Womanufacture

Abstract

Women are ‘perceived’. We speak often not just of ‘women’, but of ‘images’, ‘representations’, ‘reflections’ of women. Woman perceived is woman as art-object; and paradigmatic of this phenomenon is the myth of Pygmalion.This article will consider Ovid's version of the myth, the story of the artist who loved his own creation. I shall suggest that the story reflects on the eroto-artistic relationship between the poet and his puella explored in Latin love elegy. The Metamorphoses myth of the art-object which becomes a love-object mirrors the elegiac myth of love-object as art-object. The elegists represent the puella as both art and flesh. Pygmalion deconstructs the erotic realism of elegy and by its frankness about the power of the male artist discloses elegy's operations. It tells us how to read the puella — as a work of art; and the lover — as an artist obsessed with his own creation. Pygmalion reflects and exposes the self-absorption of elegy, the heroization of the lover, and the painted nature of the woman presented in eroto-elegiac texts, that is, the way in which she is to be seen as an art-object.