Abstract

The challenging, genial architecture of Ovid’s Metamorphoses allows us to reflect on a philosophically delicate and refined model of discourse, far from any systematic temptation. Here, such as in nature, new concretions of stories are seamlessly welded, without however indulging in a mere economy of dispersion and dissipation. In the metamorphic event, even in the absence of a hierarchical order imposed on reality from the outside, as Italo Calvino has seen, any new form is working and recovering the old materials as much as possible, in a process that draws and redesigns inexorably the continuity and mobility of the whole.