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 Constanza. Romania (ancient Tomis)* * Unless otherwise specified, all images are from Wikimedia Commons. Source: www.the-romans.co.uk/timelines/ovid.htm 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 Valerius Messalla Corvinus (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 decemviri stlitibus iudicandis. 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 Ars Amatoria, Remedia Amoris, Heroides, and Medicamine Faciei Feminae, dividing his time between Rome and his country villa a few miles outside the city. 1 Publishes first two books of Ars Amatoria. 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) 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 mūtātās dīcere formās corpora: dī, coeptīs (nam vōs mūtāstis et illa) adspīrāte meīs prīmāque ab orīgine mundī ad mea perpetuum dēdūcite tempora carmen. 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 Amores I.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: • -ēre for -ērunt • “poetic” plural • preference for -que over et • -īs for -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 Prīmus amor Phoebī Daphnē Pēnēia: quem nōn fors ignāra dedit, sed saeva Cupīdinis īra. Dēlius hunc nūper victō serpente superbus, vīderat adductō flectentem cornua nervō “Quid” que ‘tibi, lascīve puer, cum fortibus armīs?” Dīxerat, “Ista decent umerōs gestāmina nostrōs, quī dare certa ferae, dare vulnera possumus hostī, quī modo pestiferō tot iūgera ventre prementem strāvimus innumerīs tumidum Pȳthōna sagittīs. Tū face nesciō quōs estō contentus amōrēs inrītāre tuā, nec laudēs adsere nostrās.” alliteration epithet 455 nostrōs: “royal” we synchesis 460 Pȳthōna: Greek acc. estō: future imperative

10. I. Two Archers Fīlius huic Veneris “Fīgat tuus omnia, Phoebe, tē meus arcus” ait, “quantōque animālia cēdunt cūncta deō, tantō minor est tua glōria nostrā.” Dīxit et ēlīsō percussīs āēre pennīs inpiger umbrōsā Parnāsī cōnstitit arce ēque sagittiferā prōmpsit duo tēla pharetrā dīversōrum operum: fugat hoc, facit illud amōrem; quod facit, aurātum est et cuspide fulget acūtā, quod fugat, obtūsum est et habet sub harundine plumbum. 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 omphalos with 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 pharetra hanging at his side. Credit: theoi.com

15. II. The Arrows Fly Hoc deus in nymphā Pēnēide fīxit, at illō laesit Apollineās trāiecta per ossa medullās: prōtinus alter amat, fugit altera nōmen amantis silvārum latebrīs captīvārumque ferārum exuviīs gaudēns innūptaeque aemula Phoebēs; vitta coercēbat positōs sine lēge capillōs. Multī illam petiēre, illa āversāta petentēs inpatiēns expersque virī nemora āvia lustrat nec, quid Hymēn, quid Amor, quid sint cōnūbia cūrat. 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 Saepe pater dīxit “Generum mihi, fīlia, dēbēs”, saepe pater dīxit “dēbēs mihi, nāta, nepōtēs”: illa velut crīmen taedās exōsa iugālēs pulchra verēcundō suffūderat ōra rubōre inque patris blandīs haerēns cervīce lacertīs, “Dā mihi perpetuā, genitor cārissime,” dīxit “virginitāte fruī: dedit hoc pater ante Diānae.” Ille quidem obsequitur; sed tē decor iste, quod optās, esse vetat, vōtōque tuō tua 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 aconita novercae (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, Aeneid 4.139) 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 amat vīsaeque cupit cōnūbia Daphnēs, quodque cupit, spērat, suaque illum ōrācula fallunt; utque levēs stipulae dēmptīs adolentur aristīs, ut facibus saepēs ardent, quās forte viātor vel nimis admōvit vel iam sub lūce relīquit, sīc deus in flammās abiit, sīc pectore tōtō ūritur et sterilem spērandō nūtrit amōrem. Spectat inōrnātōs collō pendēre capillōs et “Quid, sī cōmantur?” 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? • videt igne micantēs • sīderibus similēs oculōs, videt ōscula, quae nōn • est vīdisse satis; laudat digitōsque manūsque • bracchiaque et nūdōs mediā plūs parte lacertōs: • sīqua latent, meliōra putat. Fugit ōcior aurā • illa levī neque ad haec revocantis verba resistit: • “Nympha, precor, Pēnēi, manē! Nōn īnsequor hostis; • nympha, manē! Sīc agna lupum, sīc cerva leōnem, • sīc aquilam pennā fugiunt trepidante columbae, • hostēs quaeque suōs; amor est mihi causa sequendī. 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 uses highly visual language • 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 prōna cadās, indignave laedī crūra notent sentēs, et sim tibi causa dolōris. Aspera, quā properās, loca sunt: moderātius, orō, curre fugamque inhibē: moderātius īnsequar ipse. Cui placeās, inquīre tamen; nōn incola montis, nōn ego sum pāstor, nōn hīc armenta gregēsque horridus observō. Nescīs, temerāria, nescīs, quem fugiās, ideōque fugis. Mihi Delphica tellūs et Claros et Tenedos Patarēaque rēgia servit; 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? Iūppiter est genitor. Per mē, quod eritque fuitque estque, patet; per mē concordant carmina nervīs. Certa quidem nostra est, nostrā tamen ūna sagitta certior, in vacuō quae vulnera pectore fēcit. Inventum medicīna meum est, opiferque per orbem dīcor, et herbārum subiecta potentia nōbīs: ei mihi, quod nūllīs amor est sānābilis herbīs, nec prōsunt dominō, 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) - u u | - u u | - u u | - u u | - u u | - - - u u | - u u | - || - u u | - u u | - • Greek origins • most popular type of poetry in Ovid’s Rome • Catullus, Propertius, Tibullus • love is common theme • paraclausithyron, exclusus amator Read Amores I.1 (click for link)

29. V. The Pace Quickens 525 Plūra locūtūrum timidō Pēnēia cursū fūgit cumque ipsō verba inperfecta relīquit, tum quoque vīsa decēns; nūdābant corpora ventī, obviaque adversās vibrābant flāmina vestēs, et levis inpulsōs retrō dabat aura capillōs, auctaque forma fugā est. Sed enim nōn sustinet ultrā perdere blanditiās iuvenis deus, utque monēbat ipse amor, admissō sequitur vestīgia passū. locūtūrum (eum) golden line! alliteration 530 prodelision amor (or Amor!)

30. V. The Pace Quickens epic simile word picture Ut canis in vacuō leporem cum Gallicus arvō vīdit, et hic praedam pedibus petit, ille salūtem (alter inhaesūrō similis iam iamque tenēre spērat et extentō stringit vestīgia rostrō, alter in ambiguō est, an sit conprēnsus, et ipsīs morsibus ēripitur tangentiaque ōra relinquit): sīc deus et virgō; est hic spē celer, illa timōre. 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

31. VI. Daphne’s Last Request 540 Quī tamen īnsequitur, pennīs adiūtus amōris, ōcior est requiemque negat tergōque fugācis inminet et crīnem sparsum cervīcibus adflat. Vīribus absūmptīs expalluit illa citaeque victa labōre fugae “Tellūs,” ait, “hīsce vel istam, [victa labōre fugae spectāns Pēnēidās undās] quae facit ut laedar, mutandō perde figūram! polysyndeton enjambment istam (figuram) 544a 545

32. VI. Daphne’s Last Request Fer, pater,” inquit “opem, sī flūmina nūmen habētis! quā nimium placuī, mutandō perde figūram!” [quā nimium placuī, Tellūs, ait, hīsce vel istam] Vix prece fīnītā torpor gravis occupat artūs: mollia cinguntur tenuī praecordia librō, in frondem crīnēs, in rāmōs bracchia crēscunt; pēs modo tam vēlōx pigrīs rādīcibus haeret, ōra cacūmen habet: remanet nitor ūnus 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

33. 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?

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

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

36. Credit: www.mcah.columbia.edu

37. Credits: www.mcah.columbia.edu

40. 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.

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

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

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

44. Baroque Architecture: Trevi Fountain, Rome

45. Baroque Music: 1685-1750

46. VII. Apollo’s Eternal Love Hanc quoque Phoebus amat positāque in stīpite dextrā sentit adhūc trepidāre novō sub cortice pectus conplexusque suīs ramos, ut membra, lacertīs ōscula dat lignō: refugit tamen ōscula lignum. Cui deus “At quoniam coniūnx mea nōn potes esse, arbor eris certē” dīxit “mea. Semper habēbunt tē coma, tē citharae, tē nostrae, laure, pharetrae; word pictures… note the placement of the anatomical words chiasmus, synchesis, polypton, epizeuxis alliteration anaphora 555 www.theoi.com

47. VII. Apollo’s Eternal Love 560 tū ducibus Latiīs aderis, cum laeta triumphum vōx canet et vīsent longās Capitōlia pompās. Postibus Augustīs eadem fīdissima custōs ante forēs stābis mediamque tuēbere quercum, utque meum intōnsīs caput est iuvenāle capillīs, tū quoque perpetuōs semper gere frondis honōrēs.” Fīnierat Paeān: factīs modo laurea rāmīs adnuit utque caput vīsa est agitāsse cacūmen. transferred epithet personification mediam: word picture simile, chiasmus epithet enjambment 565

48. The Laurel • Laurus nobilis • 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

49. 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.

50. The Laurel: Mythic Sources From Theoi.com: • Ovid places the aetion in the Valley of Tempe in Thessaly, which is where the river Peneios flows into the Aegean sea. In the valley was a sacred laurel tree, the fronds of which were used to crown the victors of the Pythian games. The contests were originally musical, but athletic events were added in 585 B.C. • In a festival at Delphi, a branch of a sacred laurel tree was fetched from the Thessalian vale of Tempe. This rite would suggest that the Thessalian version of the Daphne myth was the older than the one told by Ovid as an aetion. • There was also a Delphic myth about Daphnis, an oreiad nymph who was Gaia's prophetic priestess at Delphoi before Apollo took control of the oracle. Valley of Tempe and the Peneus River