I think that Avid heroes in Metamorophoses are supernatural heroes with serious powers to be able to conquer and survive amid the chaos that characterize the age within which the poem is created.
I am going to look at the voice of Ovid is characterized through the mythical manifestation of the heroes and the heroines.
I am going to look at how Ovid’s heroes bring to the literary scene casting a life of women who exudes bravery, sexual attractiveness, modern and horrifying with their life episodes.
I am going to look at the scene where humans are introduced in the story to depict the main weakness preventing heroism in human characters
Ovid’s heroes are evident in the poem, Metamorophoses”, which can be translated to “Transformations”. Within the narrative poem, it is evident that Ovid’s heroes are mostly supernatural in nature, the gods whom he is expecting blessings from. The supernatural heroes have serious powers to be able to conquer and survive amid the chaos that characterize the age within which the poem is created. He speaks about the giants, who are attempting to seize the heavens, which leads to the furious Jove sending a huge flood, destroying all the living creatures apart from Deucalion and Pyrrha, who are revealed as a virtuous couple illustrated through “And Undersea, the Nereids, amazed, stare hard at cities and homes and groves; through woodlands, dolphins roam; they bump against tall branches, knock and shake oak trees” (1.293-303). Ovid’s heroes captures the extensive trajectory of mythical response to faithless love. The tricky sense of humor and pathos that enhances the light moments in the audience portray a complex relationship between the authoritative voices to mirror the literary imagination of men within the spectrum of sexual relationship.
The voice of Ovid is characterized through the mythical manifestation of the heroes and the heroines. This depicts a literacy epistle that profoundly addresses the torments and happiness of live as evident in the poets’ imagery of the pain individuals feel when they separate, forgive infidelity or get annoyed at betrayal. Penelope, the faithful voice wonders why the absence of Ulysses to demonstrated the prophesy of a tragedy that inspires people to risk life for the sake of their heroes. The basic story in the poem reflects the contemporary representation of the nature of sexual attraction, desire and love from a variety of social and human perspectives evident in “And so the swan seeks out still pools and broad lakes; hating all that's fiery, he chooses water – fire's contrary” (2.367-380). This is manifested in the wishes of the mortal Adonis to hunt beasts leading Venus to dissuade him. The reposition of Venus, as aptly pursing Adonis constructs a radical thematic inclination into the concept of romantic relations. Avid’s heroes adhere to the poetic style that enhance the functionality of sexually empowered subversion.
Ovid’s heroes bring to the literary scene casting a life of women who exudes bravery, sexual attractiveness, modern and horrifying with their life episodes. The message of beauty and longing of suffering presents a timeless and universal characteristics of human life. The literary transvestism attempts to revitalize and modernize the mythical understanding of deeply subjective themes of social life wrought together through epistolary fiction and dramatic monologue. The use of the couple is another perspective of heroes presented by Ovid (4.394-398). While the couple does not engage in violence, their heroism is revealed in their ability to survive the great floods sent by Jove and their ability to fill the earth once again through obedience to what the gods command and using the rocks as another breed of man.
The aspect of heroism is reflected through the strategic focus that make the women escape from their sexual challenges and predicament. This characterize a less cowardly ramification that must build on courage to threaten, pleads and seduce the curse or comfort of life. The version of the poem significantly draws a line of pleasure to present a more passionate and emotional construction of the youthful desire and love in the Shakespearean period.
The heroes presented by Ovid are different from other traditional epics’ heroes. This is because he does not concentrate on the heroic deeds of one or more great heroes. Among the heroic acts that he focuses on is love, which is an evident theme in all of his works. He speaks of the transformative power of love. He presents this in form of the Cupid or in form of personal love. He presents the otherwise moderately minor god, the pantheon god. This is among the things that he speaks of heroes in his mock-epic (5.425-437). As opposed to other romantic ideas of love created in the Middle Ages, this work presents love as a more precarious and destabilizing force. Love is not viewed as a positive force and presents it as having much power over all, both gods and mortals alike.
During his time, there were serious efforts to control mortality by forging legal as well as illegal kinds of love, requiring people to marry and recognising legal heirs, and enforcing severe punishment for adultery, including exile. Love is revealed as having major power, including the possibility of damaging societies and lives. Love would have such great power that it was the force behind most of the transformations in Ovid’s work. Given the reality, love is seen in the work as the force that would regulate all aspects of people’s lives and deeds, an act that only a hero would achieve.
Where humans are introduced in the story, they are showed as having serious weakness, with hubris, excessive prideful nature, being presented as the main weakness preventing heroism in human characters. This is a behaviour that would attract attention and punishment from the gods. . The reposition of Venus, as aptly pursing Adonis constructs a radical thematic inclination into the concept of romantic relations. Avid’s heroes adhere to the poetic style that enhance the functionality of sexually empowered subversion.
Ovid. Metamorphoses. Trans. Rolfe Humphries. Bloomington: Indiana University Press, 1961.