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• The Metamorphoses (Latin: Metamorphōseōn librī: "Books of Transformations") is a Latin narrative poem by the Roman poet Ovid, considered his magnum opus.
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Metamorphoses - Wikipedia. Metamorphoses by Ovid. Title page of 1. 55. Joannes Gryphius (decorative border added subsequently).

Hayden White Rare Book Collection, University of California, Santa Cruz[1]Original title. Metamorphoseon libri.

First published in. ADLanguage. Latin. Genre(s)Narrative poetry, epic, elegy, tragedy, pastoral (see Contents)The Metamorphoses (Latin: Metamorphōseōn librī: "Books of Transformations") is a Latinnarrative poem by the Roman poet Ovid, considered his magnum opus.

Comprising fifteen books and over 2. Julius Caesar within a loose mythico- historical framework. Although meeting the criteria for an epic, 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 2. Today the Metamorphoses continues to inspire and be retold through various media. The work has been the subject of numerous translations into English, the first by William Caxton in 1. Sources and models[edit]Ovid's relation to the Hellenistic poets was similar to the attitude of the Hellenistic poets themselves to their predecessors: he demonstrated that he had read their versions .. Karl Galinsky[3]Ovid's decision to make myth the dominant subject of the Metamorphoses was influenced by the predisposition of Alexandrian poetry.[4] 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 the Hellenistic tradition, of which the earliest known example is Boio(s)' Ornithogonia — a now- fragmentary poem collecting myths about the metamorphoses of humans into birds.[5]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 — 2. 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 of Io 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 the Metamorphoses.[9]Contents[edit]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); [1.

Kollektivgedicht that pulls together a series of examples in miniature form, such as the epyllion; [1. The poem is generally considered to meet the criteria for an epic; it is considerably long, relating over 2. Iliad and Odyssey, and the more contemporary epic Aeneid; and it treats the high literary subject of myth.[1.

However, the poem "handles the themes and employs the tone of virtually every species of literature",[1. Commenting on the genre debate, G. Karl Galinsky has opined that ".. it would be misguided to pin the label of any genre on the Metamorphoses."[1.

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; [1. BC.[1. 6] In spite of its apparently unbroken chronology, scholar Brooks Otis has identified four divisions in the narrative: [1. Book I–Book II (end, line 8. The Divine Comedy. Book III–Book VI, 4.

The Avenging Gods. Book VI, 4. 01–Book XI (end, line 7.

The Pathos of Love. Book XII–Book XV (end, line 8. 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 human hero, 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 of reason. 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. Latin epics to do so (the other being Statius' Thebaid).[1. The ending acts as a declaration that everything except his poetry—even Rome—must give way to change: [2. Now stands my task accomplished, such a work.

As not the wrath of Jove, nor fire nor sword. Nor the devouring ages can destroy".[2.

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. Watch The Kill Team Online Hollywoodreporter. 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 of Cepheus, 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, Achelous and the Nymphs, Philemon and Baucis, Erysichthon and his daughter. Book IX – Achelous and Hercules; Hercules, Nessus, and 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 of Troy, 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.