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82-581: (Redirected from Universal History ) Universal history may refer to: Universal history (genre) , a literary genre Jami' al-tawarikh , 14th-century work of literature and history, produced by the Mongol Ilkhanate in Persia Universal History (Sale et al) , an 18th-century history book Big History , an academic discipline that takes an astronomical perspective (from

164-477: A hadith (tradition, saying) from the book's compiler back to a witness of the event. A philosophical attempt to work out a universal history according to a natural plan directed to achieving the civic union of the human race must be regarded as possible and, indeed, as contributing to this end of Nature According to Hughes-Warrington (2005), John Knox 's 1558 The First Blast of the Trumpet Against

246-720: 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

328-404: 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

410-502: 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

492-453: 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

574-601: A history with a definite natural plan for creatures that have no plan of their own. In the 20th century Austrian academic Ernst Gombrich wrote Eine kurze Weltgeschichte für junge Leser (" A short history of the world for young readers ")(1935, pub.1936) in German shortly before fleeing Vienna and settling in Britain. This aimed to be a universal history written using only words and concepts that children could understand. It spans from prehistoric people to World War I. Although it

656-399: 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

738-533: A long delay it was translated into English by Gombrich and his assistant as A Little History of the World , updated slightly. ″With the mingling of peoples on our tiny planet, it becomes more and more necessary for us to respect and tolerate each other, not least because technological advances are bringing us closer and closer together.″ Metamorphoses The Metamorphoses ( Latin : Metamorphōsēs , from Ancient Greek : μεταμορφώσεις : "Transformations")

820-409: 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)

902-642: 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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984-788: A more or less encyclopedic character, with many digressions on non-historical subjects, as is the case with the Chronicon of Helinand of Froidmont . Other notable universal chroniclers of the Medieval West include the Chronicon universale usque ad annum 741 , Christherre-Chronik , Helinand of Froidmont (c. 1160—after 1229), Jans der Enikel , Matthew Paris (c. 1200–1259), Ranulf Higdon (c. 1280–1363), Rudolf von Ems , Sigebert of Gembloux (c. 1030–1112), Otto von Freising (c. 1114–1158), and Vincent of Beauvais (c. 1190–1264?). The tradition of universal history can even be seen in

1066-483: A particular topic in order to express his view of what the "world order" should be: what the world Knox lived in ought to be like. An early European project was the Universal History of George Sale and others, written in the mid-18th century. Christian writers as late as Bossuet in his Discours sur l'histoire universelle ( Discourse on Universal History ) were still reflecting on and continuing

1148-639: A theological component and are often structured around the ideas of the six ages of the world or the four empires from the Book of Daniel . According to Kathleen Biddick (2013), universal histories in Christian medieval Europe are 'those medieval histories which take as their subject the theme of salvation history from creation up to the incarnation of Christ (and usually beyond to contemporary events).' She also identified "six or seven ages" into which universal histories were divided. Less commonly they may use

1230-518: 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

1312-404: 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

1394-515: Is currently a widely accepted hypothesis in historical circles, the central purpose of Gregory's writing is still a topic of hot debate. The first Christian world chronicle was written in Greek around 221CE by Julius Africanus , who has been called "the undisputed father of the tradition". The Chronica of Eusebius of Caesarea ( c.  275 –339) contained in its second book an innovative set of concordance tables ( Chronici canones ) that for

1476-496: Is different from Wikidata All article disambiguation pages All disambiguation pages Universal history (genre) Siegfried of Ballhausen was the first to use the title Historia universalis (universal history) in 1304. A project of Universal history may be seen in the Hebrew Bible , which from the point of view of its redactors in the 5th century BC presents a history of humankind from creation to

1558-503: 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

1640-446: Is most remarkable in the present age, is this: Fortune has gained almost all the affairs of the world in one direction and has forced to incline towards one and the same end; a historian should likewise bring before his readers under one synoptic view the operations by which she has accomplished her general purpose (1:4:1-11). Metamorphoses by Ovid has been considered as a universal history because of its comprehensive chronology—from

1722-518: 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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1804-411: Is shaped by its author's European perspective - for example with emphasis on European colonialism - it attempts to cover global human history, taking one region and era at a time, and includes descriptions of the beliefs of many major world religions. Gombrich was convinced that an intelligent child could understand even seemingly complicated ideas in history, if they were put into intelligible terms. After

1886-512: Is the earliest surviving member of the Greco-Roman world-historical tradition, although under some definitions of universal history it does not qualify as universal because it reflects no attempt to describe an overall direction of history or a principle or set of principles governing or underlying it. Polybius was the first to attempt a universal history in this stricter sense of the term: For what gives my work its peculiar quality, and what

1968-499: 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

2050-620: 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,

2132-723: The Augustinian idea of the tension between the heavenly and the earthly state, as depicted in the City of God , which plays a major role in Otto von Freising 's Historia de duabus civitatibus . Augustine's thesis depicts the history of the world as universal warfare between God and the Devil. A related idea is the division of history into popes and emperors, which became popular with the success of Martin of Troppau . In other cases, any obvious theme may be lacking. Some universal chronicles bear

2214-577: The Flood , and from there a history of the Israelites down to the present . The Seder Olam is a 2nd-century CE rabbinic interpretation of this chronology. In Greco-Roman antiquity , the first universal history was written by Ephorus (405–330 BCE). This work has been lost, but its influence can be seen in the ambitions of Polybius (203–120 BC) and Diodorus ( fl. 1st century BC) to give comprehensive accounts of their worlds. Herodotus ' History

2296-459: 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

2378-519: 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

2460-405: 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

2542-400: 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,

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2624-658: 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

2706-459: 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

2788-582: 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

2870-543: 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

2952-505: 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

3034-435: 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,

3116-615: 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

3198-534: The creation of humankind to the death of Julius Caesar a year before the poet's birth. In Leipzig are preserved five fragments dating to the 2nd century AD and coming from a world chronicle. Its author is unknown, but was perhaps a Christian. Later, universal history provided an influential lens on the rise of Christianity in the Roman Empire in such works as Eusebius 's Ecclesiastical History , Augustine 's City of God , and Orosius ' History Against

3280-669: The medieval Islamic world (13th century), universal history in this vein was taken up by Muslim historians such as Tarikh-i Jahangushay-i Juvaini ("The History of The World Conqueror") by Ala'iddin Ata-Malik Juvayni , Jami' al-tawarikh ("Compendium of Chronicles") by Rashid-al-Din Hamadani (now held at the University of Edinburgh ) and the Muqaddimah by Ibn Khaldun. Universal histories included two forms:

3362-469: The ta'rikh 'ala al-sinin was organised by annual entries and thus annalistic , while the ta'rikh 'ala al-khulafa was organised by the reigns of caliphs . The History of the Prophets and Kings ( Tārīkh al-Rusul wa al-Mulūk ) of al-Tabari is a prime example of the latter, in which a major role was played for the last time by isnads . An isnad was, ideally, an unbroken chain of transmitters of

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3444-448: 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

3526-538: The Big Bang to the present) Chronology of the universe , the history and future of the universe according to Big Bang cosmology World history (field) or global history, a field of historical study that takes a worldwide/global perspective Human history , the history of human beings that takes a human perspective History of globalization , aspect of human history from the perspective of globalization See also [ edit ] History of Earth ,

3608-459: The Christian world chronicle, which would be valid throughout the Middle Ages, had therefore become firmly established by late antiquity. The chronicle begins with a divine act of creation and reflects a providential view of history throughout: history is the story of an active God. History is linear and the chronicle is arranged strictly chronologically. There is a sense of decline and decay as

3690-491: 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

3772-471: The Monstruous Regiment of Women represented 'a universal history of female monarchs '. Knox wrote it in order to argue that women should never be allowed to reign, because that is 'repugnant to nature, contumelious to God , a thing most contrary to his revealed will and approved ordinance, and... the subversion of good order, or all equity and justice.' He was thus writing a history about

3854-716: The Pagans . During the Han dynasty (202 BCE – 220 CE) of China , Sima Qian (145–86 BC) was the first Chinese historian to attempt a universal history—from the earliest mythological origins of his civilization to his present day —in his Records of the Grand Historian . Although his generation was the first in China to discover the existence of kingdoms in Central Asia and India , his work did not attempt to cover

3936-580: 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

4018-469: 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

4100-588: 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

4182-431: 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

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4264-478: The first time synchronized the several concurrent chronologies in use with different peoples. Eusebius' chronicle became known to the Latin West through the translation by Jerome ( c.  347 –420). Jerome also wrote a chronicle of his own, and the early chronicles of Isidore of Seville ( c.  560 –636) and Bede were highly influential, especially Bede's work on chronology. Together, these laid

4346-603: The foundation for the Western universal chronicle tradition. From around 1100, universal histories increased in graphical complexity, usually adding a mappa mundi ("world map") in which the holy city of Jerusalem was presented as the centre of the world, tying together genealogies and timelines. The Fasciculus temporum ("Little bundles of time") by Werner Rolevinck was the first printed universal history, published in Cologne in 1474. The Nuremberg Chronicle (1493)

4428-523: 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

4510-541: 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

4592-519: The history of planet Earth World history (disambiguation) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Universal history . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Universal_history&oldid=1179332239 " Category : Disambiguation pages Hidden categories: Short description

4674-471: The history of these regions. The 11th-century Zizhi Tongjian of Sima Guang is sometimes considered the first of the chronologically arranged universal histories produced in China. The 15th-century Indo-Persian Ma'athir-i-Mahmud Shahi , written by 'Abd al-Husayn Tuni (died 1489), is sometimes considered a fragment of a universal history. Graeme Dunphy (2010) described medieval European Christian universal histories as follows: The key features of

4756-430: 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

4838-595: 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

4920-516: The medieval tradition of universal history. In the 19th century, universal histories proliferated. Philosophers such as Kant , Herder , Schiller and Hegel , and political philosophers such as Marx and Herbert Spencer , presented general theories of history that shared essential characteristics with the Biblical account: they conceived of history as a coherent whole, governed by certain basic characteristics or immutable principles. Kant who

5002-487: 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

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5084-891: 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

5166-527: 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

5248-411: 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

5330-453: 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

5412-488: The play of freedom of the human will in the large, we may be able to discern a regular movement in it, and that what seems complex and chaotic in the single individual may be seen from the standpoint of the human race as a whole to b a steady and progressive though slow evolution of the original endowment..Each individual and people, as if following some guiding trend, goes toward a natural but to each of them unknown goal...In keeping with this purpose, it might be possible to have

5494-453: 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

5576-425: 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

5658-469: The present and was an especially popular genre of historiography in medieval Europe. The universal chronicle differs from the ordinary chronicle in its much broader chronological and geographical scope, giving, in principle, a continuous linear account of the progress of world history from the creation of the world up to the author's own times, but in practice often narrowing down to a more limited geographical range as it approaches those times. They usually have

5740-505: The remaining 20 city views were "imaginary", and were often reused in later universal chronicles to illustrate different cities. Around this time, the depictions of cities in universal chronicles also shifted away from the earlier focus on Jerusalem (sometimes even illustrated with "imaginary" city views) towards the European cities in which they were produced, thus displacing the centrality of Jerusalem in Christian universal histories. In

5822-528: 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

5904-451: 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

5986-409: 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

6068-546: 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

6150-419: 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

6232-408: 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

6314-467: The works of medieval historians whose purpose may not have been to chronicle the ancient past, but nonetheless included it in a local history of more recent times. One such example is the History of Gregory of Tours (d. 594), where only the first of his ten books describes creation and ancient history, while the last six books focus on events in his own lifetime and region. While this reading of Gregory

6396-411: The world becomes older, but also a belief in redemption. Though individual events are not always evaluated, there is an underlying assumption that historical facts teach spiritual truths. The patterns of four empires and six ages can be used — but rarely both together — to divide history up into manageable sections. The medieval universal chronicle thus traces history from the beginning of the world up to

6478-527: Was another early printed universal history. By the mid-1480s, when Venetian printers controlled almost half of Europe's incunable production, they heavily promoted the inclusion of illustrations – the majority being city views – in universal chronicles. According to scholars, 32 out of the 52 city views in the Nuremberg Chronicle were "realistic" (depicting towns which really existed, and usually had their own printing presses before 1475), while

6560-647: 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

6642-423: Was one of the earliest thinkers to use the term Universal History described its meaning in " Idea for a Universal History with a Cosmopolitan Purpose ": Whatever concept one may hold...concerning the freedom of the will, certainly its appearances, which are human actions, like every other natural event are determined by universal laws. However obscure their causes, history...permits us to hope that if we attend to

6724-625: 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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