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<!DOCTYPE HTML>
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<title>Ovid Project: Iphis and Anaxarete</title>
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<h2>The Story of <b>Iphis's Love for Anaxarete</b></h2>
<p><b>Book XIV, lines 698–764</b></p>
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<h2 class="major"><b>What is this story about? (Context)</b></h2>
<p>In book XIV of Ovid's <em>Metamorphoses</em>, Ovid pauses his recounting of political history to tell the love story of “Pomona and Vertumnus.” Pomona, a nymph in the region of Latium, has many suitors, including the God of Seasons, Vertumnus. While Vertumnus's love for Pomona is greater than the rest of the suitors’, not even he can reach Pomona's heart. Instead of men, Pomona's love and passion is described as being solely dedicated to her garden and its fruits. Ovid describes how she bans all men from her garden. With this, Ovid creates an extended metaphor throughout the poem, relating Pomona’s virginity to her secluded fruits.</p>
<p>Spurred by love, Vertumnus disguises himself as an old woman to capture access to Pomona’s garden. Once in the restricted garden, Vertumnus, as the metaphor would suggest, has physical access to Pomona, and thus is now able to give her kisses: “…he kissed her, / not once, but over and over: no real old woman / kissed that way, ever” (653-655 Humphries). Still disguised, he tries but fails to persuade Pomona to marry Vertumnus. He then tells Pomona the heartbreaking story of “Iphis and Anaxarete”––a story that describes the unreciprocated love of a young man named Iphis, who, time after time, tries to persuade Anaxerete to love him but to no avail. Overcome with defeat and sorrow, Iphis takes his own life; however, his act is only met with cynicism from Anaxerete, who is then punished by Venus for her selfishness and cold-heartedness. Anaxerete is thus turned into stone. Once Vertumnus finishes telling the story, he is about to overpower Pomona with force; however, moved by the story, Pomona accepts him with his same passion.</p>
<p>This project will examine the story of “Iphis and Anaxerete”––its language and its structure––to understand how Pomona comes to open her heart to Vertumnus’s affections.</p>
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<h2 class="major"><b>Latin Text</b></h2>
<p>Take a look at the literal translation of the metamorphosis of Anaxarete into a cold, hard stone,
as well as see notes, vocabulary, scansion, and the original latin text with macrons.</p>
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<div id="b1d" style="display: flex; flex-direction: row; flex-wrap: wrap; justify-content: center; align-items: center;">
<ol type="1" start="698">
<li>'Vīderat ā veteris generōsam sanguine Teucrī</li>
<li>Īphis Anaxaretēn, humilī dē stirpe creātus.</li>
<li>vīderat et tōtīs percēperat ossibus aestum</li>
<li>luctātusque diū, postquam ratiōne furōrem</li>
<li>vincere nōn potuit, supplex ad līmina vēnit</li>
<li>et modo nūtrīcī miserum cōnfessus amōrem,</li>
<li>nē sibi dūra foret, per spēs ōrāvit alumnae,</li>
<li>et modo dē multīs blandītus cuique ministrīs</li>
<li>sollicitā petiit prōpēnsum vōce favōrem;</li>
<li>saepe ferenda dedit blandīs sua verba tabellīs.</li>
<li>interdum madidās lacrimārum rōre corōnās</li>
<li>postibus intendit posuitque in līmine dūrō</li>
<li>molle latus trīstisque serae convīcia fēcit.</li>
<li>saevior illa fretō surgente cadentibus Haedīs,</li>
<li>dūrior et ferrō, quod Nōricus excoquit ignis,</li>
<li>et saxō, quod adhūc vīvum rādīce tenētur,</li>
<li>spernit et inrīdet, factīsque immītibus addit</li>
<li>verba superba ferōx et spē quoque fraudat amantem.</li>
<li>nōn tulit impatiēns longī tormenta dolōris</li>
<li>Īphis et ante forēs haec verba novissima dīxit:</li>
<li>"vincis, Anaxaretē, neque erunt tibi taedia tandem</li>
<li>ūlla ferenda meī: laetōs mōlīre triumphōs</li>
<li>et Paeāna vocā nitidāque incingere laurū!</li>
<li>vincis enim, moriorque libēns: age, ferrea, gaudē!</li>
<li>certē aliquid laudāre meī cōgēris, eritque</li>
<li>quō tibi sim grātus, meritumque fatēbere nostrum.</li>
<li>nōn tamen ante tuī cūram excessisse mementō</li>
<li>quam vītam geminaque simul mihi lūce carendum est.</li>
<li>nec tibi fāma meī ventūra est nūntia lētī:</li>
<li>ipse ego, nē dubitēs, aderō praesēnsque vidēbor,</li>
<li>corpore ut exanimī crūdēlia lūmina pāscās.</li>
<li>sī tamen, ō superī, mortālia facta vidētis,</li>
<li>este meī memorēs (nihil ultrā lingua precārī</li>
<li>sustinet) et longō facite ut nārrēmur in aevō,</li>
<li>et, quae dēmpsistis vītae, date tempora fāmae!"</li>
<li>dīxit, et ad postēs ōrnātōs saepe corōnīs</li>
<li>ūmentēs oculōs et pallida bracchia tollēns,</li>
<li>cum foribus laqueī religāret vincula summīs,</li>
<li>"haec tibi serta placent, crūdēlis et impia!" dīxit</li>
<li>īnseruitque caput, sed tum quoque versus ad illam,</li>
<li>atque onus īnfēlīx ēlīsā fauce pependit.</li>
<li>icta pedum mōtū trepidantum et multa timentem<strong>*</strong></li>
<li>vīsa dedisse sonum est adapertaque jānua factum</li>
<li>prōdidit. exclāmant famulī frūstrāque levātum</li>
<li>(nam pater occiderat) referunt ad līmina mātris;</li>
<li>accipit illa sinū conplexaque frīgida nātī</li>
<li>membra suī postquam miserōrum verba parentum</li>
<li>ēdidit et mātrum miserārum facta perēgit,</li>
<li>fūnera dūcēbat mediam lacrimōsa per urbem</li>
<li>lūridaque ārsūrō portābat membra feretrō.</li>
<li>forte viae vīcīna domus, quā flēbilis ībat</li>
<li>pompa, fuit, dūraeque sonus plangōris ad aurēs</li>
<li>vēnit Anaxaretēs, quam jam deus ultor agēbat.</li>
<li>mōta tamen "videāmus" ait "miserābile fūnus"</li>
<li>et patulīs iniit tēctum sublīme fenestrīs</li>
<li>vixque bene inpositum lectō prōspexerat Īphin:</li>
<li>dēriguere oculī, calidusque ē corpore sanguis</li>
<li>inductō pallōre fugit, cōnātaque retrō</li>
<li>ferre pedēs haesit, cōnāta āvertere vultūs</li>
<li>hoc quoque nōn potuit, paulātimque occupat artūs,</li>
<li>quod fuit in dūrō jam prīdem pectore, saxum.</li>
<li>nēve ea ficta putēs, dominae sub imāgine signum</li>
<li>servat adhūc Salamis, Veneris quoque nōmine templum</li>
<li>Prōspicientis habet.—quōrum memor, ō mea, lentōs</li>
<li>pōne, precor, fastūs et amantī jungere, nymphē:</li>
<li>sīc tibi nec vernum nāscentia frīgus adūrat</li>
<li>pōma, nec excutiant rapidī flōrentia ventī!'</li>
<br>
<strong>*</strong> R. J. Tarrant's suggested solution to contradicting <br>transcripts and editors.
<br>
<a href="Stallone_14.698-764.pdf">Click here to see the scansion of the lines</a>
</ol>
</div>
<div id="b2d" style="display: flex; flex-direction: row; flex-wrap: wrap; justify-content: center; align-items: center;">
<ul style="list-style-type: none;">
<li><strong>• 702|</strong> What is the use of the inifinitive "vincere?"</li>
<br>
<li><strong>• 704|</strong> What is the type of subjunctive clause started by the nē?</li>
<br>
<li><strong>• 706|</strong> Propensus, propensa, propensum: "ready, eager, willing"</li>
<br>
<li><strong>• 710|</strong> Tristis, Triste: "stern, harsh, severe"</li>
<br>
<li><strong>• 711|</strong> Fretum, Fretī: "sea" <strong>|</strong> Haedus, Haedi: two stars in constellation Auriga, known as "The Kid" <strong>|</strong> Translate the clause "cadentibus Haedīs" as an ablative absolute;</li>
<br>
<li><strong>• 712|</strong> Nōricus, Nōrica, Nōricum: a country lying between the Danube and the Alps, known for it's hard steal.</li>
<br>
<li><strong>• 720|</strong> Paeān, Paeānis (m., 3rd Greek declension): "the god of healing (an epithet of Apollo)"</li>
<br>
<li><strong>• 721|</strong> "ferrea" here is vocative and is translated as "made of iron;" "Anaxerete" is implied here.</li>
<br>
<li><strong>• 724|</strong> The infinitve "excessisse" triggers an indirect command here. </li>
<br>
<li><strong>• 727|</strong> "nē dubitēs" is just simply a purpose clause giving un-asked for closure to Anaxerete, and thus, gives reasoning to Iphis's decision of committing suicide on her doorstep and not in private.</li>
<br>
<li><strong>• 726|</strong> Nuntia, Nuntiae: "a female messenger" <strong>|</strong> What is "ventūra?"</li>
<br>
<li><strong>• 728|</strong> Pascō, Pascere, Pāvī, Pastus: "to feed, nourish, maintain, support"</li>
<br>
<li><strong>• 731|</strong> Aevum, Aevī: "uninterrupted, never-ending time, eternity"</li>
<br>
<li><strong>• 732|</strong> Dēmō, Dēmere, Dēmpsī, -: "to take off, take away, to withdraw, subtract, remove"</li>
<br>
<li><strong>• 735|</strong> What type of clause exists here (hint: "religāret" is subjunctive)?</li>
<br>
<li><strong>• 738|</strong> Faux, Faucis: "the upper part of the throat, from the root of the tongue to the entrance of the gullet, the pharynx, throat, gullet"</li>
<br>
<li><strong>• 739|</strong> Ictus, Icta, Ictum: "to hit, strike; smite, stab, sting" <strong>|</strong> The "et" here creates a polysyndeton; however, it can be construed with “que” in the following line to be casually translated “both [this]… and [that]” with “vīsa… est” and “prōdidit” being the main verbs for each part respectively and “junua” being the subject of both.</li>
<br>
<li><strong>• 740|</strong> The infinitive "dedisse" completes the main verb "vīsa...est"</li>
<br>
<li><strong>• 743|</strong> Sinus, Sinūs: "the bend or belly"</li>
<br>
<li><strong>• 747|</strong> Feretrum, Feretrī: "a litter, bier (for display in a procession)" <strong>|</strong> Why are "fretō," "ferrō," and "saxō" all in the ablative case? <strong>|</strong> "ārsūrō" is a future participe.</li>
<br>
<li><strong>• 748|</strong> Flēbilis, Flēbile: "to be wept over, to be lamented, lamentable"</li>
<br>
<li><strong>• 749|</strong> Plangor, Plangōris: "a striking, beating"</li>
<br>
<li><strong>• 750|</strong> Ultor, Ultōris: "(1): a punisher, avenger, revenger; (2) the Avenger"</li>
<br>
<li><strong>• 752|</strong> Patulus, Patula, Patulum: "spread out, spreading, extended, broad, wide"</li>
<br>
<li><strong>• 753|</strong> Īphis, Īphis (m., 3rd Greek declension): "Iphis"</li>
<br>
<li><strong>• 755|</strong> What's the use of the case in both "inductō" and "pallōre" (hint: the same use is used during a comparison earlier in the story)?</li>
<br>
<li><strong>• 757|</strong> "potuit" here is completed by an invisible infinitive "agere" <strong>|</strong> Paulātim: "by little and little, by degrees, gradually"</li>
<br>
<li><strong>Scansion: </strong><a href="Stallone_14.698-764.pdf">See here</a></li>
</ul>
</div>
<div id="b3d" style="display: flex; flex-direction: row; flex-wrap: wrap; justify-content: center; align-items: center;">
<ol type="1" start="698">
<li>Iphis, having been born from a humble family, had saw</li>
<li>noble Anaxerete from blood of old Teucer.</li>
<li>He had saw [her], and he had felt the fire in all [his] bones</li>
<li>and having wrestled a long time, when he was not able to</li>
<li>conquer [his] passion by reason, he begging came to [her] door</li>
<li>and only having confessed [his] miserable love to her wet nurse,</li>
<li>he begged through hopes to [her] foster-daughter that she would not be hard on him</li>
<li>and only having flattered each from the many servants</li>
<li>he requested a willing favor with a trembling voice;</li>
<li>often he gave his own words to be delivered [to her] on soothing tablets.</li>
<li>Occasionally he fastened garlands wet with the moisture of [his]</li>
<li>tears to the door-posts and placed [his] tender flank on the</li>
<li>hard threshold and he made outcry of the harsh bar.</li>
<li>She fiercer than the sea attacking with The Kids descending,</li>
<li>harder than both iron, which Norman fire refines,</li>
<li>and stone, which living is still held by root,</li>
<li>spurns and ridicules [him], and bold she adds arrogance words</li>
<li>to [her] rude deeds and also robs [her] lover from hope.</li>
<li>Iphis, intolerant of long anguish could not bear the torments</li>
<li>and before [her] doors he said these very last words:</li>
<li>“You conquer [me], Anaxerete, and finally there will not be any</li>
<li>irksomeness to be endured by you from me: prepare the joyful triumphs</li>
<li>and call the god of healing and gird [yourself] with a shining laurel.</li>
<li>For you conquered [me], and willing, I die: go, [Anaxerete] made of iron, rejoice!</li>
<li>You will be compelled certainly to praise something of me, there will be [something]</li>
<li>of the type which I am agreeable to you, you will acknowledge out merit.</li>
<li>However, remember that before [my] affection of you rather than [my] life</li>
<li>surpassed [all], and at the same time [me] twofold was deprived from light by me.</li>
<li>And a report of my death is not about to come to you by a messenger:</li>
<li>I myself will be present so that you should not be in doubt and I in person will be seen,</li>
<li>so that you should feed [your] cruel eyes with my lifeless body.</li>
<li>If, however, heavenly bodies, you understand the mortal deeds,</li>
<li>than you should be mindful of me (beyond [this] [my] tongue sustains</li>
<li>to wish for nothing) and you celebrate [me] for a long [time] so that I am described for eternity</li>
<li>and give those hours, which you took from [my] life, to fame.”</li>
<li>He said, and raising [his] moistening eyes and [his] pallid arms</li>
<li>to the door-posts, often having bean furnished with garlands</li>
<li>when he fastened the ropes of the noose to the top of the door,</li>
<li>He said, “these garlands are pleasing to you, cruel and wicked [woman]!”</li>
<li>And he put his head in, but now also he having been turned to her,</li>
<li>And the ill-fated load having been destroyed hung by the neck.</li>
<li>The door, having been struck by the motion of the trembling feet, both</li>
<li>seemed as much to have given a fearful sound and, having been thrown open, revealed </li>
<li>the deed. The servants exclaimed, and in vain return the having been lifted</li>
<li>[body] to the doors of [his] mother (for [his] father had perished);</li>
<li>She accepts [him] on [her] lap, and having grasped the cold limbs </li>
<li>of her own son, after that she produced the words of miserable </li>
<li>fathers and executed the deeds of miserable mothers,</li>
<li>She was leading the weeping funerals through the middle of the city </li>
<li>and she was carrying the pale limbs on a bier about to be burned.</li>
<li>By chance, [Anaxerete’s] house was neighboring the road, where lamentable</li>
<li>procession was going, and the sound of loud mourning came to the ears</li>
<li>of unfeeling Anaxerete, who now the punisher god was leading.</li>
<li>However, moved, says, “let us watch [this] sad funeral” </li>
<li>and went to elevated room with the open windows</li>
<li>and scarcely she had well saw Iphis, having been placed on a bier: </li>
<li>[Her] eyes stiffened, and [her] warm blood fled from [her]</li>
<li>body with the paleness having been brought in, and, [she], having attempted to </li>
<li>carry [her] feet back, remained and, having attempted to avert</li>
<li>[her] looks was also not able [to do] this, and gradually the stone,</li>
<li>which was now already in [her] hard chest, occupied [her] limbs.</li>
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<h2 class="major"><b>Rhetorical Analysis</b></h2>
<p>Take a look at the way that Ovid contrasts the parent story of "Vertumnus and Pomona" to that of "Iphis and Anaxarete," while also examining the structure of language within the story to understand how Pomona comes to opening her heart to Vertumnus’s affections.</p>
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<h2 class="major"><b>Rhetorical Analysis</b></h2>
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Ovid meticulously structures the language in the story of “Iphis and Anaxerete” to not only illustrate the emotions of the storyteller, Vertumnus, but also to emphasize that Vertumnus’s motive behind telling the story is to persuade Pomona, the listener, to accept Vertumnus as a lover. Vertumnus uses the story to draw parallels between Iphis and himself as well as between Anaxerete and Pomona. Ovid, through Vertumnus, characterizes sweet and helpless Iphis as the victim, and the stubborn and cold-hearted Anaxerete as the victimizer. Through the first twelve lines of the poem, Iphis’s unconditional love is shown: he spends countless nights waiting on Anaxerete’s porch and giving “soothing letters” and other presents to her, such as garments (707-710). After this depiction of Iphis, Vertumnus immediately transitions to describing Anaxerete rejecting Iphis and cruelly mocking him (711-714). By juxtaposing these actions, Vertumnus emphasizes Iphis’s innocence and Anaxerete’s evilness. If the juxtaposition were not enough to soften Pomona’s heart, Vertumnus continues to use extreme metaphors to describe Anaxerete’s mentality: she is harsher than a surging sea and harder than both the iron of Noricum––a state in the Alps known for its strong steel––and a rock already set in place (711-713). Upon hearing this portion of the story, the listener is lead to be sympathetic towards Iphis and his kindness.
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<p style="text-indent: 2.5em; margin-bottom: 0em;">
Once Iphis ends his suffering of unrequited love through suicide (737-738), Anaxerete’s cruelness is then compared to those grieving for Iphis: specifically Iphis’s mother. When the servants bring the lifeless body of Iphis to his mother, who accepts the body (743), the mother is described as saying all the words of a distraught father––for Iphis’s father passed away––and doing all the things of a distraught mother (744-745). Vertumnus proceeds by describing how the mother, “crying” (746), must lead Iphis’s funeral procession through the city. Vertumnus juxtaposes the grief of the mother to the cold-heartedness of Anaxerete. When the funeral passes Anaxerete’s house, she defiantly states: “lets us see this miserable funeral” (751). The listener, spurred by empathy for the grieving mother, naturally recoils from Anaxerete and her despicable actions.
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Through comparing the actions of Anaxerete to those of Iphis and his mother, Vertumnus takes advantage of the listener’s feelings. The way in which Vertumnus tells the story causes the listener––Pomona––to dislike Anaxerete, ultimately wanting to distance herself from acting in a similar fashion. Vertumnus’s method proves effective: when Ovid finishes the story of “Iphis and Anaxerete,” Pomona, moved by the story and her dislike for Anaxerete, accepts Vertumnus and his affections. She no longer objects his advances, but rather she matches them with her own flirtations.
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<h2 class="major"><b>Quiz your knownledge</b></h2>
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1. What does the word "Anaxareten" in line 698 go with?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">Creatus</li>
<li class="quizOption correct">Generosam</li>
<li class="quizOption">Teucri</li>
<li class="quizOption">None of the above</li>
</ol>
3. Which line has the most elisions?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">726</li>
<li class="quizOption">727</li>
<li class="quizOption">753</li>
<li class="quizOption correct">754</li>
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5. What is the word “ferenda” in line 719?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">Nominative Gerund</li>
<li class="quizOption correct">Accusative Gerund</li>
<li class="quizOption">Ablative Gerundive</li>
<li class="quizOption">Accusative Gerundive</li>
</ol>
7. What is the reason that "humilī" and "stirpe" in line 699 are in the ablative case?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption correct">Object of preposition</li>
<li class="quizOption">Ablative of cause</li>
<li class="quizOption">Ablative by means</li>
<li class="quizOption">Ablative absolute</li>
</ol>
9. What type of clause does the "quo" in line 723 create?
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<li class="quizOption correct">Relative Clause of Characteristic</li>
<li class="quizOption">Purpose clause</li>
<li class="quizOption">Result clause</li>
<li class="quizOption">Fearing Clause </li>
</ol>
11. What is the case of "crudelis" in line 736?
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<li class="quizOption">Nominative</li>
<li class="quizOption correct">Vocative</li>
<li class="quizOption">Dative</li>
<li class="quizOption">Ablative</li>
</ol>
13. What type of clause is the subjunctive verb "dubitēs" in line 727 in?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">It is the main verb!</li>
<li class="quizOption">Result clause</li>
<li class="quizOption">Fearing Clause </li>
<li class="quizOption correct">Purpose clause</li>
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2. What is the correct tense and mood for the verb "foret" in line 704?
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<li class="quizOption">Present subjunctive</li>
<li class="quizOption correct">Imperfect subjunctive</li>
<li class="quizOption">Future indicative</li>
<li class="quizOption">Present indicative</li>
</ol>
4. What poetic device exists in line 708?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">Polysyndeton</li>
<li class="quizOption">Tmesis</li>
<li class="quizOption correct">Hyperbaton</li>
<li class="quizOption">Synchysis</li>
</ol>
6. What is the case of "facite" in line 731?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">Ablative</li>
<li class="quizOption">Vocative</li>
<li class="quizOption">Dative</li>
<li class="quizOption correct">Imperative Verb</li>
</ol>
8. What does the relative pronoun "quod" in line 713 describe?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">Undeclared</li>
<li class="quizOption">ferrō</li>
<li class="quizOption">Nōricus</li>
<li class="quizOption correct">saxō</li>
</ol>
10. Which line contains a midline caesura in the correct place?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption correct">712</li>
<li class="quizOption">713</li>
<li class="quizOption">721</li>
<li class="quizOption">749</li>
</ol>
12. What is the case and case use of the noun "verba" in line 715?
<ol style="list-style-type: lower-latin; padding-left: 3em">
<li class="quizOption">Nominative, Subject</li>
<li class="quizOption correct">Accusative, Direct Object</li>
<li class="quizOption">Ablative, Object of Implied Preposition</li>
<li class="quizOption">Ablative, By Means</li>
</ol>
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<div>1=B | 2=B | 3=D | 4=C | 5=B | 6=D | 7=A | 8=D | 9=A | 10=A | 11=B | 12=B | 13=D</div>
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<h2 class="major" style="margin-left: 20em; margin-right: 20em;"><b>Bibliography</b></h2>
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<li>Halevi, Adam. Lovers & Romances from Mythologies of the World. Digital image. ARKS, ADAM AND AXARQUIA. N.p., 1998. Web. <https://adamhalevi777. files.wordpress.com/2015/08/ix-iphis-anaxarete.jpg?w=691>. <em><strong>(Rhetorical Analysis Picture)</strong></em></li>
<br>
<li>Ovid, and Henry T. Riley. The Metamorphoses of Ovid, Books VII-XV. New York: Translation Pub., 1925. Print.</li>
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<li>Matheus, Jean. Anaxarete En Roche. Digital image. Ovid Metamorphoses. Nihon University, n.d. Web. <http://ovidmeta.jp/dat/pic/1651ovid-p.428a.jpg>. <em><strong>(Latin Text Picture)</strong></em></li>
<br>
<li>Ovid, and R. J. Tarrant. P. Ovidi Nasonis Metamorphoses. Oxford: Oxford UP, 2004. Print.</li>
<br>
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<ul style="list-style-type: none; font-size: 0.86em">
<li>Ovid, and Rolfe Humphries. Metamorphoses. Bloomington: Indiana UP, 1955. Print.</li>
<br>
<li>Picart, Bernard. Iphis Hangs Himself in Despair That He Could Not Gain Anaxarete. Digital image. Fine Arts Museums of San Francisco. N.p., 1731. Web. <https://art.famsf.org/sites/default/files/artwork/ picart/2319102115460006.jpg>. <em><strong>(Context Essay Picture)</strong></em></li>
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