Ovid Metamorphoses

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Title: The Metamorphoses of Ovid
Literally Translated into English Prose, with Copious Notes
and Explanations

Author: Publius Ovidius Naso

Translator: Henry Thomas Riley

Release Date: July 16, 2008 [EBook #26073]

Language: English

Character set encoding: UTF-8

*** START OF THIS PROJECT GUTENBERG EBOOK THE METAMORPHOSES OF OVID ***

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This e-text covers the second half, Books VIII-XV, of Henry T. Riley’s 1851 translation of Ovid’s Metamorphoses. The first half, Books I-VII, is
already available from Project Gutenberg as e-text 21765. Note that this text, unlike the earlier one, is based solely on the 1893 George Bell
reprint.

The text includes characters that will only display in UTF-8 (Unicode) file encoding, including Greek words in the Notes:

œ, Œ (oe ligature)
κείρω, ἀκονιτὶ

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More information on the text, including line numbering, errors and variations, and details of footnote numbering, are given at the end of this file.
References to Clarke in Transcriber’s Notes are from the third edition (1752).

Metamorphoses Books VIII-XI (separate file)

Metamorphoses Books XII-XV (separate file)

THE

METAMORPHOSES

OF

OVID.

LITERALLY TRANSLATED INTO ENGLISH PROSE,
WITH COPIOUS NOTES AND EXPLANATIONS,

BY HENRY T. RILEY, B.A.

OF CLARE HALL, CAMBRIDGE.

LONDON:
GEORGE BELL & SONS, YORK ST., COVENT GARDEN,
AND NEW YORK.
1893.

LONDON:
REPRINTED FROM THE STEREOTYPE PLATES BY WM. CLOWES & SONS, LTD.,
STAMFORD STREET AND CHARING CROSS.

The Metamorphoses of Ovid
(separate files):
Books VIII-XI
Book VIII
Book IX
Book X
Book XI

Books XII-XV
Book XII
Book XIII
Book XIV
Book XV

The Introduction is included here for completeness. The Synopses of Books I-VII have been omitted.

iii

INTRODUCTION.

The Metamorphoses of Ovid are a compendium of the Mythological narratives of ancient Greece and Rome, so ingeniously framed, as to embrace
a large amount of information upon almost every subject connected with the learning, traditions, manners, and customs of antiquity, and have
afforded a fertile field of investigation to the learned of the civilized world. To present to the public a faithful translation of a work, universally
esteemed, not only for its varied information, but as being the masterpiece of one of the greatest Poets of ancient Rome, is the object of the present
volume.

To render the work, which, from its nature and design, must, of necessity, be replete with matter of obscure meaning, more inviting to the scholar,
and more intelligible to those who are unversed in Classical literature, the translation is accompanied with Notes and Explanations, which, it is
believed, will be found to throw considerable light upon the origin and meaning of some of the traditions of heathen Mythology.

In the translation, the text of the Delphin edition has been generally adopted; and no deviation has been made from it, except in a few instances,
where the reason for such a step is stated in the notes; at the same time, the texts of Burmann and Gierig have throughout been carefully consulted.
The several editions vary materially in respect to punctuation; the Translator has consequently used his own discretion in adopting that which
seemed to him the most fully to convey in each passage the intended meaning of the writer.

The Metamorphoses of Ovid have been frequently translated into the English language. On referring to Mr. Bohn’s excellent Catalogue of the
Greek and Latin Classics and their Translations, we find that the whole of the work has been twice translated into English Prose, while five
translations in Verse are there enumerated. A prose version of the Metamorphoses was published by Joseph Davidson, about the iv middle of the
last century, which professes to be “as near the original as the different idioms of the Latin and English will allow;” and to be “printed for the use of
schools, as well as of private gentlemen.” A few moments’ perusal of this work will satisfy the reader that it has not the slightest pretension to be
considered a literal translation, while, by its departure from the strict letter of the author, it has gained nothing in elegance of diction. It is
accompanied by “critical, historical, geographical, and classical notes in English, from the best Commentators, both ancient and modern, beside a
great number of notes, entirely new;” but notwithstanding this announcement, these annotations will be found to be but few in number, and, with
some exceptions in the early part of the volume, to throw very little light on the obscurities of the text. A fifth edition of this translation was
published so recently as 1822, but without any improvement, beyond the furbishing up of the old-fashioned language of the original preface. A far
more literal translation of the Metamorphoses is that by John Clarke, which was first published about the year 1735, and had attained to a seventh
edition in 1779. Although this version may be pronounced very nearly to fulfil the promise set forth in its title page, of being “as literal as possible,”
still, from the singular inelegance of its style, and the fact of its being couched in the conversational language of the early part of the last century, and
being unaccompanied by any attempt at explanation, it may safely be pronounced to be ill adapted to the requirements of the present age. Indeed,
it would not, perhaps, be too much to assert, that, although the translator may, in his own words, “have done an acceptable service to such
gentlemen as are desirous of regaining or improving the skill they acquired at school,” he has, in many instances, burlesqued rather than translated
his author. Some of the curiosities of his version will be found set forth in the notes; but, for the purpose of the more readily justifying this assertion,
a few of them are adduced: the word “nitidus” is always rendered “neat,” whether applied to a fish, a cow, a chariot, a laurel, the steps of a temple,
or the art of wrestling. He renders “horridus,” “in a rude pickle;” “virgo” is generally translated “the young lady;” “vir” is “a gentleman;” “senex” and

“senior” are indifferently “the old blade,” “the old fellow,” v or “the old gentleman;” while “summa arx” is “the very tip-top.” “Misera” is “poor
soul;” “exsilio” means “to bounce forth;” “pellex” is “a miss;” “lumina” are “the peepers;” “turbatum fugere” is “to scower off in a mighty bustle;”
“confundor” is “to be jumbled;” and “squalidus” is “in a sorry pickle.” “Importuna” is “a plaguy baggage;” “adulterium” is rendered “her pranks;”
“ambages” becomes either “a long rabble of words,” “a long-winded detail,” or “a tale of a tub;” “miserabile carmen” is “a dismal ditty;” “increpare
hos” is “to rattle these blades;” “penetralia” means “the parlour;” while “accingere,” more literally than elegantly, is translated “buckle to.” “Situs” is
“nasty stuff;” “oscula jungere” is “to tip him a kiss;” “pingue ingenium” is a circumlocution for “a blockhead;” “anilia instrumenta” are “his old
woman’s accoutrements;” and “repetito munere Bacchi” is conveyed to the sense of the reader as, “they return again to their bottle, and take the
other glass.” These are but a specimen of the blemishes which disfigure the most literal of the English translations of the Metamorphoses.

The Clarke “translation” was published as part of a student edition of Ovid’s Metamorphoses, with the Latin on the top half of the page, the
English below. It was not intended as an independent text.

In the year 1656, a little volume was published, by J[ohn] B[ulloker,] entitled “Ovid’s Metamorphosis, translated grammatically, and, according to
the propriety of our English tongue, so far as grammar and the verse will bear, written chiefly for the use of schools, to be used according to the
directions in the preface to the painfull schoolmaster, and more fully in the book called, ‘Ludus Literarius, or the Grammar school, chap. 8.’”
Notwithstanding a title so pretentious, it contains a translation of no more than the first 567 lines of the first Book, executed in a fanciful and
pedantic manner; and its rarity is now the only merit of the volume. A literal interlinear translation of the first Book “on the plan recommended by
Mr. Locke,” was published in 1839, which had been already preceded by “a selection from the Metamorphoses of Ovid, adapted to the
Hamiltonian system, by a literal and interlineal translation,” published by James Hamilton, the author of the Hamiltonian system. This work contains
selections only from the first six books, and consequently embraces but a very small portion of the entire work.

For the better elucidation of the different fabulous narratives and allusions, explanations have been added, which vi are principally derived from the
writings of Herodotus, Apollodorus, Pausanias, Dio Cassius, Dionysius of Halicarnassus, Strabo, Hyginus, Nonnus, and others of the historians,
philosophers, and mythologists of antiquity. A great number of these illustrations are collected in the elaborate edition of Ovid, published by the
Abbé Banier, one of the most learned scholars of the last century; who has, therein, and in his “Explanations of the Fables of Antiquity,” with
indefatigable labour and research, culled from the works of ancient authors, all such information as he considered likely to throw any light upon the
Mythology and history of Greece and Rome.

This course has been adopted, because it was considered that a statement of the opinions of contemporary authors would be the most likely to
enable the reader to form his own ideas upon the various subjects presented to his notice. Indeed, except in two or three instances, space has been
found too limited to allow of more than an occasional reference to the opinions of modern scholars. Such being the object of the explanations, the
reader will not be surprised at the absence of critical and lengthened discussions on many of those moot points of Mythology and early history
which have occupied, with no very positive result, the attention of Niebuhr, Lobeck, Müller, Buttmann, and many other scholars of profound
learning.

vii

A SYNOPTICAL VIEW

OF THE

PRINCIPAL TRANSFORMATIONS MENTIONED IN

THE METAMORPHOSES.

BOOK VIII.

In the mean time Minos besieges Megara. Scylla, becoming enamoured of him, betrays her country, the safety of which depends upon the purple
lock of her father Nisu. Being afterwards rejected by Minos, she clings to his ship, and is changed into a bird, while her father becomes a sea
eagle. Minos returns to Crete, and having erected the Labyrinth with the assistance of Dædalus, he there encloses the Minotaur, the disgrace of his
family, and feeds it with his Athenian captives. Theseus being one of these, slays the monster: and having escaped from the Labyrinth by the aid of
Ariadne, he takes her with him, but deserts her in the isle of Dia, where Bacchus meets with her, and places her crown among the Constellations.
Dædalus being unable to escape from the island of Crete, invents wings and flies away; while Icarus, accompanying his father, is drowned. The
partridge beholds the father celebrating his funeral rites, and testifies his joy: Perdix, or Talus, who had been envied by Minos for his ingenuity, and
had been thrown by him from the temple of Minerva, having been transformed into that bird. Theseus, having now become celebrated, is invited to
the chase of the Calydonian boar, which Atalanta is the first to wound. Meleager slays the monster; and his death is accelerated by his mother
Althæa, who places in the fire the fatal billet. Returning from the expedition, Theseus comes to Acheloüs, and sees the islands called the Echinades,
into which the Naiads have been transformed. Pirithoüs denies the possibility of this; but Lelex quotes, as an example, the case of Baucis and
Philemon, who were changed into trees, while their house became a temple, and the neighbouring country a pool of water. Acheloüs then tells the
story of the transformations of Proteus and of Metra, xii and how Metra supported her father Erisicthon, while afflicted with violent hunger.

BOOK IX.

Acheloüs then relates his own transformations, when he was contending with Hercules for the hand of Deïanira. Hercules wins her, and Nessus
attempts to carry her off: on which Hercules pierces him with one of his arrows that has been dipped in the blood of the Hydra. In revenge,

Nessus, as he is dying, gives to Deïanira his garment stained with his blood. She, distrusting her husband’s affection, sends him the garment; he puts
it on, and his vitals are consumed by the venom. As he is dying, he hurls his attendant Lychas into the sea, where he becomes a rock. Hercules is
conveyed to heaven, and is enrolled in the number of the Deities. Alcmena, his mother, goes to her daughter-in-law Iole, and tells her how
Galanthis was changed into a weasel; while she, in her turn, tells the story of the transformation of her sister Dryope into the lotus. In the meantime
Iolaüs comes, whose youth has been restored by Hebe. Jupiter shows, by the example of his sons Æacus and Minos, that all are not so blessed.
Miletus, flying from Minos, arrives in Asia, and becomes the father of Byblis and Caunus. Byblis falls in love with her brother, and is transformed
into a fountain. This would have appeared more surprising to all, if Iphis had not a short time before, on the day of her nuptials, been changed into
a man.

BOOK X.

Hymenæus attends these nuptials, and then goes to those of Orpheus; but with a bad omen, as Eurydice dies soon after, and cannot be brought to
life. In his sorrow, Orpheus repairs to the solitudes of the mountains, where the trees flock around him at the sound of his lyre; and, among others,
the pine, into which Atys has been changed; and the cypress, produced from the transformation of Cyparissus. Orpheus sings of the rape of
Ganymede; of the change of Hyacinthus, who was beloved and slain by Apollo, into a flower; of the transformation of the Cerastæ into bulls; of the
Propœtides, who were changed into stones; and of the statue of Pygmalion, which was changed into a living woman, who became the mother of
Paphos. He then sings, how Myrrha, for her incestuous intercourse with her father, was changed into the myrrh tree; and how Adonis (to whom
Venus relates the transformation of Hippomenes and Atalanta into lions) was transformed into an anemone.

BOOK XI.

Orpheus is torn to pieces by the Thracian women; on which, a serpent, which attacks his face, is changed into stone. The xiii women are
transformed into trees by Bacchus, who deserts Thrace, and betakes himself to Phrygia; where Midas, for his care of Silenus, receives the power
of making gold. He loathes this gift; and bathing in the river Pactolus, its sands become golden. For his stupidity, his ears are changed by Apollo
into those of an ass. After this, that God goes to Troy, and aids Laomedon in building its walls. Hercules rescues his daughter Hesione, when
fastened to a rock, and his companion Telamon receives her as his wife; while his brother Peleus marries the sea Goddess, Thetis. Going to visit
Ceyx, he learns how Dædalion has been changed into a hawk, and sees a wolf changed into a rock. Ceyx goes to consult the oracle of Claros,
and perishes by shipwreck. On this, Morpheus appears to Halcyone, in the form of her husband, and she is changed into a kingfisher; into which
bird Ceyx is also transformed. Persons who observe them, as they fly, call to mind how Æsacus, the son of Priam, was changed into a sea bird,
called the didapper.

BOOK XII.

Priam performs the obsequies for Æsacus, believing him to be dead. The children of Priam attend, with the exception of Paris, who, having gone to
Greece, carries off Helen, the wife of Menelaüs. The Greeks pursue Paris, but are detained at Aulis, where they see a serpent changed into stone,
and prepare to sacrifice Iphigenia to Diana; but a hind is substituted for her. The Trojans hearing of the approach of the Greeks, in arms await their
arrival. At the first onset, Cygnus, dashed by Achilles against a stone, is changed by Neptune into the swan, a bird of the same name, he having
been vulnerable by no weapon. At the banquet of the chiefs, Nestor calls to mind Cæneus, who was also invulnerable; and who having been
changed from a woman into a man, on being buried under a heap of trees, was transformed into a bird. This Cæneus was one of the Lapithæ, at
the battle of whom with the Centaurs, Nestor was present. Nestor also tells how his brother, Periclymenus, was changed into an eagle. Meanwhile,
Neptune laments the death of Cygnus, and entreats Apollo to direct the arrow of Paris against the heel of Achilles, which is done, and that hero is
slain.

BOOK XIII.

Ajax Telamon and Ulysses contend for the arms of Achilles. Ihe former slays himself, on which a hyacinth springs up from his blood. Troy being
taken, Hecuba is carried to Thrace, where she tears out the eyes of Polymnestor, and is afterwards changed into a bitch. While the Gods deplore
her misfortunes, Aurora is occupied with grief for the death of her xiv son Memnon, from whose ashes the birds called Memnonides arise. Æneas
flying from Troy, visits Anius, whose daughters have been changed into doves; and after touching at other places, remarkable for various
transformations, he arrives in Sicily, where is the maiden Scylla, to whom Galatea relates how Polyphemus courted her, and how he slew Acis. On
this, Glaucus, who has been changed into a sea Deity, makes his appearance.

BOOK XIV.

Circe changes Scylla into a monster. Æneas arrives in Africa, and is entertained by Dido. Passing by the islands called Pithecusæ, where the
Cecropes have been transformed from men into apes, he comes to Italy; and landing near the spot which he calls Caicta, he learns from Macareus
many particulars respecting Ulysses and the incantations of Circe, and how king Picus was changed into a woodpecker. He afterwards wages war
with Turnus. Through Venulus, Turnus asks assistance of Diomedes, whose companions have been transformed into birds, and he is refused.
Venulus, as he returns, sees the spot where an Apulian shepherd had been changed into an olive tree. The ships of Æneas, when on fire, become
sea Nymphs, just as a heron formerly arose from the flames of the city of Ardea. Æneas is now made a Deity. Other kings succeed him, and in the
time of Procas Pomona lives. She is beloved by Vertumnus, who first assumes the form of an old woman; and having told the story of Anaxarete,
who was changed into a stone for her cruelty, he reassumes the shape of a youth, and prevails upon the Goddess. Cold waters, by the aid of the
Naiads become warm. Romulus having succeeded Numitor, he is made a Deity under the name of Quirinus, while his wife Hersilia becomes the
Goddess Hora.

BOOK XV.

Numa succeeds; who, on making inquiry respecting the origin of the city of Crotona, learns how black pebbles were changed into white; he also
attends the lectures of Pythagoras, on the changes which all matter is eternally undergoing. Egeria laments the death of Numa, and will not listen to
the consolations of Hippolytus, who tells her of his own transformation, and she pines away into a fountain. This is not less wonderful, than how
Tages sprang from a clod of earth; or how the lance of Romulus became a tree; or how Cippus became decked with horns. The Poet concludes
by passing to recent events; and after shewing how Æsculapius was first worshipped by the Romans, in the sacred isle of the Tiber, he relates the
Deification of Julius Cæsar and his change into a Star; and foretells imperishable fame for himself.

More about the text

Ovid’s Metamorphoses, translated by Henry Thomas Riley (1816-1878, B.A. 1840, M.A. 1859), was originally published in 1851 as part of
Bohn’s Classical Library. This e-text, covering Books VIII-XV, is based on the 1893 George Bell reprint (London, 1893, one volume). The
edition describes itself as “reprinted from the stereotype plates”. These may have been the original 1851 plates; the Classical Library was sold to
Bell & Daldy, later George Bell.

Line Numbers

Line numbers from the Latin poem—not its prose translation—were printed as headnotes on each page. In this e-text, line numbers appear in the
left margin, across from the page numbers. Line numbers used in footnotes are retained from the original text; these, too, refer to the Latin poem
and are independent of line divisions in the translation.

Errors and Inconsistencies

Typographical errors have been marked with mouse-hover popups, with a few exceptions:

Hyphenization is inconsistent—for example, the forms “sea monster” and “sea-monster” both occur—and is not marked unless one form is clearly
anomalous. Errors and omissions in Greek diacritical marks have been silently corrected.

Variant Names

This is not intended to be a complete list.

Dieresis is unpredictable; forms such as “Alcathöe” and “Pirithöus” are common, and have been silently corrected. Since the ligatures “æ” and “œ”
are used consistently, dieresis in “oe” and “ae” can be assumed even when not explicitly indicated.

Treatment of names in Ia- (pronounced as two syllables) is inconsistent. Iäsion and Iänthe are regularly written with dieresis, while Iarbas,
Iapyx, Iapygia are written without.

The forms “Lapithean” and “Lapithæan” both occur.

The “Lilybœus” of Books I-VII is now correctly written “Lilybæus”, but Erysichthon (with y or upsilon) is written “Erisicthon”.

As in Books I-VII, spellings in “-cth-” (Erisicthon, Erectheus) are used consistently in place of “-chth-” (-χθ-). Similarly, Phaëthon is written
“Phaëton”.

Footnote Numbering

Numbers begin from 1 in each Book. Almost all Books had duplications in the sequence, usually in the form “17*”; some had omissions. In this e-
text, footnotes have been renumbered consecutively within each Book, without duplication. Simple printing errors, such as missing or incorrect
tags, have been marked where they occur in the text, and are not listed here.

Book Note
VIII 39-79 printed as 38*, 39-78

80-101 printed as 78*, 79-99

IX
49-80 printed as 48*, 49-79

X
50-65 50 omitted, printed as 51-66
66
67 omitted, printed as 68

XI
36-63 printed as 35*, 36-62

XII
49-55 49 omitted, printed as 50-56

XIII 31-41 31 omitted, printed as 32-42

42-51 printed as 42*, 43-51
52-78 52 omitted, printed as 53-79

XIV 19
footnote and tag misprinted as 17

20-27 printed as 18-25
28-32 26 omitted, printed as 27-31
33-41 32 omitted, printed as 33-41
42-63 42 omitted, printed as 43-64

XV
9-11
9 omitted, printed as 10-12

12-33 13 omitted, printed as 14-35
34-63 printed as 35*, 36-64
64-84 printed as 64*, 65-84
85-93 85 omitted, printed as 86-94

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