Pandora is the story that indicates women as a source of justice in Hesiod’s perspective. Pandora is the mortal female who sent by the god “Zeus” to punish humans. Zeus was anger when seeing people not giving him honor, so he sent a beautiful girl with a jar full of evil, sickness, and death. Once she opened the jar, mortality was disappeared. Through this example, we can conclude that Hesiod illustrates that Pandora herself has strength, a mind, and a voice letting her bring evils for humanity.
After sculpting “an image of perfect feminine beauty,” (10.248-249) and falling in love with his own sculpture, he pleads with Venus to turn his creation into a real woman, and she obliges (10.273-287). While Pygmalion is the main character of the story, it is the statue who is given an identity. She goes from a doll that can not respond to Pygmalion’s advances and just lies still while he showers her with affection, to a breathing woman with a pulse who “timidly raised her eyes to the light and saw her lover / against the sky,” (10.294-295). She is able to now assume the identity of a human and wife. She is also gives birth to a daughter (10.297), providing her with another aspect of identity; she is a mother.
In his epic the Metamorphoses, the Roman poet Ovid tells the stories of mythological beings who underwent some sort of change. In Book I of the Metamorphoses, Ovid relays the tale of Daphne, a beautiful young nymph who was tragically swept into a quarrel among Apollo and Cupid. At the beginning of the story, Apollo is struck with a gold-tipped arrow, causing him to fall in love with Daphne. Daphne, however, is struck with a lead-tipped arrow, which makes her opposed to love and marriage. Thus trouble ensues, and as the story progresses, Ovid weaves a description of Daphne of how both society and Apollo view her.
Polydectes pretended to marry the daughter of his friend. Everybody had to bring a wedding present, including Perseus. However, Perseus, being poor, had not brought anything, and Polydectes pretended to be furious. After a heated discussion, Perseus said he would bring him anything so Polydectes asked for the head of the Gorgon Medusa. H e then sets off on his quest and receives aid from two gods.
In book IV of Metamorphoses, Ovid recounts the story of Pyramus and Thisbe, ill-fated sweethearts whose love was destroyed by a lion. Pyramus and Thisbe were neighbors in Babylon and friends during their childhood; as they aged, they fell madly in love. The families of the two lovers were enemies and forbid their engagement, but Pyramus and Thisbe’s love could not be suppressed. By communicating in secret through a crack in the wall, Pyramus and Thisbe devised a plan to escape from their families so that they could be together. During her departure, Thisbe encountered a lion whose muzzle was covered in blood.
The goddess was known to be jealous of Hercules, and extended to great lengths to make life difficult for him. Similarly, Petruchio begins to act deranged when he arrived to his wedding, only harming his reputation and family name, not his bride. In this allusion, Hera seems to be a representation of Katherine, while his murdered wife is a symbol for Petruchio’s ruined reputation after making a fool of himself to improve Katherine’s
Metamorphosis Metamorphosis is among the most frequently analyzed pieces in the field of writing. It is an indefinable story that mostly archives the makeover of Samsa Gregor, who transformed to a gargantuan insect (Kafka et al. 3-7). Mainly, this work has been renowned for its ability to create inspiration to various, sometimes equally exclusive interpretations. As a result, the Metamorphosis has become one of the fundamental enigmas of the present day literary mind 's eye.
If we accept that a previous bacchanal worship existed in Delphi, the image of the raging Maenad fits perfectly with the image of the frenzied and uncontrollable Pythia. For her, the trance of the Pythia is explained in the context of spiritualism and spirit possession. As she puts it, «I will use the term ‘spirit possession’ to mean any altered state of consciousness, where the behaviour of an individual is markedly different, though in a stereotypical way, from his or her normal behaviour, and hence is indigenously interpreted as the influence of an alien spirit, where 'influence' may be variously defined.» This is how she describes the Pythia’s reaction when inspired; the Pythia was possessed by
The women in this epic are shown as either one extreme or the other with no in between. Either obedient virgins who run from the gods in the fear of getting raped, or vengeful and malicious women who are in the hunt for revenge. A prominent theme in metamorphoses is that these women in fact do not have an in-between state, just one extreme or the other. Ovid also uses this as a great contrast between different female characters in each of his books. This can be seen in the contrast between Io, the water nymph who is taken and raped by Jove against her will, and Juno the vengeful goddess who takes her revenge on Io.