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<title>Pygmalion: A Comparison Between the New and the Old</title>
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<p>Ovid (Publius Ovidius Naso). Ovid -The Metamorphoses (Translated by A. S. Kline).
2008. Internet Archive, http://archive.org/details/OvidTheMetamorphoses.</p>
<p>Ovid, 43 B. C.-17 or 18 A. D., and Thomas Orger. Ovid’s Metamorphoses. London,
Printed for John Miller, 1814. Internet Archive,
http://archive.org/details/ovidsmetamorphosovid. </p>
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<sourceDesc>
<p>A. S. Kline Version- This version was published in 2008 and looks to be a text that
was never printed in a physical copy, only edited to appear as a book online with
standard text and justified text; therefore the page breaks are automated and do not
seem intentional. This text also had words in blue bold highlight, suggesting that
they were hyperlinks, however, we were unable to access the links, so here they are
only highlighted</p>
<p>Thomas Orger Version- This version was published 1814 and the bottom quarter of the
page presents the latin text that Orger used to translate the text to English. This
text was not transcribed into this edition as it is not relevent to this anaylsis and
it would be too cumbersome to include.</p>
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<head>Bk X:243-297 <note>Metamorphoses - The title of the poem the myth Pygmalion comes
from is Metamorphoses. This poem spans 15 books, totaling nearly 12,000 lines and
was originally written in Latin by Publius Ovidius Naso, or Ovid. As the name
metamorphosis suggests, each story in the poem feature a transformation of some
kind. In Pygmalion, the translation is very literal, the transformation of a
statue into a woman. <lb/>Sources<lb/>“Metamorphoses- Poem by Ovid.” <hi
rend="italics">Encyclopedia Britannica,</hi>
https://www.britannica.com/topic/Metamorphoses-poem-by-Ovid. Accessed 27 Feb.
2018. <lb/>“Ovid- Roman Poet.” <hi rend="italics">Encyclopedia Britannica,</hi>
https://www.britannica.com/biography/Ovid-Roman-poet. Accessed 27 Feb. 2018.
</note>Orpheus sings: Pygmalion and the statue</head>
<p>'<hi>Pygmalion</hi> had seen them, spending their lives in wickedness, and, offended
by the failings that nature gave the female heart, he lived as a bachelor, without a
wife or partner for his bed. But, with wonderful skill, he carved a figure,
brilliantly, out of snow-white ivory, no<fw>496</fw><pb/> mortal woman, and fell in
love with own creation. The features are thoes of a real girl, who, you might think,
lived, and wished to move, if modesty did not forbid it. Indeded, art hides his art.
He marvels: passion, for this bodily image, consumes his heart. Often, he runs his
hands over the work, tempted as to whether it is flesh or ivory, not admitting it to
be ivory. <choice>
<orig>he</orig>
<corr>He</corr>
</choice> kisses it, and thinks his kisses are returned; and speaks to it; and holds
it, and imagines that his fingers press into the limbs, and is afraid lest bruises
appear from the pressure. Now he addresses it with compliments, now brings it gifts
that please girls, shells and polished pebbles, little birds, and many-colored
flowers, lilies and tinted beads, and the <hi>Heliades</hi>'s amber tears, that drip
from the trees. He dresses the body, also, in clothing; places rings on the fingers;
places a long necklace round its neck; pearls hang from the ears, and cinctures round
the breasts. All are fitting: but it appears no less lovely, naked. He arranges the
statue on a bed on which cloths <fw>497</fw><pb/>dyed with <hi>Tyrian</hi> murex are
spread, and calls it his bedfellow, and rests its neck against soft down, as if it
could feel. </p>
<p>The day of <hi>Venus</hi>'s festival came, celebrated throughout <hi>Cyprus</hi>, and
heifers, their curved horns gildedd, fell, to the blow on their snowy neck. The
incense was smoking, when Pygmalion, having made his offering, stood by the altar,
and said, shyly: "If you can grant all things, you gods, I wish as a bride to
have..." and not daring to say "the girl of ivory" he said "one like my ivory girl."
Golden Venus, for she herself was present at the festival, knew what the prayer
meant, and as a sign of the gods' fondness for him, the flamed flared three times,
and shook its crown in the air. When he returned, he sought out the image of his
girl, and leaning over the couch, kissed her. She felt warm: he pressed his lips to
her again, and also touched her breast with his hand. The ivory yeilded to his touch,
and lost its hardness, altering under his fingers, as the bees' wax of
<hi>Hymettus</hi> softens in the sun, and is moulded,<fw>498</fw> under the thumb,
into many forms, made usable by use. The lover is stupified, and<pb/> joyful, but
uncertain, and afraid he is wrong, reaffirms the <choice>
<orig>fulfilment</orig>
<reg>fulfillment</reg>
</choice> of his wished, with his hand, again, and again.</p>
<p>It was flesh! The pulse throbbed under his thumb. Then the hero, of <hi>Paphos</hi>,
was indeed overfull of words with which to thank Venus, and still pressed his mouth
against a mouth that was not merely a likeness. The girl felt the kisses he gave,
blushed, and, raising her bashful eyes to the light, saw both her lover and the shy.
The goddess attended the marriage that she had brought about, and when the moon's
horns had nine times met at the full, the woman bore a son, <hi>Paphos</hi>, from
whom the island takes its name.'</p>
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<div>
<head>Ovid's Metamorphoses by Thomas Orger from 1814<note>Hexameter - The original
version of Metamorphoses written by Ovid in 8 CE was witten in Hexameter.
Hexameter is the oldest known form of Greek poetry and is the most common metre of
didactic and narative poetry in Latin and Greek. This style is similar to the
English iambic pentameter. A line of verse in Hexameter contains 6 feet of
dactyls, consisting of one accented syllable followed by two unaccented syllables.
This may explain the removal of the last syllable of many of the lines in this
version as the translator may have been trying to best match the rules of
hexameter this was originally written and had to shorten some words to make them
fit the syllable pattern. <lb/>Sources<lb/>“Dactyl.” <hi rend="italics">Poetry
Foundation,</hi> 26 Feb. 2018,
https://www.poetryfoundation.org/learn/glossary-terms/dactyl. <lb/>“Hexameter-
Poetry.” <hi rend="italics">Encyclopedia Britannica,</hi>
https://www.britannica.com/art/hexameter. Accessed 27 Feb. 2018. </note></head>
<lg>
<l>These, lost to virtue, when Pygmalion view'd,</l>
<l>Deeming the sex alike in vice imbued,</l>
<l>Shock'd at their crimes, from Cupid's toils he fled,</l>
<l>Nor sought a married partner of his bed.</l>
<fw>310</fw>
<l>Meantime, of Ivory form'd with genius plann'd,</l>
<l>A female statue started from his hand:</l>
<l>As more than mortal grace her shape unfolds, </l>
<l>Life seems concenter'd there: her lovely frame</l>
<fw>315</fw>
<l>Appears from motion check'd alone by shame;</l>
<l>So wonderful is art when veil'd by art!</l>
<l>He looks, he sighs, love fires his amorous heart.</l>
<l>He handles oft her limbs with curious care,</l>
<l>And doubts if life, or ivory, be there:</l>
<fw>320</fw>
<l>He talks; he clasps the image to his breast;</l>
<l>Caressing her, he thinks himself caress'd. </l>
<pb/>
<fw>BOOK X.</fw>
<fw>381</fw>
<l>She seems to shrink; he deems the force too much,</l>
<l>And fears, a bruise may follow from the touch:</l>
<l>With glossy compliment his tongue he decks;</l>
<fw>325</fw>
<l>He proffers presents grateful to the sex;</l>
<l>Shells, painted balls, rare flowers from various stems,</l>
<l>White lilies, amber, little birds, and gems.</l>
<l>Loose o'er her faultless form rich garments float; </l>
<l>Rings grace her finger; diamond chains her throat</l>
<fw>330</fw>
<l>Brilliant her ears; an amethyst her breast;</l>
<l>But naked loveliness becomes her best.</l>
<l>Her polish'd limbs the enamor'd artist laid</l>
<l>(As tho' sensation warm'd the ivory maid)</l>
<l>High on a downy couch of Tyrian red,</l>
<fw>335</fw>
<l>And call'd the statue, partner of his bed.</l>
</lg>
<lg>
<l> On drew the day when Cyprus' sons proclaim</l>
<l>Thy festive honours, laughter-loving dame !</l>
<l>Heifers, for thee, with gilded antlers, slain,</l>
<l>Struck by the axe, fall bleeding at the fane.</l>
<fw>340</fw>
<l>High fumes the incense; with imploring sighs, </l>
<l>Pygmalion kneels, and thus, half-doubting, cries:</l>
<l>'Ye heavenly powers, omnipotent to aid, </l>
<l>Grant me,-my ivory love,' he would have said, </l>
<l>But Check'd the word; and cried, 'Ye powers above,</l>
<fw>345</fw>
<l>Grant me the likeness of my ivory love.'</l>
</lg>
<lg>
<l> Venus, who read his wish, propitious bent</l>
<l>High o'er her fane, and, omen of assent,</l>
<pb/>
<fw>382</fw>
<fw>OVID'S METAMORPHOSES.</fw>
<l>Red renovated fired, thrice upward thrown, </l>
<l>Blaze in the air, and quiver in a cone.</l>
<fw>350</fw>
<l>Black hied the lover, with elated air,</l>
<l>Fell on the purple bed, and kiss'd the fair.</l>
<l>She seems to glow with life: her bosom stirs; </l>
<l>Again he bends, he joins his lips to her's:</l>
<l>Her soften'd limbs the lover's touch confess,</l>
<fw>355</fw>
<l>And yeild elastic where his fingers press.</l>
<l>So the white produce of Hymettus' bees, </l>
<l>Warm'd by sun, and soften'd by degrees,</l>
<l>Stubborn no more, flows, unconfin'd and loose, </l>
<l>In various moulds, and gathers use from use.</l>
<fw>360</fw>
<l> Dreading deceit, yet bolder than before, </l>
<l> With trembling jou, he prest her lips once more.</l>
<l>Her fluttering pulses beat beneath his hand, </l>
<l>She moves! life graces what Pygmalion plann'd.</l>
<l>In phrase most eloquent, with rapture fraught,</l>
<fw>365</fw>
<l>He thank'd the goddess; then, delighted, sought</l>
<l>Again the breathing maid, o'erjoy'd to sip</l>
<l>Congenial transport from no ivory lip.</l>
<l>She, timid, feels the kiss, then opes her eyes,</l>
<l>And, blushing, views her lover and the skies.</l>
<fw>370</fw>
</lg>
<lg>
<l>Attendant Venus grac'd the match she made,</l>
<l>And when nine lunar orbs the pair survey'd,</l>
<l>Forth, issue of the wondrous marriage, came</l>
<l>Paphos, from whom the island takes its name.</l>
</lg>
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