Cambridge The Transvestite Achilles by P. J. Heslin
By P. J. Heslin
As we stick with Achilles' metamorphosis from wild boy to demure woman to lover to hero, Statius brilliantly illustrates a sequence of contrasting codes of habit: female and male, epic and elegiac. this primary full-length examine of the poem addresses not just the narrative itself, but additionally units the parable of Achilles on Scyros inside of a wide interpretive framework. The exploration levels from the reception of the Achilleid in Baroque opera to the anthropological parallels that experience emerged to provide an explanation for Achilles' transvestism.
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Extra resources for Cambridge The Transvestite Achilles
Sample text
Deidamia then nobly forswears her own interest in “Philartes,” whom she wrongly believes to be a man, on account of the interest in “him” that she wrongly believes to be afflicting her friend “Arminda,” whom she wrongly believes to be a woman (Act 2, Scene 9; Act 3, Scene 5). The erotic energy runs in a circuit: Antiope/Philartes, a woman in the guise of a man, loves Lycomedes, a man, who loves Achilles/Arminda, a man in the guise of a woman, who loves Deidamia, a woman, who loves Antiope/Philartes, and so on.
66 Burnet cites his own parody of Pope’s translation of the Iliad as a predecessor in this tradition, and concludes: Our Friend, Mr. ” Even more consequential than this invocation of satire as a model is the word “Metamorphosing,” which inevitably brings Ovid to mind. It is only by understanding of the roots of Gay’s Achilles in Ovid and in Statius’ Ovidian Achilleid that one can appreciate the paradoxically ancient and yet novel spirit of Gay’s treatment of classical myth for the musical stage.
In the following scene Polycastes arrives and admires the beauty of the sleeping Pyrrha. He praises the beauty of Achilles’ lips, but Lycomedes approaches before he can proceed further. Polycastes hides in the bushes and in the next scene Lycomedes likewise remarks on the beauty of the sleeping figure. The king masters his desires with some difficulty and withdraws to avoid temptation. Then in Scene 21, Cyrene arrives and attempts to murder her sleeping rival; at this the others all leap out from where they have been lurking to stop her.