Reading Journal Entry Myths

How is the theme of transformation envisioned differently in Metamorphoses than in Invisible Cities?

In Metamorphoses, the theme of transformation is envisioned in a much more concrete way than in Invisible Cities. In Ovid’s myth, he uses descriptions of literal transformation as explanations for the way things have come to be. For instance, Ovid writes, “And hardly had she finished, when her limbs grew numb and heavy, her soft breasts were closed with delicate bark, her hair was leaves, her arms were branches, and her speedy feet rooted and held, and her head became a tree top…My tree at least you shall be! Let the laurel adorn, henceforth, my hair, my lyre, my quiver: Let Roman victors, in the long procession, wear laurel wreaths for triumph and ovation” (975). Here, Ovid uses the theme of transformation very literally to explain why laurels are used in the Roman procession and why Apollo is always adorned with them. In contrast, Calvino uses the theme of transformation in an abstract way in his descriptions of the invisible cities. There is always a transformation in the mood of his descriptions, as there is often a contrast between something that is positive about the city and something that is negative. In this way, the transformation actually happens within the reader, as our ideas and perceptions of the invisible cities are transformed through these shifts.

What are some of the similarities you notice between the two texts?

In Metamorphoses and Invisible Cities, both authors use very rich and descriptive language. In addition, there is a sense in Ovid’s and Calvino’s works that the settings of their stories are completely imaginary and incomprehensible to the reader. The stories seem to take place in some kind of mystery land that the reader has not experienced. For instance, Ovid writes, “The Golden Age was first, a time that cherished of its own will, justice and right; no law, no punishment, was called for, fearfulness was quite unknown, and the bronze tablets held no legal threatening; no suppliant throng studied a judges face; there were no judges, there did not need to be” (964). This is a time that is completely incomprehensible to the reader, as none of us have lived through a time that did not need fear or law or punishment. Similarly, the reader has trouble understanding Calvino’s descriptions of cities: “…but what was bizarre has become usual, what seemed normal is now an oddity, and virtues and faults have lost merit or dishonor in a code of virtues and faults differently distributed. In this sense nothing said in Agaura is true…” (67). However, even though both authors seem to create a setting that is completely foreign to the reader, the stories of the people and their interactions within the settings are easy to imagine. In the end, both works include a component of human interaction and feeling with which many of us can identify. An example of this would be stories of fruitless pursuit or lust, one in which Apollo chases after Daphne and ultimately cannot have her in Metamorphoses (972) and one in which men chase after a women and are only trapped in the city of Zobeide in Invisible Cities (45).

How would you describe the relationship between gods and humans in Ovid’s work? Why?

It seems that in Ovid’s work, the relationship between gods and humans is a constant power struggle. In some cases gods have control over humans and can exert their will, and in other cases, the gods have very human characteristics and are unable to control fate. For example, Ovid writes of the creation of humans: “The stones the man had thrown turned into men, the stones the women threw turned into women, such being the will of God” (971). In contrast, Gods are given very human characteristics in Metamorphoses. This can be seen in the story of Apollo’s love for Daphne, as was mentioned above, and in the story of the Deification of Caesar. In the Deification of Caesar, Venus is shown as having very human emotions, as she does not wish for Caesar to be killed and made into a god in order to justify his son (989). In this story, she cannot stop the deification of Caesar, as the Gods could not “shatter the iron mandates of the ancient sisters,” therefore making her less powerful and more human (990). Even though the Gods do have some power over humans, they are also fallible and have very human emotions.

Does the creation myth in Ovid’s work resemble any other creation myths you are familiar with and in what ways?

For me, Ovid’s creation myth seems to resemble the Christian story of Genesis. This can be seen mainly in the beginning of the reading, in which Ovid writes, “Till God, or kindlier Nature, settled all argument, and separated Heaven from earth, water from land, our air from the high stratosphere, a liberation so things evolved, and out of blind confusion found each its place, bound in eternal order, the force of fire, that weightless element, leaped up and claimed the highest place in heaven… (962). In this myth, there is one god that does create the world, creating something out of nothing. He shapes the world into what it is now, what is very similar to Genesis. Also, in Ovid’s description of the flood, the fact that one man and one woman create all other humans greatly reminds me of Adam and Eve in Genesis.

What is Ovid’s tone in this work?

It seems that Ovid is very removed from his work. I believe that there is little tone that actually comes from Ovid himself, as many myths are objective and do not necessarily include one omniscient narrator that is attempting to invoke his own emotions or opinions into the story. It seems that Ovid is simply telling the story, as if the myth is common knowledge, without any bias or distinct opinion.


In what ways are the versions of the Demeter/Persephone myth different from one another?

The difference that was most striking between the two works is that Homer’s version of the Demeter/Persephone myth is a poem whereas Hawthorne’s version is prose, or like a story. Because of this, Homer version was more formal and contained words that I did not recognize, whereas Hawthorne’s piece was an easier read. Also, Hawthorne spent a lot more time developing the relationship between Persephone and Hades, whereas Homer did not.

Are the figures drawn in a different light and if so, describe how.

In Hawthorne’s version, Persephone was portrayed as being very naïve and a lot younger than she was in Homer’s version of the myth. I thought this was an interesting choice, as it puts more of the blame on Persephone for her kidnapping. In addition, whereas Demeter was a God in Homer’s version, Demeter was simply a powerful woman with no truly divine qualities. Yes, she did have control over what grew in the land where she lived, but she was never directly referred to as a God. Lastly, in Hawthorne’s version of the myth, Hades, or King Pluto, is portrayed in a much better light. The reader actually is sympathetic toward Pluto by the end of the story, as Persephone develops a much closer relationship with him in Hawthorne’s piece.