Abstract
This article reads Ovid's Metamorphoses through the lens of its contemporary art of pantomime dancing. With a focus restricted to narratives of animalization, it argues that the dancer's exquisite bodily expressiveness has been coopted and recalibrated for the demands of the poetic medium, as Ovid's sequences of animal metamorphosis have amalgamated aesthetic strategies borrowed from the pantomime stage. Far from having been shaped exclusively within the literary mainstream, Ovid's idiosyncratic look, astonishingly perceptive and concentrated on the movements and gestures, as well as the minutest parts of his characters' bodies, was the product of a bold, intermedial crossover between poetry and dance.
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