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97-533: The phrase puer aeternus comes from Metamorphoses , an epic work by the Roman poet Ovid (43 BC – c.  17 AD ) dealing with Greek and Roman myths. In the poem, Ovid addresses the child-god Iacchus as " puer aeternus " and praises him for his role in the Eleusinian mysteries . Iacchus is later identified with the gods Dionysus and Eros . The puer is a god of vegetation and resurrection;

194-463: A "negative" aspect. The "positive" side of the puer appears as the Divine Child who symbolizes newness, potential for growth, hope for the future. He also foreshadows the hero that he sometimes becomes (e.g. Heracles ). The "negative" side is the child-man who refuses to grow up and meet the challenges of life head-on, waiting instead for his ship to come in and solve all his problems. "For

291-720: 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

388-404: 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

485-502: 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

582-408: A deep insight into the unconscious spiritual situation of the time. They show the deep conflict of that time, the transition from Paganism to Christianity. "The martyrs appear in many respects as the tragic, unconscious victims of the transformation which was then being fulfilled deep down in the collective stratum of the human soul: the transformation of the image of God" Another compensatory motif

679-429: A figure representing the future psychological development of human beings. That higher and 'complete' ( teleios ) man is begotten by the 'unknown' father and born from Wisdom, and it is he who, in the figure of the puer aeternus —' vultu mutabilis albus et ater '—represents our totality, which transcends consciousness. It was this boy into whom Faust had to change, abandoning his inflated onesidedness which saw

776-453: 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

873-399: 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

970-497: A lengthy exchange of letters with Wolfgang Pauli , winner of a Nobel Prize in physics. On Pauli's death, his widow Franca deliberately destroyed all the letters von Franz had sent to her husband, and which he had kept locked inside his writing desk. But the letters sent by Pauli to von Franz were all saved and were later made available to researchers (and published as well). Von Franz was passionately interested in nature and gardening. In order to meet her love for nature, she acquired

1067-409: 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)

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1164-642: 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

1261-583: A minimum of medicine, so that she was increasingly physically affected by her illness until death, but could keep a clear mind and consciousness. Von Franz died in Küsnacht , Switzerland on 17 February 1998. She was 83. Most of these titles are a translation of the original German title. A few titles were originally published in English. The Fountain of the Love of Wisdom: An Homage to Marie-Louise von Franz

1358-417: A more introverted life at her home in Küsnacht , Switzerland. Several times a year she took a retreat into her Bollingen tower, which in some years was up to a five months stay. She concentrated mainly on her creative work, especially alchemy and continued to meet friends and patients from all over the world. During her last years, von Franz had Parkinson's disease . Barbara Davies stated that she took only

1455-509: A piece of land at the borders of a large forest above Bollingen . There, in 1958, she built a quadrate tower following the example of C. G. Jung. The tower was meant to be a hermitage, having neither electricity nor a flushing cistern. She used to take her wood for heating and cooking from the surrounding woods. Besides the house, there was a bog pond , abundant with toads and frogs, which she loved. This tower enabled her "to escape modern civilization and all its unrest from time to time and to find

1552-504: A prison." When the subject is a female, the Latin term is puella aeterna , imaged in mythology as the Kore (Greek for 'maiden'). One might also speak of a puer animus when describing the masculine side of the female psyche, or a puella anima when speaking of a man's inner feminine component. Carl Jung wrote a paper on the puer aeternus , titled "The Psychology of

1649-542: A refuge in nature", as her sister reported. At that place, she felt "in tune with the spirit of nature" and she wrote a good many of her books that she had planned early on in her life, and which she had realised one after the other, throughout the decades. Between the 1950s and 1970s, von Franz travelled widely, not only for holidays but also for lecturing. She visited European countries including Austria, England, Germany, Greece, Italy and Scotland, as well as America, Egypt and some Asian countries. After 1986 she turned to

1746-589: A series of films in 1987 titled The Way of the Dream , along with her student, Fraser Boa. In The Wisdom of the Dream , a channel 4 television series, London 1989, von Franz was interviewed. Text of the film is printed in: Seegaller, S. and Berger, M: Jung – the Wisdom of the Dream . London 1989. In 1941–1944 von Franz was an associate member of the Psychological Club, Zürich. There she first lectured on

1843-639: A way that is more appropriate" to the demands of the Self, than before. "Fairy tales compensate individual consciousness, but also an insufficient attitude of collective consciousness, which in European culture has been coined mainly by Christianity." In contrast to personalistic-subjective ways of interpretation, the fate of the hero is not understood as individual neurosis, but as difficulties and dangers, being imposed on man by nature. Jung encouraged von Franz to live with fellow Jungian analyst Barbara Hannah , who

1940-428: Is a certain way of meditating imaginatively, by which one may deliberately enter into contact with the unconscious and make a conscious connection with psychic phenomena. A third field of interest and research was synchronicity , psyche and matter, and numbers. It seems to have been triggered by Jung, whose research had led him to the hypothesis about the unity of the psychic and material worlds—that they are one and

2037-404: 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

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2134-501: Is based on Jung's view of fairy tales as a spontaneous and naive product of soul, which can only express what soul is. That means, she looks at fairy tales as images of different phases of experiencing the reality of the soul. They are the "purest and simplest expression of collective unconscious psychic processes" and "they represent the archetypes in their simplest, barest and most concise form" because they are less overlaid with conscious material than myths and legends. "In this pure form,

2231-408: Is discoverable in these". I have come to the conclusion that all fairy tales endeavour to describe one and the same psychic fact, but a fact so complex and far-reaching and so difficult for us to realize in all its different aspects that hundreds of tales and thousands of repetitions with a musician's variation are needed until this unknown fact is delivered into consciousness; and even then the theme

2328-503: 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

2425-470: Is interesting that it was written and published before the Nazi movement came into being in 1933, before Hitler was ruminating on his morbid ideas. Bruno Goetz certainly had a prophetic gift about what was coming, and ... his book anticipates the whole Nazi problem, throwing light upon it from the angle of the puer aeternus ". Now or Neverland is a 1998 book written by Jungian analyst Ann Yeoman dealing with

2522-426: Is not exhausted. This unknown fact is what Jung calls the Self, which is the psychic reality of the collective unconscious. [...] Every archetype is in its essence only one aspect of the collective unconscious as well as always representing also the whole collective unconscious. The fairy tales' hero and heroine – with which the auditor identifies – are taken as archetypal figures (not as common human ego) representing

2619-446: Is published in the book Symbolik des Märchens (Symbolism of Fairy Tales). Nevertheless, this book (of 3 volumes) was only published under the name of Hedwig von Beit. In her later talks and books, she connects fairy tale interpretation with everyday life. Alfred Ribi says, that von Franz might well be understood as the first to discover and demonstrate the psychological wisdom of fairy tales. Von Franz's interpretation of fairy tales

2716-467: Is reborn...as well as to Mercury/Hermes, psychopomp and messenger of the gods who moves freely between the divine and human realms, and, of course, to the great goat-god Pan [....] In early performances of Barrie's play, Peter Pan appeared on stage with both pipes and a live goat. Such undisguised references to the chthonic , often lascivious and far from childlike goat-god were, not surprisingly, soon excised from both play and novel." Peter Pan syndrome

2813-518: 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

2910-545: Is the popular psychology concept of an adult who is socially immature. The category is an informal one invoked by laypeople and some psychology professionals in popular psychology. It is not listed in the Diagnostic and Statistical Manual of Mental Disorders , and is not recognized by the American Psychiatric Association as a specific mental disorder . Psychologist Dan Kiley popularized

3007-499: 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

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3104-520: Is the symbolism of the vessel of the holy grail in The Grail legend . In this book she discusses the psychological symbolism of the documented legends of the Holy Grail . It evolved out of the completion of Emma Jung's unfinished research, which Marie-Louise von Franz had been asked to take over and publish after Emma Jung's death. In the visions of Swiss Saint Nikolaus von Flüe she dealt with

3201-620: 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,

3298-404: The puer aeternus in the form of Peter Pan , one of the most well-known examples of the concept in the modern era. The book is a psychological overview of the eternal boy archetype, from its ancient roots to contemporary experience, including a detailed interpretation of J. M. Barrie 's popular 1904 play and 1911 novel . Mythologically, Peter Pan is linked to [...] the young god who dies and

3395-489: The I Ching . She cited the I Ching in an essay, "Symbols of the Unus Mundus", published in her book Psyche and Matter . Another basic concern throughout many of her works was how the collective unconscious compensates for the one-sidedness of Christianity and its ruling god image, via fairy tales and alchemy. In an analysis of the visions of Saint Perpetua , a martyr, she writes that such visions enable us to gain

3492-540: The C.G. Jung Institute, Zurich , during the Winter Semester, 1959–1960. In the first eight of twelve lectures, von Franz illustrates the theme of the puer aeternus by examining the story of The Little Prince from the book of the same name by Antoine de Saint-Exupéry . The remaining four lectures are devoted to a study of a German novel by Bruno Goetz , Das Reich ohne Raum ('The Kingdom Without Space'), first published in 1919. Of this novel von Franz says: It

3589-459: 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

3686-519: 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

3783-405: 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

3880-400: 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,

3977-658: 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

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4074-459: 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

4171-582: 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

4268-543: 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

4365-505: 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

4462-435: 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,

4559-615: 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

4656-473: 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

4753-849: The Swiss Federal Polytechnical School in Zürich (now the Swiss Federal Institute of Technology, Zürich) and, in 1935 and thereafter, also attended his psychological seminars. In 1934 she started analytical training with Jung. In order to pay C.G. Jung for her training analysis , she translated works for him from Greek and Latin texts. Among others, she translated two major alchemical manuscripts: Aurora Consurgens , which has been attributed to Thomas Aquinas , and Musaeum Hermeticum . As many of its passages were of Islamic and Persian origin, von Franz took up Arabic as study subject at university. This

4850-535: The "Stiftung für Jung'sche Psychologie" (Foundation for Jungian Psychology). The aim of this foundation is to support research and promulgation of findings in the field of Jungian depth psychology. It also publishes the journal Jungiana . In 1935 Hedwig von Beit asked Marie-Louise von Franz to assist her part-time with writing a book about fairy tales. Von Franz embarked on a time-consuming 9-years research and interpretation work. Fairy tales became increasingly important to her in regard to psychological questions. The work

4947-448: 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

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5044-648: The Arabic alchemical manuscript of Muḥammad Ibn Umail Hal ar-Rumuz (Solving the Symbols). For alchemists, imaginatio vera was an important approach to matter. It resembles in many aspects the active imagination discovered by C. G. Jung. Marie-Louise von Franz lectured in 1969 about active imagination and alchemy and also wrote about it in Man and His Symbols . Active imagination may be described as conscious dreaming . In Man and His Symbols she wrote: Active imagination

5141-729: The Child Archetype", contained in Part IV of The Archetypes and the Collective Unconscious (Collected Works, Vol. 9i). The hero-child aspect and his relationship to the Great Mother is dealt with in chapters 4 and 5 of Part Two of Symbols of Transformation (CW, vol. 5). In his essay " Answer to Job " (also included in Psychology and Religion: West and East ) Jung refers to the puer aeternus as

5238-499: 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

5335-468: The Peter Pan syndrome in his 1983 book, The Peter Pan Syndrome: Men Who Have Never Grown Up . His next book, The Wendy Dilemma (1984), advises women romantically involved with "Peter Pans" how to improve their relationships. Metamorphoses The Metamorphoses ( Latin : Metamorphōsēs , from Ancient Greek : μεταμορφώσεις : "Transformations") is a Latin narrative poem from 8 CE by

5432-580: 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

5529-412: The age of 18, in 1933, when about to finish secondary school, von Franz met the psychiatrist Carl Gustav Jung when, together with a classmate and nephew of Jung's assistant Toni Wolff , she and seven boys she had befriended were invited by Jung to his Bollingen Tower near Zürich. For von Franz, this was a powerful and "decisive encounter of her life", as she told her sister later the same evening. At

5626-430: The archetypal foundation of the ego-complex of an individual or a group. "The hero restores to healthy, normal functioning a situation in which all egos of that tribe or nation are deviating from their instinctive basic totality pattern. Hero and Heroine form "a model of an ego [...] demonstrating a rightly functioning ego, [...] in accordance with the requirements of the Self". G. Isler explains further, "The figure of

5723-444: The archetypal images afford us the best clues to the understanding of the processes going on in the collective psyche". "The fairy tale itself is its own best explanation; that is, its meaning is contained in the totality of its motifs connected by the thread of the story. [...] Every fairy tale is a relatively closed system compounding one essential psychological meaning which is expressed in a series of symbolical pictures and events and

5820-552: The aspects of the dark and evil as well as the cosmic side as part of a more holistic image of god. Von Franz says that the visions reveal basic tendencies of collective unconscious that seem to strive to further develop the Christian symbolism and by that giving points of orientation, showing where the unconscious psyche wants to let us notice and understand the problem of opposites and by that to bring us to more closeness and fear of God. In addition to her many books, von Franz made

5917-469: 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

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6014-640: 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

6111-431: 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

6208-466: The devil only outside. Christ's 'Except ye become as little children' prefigures this change, for in them the opposites lie close together; but what is meant is the boy who is born from the maturity of the adult man, and not the unconscious child we would like to remain." The Problem of the Puer Aeternus is a book based on a series of lectures that Jungian analyst Marie-Louise von Franz gave at

6305-401: The early 1930s, she had to self-finance her tuition, by giving private lessons as a tutor in Latin and Greek for gymnasium and university students. In the years after finishing her studies, she continued this to support herself, working on fairy tale texts. In addition to her university studies, von Franz occupied herself with Jungian psychology. She attended Jung's psychological lectures at

6402-523: 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

6499-541: 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

6596-423: The god of divine youth, such as Tammuz , Attis , and Adonis . Swiss psychiatrist Carl Gustav Jung developed a school of thought called analytical psychology , distinguishing it from the psychoanalysis of Sigmund Freud (1856–1939). In analytical psychology (or "Jungian psychology"), the puer aeternus is an example of what Jung considered an archetype , one of the "primordial, structural elements of

6693-404: The hero as well as the whole story compensate what initially was an insufficient or wrong attitude of consciousness. The initial situation of need, misery and shortcomings is solved at the end having a structure which is more whole than the beginning. This corresponds to a renewal of the ruling consciousness (expressed e.g. in the young king), being oriented towards psychic wholeness and totality in

6790-410: The human psyche." The shadow of the puer is the senex (Latin for 'old man'), associated with the god Cronus —disciplined, controlled, responsible, rational, ordered. Conversely, the shadow of the senex is the puer , related to Hermes or Dionysus —unbounded instinct, disorder, intoxication, whimsy. Like all archetypes, the puer is bipolar, exhibiting both a "positive" and

6887-430: 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

6984-540: 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

7081-700: The meeting, Jung and the pupils discussed psychology. When Jung commented on a "mentally ill woman, who [actually, not to be taken symbolically] lived on the moon" M.-L. von Franz understood, that there are two levels of reality. The psychological, inner world with its dreams and myths was as real as the outer world. In 1933, at the University of Zurich , von Franz started studies in Classical philology and Classical languages ( Latin and Greek ) as major subjects and in literature and ancient history as minor subjects. Due to her father's major financial loss in

7178-487: 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

7275-448: The model of Salomon's engravings for Ovid's Metamorphoses of 1557. Marie-Louise von Franz Marie-Louise von Franz (4 January 1915 – 17 February 1998) was a Swiss Jungian psychologist and scholar , known for her psychological interpretations of fairy tales and of alchemical manuscripts. She worked and collaborated with Carl Jung from 1933, when she met him until he died in 1961. Marie-Louise Ida Margareta von Franz

7372-891: 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

7469-527: 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

7566-411: 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

7663-453: 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

7760-453: 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

7857-425: 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

7954-541: The reality of this autonomous psyche acting independently from consciousness. Von Franz worked with Carl Jung , whom she met in 1933 and with whom she collaborated until his death in 1961. From 1942 on until her death, Marie-Louise von Franz practised as an analyst, mainly in Küsnacht , Switzerland. In 1987, she claimed to have interpreted over 65,000 dreams . She wrote more than 20 books on analytical psychology , most notably on fairy tales as they relate to archetypal psychology and depth psychology . She amplified

8051-528: 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

8148-420: The same, just different manifestations. He also believed that this concept of the unus mundus could be investigated by means of researching archetypes . Due to his advanced age, he turned the problem over to von Franz. Two of her books, Number and Time and Psyche and Matter , deal with this research. In 1968, von Franz was the first to argue that the mathematical structure of DNA is analogous to that of

8245-451: 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

8342-409: 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

8439-506: The themes and characters of these tales and focused on subjects such as the problem of evil, the changing attitude towards the female archetype. Another field of interest and writing was alchemy , which von Franz discussed from the Jungian psychological perspective. She edited, translated and commented on Aurora Consurgens , attributed to Thomas Aquinas, on the problem of opposites in alchemy. During her last years of life, she commented on

8536-438: The time being one is doing this or that... it is not yet what is really wanted, and there is always the fantasy that sometime in the future the real thing will come about.... The one thing dreaded throughout by such a type of man is to be bound to anything whatever." "Common symptoms of puer psychology are dreams of an imprisonment and similar imagery: chains, bars, cages, entrapment, bondage. Life itself...is experienced as

8633-546: 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

8730-419: 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

8827-628: The visions of Perpetua on June 7, 1941, which later was expanded and published as her first book The Visions of Perpetua . In the following years, she held many lectures at the Zürich Psychological Club. They constituted the basis of many of her books. Between 1942 and 1952 she acted as its librarian. In 1944 she became one of its full members. In 1948, she was a co-founder of the C. G. Jung Institute in Zürich . In 1974, von Franz together with some of her pupils (René Malamud, Willi Obrist, Alfred Ribi, and Paul Walder) founded

8924-408: 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

9021-400: Was 23 years older than she was. When Hannah asked Jung why he was so keen on putting them together, Jung replied that he wanted von Franz "to see that not all women are such brutes as her mother". Jung also stated that "the real reason you should live together is that your chief interest will be analysis, and analysts should not live alone." The two women became lifelong friends. Von Franz had

9118-570: Was born in Munich , Germany, the daughter of a colonel in the Austrian army. After World War I, in 1919, her family moved to Switzerland, near St. Gallen . From 1928 on, she lived in Zürich , together with her elder sister, so that both could attend a high school (gymnasium) in Zürich, specializing in languages and literature. Three years later, her parents moved to Zürich as well. In Zürich, at

9215-647: 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

9312-650: Was the beginning of a long-standing collaboration with C.G. Jung, which continued until his death in 1961. Their collaboration was especially close in the field of alchemy . Not only did she translate works, she also commented on the origin and psychological meaning of Aurora Consurgens . She offered support for the theory that the Christian-alchemical text might have been dictated by Thomas Aquinas himself. The experience that Jung termed "objective Psyche" or " collective unconscious " marked her life and work as well as her way of living. She worked to understand

9409-625: 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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