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The Metamorphoses of Ovid, Books I-VII

Ovid · c. 1st century CE (composed in stages across the principate of Augustus; Books I–VII within the broader work) primary

passage 80 of 247 · Book “on the plan recommended by Mr. Locke,” was published in 1839, which had been already preceded by “a selection from the Metamorphoses of Ovid, adapted to the Hamiltonian system, by a literal and interlineal translation,” published by James Hamilton, the author of the Hamiltonian system. This work contains selections only from the first six books, and consequently embraces but a very small portion of the entire work. > BOOK THE THIRD. (4/10)

neck was pierced, together with the trunk. The tree was bent with the weight of the serpent, and groaned at having its trunk lashed with the extremity of its tail.

While the conqueror was surveying the vast size of his vanquished enemy, a voice was suddenly heard (nor was it easy to understand whence {it was}, but heard it was). “Why, son of Agenor, art thou {thus} contemplating the dragon slain {by thee}? Even thou {thyself} shalt be seen {in the form of} a dragon.”[10] He, for a long time in alarm, lost his color together with his presence of mind, and his hair stood on end with a chill of terror. Lo! Pallas, the favorer of the hero, descending through the upper region of the air, comes to him, and bids him sow the dragon’s teeth under the earth turned up, as the seeds of a future people. He obeyed; and when he had opened a furrow with the pressed plough, he scattered the teeth on the ground as ordered, the seed of a race of men. Afterwards (’tis beyond belief) the turf began to move, and first appeared a point of a spear out of the furrows, next the coverings of heads nodding with painted cones;[11] then the shoulders and the breast, and the arms laden with weapons start up, and a crop of men armed with shields grows apace. So, when the curtains[12] are drawn up in the joyful theaters, figures are wont to rise, and first to show their countenances; by degrees the rest; and being drawn out in a gradual continuation, the whole appear, and place their feet on the lowest edge {of the stage}. Alarmed with this new enemy, Cadmus is preparing to take arms, when one of the people that the earth had produced cries out, “Do not take up {arms}, nor engage thyself in civil war.” And then, engaged hand to hand, he strikes one of his earth-born brothers with the cruel sword, {while} he himself falls by a dart sent from a distance. He, also, who had put him to death, lives no longer than the other, and breathes forth the air which he has so lately received. In a similar manner, too, the whole troop becomes maddened, and the brothers {so} newly sprung up, fall in fight with each other, by mutual wounds. And now the youths that had the space of {so} short an existence allotted them, beat with throbbing breast their blood-stained mother, five {only} remaining, of whom Echion[13] was one. He, by the advice of Tritonia, threw his arms upon the ground, and both asked and gave the assurance of brotherly concord.

The Sidonian stranger had these as associates in his task, when he built the city that was ordered by the oracle of Phœbus.

[Footnote 5: As large a size.--Ver. 44. This description of the enormous size of the dragon or serpent is inconsistent with what the Poet says in line 91, where we find Cadmus enabled to pin his enemy against an oak.]

[Footnote 6: With his sting.--Ver. 48. He enumerates in this one instance the various modes by which serpents put their prey to death, either by means of their sting, or, in the case of the larger kinds of serpent, by twisting round it, and suffocating it in their folds.]

[Footnote 7: Some breathed upon.--Ver. 49. It was a prevalent notion among the ancients, that some serpents had the power of killing their prey by their poisonous breath. Though some modern commentators on this passage may be found to affirm the same thing, it is extremely doubtful if such is the fact. The notion was, perhaps, founded on the power which certain serpents have of fascinating their prey by the agency of the eye, and thus depriving it of the means of escape.]

[Footnote 8: A huge stone.--Ver. 59. ‘Molaris’ here means a stone as large as a mill-stone, and not a mill-stone itself, for we must remember that this was an uninhabited country, and consequently a stranger to the industry of man.]

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The Metamorphoses of Ovid, Books I-VII · Ovid · 1 BCE–8