The Perseus and Andromeda was intended to be a comrade to Medea and Jason, harmonizing to Titian ‘s missive, but for some ground the 2nd image was ne’er carried out. Andromeda, edge to the stone at the left, awaits rescue as Perseus descends from the sky to murder the monster.

Tiziano vecellio has chosen the portion of Ovid ‘s myth where Andromeda is bound to the stone in the oil on canvas Andromeda is bound by ironss in Ovid ‘s text it is n’t clear until farther into the text. There is reference of the aquiline blade and it illustrated clearly in the picture.

Andromeda ‘s female parent and Father are at that place to witness the destiny their girl but this is omitted from the picture. It being omitted does n’t demo the full emotion that is included by Ovid.

There is grounds of coral at the pess of Andromeda this is representative of the fact that Perseus was the hero to murder Medusa and is able to turn to lapidate those who chanced to look on the decapitated caput.

Shown in the picture is besides the winged sandals of Perseus which help him in the conflict with the sea monster.

Andromeda is depicted as a nude with merely a faux pas of stuff covering her self-respect and in the text it is shown that if her custodies were free she would cover face due to the blooms. There is reference of drops which fit in with the overall narration of Ovid but there is no reference of the background scene or the name of the metropolis that is pictered in the background. The sea is clam and there is merely a light zephyr this is shown in the painitng because it allows Perseus to set down on the stone when his sandals are soppy. If this was n’t the instance so he would hold surly been dfeated when he landed in the H2O. It appears that Perseus has a harp when he plunges down to contend the monster. Ovid has n’t commented on the harp so this is possibly another manner in which the picture differs from Ovid ‘s reading.

It was interesting to see the vision from person else ‘s position and visualize the scene from a differing facet. When rereading the txt by Ovid I found myself visualizing in my heads oculus a similar make-up to that of the Titian picture and it added to the enjoyment of the capable affair and increased the consciousness of the milieus.

Question 2

The myth that I am traveling to concentrate on are those environing the myth of creative activity I plan to concentrate on the difference between Ovid ‘s reading and how this enabled him to foreground his ain subject and if this did retreat from the impact and coherency of the myth due to his ain artistic demands. It has been stated that Ovid used love throughout Metamorphoses I aim to analyze this subject excessively.

Ovid ‘s Manipulation of myth

Changing differences are displayed in the creative activity myths it is non ever clear where they originated from and how. Though Ovid and Hesiod are both are get downing something from pandemonium, the “ Theogony ” by Hesiod focuses more to a great extent on the sequence of how each portion of our universe came to be. The writer Hesiod does so by explicating the line of descent of the Gods that led to the creative activity of the planet.

In the beginning of Ovid ‘s relation of the creative activity myth there is merely grounds of one God and he omits to state the name of this God. Why is this the instance could it be that he does n’t desire to pique others or that it fits better with his manner and subject of alteration and patterned advance of the Roman tick over if he omits the name of the God of creative activity.

Ovid in his version of the creative activity myths has introduced the four ages of adult male. These are The Golden Age, The Silver Age, The Bronze Age, and The Iron Age. He tells us that he from this pandemonium the universe began to organize but before this it was a conglobation of a mass. Ovid has a inclination to concentrate on the creative activity and non of the Godhead, could this is a arrow that Ovid is concentrating on the modifiers and non who brought about these alterations.

In first reading you can see the resemblance of the two versions of the myths and how they have many similarities but on farther reading and thought development it is important that each Teller differs non merely as expected in manner, but besides substance.

Due to the reworking of myths by Ovid there is some discordance and possibly we are reading for merely an amusement intent and non that of scientific fact. An of import point in the reading of Ovid ‘s metabolisms is to maintain in head that some 700 old ages early Hesiod had written about similar subjects. Ovid was Roman and Hesiod Greek so they would hold differing grounds for portraying creative activity as they have done. Their lives would hold been really different so Ovid was possibly composing for his clip and for an audience that had anterior cognition of these myths.

The ground that Ovid used the name Metamorphoses could be that he was be aftering already to utilize the selected myths that dealt with the transmutation of people, Gods, and heroes into forces or characteristics of nature. Ovid calls upon the Gods to assist him make this version of events, does this imply that Ovid ‘s was seeking to re compose what has gone earlier in his manner that was purportedly supported by the Gods. In the quotation mark below it is apparent that alteration was a great focal point.

“ Ovid calls upon the Gods ( themselves manufacturers of alteration, although these lines are equivocal in intending ) to help his originative procedure and pull out a uninterrupted vocal from the really start of things to Ovid’sown clip. While remaining qui vive to the Gods ‘ transformative maps, you should observe that they are non ever responsible for cardinal alterations. ( Some metabolisms seem to take topographic point of course instead than preternaturally in the verse form. ) ”

M and L

Ovid has besides capitalised on the fact that in Greek tradition, heaven underwent its ain series of developments or alterations and this fits in absolutely with the subject of metabolisms.

Ovid does claim to be working in fact when he is stating his narrative of creative activity and that he used the plants of philosophers as reported by Richard McKim and the fact he demythologised the histories he used. Something that we must besides retrieve is that Ovid is composing for amusement and for him the myths are from yearss gone by and he has merely given a casual reference to the Gods. A point stated in Classical Mythology my Moreford and Longdin possibly explains this more articulately

“ Mythology for him is little more than inspirational, poetic fresh fish, nevertheless successful and attractive the terminal merchandise may be. Both the poetic and the existent universes of

Hesiod and Ovid are poles apart. ”

( M & A ; L, p. 58 )

This quotation mark besides supports the logical thinking that clip of authorship of Ovid ‘s metabolisms he was concentrating on his ain grounds and positions and composing for himself and that the age that the writes lived in would reflect greatly on their manner and significantly what they would compose about.

Manipulation of myth

Why does Ovid go forth out the age of hero ‘s is this because it did n’t adhere to the vision he had for metabolisms? This age was an age when all was good and peace reigned and he did n’t desire to foreground the Grecian heroes so left out who they were, at some point they were labelled as demi-gods in other versions of the creative activity myths. This could besides be because Ovid is taking ownership of the ages in the Roman manner by short-circuiting the topic of how human sort are pawns to the Grecian Gods and alternatively, as is the Augustan manner people work hard for their ain accomplishments and should be cognizant of the morality and how they should act.

Reasoning to why the alteration

Ovid was an entertainer an creative person with a great ability to execute and lure a reader with his turns and bends. As a talented author and artiste he took pleasance in rewriting myth to do the reader analyse and rhenium read the text in a quizzical manner but without earnestness.

“ The tradition of utilizing the metabolism subject to stress the Metamorphoses ‘ indispensable deficiency of earnestness Begins with Ovid himself, who in a ulterior work Tells us that his narratives of transmutation were ‘not to be believed ‘ ( Trist. 2.64 ) , a claim that highlights the first premise a modern-day reader might convey to any such narrative. ”

Secondary beginnings

He wanted the reader to oppugn the text and reevaluate the alterations and challenged them to understand his manner. In many ways he used his authorship has a game for the reader and stretched their apprehension and map as a piece of literature.

Ovid himself participates in this procedure by presenting multiple points of position on transmutation itself every bit good as raising inquiries about the generic position of his work. Therefore metabolism continually compels readers to refigure their relationship to the text, their apprehension of the narrations it contains, and finally how it functions as a literary representation.

Secondary textual beginnings

Ovid was a spectator and hearer and would absorb his milieus and I believe that his rhenium authorship of the creative activity myths would portray an albeit entertaining manner but one that would be closer in nature to the manner that Romans were populating under the regulation of Augustus. This is indicated signifier the class text as follows

“ Ovid takes on the function of an intelligent perceiver of the Principate ( Augustus ‘ regulation ) as ‘a bit by bit germinating establishment, together with all the effects of that development for Roman political relations, faith and society in general ‘

Block 3


It is known that Ovid wrote about love many times and he used this subject throughout Metamorphoses Ovid states himself that

“ Ovid had indicated in his earlier work Amours or Poems of Love that one God in peculiar, Cupid, had propelled him off from heroic stuff and tricked him into composing about the workss of lovers instead than heroes.

This could besides be a ground why he missed out the age of heroes ‘ . In the clip of Ovid love was unsafe and a destabilising force and that it exalted a force for the worse over everyone even the Gods. The effects of love brought wretchedness and danger to the myths and in bend where a great type of amusement. It has been shown that love manipulates ground and mortality. The transmutations in Metamorphosiss are frequently from spurned love. Like Jason and Medea, Narcissus who have the linking subject of love.

Political grounds could besides hold played a portion in the Hagiographas of Metamorphosiss, it was written in a clip when Augustus was seeking to determine a society that encouraged matrimony and criminal conversation was punished. This could hold spurned Ovid to compose in a manner that displayed penalty if the right moralistic values were non represented.

Each age has deteriorated into worse than the one antecedently, this could be a expression back to how life was before the great Augustan epoch and be a testimonial to the bossy swayer of Ovid ‘s clip


Ovid knew what he was composing about he was n’t out to lend fact but to utilize the fabulous creative activities of authors before him to model and determine the old versions that would be a platform to encapsulate and exemplify the gifted author he was and to convey this to the head of his ill fame and popularity. Ovid had a assurance in his authorship manner and ability and was ambitious and non perturbed in the pick of topic that he chose to compose approximately. Metamorphosiss, was an indicant of and a collector’s item for his abilities and allowed him to believe he could compose in a manner that he chose irrespective of effect. In some ways this did detract from the myth itself but I believe that the exceeding manner and dash of the gifted author outweighed this. This was conceivably the precursor to his unfortunate expatriate by Augustus that Ovid endured until his decease.