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"The first female translator of the epic into English in over sixty years, Stephanie McCarter addresses accuracy in translation and its representation of women, gendered dynamics of power, and sexual violence in Ovid's classic. Ovid's Metamorphoses is an epic poem, but one that upturns almost every convention. There is no main hero, no central conflict, and no sustained objective. What it is about (power, defiance, art, love, abuse, grief, rape, war, beauty, and so on) is as changeable as the beings that inhabit its pages. The sustained thread is power and how it transforms us, both those of us who have it and those of us who do not. For those who are brutalized and traumatized, transformation is often the outward manifestation of their trauma. A beautiful virgin is caught in the gaze of someone more powerful who rapes or tries to rape them, and they ultimately are turned into a tree or a lake or a stone or a bird. The victim's objectification is clear: They are first a visual object, then a sexual object, and finally simply an object. Around 50 of the epic's tales involve rape or attempted rape of women. Past translations have obscured or mitigated Ovid's language so that rape appears to be consensual sex. Through her translation, McCarter considers the responsibility of handling sexual and social dynamics. Then why continue to read Ovid? McCarter proposes Ovid should be read because he gives us stories through which we can better explore ourselves and our world, and he illuminates problems that humans have been grappling with for millennia. Careful translation of rape and the body allows readers to see Ovid's nuances clearly and to better appreciate how ideas about sexuality, beauty, and gender are constructed over time. This is especially important since so many of our own ideas about these phenomena are themselves undergoing rapid metamorphosis, and Ovid can help us see and understand this progression. The Metamorphoses holds up a kaleidoscopic lens to the modern world, one that offers us the opportunity to reflect on contemporary discussions about gender, sexuality, race, violence, art, and identity"--… (mais)
Rereading after decades. Phew, mostly rape, murder, and incest. In ten-beat, unrhymed lines. Then at the end he throws in Mr. Vegetarian, Pythagoras, and the deification of Julius Caesar. The metamorphoses in these are a bit of a stretch. Pythagoras saying that all things change into other things, and a man becoming a god to justify the deification of his son. Augustus is such a swell guy, his dad must be a god! Make it so, Mr. Crusher. The remarkable things, one of which I noticed as a 14 year old, was the trans story. And it turns out there are two. Both trans-men, of course. And the dual-gender of Hermaphroditus. Neither of these very trans- or bi-friendly, but notable all the same. The Story of Salmacis (dual gender, but the fountain waters thenceforth to weaken males) The Story of Iphis and Ianthe (daughter passed off as a son set to marry another woman transformed on their wedding day) The Story of Caeneus (woman tired of rape asking her rapist to no longer be a woman so to never suffer that again - rapist, as usual, was a god who could arrange this - and the trans-man then becomes a great warrior) People turning into plants, animals, and stone eventually gets tiresome. But it's in the title.
Oh my. Unbearable in Russian. Mostly due to its meter and language, probably imitating the original. With all due respect I thought what's the worth of trudging on? I'm not a PhD student in Ancient Literature after all and the plot is not gripping, unlike many other primary sources.
Informação do Conhecimento Comum em inglês.Edite para a localizar na sua língua.
This translation of Ovid's seamless song is inscribed to my brother in law and in love, Leonard Feldman, and my sister, Rayma.
Primeiras palavras
Informação do Conhecimento Comum em inglês.Edite para a localizar na sua língua.
Now I shall tell you of things that change, new being / Out of old: since you, O Gods, created / Mutable arts and gifts, give me the voice / To tell the shifting story of the world / From its beginning to the present hour.
Širdį man traukia giedot, kaip naujus pavidalus gavo Žemiški kūnai.
My purpose is to tell of bodies which have been transformed into shapes of a different kind. You heavenly powers, since you were responsible for those changes, as for all else, look favourably on my attempts, and spin an unbroken thread of verse, from the earliest beginnings of the world, down to my own times. [Mary M. Innes translation, Penguin Books, 1955]
My soul would sing of metamorphoses. (Tr. Allan Mandelbaum)
My mind would tell of forms changed into new bodies; gods, into my undertakings (for you changed even those) breathe life and from the first origin of the world to my own times draw forth a perpetual song! (Tr. Z Philip Ambrose)
Citações
Informação do Conhecimento Comum em inglês.Edite para a localizar na sua língua.
Žemės kraštuos, kur tik sieks raminanti Romos galybė, žmonės mane skaitys, ir lūpose būsiu aš gyvas, jeigu teisybės yra kiek dainių spėjimuos, per amžius.
Últimas palavras
Informação do Conhecimento Comum em inglês.Edite para a localizar na sua língua.
As long as Rome is the Eternal City / These lines shall echo from the lips of men, / As long as poetry speaks truth on earth, / That immortality is mine to wear.
Wherever Roman power extends over the lands Rome has subdued, people will read my verse. If there be any truth in poets' prophecies, I shall live to all eternity, immortalized by fame. [Mary M. Innes translation, Penguin Books, 1955]
May that day that has no power except over this body of mine complete when it will the span of my uncertain years: yet with my best part will I be borne eternally above the lofty star, and indelible will be our name; and where Roman culture reigns upon the conquered earth, upon the lips of people will I be read, and in glory through every age, if prophecies of bards have ought of truth, will I live. (Tr. Z. Philip Ambrose)
"The first female translator of the epic into English in over sixty years, Stephanie McCarter addresses accuracy in translation and its representation of women, gendered dynamics of power, and sexual violence in Ovid's classic. Ovid's Metamorphoses is an epic poem, but one that upturns almost every convention. There is no main hero, no central conflict, and no sustained objective. What it is about (power, defiance, art, love, abuse, grief, rape, war, beauty, and so on) is as changeable as the beings that inhabit its pages. The sustained thread is power and how it transforms us, both those of us who have it and those of us who do not. For those who are brutalized and traumatized, transformation is often the outward manifestation of their trauma. A beautiful virgin is caught in the gaze of someone more powerful who rapes or tries to rape them, and they ultimately are turned into a tree or a lake or a stone or a bird. The victim's objectification is clear: They are first a visual object, then a sexual object, and finally simply an object. Around 50 of the epic's tales involve rape or attempted rape of women. Past translations have obscured or mitigated Ovid's language so that rape appears to be consensual sex. Through her translation, McCarter considers the responsibility of handling sexual and social dynamics. Then why continue to read Ovid? McCarter proposes Ovid should be read because he gives us stories through which we can better explore ourselves and our world, and he illuminates problems that humans have been grappling with for millennia. Careful translation of rape and the body allows readers to see Ovid's nuances clearly and to better appreciate how ideas about sexuality, beauty, and gender are constructed over time. This is especially important since so many of our own ideas about these phenomena are themselves undergoing rapid metamorphosis, and Ovid can help us see and understand this progression. The Metamorphoses holds up a kaleidoscopic lens to the modern world, one that offers us the opportunity to reflect on contemporary discussions about gender, sexuality, race, violence, art, and identity"--
)
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(4.11)
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Phew, mostly rape, murder, and incest. In ten-beat, unrhymed lines.
Then at the end he throws in Mr. Vegetarian, Pythagoras, and the deification of Julius Caesar. The metamorphoses in these are a bit of a stretch. Pythagoras saying that all things change into other things, and a man becoming a god to justify the deification of his son. Augustus is such a swell guy, his dad must be a god! Make it so, Mr. Crusher.
The remarkable things, one of which I noticed as a 14 year old, was the trans story. And it turns out there are two. Both trans-men, of course. And the dual-gender of Hermaphroditus. Neither of these very trans- or bi-friendly, but notable all the same.
The Story of Salmacis (dual gender, but the fountain waters thenceforth to weaken males)
The Story of Iphis and Ianthe (daughter passed off as a son set to marry another woman transformed on their wedding day)
The Story of Caeneus (woman tired of rape asking her rapist to no longer be a woman so to never suffer that again - rapist, as usual, was a god who could arrange this - and the trans-man then becomes a great warrior)
People turning into plants, animals, and stone eventually gets tiresome. But it's in the title.