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Tag: Phaeton – son of Helios / Phoebus / Apollo and of Clymene

“The Birth of Bacchus” (ll)– Ovid

Jupiter and Semele, 1889 - 1895 - Gustave Moreau

         Jupiter and Semele” (1889 – 1895)

 

                 Gustave Moreau

 

                       _________

 

 

            Old Beroe’s decrepit shape she wears,

            Her wrinkled visage, and her hoary hairs;

 

Old Beroe, faithful servant of Semele

 

she, Juno / Hera, goddess

 

hoary hairs, love it

 

            Whilst in her trembling gait she totters on,

            And learns to tattle in the nurse’s tone.

 

Juno / Hera transforms herself into

Old Beroe, tattl[ing], talking idly, in

the nurse’s tone, impersonating her

in order to seek revenge, if you’ll

remember, on Semele, for bearing

her husband’s progeny

 

            The Goddess, thus disguis’d in age, beguil’d

            With pleasing stories her false foster-child.

 

foster-child, child who is fostered,

nurtured, by someone other than a

parent, Semele, by Old Beroe,

purportedly, in this instance

 

false, Juno / Hera is not Old Beroe,

but the nurse’s duplicitous, false,

in both senses of the word here,

double

 

beguil’d, enchanted, amused


            Much did she talk of love, and when she came

            To mention to the nymph her lover’s name,

            Fetching a sigh, and holding down her head,

            “‘Tis well,” says she, “if all be true that’s said.

 

Juliet’s nurse from Romeo and Juliet,

I thought, meets Sleeping Beauty’s

wicked stepmother, for a more

contemporary coupling

 

            But trust me, child, I’m much inclin’d to fear

            Some counterfeit in this your Jupiter:

 

Some counterfeit, yourJupiter is not

your [actual] Jupiter, Juno / Hera

suggests

 

            Many an honest well-designing maid

            Has been by these pretended Gods betray’d,

 

well-designing, without guile, with

no ulterior motive

 

pretended Gods, men who unjustifiably

beat their chest, tell tall tales, unequal

to their proclaimed accomplishments


            But if he be indeed the thund’ring Jove,

            Bid him, when next he courts the rites of love,

            Descend triumphant from th’ etherial sky,

            In all the pomp of his divinity,

            Encompass’d round by those celestial charms,

            With which he fills th’ immortal Juno’s arms.”

 

Juno / Hera, as Old Beroe, tells Semele

to ask her lover, when next he courts

the rites of love, to prove he is indeed

Jove / Jupiter / Zeus, to dress

appropriately

 

Encompass’d round, accoutred,

enveloped, in

 

the pomp, incidentally, the splendour

of his divinity, take on a couple of

extra poetic lines, verses, indicative

of that very splendour

 

note also that Semele seems to have

no qualms about Jove / Jupiter / Zeus‘s

marital status, about bearing the child

of another woman’s man, indeed that

of a very, in this instance, goddess,

the redoubtable Juno / Hera


            Th’ unwary nymph, ensnar’d with what she said, 

 

ensnar’d, ensnarled, caught up in


            Desir’d of Jove, when next he sought her bed,

            To grant a certain gift which she would chuse;

 

Desir’d of, asked of, requested of

 

chuse, choose


            “Fear not,” reply’d the God, “that I’ll refuse

            Whate’er you ask: may Styx confirm my voice,

            Chuse what you will, and you shall have your choice.”

 

Styx, goddess of the river Styx, which

forms the boundary between Earth and

the Underworld, had sided with Jove /

Jupiter / Zeus during the War of the

Titans and been granted by him that

oaths should henceforth all be sworn

upon her, and be punctiliously observed

 

Phoebus / Apollo had similarly granted

his own son Phaeton his wish upon very

Styx, if you’ll remember, with the direst,

for both, of consequences


            “Then,” says the nymph, “when next you seek my arms,

            May you descend in those celestial charms,

            And fill with transport Heav’n’s immortal dame.”

 

show me, Semele asks of her suitor,

what she gets, what Juno / Hera gets,

when next you seek my arms

 

go, girl, I thought, if you’re going

to be irreverent

 

            The God surpriz’d would fain have stopp’d her voice,

            But he had sworn, and she had made her choice.

 

on very Styx, he’d sworn, ever so

perilously

 

stay tuned

 

 

R ! chard

“The Story of Calisto” – Ovid

jupiter-and-callisto-1613.jpg!Large

   Jupiter and Callisto (1611 – 1613) 

 

            Peter Paul Rubens

 

                 ___________

 

 

after having read Homer’s Iliad, the 

greatest work of fiction, to my mind, 

ever told, resounding through the 

centuries and millennia with power,

pathos, and profound humanity, I 

found it hard for one reason or 

another to complete other 

acclaimed epics, Virgil’s Aeneid,

for instance, too brimming with 

bombast and bravado, much like

many American war movies,

wherein the Americans win every

conflict, whether or not they’ve 

indeed won, all on their own, with

little acknowledgment of the other

international militaries that might’ve

also played essential roles

 

Ovid’s Metamorphoses, as I read 

on, is becoming more and more 

offensive because of its recurrent

abuse of women, nymphs, virgins,

so that I can no longer champion 

this work, however enthusiastic I

might’ve been at the beginning

 

I’m not ready to personally give it 

up, but intend to relate it in brief

segments, with perhaps, here 

and there, noteworthy verses

 

the myth that follows the 

transformation of Cycnus into 

a swan, and the restoration of

Earth after its near conflagration 

upon the death of Phaeton, has 

Jove / Jupiter / Zeus cast[ing] 

an eye on ev’ry diff’rent coast in 

order to ensure that all is aright,

which it is, and Nature smiles 

again

 

but he spies by chance a nymph,

a follower of Diana, virginal

goddess of the Countryside, and

despite concerns about Juno, his

goddess wife, pursues the maiden

 

who was easy prey, did whate’er a 

virgin cou’d … / With all her might 

against his force … / But how can 

mortal maids contend with Jove?

 

following which Diana arrives with 

her train of nubile followers, to the 

dismay of the young victim, who 

could only try to hide her shame, 

which her altered demeanour 

must’ve somewhat, it is supposed, 

uncovered

 

                   How in the look does conscious guilt appear! 
                   Slowly she mov’d, and loiter’d in the rear; 
                   Nor lightly tripp’d, nor by the Goddess ran, 
                   As once she us’d, the foremost of the train. 

 

but now the moon had nine times 

lost her light, and any doubt about 

her condition was erased, so that 

Diana, unforgiving, a not uncommon 

reaction, I’ve found, among women, 

banished her to eventually alone 

give birth to a son

 

meanwhile Juno, now doubly 

incensed – This boy, she rails, shall 

stand a living mark, to prove / My 

husband’s baseness and the strumpet’s

love – turns the wretched mom into a

bear

 

but when the son had fifteen summers 

told, and came inadvertently upon this 

beast while in the forest, unaware it was 

his mother, and to protect himself, he

 

                                    aim’d a pointed arrow at her breast,  
                   And would have slain his mother in the beast;  
                   But Jove forbad, and snatch’d ’em through  
                   In whirlwinds up to Heav’n, and fix’d ’em there!

 

where now we know them as either 

the Great Bear and the Little Bear, 

Ursa Major and Ursa Minor or, 

more familiarly, as the Big Dipper 

and the Little Dipper

 

who could ‘a’ ever thunk it

 

 

R ! chard

 

 

“The Transformation of Cycnus into a Swan” – Ovid

wans-among-the-reeds-at-the-first-morgenro.jpg!Large

   “Swans among the Reeds at First Light (1832) 

 

             Caspar David Friedrich

 

                 _______________

 

 

were I to be transformed into anything,

I told myself, after reading about all 

these earlier metamorphoses, then 

coming upon this one, of Cycnus, I 

wouldn’t mind, I decided, becoming 

a swan


                   Cycnus beheld the nymphs transform’d, ally’d 
                   To their dead brother on the mortal side, 
                   In friendship and affection nearer bound; 

 

Cycnus, son of Sthenelus, King of Liguria,

a region still of Northern Italy, a prince, 

therefore, in his own right, was a good 

friend of Phaeton

 

the nymphs, the Heliades, daughters

of Helios / Phoebus / Apollo and 

Clymene, though transform’d into trees, 

were nevertheless on the mortal side, 

living things, ally’d  / To their dead 

brother, by the earth, which confined, 

constrained, covered them, if only,

the maidens, partially

 

nearer bound, ally’d again, like a refrain, 

a literary reverberation, honouring their 

brother, Phaeton, [i]n friendship and

affection 

 

                   He left the cities and the realms he own’d, 
                   Thro’ pathless fields and lonely shores to range, 
                   And woods made thicker by the sisters’ change. 

 

the sisters’ change, more trees than 

there had been before


                   Whilst here, within the dismal gloom, alone, 
                   The melancholy monarch made his moan, 

 

monarch, Cycnus, prince of Liguria


                   His voice was lessen’d, as he try’d to speak, 
                   And issu’d through a long-extended neck; 

 

the transformation of Cycnus occurs, 

much as it did earlier with the Heliades

through the mercy, presumably, of the 

gods, who, usually indifferent, express 

compassion here, however 

uncharacteristically, for the unbearable 

anguish suffered by the grieving sisters 

and friend

 

Cycnus, incidentally, would also later be 

placed by Apollo among the stars, to 

become the constellation Cygnus


                   His hair transforms to down, his fingers meet 
                   In skinny films, and shape his oary feet; 

 

oary, hoary, grayish white, grizzled,

withered


                   From both his sides the wings and feathers break; 
                   And from his mouth proceeds a blunted beak: 
                   All Cycnus now into a Swan was turn’d, 
                   Who, still remembring how his kinsman burn’d, 

 

his kinsman, Phaeton, burn’d, in the

sundered Chariot of the Sun


                   To solitary pools and lakes retires, 
                   And loves the waters as oppos’d to fires. 

 

swans, it appears, seek out the shade, 

are oppos’d to fires, shun the heat of 

the nefarious, the treacherous, sun

 

see above


                   Mean-while Apollo in a gloomy shade 
                   (The native lustre of his brows decay’d) 

 

decay’d, disintegrated, fell away from,

its native lustre


                   Indulging sorrow, sickens at the sight 
                   Of his own sun-shine, and abhors the light; 

 

Indulging sorrow, allowing himself 

to steep in his own agony


                   The hidden griefs, that in his bosom rise, 
                   Sadden his looks and over-cast his eyes, 
                   As when some dusky orb obstructs his ray, 
                   And sullies in a dim eclipse the day. 

 

another reverberation erupts here

recalling the darkness, eclipse, just

undergone after the incineration of 

Apollo’s chariot, however paltry

might’ve been, to that god, the 

mere disturbance of a planet 

obstructing the sun, however 

otherwise momentous, compared 

to the death of his son    


                   Now secretly with inward griefs he pin’d, 
                   Now warm resentments to his griefs he joyn’d, 
                   And now renounc’d his office to mankind. 

 

Helios / Phoebus / Apollo, presently

in the throes of griefs and guilt, warm,

impassioned, resentments, chooses 

to no longer drive the Chariot of the 

Sun, renounc[es] his office, his duty,

responsibility, service, to mankind  


                   “Ere since the birth of time,” said he, “I’ve born 
                   A long ungrateful toil, without return; 
                   Let now some other manage, if he dare, 
                   The fiery steeds, and mount the burning carr; 
                   Or, if none else, let Jove his fortune try, 
                   And learn to lay his murd’ring thunder by; 

 

Helios / Phoebus / Apollo challenges 

Jove himself, if no other will take his 

place, to guide the horses, holding 

him responsible for the death of 

his son, Phaeton, by having cast his 

murd’ring thunder at him, though

the Earth herself and the harried

constellations, in Jove’s defence,

had begged the god of gods to do

something

 

                   Then will he own, perhaps, but own too late, 
                   My son deserv’d not so severe a fate.” 

 

but could there have been any other 

option

                   The Gods stand round him, as he mourns, and pray 
                   He would resume the conduct of the day, 
                   Nor let the world be lost in endless night: 

 

without the Chariot of the Sun and

someone to guide it, there would be

no day, an apocalyptic cataclysm


                   Jove too himself descending from his height, 
                   Excuses what had happen’d, and intreats, 

 

intreats, entreats, implores, beseeches


                   Majestically mixing pray’rs and threats. 

 

Jove / Jupiter / Zeus, from his position

of supreme authority, pulls out all the 

stops, uses all his mechanisms,

pray’rs, threats


                   Prevail’d upon at length, again he took 
                   The harness’d steeds, that still with horror shook, 
                   And plies ’em with the lash, and whips ’em on, 
                   And, as he whips, upbraids ’em with his son. 

 

Helios / Phoebus / Apollo takes out 

his anguish on the horses, which 

must’ve led to a daunting, a hellish 

day

 

 

R ! chard

 

 

Phaeton’s Sisters Transform’d into Trees – Ovid

Heliades_by_Rupert_Bunny

   “Heliades (1920s) 

 

           Rupert Bunny

 

                      ______

 

 

                     The Latian nymphs came round him, 

 

Latian, of Latium, a region still of Italy,

which comprised, and still comprises,

Rome, the Latians, or Latins, were its

original inhabitants, whose language,

Latin, is the root of many of our 

European languages today, it is, 

notably, the language of Ovid

 

                                                                                                 and, amaz’d, 
                     On the dead youth, transfix’d with thunder, gaz’d; 

 

the dead youth, Phaeton


                     And, whilst yet smoaking from the bolt he lay, 
                     His shatter’d body to a tomb convey, 
                     And o’er the tomb an epitaph devise: 
                     “Here he, who drove the sun’s bright chariot, lies; 
                     His father’s fiery steeds he cou’d not guide, 
                     But in the glorious enterprize he dy’d.” 

 

though Ovid’s text, as translated by

John Dryden, among others, has

its difficulties, a good portion of it 

is easy to understand, the secret,

mostly, is in paying attention to the

punctuation, which on occasion can

be tricky


                     Apollo hid his face, and pin’d for grief, 

 

Apollo, Phaeton’s father


                     And, if the story may deserve belief, 
                     The space of one whole day is said to run, 
                     From morn to wonted ev’n, without a sun: 

 

ev’n, evening

                     The burning ruins, with a fainter ray, 
                     Supply the sun, and counterfeit a day, 

                     A day, that still did Nature’s face disclose: 
                     This comfort from the mighty mischief rose. 

 

though the sun did not shine that

fateful day, the glow from the 

burning debris shed a light that 

allowed one to nevertheless 

make out, disclose, Nature’s face, 

a wry comfort midst the carnage,

midst the mighty mischief


                     But Clymene, enrag’d with grief, laments, 

 

Clymene, Phaeton’s mother


                     And as her grief inspires, her passion vents: 
                     Wild for her son, and frantick in her woes, 
                     With hair dishevel’d round the world she goes, 
                     To seek where-e’er his body might be cast; 
                     ‘Till, on the borders of the Po, at last 
                     The name inscrib’d on the new tomb appears. 

 

the Po, a river in Italy

 

the new tomb, where the Latian 

nymphs lay to rest Phaeton’s 

remains 

 

                     The dear dear name she bathes in flowing tears, 
                     Hangs o’er the tomb, unable to depart, 
                     And hugs the marble to her throbbing heart. 

                     Her daughters too lament, and sigh, and mourn 
                     (A fruitless tribute to their brother’s urn), 
                     And beat their naked bosoms, and complain, 
                     And call aloud for Phaeton in vain: 
                     All the long night their mournful watch they keep, 
                     And all the day stand round the tomb, and weep. 

 

Her daughters, the Heliades, along

with Phaeton, were the children of

Clymene and Helios / Phoebus / 

Apollo, god of the Sun

 

                     Four times, revolving, the full moon return’d; 
                     So long the mother and the daughters mourn’d: 

 

the equivalent of, more or less, 

four months


                     When now the eldest, Phaethusa, strove 
                     To rest her weary limbs, but could not move; 
                     Lampetia wou’d have help’d her, but she found 
                     Her self with-held, and rooted to the ground: 

 

Phaethusa and Lampetia, both daughters 

of Helios / Phoebus / Apollo, but with 

Neaera, and not, as Ovid indeed writes 

in his Latin text, with Clymene, were 

therefore not strictly speaking Heliades

but stepsisters only of Phaeton

 

furthermore, Ovid has them find their

purported brother in the Eridanos, a

river only later identified as the Po

so that Dryden cannot be faulted for

this not inaccurate anachronism

 

in either case, I suspect either’s metre

might’ve played a poetically pertinent 

part in these divergences

 

                     A third in wild affliction, as she grieves, 
                     Wou’d rend her hair, but fills her hands with leaves; 
                     One sees her thighs transform’d, another views 
                     Her arms shot out, and branching into boughs. 

 

in one version, Helios / Phoebus / 

Apollo and Clymene had three 

daughters, Aegiale, Aegle, and 

Aetheria, in another they had five, 

Helia, Merope, Phoebe, Aetheria 

and Dioxippe, you’ll note that 

Phaethusa and Lampetia are not 

among then


                     And now their legs, and breasts, and bodies stood  
                     Crusted with bark, and hard’ning into wood; 
                     But still above were female heads display’d, 

                     And mouths, that call’d the mother to their aid. 

 

there’s a pattern here, a friend said 

when I spoke to her about what 

was coming up

 

you mean these nymphs turning 

into trees, I asked

 

yes, she replied

 

look at it the other way around, I said, 

not that the girls are turning into trees, 

but that the trees are becoming human, 

becoming our kin, we are acknowledging 

their humanity, anthropomorphically, which 

is why some of us actually hug them, the 

world in Ovid’s earlier myths is still being 

created, not just the generic tree, but 

poplars, maples, laurel, out of the share 

of the common soul we impart to them, 

not only metaphorically, as in these myths, 

but even organically, we are, after all,  

all, fundamentally, stardust

 

                     What cou’d, alas! the weeping mother do? 
                     From this to that with eager haste she flew, 
                     And kiss’d her sprouting daughters as they grew. 
                     She tears the bark that to each body cleaves, 
                     And from their verdant fingers strips the leaves: 
                     The blood came trickling, where she tore away 
                     The leaves and bark: 

 

the process is not unlike watching, 

helplessly, a daughter leave home, 

age, take on life’s tribulations

 

                                                 the maids were heard to say, 
                     “Forbear, mistaken parent, oh! forbear; 
                     A wounded daughter in each tree you tear; 
                     Farewell for ever.” Here the bark encreas’d, 
                     Clos’d on their faces, and their words suppress’d. 

 

let go, let go, the daughters cry,

holding on to us only hurts 

                     The new-made trees in tears of amber run, 
                     Which, harden’d into value by the sun, 
                     Distill for ever on the streams below: 

 

the river Eridanos was supposed to be a

river rich in amber, the resin, apparently,  

of poplar trees there having drifted to the 

nearby stream, hardened

 

I’m reminded of the sap of our own

indigenous maple trees becoming

a prized delicacy


                     The limpid streams their radiant treasure show, 
                     Mixt in the sand; whence the rich drops convey’d 
                     Shine in the dress of the bright Latian maid. 

 

Latian, or Latin, maids have been 

weaving amber into their apparel

ever since

 

 

R ! chard

 

 

The Story of Phaeton (III) – Ovid

Apollo_in_His_Chariot_with_the_Hours

   Apollo in His Chariot with the Hours (1922–25) 

 

               John Singer Sargent

 

                     __________

 

 


                 The God repented of the oath he took, 

 

the God, Helios / Phoebus / Apollo,

father of Phaeton, with Clymene,

Phaeton’s mother

 

the oath, to grant Phaeton his wish

in order to prove his paternity


                 For anguish thrice his radiant head he shook;
                 “My son,” says he, “some other proof require,
                 Rash was my promise, rash is thy desire.
                 I’d fain deny this wish, which thou hast made,
                 Or, what I can’t deny, wou’d fain disswade. 

 

fain, willingly, gladly

 

what I can’t deny, his oath

 

disswade, dissuade


                Too vast and hazardous the task appears,
                 Nor suited to thy strength, nor to thy years.
                 Thy lot is mortal, but thy wishes fly
                 Beyond the province of mortality:

 

Beyond the province of mortality,

into immortality, for which Phaeton

is not equipped, being human, his

lot is mortal


                There is not one of all the Gods that dares
                 (However skill’d in other great affairs)
                 To mount the burning axle-tree, but I; 

 

the axle-tree, the bar that joins the 

wheels of the chariot, is burning 

because it transports the sun


                Not Jove himself, the ruler of the sky,
                 That hurles the three-fork’d thunder from above,
                 Dares try his strength: yet who so strong as Jove? 

 

not even Jove / Jupiter / Zeus, god of 

gods, and of Thunder, will attempt to  

mount the burning axle-tree, despite 

his immense strength, superior to

anyone’s


                The steeds climb up the first ascent with pain,
                 And when the middle firmament they gain, 

 

the middle firmament, noon, the

middle of the day, where the sun

reaches its zenith


                If downward from the Heav’ns my head I bow,
                 And see the Earth and Ocean hang below, 

 

hang, suspended in the heavens


                Ev’n I am seiz’d with horror and affright,
                 And my own heart misgives me at the sight. 

 

Helios / Phoebus / Apollo admits 

to fear of vertigo

 

                A mighty downfal steeps the ev’ning stage,
                 And steddy reins must curb the horses’ rage.
                 Tethys herself has fear’d to see me driv’n
                 Down headlong from the precipice of Heav’n. 

 

Tethys, a Titaness, of the race of 

Giants, who were defeated during 

the Giants’ War

 

what I’ve learned in the meantime 

is that the Giants, the Titans, had 

actually ruled the cosmos before 

being defeated by the Olympians

something Ovid had misrepresented

in his retelling, where he suggests 

that they were upstarts, rather, 

mortal, however gigantic, who were 

trying from the Earth, Hills pil’d on

hills, on mountains mountains … /

To make their mad approaches to

the skie, in order to unseat the 

gods of Olympus

 

the Titans, as it turns out, were 

immortals, who ruled the cosmos 

before being ousted by the

Olympians, Jove / Jupiter / Zeus

and his cohorts, and relegated, 

most of them, to the Underworld

though Tethys herself seems to 

have made it out, and been 

reconciled with, at least, the 

Sun god

 

should I point out that to try to set 

out in one, however comprehensive,

manuscript, a mythology that had 

endured for going on a thousand 

years was likely to reflect some 

inconsistencies, some inaccuracies,

not to mention the dictates of not 

only cultural, but also political 

considerations, we’ll have to 

forgive Ovid, or not, it appears,

his  transgressions 

 

                Besides, consider what impetuous force
                 Turns stars and planets in a diff’rent course. 

 

Helios / Phoebus / Apollo continues

to speak, warning his son Phaeton

of the strong, impetuous, and 

unpredictable, currents that [t]urn,

jostle, stars and planets


                I steer against their motions; 

 

that’s what I have to deal with,

Helios / Phoebus / Apollo

cautions, these motions,

these irascible, interplanetary,

interstellar, streams 

 

                                                              nor am I
                 Born back by all the current of the sky. 

 

neither am I born back, which is 

to say borne back, carried back, 

guided back, by any regular,

orderly, current of the sky, by any 

rhythm, of the days, for instance, 

or of the, however intransigent,

hours, that could, potentially,

redirect his path 


                But how cou’d you resist the orbs that roul
                 In adverse whirls, and stem the rapid pole? 

 

roul, roll, swirl

 

adverse whirls, of the winds, like 

ocean currents, that stem, are 

created by, are the source of, as 

in the stem of plants, the rapid 

pole, or pull, to rhyme with roul,

a bit, I think, of a poetic stretch

 

                But you perhaps may hope for pleasing woods,
                 And stately dooms, and cities fill’d with Gods;
                 While through a thousand snares your progress lies,
                 Where forms of starry monsters stock the skies: 

 

dooms, eventualities, a wonderful 

conjunction here of stately, or 

exalted, expectations, with the 

more dire threat of a thousand

snares, or starry monsters, that

the word doom would usually

suggest

 

                For, shou’d you hit the doubtful way aright, 

 

even if you stay on the right track,

even if you hit the … way aright


                The bull with stooping horns stands opposite; 

 

you’ll have to confront [t]he bull, 

Taurus


                Next him the bright Haemonian bow is strung, 

 

Haemonian, of Thessaly, a region 

still of Greece  

 

the Haemonian bow, representative

of Sagittarius

 

                And next, the lion’s grinning visage hung: 

 

the lion, Leo


                 The scorpion’s claws, here clasp a wide extent; 

 

The scorpion, Scorpio


                And here the crab’s in lesser clasps are bent. 

 

the crab, Cancer

 

an array of astrological configurations 

obstruct the sky


                Nor wou’d you find it easie to compose
                 The mettled steeds, when from their nostrils flows
                 The scorching fire, that in their entrails glows. 

 

mettled, spirited 


                Ev’n I their head-strong fury scarce restrain,
                 When they grow warm and restif to the rein. 

 

Ev’n I, Helios / Phoebus / Apollo, can 

barely, scarce, hold them back, restrain

them, when they grow … restif, restive,

unable to keep still 


                Let not my son a fatal gift require, 

 

don’t require of me a fatal gift, 

Phaeton’s father pleads, a gift 

that will destroy you 

 

                But, O! in time, recall your rash desire;
                 You ask a gift that may your parent tell, 

 

a gift that may your parent tell,

that is meant to determine, to 

prove, your descent


                Let these my fears your parentage reveal;
                 And learn a father from a father’s care:
                 Look on my face; or if my heart lay bare,
                 Cou’d you but look, you’d read the father there. 

 

were you to just look at my face, 

see my concern, you should be 

able to make out that I’m your 

father, Helios / Phoebus / Apollo

says


                Chuse out a gift from seas, or Earth, or skies, 

 

[c]huse, choose


                For open to your wish all Nature lies,
                 Only decline this one unequal task,
                 For ’tis a mischief, not a gift, you ask. 

 

unequal task, a challenge that 

is too great for Phaeton


                You ask a real mischief, Phaeton:
                 Nay hang not thus about my neck, my son: 

 

don’t hang about my neck, Helios

/ Phoebus / Apollo tells his son, 

you don’t need to try to cajole me


                I grant your wish, and Styx has heard my voice, 

 

Helios / Phoebus / Apollo has 

sworn an oath on Styx, the 

goddess, the river, an 

unshakable promise, which 

he intends to deliver


                Chuse what you will, but make a wiser choice.” 

 

now it’s up to you, Phaeton, for 

better or for worse, to decide

 

 

R ! chard

 

 

 

“The Story of Phaeton” – Ovid

landscape-with-a-palace-1916.jpg!Large

   Landscape with a Palace (1916) 

 

             Eugeniusz Zak

 

                  ________

 

  

               Her son was Epaphus, at length believ’d
               The son of Jove, and as a God receiv’d; 

 

without proof, it could not have been 

absolutely determined, during this 

ancient mythological era, that  

Epaphus, son of Io become Isis, was 

indeed the son of Jove / Jupiter / Zeus

though that’s what at length, eventually, 

came to be believed

 

and as such Epaphus was


               With sacrifice ador’d, and publick pray’rs,
               He common temples with his mother shares. 

 

both Isis and Epaphus are worshipped

in common, in the same places, and 

with a similar degree of devotion


               Equal in years, and rival in renown
               With Epaphus, the youthful Phaeton
               Like honour claims; 

 

Phaeton, another youth, [e]qual in 

years to Epaphus, and in renown,

as famous, [l]ike honour claims, 

puts forward, his own illustrious 

heritage

 

                                      and boasts his sire the sun. 

 

the sun, Phoebus / Apollo, god,

among a number of other things,

of that very orb


               His haughty looks, and his assuming air,
               The son of Isis could no longer bear:
               Thou tak’st thy mother’s word too far, said he,
               And hast usurp’d thy boasted pedigree. 

 

Epaphus, son of Isis, challenges 

Phaeton, says that his mother’s 

claim that her consort was the 

god of the Sun is false, and that 

he, Epaphus, is only promoting 

the fabricated story of his high, 

his boasted, pedigree, ancestry 


               Go, base pretender to a borrow’d name. 

 

Epaphus delivers a double whammy, 

base pretender, borrow’d name, ouch


               Thus tax’d, he blush’d with anger, and with shame;
               But shame repress’d his rage: 

 

tax’d, confronted

 

repress’d his rage, Phaeton didn’t 

slug Epaphus

 

                                                            the daunted youth
               Soon seeks his mother, and enquires the truth: 

 

is he truly the son of the god of the 

Sun, Phaeton asks his mother, nearly 

intolerable drama must surely follow, 

turning on this burning question 


               Mother, said he, this infamy was thrown
               By Epaphus on you, and me your son.
               He spoke in publick, told it to my face;
               Nor durst I vindicate the dire disgrace:
               Even I, the bold, the sensible of wrong, 

 

Even I, Phaeton asserts, the sensible 

of wrong, as he describes himself, the 

impatient of improprieties, however 

bold, quick to respond, impetuous, 

might he be, durst not, dared not, 

vindicate, validate, the dire disgrace, 

Epaphus‘ profoundly distressing insult    


               Restrain’d by shame, was forc’d to hold my tongue. 

 

I was unable, Phaeton says, too 

[r]estrain’d by shame, humiliated, 

to even answer


               To hear an open slander, is a curse:
               But not to find an answer, is a worse. 

 

a worse, we would say just worse, 

but note that worse, here, is not a

noun, but the adjective for curse,

which has been elided, left out, 

worse curse, which, included, 

would’ve altered, however, the 

metre, the pentameter, and thus, 

the poetry, style having trumped, 

for better or for worse, in this

instance, the substance 

 

a, incidentally, is the first beat of the 

iamb, which is to say, the weak beat,

while worse, is the second, the one 

with the accent, the determining 

thump, worse, da, dum, an iamb 

 

Dryden didn’t have, in other words, 

much choice, were he wanting to 

be a poet, but to deftly press his, 

surely masterful, grammar, to fit 

his meaning to his, however

constricting, verse


               If I am Heav’n-begot, assert your son
               By some sure sign; 

 

assert your son, acknowledge him,

[b]y some sure sign, Phaeton 

demands of his mother 

 

                                      and make my father known, 

 

at the same time, make … known, 

identify, Phaeton continues, point

him out, my father 

 

              To right my honour, and redeem your own.
               He said, 

 

it is the honour[able] thing to do,

the required thing to do, [h]e said, 

to restore, [t]o right, our reputations

 

                                   and saying cast his arms about
               Her neck, and beg’d her to resolve the doubt. 

 

a son imploring his mother, can 

anything be more poignant

 

               ‘Tis hard to judge if Clymene were mov’d
               More by his pray’r, whom she so dearly lov’d, 

 

Clymene, wife of Helios, or Phoebus / 

Apollo, sun god, mother of Phaeton 


               Or more with fury fir’d, to find her name
               Traduc’d, and made the sport of common fame. 

 

Traduc’d, translated, transmitted

 

common fame, the casual, everyday

sport, entertainment, however 

inappropriate, however malicious,
of many


               She stretch’d her arms to Heav’n, and fix’d her eyes
               On that fair planet that adorns the skies; 

 

that fair planet that adorns the skies, 

the sun, though Dryden must’ve 

known the sun wasn’t a planet, nor 

Ovid, for that matter, literary licence

having given style, here again, sway 

over substance, for better, it’ll be up 

to you to say, or for worse

 

literary licence, where style 

overtakes substance


               Now by those beams, said she, whose holy fires
               Consume my breast, and kindle my desires; 

 

girlfriend, I have to here interject, your 

temperature is, ahem, showing, you’re 

sounding, however uncharacteristically, 

awfully intemperate, aroused, [c]onsume 

my breast indeed, kindle, you audaciously 

request, my desires


               By him, who sees us both, and clears our sight,
               By him, the publick minister of light,
               I swear that Sun begot thee; 

 

Clymene swears an oath upon the 

very sun, her sire, the publick minister 

of light, the very priest of illumination, 

of clarity, for everyone, the sun’s 

manifest incarnation

 

                                                                if I lye,
               Let him his chearful influence deny: 

 

don’t shine on me, Helios / Phoebus /

Apollo, him, Helios / Phoebus / Apollo

himself, Clymene cries, if I lye, lie, if I

tell an untruth


               Let him no more this perjur’d creature see; 

 

Let him, let yourself, Helios / Phoebus /

Apollo, be unable any longer to see me,

perjur’d creature that I, Clymene, am 


               And shine on all the world but only me. 

 

obliterate me, she defies, from your

purview, let the world receive your 

rays, but not myself


               If still you doubt your mother’s innocence,
               His eastern mansion is not far from hence;
               With little pains you to his Leve go,
               And from himself your parentage may know. 

 

Leve, where Helios / Phoebus / 

Apollo lives


               With joy th’ ambitious youth his mother heard,
               And eager, for the journey soon prepar’d. 

 

Phaeton is off on his mission

 

               He longs the world beneath him to survey; 

 

he wants to see the world from the 

perspective of the sun, an astronaut,

a dreamer, pulsing with ambition


               To guide the chariot; and to give the day: 

 

to drive his father’s car, chariot, how 

contemporary, how immediate


               From Meroe’s burning sands he bends his course, 

 

Meroe, a city on the Nile, you’ll 

remember that we’re still in Egypt, 

where Io / Isis prevails, with Epaphus

her son, the one who started all this  


               Nor less in India feels his father’s force: 

 

the sun, his father’s force, is no less 

vigorous in India than it is, he, Helios

/ Phoebus / Apollo, is, in Egypt


               His travel urging, till he came in sight; 

 

His travel urging, impatient to speed 

up his pace, hastening his metaphorical

horses

 

               And saw the palace by the purple light. 

 

purple light, evening, though purple 

is also, since antiquity, the colour of 

royaltyPhaeton is perhaps seeing 

both, the palace, at evening  

 

see above

 

 

 

R ! chard