Овидијеве Метаморфозе

Корице књиге Метаморфозе
George Sandys's 1632 edition of Ovid's Metamorphosis Englished

Title page of 1556 edition published by Joannes Gryphius (decorative border added subsequently). Hayden White Rare Book Collection, University of California, Santa Cruz

Метаморфозе је еп који је Овидије, већ као зрео песник, објавио као своје обимом највеће дело. Садржај 15 књига су 250 прича које су написане у хексаграмима, а укупан број хексаграма је 11995. Приче обрађује низ митова који за тему имају преображаје и отелотворења појава, догађаја или појмова у разноразна обличја, од прве метаморфозе Хаоса до претварања Цезара у Звезду и апотеозе Августа.

Ликови у Овидијевим Метармофозама пролазе кроз невероватне преображаје – или су полубогови или јунаци и хероји или обични људи са свим својим манама и врлинама, а све шта има се догађа, Овидије приповеда стилом који је испуњен фантастиком.

Овидије је Метаморфозама покушао и успео створити свој opus perpetuum, еп који је пун духа, а изграђен је на свету античког мита.

Из овог епа до данас су остали чувени одломци о претварању Дафне у ловор, о љубави Пирама и Тизбе, о Јасону и Медеји, о Ниоби, Дедалу и Икару, идилична новела о Филемону и Баукиди, као и мит о Орфеју и Еуридици.

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. Numerous English translations of the work have been made, the first by William Caxton in 1480.

Извори и модели

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 ... but that he could still treat the myths in his own way.

— Karl Galinsky

Ovid's decision to make myth the dominant subject of the Metamorphoses was influenced by the predisposition of Alexandrian poetry. 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". 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.

There are three examples of Metamorphoses by later Hellenistic writers, but little is known of their contents. 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. 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) and positioned itself within a historical framework.

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. 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.

Садржај

A woodcut from Virgil Solis, illustrating the apotheosis of Julius Caesar, the final event of the poem (XV.745–850)

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); a Kollektivgedicht that pulls together a series of examples in miniature form, such as the epyllion; a sampling of one genre after another; or simply a narrative that refuses categorization.

The poem is generally considered to meet the criteria for an epic; it is considerably long, relating over 250 narratives across fifteen books; it is composed in dactylic hexameter, the meter of both the ancient Iliad and Odyssey, and the more contemporary epic Aeneid; and it treats the high literary subject of myth. However, the poem "handles the themes and employs the tone of virtually every species of literature", ranging from epic and elegy to tragedy and pastoral. Commenting on the genre debate, Karl Galinsky has opined that "... it would be misguided to pin the label of any genre on the Metamorphoses".

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; it has been compared to works of universal history, which became important in the 1st century BC. In spite of its apparently unbroken chronology, 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

Теме

Apollo and Daphne (c. 1470–1480) by Antonio del Pollaiuolo, one tale of transformation in the Metamorphoses—he lusts after her and she escapes him by turning into a bay laurel.

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 unifying themes that critics have proposed over the years".

Metamorphosis

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;"). Accompanying this theme is often violence, inflicted upon a victim whose transformation becomes part of the natural landscape. This theme amalgamates the much-explored opposition between the hunter and the hunted and the thematic tension between art and nature.

There is a great variety among the types of transformations that take place: from human to inanimate object (Nileus), constellation (Ariadne's Crown), animal (Perdix); from animal (ants) and fungus (mushrooms) to human; of sex (hyenas); and of colour (pebbles). 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", 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.

Литература

• Ovid (2008). Metamorphoses. Превод: A. D. Melville. Introduction and notes by Edward John Kenney. Oxford: Oxford University Press. ISBN 978-0-19-953737-2. 
• Allen, Christopher (2006). „Ovid and art”. Ур.: Philip Hardie. The Cambridge Companion to Ovid. Cambridge: Cambridge University Press. стр. 336—367. ISBN 978-0-521-77528-1. doi:10.1017/CCOL0521772818.022. 
• Anderson, William S., ур. (1997). Ovid's Metamorphoses, Books 1–5. Norman: University of Oklahoma Press. ISBN 978-0-8061-2894-8. 
• Benson, Larry D., ур. (2008). The Riverside Chaucer (3rd изд.). Oxford University Press. ISBN 978-0-19-955209-2. 
• Farrell, Joseph (1992). „Dialogue of Genres in Ovid's "Lovesong of Polyphemus" (Metamorphoses 13.719–897)”. American Journal of Philology. 113 (2): 235—268. JSTOR 295559. doi:10.2307/295559.  (потребна претплата)
• 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; Cummings, Robert (2004). „A Bibliography of Ovidian Translations and Imitations in English”. Translation and Literature. 13 (2): 207—218. JSTOR 40339982. doi:10.3366/tal.2004.13.2.207.  (потребна претплата)
• Harrison, Stephen (2006). „Ovid and genre: evolutions of an elegist”. Ур.: Philip Hardie. The Cambridge Companion to Ovid. Cambridge: Cambridge University Press. ISBN 978-0-511-99896-6. 
• Lyne, Raphael (2006). „Ovid in English translation”. Ур.: Philip Hardie. The Cambridge Companion to Ovid. Cambridge: Cambridge University Press. ISBN 978-0-511-99896-6. 
• Otis, Brooks (2010). Ovid as an Epic Poet (2nd изд.). 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—360. JSTOR 269419. S2CID 162744932. doi:10.1086/366734.  (потребна претплата)
• Tarrant, R. J. (2004). P. Ouidi Nasonis Metamorphoses. Oxford Classical Texts. Oxford: Clarendon Press. 
• 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. 
• Anderson, William S., ур. (1972). Ovid's Metamorphoses, Books 6–10. University of Oklahoma Press. ISBN 978-0-8061-1456-9. 
• Elliot, Alison Goddard (1980). „Ovid's Metamorphoses: A Bibliography 1968–1978”. Classical World. 73 (7): 385—412. JSTOR 4349232. doi:10.2307/4349232.  (потребна претплата)
• Hollis, A. S., ур. (1970). Ovid. Metamorphoses, Book VIII. Oxford: Oxford University Press. ISBN 978-0-19-814460-1. 
• Martindale, Charles, ур. (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. 

Спољашње везе

• Латински и енглески превод Метармофоза
• Ovid Illustrated: The Renaissance Reception of Ovid in Image and Text – 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 translations from 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
• 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.
• The Ovid Project: Metamorphising the Metamorphoses – Illustrations by Johann Whilhelm Baur (1600–1640) and anonymous illustrations from George Sandys's edition of 1640.
• A Honeycomb for Aphrodite by A. S. Kline.
• Ovid's Metamorphoses, An introduction and commentary by Larry A. Brown.
• Metamorphoses public domain audiobook at LibriVox
• Ovid ~ Metamorphoses ~ 08-2008 – Selections from Metamorphoses, read in Latin and English by Rafi Metz. Approximately 4½ hours.
• "Neapolitan Ovid" – An illustrated manuscript from 1000–1200 AD, hosted by the World Digital Library.