Ovid, Metamorphoses

Striking depictions of motion in the Metamorphoses come readily to mind: Daphne, Actaeon, Daedalus and Icarus…. The motion shows copious diversity more than rigorous structuring, as in the Iliad. Wandering motion is frequent; a great range of spaces is covered. But the poem is interested in motion as a state of the universe, as Pythagoras’ philosophical speech brings out. The relation of metamorphosis to motion is manifold and complex; motion is connected to life and type of creature. Imagined possibilities of motion are important as well as narrated movement. The interest of the poem in motion is indicated by the frequency of moueo and motus there as compared to Aeneid and Fasti. Passages discussed include Niobe turning to not quite unmoving stone, supremely fast animals in impossible competition, the girl Iphis becoming a man and moving like one, Medea contemplating a voyage, Myrrha moving towards her father’s bedroom, Dis abducting Persephone. The depiction of motion is thus related to paradox, puzzles, refined observation, thought, morality, hierarchy. Motion is made conspicuous by drastic differences (as between the Greek army and snake and birds). The gods’ motion is both universal and individual (Venus briefly takes up Diana’s); more philosophically universal is the movement of time. The diversity of motion is held together by the flair of style.