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By Robyn Gee; Rob McCaig; Ian Ashman

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The display of tears with which Ulysses begins his speech, as he begs the assembled Greeks for Achilles' arms, does not prevent him from making a pun that has proved unacceptable to some: quis magno melius succedit Achilli, quam per quem magnus Danais successit Achilles? (Met. 133-134) Who better succeeds great Achilles than he who succeeded at winning him over to the Greeks? "Un jeu de mots intraduisible," says Lafaye, but not according to J. J. Hartman: non lusus verborum . . sed merae sunt ineptiae, "Not a play on 27 Paradox, wordplay, and syllepsis abound also in other works of Ovid's, some of which have little to do with the transformation of human beings into natural phenomena.

For Wilkinson, the soliloquies of Byblis and Myrrha illustrate "Ovid's interest in psychology" (Wilkinson 1955, 205). 55 See Anderson 1972, 501; Solodow 1988, 39. " Nagle, discussing Byblis and Myrrha, imagines different degrees of ethical revulsion balanced against different degrees of sympathy on the part of the two narrators, the epic narrative voice (identified as "Ovid") and Orpheus: "Ovid is consistently sympathetic toward Byblis, whereas Orpheus is ambivalent toward Myrrha, with his initial revulsion giving way to sympathy" (Nagle 1983, 301).

Undas. (Met. 865-866) I shall tear apart his living guts and scatter his severed limbs across the fields and your own water—let him join with you that way! 32 The metaphor of transference in figurative language is especially apt. It is sometimes said that in order to commit violence, one needs conceptually to objectify the victim, to move the victim, by any rhetorical means available, out of the human category. So here Polyphemus, abandoning his verbal appeal to Galatea and shifting to physical violence toward Acis, exploits the pun's semantic scope in an especially grisly fashion.

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Alltag bei den Rittern by Robyn Gee; Rob McCaig; Ian Ashman


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