<?xml version="1.0" encoding="UTF-8"?>
<?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?>
<?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml"
schematypens="http://purl.oclc.org/dsdl/schematron"?>
<TEI xmlns="http://www.tei-c.org/ns/1.0">
<teiHeader>
<fileDesc>
<titleStmt>
<title>A Feminist Comparison of A.S. Kline's Translation of <hi rend="italic"
>Metamorphoses</hi> & Josephine Preston Peabody's Translation of <hi
rend="italic">Ovid's Metamorphoses</hi>
</title>
<author>A.S. Kline</author>
<author>Josephine Preston Peabody</author>
<editor>Cecelia T. Kimes</editor>
</titleStmt>
<publicationStmt>
<p>A.S. Kline Publication Information (Date/Place/Publisher)</p>
<p>Peabody Publication Information (Date/Place/Publisher)</p>
</publicationStmt>
<sourceDesc>
<p><note>PUT IN HERE ABOUT A.S. KLINE (WHERE YOU FOUND IT AND WHAT NOT)</note></p>
</sourceDesc>
<sourceDesc>
<p><note>PUT IN HERE ABOUT PEABODY (WHERE YOU FOUND IT AND WHAT NOT)</note></p>
</sourceDesc>
</fileDesc>
<profileDesc>
<particDesc>
<listPerson>
<person xml:id="Venus">
<note>Venus...(The Editors of Encyclopaedia Britannica. Venus: Roman Goddess. Feb.
2018, https://www.britannica.com/topic/Venus-goddess.)</note>
</person>
<person xml:id="Pygmalion">
<note>Pygmalion...(The Editors of Encyclopaedia Britannica. Pygmalion: Greek
Mythology. Feb. 2018, https://www.britannica.com/topic/Pygmalion.)</note>
</person>
</listPerson>
</particDesc>
<settingDesc>
<listPlace>
<place xml:id="Cyprus">
<note>Cyprus...(Bowman, John S., et al. Cyprus. Feb. 2018, https://www.britannica.com/place/Cyprus.)
</note>
</place>
</listPlace>
</settingDesc>
</profileDesc>
</teiHeader>
<text>
<body>
<div type="A.S._Kline">
<head><hi rend="bold"><hi rend="italic">Ovid: The Metamorphoses (Translated by A.S.
Kline)</hi></hi></head>
<head>Bk X:243-297 Orpheus sings: Pygmalion and the statue</head>
<fw>Pygamlion</fw>
<p>
<l> '<hi><persName ref="#Pygmalion">Pygmalion</persName></hi> had seen them, spending their</l>
<l> lives in wickedness, and, offended by the</l>
<l> failings in that nature gave the female heart, he</l>
<l> lived as a bachelor, without a wife or partner</l>
<l> for his bed. But, with wonderful skill, he carved</l>
<l> a figure, brilliantly, out of snow-white ivory, no</l>
<fw>496</fw><pb/>
<l> mortal woman, and fell in love with his own</l>
<l> creation. The features are those of a real girl,</l>
<l> who, you might think, lived, and wished to</l>
<l> move, if modesty did not forbid it. Indeed, art</l>
<l> hides his art. He marvels: and passion, for this</l>
<l> bodily image, consumes his heart. Often, he</l>
<l>runs his hands over the work, tempted as to</l>
<l>whether it is flesh or ivory, not admitting it to</l>
<l>be ivory. <choice>
<orig>he</orig>
<reg>He</reg>
</choice> kisses it and thinks his kisses are</l>
<l>returned; and speaks to it; and holds it, and</l>
<l>imagines that his fingers press into the limbs,</l>
<l>and is afraid lest bruises appear from the</l>
<l>pressure. Now he addresses it with</l>
<l>compliments, now brings it gifts that please</l>
<l>girls, shells and polished pebbles, little birds,</l>
<l>and many-coloured flowers, lilies and tinted</l>
<l>beads, and the <hi><persName>Heliades</persName></hi>'s amber tears, that drip</l>
<l>from the trees. He dresses the body, also, in</l>
<l>clothing; places rings on the fingers; places a</l>
<l>long necklace round its neck; pearls hang from</l>
<l>the ears, and cinctures round the breasts. All are</l>
<l>fitting: but it appears no less lovely, naked. He</l>
<l>arranges the statue on a bed on which cloths</l>
<fw>497</fw><pb/>
<l>dyed with <hi><persName>Tyrian</persName></hi> murex are spread, and calls
it<note>The use of the word "it" further dehumanizes the statue.</note></l>
<l>his bedfellow, and rests its neck against soft</l>
<l>down, as if it could feel</l>
</p>
<p>
<l>The day of <hi><persName>Venus</persName></hi>'s festival came,</l>
<l>celebrated throughout <hi><persName>Cyprus</persName></hi>, and heifers,</l>
<l>their curved horns gilded, fell, to the blow on</l>
<l>their snowy neck. <note>In comparison to Peabody's adaptation of this fable, it
seems to be that Pygmalion merely goes to Venus's festival and celebration only
so that she may grant his wish, whereas in the second adaptation he worships
and appreciates her beauty and then asks for a favor from her.</note>The
incense was smoking,</l>
<l>when Pygmalion, having made his offering,</l>
<l>stood by the altar, and said, shyly: "If you can</l>
<l>grant all things, you god, I wish as a bride to</l>
<l>have..." and not daring to say "the girl of ivory"</l>
<l>he said "one like my ivory girl." Golden Venus,</l>
<l>for she herself was present at the festival, knew</l>
<l>what the prayer meant, and as a sign of the</l>
<l>gods' fondness for him, the flame flared three</l>
<l>times, and shook its crown in the air. When he</l>
<l>returned, he sought out the image of his girl,</l>
<l>and leaning over the couch, kissed her. She felt</l>
<l>warm: he pressed his lips to her again, and also</l>
<l>touched her breast with his hand. The ivory</l>
<l>yielded to his touch, and lost its hardness,</l>
<l>altering under his fingers, as the bees' wax of</l>
<l><hi><persName>Hymettus</persName></hi> softens in the sun, and is moulded,</l>
<fw>498</fw><pb/>
<l>under the thumb, into many forms, made usable</l>
<l>by use. The lover is stupefied, and joyful, but</l>
<l>uncertain, and afraid he is wrong, reaffirms the</l>
<l><choice>
<orig>fulfilment</orig>
<reg>fulfillment</reg>
</choice> of his wishes, with his hand, again,</l>
<l>and again.</l>
</p>
<p>
<l>It was flesh! The pulse throbbed under his</l>
<l>thumb. Then the hero, of <hi><persName>Paphos</persName></hi>, was indeed</l>
<l>overfull of words with which to thank Venus,</l>
<l>and still pressed his mouth against a mouth that</l>
<l>was not merely a likeness. The girl <note>Later on in this adaptation it is
mentioned that she is a "woman" able to bore a son. So is the use of the word
"girl" supposed to be demeaning? While time is said to pass between the her
"birth" and her conceiving a child, there isn't enough of a time lapse to show
that she made the transition from girl to woman.</note>felt the</l>
<l>kisses he gave, blushed, and, raising her bashful</l>
<l>eyes to the light, saw both her lover and the</l>
<l>sky. The goddess attended the marriage that she</l>
<l>had brought about, and when the moon's horns</l>
<l>had nine times met at the full, the woman bore a</l>
<l>son <hi><persName>Paphos</persName></hi>, from whom the island takes its</l>
<l>name.'</l>
<fw>499</fw></p>
</div>
<div type="Josephine_Preston_Peabody">
<head><hi rend="bold"><hi rend="italic">Old Greek Folk Stories Told Anew (Translated by
Josephine Peabody)</hi></hi></head>
<head>PYGMALION AND GALATEA</head>
<p>
<l>THE island of Cyprus was dear to the heart of Venus.</l>
<l>There her temples were kept with honor, and there,</l>
<l>some say, she watched with the Loves and Graces</l>
<l>over the long enchanted sleep of Adonis. This youth,</l>
<l>a hunter whom she had dearly loved, had died of a</l>
<l>wound from the tusk of a wild board; but the bitter</l>
<l>grief of Venus had won over even the powers of</l>
<l>Hades. For six months of every year, Adonis had to</l>
<l>live as a Shade in the world of the dead, but for the rest</l>
<l>of the time he was free to breathe the upper air. Here</l>
<l>in Cyprus the people came to worship him as a god,</l>
<l>for the sake of Venus who loved him; and here, if any</l>
<l>called upon her, she was like to listen.</l>
</p>
<p>
<l>Now there once lived in Cyprus a young sculptor,</l>
<l>Pygmalion by name, who thought nothing on earth so</l>
<l>beautiful as the white marble folk that live without</l>
<l>faults and never grow old. Indeed, he said that he</l>
<l>would never marry a mortal woman, and people began</l>
<l>to think that his daily life among marble creatures</l>
<l>was hardening his heart altogether.</l>
</p>
<p>
<l>But it chanced that Pygmalion fell to work upon</l>
<l>an ivory statue of a maiden, so lovely that it must</l>
<l>have moved to envy every breathing creature that</l>
<l>came to look upon it. With a happy heart the sculp-</l>
<l>tor wrought day by day, giving with all the beauty of his</l>
<l>dreams, until, when work was completed, he felt</l>
<l>powerless to leave it<note>Within this adaptation, it seems that while Pygmalion
is forming the statue with his own desires in mind, the tone implies a more
caring and loving viewpoint.</note>. He was bound to it by the tie</l>
<l>of his highest aspiration, his most perfect ideal, his</l>
<l>most patient work.</l>
<fw>57</fw></p>
<p>
<l>Day after the ivory maiden looked down at him</l>
<l>silently, and he looked back at her until he felt that</l>
<l>he loved her more than anything else in the world.</l>
<l>He thought of her no longer as a statue, but as the</l>
<l>dear companion of his life; and the whim grew upon</l>
<l>like an enchantment. He named her Galatea,</l>
<l>and arrayed her like a princess; he hung jewels about her</l>
<l>neck, and made all his home beautiful and fit for such</l>
<l>a presence.</l>
</p>
<p>
<l>Now the festival of Venus was at hand, and Pyg-</l>
<l>malion, like all who loved Beauty, joined the worship-<note>Pygmalion joining the
worshipping of Venus demonstrates that Pygmalion has a deeper appreciation for
Venus and all that she encompasses in comparison to the 2004
adaptation.</note></l>
<l>pers. In the temple victimes were offered, solemn</l>
<l>rites were held, and votaries from many lands came</l>
<l>to pray the favor of the goddess. At length Pygma-</l>
<l>lion himself approached the altar and made his</l>
<l>prayer.</l>
</p>
<p>
<l>"Goddess," he said, "who hast vouchsafed to me</l>
<l>this gift of beauty, give me a perfect love, likewise,</l>
<l>and let me have for bride, one like my ivory maiden."</l>
<l>And Venus heard.</l>
</p>
<p>
<l>Home to his house of dreams went the sculptor,</l>
<l>loath to be parted for a day from his statue, Galatea.</l>
<l>There she stood, looking down upon him silently, and</l>
<l>he looked back at her. Surely the sunset had shed a</l>
<l>flush of life upon her whiteness.</l>
</p>
<p>
<l>He drew near in wonder and delight, and felt, in-</l>
<l>stead of the chill air that was wont to wake him out of</l>
<l>his spell, a gentle warmth around her, like the breath</l>
<l>of a plant. He touched her hand, and it yielded like</l>
<l>the hand of one living! Doubting his sense, yet fear-</l>
<l>ing to reassure himself, Pygmalion kissed the statue.</l>
</p>
<p>
<l>In an instant the maiden's face bloomed like a</l>
<l>waking rose, her hair shone golden as returning sun-</l>
<l>light; she lifted her ivory eyelids and smiled at him.</l>
<fw>58</fw>
<l>The statue herself awakened, and she stepped</l>
<l>down from the pedestal, into the arms of her creator,</l>
<l>alive!</l>
</p>
<p>
<l>There was a dream that came true.</l>
<fw>59</fw></p>
</div>
</body>
</text>
</TEI>
