"Apollo and Daphne" Artworks

The three examples of artwork that I posted earlier depicting the story, show the moment of metamorphosis. Poussin’s painting of 1625, includes all of the elements of the story: Cupid with bow, Peneus the river god who seems to be weeping in sorrow, Apollo holding Daphne as she becomes the laurel. He seems to be seated with his arms raised up to Daphne and with an imploring look on his face. Daphne looks dazed and emotionless. The subject has been described as “poetic melancholy” with the theme being the victory of chastity over love. I don’t buy that since I find no victory for anyone, with the possible exception of Cupid. This painting does not depict the story that Ovid has given us.

The Waterhouse painting was exhibited in 1908. The art critic, Peter Trippi, feels that the painting centers on the “gaze exchanged.” Daphne in deshabille looks back over her shoulder on the verge of becoming hysterical. Apollo, on the other hand, doesn’t seem at all emotional. He’s holding his lyre with the other arm stretched out to Daphne but he doesn’t appear to be seeing her. Perhaps this is the expression that the god or reason would have when he’s been overpowered by emotion: a helpless stoicism. I don’t buy this either given the things that Apollo says to Daphne in Ovid’s account.

Probably the most famous piece of artwork based on this story is Bernini’s sculpture (1625). It is in the Galleria Borghese in Rome and was commissioned by Cardinal Borghese who was a patron of Bernini. It is made from marble. Daphne, her mouth in the shape of a scream, is covered in bark from the waist down except for her right leg. Her arms are raised and she is twisting while her hair and hands are turning into leaves and limbs. The “rushing movement” of the running pair causes Apollo’s robe to flow backward and around him. As Bluecat mentioned, when she saw the piece and looked at it long enough, it seemed to move. If you Google the sculpture you will get images from various angles. They almost look as though they are different sculptures. Apollo’s left leg is out behind him and one hand is holding Daphne on her waist which has become covered with bark. Some find the look on his face one of empathy as he finally realizes how she feels. I interpret it as a look of satisfaction: He thinks he has her in his grasp at last.

Ovid’s “portrait” of Apollo making the laurel tree his own as a symbol of “triumph and ovation” does not reveal an empathetic god. It seems more like blind arrogance. And the “Yes” at the end of the story reinforces that presumption. It is Apollo at the end who interprets the “stirring” of the laurel as “consent.” Ovid’s portrayal demonstrates absolute power corrupting absolutely.

Next: “The Story of Actaeon” from Book Three.