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Metamorphoses (Oxford World's Classics) Paperback – April 15, 2009


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Product Details

  • Series: Oxford World's Classics
  • Paperback: 528 pages
  • Publisher: Oxford University Press; Reissue edition (April 15, 2009)
  • Language: English
  • ISBN-10: 0199537372
  • ISBN-13: 978-0199537372
  • Product Dimensions: 7.7 x 1.5 x 5.1 inches
  • Shipping Weight: 13.4 ounces (View shipping rates and policies)
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (31 customer reviews)
  • Amazon Best Sellers Rank: #10,051 in Books (See Top 100 in Books)

Editorial Reviews

Review

`This translation will quickly establish itself as _the_ transation for English speaking readers and students of this great Augustan epic.' Dr A.H.F. Griffin, University of Exeter

'a work of the highest quality which provides pleasure and information in generous measure.' JACT Review

About the Author

Publius Ovidius Naso, a Roman poet known to the English-speaking world as Ovid, wrote on topics of love, abandoned women, and mythological transformations. Ranked alongside Virgil and Horace as one of the three canonical poets of Latin literature, Ovid was generally considered the greatest master of the elegiac couplet.

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Customer Reviews

The Mandelbaum translation was also good, but for me, the Melville was best.
John Moore
Yet, each time I pick up the book to read it, regardless of how many times I've read a passage before, I find that my senses are never dulled to it.
"elemental_master"
This impressive relic of antiquity spans a wide panoply of themes, characters and situations.
D. F. Whipple

Most Helpful Customer Reviews

119 of 142 people found the following review helpful By A Customer on July 5, 2001
Format: Paperback
This edition is published by Oxford University Press and is translated from the Latin into English prosody by A. D. Melville, who was "a scholar of King's College, Cambridge [!!], where he gained a double First in Classics...."
To my mind, this is the best of the English translations available at this site. The format is poetic...as it should be, I believe...which means that the reader will have to adjust (change) his usual perceptive modes...go slower... follow the thought from line to line...as if tracking some wondrous mythic figure through a forest of sparkling silvery leaves...and flickering flashes of sunlight... There is an excellent "Introduction" as well as a truly insightful "Translator's Note"...one can tell the quality of the mind which worked on this translation from a quote from the "Introduction": "This it may be suggested is the point of a passage of the *Metamorphoses* that has puzzled some critics and bored others ...the great speech of Pythagoras. What is formally a long digression is accommodated to the argument of the poem with great skill bridging the long interval between Numa and Augustus and achieving a climax on a theme that informs and dominates the whole book: apotheosis, divinization, the supreme change to which human beings can aspire. The speech turns on the premiss[sic] that in all the constantly changing universe one thing remains unchanged, *anima*, the soul [Melville's translation of the lines follows...] our souls/ Are still the same for ever, but adopt/ In their migrations ever-varying forms.../ We too ourselves, who of this world are part,/ Not only flesh and blood, but pilgrim souls...
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29 of 36 people found the following review helpful By A Customer on May 27, 1999
Format: Paperback
If you're wondering which translation to buy here's my opinion: get either the A.D. Melville (which has great notes about the text) or the Mendelbaum.
Avoid Horace Gregory like the plague.
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27 of 36 people found the following review helpful By W. Kuenzler on March 25, 2002
Format: Paperback
This translation of Ovid's Metamorphoses by A.D. Melville has some good points as well as some bad points. The stories are well told. They are put into English that is easy to understand; yet Melville maintains much of the original prose. The biggest downfall would be the arrangement of the stories is slightly random and hard to follow when one attempts to read straight through the work. However, each story in itself is well written and portrays the idea of its appropriate myth. The notes at the back of the text help the reader to understand ideas that might not be obvious to a reader in this 20th century, where many of us have little background in mythology. There is also a glossary that the reader may use to find specific stories about certain characters. In my mythology class, I found this method especially useful in projects in which require finding many stories about a certain god, for instance. Perhaps the most important aspect of Ovid's renditions of the myths is that they contain many details about surroundings or the visual contexts of the myths, which help a reader to relate more easily. This may not be found in other texts dealing with the same myths. Many texts focus more on the story itself and the events occurring. If one is a visual learner, perhaps this book would be most helpful in understanding and interpreting many of the important myths. All in all, this is a pretty good book, yet there may be one that better serves to tie the myths together in an easy to follow way.
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6 of 7 people found the following review helpful By D. F. Whipple on February 8, 2009
Format: Paperback Verified Purchase
This impressive relic of antiquity spans a wide panoply of themes, characters and situations. It's simply magnificent. Scholars have noted an opaque style in Metamorphoses, and someone reading commentary like this might believe this multifaceted poem is vacuous...ornamentation and little else. However, as I read A. D. Melville's glorious, if abstruse and demanding, translation, I feel I'm experiencing a wellspring of William Shakespeare--the material is that colorful and full of life. And of course I am, because when the Bard set off to write plays for his highly successful acting company, he grabbed Ovid's Metamorphoses; as many Shakespeare fans know, it had been assigned reading during his grammar school years.

Ovid's scenes are beautifully woven: the rhetorics and structures, usually borrowed from existing stories, are clever, and the characters live and breathe. Although the effects of the many cross-currents among god and mortal, creature and nature, etcetera are, at least superficially, those of wild fantasy and myth, examples of the poet's subtle-yet-overriding Logoi can be found in passages like Narcissus and Echo, Tiresias and Pyramus and Thisbe, where the action seems as much fated and rational as ridiculous. That is, Ovid employs artifice wherein one conceit mirrors and affects another (and yet another and another and so on) in clear, logical fashion. For example:

When Apollo wielded his bow, writes Ovid, "He drew two arrows of opposing power./ One shaft that rouses love and one that routs it." Or when describing anthropomorphic pathos of nature and earth, the artist suggests, "Then hungry nature lacking nourishment/ Will faint and, starving, starve her furnaces.
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