Editing Metamorphoses (section)

==Influence==
{{main|Cultural influence of Metamorphoses}}

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| quote = No work from classical antiquity, either [[Greek literature|Greek]] or [[Latin literature|Roman]], has exerted such a continuing and decisive influence on [[European literature]] as Ovid's ''Metamorphoses''. The emergence of French, English, and Italian national literatures in the [[late Middle Ages]] simply cannot be fully understood without taking into account the effect of this extraordinary poem.&nbsp;... The only rival we have in our tradition which we can find to match the pervasiveness of the literary influence of the ''Metamorphoses'' is perhaps (and I stress perhaps) the [[Old Testament]] and the [[Complete Works of Shakespeare|works of Shakespeare]].
| source = — Ian Johnston<ref name="Johnston" />
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The ''Metamorphoses'' has exerted a considerable influence on literature and the arts, particularly of [[Western culture|the West]]; scholar A. D. Melville says that "It may be doubted whether any poem has had so great an influence on the [[Western literature|literature]] and [[Art of Europe|art]] of Western civilization as the ''Metamorphoses''."{{sfn|Melville|2008|pp=xxxvi–xxxvii}} Although a majority of its stories do not originate with Ovid himself, but with such writers as [[Hesiod]] and [[Homer]], for others the poem is their sole source.<ref name="Johnston" />

The influence of the poem on the works of [[Geoffrey Chaucer]] is extensive. In ''[[The Canterbury Tales]]'', the story of Coronis and Phoebus Apollo (Book II 531–632) is adapted to form the basis for [[The Manciple's Tale]].{{sfn|Benson|2008|p=952}} The story of Midas (Book XI 174–193) is referred to and appears—though much altered—in [[The Wife of Bath's Tale]].{{sfn|Benson|2008|p=873}} The story of Ceyx and Alcyone (from Book XI 266-345) is adapted by Chaucer in his poem ''[[The Book of the Duchess]]'', written to commemorate the death of [[Blanche of Lancaster|Blanche, Duchess of Lancaster]] and wife of [[John of Gaunt, 1st Duke of Lancaster|John of Gaunt]].<ref name="Influences">{{cite web|title=Influences |url=http://special.lib.gla.ac.uk/exhibns/chaucer/influences.html |work=The World of Chaucer, Medieval Books and Manuscripts |publisher=University of Glasgow |access-date=15 April 2013 |url-status=dead |archive-url=https://web.archive.org/web/20090601062538/http://special.lib.gla.ac.uk/exhibns/chaucer/influences.html |archive-date=1 June 2009 }}</ref>

The ''Metamorphoses'' was also a considerable influence on [[William Shakespeare]].{{sfn|Melville|2008|p=xxxvii}} His ''[[Romeo and Juliet]]'' is influenced by the story of [[Pyramus and Thisbe]] (''Metamorphoses'' Book IV);<ref name="Halio 1998">{{cite book|title = Romeo and Juliet: A Guide to the Play|last = Halio|first = Jay|year = 1998|publisher = [[Greenwood Press]]|location = Westport|isbn = 978-0-313-30089-9|page = [https://archive.org/details/romeojulietguide0000hali/page/93 93]|url = https://archive.org/details/romeojulietguide0000hali/page/93}}</ref> and, in ''[[A Midsummer Night's Dream]]'', a band of amateur actors performs a play about Pyramus and Thisbe.<ref>{{cite journal|last=Marshall|first=David|title=Exchanging Visions: Reading ''A Midsummer Night's Dream''|journal=ELH|year=1982|volume=49|issue=3|pages=543–75|jstor=2872755|doi=10.2307/2872755}} {{subscription required}}</ref> Shakespeare's early erotic poem ''[[Venus and Adonis (Shakespeare poem)|Venus and Adonis]]'' expands on the myth in Book X of the ''Metamorphoses''.<ref>{{cite journal|last=Belsey|first=Catherine|author-link=Catherine Belsey|title=Love as Trompe-l'oeil: Taxonomies of Desire in ''Venus and Adonis''|journal=Shakespeare Quarterly|year=1995|volume=46|issue=3|pages=257–76|jstor=2871118|doi=10.2307/2871118}} {{subscription required}}</ref> In ''[[Titus Andronicus]]'', the story of Lavinia's rape is drawn from [[Tereus]]' rape of [[Philomela]], and the text of the ''Metamorphoses'' is used within the play to enable Titus to interpret his daughter's story.<ref name="West 1982">{{cite journal|last=West|first=Grace Starry|title=Going by the Book: Classical Allusions in Shakespeare's ''Titus Andronicus''|journal=Studies in Philology|year=1982|volume=79|issue=1|pages=62–77|jstor=4174108}} {{subscription required}}</ref> Most of Prospero's renunciative speech in Act V of ''[[The Tempest]]'' is taken word-for-word from a speech by Medea in Book VII of the ''Metamorphoses''.<ref name="Vaughan 1999">{{cite book |title = The Tempest|series = The Arden Shakespeare, Third Series|last1 = Vaughan | first1 = Virginia Mason | last2 = Vaughan | first2 = Alden T. | publisher = The Arden Shakespeare | year = 1999 | isbn = 978-1-903436-08-0|pages=26, 58–59, 66}}</ref> Among other English writers for whom the ''Metamorphoses'' was an inspiration are [[John Milton]]—who made use of it in ''[[Paradise Lost]]'', considered his ''[[Masterpiece|magnum opus]]'', and evidently knew it well{{sfn|Melville|2008|p=xxxvii}}{{sfn|Melville|2008|pp=392–393}}—and [[Edmund Spenser]].<ref name="Cumming 1931">{{cite journal|last=Cumming|first=William P.|title=The Influence of Ovid's "Metamorphoses" on Spenser's "Mutabilitie" Cantos|journal=Studies in Philology|year=1931|volume=28|issue=2|pages=241–56|jstor=4172096|quote=The indebtedness to Ovid of passages and ideas in Spenser's Mutabilite cantos has been pointed out by various commentators;}} {{subscription required}}</ref> In Italy, the poem was an influence on [[Giovanni Boccaccio]] (the story of Pyramus and Thisbe appears in his poem ''L'Amorosa Fiammetta'')<ref name="Johnston" /> and [[Dante Alighieri|Dante]].<ref name="Gross 1985">{{cite journal|last=Gross|first=Kenneth|title=Infernal Metamorphoses: An Interpretation of Dante's "Counterpass"|journal=MLN|year=1985|volume=100|issue=1|pages=42–69|jstor=2905667|doi=10.2307/2905667}} {{subscription required}}</ref><ref name="Most 2006">{{cite journal|last=Most|first=Glen W.|title=Dante's Greeks|journal=Arion|year=2006|volume=13|issue=3|pages=15–48|jstor=29737275}} {{subscription required}}</ref>

[[File:TitianDianaCallistoEdinburgh.jpg|thumb|''[[Diana and Callisto]]'' (1556–1559) by [[Titian]]]]
During the [[Renaissance]] and [[Baroque]] periods, mythological subjects were frequently depicted in art. The ''Metamorphoses'' was the greatest source of these narratives, such that the term "Ovidian" in this context is synonymous for mythological, in spite of some frequently represented myths not being found in the work.<ref name="Alpers 1971">{{cite book|last=Alpers|first=S.|title=The Decoration of the Torre della Parada ''(Corpus Rubenianum Ludwig Burchard Part ix)''|year=1971|location=London|page=151}}</ref>{{sfn|Allen|2002|p=336}} Many of the stories from the ''Metamorphoses'' have been the subject of paintings and sculptures, particularly during this period.{{sfn|Melville|2008|p=xxxvii}}<ref name="NG Ovid">{{cite web|title=Who was Ovid?|url=http://www.nationalgallery.org.uk/paintings/who-was-ovid|publisher=The National Gallery|access-date=18 April 2013|archive-date=2 December 2013|archive-url=https://web.archive.org/web/20131202233247/http://www.nationalgallery.org.uk/paintings/who-was-ovid|url-status=dead}}</ref> Some of the most well-known paintings by [[Titian]] depict scenes from the poem, including ''[[Diana and Callisto]]'',<ref name="NG DandC">{{cite web|title=Diana and Callisto|url=http://www.nationalgallery.org.uk/paintings/titian-diana-and-callisto|publisher=The National Gallery|access-date=18 April 2013}}</ref> ''[[Diana and Actaeon (Titian)|Diana and Actaeon]]'',<ref name="NG DandA">{{cite web|title=Diana and Actaeon|url=http://www.nationalgallery.org.uk/paintings/titian-diana-and-actaeon|publisher=The National Gallery|access-date=18 April 2013}}</ref> and ''[[Death of Actaeon]]''.<ref name="NG DofA">{{cite web|title=Death of Actaeon|url=http://www.nationalgallery.org.uk/paintings/titian-the-death-of-actaeon|publisher=The National Gallery|access-date=18 April 2013}}</ref> These works form part of [[Venus and Adonis (Titian)|Titian's "''poesie''"]], a collection of seven paintings derived in part from the ''Metamorphoses'', inspired by ancient Greek and Roman mythologies, which were reunited in the Titian exhibition at [[National Gallery|The National Gallery]] in 2020.<ref>{{Cite web|title=Titian's 'poesie': The commission {{!}} Titian: Love Desire Death {{!}} National Gallery, London|url=https://www.nationalgallery.org.uk/exhibitions/titian-love-desire-death/titian-s-poesie-the-commission|access-date=8 February 2021|website=www.nationalgallery.org.uk}}</ref> Other famous works inspired by the ''Metamorphoses'' include [[Pieter Brueghel the Elder|Pieter Brueghel]]'s painting ''[[Landscape with the Fall of Icarus]]'' and [[Gian Lorenzo Bernini]]'s sculpture ''[[Apollo and Daphne (Bernini)|Apollo and Daphne]]''.{{sfn|Melville|2008|p=xxxvii}} The ''Metamorphoses'' also permeated the [[theory of art]] during the Renaissance and the [[Baroque]] style, with its idea of transformation and the relation of the myths of Pygmalion and Narcissus to the role of the artist.<ref name="Barolsky 1998">{{cite journal|last=Barolsky|first=Paul|title=As in Ovid, So in Renaissance Art|journal=Renaissance Quarterly|year=1998|volume=51|issue=2|pages=451–74|jstor=2901573|doi=10.2307/2901573|s2cid=192959612 }} {{subscription required}}</ref>

Though Ovid was popular for many centuries, interest in his work began to wane after the Renaissance, and his influence on 19th-century writers was minimal.{{sfn|Melville|2008|p=xxxvii}} Towards the end of the 20th century his work began to be appreciated once more. [[Ted Hughes]] collected together and retold twenty-four passages from the ''Metamorphoses'' in his ''[[Tales from Ovid]]'', published in 1997.<ref>{{cite book|last=Hughes|first=Ted|author-link=Ted Hughes|title=[[Tales from Ovid]]|year=1997|publisher=Faber and Faber|location=London|isbn=978-0-571-19103-1|edition=2nd print.}}</ref> In 1998, [[Mary Zimmerman]]'s stage adaptation ''[[Metamorphoses (play)|Metamorphoses]]'' premiered at the [[Lookingglass Theatre Company|Lookingglass Theatre]],<ref name=Lookingglass>{{cite web|title=Metamorphoses|url=https://lookingglasstheatre.org/event/metamorphoses/|publisher=Lookingglass Theatre Company|access-date=21 April 2013}}</ref> and the following year there was an adaptation of ''Tales from Ovid'' by the [[Royal Shakespeare Company]].<ref name="Archive Catalogue">{{cite web|title=Archive Catalogue|url=http://calm.shakespeare.org.uk/dserve/dserve.exe?dsqIni=Dserve.ini&dsqApp=Archive&dsqDb=Performance&dsqSearch=PerfCode==%27TAF199904%27&dsqCmd=Show.tcl|archive-url=https://archive.today/20130505154415/http://calm.shakespeare.org.uk/dserve/dserve.exe?dsqIni=Dserve.ini&dsqApp=Archive&dsqDb=Performance&dsqSearch=PerfCode=='TAF199904'&dsqCmd=Show.tcl|url-status=dead|archive-date=5 May 2013|publisher=Shakespeare birthplace trust|access-date=21 April 2013}}</ref> In the early 21st century, the poem continues to inspire and be retold through books,<ref name="Mitchell 2010">{{cite book|last=Mitchell|first=Adrian|title=Shapeshifters : tales from Ovid's Metamorphoses|year=2010|publisher=Frances Lincoln Children's Books|location=London|isbn=978-1-84507-536-1|others=Illustrated by Alan Lee}}</ref> films<ref name="Beck 2005">{{cite book|last=Beck|first=Jerry|title=The Animated Movie Guide|year=2005|publisher=Chicago Review Pr.|location=Chicago|isbn=978-1-55652-591-9|pages=[https://archive.org/details/animatedmoviegui0000beck/page/166 166]–67|url=https://archive.org/details/animatedmoviegui0000beck|url-access=registration|edition=1.}}</ref> and plays.<ref name="Nestruck 2013">{{cite news|last=Nestruck|first=J. Kelly|title=Onstage pools and lots of water: The NAC's Metamorphoses (mostly) makes a splash|url=https://www.theglobeandmail.com/arts/theatre-and-performance/theatre-reviews/onstage-pools-and-lots-of-water-the-nacs-metamorphoses-mostly-makes-a-splash/article8275542/|newspaper=The Globe and Mail|access-date=21 April 2013}}</ref> A series of works inspired by Ovid's book through the tragedy of Diana and Actaeon have been produced by French-based collective LFKs and his film/theatre director, writer and visual artist Jean-Michel Bruyere, including the interactive 360° audiovisual installation ''Si poteris narrare, licet'' ("if you are able to speak of it, then you may do so") in 2002, 600 shorts and "medium" film from which 22,000 sequences have been used in the 3D 360° audiovisual installation ''La Dispersion du Fils''<ref>{{Cite web|url=http://www.newmediaart.eu/str10.html|title=N E W M E D I A A R T . E U|website=www.newmediaart.eu|accessdate=18 July 2024}}</ref> from 2008 to 2016 as well as an outdoor performance, "Une Brutalité pastorale" (2000).