gods as self-absorbed and vengeful. Perhaps because of the continuing power of Greek culture there remains the shadow of the power of the gods as a distinct recurrent theme throughout the poem.
Revenge is another common theme, and it is often the motivation for whatever transformation the stories are explaining, as the gods avenge themselves and change mortals into birds or beasts to prove their own superiority. Violence, and often rape, occurs in almost every story in the collection, and women are generally portrayed negatively, either as virginal girls running from the gods who want to rape them, or alternatively as malicious and vengeful.
As do all the major Greek and Roman epics, “Metamorphoses” emphasizes that hubris (overly prideful behavior) is a fatal flaw which inevitably leads to a character's downfall. Hubris always attracts the notice and punishment of the gods, who disdain all human beings who attempt to compare themselves to divinity. Some, especially women like Arachne and Niobe, actively challenge the gods and goddesses to defend their prowess, while others display hubris in ignoring their own mortality. Like love, hubris is seen by Ovid as a universal equalizer.
Ovid's “Metamorphoses” was an immediate success in its day, its popularity threatening even that of Virgil's “Aeneid”. One can even imagine it being used as a teaching tool for Roman children, from which they could learn important stories that explain their world, as well as learn about their glorious emperor and his ancestors. Particularly towards the end, the poem can be seen to deliberately emphasize the greatness of Rome and its rulers.
Not unlike many works of classical literature this poem has been a rich cultural resource ever since its inception, influencing authors from Chaucer and Shakespeare to, more recently, Ted Hughes, and composers from Gluck and Offenbach to Britten.
