Classical Mythology in English Literature. A critical anthology. London: Routledge, , The renarrations were not only influenced by the Ovidian source but also by other Pygmalion versions. See Pygmalion and Galatea. The history of a narrative in English literature. Aldershot: Ashgate, , xix.
Ein Paradigma in der englischen und amerikanischen Literatur des Studies in English literary and cultural history Ein Impuls Ovids und seine Wirkungen bis in die Gegenwart. Epos in Hermann Breitenbach. See also Ovid, Breitenbach, , ll. See Ovid, Breitenbach, , l. A complete English translation and Mythological index. Poetry in Translation. Mayer, Mathias and Gerhard Neumann. Posthumanistische Antikerezeption in der englischsprachigen Lyrik der Gegenwart.
Rezeptionsgeschichte einer Ovid-Fabel. Heidelberg: Winter, ; Miles, Antike Mythen und ihre Rezeption. Ein Lexikon. Lutz Walther.
Achim Aurnhammer and Dieter Martin, eds. Mythos Pygmalion. Texte von Ovid bis John Updike. Leipzig: Reclam, , Aurnhammer and Martin, The grief about her unjustified depiction as an adalterous woman finally causes her death but in the end of the play, a statue of Hermione comes alive and steps down from her pedestal.
According to Klaus Reichert, Shakespeare uses the myth of the animated statue to show the dangers of making up an image and taking it for real. Mayer and Neumann, See Bettina Brandl-Risi. Freiburg im Breisgau: Rombach, , Eine stoffgeschichtliche Untersuchung. In addition, a verb in a Latin sentence or phrase usually has a different position than a verb in an English phrase or sentence.
Consider the following Latin sentence: Poeta puellam amat. A word-for-word literal translation renders it as Poet girl loves. However, its correct translation is The poet loves the girl. There are many other differences — too numerous to discuss here — between Latin and English. As a result of these differences, translators of Latin literary works try to capture the spirit of them rather than presenting a literal rendering of them.
In addition, they may change the meter of a verse work and add rhyme to it. For example, the following English translation of "Pygmalion" uses pentameter with iambic feet rather than hexameter with dactylic or spondaic feet. It also contains end rhyme. Quas quia Pygmalion aevum per crimen agentis viderat, offensus vitiis, quae plurima menti femineae natura dedit, sine coniuge caelebs vivebat thalamique diu consorte carebat. Festa dies Veneris tota celeberrima Cypro venerat, et pandis inductae cornibus aurum conciderant ictae nivea cervice iuvencae, turaque fumabant, cum munere functus ad aras constitit et timide "si, di, dare cuncta potestis, sit coniunx, opto," non ausus "eburnea virgo" dicere, Pygmalion "similis mea" dixit "eburnae.
If Pygmalion hates women, why does he sculpt the figure of one? Do you believe Pygmalion modeled his statue after an existing woman? Or did he create it from an ideal image in his mind?
In ancient times, why did people make animal sacrifices to gods? Each story in Ovid's Metamorphoses reports a transformation. In "Pygmalion," the statue is transformed into a human being. But what Write an essay informing the reader about misogyny hatred of women or avoidance of women as a major motif in literary works.
Turgenev's Father's and Sons. Cummings Study Guide. More Info. All rights reserved. Privacy Policy. Cummings Guides Home.. Contact This Site. In doing so, he exposes the inadequacy of myth and of romance in several ways.
For one, he deliberately twists the myth so that the play does not conclude as euphorically or conveniently, hanging instead in unconventional ambiguity. Next, he mires the story in the sordid and mundane whenever he gets a chance. Wherever he can, the characters are seen to be belabored by the trivial details of life like napkins and neckties, and of how one is going to find a taxi on a rainy night.
These noisome details keep the story grounded and decidedly less romantic. Finally, and most significantly, Shaw challenges the possibly insidious assumptions that come with the Pygmalion myth, forcing us to ask the following: Is the male artist the absolute and perfect being who has the power to create woman in the image of his desires?
Is the woman necessarily the inferior subject who sees her lover as her sky? Does beauty reflect virtue? Does the artist love his creation, or merely the art that brought that creation into being?
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