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The Metamorphoses (Everyman's Library)

Free Ebook The Metamorphoses (Everyman's Library)

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Review

“Reading Mandelbaum’s extraordinary translation, one imagines Ovid in his darkest moods with the heart of Baudelaire . . . Mandelbaum’s translation is brilliant. It throws off the stiff and mild homogeneity of former translations and exposes the vivid colors of mockery, laughter, and poison woven so beautifully by the master.” —Booklist “Mandelbaum’s Ovid, like his Dante, is unlikely to be equalled for years to come.” —Bloomsbury Review “The Metamorphoses is conceived on the grandest possible scale . . . The number and variety of the metamorphoses are stunning: gods and goddesses, heroes and nymphs, mortal men and women are changed into wolves and bears, frogs and pigs, bulls and cows, deer and birds, trees and flowers, rocks and rivers, spiders and snakes, mountains and stars, while ships become sea nymphs, ants and stones and statues become people, men become women and vice versa . . . An elegantly entertaining and enthralling narrative.”—from the Introduction by  J. C. McKeown

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About the Author

The Roman poet PUBLIUS OVIDIUS NASO, known to the English-speaking world as Ovid, was born in 43 BC and died in 17 AD. His major works, Ars amatoria and Metamophorses, were famed both for their technical mastery and their innovative interpretations of classical myth. His verses were immensely influential on European art and literature, and remain important source texts of Greek and Roman mythology.ABOUT THE TRANSLATOR: Allen Mandelbaum was born in 1926 and died in 2011. His translations of Homer, Dante, Virgil, Quasimodo, and Ungaretti were all published to great acclaim. His rendering of The Aeneid won the National Book Award. He was the William R. Kenan, Jr. Professor of Humanities at Wake Forest University, North Carolina. ABOUT THE INTRODUCER:  J. C. McKeown has served as a Research Fellow and Senior Tutor at the University of Cambridge and is now Professor of Classics at the University of Wisconsin, Madison. His publications include a commentary on Ovid's Amores and A Cabinet of Roman Curiosities. He is currently working on The Oxford Anthology of Literature in the Roman World, which will be published in summer 2013.

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Product details

Series: Everyman's Library

Hardcover: 568 pages

Publisher: Everyman's Library; Reprint edition (September 10, 2013)

Language: English

ISBN-10: 0375712313

ISBN-13: 978-0375712319

Product Dimensions:

5.4 x 1.3 x 8.3 inches

Shipping Weight: 1.3 pounds (View shipping rates and policies)

Average Customer Review:

4.3 out of 5 stars

210 customer reviews

Amazon Best Sellers Rank:

#378,978 in Books (See Top 100 in Books)

This is a very readable translation. I went back and forth between three translations before settling on this as the one I enjoyed best.This is one of the more important works in the World lit canon. If you are interested in myth, it's a must-read.

The translator's constant use of slang that is supposed to sound street-current but is already dated makes for an embarrassing and ultimately off-putting reading experience. By the midpoint of the book, I could not take any more.

This Mandelbaum translation is one of the finest. Lyrical and flowing. There are, of course, many. Once you have owned Golding's 1587 translation, as Shakespeare likely did, then this is the one to own next to it.

Ovid has written a work that all writers should read at least once. The imaginative fodder is abundant. Perhaps it is through him that we have come to know the first shapeshifters. Transforming into birds, snakes, bears, and elements, nothing is too strange for the human being to experience. And no deed is too heinous for man—or woman—to perform. But snuggled within this work of great inventiveness that houses myth and homage to the Greeks, the legends and the progeny to come, are the rich doctrines of Pythagoras. His wisdom and pacifist leanings are worthy of reading all on their own. One cannot help but sense the truth of spirituality in his words, that which is uncontaminated by the burdens of the church that is to come. It is in this section that we learn the truth and meaning of Ovid’s Metamorphoses: we are always changing; from birth to death, ever evolving into another part of ourselves; we are connected by this evolution and thus are one.In all creation, be assured,There is no death—no death, but only changeAnd innovation; what we men call birthIs but a different new beginning; deathIs but to cease to be the same.I wonder if the meaning of life—and death—cannot be culled from the tales of Ovid’s "Metamorphoses."

The book had countless printing errors, cutting out large portions of the book and replacing them with the same passage repeated over and over.

This edition came highly praised, particularly by Robert Fagles, whose translations of the Iliad and the Odyssey are, in my opinion, the best in the English language. But the review here is for Charles Martin's translation of Ovid's Metamorphoses. It is one thing to translate into prose, the vernacular, but into vulgarisms and slang, is another. Without going page by page, citing numerous examples, I decided enough is enough in Book V at page 160, where the text reads that after Perseus threw a spear at Phineus, missing him but hitting Rhoetus "full in the face", that, "the crowd went totally ballistic." Yes, that is exactly as written..."the crowd went totally ballistic." I found that phrase totally amazing, and went, like, totally, like, gag me with a spoon. Actually, the phrase "going totally ballistic" is similar to "gag me with a spoon" in that a few years from now it will have fallen out of fashion and will sound just as silly and out of place. Certainly the reader of today knows what Mr. Martin means by a "crowd going totally ballistic," but the reader also knows of other and better ways of expressing it in modern English without resorting to the slang of the day. Why, if Mr. Martin had worked on this translation a few decades or so ago he may have written this phrase as "the crowd went completely Postal." If you're over 50 you'll get it.

Great fun and high culture too. Ancient Roman classic comics. Ovid knits together over 200 old stories from the mythology he received in mock heroic style, but lets you know that although he thinks they are great stories he's not taking the myths completely seriously by every once in while making asides like (nudge nudge wink wink) "and this next part is almost impossible to believe ..." But besides the fun, this is the source for stories retold by many later writers and depicted in paintings you are likely to see in fine art museums.

Am glad to have this as a Kindle edition of Ovid's telling of ancient myths. Currently (Summer, 2013) am engaged in an online discussion of these myths. Am complimenting Martin's translation with two others, one in prose and the other by Mandelbaum -- which I rather prefer to Martin for the rendering of the poetry. Seldom can any one translation of an ancient language or document be sufficient to render meaning into terms adequate both to the original author and the modern reader; one can be grateful when time and translations are adequate and available to explore alternatives.

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