Daspet concludes : «Dans son audace, Dédale se substitue aux dieux pour modifier les actions habituelles des hommes et il imagine une métamorphose dont il est l'acteur, en même temps que l'auteur, mais qu'il ne subit pas.» Daspet's article is rather confusing with regards to the different meanings of «metamorphosis» and «transformation» she apparently ascribes to these phrases now it seems to suggest that Daedalus does experience a metamorphosis, and then again it suggests he does not Two different interpretations of «metamorphosis» seem to have been used here, one to denote the «model metamorphosis», the other to denote a «new» kind of metamorphosis. In Daspet's model of an Ovidian metamorphosis the victim does not want the metamorphosis and does not enact it him-/herself a god decides about it and causes it the victim is a criminal to be punished or a poor creature to be helped the metamorphosis destroys the initial state of the victim and wipes out his/her former nature it creates irreversibly a new being the new state is always a degradation of the former, which was human.
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Françoise Daspet, La légende de Dédale et Icare chez Ovide, in Orphea Voce, 2 (1985), p. 140 see also William S.ANDERSON, Ovid's Metamorphoses. 69 (hereafter BöMER) this argument though looses much of its strength when one considers the way Ovid treats the Theseid, also belonging to the Athenian -Cretan repertoire, as a «nonstory» (cf. BöMER, Die Zugehörigkeit zum Repertoire, in P. W.Evenepoel of the Universiteit Leuven, who read an earlier copy of this article, for his expert comment and suggestions.ġ Franz Borner argues that Ovid inserted the Icarus myth because he «could not ignore» it, being part of the Athenian-Cretan repertoire, (cf. Íkaros Latin: Icarus Etruscan Vikare), in Greek mythology, was the son of Daedalus and is commonly known for his attempt to leave Crete by flying - an attempt thwarted in a fall that culminated in his death in the waters of the Aegean Sea, more specifically in the part known as the Icarian Sea. Alden Smith of the hospitable Department of Classics of Rutgers University, NJ, USA I am also especially grateful to Prof.
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For suggestions on outline and arrangement of the subject matter of this article I am very much indebted to Prof.