Title: | Metamorphosis |
Original Title: | Métamorphose |
Volume and Page: | Vol. 10 (1765), p. 436 |
Author: | Louis, chevalier de Jaucourt (biography) |
Translator: | Lucia Florido [University of Tennessee at Martin] |
Subject terms: |
Mythology
|
Original Version (ARTFL): | Link |
Rights/Permissions: |
This text is protected by copyright and may be linked to without seeking permission. Please see http://quod.lib.umich.edu/d/did/terms.html for information on reproduction. |
URL: | http://hdl.handle.net/2027/spo.did2222.0002.621 |
Citation (MLA): | Jaucourt, Louis, chevalier de. "Metamorphosis." The Encyclopedia of Diderot & d'Alembert Collaborative Translation Project. Translated by Lucia Florido. Ann Arbor: Michigan Publishing, University of Michigan Library, 2015. Web. [fill in today's date in the form 18 Apr. 2009 and remove square brackets]. <http://hdl.handle.net/2027/spo.did2222.0002.621>. Trans. of "Métamorphose," Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, vol. 10. Paris, 1765. |
Citation (Chicago): | Jaucourt, Louis, chevalier de. "Metamorphosis." The Encyclopedia of Diderot & d'Alembert Collaborative Translation Project. Translated by Lucia Florido. Ann Arbor: Michigan Publishing, University of Michigan Library, 2015. http://hdl.handle.net/2027/spo.did2222.0002.621 (accessed [fill in today's date in the form April 18, 2009 and remove square brackets]). Originally published as "Métamorphose," Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, 10:436 (Paris, 1765). |
Metamorphosis, type of fable into which only men are usually admitted; because it is the case of a man transformed into animal, tree, river, mountain or stone, or whatever pleases the author; however, this rule has more than one exception. In the metamorphosis of Pyramus and Thisbe, the fruit of a mulberry tree is changed from white to black. In the fable of Coronis and Apollo, the gabbing crow suffers the same transformation.
Metamorphoses are frequent in Mythology: there are two kinds of it, some are apparent; others are real. The metamorphosis of gods, such as the one of Jupiter into a bull, the one of Minerva into an old lady, are only apparent, because these gods do not keep the form they took; but the metamorphosis of Coronis into a rook, of Arachne into a spider, of Lycaon into a wolf, were real, meaning that those who changed kept the form into which they were transformed; that is what we learn from Ovid, who gave us the most complete and pleasant compilation of mythological metamorphosis .
As the metamorphosis is more limited than the apologue in the choice of its characters, it is also much more limited in its utility; but it has many charms that are particular to the form: it can, when wanted, elevate itself to the sublimity of an epic poem, and descend to the simplicity of an apologue. Daring icons, effulgent descriptions are not foreign to it; it even always finishes with a faithful depiction of the circumstances that produced the changing in nature.
To give to the metamorphosis a fraction of a fable’s usefulness, one of our moderns thinks that we could see in all the transformations a fair rapport of equity, meaning that the transformation was always the reward of a virtue, or the punishment of a crime. He believes that the observation of this rule would not alter the charms of the metamorphosis , and that it would offer the advantage of being instructive. This is nonetheless true: Ovid put it to use in his charming metamorphosis of Philemon and Baucis, and in the one of the cruel Lycaon, despot of Arcadia.