- Shopping Bag ( 0 items )
The New YorkerOvid's Metamorphoses, says Madeleine Foray, "changes in the hands of each new translator and adapter." Her introduction to a new edition of Arthur Golding's 1567 English translation of the Metamorphoses shows how he Christianizes Ovid, transforming his temples into churches with spires. The translation was influential with Shakespeare and Spenser, but its bombastic style later fell out of fashion. One recent editor complains that Golding turned "the sophisticated Roman into a ruddy country gentleman with tremendous gusto and a gift for energetic doggerel."
A few years ago, the sensual savagery of Ted Hughes's Tales from Ovid won wide acclaim. Meanwhile, novels like David Malouf's An Imaginary Life and Jane Alison's The Love Artist have built their narratives on what little we know of Ovid's actual biography. In Malouf's book, Ovid finds and civilizes a feral child, in a clever reversal of the people-to-animal transformations of the Metamorphoses. Most recently, Mary Zimmerman's award-winning play Metamorphoses presents the work as a parable about the healing power of love.
By contrast, Alessandro Boffa's comic novel, You're An Animal, Viskovitz!, sees metamorphosis as a cosmic bad joke; the hero is figured as a different animal in each chapter. During his time as a snail, he acts out an undignified parody of the Narcissus myth; Viskovitz is attracted by his own reflection in water, but the consummation makes for one of the oddest sex scenes of recent years: "I felt the warm pressure of the rhinophor slipping under my shell, and a strong agitation froze the center of my being."(Leo Carey)