Metamorphoses: A New Verse Translation (Penguin Classics)

Ovid looked at the vast collection of Greco and Roman myths and understood the unifying factor to be metamorphosis. He therefore took on the monumental task of linking them together in one long continuous poem. The results are truly monumental. I think Penguin editions can sometimes linger a little too much on the intellectual understanding of classics but I enjoyed and continue to enjoy this edition. A chronology of Ovid's life and works is included before the text as well as an introduction by Denis Feeney which is interesting and comprehensive whilst not being terribly preachy on how 'Metamorphoses' should be experienced. There is a page dedicated to further books of interest. The translator David Raeburn also writes a short note on his intentions, the format of the original and his new version, which I also found very interesting. The fifteen books of the 'Metamorphoses' follows. On the first reading I dutifully read the summaries at the beginning of each book for a while, but they add very little, instead they mainly catalogue what happens in each segment before it does, which can ruin it a bit. Still they are nice to read after as they can add to your understanding. I found the notes on background information, points of detail and cross references incredibly useful and fascinating. The index was also useful to keep track of all the characters and to be used as a guide as it tells you where each character appears in the text so you can flick to the right section. An historical map of the world Ovid lived in is also included. Raeburn chose to compose the text in a metre which is closer to Ovid's dactylic hexameter - which in turns references the epic style of Homer and Virgil - as opposed to the traditional English metre for narrative poetry, which is iambic pentameter. He writes in his note that he has done this to reflect the relaxed flow of Ovid's narrative. Because of this I did find the rhythm a little tricky to pick up at first but after a few pages I had become immersed in the flow of the prose and found that the text is actually very easy to understand. Although Raeburn stresses how faithfully he has tried to reflect the original format and flavour (his 11,870 is very close to the originals 11,995) he also makes it clear that this is not a literal version of the original. To help with clarity and as he was working within the limits of idiomatic English he has altered the arrangement of some of the lines and compressed and expanded some also. For this I am grateful as I am not a student looking for an English translation to study alongside the original Latin and want the translation I read to be accessible. He also mentions that he has tried to stick to one name for most of the characters, whereas Ovid used many, he has still employed some of the better known equivalents though for others, if he didn't do this I would have likely been rather lost. As it was I was still got a little turned around, with the many names of Jupiter for example. The poem itself begins before time and takes you on a strange and mesmerising journey that finishes in Ovid's then present. Every recognisable and many minor Greco-Roman myths has a place in the poem. Ovid was a devious fellow, the scope and arrangement of 'Metamorphoses' is amazing. This is not a traditional narrative, instead Ovid plays with structure and reader expectation. The stories are connected through associated themes and characters. The whole can also be divided into three sets of five books; the first third deals heavily with the exploits of the gods and this is possibly my favourite as their base motivations are fascinating, the next focuses on the heroes and then history. But these lines are blurred and you are always being surprised as Ovid throws yet another curve ball. Sometimes the major recurring element of transformation links the stories ingeniously and other times it's tacked on. But most noteworthy is how these transformations and transitions encompass an extraordinary range of human experience. Ovid's understanding of human motivations and readers perceptions coupled with a philosophical richness and psychological intensity is something that can be seen in every part of the poem. The reason 'Metamorphoses' is so gripping and effecting is the reason myths are in general. By dealing in base human motivations and epic reactions, the subsequent spark of recognition the reader experiences feels integral because it is. We are all fascinated by our own identity and a collective identity. Transformations and transitions are integral to myths and integral to our sense of identity. You can also take immense pleasure in the many different forms of metamorphoses, the huge array of characters and the intensity of the themes. Compulsion and sexual desire are strong forces that power the sometimes shocking violence and grotesque gore. No matter how many times I read it I am always entranced by the magic, impassioned by the soaring speeches, excited by the epic battles and hunt scenes, sickened by the violence, devious and often demented behaviour, which is evident in the many rape scenes and violence against man, women and children but at the same time I'm still amused by the diabolical sense of humour and wit. Ovid's epic could be seen as sensational, it was after all meant to entertain the masses with the excessive violence and erotic lusty dark edge. But there is also such intelligence to Ovid's understanding of the human psyche and the way he plays with every element, the cruel and horrific is also mixed with justice and love, corruption with honour, true heroism with petty vengeance. I love this as it feels integral and powerful, it challenges how I see narrative, structure and most importantly myself and others.

Bought for a Classical Studies degree for my daughter - I have my own copy - it is the best Roman interpretation of Greek mythology. The name sells it.

The best thing about this interpretation of Ovid's great work is its accessibility for readers who, like me, are keen to dip a toe into classical literature - be it Greek, Roman or to some extent both in the case of Metamorphoses - but are worried they lack the knowledge of the subject. A wealth of concise and informative footnotes are supplied throughout the book that explain backstories, context and associated characters. Readers who have already gleaned a solid foundation of the classics may find these notes intrusive and irritating; I found they were akin to having an expert tutor answering queries with clear examples. Metamorphoses is a long narrative split into several 'acts' or 'performances', each has a central theme of metamorphosis, usually of someone being changed to an animal, statue or God, depending on the greater Gods' mood or affiliation, as a way to punish or save them, again depending on the greater Gods' mood or affiliation. The author weaves tales of bravery, stupidity, greed, love and tragedy with satirical - at the time of writing - asides, the wit of which is also explained in the footnotes. A few of the tales will be familiar to those, like me, who had no more than a rudimentary knowledge of such literature. The siege of Troy, Hercules, King Midas, Jason and the Argonauts all make an appearance. The character description is so colourful and language so evocative that I found the picture they painted was as clear as a Hollywood film. In fact, Ovid could be accused of overplaying his commercial appeal with gratuitously gory scenes and sexed-up content. Think less Metamorphoses and more Game of Thrones. The stories within the book contain high drama. Ovid begs the reader to asks questions of the Gods and mortal heroes, who can appear at times masterful, compassionate and awe-inspiring. Other passages show families being punished, wronged or killed by arrogant, brutal bullies. Every page encourages the reader on. Reading Metamorphoses in ebook format was a revelation as the crucial footnotes are so accessible - so much easier than a repeated thumbing of pages back and forth. For a book around 2,000 year's old Ovid's masterpiece has much to offer modern-day readers.

Ovid, the masterful poet of antiquity, continues to captivate and inspire with his timeless verses. His works, spanning various genres and themes, offer a rich tapestry of human experience, woven together with wit, beauty, and profound insight. In this review, we delve into the enduring appeal of Ovid's poetry and its remarkable ability to resonate across centuries. At the heart of Ovid's poetic oeuvre lies his magnum opus, "Metamorphoses." This epic narrative poem, comprising fifteen books, traces the mythological origins of the world through a series of captivating transformations. From the creation of the universe to the heroic exploits of gods and mortals, Ovid's vivid imagery and lyrical language bring these ancient tales to life with unparalleled vibrancy. What sets Ovid apart as a poet is his keen understanding of human nature and the complexities of desire, love, and power. His characters, whether gods or mortals, are imbued with a depth of emotion and psychological complexity that transcends time and culture. Through their struggles and triumphs, Ovid invites readers to reflect on the universal themes of ambition, betrayal, and redemption that continue to resonate in our own lives. Beyond "Metamorphoses," Ovid's poetic genius shines in his elegiac works, such as the "Amores" and the "Heroides." In these intimate verses, he explores the intricacies of love and longing, blending humor and pathos with exquisite craftsmanship. Whether celebrating the joys of newfound romance or lamenting the pains of unrequited affection, Ovid's poetry speaks directly to the human heart with an unmatched eloquence. Ovid's influence extends far beyond the realm of classical literature, permeating the works of countless poets, writers, and artists throughout the ages. From Shakespeare to Dante, from Chaucer to Milton, his impact on the literary canon is unmistakable, shaping the course of Western literature for centuries to come

This is one of the four classic heavy weights of ancient heroic poetry (along with Homer’s The Iliad & Odyssey and Virgil’s Aeneid). The poem stretching to 634 pages was written by Ovid 43BC-18AD for Rome and Augustus. It brings together many myths and legends from Greece and Rome including Daedalus, Pygmalion (made into My Fair Lady), Perseus, Hercules with characters like Cyclopes, Centaurs, Circe, Apollo and the usual gods and people used to name moons. I read the hexameter poem translation and this worked really well for me; it included a detailed summary introduction to each of the 15 books and an index of characters/places (25 pages about #500 in total!), notes and a map. The poem has had a major impact on western literature. It does have reference to various incest (father-daughter, sister-brother etc), cannibalism, murder-revenge and war, lots of women avoiding or being raped and blasphemy. It has humorous notes but is otherwise a relatively serious entertainment. The poem works to bring the many ideas of time, mental and bodily change and karma (gods punish to match the crime etc) to the human condition. It starts with creation (and has a flood event) and ends with the deification of the Emperor. So apart from getting under the skin of ancient religious world view, broadly I could see how such a then contemporary work (which already embraced Greek to Roman god correspondence) could parallel the intellectual development of early Christian understandings of the transformation and transformative nature of a man to human-god entity by the authors of the New Testament or indeed how texts can metamorphose to religion and how religion can them metamorphose into a justification for killing. Interestingly the book contained a passage on vegetarianism (and not to kill for sacrifice); it also seemed to have very few non-human transformations i.e. vast majority are people turning to birds, rivers, trees etc - I think a statue comes alive and some trees become nymphs. A couple of quotes “you credit the gods with too much power if you think they create and then alter the shapes in Nature” I love this poetic description of Rumour:- “Picture a space at the heart of the world, between the earth, the sea and the sky, on the frontiers of all three parts of the universe. Here there are eyes for whatever goes on, no matter how distant; and here there are ears whose hallows no voice can fail to penetrate. This is the Kingdom of Rumour, who chose to live on a mountain, with numberless entrances into her house and a thousand additional holes, though none of her thresholds are barred with a gate or a door. Open by night and by day, constructed entirely of sounding brass, the whole place hums and echoes, repeating whatever it hears” “The centaur then bounded forward, trailing his guts on the ground; as he trailed them he trampled them under his hooves; what he trampled he burst till he caught his legs in the sludge and fell with his abdomen empty” “Helen weeps too when she looks in her mirror to see her old woman’s wrinkles, and wonders how she came to be twice abducted. Time, the universal devourer, and spiteful decay, there is nothing you cannot destroy”.

Good book.

This story features all the exciting and compelling gods, goddesses, demigods, heroes, mortals, nymphs, and mythical creatures we hold with such reverence and awe. This brilliantly weaves all the tales of the gods and goddesses of ancient Greece/Rome in an anarchic yet elegant way through their misdeeds and exertions. Its fun and not pretentious, yet simultaneously the translation perfectly captures the majesty and poetic intricacy of how the gods are untameable like their lusts and unquenchable passions. It effortlessly blends humour with the pain of the characters, making the gods feel ... real. I could not recommend it more for its astonishingly graceful style.

goody's

The book has 723 numbered pages and another 41 pages of introduction. All of this for a cover price of £9.99 (I paid €11.34). There have to be compromises at this price point, and if I have to find a defect it's that the cover could be sturdier. As for the contents, the book finishes with 34 pages of notes, a 50-page glossary, and two maps. I suppose it was an editorial choice to put the notes at the end of the book, so as not to interrupt the flow of the story, rather than putting them at the bottom of the page they refer to. This means I have to use two bookmarks, one to keep my place in the book, the other to keep my place in the notes. I would have prefered the notes as footnotes, but that is my personal preference. Anyway, it's something I can live with. Regarding the translation, I don't read Latin so I have no way of knowing how faithful it is, but it seems fine to me. If you want an inexpensive copy of one of the world's classic books, this is a good choice.

A great classic book. If people are still interested in reading today, after thousands years has been written, it means it has got an intrinsic beauty and meaning.

Such a amazing book and the cover is just splendid

Highly recommend for mythology lovers!

Se ve bien en contenido del libro, tiene notas, glosario y mapa del mediterraneo al final del libro, asi como el material complementerio al inicio del libro, lo que más me puedo quejar de él es que llego maltratado de la portada, pero me lo esperaba por tan barato, aun así deberían de especificar si tiene algún desperfecto o es usado, el tamaño de letra es bueno, al igual que la impresión pero el papel no me agrada nada lo más parecido que lo puedo comparar es a un delgado papel periódico, un color gris y un tacto parecido.