Metamorphosis or transformation 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 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 object (Nileus), constellation (Ariadne's Crown), animal (Perdix); from animal (Ants) and fungus (Mushrooms) to human; of sex (Hyenas); and of colour (Pebbles).
Metamorphosis
Metamorphoses
Metamorphoses | Metamorphosis
It is the transformation is a unifying theme amongst the episodes. They are often located metatextually within the poem, through grammatical or narratorial transformations. Metamorphosis or transformation is a unifying theme amongst the episodes of the "Metamorphoses" Transformation - from human to inanimate object (Nileus), constellation (Ariadne's Crown), animal (Perdix); from animal (Ants) and fungus (Mushrooms) to human; of sex (Hyenas); and of colour (Pebbles).
how old was william shakespeare when he wrote hamlet
user
Between 1589 and 1613 at the age of 49.
assistant
who is he?
user
He was an English playwright, poet, and actor.
assistant
name a few of his poems?
user
"Venus and Adonis", "The Rape of Lucrece", "Metamorphoses", "A Lover's Complaint".
assistant
what is the third poem about?
user
It is the history of the world from its creation to the deification of Julius Caesar within a loose mythico-historical framework.
assistant
what are its themes?
user
Mutability, love, violence, artistry, and power are just some of the unifying themes.
assistant
what is metamorphosis in it?
user
Metamorphosis or transformation 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 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 object (Nileus), constellation (Ariadne's Crown), animal (Perdix); from animal (Ants) and fungus (Mushrooms) to human; of sex (Hyenas); and of colour (Pebbles).
Metamorphoses | Metamorphosis
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".
Metamorphoses | Themes
Discovered, she flees to the wilderness, where the gods transform her into tears.
Metamorphoses (play) | Theme/Idea
According to David Ostling, Zimmerman's scenic designer, "She was looking for the changing ability of water, the instantaneous nature of it, how it could go from still to violent and back to calm." Zimmerman's play also examines the causes of change in persons. What can make a person become something completely different? The most frequent cause throughout "Metamorphoses" is love. At the same time, "Metamorphoses" warns of what happens when love is ignored. When Erysichthon cuts down a sacred tree, showing that he loves only himself, he is transformed into a man consumed by hunger, eventually eating himself. When the beautiful Myrrha scorns the love of her suitors, the goddess Aphrodite curses her to love her father.
Metamorphoses (play) | Theme/Idea
The central idea of "Metamorphoses" is the concept of change. To "metamorphose" means the striking change in appearance or character of something. Each story contains at least one example. The theme of change is expressed by the play's use of water. The set includes centrally placed pool, into which characters move and leave as they are transformed. The water is used for different functions throughout "Metamorphoses", and it is described as "the most protean (lit: diverse or varied) of elements" In transforming her early version of "Metamorphoses", "Six Myths", into its final form, Zimmerman's most significant change was the addition of the central pool.
Metamorphoses (play) | Theme/Idea
Based on myths thousands of years old, Zimmerman's "Metamophoses" demonstrates their relevance and emotional truths. The play suggests that human beings haven't changed to the point of being unrecognizable nearly two thousand years later. Zimmerman has said, "These myths have a redemptive power in that they are so ancient. There's a comfort in the familiarity of the human condition." Zimmerman generally presents an objective point of view. An example is the Alcyone and Ceyx passage, when the audience learns of Ceyx's death long before Alcyone does. In terms of motifs, "Metamorphoses" is more subjective, especially related to the theme of death and love.
Metamorphoses (play) | Style
Through all the vignettes that are portrayed, the audience is meant to leave not with the story of a few individuals, but rather to know the power of human transformation in all forms.
Metamorphoses (play) | Style
The metamorphoses themselves are often located metatextually within 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.
Metamorphoses | Metamorphosis
This theme of metamorphosis was broader than just "Narcissus"; for instance see crocus, laurel and hyacinth.
Narcissus (plant) | Roman culture
The music of the first metamorphosis echoes the "free-spirited" character of its titular figure: it is unmeasured and includes frequent pauses. This contrasts with the second metamorphosis, a quick and rhythmic representation of the chariot ride of Phaeton, marked "vivace ritmico". The third is slower and is marked "piangendo", or "crying". The four-part fourth metamorphosis reflects the atmosphere of a drunken feast or festival. The fifth, marked "lento piacevole", is meant to convey the act of staring at a reflection in a pool. The work concludes with a "pleasant and meandering" representation of beauty and flow.
Six Metamorphoses after Ovid | Music
Ceres appeals to Cupid to release her nymphs; Cupid agrees, if Ceres will pardon Erisichthon. (The faithful love of Protea for Petulius has earned her Cupid's protection.) The nymphs are restored to their original forms once they agree to accept the three humans as husbands; the quadruple wedding is held at the house of Erisichthon.
Love's Metamorphosis | Synopsis
This juxtaposition of old and new is particularly striking in the story of Midas, in which he is shown wearing a "smoking jacket" and confronted by a drunken reveler in a half-toga with vine leaves in his hair.
Metamorphoses (play) | Spectacle
Metamorphoses is a themed work of poetry composed by Ovid. Metamorphoses may also refer to:
Metamorphoses (disambiguation) | Introduction
The opening scene essentially shows the creation of the world, or Cosmogony, not only sets up the world that the following characters will live in, but the world itself. In terms of a beginning and end within the stories themselves, King Midas frames them with his story of greed at the beginning and his redemption at the last moments of the play. After being introduced as a horribly selfish man, the other stories of the play get told and mask the lack of resolution within the Midas story. Finally at the end, Midas who is "by this time long forgotten and in any case unexpected--reappears, newly from his quest" with his restored daughter, and "on this note of love rewarded and love redeemed, the play comes to an end.".
Metamorphoses (play) | Style
The sister he has always cherished finally turns on him viciously and demands his disappearance, a demand that Gregor inwardly accepts has to be carried out. Imprisoned in his increasingly neglected room, he wastes away from the lack of the right kind of sustenance and finally dies of the great wound in his back and in his heart. At his death, the brutish charlady sweeps away his remains and his family are released from their dreadful burden to celebrate their prospects for a brighter future.
Metamorphosis (2012 film) | Synopsis
The play promotes suggesting death as a transformation of form rather than death as an absence, which is more typical in popular Western culture. A non-naturalistic play, "Metamorphoses" is presented as mythic rather than realistic. The use of myths essentially "lifts the individuals out of ordinary time and the present moment, and places him in "mythic time"—an ambiguous term for the timeless quality myths manifest." The setting of the play isn't limited to just one specific location. For example, the pool on stage transforms from "the luxurious swimming pool of nouveau riche Midas, the ocean in which Ceyx drowns, the food devoured by Erysichthon, Narcissus' mirror, a basin to hold Myrrha's tears, [and] the river Styx" and that the pool, like the stories transcend realistic thinking and are "suspended in space and time." The plot is constructed as a series of vignettes, framed overall by a few narrative devices.
Metamorphoses (play) | Style
Animator Kayla Parker remarks that metamorphosis, "literally, changing from one form into another", has been a trope of animation since 19th century "pre-cinema optical toys" characterized by "cycled graphic image sequences of squashed and stretched facial features and mutating bodies", and that Leaf regards the process of making a film as a kind of metamorphosis that may take years.
The Metamorphosis of Mr. Samsa | Themes
The main themes of "Metamorphosen" are given here at the pitch they first occur. The first four themes occur in the first 20 bars. The fifth theme occurs at bar 82, with the tempo marking "etwas fließender" (slightly flowing). \relative c' {\clef "bass" 2^"Theme 1, opening chords" 4. 8 1} \relative c' {r^"Theme 2, Beethoven, Symphony No. 5" g'-.( g-. g-.)|g2}
Metamorphosen | Main themes
The play is staged as a series of vignettes. The order is as follows: The stories as they are told in the classic Ovid tales:
Metamorphoses (play) | Plot synopsis
During the short trip, Mr. and Mrs. Samsa realize that, in spite of the hardships that have brought some paleness to her face, Grete has grown up into a pretty and well-figured lady. They think about finding her a husband.
The Metamorphosis | Plot
The Metamorphoses (: "Books of Transformations") is an 8 AD Latin narrative poem by the Roman poet Ovid, considered his "magnum opus". Comprising 11,995 lines, 15 books and over 250 myths, the poem chronicles the history of the world from its creation to the deification of Julius Caesar within a loose mythico-historical framework. Although meeting the criteria for an epic, the poem defies simple genre classification by its use of varying themes and tones. Ovid took inspiration from the genre of metamorphosis poetry, and some of the "Metamorphoses" derives from earlier treatment of the same myths; however, he diverged significantly from all of his models.
Metamorphoses | Introduction
Ovid utilizes a variety of tragic themes throughout the "Metamorphoses". Some of these themes simply involve the subject matter, but some involve thematic and narrative devices. Both of these types are equally important to understanding how Ovid connects with and employs the idea of tragedy in his epic.
Tragedy in Ovid's Metamorphoses | Themes
Mr. Samsa wakes up and discovers that he has turned into a giant beetle. The loving son and brother is unable to express his feelings of shame and guilt, nor his need for love. He is forced to become a recluse and is rejected by his family.
The Metamorphosis of Mr. Samsa | Plot
In the "Metamorphoses" Ovid continually stresses Medea's use of incantation and magic and her ability to create and destroy. In this vein it seems as though she feels responsible for creating a relationship with Jason and feels as though she must save him. Medea's continual return to incantation and the emphasis on language shows how she is able to use her power to create her own story. Where as in other texts, Medea is consistently able to outwit her opponents and gain victory through rhetoric, the Medea that is shown in the "Metamorphoses"is overtaken by emotion and cannot seem to accurately verbalize it.
Tragedy in Ovid's Metamorphoses | Medea
The overall structure of the piece is "a slow introduction, a quick central section, and a return to the initial slower tempo", which echoes the structure of "Death and Transfiguration". There are five basic thematic elements in "Metamorphosen". First, there are the opening chords. Second, there is the repetition of three short notes followed by a fourth long note. Third, there is the direct quote from bar 3 of the "Marcia Funebre" from Beethoven's "Eroica" Symphony. Fourth, there is a minor theme with triplets. Fifth, there is the lyrical theme "that becomes the source of much of the contrasting music in major, sunnier keys." The second theme does not stand on its own, but precedes the third and fourth themes.
Metamorphosen | Composition history
So, we're on the way, in the middle, on the mezzanine floor." "Metamorphis", written solely by Stu G, further explores this theme of change. The name of the album is a mixture of the names of these two tracks (see metamorphosis and mezzanine).
Mezzamorphis | Content
This direct contrast between the Medea that ancient audiences would know and the one they are presented with here shows how Ovid is taking, not only themes from tragedy, but characters as well, and translating them into his own version.
Tragedy in Ovid's Metamorphoses | Medea
Tragic themes are ever-present in the world of ancient epic. Ancient tragedians often focused on ideas such as mythology, love, passion and violence in their works and these are clearly reflected in epic, especially in Ovid's "Metamorphoses". Tragic themes do not simply refer to subject matter however and can also be used in reference to the format of the writing, such as utilizing dramatic monologues, or soliloquies, metatheatre, and emphasizing time and place.
Tragedy in Ovid's Metamorphoses | Introduction
New emphasis was placed on previously unexplored themes, including the mind, consciousness and bicameralism. Anarky's characterization was also expanded to present him as an atheist and rationalist. A recurring theme in "Metamorphosis" was a scene of Anarky expounding philosophy to his pet dog, and indirectly to the reader, for a single page in each part of the story, for a total of four pages. These monologues included an explanation of bicameralism, a comparative summary of the political philosophy of Plato and Aristotle, a description of the concept of economic "parasites," and a final description of how the elimination of irrationality would allow society to progress.
Batman: Anarky | Philosophical shift
"Metamorphoses" follows these methods by using multiple narrators, who both tell and comment on the story, and language that is strongly rooted in the David R. Slavitt translation of Ovid. Compared to classic genres, "Metamorphoses" is a hybrid containing elements of various genres, including comedy, classic tragedy, and drama, but not necessarily limited to any of them. The play borrows aspects from opera, as it uses visual and aural illusions, and achieves them in simple ways. Joseph Farrell praised Zimmerman for capturing the seriocomic elements of Ovid's tales better than in most adaptations.
Metamorphoses (play) | Genre
This image then returns to the diamond pattern and back into the checkered pattern. It then resumes with the "Metamorphosis II" imagery until the bird pattern. The birds then become sailing boats. From the sailing boats the image changes to a second fish pattern. Then from the fish to horses. The horses then become a second bird pattern. The second bird pattern then becomes black-and-white triangles, which then become envelopes with wings. These winged envelopes then return to the black-and-white triangles and then to the original bird pattern. It then resumes with the "Metamorphosis II" print until its conclusion.
Metamorphosis III | Introduction
She also points out that "in "Metamorphoses" the source of the transformed figures is always an outside divinity while Blake internalises it, emphasising that the source of spiritual transformation should be looked [for] and found inside man."
Ah! Sun-flower | Spiritual transformation
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 the genre debate, G. 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 BC. In spite of its apparently unbroken chronology, scholar Brooks Otis has identified four divisions in the narrative:
Metamorphoses | Contents
"Metamorphosis" has been seen by some as inspired by Franz Kafka's novella of the same name, drawing comparisons to the dark themes and plots surrounding transformation. Shindo L writes in the manga's afterword that he intended "Metamorphosis" to portray the "charm" of a miserable female main character. He also said in an interview that projecting a work's themes and opinions onto its author is a "fallacy" and that he has "never met a person whose reality is directly influenced by what they read."
Metamorphosis (manga) | Analysis
There are numerous film versions of the story, including:
The Metamorphosis in popular culture | Film
Hecuba's lame over her daughters dead body also recalls back to the small speech given by Thisbe in Book IV. Though Thisbe is not given a full monologue, she makes use of the lines she is given to lament over the death of her love Pyramus. Hecuba draws on the tragic themes presented in Thisbe's lamentation and expands upon them, expressing the death of a daughter instead of a lover. Hecuba's speech opens with her asking the gods what else she could possibly lose, after having her family slaughtered, her city sacked, and herself taken as a prisoner. This theme of all being lost to war and death is a common one throughout the world of ancient tragedy.
Tragedy in Ovid's Metamorphoses | Hecuba
The thirteenth book discusses the contest over Achilles' arms, and Polyphemus. The fourteenth moves to Italy, describing the journey of Aeneas, Pomona and Vertumnus, and Romulus. The final book opens with a philosophical lecture by Pythagoras and the deification of Caesar. The end of the poem praises Augustus and expresses Ovid's belief that his poem has earned him immortality. In analyzing the "Metamorphoses", scholars have focused on Ovid's organization of his vast body of material. The ways that stories are linked by geography, themes, or contrasts creates interesting effects and constantly forces the reader to evaluate the connections. Ovid also varies his tone and material from different literary genres; G.
Ovid | "Metamorphoses" ("Transformations")
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 BC, 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 the key themes of the "Metamorphoses".
Metamorphoses | Sources and models
The word "metamorphosis" derives from Greek , "transformation, transforming", from ('), "after" and ('), "form".
Metamorphosis | Etymology
"A dangerously pagan work," the "Metamorphoses" was preserved through the Roman period of Christianization, but was criticized by the voices of Augustine and Jerome, who believed the only metamorphosis really was the transubstantiation. Though 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 manuscript is very late, dating from the 11th century.
Metamorphoses | Manuscript tradition
About the album context, Espenæs said:
The Metamorphosis Melody | Background
Gregor, attracted by Grete's violin-playing in the living room, crawls out of his room and is spotted by the unsuspecting tenants, who complain about the apartment's unhygienic conditions and cancel their tenancy. Grete, who has tired of taking care of Gregor and realizes the burden his existence puts on each one in the family, tells her parents they must get rid of "it", or they will all be ruined. Gregor, understanding that he is no longer wanted, dies of starvation before sunrise. The relieved and optimistic family take a tram ride out to the countryside and decide to move to a smaller apartment to save more money.
The Metamorphosis | Plot
Metamorphosis II is a woodcut print by the Dutch artist M. C. Escher. It was created between November, 1939 and March, 1940. This print measures and was printed from 20 blocks on 3 combined sheets. Like "Metamorphosis I", the concept of this piece is to morph one image into a tessellated pattern and then slowly alter that pattern eventually to become a new image. The process begins left to right with the word "metamorphose" (the Dutch form of the word "metamorphosis") in a black rectangle, followed by several smaller metamorphose rectangles forming a grid pattern. This grid then becomes a black and white checkered pattern, which then becomes tessellations of reptiles, a honeycomb, insects, fish, birds and a pattern of three-dimensional blocks with red tops.
Metamorphosis II | Introduction
Love's Metamorphosis is an Elizabethan era stage play, an allegorical pastoral written by John Lyly. It was the last of his dramas to be printed.
Love's Metamorphosis | Introduction
Online editions , translated by David Wyllie Commentary Related
The Metamorphosis | External links
Gregor begins to accept his new identity and begins crawling on the floor, walls and ceiling. Discovering Gregor's new pastime, Grete decides to remove some of the furniture to give Gregor more space. She and her mother begin taking furniture away, but Gregor finds their actions deeply distressing. He desperately tries to save a particularly-loved portrait on the wall of a woman clad in fur. His mother loses consciousness at the sight of Gregor clinging to the image to protect it. As Grete rushes to assist her mother, Gregor follows her and is hurt by a medicine bottle falling on his face.
The Metamorphosis | Plot
Among the Albanian Kastrati tribe, it was believed that a snake sighted by a wren lost its ability to transform into a kulshedra.
Kulshedra | Metamorphosis
The "Metamorphosis" is scored for a typical Romantic-sized orchestra.
Symphonic Metamorphosis of Themes by Carl Maria von Weber | Instrumentation
Metamorphosis is a major plot device in "A Strange Matter Concerning Pigeons", and by presenting the pigeon spirit He Zudao as a "handsome youth in white garb", Pu emphasises "the continuum between states of being, which facilitates the assimilation of the non-human into the human realm." Li Wai-yee points out in "Enchantment and Disenchantment" (2014) that Pu regarded "commitment to an ideal, even when it appears eccentric or misguided," as "laudable". She writes that "the irony becomes cutting" in tales like "A Strange Matter Concerning Pigeons", in which there is "a lapse of devotion to the object of attachment".
A Strange Matter Concerning Pigeons | Themes and analysis
Each of the six sections is based on a character from Roman mythology who is briefly described: The piece is between 10 and 15 minutes in length.
Six Metamorphoses after Ovid | Structure
Her main series have a universal theme of metamorphosis, with all those photographed having undergone intense physical transformations mirroring deep inner changes that they have either gone through, are going through, or hope to go through, whether for a night, several months, or for a period of years.
Araminta de Clermont | Works
Latin versions English translations Analysis Audio reading Images
Metamorphoses | External links
Metamorphoses (: "Books of Transformations") is a Latin narrative poem by the Roman poet Ovid, considered his "magnum opus". Comprising fifteen books and over 250 myths, the poem chronicles the history of the world from its creation to the deification of Julius Caesar within a loose mythico-historical framework. Although meeting the criteria for an epic, the poem defies simple genre classification by its use of varying themes and tones. Considered one of the most influential works of art in Western culture, particularly European, "Metamorphoses" has inspired such authors as Geoffrey Chaucer, William Shakespeare, Dante Alighieri and Giovanni Boccaccio. Numerous episodes from the poem have been depicted in sculptures and paintings by artists such as Titian.
Cultural influence of Metamorphoses | Introduction
Curley, Dan. Tragedy in Ovid: Theater, Metatheater, and the Transformation of a Genre. N.p.: n.p., n.d. Print.
Tragedy in Ovid's Metamorphoses | Further reading
The "Metamorphoses", Ovid's most ambitious and well-known work, consists of a 15-book catalogue written in dactylic hexameter about transformations in Greek and Roman mythology set within a loose mytho-historical framework. The word "metamorphoses" is of Greek origin and means "transformations". Appropriately, the characters in this work undergo many different transformations. Within an extent of nearly 12,000 verses, almost 250 different myths are mentioned. Each myth is set outdoors where the mortals are often vulnerable to external influences. The poem stands in the tradition of mythological and aetiological catalogue poetry such as Hesiod's "Catalogue of Women", Callimachus' "Aetia", Nicander's "Heteroeumena", and Parthenius' "Metamorphoses".
Ovid | "Metamorphoses" ("Transformations")
Like Johann Wolfgang von Goethe he experienced within himself a continual metamorphosis of musical themes as result of his connection with forces of life. By discovering this he was able to change the methods of composing and gave new life to the symphony, including its formal aspects.
Metamorphosis-Symphonies | Introduction
Metatheatre refers to when a drama calls attention to the fact that it is a drama. This can be shown through characters realizing they are dramatic characters, narrators blatantly stating that the actions are not real, or a variety of other devices. In the instance of the "Metamorphoses" tragedy itself is being translated into another genre, which is very metatheatrical in nature. In its classic usage, the success of the metatheatre elements is dependent on whether or not there is an audience. In this line of thought, the success of Ovid's transformations throughout the epic, and of the genre itself, is dependent on whether or not there are readers that understand his references.
Tragedy in Ovid's Metamorphoses | Metatheatre and theatricality
In the eggs of their victims they start a new cycle of metamorphosis.
Hycleus polymorphus | Biology
In Italy, the poem was an influence on Giovanni Boccaccio (the story of Pyramus and Thisbe appears in his poem "L'Amorosa Fiammetta") and Dante.
Metamorphoses | Influence
The monologue given in Ovid's telling of the story is very similar in structure and content. In the "Metamorphoses", Hercules' speech is cut down to under thirty lines, but still details his labors and current condition. However, in contrast to his Sopholcean speech, this Hercules places the blame for his poisoning on Juno and laments about how unfair his current condition is, instead of blaming Deianira and offering up prayers to the gods.
Tragedy in Ovid's Metamorphoses | Hercules
Juergen May believes that the piece is a musical monument to culture in general, "more than three thousand years of humankind's cultural development". A few days after finishing "Metamorphosen", Strauss wrote in his diary: There has been speculation about other interpretations. Jackson concludes that "Metamorphosen" is a philosophical, Goethean study of the underlying cause of war in general, humankind's bestial nature . In his view "Metamorphosen" uses the classical concept of metamorphosis as a process of transcending from the mundane into the divine, but inverts it such that the outcome of metamorphosis is not an attainment of the divine but rather a descent into bestiality.
Metamorphosen | Interpretations
Metamorphoses is a play by the American playwright and director Mary Zimmerman, adapted from the classic Ovid poem "Metamorphoses". The play premiered in 1996 as "Six Myths" at Northwestern University and later the Lookingglass Theatre Company in Chicago. The play opened off-Broadway in October 2001 at the Second Stage Theatre. It transferred to Broadway on 21 February 2002 at the Circle in the Square Theatre. That year it won several Tony Awards. It was revived at the Lookingglass Theatre Company in Chicago on 19 September 2012 and was produced in Washington, DC at the Arena Stage in 2013.
Metamorphoses (play) | Introduction
This theme is most clearly illustrated in Aeschylus' great trilogy the Oresteia and in Sophocles' trilogy on Oedipus. As in Hecuba's speech, characters from the works of Aeschylus and Sophocles both lament their great losses and what has led them to this point. One of the best examples of this theme that Ovid so clearly draws upon is the speech given by a messenger in Oedipus Rex that tells of the death of Jocasta and the blinding of Oedipus. This famous speech follows in the same theme of that given by Hecuba, previous actions and the fates that lead characters to destruction and death.
Tragedy in Ovid's Metamorphoses | Hecuba
There is the myth of Lycaon's transformation into a wolf, which appears at the beginning of the epic, warning readers of the dangers of impiety and cruelty. We especially see the myths of Medea and Hercules in Ovid's epic, translating their stories from the tragic stage into the written tale. The whole of the "Metamorphoses" is built on the stories that have been told and retold throughout ancient history, these common knowledge myths that shape the culture of the times. Mythology is the main subject matter within the tragic genre, so it must be included by Ovid in the epic in order to effectively translate their tragic themes into his writing.
Tragedy in Ovid's Metamorphoses | Mythology
The Metamorphosis () is a novella written by Franz Kafka which was first published in 1915. One of Kafka's best-known works, "The Metamorphosis" tells the story of salesman Gregor Samsa who wakes one morning to find himself inexplicably transformed into a huge insect (German "ungeheures Ungeziefer", literally "monstrous vermin"), subsequently struggling to adjust to this new condition. The novella has been widely discussed among literary critics, with differing interpretations being offered.
The Metamorphosis | Introduction
Ovid's decision to make myth the dominant subject of the "Metamorphoses" was influenced by the predisposition of Alexandrian poetry. However, whereas it served in that tradition as the cause for moral reflection or insight, he made it instead the "object of play and artful manipulation". The model for a collection of metamorphosis myths derived from a pre-existing genre of metamorphosis poetry in the Hellenistic tradition, of which the earliest known example is Boio(s)' "Ornithogonia"—a now-fragmentary poem collecting 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.
Metamorphoses | Sources and models
He added 'To just keep following your passion and just always believe in yourself, regardless of what anybody or the outside world says about it. If your passion is there you will succeed.
Tavar Zawacki | Metamorphosis #5 (2019)
Metamorpheus is Steve Hackett's 17th studio album. This classical album is the successor to "A Midsummer Nights Dream". "Metamorpheus" is an expression on Orpheus and his passage through the Underworld. The cover of the album was created by Kim Poor, the picture on the sleeves of the previous album "To Watch The Storms" also features the song "Rebecca". This album makes use of themes first used by Hackett in short pieces (only released as free MP3 downloads) for the soundtrack of the 2001 Showtime documentary "Outwitting Hitler".
Metamorpheus | Introduction
The dramatic speech given by Hecuba in Book XIII of the "Metamorphoses" is the last full monologue of the epic. Both the first and last full monologues of this epic are delivered by women, which lends itself to analyzing the development of the female portrayal throughout the piece. Medea's speech, previously discussed, is rash and scattered, illustrating her emotional distress, while also showing the beginnings of the female oratory in the poem. In contrast, Hecuba's speech is polished and refined, showing not only the dignity of the fallen queen, even in her darkest times, but also emphasizing the growth of the portrayal of women throughout the epic.
Tragedy in Ovid's Metamorphoses | Hecuba
Strauss himself never commented on "Metamorphosen"'s meaning, beyond the title (which means "changes" or "transformations"). The title does not seem to refer to the musical treatment of the themes, "since within the piece itself the themes never do undergo metamorphosis ... but rather a continuous symphonic development." It has been widely believed that Strauss wrote the work as a statement of mourning for Germany's destruction during the war, in particular as an elegy for the devastating bombing of Munich, especially places such as the Munich Opera House. The use of the term "In Memoriam" may well echo his use of the same term in the "Munich Memorial Waltz", where it is clearly related to Munich.
Metamorphosen | Interpretations
In cephalochordata, metamorphosis is iodothyronine-induced and it could be an ancestral feature of all chordates.
Metamorphosis | Amphioxus
Contrast and uniformity, style and the depicted, portrayal and fable are seamlessly intertwined". In 1989, Nina Pelikan Straus wrote a feminist interpretation of "The Metamorphosis", bringing to the forefront the transformation of the main character Gregor's sister, Grete, and foregrounding the family and, particularly, younger sister's transformation in the story. According to Straus, critics of "The Metamorphosis" have underplayed the fact that the story is not only about Gregor but also his family and especially about Grete's metamorphosis as it is mainly Grete, as woman, daughter and sister, on whom the social and psychoanalytic resonances of the text depend.
The Metamorphosis | Interpretation
Set in Arcadia, the play's plot contains two strains: the main plot features Ceres and three of her nymphs, Nisa, Celia, and Niobe; the three foresters or shepherds who love them, Ramis, Montanus, and Silvestris; and Cupid. Cupid punishes the nymphs for their disdain of the shepherds, by transforming them into a rock, a rose, and a bird. The subplot involves the churlish and brutal peasant Erisichthon, who chops down a sacred tree and thereby takes the life of Fidelia, a transformed nymph. Ceres punishes him with famine, and he responds by selling his daughter Protea to a merchant. Protea escapes her servitude via a prayer to Neptune and a disguise as a fisherman; she returns home, and masquerades as the revenging ghost of Ulysses to rescue Petulius, her beloved, from a Siren.
Love's Metamorphosis | Synopsis
"Metamorphosis" follows Saki Yoshida (), a high school student whose efforts to become popular leads to drug use and unhealthy relationships, gradually spiraling down into disownment, prostitution, drug addiction, and homelessness, eventually ending with her committing suicide by heroin overdose.
Metamorphosis (manga) | Plot
These variations add an element of peril. The assistant is trapped underwater with no source of air, and if something were to go wrong she could possibly drown.
Metamorphosis (illusion) | Introduction
Ovid in his "Metamorphoses" provided a descriptive interlude when Theseus is the guest of Achelous, waiting for the river's raging flood to subside: "He entered the dark building, made of spongy pumice, and rough tuff. The floor was moist with soft moss, and the ceiling banded with freshwater mussel and oyster shells."
Achelous | In the "Metamorphoses"
Though understanding the references made throughout the epic are not necessary for understanding the basic plots and subplots, having a prior knowledge of the myths depicted can help a reader to engage more fully with the text and to see how these connections come together.
Tragedy in Ovid's Metamorphoses | Metatheatre and theatricality
Lyly borrowed some elements for his play (the story of Erisichthon) from the "Metamorphoses" of Ovid, and others from a 1588 prose pamphlet by Robert Greene, known alternatively as "Greene's Metamorphosis" and "Alcida". Most of the play, however, is judged to be original with Lyly.
Love's Metamorphosis | Sources
Mrs. Samsa is Gregor's mother. She is initially shocked at Gregor's transformation; however, she wants to enter his room. This proves too much for her, thus giving rise to a conflict between her maternal impulse and sympathy, and her fear and revulsion at Gregor's new form.
The Metamorphosis | Mrs. Samsa
The language in "Metamorphoses" sets up the mythic, yet comprehensible world, to be portrayed on stage. Philip Fisher describes the myths as "poetic" and says that Zimmerman "has a great vision and her sense of humor intrudes on a regular basis, often with clever visual or aural touches." The comedy elements present contemporary connections for the audience to the mythic stories. When an audience hears a clever interjection by Zimmerman, they can easily take in the experience of a well-written play. Zimmerman's rhythm in the play establishes quick scenes and down-to-the point dialogue, making it easy to follow. She does not leave much silence or pauses.
Metamorphoses (play) | Language
"At the back of the stage an alcove with a divan hidden by curtains. At the front a table with a box on it, and a bird cage attached to the wall. Doors to the left and right." Guido, a handsome bachelor, has been abandoned by all his friends since he lost his money, and Minette, his cat – for which the governor’s cook has offered three florins – is all that remains of Guido’s household. Marianne is sitting by the table knitting; she takes the white cat from her lap to the divan. Guido returns and Marianne asks why he has not appealed to his rich uncle for financial assistance.
La chatte métamorphosée en femme | Synopsis
Metamorphs, capable of changing shape. Occasionally their civilization collapses, due to memetic plagues.
Heritage Universe | Varnian
"Metamorphosis" is the story of traveling salesman Gregor Samsa, who wakes one morning to find himself transformed in his bed into a giant, verminous, insect-like creature. His transformation into a hideous parasite is a cry for help, but his craving for understanding and love is not met. His idle teenage sister jealously dominates his care, his hitherto slothful father is bitter about the loss of family income, and his weak and asthmatic mother can only look on ineffectively as Gregor's fate unfolds. Gregor's craving for emotional fulfilment is met by misunderstanding and ultimately physical abuse. He is attacked by his father, who penetrates his insect shell with a vicious bombardment of rock-hard apples and is prevented from killing Gregor only by the desperate intervention of his mother.
Metamorphosis (2012 film) | Synopsis
An alien from outer space bites a bio-researcher on the hand and turns him into a monster. Its first victim is the guard at the laboratory he's working in. The guard's daughters are getting worried that their father hasn't called them and they go to the lab, where they meet their worst nightmare.
Metamorphosis: The Alien Factor | Plot
The serial generated largely positive reviews from critics and recorded a viewership of over a million in its final episodes.
Metamorphosis (TV series) | Reception
This upbeat rhythm shows up within separate lines as well. For example, "HERMES: The god of speed and distant messages, a golden crown above his shining eyes, his slender staff held out in front of him, and little wings fluttering at his ankles: and on his left arm, barely touching it: she." A device known as "dissonance" is strongly used in this particular line. Dissonance is a subtle sense of disharmony, tension, or imbalance within the words chosen in the play. Dissonance uses short, stressed sounds, as in this example; the playwright uses them to emphasize the up-tempo rhythm throughout the play.
Metamorphoses (play) | Language
Music is related to Orpheus' ability to move only forward in time, along with his feelings and mortal love. Although they can repeat, as they do in the scene several times, they cannot turn back completely and be the same. Zimmerman includes with the line, "Is this a story about how time can only move in one direction?" to bring light to Orpheus' struggle. Phaeton narrates his own story (not the case with most of the other stories). With the Therapist bringing a glimpse of Freudian psychoanalysis, Phaeton's relationship with his father can be seen in new ways: "the father is being asked to perform an initiation rite, to introduce his son to society, [and] to inscribe him in a symbolic order."
Metamorphoses (play) | Character analysis
Metamorphosis is a series of collage-drawings by Joan Miró, made between 1935 and 1936. This is a series of works made as an interlude while Miró was painting the series "Paintings on masonite".
Metamorphosis (Miró) | Introduction
This myth is also briefly referenced in Ovid's "Metamorphoses".
Botres | Introduction
Because of the mythic quality of the script, sometimes the players in the performance often resemble "archetypes instead of characters." Miriam Chirico describes the work as "enacting myth does not require creating a plausible character, but rather an emblematic figure who demonstrates a particular, identifiable human trait." The story of Orpheus and Eurydice is told twice, each to emphasize their individual stories and act like mirrors with reflecting stories of love and loss; the first being from Orpheus' point of view from Ovid's tale from 8 A.D., then Eurydice's tale in 1908 inspired by German poet Rainer Maria Rilke. Orpheus is an archetype for strong human emotion and expressing it through poetry and music.
Metamorphoses (play) | Character analysis
Mary Zimmerman's "Metamorphoses" is based on David R. Slavitt's free-verse translation of "The Metamorphoses of Ovid". She directed an early version of the play, "Six Myths", in 1996 at the Northwestern University Theater and Interpretation Center. Zimmerman's finished work, "Metamorphoses", was produced in 1998. Of the many stories told in Zimmerman's "Metamorphoses", only the introductory "Cosmogony" and the tale of Phaeton are from the first half of Ovid's "Metamorphoses". The story of Eros and Psyche is not a part of Ovid's "Metamorphoses"; it is from Lucius Apuleius' novel "Metamorphoses" —also called "The Golden Ass"—and was included in Zimmerman's "Metamorphoses" because, as Zimmerman said in an interview with Bill Moyers of PBS NOW, "I love it so much I just had to put it in." She wrote and directed "Metamorphoses" during a period of renewed interest in the life and writings of Ovid.
Metamorphoses (play) | Background
He instead chose an interpretation guided by the artistic detail but categorically excluded any and all attempts at deciphering a symbolic or allegoric level of meaning. Arguing against the popular father complex theory, he observed that it is the sister, more so than the father, who should be considered the cruelest person in the story, as she is the one backstabbing Gregor. In Nabokov's view, the central narrative theme is the artist's struggle for existence in a society replete with philistines that destroys him step by step. Commenting on Kafka's style, he writes: "The transparency of his style underlines the dark richness of his fantasy world.
The Metamorphosis | Interpretation
The play was not reprinted until F. W. Fairholt's 1858 edition of Lyly's collected works.
Love's Metamorphosis | Performance and Publication
The song was written by Gorō Matsui, composed by Tsugutoshi Gotō and arranged by Gotō and Satoshi Kadokura. The title is the german word for "metamorphosis". Lyrically, it describes a restless protagonist going through the thrills of falling in love. The "funky" track, musically 160 BPM, is noted for being unusually uptempo for Kudo's repertoire. Gotō was praised for creating a "groovy" sound with the use of organic instruments.
Metamorphose (Shizuka Kudo song) | Background
The Metamorphosis () is a novella written by Franz Kafka which was first published in 1915. One of Kafka's best-known works, "The Metamorphosis" tells the story of salesman Gregor Samsa who wakes one morning to find himself inexplicably transformed into a huge insect and subsequently struggling to adjust to this new condition. The novella has been recreated, referenced, or parodied in various popular culture media.
The Metamorphosis in popular culture | Introduction
Due to this prior knowledge, they would experience a juxtaposition of Actaeon's role in the "Metamorphoses" versus his role in the "Toxotides". Audiences would already be aware of Actaeon's role as a tragic character, which enhances Ovid's telling of the story and lends itself to the metatheatre concept.
Tragedy in Ovid's Metamorphoses | Actaeon
Although Ovid's reputation faded after the Renaissance, towards the end of the twentieth century there was a resurgence of interest in his work; today, "Metamorphoses" continues to inspire and be retold through various media.
Cultural influence of Metamorphoses | Introduction
His father returns home from work and angrily hurls apples at Gregor. One of them is lodged into a sensitive spot in his back and severely wounds him. Gregor suffers from his injuries for several weeks and takes very little food. He is increasingly neglected by his family and his room becomes used for storage. To secure their livelihood, the family takes three tenants into their apartment. The cleaning lady alleviates Gregor's isolation by leaving his door open for him on the evenings that the tenants eat out. One day, his door is left open despite the presence of the tenants.
The Metamorphosis | Plot
The more she looked at the young man, the more she longed for him. Though she wished with all her heart to call out to Narcissus, Juno's curse prevented her. During the hunt, Narcissus became separated from his companions and called out, ‘is anyone there,’ and heard the nymph repeat his words. Startled, Narcissus answered the voice, ‘come here,’ only to be told the same. When Narcissus saw that nobody had emerged from the glade, he concluded that the owner of the voice must be running away from him and called out again. Finally, he shouted, "This way, we must come together." Taking this to be a reciprocation of her love, Echo concurred ecstatically, "We must come together!"
Echo (mythology) | "Metamorphoses"
Band members Guests Additional credits
Metamorphosis (Mercenary album) | Personnel