The frequency, interest, and quality of the English versions and adaptations of Ovid’s Metamorphoses to be found at the end of the twentieth century and the beginning of the twenty-first is extraordinary, and itself marks a metamorphosis from the situation a few decades ago. This current intense phase of activity is perhaps understandable for a generation in which a reading knowledge of Latin is a scarce and disappearing commodity, and seems matched by, for example, the analogous interest in translations and adaptations of Greek tragedy.1 But it also coincides with a general revival of interest by scholars of Latin and English poetry in the reception of Ovid and especially the Metamorphoses, a revival which has included scholarly surveys and important reprints and editions of older translations as well as new versions.2 Doubtless there is in all this a sense that the Metamorphoses is an epic for our time, a congeries of ‘bite-size’ narratives dealing between them with a whole range of contemporary issues while overtly framed as a grand narrative on world history.
This strong contemporary feel of the Metamorphoses been eloquently expressed by Michael Hoffmann and James Lasdun in the introduction to their important anthology After Ovid:
There are many reasons for Ovid’s renewed appeal. Such qualities as his mischief and cleverness, his deliberate use of shock – not always relished in the past – are contemporary values. Then, too, the stories have direct, obvious and powerful affinities with contemporary reality. They offer a mythical key to most of the more extreme forms of human behaviour and suffering, especially ones we think of as peculiarly modern: holocaust, plague, sexual harassment, rape, incest, seduction, pollution, sex-change, suicide, hetero- and homosexual love, torture, war, child-battering, depression and intoxication form the bulk of the themes.3
Ted Hughes, too, has drawn attention in his Tales From Ovid to the sense of the end of an era in the stories of the Metamorphoses, as the pagan world drew nearer to the Christian age, linking this with 1990s millennial feeling and his own time’s oscillation between sensual self-indulgence and the search for transcendental meaning:
The tension between these extremes, and occasionally their collision, can be felt in these tales. They establish a rough register of what it feels like to live in the psychological gulf that opens at the end of an era. Among everything else that we see in them, we certainly recognise this.4 Thus the concerns of Ovid’s poem with change, illusion, violence, gender, power, and the complex search for explanations plainly map on to (post-)modern critical concerns and real-life anxieties. It may therefore be unsurprising that, as it approaches its own approximate bimillennium, ‘Ovid’s poem is having a new lease of life.’5 * * *
I begin this brief survey by considering two complete versions of the Metamorphoses from American poets published in the first half of the 1990s. Allen Mandelbaum (1993) is certainly alive to the contemporary flavour of the Metamorphoses. As in his translation of the Aeneid, he operates in blank verse with a five-stress line which is more or less an iambic pentameter. But a new feature in his Ovid translation is his intercalation of (para)-rhyming passages within free verse. A good example is the prologue to the tale of Arachne from Met. VI, 1-6:
Praebuerat dictis Tritonia talibus aures
carminaque Aonidum iustamque probaverat iram;
tum secum: ‘laudare parum est, laudemur et ipsae
numina nec sperni sine poena nostra sinamus.’
Maeoniaeque animum fatis intendit Arachnes,
quam sibi lanificae non cedere laudibus artis
Their tale was done. And now the Muses won
she claimed that she surpassed the goddess’ skill.6 Mandelbaum expands the original, partly in order to achieve his neat and antithetical rhymes, but partly opening up its terse summary style into something lighter and wittier by ‘unpacking’ key words: iustam (line 2) becomes ‘and justified what they had done’, sperni (line 4) ‘anyone who dares disparage me’. Even in the general narrative run of his text he again expands the original and slips in some rhyme – for example in the death of Icarus (Ovid’s VIII, 217-35):
A fisherman, who with his pliant rod
was angling there below, caught sight of them;
and then a shepherd leaning on his staff
and, too, a peasant leaning on his plow
saw them and were dismayed: they thought that these
must surely be some gods, sky-voyaging.
Now on their left they had already passed
the isle of Samos – Juno’s favorite –
Delos, and Paros, and Calymne, rich
in honey, and Labinthos, on the right.
The boy had now begun to take delight
in his audacity; he left his guide
and, fascinated by the open sky,
flew higher: and the scorching sun was close;
the fragrant wax that bound his wings grew soft,
then melted. As he beats upon the air,
his arms can get no grip; they’re wingless – bare.
The father – though that word is hollow now –
cried: “Icarus ! Where are you ?” And that cry
echoed again, until he caught sight
of feathers on the surface of the sea.
And Daedalus cursed his own artistry,
then built a tomb to house his dear son’s body.
There, where the boy was buried, now his name
remains: that island is Icaria.
Here rhyme intervenes at some effective moments: ‘right’/’delight’ carries the reader over from the catalogue of islands to Icarus’ pleasure in his new wings, and ‘air’/’bare’ articulates a dramatic pause at the moment where Icarus falls from the sky. The crucial moment when the boy hits the sea is excised: Mandelbaum has nothing to match 229-30, ‘oraque caerulea patrium clamantia nomen / excipiuntur aqua, quae nomen traxit ab illo’. But the omission is effective, making the reader pathetically discover with Daedalus that Icarus has fallen rather than giving the reader the information before the father, and removing one of the two aetiological connections of the story, the connection between Icarus and the Icarian sea, which could seem to repeat and therefore undermine the pathetic link with the island of Icaria.7 Thus metrical variation and manipulation of the original are both used to creative effect here.
David Slavitt has gained a reputation as a prolific translator of the classics who is not afraid to rework his originals considerably, employing such striking devices as deliberate anachronism and internal commentary. His 1994 Metamorphoses is characteristic of his technique. In this translation Slavitt generally adopts a modern and flexible version of the hexameter, achieving a quite different effect from that of Mandelbaum. For example, here is his version of the metamorphosis of Cygnus into a swan (II, 367-81):
Adfuit huic monstro proles Stheneleia Cycnus,
qui tibi materno quamvis a sanguine iunctus,
mente tamen, Phaethon, propior fuit. ille relicto
(nam Ligurum populos et magnas rexerat urbes)
imperio ripas virides amnemque querellis
Eridanum inplerat silvamque sororibus auctam,
cum vox est tenuata viro canaeque capillos
dissimulant plumae collumque a pectore longe
porrigitur digitosque ligat iunctura rubentis,
penna latus velat, tenet os sine acumine rostrum.
fit nova Cycnus avis nec se caeloque Iovique
credit, ut iniuste missi memor ignis ab illo;
stagna petit patulosque lacus ignemque perosus
quae colat elegit contraria flumina flammis.
Their cousin Cygnus, who’d come to mourn at Phaethon’s grave,
Saw this miraculous change and, there at the banks of the river,
Gave himself over to keening and lamentation, for pain
Is contagious, engendering pain, as we see in the plight of one
The sorry condition of all. His wailing was high, shrill
And higher still, and his hair turned white and fluffed to feathers.
His neck stretched and thinned, and his reddened fingers grew
Webs. His arms were increasingly alar, and his mouth
Decidedly beakish. Thus did Cygnus turn into a new
Bird: the swan, which dislikes the upper air, where Jove
Makes free with his thunderbolts, and prefers the lakes’ and ponds’
Cool water, which is fire’s complement and foe.8
Here Slavitt removes the learned proper names of the original with their baggage of further classical reference (Stheneleia, Ligurum, Eridanum) to concentrate on the human drama; conversely, he adds a generalizing statement about pain, which brings out the universality of Cygnus’ grief. Latin rhetorical devices alien to modern English are also removed, for example the initial apostrophe to Phaethon; the emotional colour exercised through that device in Latin poetry is replaced by the additional material on pain. Wit is also added: ‘increasingly alar’, with its rare anatomical term, and ‘decidedly beakish’ have an amused detachment not obvious at these particular points in the original. There is also some (over-?)simplification: ‘makes free with his thunderbolts’ undertranslates ‘iniuste missi’ by removing the character’s viewpoint that Jupiter’s killing of Phaethon was unjust.
Much more striking is Slavitt’s rendering of the sea-nymph Galatea’s comic account of her wooing by the Cyclops Polyphemus
in Metamorphoses XIII, 788-869. In the Ovidian original we find some eighty lines of elaborate love-song by the Cyclops, evidently based on pastoral sources in Vergil and Theocritus. In Slavitt’s version the Ovidian serenade’s first part is astonishingly summarized through the very obvious intercalation of one of its most famous literary imitations in English, John Gay’s libretto for Handel’s Acis and Galatea (1718), while its second part is abbreviated through a hilarious running commentary from its unimpressed recipient. This commentary is delivered in a wonderfully acid tone, not surprising since the Cyclops has subsequently killed Galatea’s favoured lover Acis, and sprinkled with witty Damon Runyonesque anachronisms:
From far away, where I hid in the wood in my Acis’ arms,
We could hear his baleful bellow and even make out the words:
like kidlings blithe and merry.
Ripe as the melting cluster,
no lily has such luster;
yet hard to tame as raging flame
and fierce as storms that bluster.
O ruddier than the cherry,
O sweeter than the berry,
O ruddier than the cherry,
O sweeter than the berry,
O nymph more bright
than moonshine night
like kidlings blithe and merry.
He went on that way for hours. Who can remember it all ?
It was altogether the usual kind of thing, but grotesque
coming from him. I was ‘harder than oak, falser than water,
vain as a peacock, deaf as a stone, sharp as a snake,
crueler than fire …’. You’d think he made this up on the spot.
The same old thing, but performed much louder, I do believe,
than is customary with lovers. There were also the blandishments
I should have found insulting if I hadn’t thought they were funny.
He enumerated his assets, his mountainsides and his caves -
as if his extensive holdings in Stone Age real estate
might win me over. He boasted, ‘Warm in the winter’s chill,
and cool in the summer’s heat’. It was probably true, but the catch
was that he would be there as well. His orchards were full of apples,
and his vineyards were rich in grapes on the vine, both white and red.
His strawberry patch was thick with berries; his trees were heavy
with fruit, cherries and plums, both black and the pale greengage.
His flocks were too many to count, and their udders were full, so milk
and cheese were never wanting. If romance wouldn’t do it,
he figured he might fall back on appeals to a smart consumer.
The overall effect is brilliantly successful. The echo of Gay suggests Slavitt’s awareness that Ovid’s serenade is itself already drawing on well-known previous literary treatments of the love-lorn Polyphemus, while the contemporary wisecracks of Galatea suggest the everlasting poetic theme of the unrequited lover, the consequently trite and repetitious nature of his arguments (perhaps also implied by the full da capo citation of Gay’s libretto for Handel’s aria with its repeated stanza), and the comic value of hearing such words from a one-eyed giant troglodyte.
* * *
The publication in 1994 of Hofmann and Lasdun’s After Ovid has already been proclaimed as a milestone in the history of Ovidian reception in English poetry.9 In this volume forty-two poets writing in English, including many distinguished figures (reaching the stature of Heaney and Hughes), each offer one or more specially commissioned poem(s) based on episodes in Ovid’s Metamorphoses, ranging from close translations to meditations on the same subject.
Seamus Heaney provides a relatively close translation in iambic pentameters of the moment when Eurydice is lost to Orpheus (from Met. X, 53-63):
carpitur adclivis per muta silentia trames,
arduus, obscurus, caligine densus opaca,
nec procul afuerunt telluris margine summae:
hic, ne deficeret, metuens avidusque videndi
flexit amans oculos, et protinus illa relapsa est,
bracchiaque intendens prendique et prendere certans
nil nisi cedentes infelix arripit auras.
iamque iterum moriens non est de coniuge quicquam
questa suo (quid enim nisi se quereretur amatam?)
supremumque ‘vale,’ quod iam vix auribus ille
acciperet, dixit revolutaque rursus eodem est.
Heaney expands the original mildly at moments of high pathos: Ovid’s very brief narrative of Eurydice’s disappearance, ‘et protinus illa relapsa est’, emerges as ‘she was gone / Immediately, forever, back and down’. The epithet ‘bridal and doomed’ is added: it suggests the well-known classical topic of the conflation of death and marriage.10 The indirect ‘dear and desperate farewells’ replaces the direct speech ‘vale’. In general, Heaney’s version adds emotional colour to Ovid’s, perhaps played down in the original since it reprocesses Vergil’s famous moment in Georgics IV, 490-503.
Michael Longley, another of the After Ovid contributors, provides in the opening of his ‘Perdix’ an interesting version of Met. VIII, 236-49:
Hunc miseri tumulo ponentem corpora nati
garrula limoso prospexit ab ilice perdix
et plausit pennis testataque gaudia cantu est,
unica tunc volucris nec visa prioribus annis,
factaque nuper avis longum tibi, Daedale, crimen.
namque huic tradiderat, fatorum ignara, docendam
progeniem germana suam, natalibus actis
bis puerum senis, animi ad praecepta capacis;
ille etiam medio spinas in pisce notatas
traxit in exemplum ferroque incidit acuto
perpetuos dentes et serrae repperit usum;
primus et ex uno duo ferrea bracchia nodo
vinxit, ut aequali spatio distantibus illis
altera pars staret, pars altera duceret orbem.
In the wings of that story about the failure of wings
- Broken wings, wings melting, feathers on water, Icarus –
The garrulous partridge crows happily from a sheugh
And claps its wings, a hitherto unheard-of species,
The latest creation, a grim reminder to Daedalus
- Inventor, failure’s father – of his apprentice, a boy
Who had as a twelve-year-old the mental capacity
To look at the backbone of a fish and invent the saw
By cutting teeth in a metal blade; to draw conclusions
And a circle with the first compass, two iron limbs,
Longley begins with a witty inserted play on ‘wings’ which locates the poem as a commentary as well as a version, but a translatorly note is struck with the close equivalence ‘garrulous’/ ‘garrula’, while the word ‘sheugh’ stresses Longley’s Northern Irish origins. Among other slight compressions, Longley interestingly edits out the family relationship between Daedalus and his nephew Perdix, perhaps making Daedalus’ killing of Perdix (narrated immediately afterwards) less appalling, but also thereby downplaying the poetic justice of Daedalus’ losing his son by a fall from a height as punishment for causing his nephew to die in the same way. In the final lines of the extract he creatively expands the metaphor of ‘ferrea bracchia’ (247) and the analogy between the compass and the human body. This is a version which uses the resources of the Latin to create a new and characteristic poem.
Alice Fulton’s much looser ‘Daphne and Apollo’ updates the original Slavitt-style with entertaining anachronisms. It includes a rendering of the intergeneric confrontation between Cupid and Apollo in the poem’s first Book which is heavily programmatic for the Metamorphoses,11 in which Apollo is presented as an irate Frank Sinatra telling a teen-idol Cupid to keep off his material (Met. I, 454-65):
Apollo was still exulting over
his recent easy-
listening hit when he happened on Cupid opening
at the Vegas Hilton.
‘What right hast thou to sing “My Way”, thou imbecile Fanny
and alleged immortal of a boy,’ Apollo fumed. ‘Do thou be
to smite the teen queens with your rancid aphrodisiac and cover
my swinging tunes. “My Way” is my song; with it I have
the pestilential coils of rock and roll that smothered
with plague-engendering form, for which I received
Medal of Freedon and a Ph.D. To think I did all that, and not
and not like Zorro. Oh no. I did much more – ‘
Fulton has clearly understood Apollo’s victory over the serpent Python as a metaphor for artistic achievement and ambition, as it is generally interpreted by modern Ovidians. The musical clash of genres between swing and (apparently) teen pop12 is an interesting analogy for the clash in the original between epic and elegy, traditional mainstream and recent consumer-centred innovation, while the presentation of the serpent Python as the symbol of rock and roll is an amusing characterization. The use of archaic pronouns nicely reminds the reader that this conversation is between gods, though the Rabelaisian richness of the insults is quite unlike the original.
Equally effective are the poems inspired by the Ovidian stories which are not translations or versions, for example the opening lines from Eavan Boland’s ‘The Pomegranate’, referring to the famous episode of Ceres and Proserpina (Met. V, 341-571):
The only legend I have ever loved is
The story of a daughter lost in hell.
And found and rescued there.
Love and blackmail are the gist of it.
Ceres and Persephone the names.
And the best thing about the legend is
I can enter it anywhere. And have.
As a child in exile in
A city of fogs and strange consonants,
I read it first and at first I was
An exiled child in the crackling dusk of
The underworld, the stars blighted. Later
I walked out in a summer twilight
Searching for my daughter at bedtime.
When she came running I was ready
To make any bargain to keep her.
I carried her back past whitebeams.
And wasps and honey-scented buddleias.
But I was Ceres then and I knew
Winter was in store for every leaf
On every tree on that road.
Here Boland moves from casting herself in the role of Proserpina, the child in exile, referring to her own childhood emigration from Dublin to London, to playing Ceres, the anxious mother worried about regaining her child and thus establishing the cycle of the seasons (Met. V, 564-71). The moving empathy with the mythical characters is accomplished through autobiographical reference to domestic life and to universalizable human features (‘love and blackmail’), a central issue in Boland’s output.
* * *
Ted Hughes supplied no fewer than four versions for the After Ovid volume, and three years later published Tales from Ovid (1997), a volume which rendered some twenty-four passages from the Metamorphoses. Like After Ovid, this volume is already acknowledged as a major work of Ovidian reception. The initial sequence, which renders the first part of Book I, is the longest in the volume, and its themes of creation, destruction and bestiality are particularly characteristic of Hughes’ poetic interests in general. I give his version of the story of Lycaon, told by Jupiter (Met. I, 226-39):13
‘Among his prisoners, as a hostage,
Was a Molossian. Lycaon picked this man,
Cut his throat, bled him, butchered him
And while the joint still twitched
Put some to bob in a stew, the rest to roast.
He set this mess in front of me on the table
With a single thunderbolt
I collapsed his palazzo.
One bang, and the whole pile came down
Onto the household idols and jujus
That this monster favoured.
The lightning had gone clean through Lycaon.
His hair was in spikes.
Somehow he staggered
Half-lifted by the whumping blast
Out of the explosion.
Then out across open ground
Trying to scream. As he tried
To force out screams
He retched howls.
His screams were vomited howls.
Trying to shout to his people
He heard only his own howls.
Froth lathered his lips.
Then the blood-thirst, natural to him,
From that moment
The Lord of Arcadia
Runs after sheep. He rejoices
As a wolf starved near death
In a frenzy of slaughter.
His royal garments, formerly half his wealth,
Are a pelt of jagged hair.
His arms are lean legs.
He has become a wolf.
But still his humanity clings to him
And suffers in him.
The same grizzly mane,
The same, black-ringed, yellow,
Pinpoint-pupilled eyes, the same
Demented grimace. His every movement possessed
By the same rabid self.
Here a massive expansion of the original and the use of short, urgent lines allows Hughes to accentuate particular features: the Thyestean cooking of the prisoner is preceded by the full process of butchering, and the cookbook casualness of ‘the rest to roast’ is a nicely horrific touch. One moment of emphasis for Hughes is the destruction of Lycaon’s palace. The original does this in one and a half lines, ‘ego vindice flamma / in domino dignos everti tecta penates’, 230-1 (‘I with avenging flame overturned his house onto household gods which deserved their master’). Hughes expands this to ten colourful lines: ‘palazzo’ suggests the Italian Renaissance, perhaps thinking of Borgia-type tyrannical crimes, while ‘household idols and jujus’ primitivizes the standard household gods, just as their overturning by the power of Jupiter expresses the righteous anger of true Olympian divinity against a savage household which has violated all standards of decency. Lycaon’s own lightning-pierced appearance is a memorable Hughes addition, and is strikingly contemporary (especially ‘whumping blast’). Another moment of focus is the metamorphosis itself: the multiple repetition of ‘howls’ is a characteristic Hughes feature, along with the vividly visceral image of retching and vomiting, not in the original. The attention on the appearance of the wolf also reflects Hughes’ long-standing interest in wolves and even lycanthropy.14
The moment of metamorphosis is the key feature in many of the episodes, reflecting a central aspect of the original but also Hughes’ own penchant for detailed and trenchant description of physical processes. Another example is the metamorphosis of the pregnant Myrrha (Met. X,489-502):
The earth gripped both her ankles as she prayed.
Roots forced from beneath her toenails, they burrowed
Their marrow pith,
Her blood sap, her arms boughs, her fingers twigs,
Her skin rough bark. And already
The gnarling crust has coffined her swollen womb.
It swarms over her breasts. It warps upwards
Reaching for her eyes as she bows
Eagerly into it, hurrying the burial
Of her face and hair under thick-webbed bark.
Now all her feeling has gone into wood, with her body.
Yet she weeps,
The warm drops ooze from her rind.
These tears are still treasured.
To this day they are known by her name – Myrrh.
Here Hughes brings out the visual quality and violence of the transformation, but adds several characteristic notes of his own: Myrrha’s elemental absorption into the framework of the earth (‘among deep stones to the bedrock’), and the funereal aspect of the metamorphosis in ending Myrrha’s human life at the most human moment of impending parturition (‘coffined her swollen womb’, ‘hurrying the burial’).
Another poet stimulated to a new collection by her participation in the After Ovid project was Carol Ann Duffy, whose ‘Mrs Midas’ memorably provided an ironic female perspective on the king’s misguided wish to turn all he touched into gold. This device of observing classical and other male heroes through the debunking feminist eyes of an ironic partner is the central conceit of her deservedly successful The World’s Wife (1999). ‘Mrs Midas’ is reprinted there, but joined by other Ovidian episodes: ‘Thetis’, ‘Mrs Tiresias’, ‘Medusa’, ‘Circe’, ‘Pygmalion’s Bride’, ‘Mrs Icarus’, ‘Eurydice’, ‘Demeter’. These poems offer hilarious commentary on mythological stories which is highly Ovidian in its wit. Two especially fine examples are ‘Eurydice’, in which Eurydice manages not to return to earth to service the ego of her vain poseur of a poet husband (inverting the pathos of the Ovidian episode – see the version by Seamus Heaney in 3 above):
It was an uphill schlep
from death to life
and with every step
I willed him to turn.
I was thinking of filching the poem
out of his cloak,
when inspiration finally struck.
I stopped, thrilled.
He was a yard in front.
My voice shook when I spoke –
Orpheus, your poem’s a masterpiece.
I’d love to hear it again …
He was smiling modestly
When he turned,
When he turned and he looked at me.
What else ?
I noticed he hadn’t shaved.
I waved once and was gone.
The dead are so talented.
The living walk by the edge of a vast lake
near the wise drowned silence of the death
The phrase ‘uphill schlep’ suggests that this is a version of the Ovidian scene rather than of Ovid’s more famous Vergilian model from Georgics IV, parodying ‘adclivis … trames’ (Met. X, 53, rendered more decorously as ‘steep incline’ by Heaney). Though the ending adds a characteristic note of wistful seriousness, the exploration of male vanity is brilliantly funny. Wonderfully terse is ‘Mrs Icarus’, cutting through the pathos of the death of the young boy by making him an adult with a wife and placing her as an observer parallel to the wondering fisherman and ploughman in the Ovidian original (Met. VIII, 217-20), again a detail which seems to confirm an Ovidian origin:
I’m not the first or the last
to stand on a hillock,
watching the man she married
prove to the world
he’s a total, utter, absolute, Grade A pillock.
Maureen Almond’s Oyster Baby (Newcastle, 2002) is a collection certainly influenced by Duffy as well as Hughes and After Ovid.15 Poems related to episodes from the Metamorphoses are: ‘Chaos’, ‘(St)ages – Golden Age’, ‘(St)ages – Silver’, ‘(St)ages – In her Third Age’ (related to the creation and Myth of Ages sequence), ‘Echo’, ‘Halcyon Days’ (Ceyx and Alcyone), ‘Sisterhood Lesson’ (Cyane), ‘Fire and Water’ (Peleus and Thetis), and ‘Fake It’ (Pygmalion). Two short poems give a good flavour – first, ‘Eurydice the Second’:
He lost her on the Piccadilly Line,
an easy mistake, but careless,
given they were still on honeymoon.
Swept off her feet in the rush,
she turned to see him bent double,
hands on his godly hips – laughing.
And his cold-echo laugh dragged her back,
bounced off the platform like tears,
until she saw the funny side.
After that she kept in step with him,
walked in his shadow
as the tube snaked off into blackness.
For he was a charmer,
And hers was a slow, slow dying.
The combination of wry humour and pathos here is very effective: quite apart from the transposition of the Underworld to the Underground, Eurydice is ‘swept off her feet’ by the crowd and not by her husband, who though he is a ‘charmer’ (a witty allusion to his famous beast-charming activities) will make her die slowly in a bad marriage rather than in the swift demise of the myth.
Once again we find a combination of pessimism, pathos, and wit: Apollo’s lack of fulfilment and Daphne’s determination to escape and residue of sorrow are counterbalanced by the neat colloquial touch of ‘throw the towel in’, and the witty ‘resting on his laurels’, pointing to Daphne’s arboreal form as the laurus belonging to Apollo.
Lastly, I turn to the most recent verse translation (2004) of the Metamorphoses, for Penguin by David Raeburn, a classical scholar with a particular interest in the speaking and sound of Latin and Greek. Raeburn believes (plausibly) that Ovid’s poem was written partly with the recitation of individual episodes in mind, and uses a hexameter-type line of six beats, similar to the metre employed by Slavitt (see 2 above), aiming for a version which responds well to reading aloud. I cite some lines from his version of the death of Pyramus from Book IV (121-7), something of a black comedy scene which is not without pathos:
ut iacuit resupinus humo, cruor emicat alte,
non aliter quam cum vitiato fistula plumbo
scinditur et tenui stridente foramine longas
eiaculatur aquas atque ictibus aera rumpit.
arborei fetus adspergine caedis in atram
vertuntur faciem, madefactaque sanguine radix
purpureo tinguit pendentia mora colore.
As he lay stretched out on the earth, his blood leapt up in a long jet,
Just as a spurt from a waterpipe, bursting because of its faulty
Leadwork, gushes out through a tiny crack to create
A hissing fountain of water and cuts the air with its impact.
Splashed by the blood, the fruit on the mulberry tree was dyed
To a black-red colour: the roots were likewise sodden below
And tinged the hanging berries above with a purplish hue.
In his note on this passage, Raeburn shows that he is aware of the striking anachronism of this description of Roman water technology in the mythical age,16 and perhaps echoes this in the quasi-technical discourse of ‘bursting because of its faulty / leadwork’. Overall, his version is here clear and dramatic.
Effective again is his translation of one of the climatic points of the poem, the speech of Pythagoras on the transitory and metamorphic nature of human existence (Met. XV, 176-85):
Et quoniam magno feror aequore plenaque ventis
vela dedi: nihil est toto, quod perstet, in orbe.
cuncta fluunt, omnisque vagans formatur imago;
ipsa quoque adsiduo labuntur tempora motu,
non secus ac flumen; neque enim consistere flumen
nec levis hora potest: sed ut unda inpellitur unda
urgeturque prior veniente urgetque priorem,
tempora sic fugiunt pariter pariterque sequuntur
et nova sunt semper; nam quod fuit ante, relictum est,
fitque, quod haut fuerat, momentaque cuncta novantur.
‘My vessel is launched on the boundless main and my sails are spread
to the wind ! In the whole of the world there is nothing that stays unchanged.
All is in flux. Any shape that is formed is constantly shifting.
Time itself flows steadily by in perpetual motion.
Think of a river: no river can ever arrest its current,
nor can the fleeting hour. But as water is forced downstream
by the water behind it and presses no less on the water ahead,
so time is in constant flight and pursuit, continually new.
every moment that passes is new and eternally changing’.
The translation moves smartly along and responds well to recitation, with well managed alliteration and assonance. Though Raeburn has explicitly eschewed archaism, the language is traditionally poetic where the Latin demands (Ovid’s Lucretian ‘magno … aequore’ is rendered by a favourite phrase of Pope’s, ‘boundless main’), but otherwise unexceptionally clear and modern (though without the anachronisms of a Slavitt). This new version of the Metamorphoses has many virtues.
Enough has been said to show that the last decade has been something of a golden age in the translation and adaptation of Ovid’s Metamorphoses into English. Ovid’s perceived modernity of theme, structure, and literary personality is a key reason for this, but also crucial is the relatively short length and apparent independence of the 250 episodes in the Metamorphoses, averaging some forty lines each, which encourages separate translation and imitation, as in the After Ovid project. Important above all is the vast metamorphic variety of Ovid’s poem, which continues to speak in such manifold ways to a wide variety of poets.
Corpus Christi College, Oxford
1 See e.g. Dionysus Since 69 : Greek Tragedy at the Dawn of the Third Millennium, edited by Edith Hall, Fiona Macintosh and Amanda Wrigley (Oxford, 2004).
2 Many of these have been reviewed in the pages of this journal in the past five years. The fullest treatment hitherto of the most recent translations is only of article length: John Henderson’s ‘Ch-ch-ch changes’, in Ovidian Transformations: Essays on Ovid’s Metamorphoses and its Reception, edited by Philip Hardie, Alessandro Barchiesi, and Stephen Hinds (Cambridge, 1999), pp. 301-23. Ovid’s fashionability is further confirmed by a collection of specially commissioned short stories on Ovidian themes, including pieces by Margaret Attwood and A. S. Byatt, the excellent Ovid Metamorphosed, edited by Philip Terry (London, 2000).
3 After Ovid, edited by Michael Hofmann and James Lasdun (London, 1994), p. xi.
4 Ted Hughes, Tales From Ovid (London, 1997), p. xi.
5 Denis Feeney, ‘Introduction’, in David Raeburn, Ovid: Metamorphoses (Harmondsworth, 2004), p. xxxii. I am grateful to David Raeburn for supplying an advance copy of his text.
6 Allen Mandelbaum, The Metamorphoses of Ovid (San Diego, 1993), p. 177.
7 W. S. Anderson, Ovid’s Metamorphoses Books 6-10 (Norman, OK, 1972), p. 354, a commentary used by Mandelbaum (see Mandelbaum p. 559), remarks unenthusiastically on line 230 that ‘the second hemistich perfunctorily explains the naming of the Icarian sea’; perhaps this led to the excision .
8 David Slavitt, The Metamorphoses of Ovid (Baltimore, 1994), p.30.
9 See for example Raphael Lyne, ‘Ovid in English Translation’, pp. 249-63 in The Cambridge Companion to Ovid, edited by Philip Hardie (Cambridge, 2002), pp. 259-61.
10 See e.g. Rush Rehm, Marriage to Death: The Conflation of Wedding and Funeral Rituals in Greek Tragedy (Princeton, 1994).
11 W. S. M. Nicoll, ‘Cupid, Apollo and Daphne (Ovid Met. I, 452ff.)’, Classical Quarterly,30 (1980), 174-82.
12 Though there may perhaps be a glancing reference here to the well-known 1978 punk cover version of ‘My Way’ by the former Sex Pistol Sid Vicious.
13 For a different angle on this passage see Henderson (n. 2), 310-12.
14 See Ann Skea, ‘Wolf-Masks: From Hawk to Wolfwatching’ in Critical Essays on Ted Hughes, edited by Leonard M. Scigaj (New York, 1992), pp. 241-54.
15 I am grateful to Maureen Almond for confirming this by personal communication, as well as for supplying a copy of her Ovidian volume.
16 I would personally interpret this as black humour: for another view see W. S. Anderson, Ovid’s Metamorphoses Books 1-5 (Norman, OK, 1996), pp. 424-5.