Ovid Final Essay

Due Date: Monday, April 29, 2013 (by midnight) General Directions

Choose one topic from the topics provided, and compose a thesis-based essay in which you analyze

selected myths from Ovid’s Metamorphoses. This is to be a formal essay, complete with title, introduction, a well-developed discussion, and a thoughtful conclusion.

•    Construct a thesis that provides an interpretive argument.

•    Advance your thesis clearly, deliberately, with an organizing principle in mind.

•    Incorporate representative examples and fitting language from the myths to advance and develop your claims and observations.

•    Incorporate at least one secondary source into your discussion (MLA format in-text citation

& Works Cited).

Objectives

To demonstrate not only the quality of your reading and understanding of Ovid’s poem but also the clarity

and effectiveness of your academic/analytic writing.

Format

1200 words minimum (4-5 pages) addressing your topic (or one from the list provided).  At least one

secondary source is required for the final essay and you’re welcome to use more than one. Include both the primary and secondary sources in your Works Cited at the end of the essay. And remember, Ovid, not Charles Martin, is the author entry in your citation of the poem.  Charles Martin is the translator.

Topic choices: No matter the topic, put forth an argument that interprets a portion of Ovid’s poem. To do this efficiently and successfully, ask yourself what issues he has his characters confront, how his

characters resolve the conflict, or how the conflict is resolved for them. Then look for the common

denominators among them as well as the differentiating details. Your analysis should be leading you to an interpretive claim about what Ovid is up to with his stories – as best you can tell!

1.   The rape motif:  Put forth a legitimate and thoughtful argument for Ovid’s inclusion of so many myths involving rape or attempted rape. (No frivolous claims permitted!) Choose a minimum of four episodes and differentiate Ovid’s handling of this motif.

2.   Tales of disobedience and/or impiety: Differentiate among at least four and support a thoughtful claim that argues for a pattern or a common thread.

3.   Ovid’s tales of love: He has so many in this poem that we can safely say that Ovid is very much interested in the relationships among lovers. What is your interpretation of Ovid’s many love stories, especially in terms of the issues that each situation raises?  Look at two representative stories of requited love and two representative stories of unrequited (or forbidden) love to compare and contrast.  Put forth a thoughtful argument about Ovid’s handling of the love issues.

4.   Compose an essay in which you examine Ovid’s handling of characters &/or events that we’ve read before – Iliad, Odyssey, Trojan Women (everyone’s favorite), Agamemnon. Choose four episodes to develop and explore, again, putting forth a thoughtful argument that interprets Ovid’s approach to his work with these established characters.

5.   Punishments: Look at times when mortals are punished unfairly or excessively by the gods and by other mortals. Choose two representative divine punishments and two representative mortal punishments to compare and contrast. What thoughtful claim can you make about Ovid’s interest in matters of justice and fairness?

FYS 139

Ovid and His Dangerous Game of Love

The theme of love permeates Ovid’s Metamorphoses, and while love stories normally end happily, Ovid often diverges from this practice. His stories are not meant to provide an optimistic view of romance, but rather a realistic one focused on pain. The potential for suffering is emphasized through telling numerous stories of both requited and unrequited love. Relationships in Ovid’s writing often end with suffering due to an abundance of passion and a lack of common sense.

The love Myrrha has for her father is unacceptable, even in ancient society. This unrequited love demonstrates the high potential for overly passionate love to result in an individual’s suffering. Myrrha’s lack of common sense is first noted when she attempts suicide in order to resist her father. However, the nurse stops her and Myrrha is unable to find an alternative to giving in. In order to help, “[the nurse] said whatever / she could to dissuade the

girl form her horrible passion, / and even though Myrrha knew the truth of her warning, / she had decided to die if she could not possess him,” (10.513-516.356). The nurse cannot triumph over Myrrha’s passionate, and tainted, love. Furthermore, Myrrha is unable to contemplate any other alternative due to her uncontrolled lust, even though she knows the outcome will be harmful. The narrative makes her fate clear, and states that, “Thrice Myrrha stumbles and stops each time at

the omen, / and thrice the funeral owl sings her his poem of ending,” (10.545-546.357). By ignoring the omens, Myrrha is doomed out of love for her father. Ovid is able to use this story to demonstrate the darker side of love. While a mutual, socially acceptable relationship is prized, an infatuation that violates social expectations is infectious. Also, what is especially important about the story is that Myrrha is aware of her wrongdoing. Nagle explains that while some stories such

as the story of Byblis focus on ignorance, this is not the case for the story of Myrrha. He states that, “Myrrha has a stronger grip on reality, which can be related to her constant acceptance of responsibility. . . On the level of plot, this difference contributes to their respective tragedies: self-delusion leads to Byblis’ downfall; not even self-knowledge can prevent Myrrha’s,” (Nagle

309). Even though Myrrha is completely aware of the tragedy awaiting her, she is unable to resist due to the overpowering strength of her passion for her father. Her pain is brought about due to her inability to control the love she has towards her father. It is through such stories that Ovid is able to emphasize the capacity of love to damage those involved.

The story of Polyphemus, Galatea, and Acis also reveals how love can cause pain. It begins by establishing a love triangle, with Polyphemus’ affections for Galatea not being recognized. Galatea explains that, “I felt for [Acis] / exactly what the Cyclops felt for me: / incessant longing,” (13.1092-1094.469). Even though Polyphemus is not important to Galatea, she is his sole focus. While Polyphemus’ downfall is not witnessed within the pages of Ovid’s writing, it is revealed that his suffering will occur due to his uncontrolled obsession with Galatea. His fate is revealed during the brief scene between Polyphemus and the seer. Upon hearing of the loss of his eye to Ulysses, “The Cyclops laughed and said, ‘O foolish seer, / you are entirely mistake here: / another has already taken it!’” (13.1122-1124.470). In the moment, Polyphemus

is too focused on love to consider his wellbeing and have the foresight to heed the seer’s warning. Polyphemus’ longing becomes so focused that he is unable to use common sense and heed the warning of the seer. Although persistent, he remains unsuccessful and becomes frustrated. Ovid and other writers of his time are not trying to create an image of fairness or justice in love, and “Love as something inherently noble they ridicule and reject” (Singer 537). Ovid portrays the negative side of love, where pain and suffering are more prevalent. This is

done in order to demonstrate the danger of strong emotions. Through Polyphemus’ actions, it is clear that love can overpower common sense, resulting in ruin.

An example of requited love that demonstrates the pain of romance is the story of Pyramus and Thisbe. The two yearn to be together, and upon meeting, Ovid explains that, “Soon, they fell in love, / and wedding torches would have flared for them / had both their parents not forbidden it,” (4.93-95, 126). While their love is genuine, external forces forbid their unity in marriage. However, this prohibition does not prevent the growth of their love, and they decide to run away and be together. This is where their story of love begins to unravel. When Thisbe goes to the meeting spot, a lioness scares and she flees. However, she leaves her cloak, and Pyramus

is led to believe that she was killed. Rather than wait and make sure this is true, he instantly lets his love dictate his actions, and proclaims, “I’ll follow you until the very end; / it will be said of me I was the cause / as well as the companion of your ruin,” (4.209-211.129). While his dedication to Thisbe demonstrates his love, it is rash and causes his downfall. Mere moments after he kills himself, Thisbe returns, and ultimately, these two lovers die together. While this stories ends by declaring their love, it also is tragic. Chance causes two people to lose their lives without justifications. Ovid’s stories contain powerful, passionate love, yet even here it is clear that love has little power. When portraying love, “[Ovid] seems to know that without massive delusions his kind of love cannot exist, but that with them comes inevitable disaster,” as is demonstrated with the deaths of Pyramus and Thisbe (Singer 559). The love between them is genuine and thoughtful, yet even still a lack of common sense proves to be detrimental, and results in their deaths. Ovid uses this story to reveal the tragedy of love. While these two people are in love, fate prevents a peaceful resolution to their story. It was not due to their flawed emotions, but rather an incompatible destiny.

A similar case of love that is not meant to be is seen within the tale of Orpheus and Eurydice. From the beginning of their wedding ceremony, it is clear that their relationship will not last. Multiple omens foreshadow the quick death of Eurydice. However, Orpheus does not simply allow her death to be permanent. He takes it upon himself to seek her out in the Underworld and bring her back. Like many heroes before him, Orpheus seeks out the location and begs for Eurydice, stating, “I ask for her life as a favor, / but if the Fates should deny me the gift I am seeking / on behalf of my wife, be sure that I will remain here, / and you may take pleasure then in a double destruction,” (10.49-52.342). More important than his own life is that of the woman he loves. This is very similar to Pyramus, who was unable to live while believing Thisbe to be dead. Orpheus will do anything to bring his love back to the world of the living. However it is not meant to be. Although he moves the gods of the Underworld to give him a chance, he is unable to leave without looking back for Eurydice, and, “at once, she slipped back to the underworld, / and he, because he wanted to embrace her, / or be embraced by her, stretched out his arms- / but seized on nothing, that unlucky man,” (10.77-81.343). Orpheus has his fate in his own hands, but is still unable to succeed in reuniting with his love. His passion is his tragedy. Rather than waiting and being reunited upon leaving the Underworld, Orpheus is unable to resist looking back for her.

While love and devotion gives Orpheus the chance to redeem his wife, the same love ultimately hurts him; he loses Eurydice because of it. Therefore, Ovid is able to use this story to focus on the pain love can bring. Even when two people love each other, allowing passion to overpower control can end disastrously.

Love, while normally joyous, can also be detrimental, becoming malicious if passion and common sense are neglected. Through numerous stories within Ovid’s writing, this is made