Rhetorical Analysis essay
Ovid uses a combination of dactyls and spondees throughout all poems in his Metamorphoses, in order to further express the emotions and feelings the reader should perceive while experiencing each story. In addition to the descriptive words that make up the stories, these poetic figures and metrical qualities allow for a more vivid picture of the character’s feelings to form in the reader’s head, as well as provide rhythm and flow to the reciting of the poem.
Line 195: laberis, Oebalide, prima fraudate iuventa
dactyl/dactyl/spondee/spondee/dactyl/spondee/
Ovid uses three spondees and three dactyls in this line, representing an even amount of both metrical features. However, the placement of these dactyls and spondees alludes towards an up and down pace while reading. This line expresses Hyacinthus having been robbed of his early age of youth, and the fall towards his end. The line begins with two dactyls, representing Hyacinthus’ tragic reality of nearing towards his death, breaks with two spondees, slowing down the panic and fear of this intense thought, and then concludes with another dactyl and spondee. The skipping of this line intensifies the emotions of alarm, anxiety, and shock Hyacinthus and Apollo experience as a result of the previous unfortunate event.
Line 201: culpa potest, nisi culpa potest et amasse vocari
dactyl/dactyl/dactyl/dactyl/dactyl/spondee
In this line, Ovid uses the maximum amount of dactyls possible (5), without straining from the meter requirements (ending on dactyl, spondee). Apollo experiences emotions of frustration with the unfairness of Hyacinthus’ death, stating that his destruction is Apollo’s own guilt unless to have played (discus) or to have loved is able to be called a fault. The rapid pace of this line forces the reader to feel the pain Apollo endures, while floundering over the thought of causing Hyacinthus’ death. Apollo is not able to grasp the reason as to why Hyacinthus and himself are being punished for simply playing and loving innocently, resulting in him to feel extreme distress and confusion. The meter defines the powerful emotion and urgency of this moment, and allows the reader to feel the intensity of the situation.
In the lines following 201, the meter continues to obtain the most amount of dactyls, as well as poetic devices to further emphasize Ovid's emotions. For example, on line 203-204, Ovid choses to include an enjambment: atque utinam pro te uitam tecumue liceret reddere. In this line, Apollo wishes that he is able to give back Hyacinthus' life (X. 204). Reddere (to give back) is isolated from the first part of the sentence, keeping the reader restricted from knowing what Apollo is wishing for. This poetic device adds to the feeling of constraint, fear, and regret that all result from the pressure that this scene entails. These are just a couple of examples of how Ovid strategically uses metrical and poetic devices to further highlight the emotions and actions that transpire in this unfortunate tale.
Line 195: laberis, Oebalide, prima fraudate iuventa
dactyl/dactyl/spondee/spondee/dactyl/spondee/
Ovid uses three spondees and three dactyls in this line, representing an even amount of both metrical features. However, the placement of these dactyls and spondees alludes towards an up and down pace while reading. This line expresses Hyacinthus having been robbed of his early age of youth, and the fall towards his end. The line begins with two dactyls, representing Hyacinthus’ tragic reality of nearing towards his death, breaks with two spondees, slowing down the panic and fear of this intense thought, and then concludes with another dactyl and spondee. The skipping of this line intensifies the emotions of alarm, anxiety, and shock Hyacinthus and Apollo experience as a result of the previous unfortunate event.
Line 201: culpa potest, nisi culpa potest et amasse vocari
dactyl/dactyl/dactyl/dactyl/dactyl/spondee
In this line, Ovid uses the maximum amount of dactyls possible (5), without straining from the meter requirements (ending on dactyl, spondee). Apollo experiences emotions of frustration with the unfairness of Hyacinthus’ death, stating that his destruction is Apollo’s own guilt unless to have played (discus) or to have loved is able to be called a fault. The rapid pace of this line forces the reader to feel the pain Apollo endures, while floundering over the thought of causing Hyacinthus’ death. Apollo is not able to grasp the reason as to why Hyacinthus and himself are being punished for simply playing and loving innocently, resulting in him to feel extreme distress and confusion. The meter defines the powerful emotion and urgency of this moment, and allows the reader to feel the intensity of the situation.
In the lines following 201, the meter continues to obtain the most amount of dactyls, as well as poetic devices to further emphasize Ovid's emotions. For example, on line 203-204, Ovid choses to include an enjambment: atque utinam pro te uitam tecumue liceret reddere. In this line, Apollo wishes that he is able to give back Hyacinthus' life (X. 204). Reddere (to give back) is isolated from the first part of the sentence, keeping the reader restricted from knowing what Apollo is wishing for. This poetic device adds to the feeling of constraint, fear, and regret that all result from the pressure that this scene entails. These are just a couple of examples of how Ovid strategically uses metrical and poetic devices to further highlight the emotions and actions that transpire in this unfortunate tale.