Change In Ovidan Myths

Changes There are several explanations for why change occurs in the Ovidan myths; however, there is different reason for each specific change in each tale. Semele, a beautiful Theban princess, is transformed because of her foolish choices. Narcissus and Echo transform because of their personal vanity. Arachne’s claim of being a better weaver than Athena, the goddess of the arts, causes Arachne’s life-altering change. Every metamorphosis occurs not to punish, but also to transform the person into something fitting to their personality.
The story of Semele opens with Hera’s wrath. Zeus, Hera’s husband and ruler of the gods, had been intimate with Semele, a mere mortal. Hera considers ignoring the incident, until she discovers Semele is pregnant—an
“honor” that Hera can never have (Metamorphoses III line 345). Hera cannot allow this to continue. Zeus is her husband. Allowing his mistress to continue with the pregnancy would be an insult to Hera’s role as Zeus’ wife. As Zeus’ wife, it is her “right” to bear his children (Metamorphoses III line 337). Hera tricks Semele into doubting Zeus’ divinity: She tells Semele that she should make sure that Zeus is a god by telling him to “embrace her…as when with Lady Hera” (Metamorphoses III line 366). Hera’s meddling is the underlying reason for Zeus’ change. Had Hera not prompted Semele, Semele would have never thought to ask Zeus for such a gift. The second reason that change occurs because Zeus swears to give Semele whatever she wants. Zeus severely underestimates Semele’s request because of her humanity. One can assume that when Semele asks for a gift—“nature unspecified”— Zeus simply thinks Semele wants assurance of his devotion or something easily given (Metamorphoses III line 370). He never anticipates Semele would ask for something hazardous to her health. Ultimately, Semele brought her fate upon herself. She boasted of her affair with Zeus, a married deity, yet her “clueless” nature proves that she does not comprehend her situation (Metamorphoses III line 368). Semele transforms into what her mind has always contained: nothing.
Ovid warns against personal vanity in the story of Narcissus and Echo.
Echo is a woodland nymph who loves the sound of her voice; unfortunately, Echo loses control over her tongue after distracting Hera with chatter. After this occurs Echo finds someone she loves more than herself, Narcissus, who happens to be even more vain than she was. Echo is consumed by her vanity when Narcissus does not return her love and wastes away. Echo could have forgotten Narcissus and found someone who would have appreciated her, but instead she lets the disapproval of one man significantly “increase” her sorrow (Metamorphoses III line 509). Ovid warns that being so egotistical will lead to a life of solitude and of “grief” (Metamorphoses III line 507). This point is intensified in the story of Narcissus. After Narcissus spurns yet another suitor, the god of vengeance causes him to fall in love with his own reflection. Narcissus’ fate could have been avoided. He is not chained down or forced to stay near the pond with this “boy” (Metamorphoses III line 588). He could have easily walked away if his love had not been so overwhelming. Had Narcissus valued what is truly important—humility, rationality, generosity, etc.—instead of his infatuation with himself, he would have survived. Realizing that this “boy” was not going to accompany him, Narcissus could have left when he became hungry and thirsty (Metamorphoses III line 588). Yet he stays even when he realizes that his infatuation is with his own
reflection. “Drained” of all energy, Narcissus dies (Metamorphoses III line 610). This consequence of vanity is further clarified when Narcissus is transformed into a flower. After all, a flower is very pretty but purposeless— a state in which no man should be. Insulting a god or goddess is one of the most senseless things a human can do; however, sometimes a foolish human does without thinking of the severe consequences.
Arachne, a mortal girl, possesses legendary weaving skills, but is incredibly proud of her talent. Many believed that Arachne was trained by Athena, the goddess of the arts. Instead of receiving the compliment warmly and thanking Athena for her talent, Arachne boasts that she was self-taught and can weave better than Athena herself. Athena is “outraged” at Arachne’s blasphemy (Metamorphoses VI line 50). Athena is the creator of weaving, the one who bestows artistic talent, and the “superior” artist (Metamorphoses VI line 45). In the end, there could be no benefit for Arachne by challenging Athena. Yet, Arachne accepts Athena’s challenge, and the two weave immaculate tapestries. Athena weaves episodes of presumptuous mortals that were punished for their “bid for glory”—an obvious warning to Arachne (Metamorphoses VI line 118). The adulterous deeds of the gods were Arachne’s focal point in her tapestry. She illustrates several occasions in which Zeus rapes mortal women. Arachne purposefully taunts Athena with these blatant depictions of Zeus’ “celestial misconduct” (Metamorphoses VI line 187). Arachne’s downfall is fueled by her “foolish,” ignorant quest for victory (Metamorphoses VI line 72). Athena was no ordinary rival but a “goddess” (Metamorphoses VI line 58). Arachne’s work provokes Athena’s territorial
nature by displaying Zeus’ transgressions for everyone to see. In order to protect her husband, Athena eliminates Arachne’s exposing works by sentencing her to live the rest of her life weaving as a spider. From that moment on Arachne has been cursed to be trapped inside her web, weaving constantly and endlessly but having all her works destroyed by man.
These myths portray common human personality flaws—senselessness, vanity, pride. The stories serve as a warning. If we do not correct our flaws, eventually they will consume us and make up our entire being.

Ovid, and Rolfe Humphries. Metamorphoses. Bloomington: Indiana UP, 1955. Print.