Metamorphoses : a new verse translation / Ovid ; translated by David Raeburn ; with an introduction by Denis Feeney.
By: Ovid.
Contributor(s): Raeburn, D. A
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Material type: ![materialTypeLabel](/opac-tmpl/lib/famfamfam/BK.png)
Item type | Current library | Call number | Copy number | Status | Date due | Barcode | Item holds |
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General Lending | MTU Crawford College of Art and Design Library Lending | 871.01 (Browse shelf(Opens below)) | 1 | Available | 00051345 |
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854.914 Travels in hyper reality : essays / | 863.64 The way to paradise / | 870.1 Tales from Ovid : twenty-four passages from the Metamorphoses / | 871.01 Metamorphoses : a new verse translation / | 883.01 The Odyssey / | 884.1 Archilochos / | 891.733 CHE The duel and other stories / |
Enhanced descriptions from Syndetics:
Ovid's deliciously witty and exuberant epic starts with the creation of the world and brings together a series of ingeniously linked Greek and Roman myths and legends in which men and women are transformed, often by love - into flowers, trees, stones and stars. This new verse translation, in simple and swift English hexameters, allows Ovid's narrative to flow - pulling the reader along with it.
Includes bibliographical references: p. [xxxv]-xxxvi and index.
Translated from the Latin.
Table of contents provided by Syndetics
- Acknowledgement (p. vi)
- Historical Sketch (p. ix)
- Introduction (p. xiii)
- Translator's Note (p. xxx)
- Select Bibliography (p. xxxix)
- Metamorphoses (p. 1)
- Book II (p. 25)
- Book III (p. 51)
- Book IV (p. 74)
- Book V (p. 99)
- Book VI (p. 121)
- Book VII (p. 144)
- Book VIII (p. 171)
- Book IX (p. 199)
- Book X Orpheus and Eurydice (p. 225)
- Book XI (p. 249)
- Book XII (p. 274)
- Book XIII (p. 294)
- Book XIV (p. 325)
- Book XV (p. 352)
- Epilogue (p. 379)
- Explanatory Notes (p. 381)
- Glossary and Index of Names (p. 467)
- A Selection of Oxford World's Classics (p. 481)
Excerpt provided by Syndetics
Reviews provided by Syndetics
Publishers Weekly Review
"Ovid's Metamorphoses resists easy categorization. It is, strictly put, an epic poem, but one that upturns almost every convention of ancient epic poetry," McCarter (Carmen Saeculare) writes in the fascinating introduction to her trailblazing translation. As the first female translator of Ovid's epic into English in over 60 years, she brings thoughtful attention to the poem's subjects, remarking that "(power, defiance, art, love, abuse, grief, rape, war, beauty, and so on) is as changeable as the beings that inhabit its pages." Her knowledgeable contextualizing remarks address questions of accuracy in translation and past representation of women in Ovid's oeuvre, while her use of iambic pentameter gives the poem a regularity that doesn't sacrifice the dynamism of its language. In one of the most famous scenes, "Apollo Attempts to Rape Daphne," she describes, "Then with the blunted dart the god struck Daphne/ and pierced the sharp one through Apollo's bones./ One loves at once; one flees love's very name... Though many sought her, she refused them all./ She did not want a man and never had." McCarter's excellent poetic instincts and thorough understanding of the text makes this a timely and invaluable contribution to classical and poetic scholarship. (Oct.)CHOICE Review
To the great benefit of literature and mythology classes, in recent years scholars have produced a spate of new verse translations of Ovid's Metamorphoses, one of the most influential and widely read poems from Roman antiquity. This translation by Lombardo (Univ. of Kansas), a seasoned translator of Greek and Latin, compares well with other recent options. It does not drop quite as many nuances as the version of Charles Martin (2004). Its English is lucid and quotidian, in contrast with the sometimes perplexing version by Z. Philip Ambrose (also 2004)--though Ambrose reproduces the complexities of Ovid's poetic language more faithfully. But Lombardo cannot quite match the version of Allen Mandelbaum (1993) for elegance with least sacrifice of accuracy and clarity; and some will still prefer the version by A. D. Melville (CH, Sep'86; reissued in the "Oxford World's Classics" series, 1998) for panache (though not always fidelity) and its invaluable notes by E. J. Kenney. Lombardo's translation is provided with a characteristically vigorous and engaging introduction by W. R. Johnson (emer., Univ. of Chicago), a distinguished critic of Roman poetry; a useful list of metamorphoses in the poem; and a glossary of names. Summing Up: Recommended. Lower- and upper-division undergraduates, graduate students, general readers. J. D. Reed Brown UniversityAuthor notes provided by Syndetics
Publius Ovidius Naso (20 March 43 BC--AD 17/18), known as Ovid. Born of an equestrian family in Sulmo, Ovid was educated in rhetoric in Rome but gave it up for poetry. He counted Horace and Propertius among his friends and wrote an elegy on the death of Tibullus. He became the leading poet of Rome but was banished in 8 A.D. by an edict of Augustus to remote Tomis on the Black Sea because of a poem and an indiscretion. Miserable in provincial exile, he died there ten years later.His brilliant, witty, fertile elegiac poems include Amores (Loves), Heroides (Heroines), and Ars Amatoris (The Art of Love), but he is perhaps best known for the Metamorphoses, a marvelously imaginative compendium of Greek mythology where every story alludes to a change in shape. Ovid was admired and imitated throughout the Middle Ages and Renaissance. Chaucer, Spenser, Shakespeare, and Jonson knew his works well. His mastery of form, gift for narration, and amusing urbanity are irresistible.
(Bowker Author Biography)