Jealousy and Desire in Ovid's Metamorphoses Essay examples

it. There was a faint sign of rebellion hidden behind this idea..." (Politzer, 76-77) All of

In the play, Othello, jealousy and envy are prominent themes from the beginning to the end. As the play starts to unwind, you can see jealousy is the major cause of all the drama in the play. Jealousy or envy is a feeling of discontented or resentful longing by someone else’s possessions , qualities or luck. Iago becomes engulfed by jealousy and it causes him to corrupt Othello. They are two men that cause similar crimes but we sympathize for Othello and hate Iago because they have different attitudes towards their crime.

Jealousy is a powerful emotion that can blind oneself from identifying the truth. Shakespeare heavily emphasizes this theme throughout the drama Othello, especially through the actions of characters. In the play the heinous antagonist, Iago, uses each character’s jealousy to deceive that person and manipulate the truth. His false promises and deceitfulness bring to the demise of many of the main characters in the play, including the protagonist, Othello. Othello could not have been deceived if it were not for his powerful jealousy. Therefore, Shakespeare is telling us that jealousy is an ugly trait that can hide the truth, which in turn causes many problems between characters in the play.

Shakespeare’s Othello is a play consistently based on jealously and the way it can destroy lives. One is quick to think this jealously is based on Othello’s lack of belief in Desdemona’s faithfulness to him or his suspensions over Desdemona’s affair with Cassio, Othello’s honorable lieutenant. Upon closer inspection of the jealously that exists throughout the play it becomes clear that his jealously is not the sole start and reason for all of the destruction that occurs. Iago, a good friend of Othello, is not who he appears to be. Iago’s own jealously of those around him pushes him over the edge. He begins to deceive all those who believe he is a true, honorable, and faithful man. Throughout Othello, Iago incites his own jealously in

to escape they hide undernearth his flock of sheep when he let them out in the morning. As they left the taunted Polyphemus Galatea's story - Polyphemus had gotten his eye back likely from his father in this story Poisidon. He falls in love with the sea nymph Galatea. She would mock him, get him to chase her and then laugh at his clumsiness. Their case was hopeless.

    Byblis and Myrrha, two of Ovid's impassioned, transgressive heroines, confess incestuous passions. Byblis yearns for her brother, Caunus, and Myrrha lusts for her father, Cinyras. Mandelbaum translates these tales effectively, but sometimes a different translation by Crane brings new meaning to an argument. As Byblis and Myrrha realize the feelings at hand, they weigh the pros and cons of such emotions. Despite the appalling relationships in question, each young girl provides concrete support and speaks in such a way that provokes pity for her plight. Their paths of reasoning coincide, but Byblis starts where Myrrha's ends, and visa versa; Myrrha begins where Byblis' concludes.

My topic is jealousy in the play Othello. Shakespeare wrote this play as a focus on the dangers of jealousy. It shows how jealousy can be kept going by nothing more than circumstantial evidence and how it can destroy people’s lives. In Othello jealousy appears in many ways, from sexual suspicion to professional competition, but as in all cases it is destructive. Shakespeare proves that jealousy is inherently unreasonable in this play. He proves it is founded in the psychological issues of the jealous person, not the behavior of the one who prompts the jealous feelings.

After diving deeper into the production of Metamorphoses I couldn’t help but recognize a theme of, “The Powers of Love”. The objective of the performance was to present the transitions and effects that love has on people, by staging different myths and stories. By enabling different design element and implementing special effects, the production of Metamorphoses created a visual world in which the play could unfold.

Lust can lead to extreme decisions. In the case of William Shakespeare's Romeo and Juliet, their

Justice, what is justice?  Is justice the administration of law, a way to punish the wrong, create an example for the spectators? Yes, Indeed, by definition justice is the administration of law, it is to push the wrongdoers according to laws. However, in Ovid’s Metamorphosis, “justice” is not just at all. Females are given a harsher punishment than males. Demigods are punished while other gods are not. In Metamorphosis justice is controlled by the superior (the gods), while the inferior (mortals) are always punished whether they committed a crime or not. For example,the story of Io, she was a fair nymph who caught the eye of Jupiter (Zeus), and was punished for many days. This story is one of the many that Ovid writes about in Metamorphosis, where a human or female was punished without fault.

“The normally menacing beast is shown softly gazing with a large eye that has been seen in previous Redon works. Galatea the naiad is shown naked and vulnerably lying on a patch of vegetation. It appears Polyphemus is keeping one gentle eye watching over the “sexualized maiden.” He has hidden himself from Galatea behind the rocky terrain, too shy to directly confront her “helpless” form”.

first of all the characters in the play to be attacked by the "green -

In one word, the author Ovid describes the overall content and theme of his poem with the word “Metamorphoses” in the title. Some relative synonyms of this word among others are; altar, change, mutate, develop, and reshape (metamorphose). But Ovid goes further to describe the theme within the first two lines of the poem.

Ovid's "Metamorphoses" is sometimes argued as a non-epic as well as a true epic. It is mainly viewed as a non-epic because Ovid's subject matter is far from the heroic themes of the "Illiad", "Odyssey", and the "Aeneid" (Keith 237). Ovid was different and was motivated to push the epic beyond its previous boundaries (Ovid). Perhaps in hopes to confirm the structure of his work, Ovid declares that he will undertake "one continuous song in many thousands of verses" (Keith 238-239). Ovid's wording here is a self-conscious declaration that he is going to write in the epic mode.

Upon encountering Daphne, Apollo falls madly in love with her. Overcome by Cupid's arrow, Apollo sets aside reason and becomes engulfed by his hope of attaining his love. Before being transformed, Apollo would most likely have paid little or no attention to Daphne, but now, Apollo is overcome by his lust for beauty. Ovid compares Apollo's love for Daphne to a flame in a brush. This metaphor used by Ovid is very effective. The change that goes through Apollo is very sudden and fast. The imagery of a flame rapidly spreading through brush conveys the idea of an almost violent change. The god is consumed with a desire for the girl. His chase is fueled by a hope to overcome the ultimate futility of his actions. He sees every part of her as beautiful, her eyes, hair, face and even speculates as to the beauty of her hidden regions. Unsatisfied by the sight of Daphne and wanting more than just a glimpse of her beauty, Apollo follows Daphne as a hound chases a rabbit. The hope for his fruitless love keeps Apollo close on Daphne's trail, and fear motivates Daphne to stay just out of reach. When Ovid tries to convey the intensity of the flight, he says, 'He gave the fleeing maiden no respite, but followed close on her heels, and his breath touched the locks that lay scattered on her neck,';(p. 43) Finally, burdened by mortal exhaustion, Daphne prays to her father to deliver her from her torment. As the words leave her mouth, Daphne is transformed for the second