TRANSCRIBER'S NOTE by Ovid: Summary, Meaning & Analysis
This isn't a poem in the usual way — it's a transcriber's note and a caption for an illustration from a printed edition of Ovid's *Metamorphoses* from 1807.
The poem
In this eBook, a circumflex (^) is used to indicate that the rest of the word is a superscript. Asterisks (*) are placed around words that were typeset in a Blackletter typeface in the original book. * * * * * _Book 3 p. 105._ [Illustration] _R. Westall R.A. del^l._ _E. Scriven sculp^t_ _Caught by the image of his beauteous face, He loves th' unbody'd form: a substance thinks The shadow:----_ _Pub. 1807, for the Author._
This isn't a poem in the usual way — it's a transcriber's note and a caption for an illustration from a printed edition of Ovid's *Metamorphoses* from 1807. It demonstrates how the book was typeset and credits the artist (R. Westall) and the engraver (E. Scriven). The three lines quoted depict Narcissus falling for his own reflection, confusing a shadow for a real figure. It's a small glimpse into both Ovid's myth and the early 19th-century book publishing scene.
Line-by-line
In this eBook, a circumflex (^) is used to indicate...
* * * * *
_Book 3 p. 105._ [Illustration]
_R. Westall R.A. del^l._ _E. Scriven sculp^t_
_Caught by the image of his beauteous face, He loves th' unbody'd form: a substance thinks_
Tone & mood
The transcriber's note is straightforward and practical — it aims to inform rather than evoke emotion. In contrast, the three quoted lines from Ovid convey a different tone: they are somber and exact, imbued with a subtle irony in the phrase 'a substance thinks the shadow.' Overall, the caption strikes a fascinating balance between the detached mechanics of publishing and the deep emotional resonance of the myth it presents.
Symbols & metaphors
- The reflection / shadow — Narcissus's reflection represents the illusion we often confuse for reality — the risk of loving an image instead of a genuine person, even oneself. Ovid's choice of the word 'shadow' is intentional: it lacks weight, form, and any existence of its own.
- The circumflex (^) — In the transcriber's note, the caret symbol indicates absence; it shows where something has been omitted or condensed. This small mark reveals just how much is lost when a physical book is converted into plain text.
- The illustration plate — The bracketed [Illustration] represents all that a digital transcription fails to capture: the visual elements, the tactile sensations, and the artistic interpretation of the myth. Its absence in the eBook reflects Narcissus's own experience — longing for something just out of reach.
- Blackletter typeface (asterisks) — Blackletter links the 1807 edition to a long-standing tradition of manuscript and early print culture. Using asterisks in the eBook highlights that the original conveyed visual meaning that the digital version can only hint at.
Historical context
Ovid wrote the *Metamorphoses* around 8 CE, a grand epic in fifteen books that retells Greek and Roman myths with a focus on transformation. In Book 3, we encounter the tale of Narcissus, the handsome young man who falls in love with his own reflection and ultimately fades away. The 1807 edition mentioned here is just one of many illustrated English translations created during the Romantic era, a time when classical mythology was incredibly popular. Richard Westall, a well-known Royal Academician, contributed his illustrations to various literary works, while Edward Scriven stood out as one of the top engravers of that time. The transcriber's note reflects the Project Gutenberg tradition of digitizing public-domain texts, providing upfront explanations of editorial conventions so readers can grasp how the original typography has been adapted for plain-text formats.
FAQ
It's mainly an editorial and publishing note — a transcriber's explanation of typographic conventions, along with a caption for an illustration from an 1807 edition of Ovid's *Metamorphoses*. The three italicized lines at the end are a true poetic quote from Ovid, but the rest is straightforward prose. This text works best as a frame around a piece of poetry rather than as a poem by itself.
Narcissus is a character from Greek mythology — a remarkably handsome young man who falls in love with his own reflection in a pool. Unable to leave it or truly possess it, he ultimately meets his demise. Ovid's account in *Metamorphoses* Book 3 is the most well-known version of the myth and gives us the term 'narcissism.' The quoted lines highlight the moment of his delusion: Narcissus confuses a shadow for a real body.
'Unbody'd form' refers to a shape without a body — an image that lacks physical substance. This description fits Narcissus's reflection perfectly: it resembles a person, it behaves like a person, yet it has no flesh, no weight, and no life of its own. In just two words, this phrase carries deep philosophical meaning.
These abbreviations come from Latin and are commonly found in book illustration credits. *Delineavit* (abbreviated as *del.* or *dell.*) translates to 'he drew it' and identifies the artist behind the original design. *Sculpsit* (abbreviated as *sculpt.*) translates to 'he engraved it' and refers to the craftsman who etched the image onto a metal plate for printing. In the eBook version, the caret (^) indicates that the letters following it were in superscript in the original text.
Richard Westall (1765–1836) was a British painter and illustrator who became a full Royal Academician (R.A.) in 1794. During the Romantic period, he was highly sought after for his illustrations of literary works, creating images for editions of Shakespeare, Milton, the Bible, and Ovid. He also served as the drawing master for the young Princess Victoria.
The asterisks indicate words that were originally printed in Blackletter, a heavy and ornate Gothic typeface that plain text can't replicate. Instead of leaving out that visual detail, the transcriber uses asterisks to signal to readers that those words appeared differently on the original page.
Book 3 of the *Metamorphoses* is among the most vibrant sections of the entire poem. It features the tales of Cadmus, Actaeon, Semele, Tiresias, Echo and Narcissus, and Pentheus. The story of Narcissus is positioned near the center of the book and stands out as one of Ovid's most insightful myths — exploring the challenges of self-love and the blurred lines between image and reality.
The specific translator isn't mentioned in this fragment, but the 1807 publication date and the verse style suggest it could be one of the English translations that were popular in the early 19th century. The phrase 'th' unbody'd form' reflects the trend of the time to drop syllables for meter. Without additional bibliographic details from the complete eBook, it’s tough to identify the exact translator.