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Pygmalion had seen the shameless lives | Pygmalion had seen the shameless lives | ||
of [[w:Cyprus|Cyprus]]’ women; and disgusted by | of [[w:Cyprus|Cyprus]]’{{refn|Cyprus is closely associated with Venus (Aphrodite in Greek mythology), the goddess of love and beauty. According to myth, Venus was born from the sea foam near Cyprus, making the island her sacred domain. The cultural significance of Cyprus as Venus’ island enhances the divine context of Pygmalion’s prayer and the goddess’s involvement.}} women; and disgusted by | ||
the many sins to which the female mind | the many sins to which the female mind | ||
had been inclined by nature, he resigned | had been inclined by nature, he resigned | ||
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“Meanwhile, [[w:Pygmalion (mythology)#In Ovid|Pygmalion]] began to carve | “Meanwhile, [[w:Pygmalion (mythology)#In Ovid|Pygmalion]] began to carve | ||
in snow-white ivory, with wondrous art, | in snow-white ivory,{{refn|The use of ivory for Pygmalion’s statue is not incidental. Ivory, sourced from elephants, was a rare and luxurious material in the ancient world, often associated with purity, beauty, and opulence. The whiteness of the ivory symbolizes perfection and an unattainable ideal, contrasting with the flawed, “shameless” women Pygmalion seeks to escape.}} with wondrous art, | ||
a female figure more exquisite than | a female figure more exquisite than | ||
a woman who was born could ever match. {{ln|10}} | a woman who was born could ever match. {{ln|10}} | ||
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one could have thought she was alive and keen | one could have thought she was alive and keen | ||
to stir, to move her limbs, had she not been | to stir, to move her limbs, had she not been | ||
too timid: with his art, he’s hidden art. {{ln|15}} | too timid: with his art, he’s hidden art.{{refn|(Latin: ''ars adeo latet arte sua'') This line suggests that his craftsmanship is so perfect it conceals the fact that it’s artifice, blurring reality and creation. This notion is a key literary motif in ancient art and literature, emphasizing craftsmanship so refined that it conceals its artificiality. This underscores the perfection of the statue, which blurs the line between artifice and life, mirroring the central theme of transformation.}} {{ln|15}} | ||
He is enchanted and, within his heart, | He is enchanted and, within his heart, | ||
the likeness of a body now ignites | the likeness of a body now ignites | ||
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or ivory; he still will not admit {{ln|20}} | or ivory; he still will not admit {{ln|20}} | ||
it is but ivory. He kisses it: | it is but ivory. He kisses it: | ||
it seems to him that, in return, he's kissed. | it seems to him that, in return, he's kissed.{{refn|Pygmalion projects his desires onto the statue, convincing himself of its responsiveness.}} | ||
He speaks to it, embraces it; at each | He speaks to it, embraces it; at each | ||
caress, the image seems to yield beneath | caress, the image seems to yield beneath | ||
his fingers: and he is afraid he’ll leave {{ln|25}} | his fingers: and he is afraid he’ll leave {{ln|25}} | ||
some sign, some bruise. And now he murmurs words | some sign, some bruise.{{refn|His fear of bruising the ivory reflects his deep immersion in the illusion of its sentience.}} And now he murmurs words | ||
of love, and now he offers gifts that girls | of love, and now he offers gifts that girls | ||
find pleasing: shells, smooth pebbles, little birds, | find pleasing: shells, smooth pebbles, little birds, | ||
and many-colored flowers, painted balls, | and many-colored flowers, painted balls, | ||
and amber tears that the [[w:Heliades#Mythology|Heliades]] {{ln|30}} | and amber tears that the [[w:Heliades#Mythology|Heliades]]{{refn|Alludes to the myth of the Heliades, who were transformed into poplar trees, their tears becoming amber—a symbol of mourning and transformation.}} {{ln|30}} | ||
let drop from trees. He—after draping it | let drop from trees. He—after draping it | ||
with robes—adorns its fingers with fine gems, | with robes—adorns its fingers with fine gems, | ||
its neck with a long necklace; light beads hang | its neck with a long necklace; light beads hang | ||
down from its ears, and ribbons grace its breast. | down from its ears, and ribbons grace its breast.{{refn|The gifts symbolize traditional courtship rituals, emphasizing his genuine affection.}} | ||
All this is fair enough, but it’s not less {{ln|35}} | All this is fair enough, but it’s not less {{ln|35}} | ||
appealing in its nakedness. He rests | appealing in its nakedness.{{refn|Despite adorning the statue, its naked form remains equally captivating, highlighting the tension between artifice and nature.}} He rests | ||
the statue on the covers of his bed, | the statue on the covers of his bed, | ||
on fabric dyed with hues of [[w:Sidon|Sidon]]’s shells;<ref>Purple or red, an expensive Phoenician dye from shellfish.</ref> | on fabric dyed with hues of [[w:Sidon|Sidon]]’s shells;<ref>Purple or red, an expensive Phoenician dye from shellfish indicating wealth and the lengths Pygmalion goes to in honoring his creation.</ref> | ||
he calls that form the maid that shares his couch | he calls that form the maid that shares his couch | ||
and sets its head on cushions—downy, soft delicately, {{ln|40}} | and sets its head on cushions—downy, soft delicately, {{ln|40}} | ||
as if it could respond. | as if it could respond. | ||
“The day of Venus’ festival had come— | “The day of Venus’ festival{{refn|The detailed description of the festival underscores the cultural importance of Venus, the goddess of love.}} had come— | ||
the day when, from all Cyprus, people thronged; | the day when, from all Cyprus, people thronged; | ||
and now-their curving horns are sheathed with gold— | and now-their curving horns are sheathed with gold— | ||
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then let me have the wife I want’—and here | then let me have the wife I want’—and here | ||
he did not dare to say ‘my ivory girl’ | he did not dare to say ‘my ivory girl’ | ||
but said instead, ‘one like my ivory girl.’ | but said instead, ‘one like my ivory girl.’{{refn|Pygmalion’s carefully phrased prayer to Venus—asking for a wife “like my ivory girl” rather than directly requesting the statue be brought to life—reveals both his humility before the gods and his anxiety about the limits of divine power. His prayer is a reflection of the tension between mortal desire and deference to divine authority. Or it could also be a reflection of his shame at having fallen for an very statue.}} | ||
And golden Venus (she indeed was there | And golden Venus (she indeed was there | ||
at her own feast-day) understood his prayer: {{ln|55}} | at her own feast-day) understood his prayer: {{ln|55}} | ||
three times the flame upon her altar flared | three times the flame upon her altar flared | ||
more brightly, darting high into the air— | more brightly, darting high into the air— | ||
an omen of the goddess’ kindly care. | an omen of the goddess’ kindly care.{{refn|The “threefold flare” of Venus’s altar flame is a classic omen indicating divine approval in Roman religion. This moment marks the goddess’s direct involvement and solidifies the story as not merely one of mortal artistry but of divine intervention. Or it could be just the wind.}} | ||
At once, Pygmalion, at home again, | At once, Pygmalion, at home again, | ||
seeks out the image of the girl; he bends {{ln|60}} | seeks out the image of the girl; he bends {{ln|60}} | ||
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its hardness; now his fingers probe; grown soft, {{ln|65}} | its hardness; now his fingers probe; grown soft, {{ln|65}} | ||
the statue yields beneath the sculptor’s touch, | the statue yields beneath the sculptor’s touch, | ||
just as Hymettian wax beneath the sun | just as Hymettian wax{{refn|Hymettian wax refers to beeswax produced in the region of Mount Hymettus in ancient Greece, near Athens. Mount Hymettus was renowned in antiquity for its high-quality honey and wax, which were prized for their purity, pliability, and golden sheen. The reference symbolizes something malleable and soft, easily shaped under warmth, which serves as a fitting metaphor for the transformation. The simile likening the softening of the statue’s ivory to Hymettian wax highlights the tactile and sensory nature of the transformation, emphasizing the artistry and almost magical quality of the moment. For Ovid’s Roman audience, the mention of Hymettian wax would have evoked associations of refinement and luxury, aligning with the exquisite craftsmanship Pygmalion invested in his creation.}} beneath the sun | ||
grows soft and, molded by the thumb, takes on | grows soft and, molded by the thumb, takes on | ||
so many varied shapes—in fact, becomes | so many varied shapes—in fact, becomes | ||
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his anxious fingers—pulse. Pygmalion | his anxious fingers—pulse. Pygmalion | ||
pours out rich thanks to Venus; finally, {{ln|75}} | pours out rich thanks to Venus; finally, {{ln|75}} | ||
his lips press lips that are not forgeries. | his lips press lips that are not forgeries.{{refn|Pygmalion’s repeated acts of touching and kissing the statue highlight the centrality of physicality in his relationship with his creation. The transition from cold ivory to warm flesh symbolizes the fulfillment of his desires but also serves as a broader metaphor for the transformative power of love and devotion. Or he could just be a horny incel.}} | ||
The young girl<ref>[[w:Galatea (mythology)|Galatea]], unnamed here by Ovid.</ref> feels these kisses; blushing, she | The young girl<ref>[[w:Galatea (mythology)|Galatea]], unnamed here by Ovid.</ref> feels these kisses; blushing, she | ||
lifts up her timid eyes; she seeks the light; | lifts up her timid eyes; she seeks the light; | ||
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|}</div> | |}</div> | ||
{{Notes}} | {{Notes|title=notes & commentary}} | ||
{{2020}} | {{2020}} | ||
Latest revision as of 17:27, 6 January 2025
|
Pygmalion had seen the shameless lives |
notes & commentary
- ↑ The story of Pygmalion is narrated by Orpheus who is bitter from having lost Euridice to Hades. In his prologue, he states the subject of his narrative: “I sing of boys the gods have loved, and girls / incited by unlawful lust and passions, / who paid the penalty for their transgressions.”
The story of Pygmalion, found in Book 10 of Ovid’s Metamorphoses, is an exploration of artistry, desire, transformation, and the nature of human connection. It follows Pygmalion, a sculptor who creates an ivory statue so perfect that he falls deeply in love with his creation. Dissatisfied with the flaws he perceives in real women, Pygmalion retreats into his art, crafting an idealized form that embodies his unattainable vision of beauty and virtue. His devotion is rewarded by the goddess Venus, who animates the statue, transforming it into a living woman with whom Pygmalion can share his life.
This tale is steeped in themes that resonate across cultures and time. It reflects on the interplay between creation and creator, the boundaries between reality and imagination, and the transformative power of love. Pygmalion’s story also carries undercurrents of critique regarding gender roles and the idealization of women, as the statue initially embodies an unrealistically perfect ideal molded by male fantasy. Ovid’s treatment of this myth reveals his characteristic wit and his ability to explore universal human desires, offering readers a complex meditation on art, devotion, and the pursuit of perfection. - ↑ Ovid (1993) [8]. The Metamorphoses of Ovid. Translated by Mandelbaum, Allen. New York: A Harvest Book. pp. 335–37.
- ↑ Cyprus is closely associated with Venus (Aphrodite in Greek mythology), the goddess of love and beauty. According to myth, Venus was born from the sea foam near Cyprus, making the island her sacred domain. The cultural significance of Cyprus as Venus’ island enhances the divine context of Pygmalion’s prayer and the goddess’s involvement.
- ↑ I doubt he had much say, really. He seems like a pig, really, suggesting that all women are whores “by nature.” Likely, none of them gave him the time of day, so he developed his misogyny as perhaps literature’s first incel.
- ↑ The use of ivory for Pygmalion’s statue is not incidental. Ivory, sourced from elephants, was a rare and luxurious material in the ancient world, often associated with purity, beauty, and opulence. The whiteness of the ivory symbolizes perfection and an unattainable ideal, contrasting with the flawed, “shameless” women Pygmalion seeks to escape.
- ↑ (Latin: ars adeo latet arte sua) This line suggests that his craftsmanship is so perfect it conceals the fact that it’s artifice, blurring reality and creation. This notion is a key literary motif in ancient art and literature, emphasizing craftsmanship so refined that it conceals its artificiality. This underscores the perfection of the statue, which blurs the line between artifice and life, mirroring the central theme of transformation.
- ↑ Pygmalion projects his desires onto the statue, convincing himself of its responsiveness.
- ↑ His fear of bruising the ivory reflects his deep immersion in the illusion of its sentience.
- ↑ Alludes to the myth of the Heliades, who were transformed into poplar trees, their tears becoming amber—a symbol of mourning and transformation.
- ↑ The gifts symbolize traditional courtship rituals, emphasizing his genuine affection.
- ↑ Despite adorning the statue, its naked form remains equally captivating, highlighting the tension between artifice and nature.
- ↑ Purple or red, an expensive Phoenician dye from shellfish indicating wealth and the lengths Pygmalion goes to in honoring his creation.
- ↑ The detailed description of the festival underscores the cultural importance of Venus, the goddess of love.
- ↑ Pygmalion’s carefully phrased prayer to Venus—asking for a wife “like my ivory girl” rather than directly requesting the statue be brought to life—reveals both his humility before the gods and his anxiety about the limits of divine power. His prayer is a reflection of the tension between mortal desire and deference to divine authority. Or it could also be a reflection of his shame at having fallen for an very statue.
- ↑ The “threefold flare” of Venus’s altar flame is a classic omen indicating divine approval in Roman religion. This moment marks the goddess’s direct involvement and solidifies the story as not merely one of mortal artistry but of divine intervention. Or it could be just the wind.
- ↑ Hymettian wax refers to beeswax produced in the region of Mount Hymettus in ancient Greece, near Athens. Mount Hymettus was renowned in antiquity for its high-quality honey and wax, which were prized for their purity, pliability, and golden sheen. The reference symbolizes something malleable and soft, easily shaped under warmth, which serves as a fitting metaphor for the transformation. The simile likening the softening of the statue’s ivory to Hymettian wax highlights the tactile and sensory nature of the transformation, emphasizing the artistry and almost magical quality of the moment. For Ovid’s Roman audience, the mention of Hymettian wax would have evoked associations of refinement and luxury, aligning with the exquisite craftsmanship Pygmalion invested in his creation.
- ↑ Pygmalion’s repeated acts of touching and kissing the statue highlight the centrality of physicality in his relationship with his creation. The transition from cold ivory to warm flesh symbolizes the fulfillment of his desires but also serves as a broader metaphor for the transformative power of love and devotion. Or he could just be a horny incel.
- ↑ Galatea, unnamed here by Ovid.