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Metamorphoses (Oxford World's Classics) Paperback – April 15, 2009
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About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.
- Print length528 pages
- LanguageEnglish
- PublisherOxford University Press
- Publication dateApril 15, 2009
- Reading age13 years and up
- Dimensions7.7 x 1.4 x 5.1 inches
- ISBN-100199537372
- ISBN-13978-0199537372
- Lexile measure1180L
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'a work of the highest quality which provides pleasure and information in generous measure.' JACT Review
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- Publisher : Oxford University Press; Reissue edition (April 15, 2009)
- Language : English
- Paperback : 528 pages
- ISBN-10 : 0199537372
- ISBN-13 : 978-0199537372
- Reading age : 13 years and up
- Lexile measure : 1180L
- Item Weight : 2.31 pounds
- Dimensions : 7.7 x 1.4 x 5.1 inches
- Best Sellers Rank: #64,467 in Books (See Top 100 in Books)
- #65 in Ancient & Classical Poetry
- #85 in Epic Poetry (Books)
- #186 in Poetry by Women
- Customer Reviews:
About the author
Publius Ovidius Naso (Classical Latin: [ˈpʊb.li.ʊs ɔˈwɪ.di.ʊs ˈnaː.soː]; 20 March 43 BC – AD 17/18), known as Ovid (/ˈɒvɪd/) in the English-speaking world, was a Roman poet who lived during the reign of Augustus. He was a contemporary of the older Virgil and Horace with whom he is often ranked as one of the three canonical poets of Latin literature. The Imperial scholar Quintilian considered him the last of the Latin love elegists. He enjoyed enormous popularity, but, in one of the mysteries of literary history, he was sent by Augustus into exile in a remote province on the Black Sea, where he remained until his death. Ovid himself attributes his exile to carmen et error, "a poem and a mistake", but his discretion in discussing the causes has resulted in much speculation among scholars.
The first major Roman poet to begin his career during the reign of Augustus, Ovid is today best known for the Metamorphoses, a 15-book continuous mythological narrative written in the meter of epic, and for collections of love poetry in elegiac couplets, especially the Amores ("Love Affairs") and Ars Amatoria ("The Art of Love"). His poetry was much imitated during Late Antiquity and the Middle Ages, and greatly influenced Western art and literature. The Metamorphoses remains one of the most important sources of classical mythology.
Bio from Wikipedia, the free encyclopedia. Photo by Ettore Ferrari [CC BY-SA 3.0 ro (http://creativecommons.org/licenses/by-sa/3.0/ro/deed.en)], via Wikimedia Commons.
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Ovid's scenes are beautifully woven: the rhetorics and structures, usually borrowed from existing stories, are clever, and the characters live and breathe. Although the effects of the many cross-currents among god and mortal, creature and nature, etcetera are, at least superficially, those of wild fantasy and myth, examples of the poet's subtle-yet-overriding Logoi can be found in passages like Narcissus and Echo, Tiresias and Pyramus and Thisbe, where the action seems as much fated and rational as ridiculous. That is, Ovid employs artifice wherein one conceit mirrors and affects another (and yet another and another and so on) in clear, logical fashion. For example:
When Apollo wielded his bow, writes Ovid, "He drew two arrows of opposing power./ One shaft that rouses love and one that routs it." Or when describing anthropomorphic pathos of nature and earth, the artist suggests, "Then hungry nature lacking nourishment/ Will faint and, starving, starve her furnaces." This inspired language is masterfully rendered by Melville, who likes to end passages with rhymed couplets like: "And in its stead they found a flower--behold/ White petals clustered round a cup of gold!"
Unlike so many contemporary translators, Melville is after more than mere information and "accuracy" here. He's striving for fidelity to the original, Latin text vis-à-vis the reader's experience, and with the help of E. J. Kenney's useful--if too short--introduction and the book's copious endnotes, I feel the effort yields success. Compared with Mandelbaum's disappointing The Metamorphoses of Ovid , an overly bland and technical piece for someone who displayed such remarkable prowess in The Aeneid of Virgil (Bantam Classics) , this Oxford edition transcends and entertains.
As it should, too, because Metamorphoses is great fun. So much so, it inspired a school-aged bard six centuries later.
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Ovid's theory is that everything metamorphoses or changes and he starts with the story of the creation and moves accordingly to the stories of the Titans, the Gods and the heroes. It is beautifully written, the images very rich and poetic. One of my favorite stories is of Echo and Narcissus. The English is antique, and since it is in verse, reading can be a little difficult, but if you go past this it is a book to cherish and remember.
However, unlike most epic poems published today, this Oxford version does not include numbers for the lines of text at 5, 10, 15, 20, etc, intervals. So the lines are NOT numbered. Instead the lines are only listed at the top of each page e.g. “Lines 128-158” which makes it more difficult to follow. More awkward is the task of finding the footnotes, which are NOT numbered either; instead, they are asterisks marked * which are all identical but corresponding with the books (vii, viii, ix, x) listed at the top of the page and relisted in the footnotes. Basically, a consistently higher percentage of time is required to maneuver between the text, the lines, and the footnotes.
Also, FYI, this is probably NOT recommended for novice Ovid readers, but I am not sure which publication is.
Reviewed in the United States on June 9, 2023
However, unlike most epic poems published today, this Oxford version does not include numbers for the lines of text at 5, 10, 15, 20, etc, intervals. So the lines are NOT numbered. Instead the lines are only listed at the top of each page e.g. “Lines 128-158” which makes it more difficult to follow. More awkward is the task of finding the footnotes, which are NOT numbered either; instead, they are asterisks marked * which are all identical but corresponding with the books (vii, viii, ix, x) listed at the top of the page and relisted in the footnotes. Basically, a consistently higher percentage of time is required to maneuver between the text, the lines, and the footnotes.
Also, FYI, this is probably NOT recommended for novice Ovid readers, but I am not sure which publication is.
In all creation, be assured,
There is no death—no death, but only change
And innovation; what we men call birth
Is but a different new beginning; death
Is but to cease to be the same.
I wonder if the meaning of life—and death—cannot be culled from the tales of Ovid’s "Metamorphoses."