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• W2163509057 abstract "The use of mythology was widespread among writers in the Elizabethan period, and Ovid’s presence in Renaissance literary texts seemed to be essential as it constituted the most important classical source for the literary tradition at that time. We should mention a single book, The Metamorphoses, of which many writers were aware, as it played a very im portant role in the transmission of a mythological world, often becoming the most suitable frame for poetry. Elizabethans were fascinated by stories about gods who loved, but could not pursue the loveliest object of their desire, without experiencing terrible transformations in doing so. These stories represented the natural way of expressing the processes of human feelings, especially the anguish of love. Ovid’s Metamorphoses suggests that change is one of the pri mary realities of our experience; our lives, our society, the rules and powers which govern us, our feelings all being subjected to different changes somehow. We are used to this sense of mutability in the same way Elizabethans were. In this sense Ovid’s writing provides the idea of a changing reality and claims that poetry should find the mechanisms to express it. Ovid’s influence in the sixteenth century was easily perceived after Cardinal Wolsey’s decision to introduce the Metamorphoses into the curriculum of English grammar-schools. Soon the poem gained popularity among schoolboys who learnt it to adapt and imitate Latin verse. In this way Shakespeare became familiar with the poem. Shakespeare knew the Latin version, but preferred the most famous translation ever written in Renaissance Eng land, Arthur Golding’s Metamorphoses, which was published in 1567. Golding was a moral ist, and his interpretation of Ovid’s poem assumed that “metamorphosis was a punishment for sexual unnaturalness ”. (qted. in Bate, 1994: 53) However, poets like Shakespeare and Marlowe were more interested in the causes of love than in moralizing it. Mythology was good material for poetry, and it constituted the natural background for the erotic-love nar rative poems which flourished at the end of the sixteenth century. Shakespeare was aware of the great excitement these narrative poems stirred at the turn of the century: That may have been the reason why he decided to make his own contribution to this subject, writing the epyllion Venus and Adonis- perhaps in a theatrical off-season-, which was entered in April 1593 and published a few years later. The aim of this paper is to explore the use of mythological material and illustrate how it works in the poem in order to show a reversal of the feminine and masculine roles, as traditionally il lustrated in love poetry. The story of Venus and Adonis appears in Book Ten of Ovid’s Metamorphoses. Orpheus tells us the story when he laments to the trees and wild animals after the loss of Euridyce. Venus is desperately attracted to the young Adonis, who, being more interested in the art of hunting, does not show any form of affection. She tries in vain to persuade Adonis to love her. However, Adonis prefers to go hunting, and he dies after being badly injured by a boar. But Venus does not resign herself to the loss of her beloved and decides to metamorphose him into a beautiful flower growing from his blood, and which still remains a symbol of her frustrated love. Shakespeare does not follow Ovid’s version of Venus and Adonis, as it is told in Book Ten from the Metamorphoses. However, he shapes his poem out of diverse mythological ref erences. Ovid’s Metamorphoses filters into the poem in many different ways, and this consti tutes the main" @default.
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• W2163509057 date "1996-01-01" @default.
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• W2163509057 title "Ovid & Shakespeare's Venus and Adonis: A Study of sexual-role reversal" @default.
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