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71-468: The only ancient mention of Morpheus occurs in Ovid's Metamorphoses , where Ovid tells of the story of Ceyx and his wife Alcyone who were transformed into birds. In Ovid 's account, Juno (via the messenger goddess Iris ) sends Morpheus to appear to Alcyone in a dream, as her husband Ceyx, to tell her of his death. Ovid makes Morpheus one of the thousand sons of Somnus (Sleep). His name derives from

142-553: A collection of relatively unconnected fragments, which challenge the literary code that predisposes the reader to look for coherence." Notable examples of authors that produced fragmentary work in the Postmodern period include William S. Burroughs , Kathy Acker , Donald Barthelme , John Barth , B.S. Johnson and Robert Coover . The contemporary period has seen an increase in the prevalence of fragmentation in works of literature. Wojciech Drąg notes that this period has seen

213-720: A collection of translations and responses to the poem, entitled After Ovid: New Metamorphoses , was produced by numerous contributors in emulation of the process of the Garth volume. One of the most famous translations of the Metamorphoses published in France dates back to 1557. Published under the title La Métamorphose d'Ovide figurée (The Illustrated Metamorphosis of Ovid) by the Maison Tournes (1542–1567) in Lyon , it

284-404: A continuing and decisive influence on European literature as Ovid's Metamorphoses . The emergence of French, English, and Italian national literatures in the late Middle Ages simply cannot be fully understood without taking into account the effect of this extraordinary poem. ... The only rival we have in our tradition which we can find to match the pervasiveness of the literary influence of

355-502: A declaration that everything except his poetry—even Rome—must give way to change: And now, my work is done, which neither Jove Nor flame nor sword nor gnawing time can fade. That day, which governs only my poor frame, May come at will to end my unfixed life, But in my better and immortal part I shall be borne beyond the lofty stars And never will my name be washed away. Where Roman power prevails, I shall be read; And so, in fame and on through every age (If bards foretell

426-432: A fragment of pottery can suggest the part that was lost due to the nature of patterning, the literary fragment cannot represent its whole in the same way, which complicates the relationship between the literary fragment and its suggested whole. The discovery of fragments of larger works has been of interest to scholars in many fields since at least the sixteenth century, and has formed the research basis of many fields since

497-486: A fragmented world", dispensing with the notion of over-arching meaning, instead representing the world as fundamentally fractured and disordered. The postmodern literary fragment is characterised by mosaic, montage, collage, polyphonic narrative and voices, multiple perspectives, pastiche, duplication, mirroring, and incompletion. Douwe Fokkema writes that the Postmodern fragment emphasises discontinuity and destroys connectivity, explaining that "many Postmodernist texts are

568-453: 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.871–879), one of only two surviving Latin epics to do so (the other being Statius ' Thebaid ). The ending acts as

639-399: A hundred manuscripts and was informed of many others through correspondence. Collaborative editorial effort has been investigating the various manuscripts of the Metamorphoses , some forty-five complete texts or substantial fragments, all deriving from a Gallic archetype. The result of several centuries of critical reading is that the poet's meaning is firmly established on the basis of

710-409: A majority of its stories do not originate with Ovid himself, but with such writers as Hesiod and Homer , for others the poem is their sole source. The influence of the poem on the works of Geoffrey Chaucer is extensive. In The Canterbury Tales , the story of Coronis and Phoebus Apollo (Book II 531–632) is adapted to form the basis for The Manciple's Tale . The story of Midas (Book XI 174–193)

781-642: A mark on his contemporaries. These illustrations contributed to the celebration of the Ovidian texts in their hedonistic dimension. In this respect, Panofsky speaks of "extraordinarily influential woodcuts" and the American art historian Rensselaer W. Lee describes the work as "a major event in the history of art". In the Musée des Beaux-arts et des fabrics in Lyon, it is possible to observe wooden panels reproducing

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852-417: A part and a whole but do not belong to either. Others, such as Hans-Jost Frey, suggest that the fragment may be entirely incompatible with literary theory because it is by nature "hostile to meaning", and defies the boundaries and borders upon which theory depends. The difficulty in defining the literary fragment is also due to the connotations of the word 'fragment' and its relationship to archaeology; while

923-421: A renewed focus on the literary fragment as a rejection of traditional narrative modes, leading Paul Virilio to label the period as "the age of micro-narrative, the art of the fragment". While the modernists saw the fragment as a way of making sense of the chaos of the modernising world and searching for unity in a disjointed world, the postmodern period saw writers "give up Modernist attempts to restore wholeness to

994-604: A repudiation of earlier ideas, but many note that modernist fragmentary writing was a clear response to the Romantic fragment poem. While the Romantics saw the fragment as a way to reckon with ideas of possibility and limitlessness, the fragment that appeared during this period in the first half of the twentieth century was a response to the challenges of modernity. As John Tytell explains, the fragment became synonymous with literary modernism because it represented "a new sense of

1065-525: A revival of fragmentary writing that poses a new kind of challenge for the reader, as it rejects narrative conventions and conventional novelistic structures, favours non-linearity, experimentation with chronology, metatextuality, repetition, listing and the use of citations in creative works. Critics such as Shannon Callaghan note that the contemporary fragment offers a new way of representing marginalised identities and traumatic experiences outside of traditional narrative structures. Guignery and Drag note that

1136-439: A way to reckon with the challenges of modernity. The literary fragment and the concept of fragmentariness presents several challenges to literary criticism, in part because of the difficulty in determining what constitutes a fragment. Guignery and Drag write that the task of defining the literary fragment is "near-impossible". Sophie Thomas writes that literary fragments "disturb characterization", as they exist somewhere between

1207-518: Is a Latin narrative poem from 8 CE by the Roman poet Ovid . It is considered his magnum opus . The poem chronicles the history of the world from its creation to the deification of Julius Caesar in a mythico-historical framework comprising over 250 myths, 15 books, and 11,995 lines. Although it meets some of the criteria for an epic , the poem defies simple genre classification because of its varying themes and tones. Ovid took inspiration from

1278-404: 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

1349-421: Is difficult to classify literary fragments, a number of critics agree on a basic taxonomy of two types of fragment: those who intentionally use fragmentation as a form in their writing, and those that are fragmented because they are incomplete or because parts have been lost over time. As a form, the literary fragment has been employed during the Romantic, Modernist, Postmodern and Contemporary literary periods as

1420-503: 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

1491-518: Is referred to and appears—though much altered—in The Wife of Bath's Tale . The story of Ceyx and Alcyone (from Book IX) is adapted by Chaucer in his poem The Book of the Duchess , written to commemorate the death of Blanche, Duchess of Lancaster and wife of John of Gaunt . The Metamorphoses was also a considerable influence on William Shakespeare . His Romeo and Juliet is influenced by

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1562-560: Is strongly associated with European Romanticism . While the Romantic fragment evolved out of the much earlier writings of Montaigne , Pascal and the English and French moralist tradition , scholars note that the fragmentary form was established by a group of German writers associated with the Jena school including Friedrich Schlegel and Novalis . The Jena Romantics, as well as Goethe , Nietzsche , Schiller and Walter Benjamin , saw

1633-499: Is the result of a collaboration between the publisher Jean de Tournes and Bernard Salomon , an important 16th-century engraver. The publication is edited octavo format and presents Ovid's texts accompanied by 178 engraved illustrations. In the years 1540–1550, the spread of contemporary translations led to a true race to publish the ancient poet's texts among the city of Lyon's various publishers. Therefore, Jean de Tournes faced fierce competition, which also published new editions of

1704-620: Is used within the play to enable Titus to interpret his daughter's story. Most of Prospero's renunciative speech in Act V of The Tempest is taken word-for-word from a speech by Medea in Book VII of the Metamorphoses . Among other English writers for whom the Metamorphoses was an inspiration are John Milton —who made use of it in Paradise Lost , considered his magnum opus , and evidently knew it well —and Edmund Spenser . In Italy,

1775-459: The Hellenistic tradition , which is first represented by Boios ' Ornithogonia —a now- fragmentary poem of collected 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

1846-519: The Library of Congress in Washington D.C. , USA. A digital copy is available on Gallica . It would also appear that a copy has been auctioned at Sotheby's . The 1557 edition published by Jean de Tournes features 178 engravings by Bernard Salomon accompanying Ovid's text. The format is emblematic of the collaboration between Tournes and Salomon, which has existed since their association in

1917-405: The Metamorphoses ' enduring popularity from its first publication (around the time of Ovid's exile in 8 AD) no manuscript survives from antiquity. From the 9th and 10th centuries there are only fragments of the poem; it is only from the 11th century onwards that complete manuscripts, of varying value, have been passed down. The poem retained its popularity throughout late antiquity and

1988-400: The Metamorphoses after this period was comparatively limited in its achievement; the Garth volume continued to be printed into the 1800s, and had "no real rivals throughout the nineteenth century". Around the later half of the 20th century a greater number of translations appeared as literary translation underwent a revival. This trend has continued into the twenty-first century. In 1994,

2059-658: The Metamorphoses before working on his engravings, which nevertheless display a remarkable originality. In the book Bernard Salomon. Illustrateur lyonnais , Peter Sharratt states that the plates in this edition, along with that of the Bible illustrated by the painter in 1557, are Salomon's works that most emphasise the illustrative process based on "a mixture of memories". Among the earlier editions consulted by Salomon, one in particular stands out: Metamorphoseos Vulgare , published in Venice in 1497. The latter shows similarities in

2130-459: The Metamorphoses did not suffer the ignominious fate of the Medea , no ancient scholia on the poem survive (although they did exist in antiquity ), and the earliest complete manuscript is very late, dating from the 11th century. Influential in the course of the poem's manuscript tradition is the 17th-century Dutch scholar Nikolaes Heinsius . During the years 1640–52, Heinsius collated more than

2201-582: The Metamorphoses in his Tales from Ovid , published in 1997. In 1998, Mary Zimmerman 's stage adaptation Metamorphoses premiered at the Lookingglass Theatre , and the following year there was an adaptation of Tales from Ovid by the Royal Shakespeare Company . In the early 21st century, the poem continues to inspire and be retold through books, films and plays. A series of works inspired by Ovid's book through

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2272-543: The Metamorphoses is perhaps (and I stress perhaps) the Old Testament and the works of Shakespeare . — Ian Johnston The Metamorphoses has exerted a considerable influence on literature and the arts, particularly of the West ; scholar A. D. Melville says that "It may be doubted whether any poem has had so great an influence on the literature and art of Western civilization as the Metamorphoses ." Although

2343-505: The Metamorphoses , inspired by ancient Greek and Roman mythologies, which were reunited in the Titian exhibition at The National Gallery in 2020. Other famous works inspired by the Metamorphoses include Pieter Brueghel 's painting Landscape with the Fall of Icarus and Gian Lorenzo Bernini 's sculpture Apollo and Daphne . The Metamorphoses also permeated the theory of art during

2414-435: The Metamorphoses . He published the first two books of Ovid in 1456, a version that was followed by an illustrated reprint in 1549. His main competitor was Guillaume Roville , who published the texts illustrated by Pierre Eskrich in 1550 and again in 1551. In 1553, Roville published the first three books with a translation by Barthélémy Aneau , which followed the translation of the first two books by Clément Marot . However,

2485-615: The Renaissance . There was a resurgence of attention to Ovid's work near the end of the 20th century. 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. 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

2556-509: The subjective nature of experience, disrupted narrative chronology, drew attention to the fictive nature of their narrative procedures, experimented with language, and, by refusing the comforts of closure, remained steadfastly open‐ended. Notable examples of authors that produced fragmentary work in the Modernist period include T. S. Eliot , Gertrude Stein , Virginia Woolf , James Joyce , and Ezra Pound . The postmodern period saw

2627-448: The 1557 version published by Maison Tournes remains the version that enjoys the greatest fortune, as testified by historiographical mentions. The 16th-century editions of the Metamorphoses constitute a radical change in the way myths are perceived. In previous centuries, the verses of the ancient poet had been read above all in function of their moralising impact, whereas from the 16th century onwards their aesthetic and hedonistic quality

2698-452: The Greek word for form (μορφή), and his function was apparently to appear in dreams in human guise. According to Ovid "no other is more skilled than he in representing the gait, the features, and the speech of men; the clothing also and the accustomed words of each he represents." As with other gods associated with sleep, Ovid presents Morpheus as winged. Ovid called Morpheus and his brothers,

2769-551: The Middle Ages, and is represented by an extremely high number of surviving manuscripts (more than 400); the earliest of these are three fragmentary copies containing portions of Books 1–3, dating to the 9th century. But the poem's immense popularity in antiquity and the Middle Ages belies the struggle for survival it faced in late antiquity. The Metamorphoses was preserved through the Roman period of Christianization . Though

2840-580: The Renaissance and the Baroque style, with its idea of transformation and the relation of the myths of Pygmalion and Narcissus to the role of the artist. Though Ovid was popular for many centuries, interest in his work began to wane after the Renaissance, and his influence on 19th-century writers was minimal. Towards the end of the 20th century his work began to be appreciated once more. Ted Hughes collected together and retold twenty-four passages from

2911-405: The Romantic period include Samuel Taylor Coleridge , John Keats , Lord Byron and Percy Bysshe Shelley . The use of the fragment as a form is closely linked to the modernist literary tradition . As Nora Golschmidt explains, "the fragment is so integral to the literary and visual cultures of modernism that it borders on cliche." The modernist literary movement is often described as being

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2982-469: The beginning of printing, and traces a path through the history of publishing. William Caxton produced the first translation of the text on 22 April 1480; set in prose, it is a literal rendering of a French translation known as the Ovide Moralisé . In 1567, Arthur Golding published a translation of the poem that would become highly influential, the version read by Shakespeare and Spenser. It

3053-490: The complexity of the modern world. According to Gasiorek, the modernist period saw the literary fragment become part of the novel, the genre previously considered the least consistent with fragmentation. He explains that the modernists adopted the fragment as a rejection of realism that was seen as an "unwarrantedly stable and epistemologically confident narrative mode", and instead, developed novelistic forms that were fragmented, deployed multiple viewpoints, emphasised

3124-640: The composition of some episodes, such as the 'Creation of the World' and ' Apollo and Daphne '. In drawing his figures, Salomon also used Bellifontaine's canon, which testifies to his early years as a painter. Among other works, he created some frescoes in Lyon, for which he drew inspiration from his recent work in Fontainebleau . Better known in his lifetime for his work as a painter, Salomon's work in La Métamorphose d'Ovide figurée nevertheless left

3195-431: 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

3266-418: The establishment of academic disciplines in the nineteenth century. Historical literary fragments are studied closely in the fields of papyrology , which involves the study of papyrus texts almost all preserved in fragments, and the more recently established field of fragmentology , which involves the study of surviving fragments of mostly medieval European manuscripts. Historical literary fragments include

3337-410: The fragment as a literary form that offered freedom from the limitations imposed by traditional genres, had the potential to reject Enlightenment ways of thinking, and could reflect the fragmentary nature of existence while gesturing towards the future. According to Jean-Luc Nancy and Philippe Lacoue-Lebarthe , the Romantic "aims at fragmentation for its own sake". This idea is also reflected in

3408-523: 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 BCE. In spite of its apparently unbroken chronology, scholar Brooks Otis has identified four divisions in

3479-541: The genre of metamorphosis poetry. Although some of the Metamorphoses derives from earlier treatment of the same myths, Ovid diverged significantly from all of his models. The Metamorphoses is one of the most influential works in Western culture . It has inspired such authors as Dante Alighieri , Giovanni Boccaccio , Geoffrey Chaucer , and William Shakespeare . Numerous episodes from the poem have been depicted in works of sculpture, painting, and music, especially during

3550-430: The key themes of the Metamorphoses . 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

3621-540: The manuscript tradition or restored by conjecture where the tradition is deficient. There are two modern critical editions: William S. Anderson's, first published in 1977 in the Teubner series, and R. J. Tarrant 's, published in 2004 by the Oxford Clarendon Press. The full appearance of the Metamorphoses in English translation (sections had appeared in the works of Chaucer and Gower ) coincides with

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3692-487: The mid-1540s: the pages are developed centred around a title, an engraving with an octosyllabic stanza and a neat border. The 178 engravings were not made all at once for the full text, but originate from a reissue of the first two books in 1549. In 1546, Jean de Tournes published a first, non-illustrated version of the first two books of the Metamorphoses , for which Bernard Salomon prepared twenty-two initial engravings. Salomon examined several earlier illustrated editions of

3763-441: The model of Salomon's engravings for Ovid's Metamorphoses of 1557. Literary fragment A literary fragment is a piece of text that may be part of a larger work, or that employs a 'fragmentary' form characterised by physical features such as short paragraphs or sentences separated by white space, and thematic features such as discontinuity, ambivalence, ambiguity, or lack of a traditional narrative structure. While it

3834-891: The moralizing of the Metamorphoses had been with the aspirations of the 14th and 15th centuries". The work was republished in French in 1564 and 1583, although it had already been published in Italian by Gabriel Simeoni in 1559 with some additional engravings. Some copies from 1557 are today held in public collections, namely the National Library of France , the Municipal Library of Lyon, the Brandeis University Library in Waltham (MA) and

3905-527: 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 objects (Nileus), constellations (Ariadne's Crown), animals (Perdix), and plants (Daphne, Baucis and Philemon); from animals (ants) and fungi (mushrooms) to human; from one sex to another (hyenas); and from one colour to another (pebbles). The metamorphoses themselves are often located metatextually within

3976-411: The myths in his own way. — Karl Galinsky Ovid's decision to make myth the primary subject of the Metamorphoses was influenced by Alexandrian poetry . In that tradition myth functioned as a vehicle for moral reflection or insight, yet Ovid approached it as an "object of play and artful manipulation". The model for a collection of metamorphosis myths was found in the metamorphosis poetry of

4047-453: The narrative: 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

4118-935: The other sons of Somnus, the Somnia ("dream shapes"), saying that they appear in dreams "mimicking many forms". Ovid gives names to two more of these sons of Sleep. One called Icelos ('Like'), by the gods, but Phobetor ('Frightener') by men, "takes the form of beast or bird or the long serpent", and Phantasos ('Fantasy'), who "puts on deceptive shapes of earth, rocks, water, trees, all lifeless things". The three brothers' names are found nowhere earlier than Ovid, and are perhaps Ovidian inventions. Tripp calls these three figures "literary, not mythical concepts". However, Griffin suggests that this division of dream forms between Morpheus and his brothers, possibly including their names, may have been of Hellenistic origin. Metamorphoses The Metamorphoses ( Latin : Metamorphōsēs , from Ancient Greek : μεταμορφώσεις : "Transformations")

4189-453: The poem was an influence on Giovanni Boccaccio (the story of Pyramus and Thisbe appears in his poem L'Amorosa Fiammetta ) and Dante . During the Renaissance and Baroque periods, mythological subjects were frequently depicted in art. The Metamorphoses was the greatest source of these narratives, such that the term "Ovidian" in this context is synonymous for mythological, in spite of some frequently represented myths not being found in

4260-425: 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. No work from classical antiquity, either Greek or Roman , has exerted such

4331-453: The remains of works otherwise lost over time, such as in the case of the poetry of Sappho , as well as quotations in secondary texts from works that have never been discovered, such as in the work of Heraclitus . Notable examples of writers of extant fragments of longer works include Sappho , Heraclitus , Sophocles , Xenophon , Antisthenes , Abydenus , Berossus , Sanchoniatho and Megasthenes . The fragment as both theme and form

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4402-528: 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 BCE, 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

4473-451: The stories from this work are 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

4544-409: The story of Pyramus and Thisbe ( Metamorphoses Book IV); and, in A Midsummer Night's Dream , a band of amateur actors performs a play about Pyramus and Thisbe. Shakespeare's early erotic poem Venus and Adonis expands on the myth in Book X of the Metamorphoses . In Titus Andronicus , the story of Lavinia's rape is drawn from Tereus ' rape of Philomela , and the text of the Metamorphoses

4615-546: The tragedy of Diana and Actaeon have been produced by French-based collective LFKs and his film/theatre director, writer and visual artist Jean-Michel Bruyere, including the interactive 360° audiovisual installation Si poteris narrare, licet ("if you are able to speak of it, then you may do so") in 2002, 600 shorts and "medium" film from which 22,000 sequences have been used in the 3D 360° audiovisual installation La Dispersion du Fils from 2008 to 2016 as well as an outdoor performance, "Une Brutalité pastorale" (2000). In spite of

4686-419: The truth at all), I'll live. 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". In nova fert animus mutatas dicere formas / corpora; Metamorphosis or transformation

4757-487: The universe that began to emerge as the nineteenth century ended". Industrialisation, technological advancement and developments in science all lead to significant societal changes, and the First World War "seemed to sever any reliable continuities with the values of the past", leading to a "fragmented experience of modernity". These changes prompted writers to seek a new mode of representation that could represent

4828-669: The work of the English late-Romantic poets who saw the potential of the fragmented form to express insights "that went beyond established forms and genres". The historical fragment and the motif of the historical ruin also gained popularity during this period, with many writers taking inspiration from recently discovered relics of the past. This interest in historical fragments saw several literary hoaxes in which Romantic writers including Thomas Chatterton and James Macpherson claimed to have translated or discovered historical fragments that were later shown to be their own modern creation. Notable examples of authors that produced fragmentary work in

4899-408: The work. Many of the stories from the Metamorphoses have been the subject of paintings and sculptures, particularly during this period. Some of the most well-known paintings by Titian depict scenes from the poem, including Diana and Callisto , Diana and Actaeon , and Death of Actaeon . These works form part of Titian's " poesie " , a collection of seven paintings derived in part from

4970-647: Was exalted. The literary context of the time, marked by the birth of the Pléiade , is indicative of this taste for the beauty of poetry. "The disappearance of the Ars Amatoria and the Remedia amoris marks the end of a Gothic era in Ovidian publishing, just as the publication in 1557 of the Métamorphose figurée marks the appropriation by the Renaissance of a work that is as much in line with its tastes as

5041-625: Was written in rhyming couplets of iambic heptameter . The next significant translation was by George Sandys , produced from 1621 to 1626, which set the poem in heroic couplets , a metre that would subsequently become dominant in vernacular English epic and in English translations. In 1717, a translation appeared from Samuel Garth bringing together work "by the most eminent hands": primarily John Dryden , but several stories by Joseph Addison , one by Alexander Pope , and contributions from Tate , Gay , Congreve , and Rowe , as well as those of eleven others including Garth himself. Translation of

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