Apollo and Daphne

1. Apollo and Daphne Sarah Ellery Final Teaching Project UGA Summer Institute, 2013 Ovid, Metamorphoses I.452-567 Apollo and Daphne, Bernini, 1622-25; Galleria Borghese, Rome Credit: galleriaborghese.it

2. PUBLIUS OVIDIUS NASO (43 B.C. – A.D. 17/18) Statue of Ovid in Sulmona 43 BC Born 20 March at Sulmo (modern Sulmona). c.31 Ovid and his elder brother (by exactly one year) taken or sent to Rome to continue their education; they are granted by Augustus the rank of equites. c.27 Ovid assumes the toga virilis. He marries. c.25 Ovid’s patron is now Marcus ValeriusMessallaCorvinus (64 BC-AD 8). He gives his first public reading. End of his formal education in rhetoric, and of his first marriage. 24 Death of Ovid’s brother. c.24-22 Ovid travels in Greece, Asia Minor, and Sicily, with the poet Macer as tutor.

3. PUBLIUS OVIDIUS NASO (43 B.C. – A.D. 17/18) PUBLIUS OVIDIUS NASO (43 B.C. – A.D. 17/18) c.22 Trains in public administration and law. c.21-c.16 Sits on various boards, including the tresviri and the decemviristlitibusiudicandis. He is close friends with the poet Propertius. c.15 Publishes Amores. Marries for the second time, and has a daughter. The marriage is brief, possibly owing to the death of his wife. c.14-c.1 Writes ArsAmatoria, RemediaAmoris, Heroides, and MedicamineFacieiFeminae, dividing his time between Rome and his country villa a few miles outside the city. 1 Publishes first two books of ArsAmatoria. c.1 Death of Ovid’s father, aged 90.

4. PUBLIUS OVIDIUS NASO (43 B.C. – A.D. 17/18) PUBLIUS OVIDIUS NASO (43 B.C. – A.D. 17/18) (Source: www.the-romans.co.uk/timelines/ovid.htm) AD c.1 Ovid’s third marriage. His wife, who is well connected and may have been in her early 20s, already has a daughter by her first husband. c.1-8 Writes Metamorphoses. Begins Fasti. 8 Banished by Augustus to Tomi. 9-17 In exile, completes Fasti, of which only six books survive, and writes Tristia and Epistulae ex Ponto. 17/18 Dies during the winter, in his 60th year, and is buried on the shore of the Black Sea.

5. Ovid’s Metamorphoses • Epic in 15 books • Bound by the theme of change: In nova fert animus mūtātāsdīcereformās corpora: dī, coeptīs (namvōsmūtāstis et illa) adspīrātemeīsprīmāqueaborīginemundī ad mea perpetuumdēdūcitetemporacarmen. Metamorphoses I.1-4 My mind compels me to tell of forms changed into new bodies. Gods, favor my undertakings—for you have changed them, as well—and spin out a continuous poem, from the first origin of the world to my own day.

6. Structure of Book I • Prologue • Creation • The Four Ages • The Giants • Lycaon • The Flood • Deucalion and Pyrrha • Python • DAPHNE • Io • Interlude: Pan and Syrinx • Phaethon Click here to read Book I in translation

7. “Apollo and Daphne” • First “metAMORphosis” in the first book of the epic • Apollo as elegiac lover • Reminiscent of AmoresI.1 • subject: Cupid and Apollo • verbal echoes • playful tone • see further discussion after section IV, “What Woman Could Resist?” • Etiological • reward for Pythian Games

8. A Few Notes on Ovid’s Style • Poetic grammatical forms: • -ērefor -ērunt • “poetic” plural • preference for -queover et • -īsfor -ēs • Vivacious, free flowing narrative • Vivid present • Metrically swift, few elisions • Compact sense units • couplets (cf. elegy) • close relationship between the verb / participle and the noun-adjective group • caesura employed to clarify narrative rather than to create an emphatic break • Vocabulary • Look for the ways Ovid repeats and repurposes vocabulary among and within his stories. His word choice can provide the reader a thread with which to follow the labyrinth of interconnected themes, motifs, etc. throughout the whole work.

9. I. Two Archers juxtaposition PrīmusamorPhoebīDaphnēPēnēia: quemnōn forsignāradedit, sedsaevaCupīdinisīra. Dēliushuncnūpervictōserpentesuperbus, vīderatadductōflectentemcornuanervō “Quid” que ‘tibi, lascīvepuer, cum fortibusarmīs?” Dīxerat, “Ista decent umerōsgestāminanostrōs, quī dare certaferae, dare vulnerapossumushostī, quīmodopestiferō tot iūgeraventreprementem strāvimusinnumerīstumidumPȳthōnasagittīs. Tū face nesciōquōsestōcontentusamōrēs inrītāretuā, neclaudēsadserenostrās.” alliteration epithet 455 nostrōs: “royal” we synchesis 460 Pȳthōna: Greek acc. estō: future imperative

10. I. Two Archers FīliushuicVeneris “Fīgattuusomnia, Phoebe, tēmeusarcus” ait, “quantōqueanimāliacēdunt cūnctadeō, tantō minor esttuaglōrianostrā.” Dīxit et ēlīsōpercussīsāērepennīs inpigerumbrōsāParnāsīcōnstititarce ēquesagittiferāprōmpsit duo tēlapharetrā dīversōrumoperum: fugat hoc, facitilludamōrem; quod facit, aurātumest et cuspidefulgetacūtā, quod fugat, obtūsumest et habet sub harundineplumbum. epithet 465 synchesis alliteration word picture 470 prodelision

11. * Does Apollo heed this advice in this story? KNOW THYSELF According to the ancient travel writer Pausanias, this ancient Greek aphorism was inscribed on the pronaos (forecourt) of the Temple of Apollo at Delphi. Pictured left is Apollo’s temple at Delphi, which is situated on Mt. Parnassus in central Greece. At the right is the Omphalos, or navel of the world, from the sanctuary at Delphi. Credits: Livius.org (left); Wikimedia Commons (right)

12. Silver Drachm of Seleukos IV • Antioch mint, ca. 187 - 175 BCE OBVERSE: Seleukos IV REVERSE: Apollo, seated on the omphaloswith bow and arrow Credit: Wesleyan.edu (Dahl Coin Collection)

13. Apollo as Archer (Apollo Saettante) Roman, 100 B.C.–before A.D. 79. Discovered in Pompeii in A.D. 1817-18. Credit: blogs.getty.edu

14. Apollo, Attic Red Figure krater ca. 475-425 B.C. Musée du Louvre, Paris Apollo is pictured drawing his bow, about to kill the Niobides. Note the laurel crown and the pharetrahanging at his side. Credit: theoi.com

15. II. The Arrows Fly Hoc deus in nymphāPēnēidefīxit, at illō laesitApollineāstrāiecta per ossamedullās: prōtinus alter amat, fugit alteranōmenamantis silvārumlatebrīscaptīvārumqueferārum exuviīsgaudēnsinnūptaequeaemulaPhoebēs; vittacoercēbatpositōs sine lēgecapillōs. Multīillampetiēre, illaāversātapetentēs inpatiēnsexpersquevirīnemoraāvialustrat nec, quid Hymēn, quid Amor, quid sintcōnūbiacūrat. patronymic Apollineās: neologism synchesis 475 synchesis 480 anaphora, tricolon Girl wearing the vitta, or headband. From William Smith’s Dictionary of Greek and Roman Antiquities. Credit: LacusCurtius.org

16. II. The Arrows Fly Saepepaterdīxit “Generummihi, fīlia, dēbēs”, saepepaterdīxit “dēbēsmihi, nāta, nepōtēs”: illavelutcrīmentaedāsexōsaiugālēs pulchraverēcundōsuffūderatōrarubōre inquepatrisblandīshaerēnscervīcelacertīs, “Dā mihiperpetuā, genitor cārissime,” dīxit “virginitātefruī: dedit hoc pater ante Diānae.” Illequidemobsequitur; sedtē decor iste, quod optās, essevetat, vōtōquetuōtua forma repugnat. anaphora, synchesis, 2x chiasmus “golden line” 485 word picture alliteration polyptoton: the repetition of a word or root in different grammatical forms within the same sentence.

17. “Golden Line” The golden line is variously defined, but most uses of the term conform to the oldest known definition from Burles' Latin grammar of 1652: If the Verse does consist of two Adjectives, two Substantives and a Verb only, the first Adjective agreeing with the first Substantive, the second with the second, and the Verb placed in the midst, it is called a Golden Verse: as, a b V A B Lurida terribiles miscent aconitanovercae(Ovid, Metamorphoses 1.147) “murderous stepmothers mixed deadly aconite” a b V A B aurea purpuream subnectit fibula vestem "a golden clasp bound her purple cloak” (Virgil, Aeneid4.139) Here the adjectives (a, b) are placed at the beginning of the line, and the nouns (A, B) at the end. Note that in each case the synchesis is purposeful, emphasizing the meaning of the line (mixing poison and binding a cloak).

18. “Golden Line” • The term "golden line" did not exist in antiquity. • Winbolt, the most thorough commentator on the golden line, described the golden line as a combination of poetic tendencies in Latin hexameter– the preference for placing adjectives near the beginning of the line and nouns emphatically near the end. • The golden line is a form of hyperbaton, or the deviation from normal or logical word order for poetic effect. • Some scholars also consider lines with a chiastic pattern to be “golden” (a-b-V-B-A), but others instead call this a “silver line”.

19. “Golden Line” K. Mayer, "The Golden Line: Ancient and Medieval Lists of Special Hexameters and Modern Scholarship," in C. Lanham, ed., Latin Grammar and Rhetoric: Classical Theory and Modern Practice, Continuum Press, 2002, pp. 139-179.

20. III. Apollo in Love 490 Phoebus amatvīsaequecupitcōnūbiaDaphnēs, quodquecupit, spērat, suaqueillumōrāculafallunt; utquelevēsstipulaedēmptīsadolenturaristīs, utfacibussaepēs ardent, quās forte viātor velnimisadmōvitveliam sub lūcerelīquit, sīcdeus in flammāsabiit, sīcpectoretōtō ūritur et sterilemspērandōnūtritamōrem. Spectatinōrnātōscollōpendērecapillōs et “Quid, sīcōmantur?” ait; Daphnēs: Gk. gen. irony epic simile 495

21. III. Apollo in Love Note the placement of videt, laudat, and fugit at the beginning of their clauses. What is the effect? • videtignemicantēs • sīderibussimilēsoculōs, videtōscula, quae nōn • estvīdissesatis; laudatdigitōsquemanūsque • bracchiaque et nūdōsmediāplūs parte lacertōs: • sīqua latent, meliōraputat. Fugit ōcioraurā • illalevīneque ad haecrevocantisverbaresistit: • “Nympha, precor, Pēnēi, manē! Nōnīnsequorhostis; • nympha, manē! Sīcagnalupum, sīccervaleōnem, • sīcaquilampennāfugiunttrepidantecolumbae, • hostēsquaequesuōs; amorestmihicausasequendī. metaphor simile, anaphora, alliteration 500 litotes, polysyndeton chiasmus synchesis Pēnēi: Gk. voc. (not a dipthong) 505 anaphora, synchesis, simile, tricolon

22. EKPHRASIS: description in literary works, often used in epic • Often highly visual • What visual cues does Ovid give in this story? • Gives the reader a “gaze”, often through an internal viewer • cf. Temple of Juno in Bk. I of the Aeneid • Through whose gaze do we “see” Daphne?

23. IV. What Woman Could Resist? Nē: take with cadās(2nd person jussive = imperative), notent, sim “Mē miserum! Nē prōnacadās, indignavelaedī crūranotentsentēs, et simtibicausadolōris. Aspera, quāproperās, locasunt: moderātius, orō, currefugamqueinhibē: moderātiusīnsequar ipse. Cui placeās, inquīretamen; nōnincolamontis, nōn ego sum pāstor, nōnhīcarmentagregēsque horridusobservō. Nescīs, temerāria, nescīs, quemfugiās, ideōquefugis. MihiDelphicatellūs et Claros et TenedosPatarēaquerēgiaservit; tricolon 510 anaphora tricolon, anaphora epizeuxis 515 polyptoton polysyndeton epizeuxis- repetition of words or phrases with few or no words between e.g. “Please Please Me” –The Beatles

24. IV. What Woman Could Resist? Iūppiterest genitor. Per mē, quod eritquefuitque estque, patet; per mē concordant carminanervīs. Certaquidem nostra est, nostrātamenūnasagitta certior, in vacuō quae vulnerapectorefēcit. Inventummedicīnameumest, opiferque per orbem dīcor, et herbārumsubiectapotentianōbīs: eimihi, quod nūllīsamorestsānābilisherbīs, necprōsuntdominō, quae prōsunt omnibus, artēs!” anaphora alliteration prodelision enjambment, polyptoton 520 prodelision nōbīs: dat. w/ subiecta irony Review: Look again at Apollo’s speech, and find examples of caesura and diaeresis. Why might there be so many breaks in these lines compared to the narration?

25. How did Apollo come to have the lyre? • Hermes, the herald of the Olympian gods, is the son of Zeus and the nymph Maia, daughter of Atlas and one of the Pleiades. Hermes is the god of shepherds, land travel, merchants, weights and measures, oratory, literature, athletics and thieves, and known for his cunning and shrewdness. Most importantly, he is the messenger of the gods. Besides that he was also a minor patron of poetry. He was worshiped throughout Greece -- especially in Arcadia -- and festivals in his honor were called Hermoea. • According to legend, Hermes was born in a cave on Mount Cyllene in Arcadia. Zeus had impregnated Maia at the dead of night while all other gods slept. When dawn broke amazingly he was born. Maia wrapped him in swaddling bands, then, resting herself, fell fast asleep. Hermes, however, squirmed free and ran off to Thessaly. This is where Apollo, his brother, grazed his cattle. Hermes stole a number of the herd and drove them back to Greece. He hid them in a small grotto near to the city of Pylos and covered their tracks.

26. Before returning to the cave he caught a tortoise, killed it and removed its entrails. Using the intestines from a cow stolen from Apollo and the hollow tortoise shell, he made the first lyre. When he reached the cave he wrapped himself back into the swaddling bands. • When Apollo realized he had been robbed he protested to Maia that it had been Hermes who had taken his cattle. Maia looked to Hermes and said it could not be, as he is still wrapped in swaddling bands. Zeus the all-powerful intervened saying he had been watching and Hermes should return the cattle to Apollo. As the argument went on, Hermes began to play his lyre. The sweet music enchanted Apollo, and he offered Hermes to keep the cattle in exchange for the lyre. • Apollo later became the grand master of the instrument, and it also became one of his symbols. Later while Hermes watched over his herd he invented the pipes known as a syrinx (pan-pipes), which he made from reeds. Hermes was also credited with inventing the flute. Apollo also desired this instrument, so Hermes bartered with Apollo and received his golden wand, which Hermes later used as his heralds staff. (In other versions Zeus gave Hermes his heralds staff).  Source: Ron Leadbetter, pantheon.org

27. HERMES APOLLO HERAKLES Attic Red Figure Kylix, ca. 500 B.C.; Antikenmuseen, Berlin, Germany

28. Elegiac Poetry • elegiac couplet (hexameter / pentameter) - uu | - uu | - uu | - uu | - uu | - - - uu | - uu | - || - uu | - uu | - • Greek origins • most popular type of poetry in Ovid’s Rome • Catullus, Propertius, Tibullus • love is common theme • Paraclausithyron, exclususamator Read AmoresI.1 (click for link)

29. This is sort of what Daphne must have felt like… (click for video)

30. V. The Pace Quickens 525 PlūralocūtūrumtimidōPēnēiacursū fūgitcumqueipsōverbainperfectarelīquit, tumquoquevīsadecēns; nūdābant corpora ventī, obviaqueadversāsvibrābantflāminavestēs, et levis inpulsōsretrōdabat aura capillōs, auctaque forma fugā est. Sedenimnōnsustinetultrā perdereblanditiāsiuvenisdeus, utquemonēbat ipse amor, admissō sequitur vestīgiapassū. locūtūrum (eum) golden line! alliteration 530 prodelision amor(or Amor!)

31. V. The Pace Quickens epic simile word picture Utcanis in vacuōleporem cum Gallicusarvō vīdit, et hic praedampedibus petit, illesalūtem (alter inhaesūrōsimilisiamiamquetenēre spērat et extentōstringitvestīgiarostrō, alter in ambiguōest, an sit conprēnsus, et ipsīs morsibusēripiturtangentiaqueōrarelinquit): sīcdeus et virgō; est hic spēceler, illatimōre. enjambment, synchesis 535 epizeuxis an: introduces a deliberative subjunctive ēripitur: middle voice synchesis 2x What is the Greek middle voice? What does Latin use instead? subject performs AND receives the reflexive pronoun action of the verb

32. VI. Daphne’s Last Request 540 Quītamenīnsequitur, pennīsadiūtusamōris, ōciorestrequiemquenegattergōquefugācis inminet et crīnemsparsumcervīcibusadflat. Vīribusabsūmptīsexpalluitillacitaeque victalabōrefugae “Tellūs,” ait, “hīscevelistam, [victalabōrefugaespectānsPēnēidāsundās] quae facitutlaedar, mutandōperdefigūram! polysyndeton enjambment istam (figuram) 544a 545

33. VI. Daphne’s Last Request Fer, pater,” inquit “opem, sīflūminanūmenhabētis! quānimiumplacuī, mutandōperdefigūram!” [quānimiumplacuī, Tellūs, ait, hīscevelistam] Vixprecefīnītā torpor gravis occupatartūs: molliacingunturtenuīpraecordialibrō, in frondemcrīnēs, in rāmōsbracchiacrēscunt; pēsmodo tam vēlōxpigrīsrādīcibushaeret, ōracacūmenhabet: remanetnitorūnus in illā. internal rhyme quā (figuram) 547a synchesis 550 scan antithesis * Note that Daphne’s prayer, like Apollo’s to her, has many caesurae and diaereses. Why? Credit: nga.gov

34. Pollaiuolo: Apollo and Daphne • Antonio del Pollaiuolo, late 15th century; oil on wood; The National Gallery, London • Renaissance: classicizing, allegory • What aspects of this portrayal are similar to or different from the Ovidian version? • What are the limitations in portraying this myth visually?

35. Bernini’s Apollo and Daphne Gian Lorenzo Bernini, 1622-25; Rome, Galleria Borghese Baroque: reaction against the pure, straight lines of the Classical period

36. Click to view the sculpture in the round (narration in Italian) Credit: Cavetocanvas.com

37. Credit: www.mcah.columbia.edu

38. Credits: www.mcah.columbia.edu

41. Apollo Belvedere • Roman copy of a Greek original by Leochares, ca. 120-140 (Hadrianic); Rome, Vatican Museum. • Compare this Apollo’s staid posture and classical lines with his portrayal by Bernini.

42. Gian Lorenzo Bernini (1598-1680) Self portrait, ca. 1623 Rome: Galleria Borghese

43. Baroque Architecture: Baldacino, St. Peter’s Basilica, Rome

44. Baroque Architecture: Bernini, Fontana dei Quattro Fiume, Piazza Navona, Rome

45. Baroque Architecture: Trevi Fountain, Rome

46. Baroque Music: 1685-1750

47. VII. Apollo’s Eternal Love Hancquoque Phoebus amatpositāque in stīpitedextrā sentitadhūctrepidārenovō sub corticepectus conplexusquesuīsramos, utmembra, lacertīs ōsculadatlignō: refugittamenōscula lignum. Cui deus “At quoniamconiūnx mea nōnpotesesse, arbor eriscertē” dīxit “mea. Semperhabēbunt tē coma, tēcitharae, tēnostrae, laure, pharetrae; word pictures… note the placement of the anatomical words chiasmus, synchesis, polypton, epizeuxis alliteration anaphora 555 www.theoi.com

48. VII. Apollo’s Eternal Love 560 tūducibusLatiīsaderis, cum laetatriumphum vōxcanet et vīsentlongāsCapitōliapompās. PostibusAugustīseademfīdissimacustōs ante forēsstābismediamquetuēberequercum, utquemeumintōnsīs caput estiuvenālecapillīs, tūquoqueperpetuōssempergerefrondishonōrēs.” FīnieratPaeān: factīsmodolaurearāmīs adnuitutque caput vīsaestagitāssecacūmen. transferred epithet personification mediam: word picture simile, chiasmus epithet enjambment 565

49. The Laurel • Laurusnobilis • evergreen, aromatic • Uses • cooking and ornamental herb • medicinal (salve for wounds, folk remedy for ear/headaches, high blood pressure, cough, poison ivy/oak and stinging nettle, arthritis) • Ancient symbolism • healing • prophecy • Pythia • victory • Pythian Games • cf. Baccalaureate, “rest on laurels” • poet’s calling • cf. poet laureate • Bible: resurrection and eternal life Credit: Theoi.com

50. The Laurel: Mythic Sources The Pythia, Apollo’s priestess at Delphi, was preeminent among ancient oracles. Celibate for life, she gave prophecies on a single day for nine months of the year. She sat on the tripod where hallucinogenic vapors may have put her in an altered state. Her utterances came forth in hexameters (the “Pythian meter”). In this image, the Pythia holds the laurel (symbol of Apollo) in her right hand and stares intently into the phiale dish as she prophecies to Aegeus. Attic Red-figure. Themis (Pythia) - Aegeus Consults the Pythia Seated on a Tripod. By the Kodros Painter, c. 440-430 B.C. Antiken-sammlung, Berlin, Germany. Credit: Ancienthistory.about.com.