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Beastly By Ovid, Metamorphose

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Recommended: Literary theories of metamorphosis

The work of Ovid, Metamorphoses, has a central theme of changing and transformations that occur in some way in each story. The modern work, Beastly, a movie that is contemporary spin of the child’s fairytale, Beauty and the Beast, shows a transformation of its own. The main character begins the story as a narcissistic, arrogant, young man that thrives on physical appearance. He is cursed and turned into a hideous monster until he finds real love. This story explores how the movie is a modern twist of the classic story Beauty and the Beast but also a physical transformation that leads to a psychological change like the stories seen in Ovid’s work.
The modern film, Beastly, explores a different spin on a traditional story that parallels stories
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Monsters have always been perceived as creatures with petrifying characteristics. They are often described as dire, dreadful, and horrendous. An individual deemed as a monster by an entire community must have committed atrocious acts; however, the unnamed protagonist in Margaret Atwood’s short story “Lusus Naturae” was considered monstrous by the entire faction despite neither committing such acts. The protagonist, who’s suffering from an illness called porphyria, was disdained and classified as a monster merely because of her looks—her yellow eyes, pink teeth, red fingernails, and long dark sprouting hair around her chest and arms. Even though her outward appearance is comparably peculiar with respect to the appearance of typical humans, one cannot basically imply that she is a monster.

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Transforming and Romanticizing a Storyline The Metamorphosis, a novella written by Franz Kafka, attracted the attention of many of its readers due to the writing framework and shocking concepts. The story depicts a man named Gregor Samsa who has befallen the fate of a cockroach- literally. After being transformed into a large bug, Gregor goes through the struggles of misunderstanding, neglect, and loss of his family relationships.

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It’s quite remarkable how differently people react to change; how one could be so rebellious while the other embraces it. In “The Man in a Case” written by Anton Chekhov, Byelikov is not only a reserved, quiet man who revolts against any form of change, but is also a man who makes no exceptions to his mental disciplinarian handbook of rules whether it was for personal or professional purposes. On the other hand, “The Metamorphosis” by Franz Kafka begins with Gregor Samsa treating his change from a human being to an insect with complete disregard as though his transformation is a natural occurrence in his life. Chekhov and Kafka, in their respective works of literature, use profound figurative references and discuss the different reactions to change, which as a result intrigue and arouse the reader’s curiosity.

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11-14) This again resembles fairy tales such as The Princess and the Frog or Beauty and the Beast, where an animal or a beast can only be transformed back into a human being by means of an act of love: “often the restoration to human form is effected by the lover, a motif common to the animal bride/animal groom cycle of tales” (Hixon 68-69). Further, the motif of disenchantment by a kiss allows room for a hero: Kemp Owyne. Since no other man can save Isabel, he has to go on a journey to save the girl; if he does not come to her rescue himself, she will remain a beast forever. Mostly following Donald Haase's description of a fairy tale hero, he “leaves home, [...] goes through trials, performs a task, and returns home having gained some form of wealth” (1: 332): he hears of the enchanted woman and leaves the town “[w]here he lived, far beyond the sea” (“Kemp Owyne” ll. 20) to rescue her.

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In Maria Dahvana Headley’s short story, Moveable Beast, in Neil Gaiman’s book, Unnatural Creatures, Headley tells the story of Bastardville’s Beast through the perspective of Angela. In the beginning of the story, Headley portrays Angela by having a sarcastic tone, being terse with others and barely caring about anything in Bastardville, including herself. Angela later has a coming of age story and realizes what the beast of her town represents and what she has to do to protect and maintain it. The details of the story paint an image inside the audience’s mind that leaves open interpretation to what or who the actual beast is. This effect is achieved by Headley’s complex style and uses irony, epiphany, and imagery to display her wild imaginative and open interpretation to the audience.

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The creature was shocked when he first saw how wretched and hideous he was. He was watching the beautiful De Lacey family, and was horrified when he saw his appearance. “At first I started back, unable to believe that it was indeed I who was reflected in the mirror; and when I was became fully convinced that I was in reality the monster that I am, I was filled with the bitterest densations of despondence and mortification. Alas! I did not yet entirely know the fatal effects of this miserable deformity.”

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The original French folktale, Beauty and the Beast by Madame de Villeneuve, the popular Disney movie Beauty and the Beast, and a short story simply titled Beast by Francesca Lia Block can all be analyzed using Vladimir Propp’s methodology. While these stories neither follow Propp’s linear formula nor  have a traditional villain, they still hold many of the elements Propp defines in Morphology of the Folktale. Using a Roman numeral system, Propp calls “dramatis personae,” elements of these stories fall loosely under these categories: I, one member of the family is absent; II, an interdiction is addressed to the hero; III, the interdiction is violated; VIII, the villain causes harm or injury; IX, the hero is allowed to go free; XI, the hero leaves the home; XII, the hero is tested; XIV, the hero acquires the use of a

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