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Tag: “Metamorphoses” (The Giants’ War) – Ovid

“Metamorphoses” (The Giants’ War, XIV) – Ovid

landscape-with-cows-and-a-camel.jpg!Large

    Landscape with Cows and a Camel (1914) 

 

               August Macke

 

                   ________

 

 

once Deucalion and Pyrrha had found

the way to bring humans back to life, 

it was time to turn to the creation, or

recreation, of other species

 

              The rest of animals, from teeming Earth
              Produc’d, in various forms receiv’d their birth. 

 

the rest of animals suggests that 

people were also considered to

be animals, of an however more

elevated, presumably, order

 

              The native moisture, in its close retreat,
              Digested by the sun’s aetherial heat,
              As in a kindly womb, began to breed: ,
              Then swell’d, and quicken’d by the vital seed. 

 

by means of the moisture naturally

created by the retreating flood waters, 

the native moisture, the heat of the sun, 

however aetherial, or etherial, which is 

to say of ether, which is to say invisible, 

swell[s], and quicken[s] … the vital seed

the seed which is pregnant with life, or

vital, and nurtures it, swell[s] and 

quicken[s] it, as though within a womb


              And some in less, and some in longer space, 

 

less, or longer space, of time

 

              Were ripen’d into form, and took a sev’ral face. 

 

different kinds of animals, animals with

sev’ral face[s], see, for instance, above

ripen’d, or evolved during longer or 

shorter periods of time, a notion that 

was decisively revisited some nearly 

two thousand years later, incidentally, 

by Charles Darwin 

 

              Thus when the Nile from Pharian fields is fled, 

 

Pharian fields, Egypt, from Pharos,

an island off the coast of Alexandria

notable for its lighthouse, itself called 

Pharos, one of the Seven Wonders of 

the Ancient World

 

              And seeks, with ebbing tides, his ancient bed, 

 

his ancient bed, the area of earth 

that the Nile had covered during 

the flood, its now exposed river 

banks

 

the Nile is, note, masculine here, 

his ancient bed


              The fat manure with heav’nly fire is warm’d; 

 

there’s the heat again

 

             And crusted creatures, as in wombs, are form’d; 

 

crusted, it is interesting to note that

apart from the animal feature of the 

womb, all of the terms to describe 

the process of coming to life refer

to plants, see also ripen’d above,

for instance, not to mention the 

vital seed


              These, when they turn the glebe, the peasants find; 

 

glebe, cultivated land, when the 

peasants plough their fields, they 

find [t]hese, the crusted creatures


              Some rude, and yet unfinish’d in their kind:
              Short of their limbs, a lame imperfect birth:
              One half alive; and one of lifeless earth. 

 

not all births are successful

              For heat, and moisture, when in bodies join’d,
              The temper that results from either kind
              Conception makes; 
 

life is the product of heat, and moisture

sparking, quicken[ing], matter, bodies, 

a succinct postulation, a metaphysical 

observation, presaging the 17th Century’s 

turn toward the natural sciences, Galileo

Isaac Newton, for instance, coming 

already, and not inaccurately, from the 

age of, at least, Julius Caesar 

 

it often appals me what was lost of

significant information during the

Middle, the Dark, the Annihilating,

Ages

 

                                             and fighting ’till they mix,
              Their mingled atoms in each other fix.
              Thus Nature’s hand the genial bed prepares
              With friendly discord, and with fruitful wars. 

 

generation is a struggle between 

chaos and order, at the most 

fundamental level, according to

Ovid 


              From hence the surface of the ground, with mud
              And slime besmear’d (the faeces of the flood), 

 

get down

 

              Receiv’d the rays of Heav’n: and sucking in
              The seeds of heat, 

 

you can hear the squelch here,

the slim[y] suction

    

                                             new creatures did begin:
              Some were of sev’ral sorts produc’d before,
              But of new monsters, Earth created more. 

 

among the new creatures, many 

had existed earlier, been already 

produc’d, but new monsters as 

well sprouted, apparently 

inescapably


              Unwillingly, but yet she brought to light
              Thee, Python too, the wondring world to fright, 

 

she, the Earth

 

Python, a mythological serpent, which

guarded Delphi, brought back to light,

or life, the wondring world to fright

 

              And the new nations, with so dire a sight:
              So monstrous was his bulk, so large a space
              Did his vast body, and long train embrace.
              Whom Phoebus basking on a bank espy’d; 

 

Phoebus, another name for Apollo

patron deity at Delphi


              E’re now the God his arrows had not try’d
              But on the trembling deer, or mountain goat; 

 

Phoebus had never needed to try[ ]

his arrow[ ] at anything other than 

game, trembling deer, … mountain 

goat

 

              At this new quarry he prepares to shoot.
              Though ev’ry shaft took place, he spent the store
              Of his full quiver; and ’twas long before
              Th’ expiring serpent wallow’d in his gore. 

 

it wasn’t easy


              Then, to preserve the fame of such a deed,
              For Python slain, he Pythian games decred. 

 

Pythian games, games installed, decreed,  

decred, to honour the slaying of the serpent


              Where noble youths for mastership shou’d strive,
              To quoit, to run, and steeds, and chariots drive. 

 

to quoit, to throw a ring in a game in

order to encircle at a distance a peg


              The prize was fame: in witness of renown
              An oaken garland did the victor crown. 

 

nothing other than a crown of oak 

leaves, an oaken garland, was the 

prize at the Pythian Games, but 

enough to assure the fame, the 

glory, of the exalted champion


              The laurel was not yet for triumphs born; 

 

a crown of laurel leaves, rather than 

of oak, eventually became the symbol 

of triumphs

 

              But every green alike by Phoebus worn,
              Did, with promiscuous grace, his flowing locks adorn. 

 

but until the laurel crown prevailed,

an honour associated later, notably, 

with the Ancient Greek Olympics

winners still sported with 

promiscuous grace, the green, the 

colour of Phoebus‘ chosen leaves,

in that god’s honour

 

 

later episodes of Metamorphoses

will describe the transformation of

particular people into other 

entities, trees, animals, stars, very

constellations, but for now the 

Creation is complete, the Giants’

War concluded, and the Earth 

replenished, given new life

 

I suspect that from now on I’ll only

intermittently comment on some 

of the stories in this extraordinary

collection, for this poem is ever as 

long as the very Bible, the only 

other Creation myth, incidentally,  

in the West, a task I expect I’ll 

follow mostly on my own, given

my admittedly idiosyncratic, often

maybe too forbidding, inclinations,

inspirations, interests

 

but thank you so much for having

listened in, partaken, during this, 

to my mind, fascinating exploration,

this conversation with, I think, 

enlightening, and indeed

ennobling, art

 

 

all the very best

 

R ! chard 

 

 

“Metamorphoses” (The Giants’ War, XIII) – Ovid

800px-Peter_Paul_Rubens_-_Deucalion_and_Pyrrha,_1636

      Deucalion and Pyrrha (1636) 

 

             Peter Paul Rubens

 

                 ___________

 

 

                                          for my mom and dad, my own

                                                   Deucalion and Pyrrha

 

 

at Cephysus‘ shrine, Deucalion and 

Pyrrha pray to the goddess of

Divine Justice

 

              O righteous Themis, if the Pow’rs above
              By pray’rs are bent to pity, and to love;
              If humane miseries can move their mind; 

 

humane, human


              If yet they can forgive, and yet be kind;
              Tell how we may restore, by second birth,
              Mankind, and people desolated Earth. 

 

the Pow’rs above are the deciding 

factors, can Jove, Neptune, the others, 

Deucalion asks, be moved by human[ ] 

miseries, can they forgive, can they 

restore…Mankind, people, people is

a verb here, the world again, the 

desolated, or desolate, the dismal, 

the forsaken, Earth

 

              Then thus the gracious Goddess, nodding, said;
              Depart, and with your vestments veil your head:
              And stooping lowly down, with losen’d zones,
              Throw each behind your backs, your mighty mother’s bones. 

 

losen’d zones, across wide areas

 

cover, veil, your heads, the goddess 

advises, stoop low, and throw your 

mother’s bones across wide areas, 

she instructs, however scandalously


              Amaz’d the pair, and mute with wonder stand,
              ‘Till Pyrrha first refus’d the dire command. 

 

Pyrrha is a counterpart for the Christian 

Eve here, contrary, defiant of Heaven, 

however eventually, Pyrrha, blameless, 

but which of the progenitresses came

first, which the chicken, which the egg, 

Eve or Pyrrha, is a question up for 

contemplation

 

              Forbid it Heav’n, said she, that I shou’d tear
              Those holy reliques from the sepulcher. 

 

surely, Pyrrha proclaims, Heav’n would 

never allow, Forbid it Heav’n, not to 

mention condone, that I should remove, 

tear, my mother’s bones, [t[hose holy 

reliques, relics, from their sepulcher, 

their grave, this would be profoundly 

unholy 

 

              They ponder’d the mysterious words again,
              For some new sense; and long they sought in vain:
              At length Deucalion clear’d his cloudy brow,
              And said, the dark Aenigma  

 

Aenigma, Sphinx, the oracle

 

                                                                will allow
              A meaning, which, if well I understand,
              From sacrilege will free the God’s command: 

 

if I can properly understand, decipher,

the meaning of the God’s command, 

Aenigma’s oracular words, however 

cryptic, in such a way, Deucalion 

declares, that our actions be not 

sacrilegious, nor offensive in any 

way to the gods, we may proceed,

he reasons

 

              This Earth our mighty mother is, the stones
              In her capacious body, are her bones: 

 

This Earth is our mighty mother, the

stones in her capacious body [ ] are 

her bones, no comma after body

 

the word order in each clause, note, has 

been reversed, instead of subject, verb,

object, we have object, verb, subject

 

but then, ever so felicitously, stones 

can rhyme with bones, and equally,

and as liltingly, we’re still in iambic 

pentameter

 

              These we must cast behind. With hope, and fear,
              The woman did the new solution hear:
              The man diffides in his own augury, 

 

diffide, distrust, augury, prediction,

Deucalion doubts, in other words,

his own calculations


              And doubts the Gods; yet both resolve to try. 

 

when my mom is up against a 

dilemma, she calls on my dad,

gone some over thirty years now,

come on, Daddy, let’s go, she 

says, and confronts the issue 

with transcendental, by very 

definition, conviction

 

see above

 

              Descending from the mount, they first unbind
              Their vests, and veil’d, they cast the stones behind:
              The stones (a miracle to mortal view,
              But long tradition makes it pass for true) 

 

what follows will seem miraculous

to mortals, Ovid says, but the story 

has been around for such a while,

which is to say by long tradition, 

that we let it pass for true

 

              Did first the rigour of their kind expel, 

 

the stones begin to lose, expel, their 

firmness, the rigour of their kind


              And suppled into softness, as they fell; 

 

suppled, became supple


              Then swell’d, and swelling, by degrees grew warm;
              And took the rudiments of human form. 

 

stones are being transformed, 

metamorphosized, into humans 

 

the Bible, if you’ll remember, would 

have it be clay


              Imperfect shapes: in marble such are seen,
              When the rude chizzel does the man begin; 

 

chizzel, chisel


              While yet the roughness of the stone remains,
              Without the rising muscles, and the veins. 

 

as the sculpture is being fashioned, 

certain parts of the human anatomy, 

the muscles, for instance, the veins, 

are not yet revealed, uncovered, 

discovered, extracted, by the 

chizzel, from under the roughness 

of the stone

 

think of Michelangelo, or Rodin,

sculpting

 

              The sappy parts, and next resembling juice, 

 

sappy, from sap, which, emanating 

from stones, would be next to, but 

not as limpid as, juice, or the liquid

required to create humans


              Were turn’d to moisture, for the body’s use:
              Supplying humours, blood, and nourishment; 

 

the circulatory, and notably viscous, 

system


              The rest, too solid to receive a bent,
              Converts to bones; and what was once a vein,
              Its former name and Nature did retain. 

 

veins, which hadn’t received enough 

sappy parts to become part of the

circulatory system, retained their 

name of vein, but as understood in

relation to rocks, geological veins

presumably replicated, in this story 

of the Creation, in human bones


              By help of pow’r divine, in little space, 

 

in little space, in no time at all


              What the man threw, assum’d a manly face;
              And what the wife, renew’d the female race. 

 

the stones that the man, Deucalion

threw became men, those that 

Pyrrha tossed became women 

 

              Hence we derive our nature; born to bear
              Laborious life; and harden’d into care.

 

we’ve inherited, through the labours 

of Deucalion and Pyrrha, our driven

nature, harden’d into, or conditioned, 

condemned, to care 

 

for better, I infer, or for worse 

 

 

R ! chard

 

 

“Metamorphoses” (The Giants’ War, XII) – Ovid

after-the-storm-1872.jpg!Large

      “After the Storm (1872)

 

            Gustave Courbet

 

                __________

 

 

                  A thin circumference of land appears;
                  And Earth, but not at once, her visage rears,
                  And peeps upon the seas from upper grounds; 

 

as the land begins to peep[ ] through 

the water, a circumference of land 

appears, a circle of Earth within the 

earlier universal water

 

to rear, to raise upright, boldly, the better,

here, for Earth‘s visage, Earth‘s face, to 

peep[ ] upon the seas from newly gained 

upper grounds

 

                  The streams, but just contain’d within their bounds,
                  By slow degrees into their channels crawl; 

 

streams, just recently redefining their  

boundaries, or bounds[b]y slow 

degrees settle, become waterways, 

channels, rivers, rivulets, rills

 

I love crawl here, incidentally, the slow, 

insidious, infiltration of a territory, silent 

and immutable, as [t]he streams, at the 

dispassionate pace of nature, find their 

individual course

 

                  And Earth increases, as the waters fall. 

 

the waters fall, the waters recede


                  In longer time the tops of trees appear, 

 

[i]n longer time, after a while

                                                         

                  Which mud on their dishonour’d branches bear. 

 

for which the only solution here, would

be, I thought, however ironically, a

shower, rain

 

but I digress

                 
                  At length the world was all restor’d to view;

                  But desolate, and of a sickly hue:  

see, for instance, above


                  Nature beheld her self, and stood aghast,
                  A dismal desart, and a silent waste. 

 

desart, is desert, even my spellcheck 

insisted

 

meanwhile, back on Mount Parnassus

our two survivors, look around

 

                  Which when Deucalion, with a piteous look
                  Beheld, he wept, and thus to Pyrrha spoke: 

 

let me point out that what follows, 

which is to say when Deucalion 

… thus to Pyrrha spoke, we have 

an extended monologue, rather 

than a narration, the poet, Ovid

has given a voice to Deucalion

his character, his creation

 

I was reminded of Shakespeare‘s 

monologues, especially since the 

metre is iambic pentameter,

Shakespeare‘s signature poetic

rhythm 

 

it should be noted that this translation

of Metamorphoses is from 1717, a

century and a very year after 

Shakespeare‘s demise, in 1616, time 

for poets to have imbibed his already 

profound influence

 

nor could they not have been marked

by the spirit of their own time, and the 

many transformative epochs since 

Metamorphoses had been written, in 

the year 1, that would’ve affected the 

translation 

 

the original Latin text, for instance,

was in dactylic hexameter, not 

iambic pentameter

 

                  Oh wife, oh sister, oh of all thy kind
                  The best, and only creature left behind,
                  By kindred, love, and now by dangers joyn’d;
                  Of multitudes, who breath’d the common air,
                  We two remain; a species in a pair:
                  The rest the seas have swallow’d; nor have we
                  Ev’n of this wretched life a certainty.
                  The clouds are still above; and, while I speak,
                  A second deluge o’er our heads may break.
                  Shou’d I be snatcht from hence, and thou remain,
                  Without relief, or partner of thy pain,
                  How cou’dst thou such a wretched life sustain?
                  Shou’d I be left, and thou be lost, the sea
                  That bury’d her I lov’d, shou’d bury me.
                  Oh cou’d our father his old arts inspire,
                  And make me heir of his informing fire,
                  That so I might abolisht Man retrieve,
                  And perisht people in new souls might live.
                  But Heav’n is pleas’d, nor ought we to complain,
                  That we, th’ examples of mankind, remain. 

 

cou’d our father, JoveDeucalion asks,

breathe into me his inspiration, his old 

arts, his informing fire, so that I could 

reconstitute Man, retrieve him, and 

supply the perisht people with new, and

presumably more honourable, souls

 

                  He said; the careful couple joyn their tears: 

 

He said, or this he spoke, and the

couple joyn their tears


                  And then invoke the Gods, with pious prayers.
                  Thus, in devotion having eas’d their grief,
                  From sacred oracles they seek relief;
                  And to Cephysus’ brook their way pursue: 

 

Cephysus, or Cephissus, was a river god,

associated with the river Cephissus, which 

runs through Central Greece

 

                  The stream was troubled, but the ford they knew; 

 

the ford, the way across the stream


                  With living waters, in the fountain bred, 

 

living waters would gush from a 

spring, around which a fountain 

would’ve been built

 

                  They sprinkle first their garments, and their head,
                  Then took the way, which to the temple led.
                  The roofs were all defil’d with moss, and mire,
                  The desart altars void of solemn fire.
                  Before the gradual, prostrate they ador’d;
                  The pavement kiss’d; and thus the saint implor’d.

 

the gradual is a hymn sung within

the context of a full religious service

 

desart here is again desert, but in

this instance signifying deserted

 

the saint, an anachronism here, 

for saints were not at all even a

concept at the time of Ovid

would’ve been Themis, goddess,

at Delphi, on Mount Parnassus

of Divine Justice

 

 

R ! chard

 

 

 

“Metamorphoses” (The Giants’ War, XI) – Ovid

david-1624(4).jpg!Large

    “Neptune and Triton (1620 – 1622) 

 

          Gian Lorenzo Bernini

 

                ____________

 


              When Jupiter, surveying Earth from high,
              Beheld it in a lake of water lie,
              That where so many millions lately liv’d,
              But two, the best of either sex, surviv’d;
              He loos’d the northern wind; 

 

the new world begins

 

                                                       fierce Boreas flies
              To puff away the clouds, and purge the skies:
              Serenely, while he blows, the vapours driv’n,
              Discover Heav’n to Earth, and Earth to Heav’n. 

 

Boreas, ruler of the northern wind, as in 

aurora borealis, at the instigation of the

officiating Jupiter, disperses the clouds, 

drives away the vapours, allowing Heav’n 

to see Earth, and Earth  to see Heav’n, 

nothing between the earth and the 

clear blue sky


              The billows fall, while Neptune lays his mace
              On the rough sea, and smooths its furrow’d face. 

 

while billows fall, gusts of boreal wind, 

Neptune, god of the Sea, as well and 

simultaneously in the service of Jupiter

smooths the surface of the water by 

laying his mace, a club with spikes, 

upon it, to still the unruly waves


              Already Triton, at his call, appears
              Above the waves; 

 

Triton, son of Neptune, also a sea deity

 

                                           a Tyrian robe he wears; 

 

Tyrian, of Tyre, a city in what is now

Lebanon, but was then Phoenicia, it 

was famous at the time for its cloth 

of a particular colour, Tyrian purple

 

Tyre is one of the oldest continuously

inhabited cities in the world

 

              And in his hand a crooked trumpet bears. 

 

Triton is characteristically depicted 

with a conch shella crooked trumpet 

 

see above

 

              The soveraign bids him peaceful sounds inspire,
              And give the waves the signal to retire. 

 

[t]he soveraign, or sovereign, is none

other than Neptune, his father 


              His writhen shell he takes; whose narrow vent
              Grows by degrees into a large extent, 

 

writhen, twisted, contorted, as is typical 

of a conch shell, which grows from 

where one blows into it, by degrees,  

towards the much larger opening from 

which the sound emanates

 

              Then gives it breath; the blast with doubling sound,
              Runs the wide circuit of the world around: 

 

Triton blows into the conch, gives it 

breath, the blast [ ] doubling [the]

sound, resounding, reverberating, 

the world around, the world over


              The sun first heard it, in his early east,
              And met the rattling ecchos in the west.
              The waters, listning to the trumpet’s roar,
              Obey the summons, and forsake the shore.


the waters begin to recede

 

 

R ! chard

 

“Metamorphoses” (The Giants’ War, X) – Ovid

deucalion-and-pyrrha-praying-before-the-statue-of-the-goddess-themis.jpg!Large

  “Deucalion and Pyrrha Praying before the Statue of the Goddess Themis (c.1542) 

 

          Tintoretto


             _____


 

              A mountain of stupendous height there stands
              Betwixt th’ Athenian and Boeotian lands, 

 

Boetia was, and still is, a region of 

Central Greece, its largest city is,

and was, Thebes, a major rival in

ancient times of Athens


              The bound of fruitful fields, while fields they were, 

 

bound, boundary, the fruitful fields

within a certain limited area, between 

Athens, here, and Boetia


              But then a field of waters did appear: 


              Parnassus is its name; whose forky rise
              Mounts thro’ the clouds, and mates the lofty skies. 

 

Parnassus is a mountain in Central 

Greece, however forky, however 

forked, craggy, uneven, sacred 

especially to Apollo, god of too 

many things to list here, and the 

site, at Delphi, on its south-western 

slope, of his Oracle, famous for 

being consulted on a variety of 

matters, from personal to affairs 

of state, its high priestess was 

believed to incarnate the very 

voice of Apollo

 

Parnassus was also the home, 

incidentally, of the Muses, goddesses 

in their own right, of the several arts, 

who ministered to Apollo


              High on the summit of this dubious cliff,
              Deucalion wafting, moor’d his little skiff. 

 

Deucalion is the Abrahamic Noah‘s

counterpart, sole survivor, with his 

wife Pyrrha, of the flood 

 

the cliff is dubious because the

mountain is still deep in water,

its summit precarious yet 

 

              He with his wife were only left behind
              Of perish’d Man; they two were human kind. 

 

they two alone were left of humankind,

of perish’d Man

 

              The mountain nymphs, and Themis they adore, 

 

Themis, goddess of Divine Justice

 

              And from her oracles relief implore. 

 

Deucalion and Pyrrha pray to Themis

at Delphi, its first high priestess, hungry

for, and heedful of, her oracles, counsel

 

see above

 

              The most upright of mortal men was he;
              The most sincere, and holy woman, she. 

 

a chance at a new world

 


R ! chard

“Metamorphoses” (The Giants’ War, IX) – Ovid

the-nereids-1886.jpg!Large

     “The Nereids (1886) 

 

            Joaquín Sorolla

 

                     _______

 


once the water begins to everywhere

oferflow, humans are left to somehow

find shelter, or perish

 

               One climbs a cliff; one in his boat is born: 

 

born here should be our 21st Century

borne, as in carried away, past participle 

of the verb to bear, to transport, a 

combination, incidentally, of verb forms, 

and divergent spellings, we’ve seen

here before

 

               And ploughs above, where late he sow’d his corn. 

 

ploughs, in the line above, deftly plays 

with a double meaning, to plough as in 

to struggle through, and to plough as 

in to work a field, the struggle is through 

water this time, however, not through

grassland


               Others o’er chimney-tops and turrets row,
               And drop their anchors on the meads below: 

 

meads, meadows


               Or downward driv’n, they bruise the tender vine,
               Or tost aloft, are knock’d against a pine. 

 

tossed, or tost, upon the waves, people 

are thrown about indiscriminately, some

against things that they break, bruise,

the tender vine, for instance, others 

against things that break them, the 

pine[s], all order, in the chaos, having 

been subverted

 

               And where of late the kids had cropt the grass, 

 

kids, baby goats


              The monsters of the deep now take their place. 

 

monsters of the deep, creepy things 

that lurk beneath the waves, now 

graze where earlier there’d been 

pasture, baby goats

 

               Insulting Nereids on the cities ride, 

 

Nereids, sea nymphs, daughters of Nereus

and Doris, god and goddess themselves, 

of water, fifty of them, one brother, Nerites

all often accompanying Poseidonsupreme 

ruler of the Sea, Neptune‘s Greek 

counterpart

 

the Nereids were especially known, in later, 

less turbulent times, to come to the aid of 

sailors 

 

               And wond’ring dolphins o’er the palace glide. 

 

wond’ring, would be wandering, as 

in to roam aimlessly, but one can 

hear rustling, in the background of

that unconventional spelling, the 

idea of dolphins wide-eyed, 

marvelling, filled with wonder, at 

this new, palatial, environment 

 

               On leaves, and masts of mighty oaks they brouze; 

 

brouze, browse, or the more familiar, 

graze, said of animals who eat grass, 

whereas those who browse, or brouze, 

eat leaves, shrubbery, greens which 

grow higher up


               And their broad fins entangle in the boughs. 

 

the fins of dolphins become entangled 

in the branches, boughs, of trees

 

               The frighted wolf now swims amongst the sheep; 

 

wolf and sheep, cast asunder, much 

like, above, man at the mercy of the 

pine, or the tender vine, all equals 

in their overriding fight for survival 


               The yellow lion wanders in the deep: 

 

the deep, the water

 

               His rapid force no longer helps the boar: 

 

earlier inherent skills have been

rendered irrelevant

 

               The stag swims faster, than he ran before.
               The fowls, long beating on their wings in vain,
               Despair of land, and drop into the main. 

 

the main, the ocean


               Now hills, and vales no more distinction know; 

 

the water has flattened all horizons


               And levell’d Nature lies oppress’d below. 

 

Nature, distinct from water here, 

now lies below the water’s surface

 

               The most of mortals perish in the flood:
               The small remainder dies for want of food. 

 

if Ovid remains to tell the tale, one

must suppose that this story must,

however relatively, have a happy 

ending

 

stay tuned

 


R ! chard

 

 

 

“Metamorphoses” (The Giants’ War, VIII) – Ovid

scene-of-the-deluge.jpg!Large

    Scene of the Deluge (1820) 

 

            Théodore Géricault

 

                    _______

 

 

following upon the threat of water,

rather than fire, to destroy the world

under the command of Jove, dutifully 

abetted by Neptune, his Olympian

brother, sea god himself, with his 

fleet of observant minions, the 

rivers, streams, waterways, the 

annihilating flood takes place

 

Ovid recounts

 

            The floods, by Nature enemies to land,
            And proudly swelling with their new command,
            Remove the living stones, that stopt their way, 

 

the living stones, you’ve got me there, 

these could only be stones as initial 

matter somehow contributing to the 

advent of an inherent life source, later 

activated, induced into vivifying action

 

we are dust, in other words, we return 

to dust, inert dust, however 

incomprehensibly

 

            And gushing from their source, augment the sea. 

 

the flowing rivers augment, enlarge, 

the growing sea, covering the land


          Then, with his mace, their monarch struck the ground; 

 

a mace is a club with metal spikes


          With inward trembling Earth receiv’d the wound; 

 

a comma after trembling here would 

make this line easier to read, “With

inward trembling, Earth receiv’d the 

wound”, but not everyone is as 

punctilious about grammar as I am


          And rising streams a ready passage found. 

 

streams easily found their way 

amidst the bracken, the shrubbery, 

the rushes, to overwhelm the 

otherwise quiescent pastures


          Th’ expanded waters gather on the plain: 

 

Manitoba, often, lately, in spring


          They float the fields, and over-top the grain;
          Then rushing onwards, with a sweepy sway,
          Bear flocks, and folds, and lab’ring hinds away. 

 

Bear here is a verb, not a noun, meaning 

that animals, flocks, and folds, and lab’ring

hinds, are carried away, borne away,

borne asunder 


          Nor safe their dwellings were, for, sap’d by floods, 

 

sap’d, sapped, deprived, weakened,

rendered unsuitable


          Their houses fell upon their houshold Gods. 

 

household Gods, icons, Lares or Penates

personally held by the Ancients, like we 

now keep pictures, tokens, of our own

particular, however often secular, 

rather than religious, idols


            The solid piles, too strongly built to fall,
            High o’er their heads, behold a watry wall: 

 

though tall, and apparently indestructible,

the solid piles are nevertheless submerged, 

the very recent South Asian tsunami, for

instance, or the Japanese one that 

provoked the nuclear incident that put an

end there to that earlier profoundly 

nationally integrated industry, if you’ll 

remember 

 

            Now seas and Earth were in confusion lost;
            A world of waters, and without a coast. 

 

water, water, everywhere, but the last 

thing you want to do is drink

 

 

next, how humans survive

 

stay tuned

 

 

R ! chard

 

 

 

“Metamorphoses” (The Giants’ War, VI) – Ovid

rainstorm-over-the-sea-1828.jpg!Large

     Rainstorm over the Sea (1824 – 1828) 

 

            John Constable


                  _______

 


              Already had he toss’d the flaming brand;
              And roll’d the thunder in his spacious hand;
              Preparing to discharge on seas and land: 

 

in order to begin to fulfil his decree

of ridding the world of humans, Jove

had toss’d [a] flaming brand, a piece

of wood that’s been set on fire, and

roll’d [ ] thunder, set it to rumble, in 

his spacious, or large, hand, ready 

to cast it upon the seas and land


              But stopt, for fear, thus violently driv’n,
              The sparks should catch his axle-tree of Heav’n. 

 

an axletree is a beam that connects 

two wheels of a carriage in order to 

make them turn simultaneously 

 

the suggestion here is that Heaven

is intimately connected to the earth,

both interwoven parts of a functioning, 

and interdependent, mechanism


              Remembring in the fates, a time when fire
              Shou’d to the battlements of Heaven aspire,
              And all his blazing worlds above shou’d burn;
              And all th’ inferior globe to cinders turn. 


Jove remembers that the fates had 

decreed a time when fire would reach 

the very battlements of Heaven, and 

shou’d burn it, as well as the earth 

below, turning everything there to 

cinders, ashes

 

a counterpart to this event exists in 

Norse mythology, incidentally, which 

Richard Wagner sets to extraordinary 

music, in the last segment, 

Götterdämmerung, or The Twilight

of the Gods, of his four-part opera, 

The Ring of the Nibelungwherein 

Valhalla, the great hall of the Gods, 

goes up in flames, bringing an end 

to the dominion of that hallowed, 

not to mention earlier incontestable, 

pantheon

 

do not, despite its lack of subtitles, 

not watch this Götterdämmerung, 

do not not be astonished, Richard 

Wagner is the Pink Floyd of the 

19th Century, let him take you to

the conflagration


I cried

 

 

              His dire artill’ry thus dismist, he bent
              His thoughts to some securer punishment:
              Concludes to pour a watry deluge down;
              And what he durst not burn, resolves to drown. 

 

having decided against fire, his dire

artill’ry, as an effective way of carrying

out his destructive mission, Jove opts 

for water instead, a wat’ry deluge 

 

need I even bring up here, Valhalla,

an obvious mythological equivalent,

but which of the two was the chicken,

one wonders, which was the egg, both 

trails leading deep into inscrutable,

and indecipherable, antiquity

 

              The northern breath, that freezes floods, he binds;
              With all the race of cloud-dispelling winds:
              The south he loos’d, who night and horror brings; 

 

to set in motion his scheme, Jove 

enlists, or binds, the winds, [t]he 

northern breath, and [t]he south 

wind, both of which apply their 

own destructive methods

 

              And foggs are shaken from his flaggy wings. 

 

flaggy, in layers, feathers upon 

feathers, Jove is represented

here, however unusually, with 

wings

 

              From his divided beard two streams he pours,
              His head, and rheumy eyes distill in show’rs,
              With rain his robe, and heavy mantle flow:
              And lazy mists are lowring on his brow; 

 

the water that will lay waste the 

earth flows from Jove’s very

physical attributes, his divided

beard, his rheumy eyes, his 

brow, et cetera

 

              Still as he swept along, with his clench’d fist
              He squeez’d the clouds, 

 

not only does Jove exude a flow 

of water through divine, though 

intrinsically viable coroporeal 

avenues, but he also actively 

promotes it, squeez[ing] the 

very clouds  

 

but

 

                                               th’ imprison’d clouds resist: 

 

however


              The skies, from pole to pole, with peals resound;
              And show’rs inlarg’d, come pouring on the ground. 

 

February, for instance, in Vancouver


              Then, clad in colours of a various dye,
              Junonian Iris breeds a new supply
              To feed the clouds: 

 

Iris was a messenger of the gods, 

though of Juno, Jove’s wife, in 

particular 

 

Iris, herself a goddess, of the 

rainbow, was usually depicted 

arrayed, appropriately, in vibrant 

colours

 

                                             impetuous rain descends;
              The bearded corn beneath the burden bends:
              Defrauded clowns deplore their perish’d grain;
              And the long labours of the year are vain.


clowns, people who’ve been made 

to look foolish, having been deprived,

[d]efrauded, of the fruit of their labour

 


R ! chard

 


 

“Metamorphoses” (The Giants’ War, IV) – Ovid

Lycaon-Greece

    “Jupiter and Lycaon” 

 

          Jan Cossiers

 

              _______

 

having already warned his court of Lycaon’s

excesses, Jove instructs his deities to

 

             Cancel your pious cares; already he
             Has paid his debt to justice, and to me. 

 

job accomplished


             Yet what his crimes, and what my judgments were,
             Remains for me thus briefly to declare. 

 

let me tell you briefly, however, how

I came about it, Jove confides

 

             The clamours of this vile degenerate age,
             The cries of orphans, and th’ oppressor’s rage,
             Had reach’d the stars: 

 

he tells them

 

                                               I will descend, said I,
             In hope to prove this loud complaint a lye. 

 

in order to prove that these clamours 

stood for nothing, this loud complaint 

a lye, or lie, he would, Jove explains,  

descend to Earth in order to investigate  

 

             Disguis’d in humane shape, I travell’d round
             The world, and more than what I heard, I found. 

 

from his travels around the world,  

his proofs, Jove claims, were mostly 

personally obtained, rather than 

having been merely hearsay

 

humane here, note, is an archaic 

spelling of human

 

             O’er Maenalus I took my steepy way, 

 

Mount Maenalus, Latin for Mainalo, was 

mountain in Ancient Greece, sacred, 

incidentally, to the god Pan, god of 

rusticity, undomesticated nature 

 

             By caverns infamous for beasts of prey: 

 

beasts of prey, note, would not have

been unexpected in Pan‘s territory


             Then cross’d Cyllene, and the piny shade
             More infamous, by curst Lycaon made: 

 

Mount Cyllene, or Kyllini, is again a 

mountain in Ancient Greece, this one 

sacred to the god Hermes, god of 

messages, communication, travellers, 

speedy deliveries

 

what Lycaon did to make the piny shade 

of Mount Cyllene more infamous, I’m 

afraid I haven’t been able to ferret out

 

             Dark night had cover’d Heaven, and Earth, before
             I enter’d his unhospitable door. 

 

nighttime permeates Jove’s arrival in

this new, and unfamiliar, unhospitable,

environment 

 

            Just at my entrance, I display’d the sign
            That somewhat was approaching of divine. 

 

as he entered this unfamiliar place, 

Jove says, he display’d the sign of

his divinity, but one only approaching 

of divine, he specifies, a subtle sign, 

something merely suggestive 


             The prostrate people pray; the tyrant grins; 

 

[t]he prostrate people get it, prostrate,

face down in reverence or submission, 

Lycaon, the tyrant, however, doesn’t

 

            And, adding prophanation to his sins, 

 

prophanation, profanation


            I’ll try, said he, and if a God appear,
            To prove his deity shall cost him dear. 

 

Lycaon challenges the god, any god,

to, should he appear, prove his divinity,

goddesses, surely also, would’ve been 

similarly confronted, otherwise any

impostor would grievously suffer


            ‘Twas late; the graceless wretch my death prepares,
             When I shou’d soundly sleep, opprest with cares: 

 

while Jove sleeps, giving respite to 

his cares, Lycaon plots his murder


             This dire experiment he chose, to prove
             If I were mortal, or undoubted Jove: 

 

[t]his, or what is to follow, Jove points out, is

the method Lycaon had already decided he

would try out to determine Jove’s undoubted, 

or indubitable, divinity

 

             But first he had resolv’d to taste my pow’r; 

 

the test


             Not long before, but in a luckless hour,
             Some legates, sent from the Molossian state,
             Were on a peaceful errand come to treat: 

 

legates, ambassadors

 

the Molossians, a tribe of Ancient 

Greece come to peacefully confer 

with Lycaon

 

             Of these he murders one, he boils the flesh;
             And lays the mangled morsels in a dish:
             Some part he roasts; then serves it up, so drest,
             And bids me welcome to this humane feast. 

 

humane here again is an olden form

of human, as in they were feasting 

on human flesh


             Mov’d with disdain, the table I o’er-turn’d;
             And with avenging flames, the palace burn’d. 

 

Jove thunders, see above


             The tyrant in a fright, for shelter gains
             The neighb’ring fields, and scours along the plains. 

 

Lycaon has realized that this guest is 

indeed a god


             Howling he fled, and fain he wou’d have spoke;
             But humane voice his brutal tongue forsook. 

 

fain, or most willingly

 

again here humane means human, 

Lycaon could no longer speak in a 

human voice

 
             About his lips the gather’d foam he churns,
             And, breathing slaughters, still with rage he burns, 

 

though his voice and lips begin to be

affected, Lycaon continues through 

this channel to fume, rage, breath[e] 

slaughters 

 

             But on the bleating flock his fury turns. 

 

but his anger, his fury, is now directed 

towards flocks of bleating sheep


             His mantle, now his hide, with rugged hairs
             Cleaves to his back; a famish’d face he bears;
             His arms descend, his shoulders sink away
             To multiply his legs for chase of prey. 

 

the metamorphosis of Lycaon has 

begun, he wears a hide instead of 

a mantle, an overgarment, his back 

becomes hairy, his arms become 

legs as his shoulders sink away

a transformation appropriate to 

hunt prey 

 

             He grows a wolf, his hoariness remains, 

 

hoariness, the condition of being 

old and grey, a remnant of his 

earlier human self


             And the same rage in other members reigns.
             His eyes still sparkle in a narr’wer space:
             His jaws retain the grin, and violence of his face 

 

Lycaon’s members, or limbs, rage, 

or exhibit fury

 

his eyes become narrower

 

Lycaon has turned into a wolf

 


R ! chard

 


 


 

“Metamorphoses” (The Giants’ War, III) – Ovid

charon-carries-dead-souls-across-the-river-styx.jpg!Large

    “Charon Carries Dead Souls across the River Styx(1861)

 

           Konstantin Makovsky

 

                 ____________

 

Jove, god of Thunder, speaks

 

            I was not more concern’d in that debate
            Of empire, when our universal state
            Was put to hazard, and the giant race
            Our captive skies were ready to imbrace: 

 

I was not especially disturbed, Jove says,

when the state of our universe was 

challenged, or debate[d], when the giants 

tried to usurp our territory, were ready to 

imbrace, or embrace, take on, our  

vulnerable, [o]ur captive, skies


            For tho’ the foe was fierce, the seeds of all
            Rebellion, sprung from one original; 

 

because the enemy, then, the adversary, 

came from the one original source, its 

however manifold predations, its 

however myriad desecrations, would’ve

been identifiable to Jove, not foreign, not

unmanageable, he would’ve recognized

the black sheep of the Olympian family,

the giants  

 

            Now, wheresoever ambient waters glide,
            All are corrupt, and all must be destroy’d. 

 

ambient, nearby, related, infected, corrupt,

all has been corrupted


            Let me this holy protestation make,
            By Hell, and Hell’s inviolable lake, 

 

here’s another anachronism, for Hell wouldn’t’ve 

been even a concept in the era of Ovid, where

the Underworld, and Hades, entirely different

afterworlds, would’ve prevailed, areas of 

persistent gloom and shade, see Homer here,

for instance, or Virgil

 

the Underworld of the ancient world was 

surrounded by five rivers, Hell’s inviolable 

lake, the most famous of which was the 

river Styx

 

in the Divine Comedy, Dante updates this 

watery boundary for his own 14th Century

readers, and makes it the passageway to

the fifth circle of Hell, where Charon 

remains, after even over a thousand 

years, the very same ferryman

 

see above

 

nor was there either any of our present

conception of Heaven, Heaven would’ve 

been Olympus then, the exclusive domain 

of the Gods, either Greek or Roman 

 

            I try’d whatever in the godhead lay: 

 

Jove says, I tried everything a god 

could use


            But gangren’d members must be lopt away,
            Before the nobler parts are tainted to decay. 

 

you’ve got to lop[ ] away, cut off, the bad 

parts before they infect the more vital 

components of the body

 
            There dwells below, a race of demi-gods,
            Of nymphs in waters, and of fawns in woods:
            Who, tho’ not worthy yet, in Heav’n to live,
            Let ’em, at least, enjoy that Earth we give. 

 

not all beings are corrupt, but nymphs 

and fawns, innocents, Jove pleads, 

should be given consideration on 

Earth, if they be not yet worthy of the 

majesty of Heav’n, and granted earthly 

areas of enjoyment in the confines of 

their forsaken place 


            Can these be thought securely lodg’d below,
            When I my self, who no superior know,
            I, who have Heav’n and Earth at my command,
            Have been attempted by Lycaon’s hand? 

 

if Lycaon could attack me, Jove, god 

of Thunder, asks, how can these 

innocents, nymphs, fawns, ever be 

safe

 

             At this a murmur through the synod went,
             And with one voice they vote his punishment. 

 

the punishment of Lycaon, which we’ll 

soon encounter


             Thus, when conspiring traytors dar’d to doom
             The fall of Caesar, and in him of Rome,
             The nations trembled with a pious fear;
             All anxious for their earthly Thunderer: 
 

 

Thus, or in a similar manner, did the nations

of the earth tremble when Caesar, their 

earthly Thunderer, was assassinated 

 

nations, incidentally, is another anachronism,

nations didn’t appear on earth until the 

18th Century, with the French Revolution

 

             Nor was their care, o Caesar, less esteem’d
             By thee, than that of Heav’n for Jove was deem’d: 

 

Ovid addresses Caesar here, his contemporary,

and compares that emperor’s esteem for nations, 

his reliance on their allegiance, to the esteem 

Heav’n has for Jove

 

             Who with his hand, and voice, did first restrain
             Their murmurs, then resum’d his speech again. 

 

Jove calls for silence in the assembly

before speaking again


             The Gods to silence were compos’d, and sate
             With reverence, due to his superior state. 

 

The Gods … sate, or sat, then took heed,

bowing to Jove’s superior position

 

the tale of the punishment of Lycaon

will follow  

 


R ! chard