Sight as a relation enters the elements of the society human being, as; tranquility, adversity, work and the fight for the survival since the birth until the death, with contradictions and conflicts in the narrowest familiar and close relations, between deities, domination, power, among others. In the thought of Ovdio ' ' We are more seduced for what more we possess the harvest always is richer in the field of the others and the neighboring flock has tetas more cheias' ' (Publius Ovdio Naso). In accordance with Edson Floyd (2009). Get all the facts and insights with Michael Chabon, another great source of information. The Age of the Gold, known as golden aetas, for the Latin peoples. This age of the gold in the reign Saturn would have immortality been marked for the human being, frees it and total absence of wars, illnesses and fomes. In short mythically it tells a previous accomplishment to the civilizatrio process. Possible to say that the age of the Gold, was the moment where the poet lived the apex of its life with its great workmanship Metamorphosis acclaimed for Rome as bigger poet of the time. In contrast occurred to the age of the Iron where it was exiled with hand of iron for the emperor for the city of Tmis. FINAL CONSIDERAES the history of the Latin poet Ovdio Publius Naso, make to reflect us on obscure questions in the privacy of a man, where its poems of burning hot and authentic love had been the presumption link of its conduction to the exile, what it is possible to say is that he is simply strange, therefore the workmanship that the poet speaks of loves, was written during its youth and this was lead to the exile with age of fifty years, therefore, an individual that wrote poems that had influenced old and contemporaries poets, Shakespeare in the dramaturgia, Freud in the psychoanalysis, leaving a great legacy in the scope of literature, inhaling artists plastics, writers, dramaturgos, philosophers and psychologists, are obvious that politically any unscrupulous human being would leave, with fear to lose the great power that exerted on the people.

In Metamorphoses, it developed and until it more popularized myths most famous and remembered of mythology Greek (p.4), such as of Midas, Orfeu, Eros, Psique, Zeus, Afrodite, Baco, Narcissus, among others. Another aspect presented in its poem is the Chaos, confusion of all the elements that if assume to have preceded the creation of the universe (p.15), and that the poet if relates in Latin as indigestaque soft (&#039 rudis; ' mass informs and confusa' '). (p.16, 17,18). The Metamorphosis of Ovdio remains until today as one of the acclaimed poetical works more on mythology, (p.19) and also one of most inspired. Few had been the poems that had inspired to as many artistic forms how much its metamorphoses, that literature reached, music, architecture (p.6).

Its social character and spiritual concerning the cycles descriptions of the man also influenced the philosophy, remarkably the speech on the origin and the beddings of the inaquality between the men (1989), of Jean-Jacques Rousseau. (p.20) Preserved for the taste of the culture occidental person through the centuries, it inhaled, among others, Dante, Shakespeare, Cruz and Souza, Kafka, Manoel de Barros (p.21 the 25), appearing, thus, as one of the most important classic workmanships of greco-roman mythology and Latin literature. (p.19). The love in Metamorphosis if spreads in all the loving sorts finds escapadelas, impossible, incestuous loves, not-assented, love of brother, love between parentheses, homoertico love, beyond its light story appearance of fairies, metamorphosis presents a fragmented and pparently incoherent exaggerated history, but that in the sample hundreds of legends that they inspire that they are grotescas, and to the subversive times (p.10). The narration, of this form blows up in a multiplicity of mitolgicos episodes, pointed out the fluidity of the world of metamorphosis constituting one universe that erases the porous borders between the human being and the holy ghost, to be linked (p.10).

It is distinguished, thus, multiple characterizations of this way in which in an atmosphere almost supernatural of the scene is disclosed to them: … And in that marshy and smoky land, in that hot and slimy humidity, started to minhocar, to fervilhar, to grow a world, an alive thing, a generation that seemed to sprout spontaneous, there exactly, of that lameiro and to be multiplied as larvae in esterco … (p 27) … the races until the sales multiplied in verminar of assanhado creeps … (p 42) … From there little in return of the pipes were one zunzum increasing; a tumultuous agglomeration of males and females. …

(p 41) relation dialectic between the personages and the space discloses the atrelado nonsense to the aesthetic ideals of the naturalismo, therefore these representations of the bestirio are marcante and it sends in them to an illogical one of supernatural purpose. From there the dualism of the nonsense where supernatural this gift in an eminently naturalistic workmanship, endowed with estimated theoreticians who so only deny the fantastic one aiming at to demonstrate the reality. The sensation of the unreal one is marked by proper the aesthetic naturalist who involves the workmanship, therefore, if to take in account the personages, being they beings and well characterized types and of great representation, when comparing zoomorficamente its attitudes, can disconnect in them of the Real effect. In this environment, the physical space interacts with these personages, making with that the proper reader if feels in another place, in which the environment if impersonaties and interacts with the personages and the reader. The relation dialectic between personage and space in ' ' The Cortio' ' of Aluzio de Azevedo – Peter of the S. Branches Grandson 8 … They were five hours of the morning and the tenement house woke up, opening, not them eyes, but its lined up infinity of doors and windows.

In Metamorphoses, it developed and until it more popularized myths most famous and remembered of mythology Greek (p.4), such as of Midas, Orfeu, Eros, Psique, Zeus, Afrodite, Baco, Narcissus, among others. Another aspect presented in its poem is the Chaos, confusion of all the elements that if assume to have preceded the creation of the universe (p.15), and that the poet if relates in Latin as indigestaque soft (‘ rudis; ‘ mass informs and confusa’ ‘). (p.16, 17,18). Learn more about this topic with the insights from Diamond Book Distributors. The Metamorphosis of Ovdio remains until today as one of the acclaimed poetical works more on mythology, (p.19) and also one of most inspired. Few had been the poems that had inspired to as many artistic forms how much its metamorphoses, that literature reached, music, architecture (p.6).

Its social character and spiritual concerning the cycles descriptions of the man also influenced the philosophy, remarkably the speech on the origin and the beddings of the inaquality between the men (1989), of Jean-Jacques Rousseau. (p.20) Preserved for the taste of the culture occidental person through the centuries, it inhaled, among others, Dante, Shakespeare, Cruz and Souza, Kafka, Manoel de Barros (p.21 the 25), appearing, thus, as one of the most important classic workmanships of greco-roman mythology and Latin literature.

The exile caused it a deep disgust (registered in its Tristia) until the end of its life. He was at this time that Ovdio wrote its more famous workmanship: Metamorphoses (Metamorphoses), writing in hexmetro dactlico, metric common to Epic poems of Homero and Virglio. If you would like to know more about Michael Chabon, then click here. Ovdio influenced with its verses, the revitalizao of the buclica and mitolgica poetry of the Renaissance and also authors as Dante, Milton and Shakespeare. Metamorphoses are one of the considered workmanships most famous and as magnum I opposed of the Latin poet Ovdio (p.3, 4,5). The narrative poem was become public for return of year 8 (p.6), to the side of Fastos, is perhaps about one of its inconclusos poems (p.7) on account of the exile who suffered in the Euxino Point, Coast of the Black Sea, distant region of Rome.

(p.8, 9). The cause of the exile is unknown, (p.9) but exists two hypotheses: or Augustus has not liked it scope its workmanship since the Art To love and the Metamorphoses of Ovdio, in contrast of the thought of order and stability of the Emperor, shows a world in constant mutation, (p.10), or the Roman poet was indiscreet regarding some close aspect of the sovereign or its family. (p.11). The life politics of Rome and the absolute government of the August Emperor only interested the ones that inhaled to the career politics and that the viruses of submitted it to the politics to the whims of the Emperor. These were not the ambition of Ovdio, great apreciador of the conviviality with the poets, who were at this time, numerous in Rome. The poet of the most respected FASTI of Rome, after the death of Horcio in 8 d.C, met at this time, the golden phase of all its poetical passage. The poet of the Metamorphoses libri XV met in the island of the Elba with the Maximum friend Quota, son of Messala Corvino, when he received the notice from that he ordered August it to return Rome.