This paper focuses on the way Ovid, in the Metamorphoses, depicts changing bodies, and in particular their “oratorical action” (actio), in the process leading up to the transformation from the human state to the animal or plant state. This study is built around the rhetorical concept of the actio, as is defined in the Greek and Roman treatises; the definition includes both the orator's voice and gestures. Ovid attributes verbal language and gestures to his characters, at the time of their metamorphosis, in a novel way in comparison to the codes of the epic style. Cases reviewed in this paper are particularly those of Ocyrhoe, who is transformed into a horse while uttering prophetic words (Met. 2, 635-675), and of Cadmus, whose story ends with him being transformed into a snake and making his farewells (Met. 4, 756-603). Ocyrhoe's half-horse half-man actio takes place during a soliloquy. In contrast, Cadmus, who shows the most comprehensive “metamorphic” actio in the whole poem, chants each step of his own transformation with words of farewell and arm gestures he expresses to Harmonia. This pathos-filled last scene must be interpreted in light of a lost tragedy fragment relating to Cadmus (Euripides, fragment 930 N2) and the critical judgement on Euripides's text in a treatise on rhetoric from the imperial period (Hermogenes, De inv. 4, 12).

Ovidio poeta dell' actio nelle Metamorfosi

Alessandra Romeo
In corso di stampa

Abstract

This paper focuses on the way Ovid, in the Metamorphoses, depicts changing bodies, and in particular their “oratorical action” (actio), in the process leading up to the transformation from the human state to the animal or plant state. This study is built around the rhetorical concept of the actio, as is defined in the Greek and Roman treatises; the definition includes both the orator's voice and gestures. Ovid attributes verbal language and gestures to his characters, at the time of their metamorphosis, in a novel way in comparison to the codes of the epic style. Cases reviewed in this paper are particularly those of Ocyrhoe, who is transformed into a horse while uttering prophetic words (Met. 2, 635-675), and of Cadmus, whose story ends with him being transformed into a snake and making his farewells (Met. 4, 756-603). Ocyrhoe's half-horse half-man actio takes place during a soliloquy. In contrast, Cadmus, who shows the most comprehensive “metamorphic” actio in the whole poem, chants each step of his own transformation with words of farewell and arm gestures he expresses to Harmonia. This pathos-filled last scene must be interpreted in light of a lost tragedy fragment relating to Cadmus (Euripides, fragment 930 N2) and the critical judgement on Euripides's text in a treatise on rhetoric from the imperial period (Hermogenes, De inv. 4, 12).
La présente contribution est consacrée à la façon dont Ovide, dans les Métamorphoses, représente les corps en transformation, et en particulier leur action oratoire, au cours du processus qui conduit de l’état humain à l’état animal ou végétal. L’enquête s’appuie sur la notion rhétorique d’actio, telle que la définjssent les traités grecs et romains, qui regroupent sous ce terme la voix et les gestes de l’orateur. Ovide , en effet, prête à ses personnages, au moment de leur métamorphose, des émissions verbales et un langage gestuel, d’une manière innovante par rapport aux codes du style épique. Les cas examinés sont en particulier celui d’Ocyrhoé, qui prend la forme d’une cavale tout en prononçant des paroles prophétiques (Mét. 2, 635-675), et celui de Cadmos, dont l’histoire se termine par une transformation en serpent accompagnée de discours (Mét. 4, 756-603). L’actio humano-équine d’Ocyrhoé se déroule dans le cadre d’un soliloque. En revanche, Cadmos, qui présente l’actio« métamorphique » la plus complète de tout le poème, scande chaque étape de sa propre transformation par des paroles d’adieu et des gestes des bras adressés à Harmonie. Cette dernière scène, remplie de pathos, doit être interprétée à la lumière d’un fragment d’une tragédie perdue se rapportant à Cadmos (Eur., fr. 930 N2) et du jugement porté sur le texte d’Euripide dans un traité de rhétorique d’époque impériale (Hermog., De inv. 4, 12).
Ovid, actio, metamorphosis
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/20.500.11770/298846
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