Anaxarete


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Anaxarete

princess turned to stone for scorning commoner’s love. [Gk. Myth.: Zimmerman, 21]
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Fuerunt aliae fere innumerae ut Pasiphae, Berenice, Hermione, Penelope, Deidamia, Ersilia, uxor Romuli, Ero, Virginia, Anaxarete, Antigone, Arachne, Arethus, Arsinoe, Polixena, Pelagia, Lycaste, Iocasta, Hecuba, Cassandra, Hesperia, Cleopatra, Caelia, Ilia, heroinae et aliae prope infinitae, quarum aliae sola corporis pulchritudine, aliae vero non sola corporis forma sed etiam morum concinnitate ab historicis sunt decantatae.
(Ex foeminis Pasiphae, Ariadne, Berenice, Hermione, Briseis, Penelobe, Deidamira, Ersilia uxor Rouli, Ero, Virginia, Anaxarete, Antigone, Arachne, Arethusa, Arsinoe, Polyxena, Pelagia, Lycaste, Iocasta, Hecuba, Cassandra, Hesperie, Cleopatra, Coelia, Ilia, Sybillae, Vestales.
Ifis, de familia humilde, se enamora nada mas verla de una muchacha noble que se llama Anaxarete y se dirige a su casa para pedirle su amor.
Vincis, Anaxarete, neque erunt tibi taedia tandem Ulla ferenda mei ...
Arnulfo de Orleans, en sus Allegoriae fabularum Ovidii, solo le dedico dos lineas para subrayar que si Anaxarete fue transformada en piedra es porque su corazon ya lo era (6).
Massinger seems aware of this paradox and explores it within the second inset play, Iphis and Anaxarete, while again insisting that performances do not affect the audience.
The object and purpose of Iphis and Anaxarete are less clear.
Her desire for Paris suggests that she wants to stage Iphis and Anaxarete so that she can cast him in a more easily sexualized role, "a lover's part" The performance then is pornographic: the object of the performance is Domitia and the purpose is to inflame her desire.
Pero en el Sermon no se trata de exaltar a los hombres, sino volver la mirada, de nuevo, a su dureza raigal, que se acerca mas al sentido expresado, dentro de un contexto erotico, en el poema a Lisi que inicia <<Un famoso escultor, Lisis esquiva>>, imitacion de Luigi Groto, y que termina: <<Y el, que vuelta te advierte en piedra ingrata, / de lo que tu te hiciste te retrata>>, con ecos, si se quiere, del fin de Anaxarete (Metamorfosis, XIV, vv.
In the recounting of the story of Anaxarete and her swain Iphis, Ovid self-consciously plays with elegiac conventions and reduces them to the level of absurdity.
Vertumnus, finally assuming the shape of an old woman, tells Pomona the story of Iphis and Anaxarete. Anaxarete spurns Iphis's romantic suit.
Cecilia joins Pomona and Anaxarete as yet another woman who does not want to marry.