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Divine Poetics: Representation of Genre in Ovid's Metamorphoses 6.70-128 Hong Yoong University of New Mexico UNM Digital Repository Foreign Languages & Literatures ETDs Electronic Theses and Dissertations 6-26-2015 Divine Poetics: Representation of Genre in Ovid's Metamorphoses 6.70-128 Hong Yoong Follow this and additional works at: https://digitalrepository.unm.edu/fll_etds Recommended Citation Yoong, Hong. "Divine Poetics: Representation of Genre in Ovid's Metamorphoses 6.70-128." (2015). https://digitalrepository.unm.edu/fll_etds/37 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Foreign Languages & Literatures ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Hong Siong Yoong Candidate Foreign Languages and Literatures Department This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee: Professor Lorenzo F. Garcia, Jr. , Chairperson Professor Monica Cyrino Professor Osman Umurhan i DIVINE POETICS: REPRESENTATION OF GENRE IN OVID’S METAMORPHOSES 6.70-128 by HONG S. YOONG B.A., ART AND ARCHAEOLOGY, HOOD COLLEGE 2009 M.A. CLASSICS, TEXAS TECH UNIVERSITY 2012 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Comparative Literature and Cultural Studies The University of New Mexico Albuquerque, New Mexico May 2015 ii Acknowledgments Much acknowledgement and gratitude are needed for the following people who were instrumental in my pursuit and completion of this thesis. I have profitted much from the educational and moral supports from these outstanding individuals. To Dr. Lorenzo F. Garcia, my advisor and thesis chairperson, for your dedication, patience, and guidance. Thank you for your aid on the formulation of my thesis, your assistance in my understanding of critical and literary theories required to tackle my argument, and your time and effort placed in editing my work during your sabbatical break. It is from your counsel that I am able to formulate this complex yet important foundation of my interpretation of Ovid’s Metamorphoses. To Dr. Monica Cyrino, for your editorial and syntactical criticism of my writing. Without you, I would have a hard time trying to find my own unique voice in my thesis. I also owe much gratitude to you because you decided to accept me into the program at the University of New Mexico. Without this program as a stepping stone, I do not think I can obtain such a high level of academic competency. To Dr. Osman Umurhan, for making me elaborate and clarify various parts of my thesis. Without these comments on clarifying my writing, my arguments would have confused the reader more because of my assumption that these readers would have read as much as I have. I also appreciate the humor in which you constantly provide to alleviate the stress of graduate life. To the graduate students of the Classics division at the University of New Mexico, for your patience and moral support. Thank you Kelle, Makaila, Samantha, Dannu, Andrew, and Benjamin for all your asssistance and help during my time spent at UNM writing this thesis. With your friendship, the stress of writing this thesis is less than what it could have been. Multas gratias vobis ago! iii DIVINE POETICS: REPRESENTATION OF GENRE IN OVID’S METAMORPHOSES 6.70-128 By Hong S. Yoong B.A., Art and Archaeology, Hood College, 2009 M.A., Classics, Texas Tech University, 2012. M.A., Comparative Literature and Cultural Studies, University of New Mexico, 2015 ABSTRACT In my thesis, I explore the generic allusion of two ekphrases in the textile competition between Minerva and Arachne. While various scholars have approached the story of Arachne based on Ovid’s critique of the Augustan regime, I focus more on the poetic representation of the two ekphrases in the context of their intertextual relationship with other Greek and Roman literary traditions. Minerva’s tapestry is the embodiment of the heroic epic tradition similar to Homeric and Vergilian narrative, and Arachne’s tapestry represents the archetype of the Hellenistic poetic tradition. While Ovid perceives the heroic epic tradition as the embodiment of Minerva’s divine power, he portrays the poetics of the Hellenistic tradition as the personification of Bacchus’ divinity. Ovid illuminates his understanding of the two poetic traditions through Minerva’s and Arachne’s tapestries; while at the same time Ovid demonstrates his mastery of the two traditions by interweaving them into the Metamorphoses. iv TABLE OF CONTENTS 0.1 INTRODUCTION: THE DIVINE CONUNDRUM OF POETIC COMPOSITION ........................1 0.2 TEXTILE AND THE TEXT: CONFLICTING COMPLEMENTS OF ANCIENT POETRY ...........3 0.3 DIVINE BACKGROUND: MINERVA AND BACCHUS AS CONFLICTING CELESTIAL FIGURES .......................................................................................................................4 0.4 SCHOLARSHIP ON POETIC COMPOSITION AND DIVINE AFFILIATIONS .........................6 0.5 MINERVAN POETICS: THE GENERIC REPRESENTATION OF MINERVA'S TAPESTRY ......8 0.6 BACCHIC POETICS: THE DIVINE RESPONSE IN ARACHNE’S TAPESTRY.......................9 0.7 CONCLUSION: THE POEM, THE POET, AND THE DIVINE POETICS OF WEAVING ......... 11 CHAPTER 1. MINERVA'S POETICS: THE GENERIC REPRESENTATION OF MINERVA'S TAPESTRY .......................................................................................... 13 1.1 MINERVA’S TAPESTRY: A POETIC APPROACH ........................................................ 13 1.2 A CERTAMEN OF WEAVING: MINERVA VERSUS ARACHNE ....................................... 14 1.3 LAUS ARTIS LANIFICAE: SETTING UP THE CERTAMEN ............................................... 16 1.4 ARGUMENTUM: THE STRUCTURED TAPESTRY ......................................................... 20 1.5 IS MODUS EST: MINERVA’S STYLE, MINERVA’S POETICS ........................................ 33 1.6 MINERVA’S MĒTIS: THE OTHER SLIGHTED NUMEN ................................................. 38 1.7 DONUM MINERVAE: VERGILIAN EPIC IN MINERVA’S TAPESTRY .............................. 43 1.8 MINERVAN POETICS: A SUMMARY ........................................................................ 49 CHAPTER 2: BACCHIC POETICS: THE DIVINE RESPONSE IN ARACHNE’S TAPESTRY ................................................................................................................. 50 2.1 ARACHNE’S TAPESTRY: A DIFFERENT EXAMINATION ............................................ 50 2.2 INTERTEXTUAL AND INTRATEXTUAL WEAVINGS OF ARACHNE’S TAPESTRY ........... 51 v 2.3 ORGANIZATION AND MISDIRECTION OF ARACHNE’S TAPESTRY. ............................. 58 2.4 CALLIMACHEAN POETICS IN ARACHNE’S PICTORIAL DESCRIPTION ......................... 66 2.5 ELUSA: ARACHNE’S PLAYFUL ARGUMENTUM AND THE POETICS OF DECEPTION ....... 73 2.6 BEYOND ELUSA: HELLENISTIC IDEALS OF ARACHNE’S TAPESTRY ........................... 82 2.7 BACCHIC POETICS: THE ANTI IS MODUS EST .......................................................... 86 2.8 BACCHIC POETICS: A SUMMARY ........................................................................... 92 CONCLUSION: THE POEM, THE POET, AND THE DIVINE POETICS OF WEAVING ................................................................................................................... 94 3.1 DIVINE POETICS: POLEMIC REPRESENTATION OF THE TWO TAPESTRIES .................. 94 3.2 CAELESTIA CRIMINA: INTERPRETING THE OUTCOME OF THE CONTEST .................... 95 3.3: BEYOND THE TAPESTRY: APPLICATION OF MINERVAN AND BACCHIC POETICS IN THE METAMORPHOSES. ..................................................................................................... 102 BIBLIOGRAPHY ...................................................................................................... 106 vi Divine Poetics: Representation of Genre in Ovid’s Metamorphoses 6.70-128 0.1 Introduction: the Divine Conundrum of Poetic Composition Ovid’s Metamorphoses is a unique text, a composition of elegiacally themed tales of eroticism and suffering described in hexameter verse. Scholars have faced the conundrum of the generic representation of Ovid’s Metamorphoses for almost a century, ever since Richard Heinze (1919) began to examine the elegiac elements within the narrative in the Metamorphoses and considered the poem as the product of an essentially elegiac poet.1 Brooks Otis laid out a different approach to the Metamorphoses in his Ovid as an Epic Poet (1966), presenting the poem as firmly a part of the tradition of Homeric and Vergilian epic.2 It is a difficult task to determine how to locate Ovid’s Metamorphoses within a specific generic position. By attempting to categorize the poem, we presuppose that the Metamorphoses must adhere to specific sets of generic boundaries, which cannot be easily broken. William Anderson (1993) suggests the categorization of genre “is more damaging than helpful to approach Ovid’s poem.”3 Yet more recently, scholars such as Heather van Tress (2004), argue that the examination of generic patterns in poetry exists as early as Plato and Aristotle.4 She further claims that “Ovid is very much aware of genre.”5 In the textile competition between Minerva and Arachne (Metamorphoses 6.1-145), Ovid represents the two competing textiles as polar 1 See Anderson 1993, 110 on Heinze. 2 See Anderson 1993, 111 on Otis. 3 Anderson 1993, 112. 4 van Tress 2004, 5. 5 van Tress 2004, 6. 1 opposites of one another. He attempts to do so by reflecting their conflicting themes
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