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<h1>The Story of <strong>The Creation of the Myrmidon People</strong> in Ovid's <em>Metamorphoses</em></h1>
<p><strong>Book VII, lines 614-651</strong></p>
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<h2>What is this story about (Context)</h2>
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<p style="text-indent: 2.5em; margin-bottom: 0em;">
In Liber VII of the <em>Metamorphoses</em>, Ovid retells the fable of the creation of the Myrmidon people. This section in the <em>Metamorphoses</em> follows the King of Crete, Minos, who is seeking revenge for the death of his son, Androgeus. Androgeus was murdered in Athens, and, for that, Minos is searching for allies to wage a war against Athens.
</p>
<p style="text-indent: 2.5em; margin-bottom: 0em;">
Ovid, while recounting the story of Minos’s pursuit for allies, also recounts the story of a great plague decimating the population of Aegina. The Prince of Aegina, Aeacus, survives this plague. Distressed by the loss of his people, Aeacus seeks his said-to-be father, Jupiter, for help. As Aeacus observes a tree, sacred to Jupiter, covered with many ants, he demands Jupiter to give him the same number of citizens as the number of ants on the tree. As Aeacus dozes off, he sees the tree shake off the ants vigorously. He observes the ants, now on the ground, turn into humans––the Myrmidons.
</p>
<p style="text-indent: 2.5em; margin-bottom: 0em;">
The tale then returns to Minos. After much defeat in securing allies, Minos turns toward Aegina for help. Not only is Minos turned down by Aeacus, but by the time that Minos arrives in Aegina, so does Cephalus, the ambassador of Athens. Aeacus recounts to both Minos and Cephalus the tragic plague that hit the people of Aegina, as well as the godly repopulation that he witnessed.
</p>
<p style="text-indent: 2.5em; margin-bottom: 0em;">
This website will specifically look at the scene in which Aeacus demands citizens from his father as well as the transformation of the ants into the Myrmidons.
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<div style="width: 90%; margin: 0 auto; text-align: center; font-size: 0.8em; line-height: 1.4em">"When Aegina Is Depopulated by a Plague King Aescus Asks Zeus to Turn the Ants into People."</div>
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<p><em>"aspiciō nōscōque: adeunt rēgemque salūtant"</em></p>
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<div style="width: 90%; margin: 0 auto; text-align: center; font-size: 0.8em; line-height: 1.4em; padding-bottom:2em">"Solis, Virgil. Myrmidons; People from Ants for King Aeacus."</div>
<h3>Latin Text</h3>
<p>Take a look at the literal translation of the metamorphosis of the ants into people, as well as see notes and vocabulary and the original latin text with macrons.</p>
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<div style="width: 90%; margin: 0 auto; text-align: center; font-size: 0.8em; line-height: 1.4em; padding-bottom:2em">"Zeus Turns Ants into Men to Help Aeacus."</div>
<h3>Rhetorical Analysis</h3>
<p>A look at the way that Ovid depicts the main character, Aeacus, and the temperatement with which Aeacus talks to the gods. Aeacus's actions diverge from the Roman societal norm.</p>
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<h3>Artistic Analysis</h3>
<p>See the contrast in the art that is depicting the fable as a whole with art that way created specifically for Ovid's Metamorphoses. Also, we will look into the way that the art has changed throughout time, from the Romans to Renaissance to the Modern age.</p>
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<li><a id="b1" class="button special">Original Text</a></li>
<li><a id="b3" class="button">Translation</a></li>
<li><a id="b2" class="button">Notes and Vocab</a></li>
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<div id="b1d" style="width: 50%; margin: 0 auto;">
<ol type="1" start="614">
<li>Attonitus tantō miserarum turbine rērum,</li>
<li>"Iuppiter ō!" dīxī, "sī tē nōn falsa loquuntur</li>
<li>dicta sub amplexus Aegīnae Āsōpidōs isse,</li>
<li>nec tē, māgne pater, nostrī pudet esse parentem,</li>
<li>aut mihi redde meōs aut mē quoque conde sepulcrō!"</li>
<li>ille notam fulgōre dedit tonitrūque secundō.</li>
<li>"accipiō sintque ista precor felicia mentis</li>
<li>sīgna tuae!" dīxī, "quod dīs mihi, pīgneror ōmen."</li>
<li>forte fuit iūxtā patulis rārissima rāmīs</li>
<li>sacra Iovī quercus dē sēmine Dōdōnaeō;</li>
<li>hīc nōs frūgilegās aspēximus āgmine longō</li>
<li>grande onus exiguō formīcās ōre gerentēs</li>
<li>rūgōsōque suum servāntēs cortice callem;</li>
<li>dum numerum mīror, "totidem, pater optime," dīxī,</li>
<li>"tū mihi dā cīvēs et inānia moenia supple!"</li>
<li>intremuit rāmīsque sonum sine flāmine mōtīs</li>
<li>alta dedit quercus: pavidō mihi membra timōre</li>
<li>horruerant, stābantque comae; tamen ōscula terrae</li>
<li>rōboribusque dedī, nec mē spērāre fatēbar;</li>
<li>spērābam tamen atque animō mea vōta fovēbam.</li>
<li>nox subit, et cūrīs exercita corpora somnus</li>
<li>occupat: ante oculōs eadem mihi quercus adesse</li>
<li>et rāmōs totidem totidemque animālia rāmīs</li>
<li>ferre suīs visa est pariterque tremēscere mōtū</li>
<li>grāniferumque āgmen subiēctīs spargere in arvīs;</li>
<li>crēscere quod subitō māius māiusque vidētur</li>
<li>ac sē tollere humō rēctōque adsistere truncō</li>
<li>et maciem numerumque pedum nigrumque colōrem</li>
<li>pōnere et hūmānam membrīs indūcere fōrmam.</li>
<li>somnus abit: damnō vigilāns mea visa querorque</li>
<li>in superīs opis esse nihil; at in aedibus ingēns</li>
<li>murmur erat, vocēsque hominum exaudīre videbar</li>
<li>iam mihi dēsuētās; dum suspicor hās quoque somnī</li>
<li>esse, venit Telamon properus foribusque reclūsīs</li>
<li>"spēque fidēque, pater", dīxīt "māiora vidēbis:</li>
<li>ēgredere!" ēgredior, quālēsque in imāgine somnī</li>
<li>vīsus eram vidisse viros, ex ōrdine tālēs</li>
<li>aspiciō nōscōque: adeunt rēgemque salūtant.</li>
</ol>
</div>
<div id="b2d" style="display:none; width: 80%; margin: 0 auto;">
<ul style="list-style-type: none;">
<!-- Line 616 -->
<li><strong>616:</strong>
• Amplexus, amplexūs (m) – embraces;
• What is the use of the inifinitive "isse";
</li>
<br>
<!-- Line 618 -->
<li><strong>618:</strong>
• Condō, condere, condidī, conditus – to hide;
• Hint: what are "redde" and "conde"
</li>
<br>
<!-- Line 619 -->
<li><strong>619:</strong>
• Tonitrus, tonitrūs (n) - thunder;
• Fulgor, fulgōris (m) – a flash of lightning;
</li>
<br>
<!-- Line 620 -->
<li><strong>620:</strong>
• Fēlīx, fēlīcis – omen;
• Why is "sint" in the subjunctive mood?;
</li>
<br>
<!-- Line 622 -->
<li><strong>622:</strong>
• patulus, patula, patulum – spread out;
</li>
<br>
<!-- Line 624 -->
<li><strong>624:</strong>
• frūgilegās... formīcās – fruit-gathering ants (frūgilegus, frūgilega, frūgilegum | formīca, formīcae (f))
</li>
<br>
<!-- Line 625 -->
<li><strong>625:</strong>
• What is "gerentēs" describing (gerō, gerere, gessī, gestus – to carry)? Additionally, what are the adjective and noun that are the direct object in this participial phrase? Do not confuse these two words with what "gerentēs" is describing.
</li>
<br>
<!-- Line 626 -->
<li><strong>626:</strong>
• "Servantes" acts the same as "gerentēs.";
• Servō, servāre, servāvī, servātus – to keep;
</li>
<br>
<!-- Line 628 -->
<li><strong>628:</strong>
• Suppleō, supplēre, supplēvī, supplētus – to fill (imperative, just like "da");
• Moene, moenis (n) – city wall;
</li>
<br>
<!-- Line 629 -->
<li><strong>629:</strong>
• "Flāmine" is in the ablative case and is the object of the preposition "sine."
</li>
<br>
<!-- Line 630 -->
<li><strong>630:</strong>
• altus, alta, altum – nourished;
• pavidus, pavida, pavidum – timorous;
</li>
<br>
<!-- Line 632 -->
<li><strong>632:</strong>
• rōbur, rōboris – oaktree;
• Translate "me sperare" as an inderict statement;
</li>
<br>
<!-- Line 635 -->
<li><strong>635:</strong>
• The main verb of this sentence can be found in line 637 ("visa est"). The lines in between and after are indirect statements with the infinitives: "ferre," "adesse," "tremexcere," and "spargere". Pay close attention to what is the subject and what is the direct object.
</li>
<br>
<!-- Line 636 -->
<li><strong>636:</strong>
• In this line, transcripts Ms, Nc, U, and P suggest that the “ramos” is “rami,” most likely in the genitive singular case; however, transcript S suggests that it is “ramos,” being the plural accusative. Tarrant's edit uses “ramos” as the direct object, which allows the Latin text to flow.</li>
<br>
<!-- Line 638 -->
<li><strong>638:</strong>
• grānifer, grānifera, grāniferum – grain-bearing;
</li>
<br>
<!-- Line 639 -->
<li><strong>639:</strong>
• This line could possibly be “crescere desubito et maius maiusque videri,” as seen in transcripts ∆ (Urb, E, H, M, N, U, S), Ba, c, and P; however, Tarrant suggests that line 639 goes as follows: “crescere quod subito maius maiusque videtur,” as seen in transcripts Nc, Bc, F, G, and L. In Tarrant’s edit, the latin word “quod” is used as a conjunction and creates a clause (instead of “et”). Within this clause, instead of having two infinitives like the alternative suggests, “videtur” (in replace of “videri”) gives the clause a main verb. This in result allows the Latin to flow smoother at the cost of the “de” prefix on “subito.”
• "videtur" will be used to trigger complimentary inifinitives in the following lines.
</li>
<br>
<!-- Line 640 -->
<li><strong>640:</strong>
• Translate the clause "recto... trunco" as an ablative absolute;
</li>
<br>
<!-- Line 641 -->
<li><strong>641:</strong>
• Māciēs, macieī – thinness;
</li>
<br>
<!-- Line 643 -->
<li><strong>643:</strong>
• Damnō, damnāre, damnāvī, damnātus – to refect;
• Vigilō, vigilāre, vigilāvī, vigilātus - to wake;
• queror, querī, questus sum - to complain;
</li>
<br>
<!-- Line 644 -->
<li><strong>644:</strong>
• Aedis, aedis (f) – palace;
• Where is the indirect statement?
</li>
<br>
<!-- Line 645 -->
<li><strong>645:</strong>
• Dēsuētus, dēsuēta, dēsuētum – unaccustomed (what is this adjective describing?);
</li>
<br>
<!-- Line 646 -->
<li><strong>646:</strong>
• In the indirect statement supply "voces" as the direct object;
</li>
<br>
<!-- Line 647 -->
<li><strong>646:</strong>
• Foris, foris – door;
• reclūdō, reclūdere, reclūsī, reclūsus – to open;
</li>
<br>
<!-- Line 649 -->
<li><strong>649:</strong> Readers note: the adjacency of the two forms of “egredior” notes the the instantaneous response of an action to the command. This line may be a glimpse at the true nature of Aeacus.</li>
<br>
<!-- Line 651 -->
<li><strong>651:</strong> Readers note: Ovid, with the last clause, is now removing the narrative from Aeacus, and transferring it back to himself.</li>
</ul>
</div>
<div id="b3d" style="display:none; width: 55%; margin: 0 auto;">
<ol type="1" start="614">
<li>Stunned by the great twist of miserable events,</li>
<li>I said, “O Jupiter, if not false words say that</li> <!-- 615 -->
<li>you came under the Asopidian embraces of Aegina</li>
<li>and it does not shame you to be the father of us, great father,</li>
<li>then either return my people to me or hide me also in a grave.”</li>
<li>He gave a sign with a flash of lightning and with following thunder,</li>
<li>“I accept and I beg [that] the omen may be a sign of your</li> <!-- 620 -->
<li>understanding,” I said, “in what you give to me, I pledge the omen.”</li>
<li>By chance nearby there was the thinnest oak-tree with spread out branches</li>
<li>sacred to Jupiter, from the seed of Dodona;</li>
<li>here we observed fruit-gathering ants in a long line</li>
<li>carrying a great load in [their] small mouths</li>
<li>and keeping their own trails in the wrinkled bark;</li>
<li>while admiring the numbers, I said, “best father, you</li>
<li>give to me just as many citizens and you fill the empty city walls!”</li>
<li>The nourished oak-tree trembled and it gave a sound with the having been shaken branches</li>
<li>without a breeze: limbs to me had trembled by means of the timorous fear</li>
<li>and [my] hair was erect; however, I gave kisses to the ground</li>
<li>and to the oak-tree, nor was I confessing that I hope;</li>
<li>however, I was hoping and, moreover, I was favoring my wishes in [my] mind.</li>
<li>Night approaches, and sleep occupies [my] having been worked body by means of anxiety.</li>
<li>Before my own eyes, it seemed that the same oak-tree</li>
<li>and same number of branches exists, and that it carries the same number of animals</li>
<li>on its own branches, and that it trembles with the same motion</li>
<li>and that it scatters the grain-bearing troops in the having been cast below fields;</li>
<li>For suddenly it seems to rise bigger and bigger</li>
<li>and to rise up from the ground and to stand up with having been straighten torso</li>
<li>and to put away the thinness and the number of feet and [their] black color</li>
<li>and to lead in human form by means of limbs</li>
<li>Sleep goes away: Waking, I reject my vision and complain</li>
<li>that nothing in the gods of help exists; but there was a great murmur</li>
<li>in the palace, and I seemed to hear clearly the voices of men</li>
<li>now unaccustomed to me; while I suspect that these are the [voices] of sleep,</li>
<li>Prosperous Telamon came and with the door having been opened</li>
<li>said, “father, you will see things greater [things] than both hope and faith:</li>
<li>go out!” I go out, what sort of men I had seemed to have seen</li>
<li>in the image of sleep, I see such a sort of men in order</li>
<li>and I recognize them: they approach and they salute the king.</li>
</ol>
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<p style="text-indent: 2.5em; margin-bottom: 0em;">
In Roman society, it is societal norm to talk to the gods politely and to not demand. In Roman literature, authors reflect this by using the subjunctive mood when a character talks to the gods. The mood shows politeness because the verb holds a connotation of uncertainty by the use of “may” or “might” and removes the connotation of a demand. Additionally, characters in Roman literature are often depicted as treating a single god as a plural entity. Ovid is no exception; in Ovid’s <em>Metamorphoses</em>, Liber VIII, the story of Baucis and Philemon is an example of these methods in use, specifically when either of these two main characters are speaking to the gods. For example, Baucis and Philemon, when asking the gods for a favor, use the subjunctive hortatory, and never the imperative. In Liber VII, Ovid diverges from these methods to show contrast when depicting Aeacus. Ovid depicts Aeacus in the opposite manner of Baucis and Philemon: Aeacus uses the imperative to demand what he desires from the gods and treats himself as a plural being. Aeacus, throughout the fable of the creation of the Myrmidon people, shows a lack of respect when talking to the gods.
</p>
<p style="text-indent: 2.5em; margin-bottom: 0em;">
Aeacus’s lack of respect can specifically be seen when he is demanding his said-to-be father, Jupiter, to repopulate Aegina. In line 628, Aeacus says, “tū mihi dā”; “dā” is the 2nd person singular present imperative, which makes this line very direct and commanding: “You give to me.” Ovid specifically adds emphasis on the “you” by adding “tū,” because the second person is already inclusive to “dā.” Furthermore, Aeacus tries to instill guilt into Jupiter by saying, “nec tē, māgne pater, nostrī pudet esse parentem.” The literal translation of this line is “and if it does not shame you, great father, to be the father of us.” This, at first glance, appears to be polite because Aeacus is giving Jupiter the attribute of greatness; however, looking at the word placement and word choice, this response is rather rude. Ovid places “esse parentem” (“to be father”) last in the line, placing emphasis on that Jupiter is a bad father because of the shame Jupiter holds for being Aeacus’s father. Additionally, in this line, one can see the lack of politeness by Aeacus referring to himself in the plural with “nostrī” and Jupiter in the singular with “tē.” The verb number in this line should have been the other way around. The rudeness in Aeacus’s speech is obvious and evident throughout the entirety of the tale.
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<p>To be added</p>
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1. What does the word "frūgilegās" in line 624 go with?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">Nōs</li>
<li class="quizOption correct">Formīcās</li>
<li class="quizOption">Hīc</li>
<li class="quizOption">None of the above</li>
</ol>
3. Which line has the most elisions?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">639</li>
<li class="quizOption">642</li>
<li class="quizOption correct">649</li>
<li class="quizOption">651</li>
</ol>
5. What grammarical construction exists in lines 635-636?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption correct">Indirect statement</li>
<li class="quizOption">Ablative absolute</li>
<li class="quizOption">Subjunctive purpose clause</li>
<li class="quizOption">Gerundive clause</li>
</ol>
7. What is the reason that "spē" and "fidē" in line 648 are in the ablative case?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">Ablative of cause</li>
<li class="quizOption">Ablative by means</li>
<li class="quizOption">Ablative absolute</li>
<li class="quizOption correct">Ablative of comparison</li>
</ol>
9. What is the subject of the indirect statement in lines 615-616?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption correct">Tē</li>
<li class="quizOption">Falsa</li>
<li class="quizOption">Amplexus</li>
<li class="quizOption">Aegīnae </li>
</ol>
11. What is the case of "opis" in line 644?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">Nominative</li>
<li class="quizOption correct">Genitive</li>
<li class="quizOption">Dative</li>
<li class="quizOption">Ablative</li>
</ol>
</div>
<div class="6u 12u$(medium)">
2. What is the correct tense and mood for the verb "salūtant" in line 651?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">Present subjunctive</li>
<li class="quizOption">Future indicative</li>
<li class="quizOption correct">Present indicative</li>
<li class="quizOption">Imperfect subjunctive</li>
</ol>
4. What poetic device exists in line 625?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">Polysyndeton</li>
<li class="quizOption">Tmesis</li>
<li class="quizOption">Apostrophe</li>
<li class="quizOption correct">Synchysis</li>
</ol>
6. What is the case of "optime" in line 627?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">Ablative</li>
<li class="quizOption correct">Vocative</li>
<li class="quizOption">Dative</li>
<li class="quizOption">Nominative</li>
</ol>
8. What does the relative pronoun "quod" in line 621 describe?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption correct">Ōmen</li>
<li class="quizOption">Jupiter</li>
<li class="quizOption">Aeacus</li>
<li class="quizOption">Undeclared</li>
</ol>
10. Which line contains a midline caesura in the correct place?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">643</li>
<li class="quizOption">644</li>
<li class="quizOption">645</li>
<li class="quizOption correct">648</li>
</ol>
12. What is the word "conde" in line 618?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">Noun, ablative</li>
<li class="quizOption">Noun, nominative</li>
<li class="quizOption correct">Verb, imperative </li>
<li class="quizOption">Perfect passive participle in the ablative case</li>
</ol>
</div>
<div>1=B | 2=C | 3=C | 4=D | 5=A | 6=B | 7=D| 8=A | 9=A | 10=D | 11=B | 12=C</div>
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<section id="bibliography" class="main style1 special" style="padding-bottom: 1em">
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<h2>Bibliography</h2>
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<ul style="list-style-type: none; font-size: 0.86em">
<li>Hornblower, Simon, and Antony Spawforth. The Oxford Classical Dictionary. Oxford: Oxford UP, 2003. Print.</li>
<br>
<li>Schane, Tristan. Myrmidons. N.d. Tristan Schane. Web.<https://ferrebeekeeper.files.wordpress.com /2013/08/myrmidons.jpg>.</li>
</ul>
</div>
<div class="4u 12u$(medium)">
<ul style="list-style-type: none; font-size: 0.86em">
<li>Ovid, and Henry T. Riley. The Metamorphoses of Ovid, Books I-VII. New York: Translation Pub., 1925. Print.</li>
<br>
<li>Solis, Virgil. Myrmidons; People from Ants for King Aeacus. 1581. Web. <http://www.latein-pagina.de/ovid_illustrationen/virgil_solis/ buch7/vs7_11.htm>. <em><strong>(Latin Text Picture)</strong></em></li>
<br>
<li>Zeus Turns Ants into Men to Help Aeacus. 17C AD. Aeacus. Web. <http://www.maicar.com/GML/Aeacus.html>. <em><strong>(Rhetorical Analysis Picture)</strong></em></li>
</ul>
</div>
<div class="4u 12u$(medium)">
<ul style="list-style-type: none; font-size: 0.86em">
<li>Ovid, and R. J. Tarrant. P. Ovidi Nasonis Metamorphoses. Oxford: Oxford UP, 2004. Print.</li>
<br>
<li>When Aegina Is Depopulated by a Plague King Aescus Asks Zeus to Turn the Ants into People. N.d. Web. <http://ovidmeta.jp/dat/pic/1651ovid-p.196a.jpg>. <em><strong>(Context Essay Picture)</strong></em></li>
</ul>
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<p style="position: relative; width: 50%; margin: 0 auto; top: 50%; text-align: center;">Thoughtfully built and coded by Matthew Stallone. All code can be found at: <a href="http://www.github.com/mstallone/Ovid-Project">github.com/mstallone/Ovid-Project</a></p>
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