Poet-figures in Ovid'sMetamorphoseshave been the object of much study, especially those silenced by the powerful, but little attention has been given to Pyreneus. Immediately before the famous contest of the Muses and Pierides, the former briefly narrate their attempted rape by the usurping Thracian tyrant Pyreneus and his precipitous death while trying to fly after them. The few critics who have touched on this episode have tended to focus exclusively on one aspect, be it the poetic, sexual, political, or religious. None has provided a holistic interpretation which does justice to the complex interplay of these four dimensions or to Ovid's witty and characteristic reification of figurative language.Pyreneus is simultaneously an invading usurper, an attempted rapist, an impious theomach, and, on the poetic plane, a talentless plagiarist or derivative imitator, who tries to appropriate others’ work but bathetically and disastrously fails. The interrelation of these four roles, each troping the others, throws light on all, and Pyreneus needs to be contextualized among theMet.'s other tyrants, rapists, and theomachs, as well as its poet-figures. The episode itself, derivative and overstuffed with Ovidian motifs, is mimetic of the sort of narrative bad (would-be) poets like Pyreneus produce.

中文翻译：

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残酷的黑客攻击：奥维德的比利牛斯插曲中的暴政、强奸和恶诗的野蛮

奥维德的诗人形象变态一直是大量研究的对象，尤其是那些被强权压制的人，但对比利牛斯的关注却很少。就在著名的缪斯和皮里德斯比赛之前，前者简要叙述了他们被篡夺的色雷斯暴君比利牛斯强奸未遂以及他在试图追赶他们时突然死亡。触及这一集的少数评论家倾向于只关注一个方面，无论是诗意的、性的、政治的还是宗教的。没有人对这四个维度的复杂相互作用或奥维德对比喻语言的诙谐和独特的具体化提供公正的整体解释。比利牛斯同时是一个入侵的篡位者、一个未遂的强奸犯、一个不虔诚的神魔，在诗意的层面上，无能的抄袭者或衍生模仿者，谁试图挪用他人的工作，但最终失败了。这四个角色之间的相互关系，每个角色都对其他角色有所启发，并且比利牛斯需要在遇见。的其他暴君，强奸犯和theomachs，以及它的诗人形象。这一集本身是衍生的，充满了奥维德的主题，模仿了像比利牛斯这样的叙事糟糕（可能是）诗人。