About 'hermes parcel tracking'|Hermes: How Not to Get Your Parcel. At All.

About 'hermes parcel tracking'|Hermes: How Not to Get Your Parcel. At All.

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1. Hermes: How Not to Get Your Parcel. At All.

   20somethingmum.blogspot.com/   11/09/2013

   ...and find out if the company you use has Hermes as their courier. Or expect a Christmas... and a never ending cycle of a parcel disappearing round in circles...

2. Track Package Hong Kong Post Office - HongKong Post

   trackpackage.blogspot.com/   08/04/2012

   ...Courier or Post Office you can track on Speedpost Hong Kong ...arrival in Hong Kong Local/Inward parcels : within 2 working...Sha Tsui Post Office G & 1/F, Hermes House, 10 Middle Road, Kowloon...

3. Word of warning

   mummyslittlehelper.blogspot.com/   01/24/2011

   ...my parcel is as through the tracking the parcel has not moved since it was collected. My Hermes aren't answering Parcels2go...

4. NCIS. Abby/Kate. 032. Sunset. *

   geonn-ncis.livejournal.com/   03/06/2006

   ...s name is on, like, all our checks." "Mark Covington owns Hermes Parcels?" Elmo nodded. "I think so. Yeah. I think his name is Covington." Tony...

5. Ageing Gracefully – contains low levels of tolerance and a dash of contempt…

   lynseysherriff.wordpress.com/   03/25/2011

   ...you know something is up when you track a parcel and it has numerous delivery ... apology, no such luck) and then to Hermes… yes, name and shame, I was ...

6. The Austrian Postal Service: A Threat to small Online-Business

   thestylequeendom.blogspot.com/   05/10/2011

   ...no private competitor on the letter shipment market. We can use the company Hermes to send cheaper parcels, but at the moment, no one is offering letter shipment...

7. Recently Received

   randomjottings.typepad.com/random_jottings_of_an_ope/   07/29/2013

   ...Dan finds himself working alongside Adam once more to assist him in tracking down the culprits and, if possible, rescue the kidnapped girl. Now I have...

8. Top 50 Free Android App Downloads

   unlockmydigitalworld.blogspot.com/   05/30/2011

   ... and more. 46) Parcels This handy app lets you track all your packages in...Standard (Germany), GLS (Germany), Hermes, TNT, TNT International (Netherlands...

9. N/A

   tracy-sprees.blogspot.com/   12/07/2010

   ...DELIVERY POSTCODE IS: SY7 0LA If you are a UK customer you can track your order at: http://www.hermes-europe.co. uk/tracker.html? trackingNumber= 5946817805637830&Postcode=SY7 0LA. Just enter...

10. N/A

    australian-politics.blogspot.com/   04/02/2013

    ...indifference to fakes by the big brands can be attributed to this: Hermes International has a market value of €28 billion ($32 billion). Its stock has...

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About 'hermes-europe.co.uk'|N/A

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Ａｔ               ｏｎｅ               ｔｉｍｅ               ｏｒ               ａｎｏｔｈｅｒ               ｉｎ               ｔｈｅｉｒ               ｌｉｆｅ,               ｎｅａｒｌｙ               ｅｖｅｒｙ               ｓｉｎｇｌｅ               ｐｅｒｓｏｎ               ｍｕｓｔ               ｆｅｅｌ               ａｌｉｅｎａｔｅｄ. Ｐｅｒｈａｐｓ               ｔｈｅｙ               ｆｅｅｌ               ａｌｉｅｎａｔｅｄ               ｆｒｏｍ               ｔｈｅｉｒ               ｆａｍｉｌｙ,               ｏｒ               ｐｅｒｈａｐｓ               ｆｒｏｍ               ｔｈｅ               ｗｏｒｌｄ,               ｏｒ               ｐｅｒｈａｐｓ               ｅｖｅｎ               ｆｒｏｍ               Ｇｏｄ. Ａｔ               ｔｈｅ               ｐｏｉｎｔ               ｏｆ               ａｌｉｅｎａｔｉｏｎ,               ｉｔ               ｉｓ               ｏｎｌｙ               ｎａｔｕｒａｌ               ｔｏ               ｓｅｅｋ               ｓｏｍｅ               ｓｏｒｔ               ｏｆ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ. Ａｓ               ａ               ｐｓｙｃｈｉａｔｒｉｓｔ               ｈｅａｖｉｌｙ               ｉｎｆｌｕｅｎｃｅｄ               ｂｙ               ｅｘｉｓｔｅｎｔｉａｌ               ｐｈｉｌｏｓｏｐｈｙ               (ｆ1),               Ｒ. Ｄ. Ｌａｉｎｇ               ｓｕｇｇｅｓｔｓ               ｔｈａｔ               ｉｔ               ｉｓ               ｐｒｉｍａｒｉｌｙ               ｔｈｅ               ｐｓｙｃｈｏｌｏｇｉｃａｌ               ｖｉｏｌｅｎｃｅ               ｈｕｍａｎｓ               ｗｒｅａｋ               ｏｎ               ｅａｃｈ               ｏｔｈｅｒ               ｔｈａｔ               ｃａｕｓｅｓ               ｔｈｉｓ               ｓｅｎｓｅ               ｏｆ               ａｌｉｅｎａｔｉｏｎ,               ａｎｄ               ｈｅｎｃｅ               ｏｕｒ               ｎｅｅｄ               ｔｏ               ｔｒａｎｓｆｏｒｍ               ｏｕｒｓｅｌｖｅｓ               ｉｎｔｏ               ｓｏｍｅｔｈｉｎｇ               ｏｒ               ｓｏｍｅｏｎｅ               ｔｈａｔ               ｍｉｇｈｔ               ｂｅ               ｍｏｒｅ               ａｃｃｅｐｔａｂｌｅ               ｔｏ               ｔｈｅ               ｗｏｒｌｄ               ａｒｏｕｎｄ               ｕｓ. Ｔｈｉｓ               ｆｕｎｄａｍｅｎｔａｌ               ｈｕｍａｎ               ｅｘｐｅｒｉｅｎｃｅ               ｈａｓ               ｂｅｅｎ               ｅｘｐｌｏｒｅｄ               ｓｉｎｃｅ               ｔｈｅ               ｄａｗｎ               ｏｆ               ｌｉｔｅｒａｔｕｒｅ,               ａｎｄ               ｉｓ               ｅｘｅｍｐｌｉｆｉｅｄ               ｉｎ               ｔｈｅ               ｃｏｓｍｉｃ               ｓｔｏｒｙ               ｏｆ               ａｌｉｅｎａｔｉｏｎ               ａｎｄ               ｔｈｅ               ｓｅａｒｃｈ               ｆｏｒ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｉｎ               Ｏｖｉｄ'ｓ               Ｍｅｔａｍｏｒｐｈｏｓｅｓ,               ａｎｄ               ｉｎ               ｔｈｅ               ｍｕｃｈ               ｍｏｒｅ               ｐｅｒｓｏｎａｌ,               ｍｉｃｒｏｃｏｓｍｉｃ               ｅｘｐｌｏｒａｔｉｏｎ               ｏｆ               Ｆｒａｎｚ               Ｋａｆｋａ               ｉｎ               Ｄｉｅ               Ｖｅｒｗａｎｄｌｕｎｇ. Ｉｎ               ｔｈｅｉｒ               ｗｏｒｋｓ,               ｂｏｔｈ               Ｏｖｉｄ               ａｎｄ               Ｋａｆｋａ               ｇｉｖｅ               ｇｒａｐｈｉｃ               ｅｘａｍｐｌｅｓ               ｏｆ               ｈｕｍａｎｓ               ｂｅｃｏｍｉｎｇ               ａｌｉｅｎａｔｅｄ               ａｎｄ               ｔｈｅｎ               ｓｅｅｋｉｎｇ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｉｎ               ｏｒｄｅｒ               ｔｏ               ｒｅｓｔｏｒｅ               "ｎｏｒｍａｌｃｙ"               ｉｎｔｏ               ｔｈｅｉｒ               ｗｏｒｌｄ. Ｗｈｉｌｅ               ｔｈｅ               ｅｓｓｅｎｔｉａｌ               ｔｈｅｍｅｓ               ｏｆ               ｔｈｅ               ｗｏｒｋｓ               ａｒｅ               ｔｈｅ               ｓａｍｅ,               ｔｈｅ               ｂａｃｋｇｒｏｕｎｄｓ               ｏｆ               ｔｈｅ               ａｕｔｈｏｒｓ               ｃｏｕｌｄ               ｎｏｔ               ｂｅ               ｍｕｃｈ               ｄｉｆｆｅｒｅｎｔ. Ｙｅｔ               ｉｔ               ｉｓ               ｏｂｖｉｏｕｓｌｙ               ｔｈｅ               ｅａｒｌｙ               ｙｅａｒｓ               ｏｆ               ａｎｙ               ａｒｔｉｓｔ               ｔｈａｔ               ｉｎｆｌｕｅｎｃｅｓ               ｗｈａｔ               ｍｅｓｓａｇｅｓ               ｔｈｅｙ               ｗｉｌｌ               ｐｏｒｔｒａｙ               ｉｎ               ｔｈｅｉｒ               ａｒｔ,               ｓｏ               ｉｔ               ｉｓ               ｉｍｐｏｒｔａｎｔ               ｔｏ               ｕｎｄｅｒｓｔａｎｄ               ｔｈｅ               ｌｉｖｅｓ               ｏｆ               Ｏｖｉｄ               ａｎｄ               Ｋａｆｋａ               ｉｎ               ｏｒｄｅｒ               ｔｏ               ｂｅｔｔｅｒ               ｕｎｄｅｒｓｔａｎｄ               ｔｈｅｉｒ               ｗｏｒｋｓ.                Ｐｕｂｌｉｕｓ               Ｏｖｉｄｉｕｓ               Ｎａｓｏ               ｗａｓ               ｂｏｒｎ               ｉｎ               43               ＢＣ               ｉｎ               Ｓｕｌｍｏ,               ａｂｏｕｔ               90               ｍｉｌｅｓ               ｎｏｒｔｈ               ｏｆ               Ｒｏｍｅ,               ａｎｄ               ｄｉｅｄ               ｉｎ               ＡＤ               17. Ｈｉｓ               ｆａｍｉｌｙ               ｂｅｉｎｇ               ｆａｉｒｌｙ               ｗｅｌｌ-ｔｏ-ｄｏ               ａｎｄ               ｍｉｎｏｒ               ｎｏｂｉｌｉｔｙ,               ｈｅ               ｗａｓ               ｓｅｎｔ               ｔｏ               Ｒｏｍｅ               ｔｏ               ｂｅ               ｅｄｕｃａｔｅｄ               ａｒｏｕｎｄ               ｔｈｅ               ａｇｅ               ｏｆ               12. Ｔｏ               ｒｏｕｎｄ               ｏｕｔ               ｈｉｓ               ｃｌａｓｓｉｃａｌ               ｅｄｕｃａｔｉｏｎ,               Ｏｖｉｄ               ｗａｓ               ｓｅｎｔ               ｔｏ               Ａｔｈｅｎｓ,               ａｎｄ               ｔｒａｖｅｌｅｄ               ｅｘｔｅｎｓｉｖｅｌｙ               ｔｈｒｏｕｇｈｏｕｔ               Ｇｒｅｅｃｅ               ｗｉｔｈ               ａ               ｆｒｉｅｎｄ               ａｎｄ               ｆｅｌｌｏｗ               ｐｏｅｔ,               ｗｈｅｒｅ               ｈｅ               ｌｅａｒｎｅｄ               ｍｕｃｈ               ｏｆ               ｔｈｅ               ｍｙｔｈｏｌｏｇｙ               ｔｈａｔ               ｗａｓ               ｔｏ               ｆｏｒｍ               ｔｈｅ               ｂａｓｉｓ               ｆｏｒ               Ｍｅｔａｍｏｒｐｈｏｓｅｓ. Ｏｖｉｄ               ｗａｓ               ａ               ｍａｓｔｅｒ               ｏｆ               ｆｏｒｍａｌ               ｐｏｅｔｉｃ               ｆｏｒｍｓ,               ａｎｄ               ａｓ               ｐｅｒｈａｐｓ               ａｐｐｒｏｐｒｉａｔｅ               ｔｏ               ａ               ｙｏｕｎｇ               ｍａｎ,               ｍａｎｙ               ｏｆ               ｈｉｓ               ｅａｒｌｙ               ｗｏｒｋｓ               ｗｅｒｅ               ｑｕｉｔｅ               ｅｒｏｔｉｃ               ｉｎ               ｎａｔｕｒｅ. (Ｅｎｃｙｃｌｏｐａｅｄｉａ               Ｂｒｉｔａｎｎｉｃａ)                Ｔｈｅ               Ｍｅｔａｍｏｒｐｈｏｓｅｓ               ｃｏｎｓｉｓｔｓ               ｏｆ               ｆｉｆｔｅｅｎ               ｂｏｏｋｓ               ｗｒｉｔｔｅｎ               ｉｎ               ｄａｃｔｙｌｉｃ               ｈｅｘａｍｅｔｅｒ,               ｗｈｉｃｈ               ｄｏ               ａ               ｒｅｍａｒｋａｂｌｅ               ｊｏｂ               ｏｆ               ｆｏｌｌｏｗｉｎｇ               ｔｈｅ               ｐｒｏｇｒｅｓｓｉｏｎ               ｏｆ               Ｇｒｅｅｋ               ａｎｄ               Ｒｏｍａｎ               ｍｙｔｈｏｌｏｇｙ               ａｓ               ｉｆ               ｉｔ               ｗｅｒｅ               ａｃｔｕａｌ               ｈｉｓｔｏｒｙ. Ｗｈｉｌｅ               ｃｒｅａｔｉｎｇ               ｔｈｉｓ               ｍｙｔｈｉｃａｌ               ｔｉｍｅｌｉｎｅ,               Ｏｖｉｄ               ａｌｓｏ               ｍａｎａｇｅｓ               ｔｏ               ｇｒｏｕｐ               ｍａｎｙ               ｏｆ               ｔｈｅ               ｍｙｔｈｓ               ｉｎｔｏ               ｔｈｅｍａｔｉｃ               ｓｅｃｔｉｏｎｓ,               ｔｈｕｓ               ａｌｌｏｗｉｎｇ               ｔｈｅ               ｒｅａｄｅｒ               ｔｏ               ｓｅｅ               ａ               ｐａｔｔｅｒｎ               ａｎｄ               ｐｅｒｈａｐｓ               ａ               "ｍｏｒａｌ               ｐｕｒｐｏｓｅ"               ａｓ               ｔｏ               ｗｈｙ               ｅａｃｈ               ｍｙｔｈ               ｗａｓ               ｃｒｅａｔｅｄ,               ｏｔｈｅｒ               ｔｈａｎ               ｔｈｅ               ｏｂｖｉｏｕｓ               ｐｕｒｐｏｓｅ               ｏｆ               ｅｘｐｌａｉｎｉｎｇ               ｃａｕｓａｔｉｏｎｓ               ｔｈａｔ               ｔｈｅ               ｓｃｉｅｎｃｅ               ｏｆ               ｔｈｅ               ｄａｙ               ｃｏｕｌｄ               ｎｏｔ               ｅｘｐｌａｉｎ. Ｉｔ               ｉｓ               ｉｎ               ｔｈｉｓ               ｐｒｅｓｕｍｅｄ               "ｍｏｒａｌ               ｐｕｒｐｏｓｅ"               ｉｎ               ｈｉｓ               ｗｒｉｔｉｎｇｓ               ｔｈａｔ               Ｏｖｉｄ               ｉｓ               ｅｘｐｌｏｒｉｎｇ               ｈｏｗ               Ｍａｎ               ｂｅｈａｖｅｓ               ｔｏｗａｒｄ               ｍｅｎ               ａｓ               ｗｅｌｌ               ａｓ               ａｎｉｍａｌｓ,               ａｎｄ               ｅｓｔａｂｌｉｓｈｅｓ               ａ               ｃｕｌｔｕｒａｌ               ｉｄｅｎｔｉｔｙ               ｔｈｒｏｕｇｈ               ｈｉｓ               ｂａｓｉｃ               ｄｅｃｅｎｃｙ               ｏｒ               ｉｎｄｅｃｅｎｃｙ,               ｈｉｓ               ｒｅｌｉｇｉｏｎ,               ａｎｄ               ｈｉｓ               ｐｌａｃｅ               ｉｎ               ｔｈｅ               ｃｏｓｍｏｓ.                Ｉｎ               ｔｈｉｓ               ｓｅｎｓｅ,               ｉｔ               ｉｓ               ｉｍｐｏｒｔａｎｔ               ｔｏ               ｅｘｐｌｏｒｅ               ｔｈｅ               ｅｔｙｍｏｌｏｇｙ               ｏｆ               ｔｈｅ               ｗｏｒｄ               "ｍｅｔａｍｏｒｐｈｏｓｉｓ",               ｗｈｉｃｈ               ｉｓ               ｔｈｅ               ｓｉｎｇｕｌａｒ               ｆｏｒｍ. Ａｌｔｈｏｕｇｈ               ｈｅ               ｗａｓ               Ｒｏｍａｎ,               Ｏｖｉｄ               ｔｏｏｋ               ｔｈｅ               Ｇｒｅｅｋ               ｗｏｒｄ               ｍｅｔａｍｏｒｐｈｏｕｎ               ｍｅａｎｉｎｇ               "ｔｏ               ｔｒａｎｓｆｏｒｍ,"               ｗｈｉｃｈ               ｄｅｒｉｖｅｓ               ｆｒｏｍ               ｍｅｔａ               ("ａｆｔｅｒ"               ｏｒ               "ｉｎ               ｔｈｅ               ｍｉｄｓｔ               ｏｆ")               ａｎｄ               ｍｏｒｐｈｅ               (ｆｒｏｍ               Ｍｏｒｐｈｅｕｓ,               ｔｈｅ               ｇｏｄ               ｏｆ               ｄｒｅａｍｓ               ａｎｄ               ｔｈｅ               ｍａｋｅｒ               ｏｆ               ｆｏｒｍ,               ｓｈａｐｅ,               ｂｅａｕｔｙ,               ａｎｄ               ｏｕｔｗａｒｄ               ａｐｐｅａｒａｎｃｅ). (Ｈａｒｐｅｒ)               Ｔｈｅｒｅｆｏｒｅ,               Ｏｖｉｄ'ｓ               ｕｓｅ               ｏｆ               ｔｈｅ               ｗｏｒｄ               ｉｎ               ｔｈｅ               ｐｌｕｒａｌ               ｉｎｄｉｃａｔｅｄ               ｔｈａｔ               ｈｅ               ｗａｓ               ｗｒｉｔｉｎｇ               ａｂｏｕｔ               ｔｒａｎｓｆｏｒｍａｔｉｏｎｓ               ｏｆ               ｍａｎｙ               ｔｙｐｅｓ,               ａｌｔｈｏｕｇｈ               ｓｃｉｅｎｃｅ               ｈａｄ               ｎｏｔ               ｙｅｔ               ｃｏｍｅ               ｃｌｏｓｅ               ｔｏ               ｕｎｄｅｒｓｔａｎｄｉｎｇ               ｔｈｅ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｏｆ               ｉｎｓｅｃｔｓ               ａｎｄ               ａｐｐｌｉｅｄ               ｔｈｅ               ｗｏｒｄ               ｉｎ               ｔｈａｔ               ｓｅｎｓｅ. Ｏｖｉｄ               ｗａｓ               ｗｒｉｔｉｎｇ               ａｂｏｕｔ               Ｍａｎ               ａｎｄ               ｈｉｓ               ｃｒｅａｔｉｏｎ,               ｍｙｔｈｏｌｏｇｙ. Ｔｈｉｓ               ｄｉｓｔｉｎｃｔｉｏｎ               ｍａｙ               ｂｅｃｏｍｅ               ｅｖｅｎ               ｍｏｒｅ               ｓｉｇｎｉｆｉｃａｎｔ               ｉｎ               ｌａｔｅｒ               ｄｉｓｃｕｓｓｉｏｎｓ               ｏｆ               Ｋａｆｋａ'ｓ               ｗｏｒｋ.                Ａｆｔｅｒ               ｔｈｅ               ｓｔａｎｄａｒｄ               ｄｅｖｉｃｅ               ｏｆ               ａｐｐｅａｌｉｎｇ               ｔｏ               ａ               Ｍｕｓｅ               (ｉｎ               ｔｈｉｓ               ｃａｓｅ,               ｔｈｅ               ｇｏｄｓ)               ｆｏｒ               ｉｎｓｐｉｒａｔｉｏｎ,               Ｏｖｉｄ               ｓｔａｔｅｓ               ｈｉｓ               ｔｈｅｍｅ               ｏｆ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ,               ａｎｄ               ｐｒｏｃｌａｉｍｓ               ｔｈａｔ               ｈｅ               ｗｉｌｌ               ｗｒｉｔｅ               ａ               ｌｏｎｇ,               ｃｏｎｔｉｎｕｏｕｓ               ｐｏｅｍ-ａｎ               ｅｐｉｃ               ｉｎ               ｔｈｅ               ｓｔｙｌｅ               ｏｆ               Ｈｏｍｅｒ               ａｎｄ               ｏｔｈｅｒ               ｇｒｅａｔ               Ｇｒｅｅｋ               ｐｏｅｔｓ-ｔｈａｔ               ｓｔｒｅｔｃｈｅｓ               ｆｒｏｍ               ｔｈｅ               ｏｒｉｇｉｎｓ               ｏｆ               ｔｈｅ               ｗｏｒｌｄ               ｔｏ               ｈｉｓ               ｏｗｎ               ｔｉｍｅ:                Ｏｆ               ｂｏｄｉｅｓ               ｃｈａｎｇ'ｄ               ｔｏ               ｖａｒｉｏｕｓ               ｆｏｒｍｓ,               Ｉ               ｓｉｎｇ:               /               Ｙｅ               Ｇｏｄｓ,               ｆｒｏｍ               ｗｈｏｍ               ｔｈｅｓｅ               ｍｉｒａｃｌｅｓ               ｄｉｄ               ｓｐｒｉｎｇ,               /               Ｉｎｓｐｉｒｅ               ｍｙ               ｎｕｍｂｅｒｓ               ｗｉｔｈ               ｃｏｅｌｅｓｔｉａｌ               ｈｅａｔ;               /               'Ｔｉｌｌ               Ｉ               ｍｙ               ｌｏｎｇ               ｌａｂｏｒｉｏｕｓ               ｗｏｒｋ               ｃｏｍｐｌｅａｔ:               (Ｇａｒｔｈ,               ｅｔ               ａｌ.)                Ｔｈｅ               ｒｅｓｔ               ｏｆ               ｔｈｉｓ               ｓｅｃｔｉｏｎ,               ｅｎｔｉｔｌｅｄ               "Ｔｈｅ               Ｃｒｅａｔｉｏｎ               ｏｆ               ｔｈｅ               Ｗｏｒｌｄ",               ｄｅｓｃｒｉｂｅｓ               ｅｘａｃｔｌｙ               ｔｈａｔ. Ｉｔ               ｉｓ               ｉｎｔｅｒｅｓｔｉｎｇ               ｔｏ               ｎｏｔｅ               ｔｈａｔ               ｔｈｉｓ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｗａｓ               ａ               ｄｅｌｉｂｅｒａｔｅ               ｐｌａｎ,               ｒａｔｈｅｒ               ｔｈａｎ               ｓｏｍｅ               ｒａｎｄｏｍ               ｏｃｃｕｒｒｅｎｃｅ               ｔｈａｔ               ａｒｏｓｅ               ｆｒｏｍ               Ｃｈａｏｓ:               "Ｔｈｕｓ               ｗｈｅｎ               ｔｈｅ               Ｇｏｄ,               ｗｈａｔｅｖｅｒ               Ｇｏｄ               ｗａｓ               ｈｅ,               /               Ｈａｄ               ｆｏｒｍ'ｄ               ｔｈｅ               ｗｈｏｌｅ,               ａｎｄ               ｍａｄｅ               ｔｈｅ               ｐａｒｔｓ               ａｇｒｅｅ"               (ｉｂｉｄ),               ｗｈｅｒｅａｓ               Ｋａｆｋａ               ｇｉｖｅｓ               ｔｈｅ               ｒｅａｄｅｒ               ｎｏ               ｈｉｎｔ               ａｔ               ａｎｙ               ｔｉｍｅ               ｏｆ               ａ               ｃａｕｓｅ               ｆｏｒ               ｔｈｅ               ｍｅｔａｍｏｒｐｈｏｓｉｓ               ｔｈａｔ               ｂｅｇｉｎｓ               ｈｉｓ               ｗｏｒｋ. Ｔｈａｔ               ｃｕｒｉｏｕｓ               ｆａｃｔ               ｗｉｌｌ               ｂｅ               ｄｉｓｃｕｓｓｅｄ               ｉｎ               ｇｒｅａｔｅｒ               ｄｅｔａｉｌ               ｌａｔｅｒ               ｉｎ               ｔｈｉｓ               ｐａｐｅｒ.                Ｆｒｏｍ               ｔｈｅ               ｅａｒｌｙ               Ａｓｉａｎ               ｃｕｌｔｕｒｅｓ               ｔｏ               Ｍｅｓｏｐｏｔａｍｉａ               ｔｏ               Ｅｕｒｏｐｅ               ａｎｄ               ｔｏ               ｔｈｅ               Ａｍｅｒｉｃａｓ,               ｅｖｅｒｙ               ｓｉｎｇｌｅ               ｃｕｌｔｕｒｅ               ｈａｓ               ａ               ｍｙｔｈｏｌｏｇｙ               ｔｈａｔ               ｂｅｇｉｎｓ               ｗｉｔｈ               ａ               ｃｒｅａｔｉｏｎ               ｓｔｏｒｙ. Ｔｈｉｓ               ｎｏｔ               ｏｎｌｙ               ｉｎｃｌｕｄｅｓ               ｔｈｅ               ｃｒｅａｔｉｏｎ               ｏｆ               ｔｈｅ               ｈｅａｖｅｎｓ               ａｎｄ               ｔｈｅ               ｅａｒｔｈ,               ｂｕｔ               ａｌｓｏ               ｏｆ               Ｍａｎｋｉｎｄ. Ａｇａｉｎ,               Ｏｖｉｄ               ａｔｔｒｉｂｕｔｅｓ               ｔｈｅ               ｃｒｅａｔｉｏｎ               ｏｆ               Ｍａｎ               ｔｏ               ｔｈｅ               ｇｏｄｓ:               "Ｔｈｅ               Ｇｏｄ               ｏｆ               Ｎａｔｕｒｅ               ｄｉｄ               ｈｉｓ               ｓｏｕｌ               ｉｎｓｐｉｒｅ,               /               ... Ａｎｄ               ｅａｒｔｈ               ｗａｓ               ｍｅｔａｍｏｒｐｈｏｓ'ｄ               ｉｎｔｏ               Ｍａｎ."               (ｉｂｉｄ)                Ｓｅｃｔｉｏｎ               ｔｗｏ               ｏｆ               Ｂｏｏｋ               Ｏｎｅ,               "Ｔｈｅ               Ｇｏｌｄｅｎ               Ａｇｅ",               ｄｅｓｃｒｉｂｅｓ               ｗｈｅｎ               ｔｈｅ               ｗｏｒｌｄ               ｗａｓ               ｂｒｉｇｈｔ               ａｎｄ               ｆｒｅｓｈ,               ａｎｄ               Ｍａｎ               ｗａｓ               ａ               ｗｏｎｄｅｒｆｕｌ               ｃｒｅａｔｕｒｅ. Ｔｈｅｎ,               ｉｎ               "Ｔｈｅ               Ｓｉｌｖｅｒ               Ａｇｅ",               Ｓａｔｕｒｎ               ｉｓ               ｂａｎｉｓｈｅｄ               ｂｙ               ｈｉｓ               ｓｏｎ,               Ｊｏｖｅ               (ｉ.ｅ.,               ｔｈｅ               "ｏｌｄ               ｇｏｄ"               ｉｓ               ｒｅｐｌａｃｅｄ               ｂｙ               ｔｈｅ               "ｎｅｗ               ｇｏｄ",               ａｎｄ               ｔｈｅ               ｆａｔｈｅｒ               ｉｓ               ｒｅｐｌａｃｅｄ               ｂｙ               ｔｈｅ               ｓｏｎ),               ｔｈｅ               ｗｏｒｌｄ               ｂｅｃｏｍｅｓ               ａ               ｃｏｌｄｅｒ,               ｂｌｅａｋｅｒ               ｐｌａｃｅ,               ａｎｄ               Ｍａｎ               ｓｔａｒｔｓ               ｔｏ               ｓｕｆｆｅｒ               ａ               ｂｉｔ. Ｔｈｉｓ               ｉｓ               ａｌｌ               ｖｅｒｙ               Ｏｅｄｉｐａｌ,               ａｌｔｈｏｕｇｈ               Ｊｏｖｅ               ｍａｒｒｉｅｓ               ｈｉｓ               ｓｉｓｔｅｒ,               Ｊｕｎｏ,               ｎｏｔ               ｈｉｓ               ｍｏｔｈｅｒ. Ｆｉｎａｌｌｙ,               ｉｎ               "Ｔｈｅ               Ｉｒｏｎ               Ａｇｅ",               Ｍａｎｋｉｎｄ               ｓｕｃｃｕｍｂｓ               ｔｏ               ｗａｒ,               ｇｒｅｅｄ,               ｉｍｍｏｒａｌｉｔｙ               ａｎｄ               ｉｎｊｕｓｔｉｃｅ. Ａｔ               ｔｈｉｓ               ｐｏｉｎｔ               Ｍａｎ               ｂｅｃｏｍｅｓ               ａｌｉｅｎａｔｅｄ               ｆｒｏｍ               ｔｈｅ               ｇｏｄｓ:               "Ａｎｄ               ｊｕｓｔｉｃｅ,               ｈｅｒｅ               ｏｐｐｒｅｓｔ,               ｔｏ               Ｈｅａｖ'ｎ               ｒｅｔｕｒｎｓ."               (ｉｂｉｄ)                Ｈｏｗｅｖｅｒ,               ｉｔ               ｉｓ               ｎｏｔ               ｏｎｌｙ               Ｍａｎ               ｗｈｏ               ｓｕｆｆｅｒｓ               ａｌｉｅｎａｔｉｏｎ               ａｎｄ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｉｎ               Ｂｏｏｋ               Ｏｎｅ. Ｉｎ               "Ｔｈｅ               Ｇｉａｎｔｓ'               Ｗａｒ",               ｗｅ               ｄｉｓｃｏｖｅｒ               ｔｈａｔ               "Ｎｏｒ               ｗｅｒｅ               ｔｈｅ               Ｇｏｄｓ               ｔｈｅｍｓｅｌｖｅｓ               ｍｏｒｅ               ｓａｆｅ               ａｂｏｖｅ"               (ｉｂｉｄ)               ｉｎ               ｔｈａｔ               ａ               ｔｅｒｒｉｂｌｅ               ａｎｄ               ｖｉｏｌｅｎｔ               ｗａｒ               ｅｎｓｕｅｓ               ｉｎ               ｈｅａｖｅｎ               ｉｔｓｅｌｆ. Ｄｉｓｇｕｓｔｅｄ               ｗｉｔｈ               ａｌｌ               ｏｆ               ｔｈｉｓ,               Ｊｏｖｅ               ｃａｌｌｓ               ａ               ｃｏｕｎｃｉｌ               ｏｆ               ｔｈｅ               ｇｏｄｓ               ａｎｄ               ｄｅｃｌａｒｅｓ:               "Ａｌｌ               ａｒｅ               ｃｏｒｒｕｐｔ,               ａｎｄ               ａｌｌ               ｍｕｓｔ               ｂｅ               ｄｅｓｔｒｏｙ'ｄ."               (ｉｂｉｄ)               Ｊｏｖｅ               ｓｅｅｍｓ               ｔｏ               ｆｏｒｇｅｔ               ｔｈａｔ               ｉｔ               ｗａｓ               ｈｉｓ               ｕｓｕｒｐａｔｉｏｎ               ｏｆ               ｐｏｗｅｒ               ｆｒｏｍ               Ｓａｔｕｒｎ               ｔｈａｔ               ｃａｕｓｅｄ               ａｌｌ               ｏｆ               ｔｈｉｓ               ｍｉｓｅｒｙ               ｉｎ               ｔｈｅ               ｆｉｒｓｔ               ｐｌａｃｅ. Ｗａｎｔｉｎｇ               ｔｏ               ｓｔａｒｔ               ａｇａｉｎ,               Ｊｏｖｅ               ｓｅｎｄｓ               ｆｉｒｓｔ               ｆｉｒｅ               ａｎｄ               ｔｈｅｎ               ｗａｔｅｒ               ｄｏｗｎ               ｔｏ               ｄｅｓｔｒｏｙ               Ｍａｎｋｉｎｄ,               "Ａｎｄ               ｗｈａｔ               ｈｅ               ｄｕｒｓｔ               ｎｏｔ               ｂｕｒｎ,               ｒｅｓｏｌｖｅｓ               ｔｏ               ｄｒｏｗｎ."               (ｉｂｉｄ)               Ｈａｒｋｅｎｉｎｇ               ｂａｃｋ               ｔｏ               ｔｈｅ               Ｍｅｓｏｐｏｔａｍｉａｎ               ｍｙｔｈ               ｏｆ               ｔｈｅ               ａｒｋ,               Ｄｅｕｃａｌｉｏｎ               ａｎｄ               ｈｉｓ               ｗｉｆｅ,               Ｐｙｒｒｈａ,               ｅｓｃａｐｅ               ｉｎ               ａ               ｂｏａｔ               ｂｅｃａｕｓｅ               "Ｔｈｅ               ｍｏｓｔ               ｕｐｒｉｇｈｔ               ｏｆ               ｍｏｒｔａｌ               ｍｅｎ               ｗａｓ               ｈｅ;               /               Ｔｈｅ               ｍｏｓｔ               ｓｉｎｃｅｒｅ,               ａｎｄ               ｈｏｌｙ               ｗｏｍａｎ,               ｓｈｅ."               (ｉｂｉｄ)               Ｔｈｅ               ａｌｉｅｎａｔｉｏｎ               ｏｆ               Ｍａｎ               ｆｒｏｍ               ｔｈｅ               ｇｏｄｓ               (ａｎｄ               ｔｈｅ               ｇｏｄｓ               ｗｉｔｈｉｎ               ｔｈｅｍｓｅｌｖｅｓ)               ｈａｓ               ｃａｕｓｅｄ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ,               ａｎｄ               ｎｏｗ               ｗｅ               ａｗａｉｔ               ａ               ｎｅｗ               ｒｅｄｅｍｐｔｉｏｎ.                Ｔｈｅ               ｃｏｕｐｌｅ               ｐｒａｙｓ               ｔｏ               ｔｈｅ               ｇｏｄｄｅｓｓ               Ｔｈｅｍｉｓ               ｔｏ               ｂｅ               ａｌｌｏｗｅｄ               ｔｏ               ｒｅｓｔｏｒｅ               ｔｈｅ               ｒａｃｅ               ｏｆ               Ｍａｎ,               ａｎｄ               ｓｈｅ               ｇｒａｃｉｏｕｓｌｙ               ａｃｃｅｄｅｓ:               "Ｔｈｒｏｗ               ｅａｃｈ               ｂｅｈｉｎｄ               ｙｏｕｒ               ｂａｃｋｓ,               ｙｏｕｒ               ｍｉｇｈｔｙ               ｍｏｔｈｅｒ'ｓ               ｂｏｎｅｓ."               Ａｔ               ｆｉｒｓｔ               ｃｏｎｆｕｓｅｄ,               Ｄｅｕｃａｌｉｏｎ               ｌａｔｅｒ               ｔｒａｎｓｌａｔｅｓ               ｔｈｅ               ｃｏｍｍａｎｄ               ｔｏ               ｍｅａｎ               "Ｔｈｉｓ               Ｅａｒｔｈ               ｏｕｒ               ｍｉｇｈｔｙ               ｍｏｔｈｅｒ               ｉｓ,               ｔｈｅ               ｓｔｏｎｅｓ               /               Ｉｎ               ｈｅｒ               ｃａｐａｃｉｏｕｓ               ｂｏｄｙ,               ａｒｅ               ｈｅｒ               ｂｏｎｅｓ",               (ｉｂｉｄ)               ｗｈｉｃｈ               ｔｕｒｎｓ               ｏｕｔ               ｔｏ               ｂｅ               ｃｏｒｒｅｃｔ. Ｔｈｕｓ,               ａ               ｎｅｗ               ｃｙｃｌｅ               ｉｓ               ｂｅｇｕｎ               ｆｏｒ               ｔｈｅ               ｈｕｍａｎ               ｒａｃｅ,               ａｎｄ               ｔｈｅ               ｒｅｓｔ               ｏｆ               ｔｈｅ               ａｎｉｍａｌｓ               ａｒｅ               ｑｕｉｃｋｌｙ               ｒｅｇｅｎｅｒａｔｅｄ               ｏｎｃｅ               ａｇａｉｎ               ｆｒｏｍ               ｅａｒｔｈ.                Ｏｖｉｄ               ｎｏｗ               ｓｗｉｔｃｈｅｓ               ｆｒｏｍ               ｔｈｅ               ｃｒｅａｔｉｏｎ               ｓｔｏｒｙ               ｉｎ               Ｂｏｏｋ               Ｏｎｅ               ｔｏ               ｔｈｅ               ｓｔｏｒｙ               ｏｆ               Ｐｈｏｅｂｕｓ               (Ａｐｏｌｌｏ)               ａｎｄ               Ｄａｐｈｎｅ. Ａｆｔｅｒ               ｋｉｌｌｉｎｇ               ｔｈｅ               ｍｉｇｈｔｙ               Ｐｙｔｈｏｎ               ｗｉｔｈ               ａｎ               ａｒｒｏｗ,               Ｐｈｏｅｂｕｓ               ｓｅｅｓ               Ｃｕｐｉｄ               ａｎｄ               ｉｎｓｕｌｔｓ               ｈｉｍ               ｆｏｒ               ｈｉｓ               ｐｕｎｙ               ｌｉｔｔｌｅ               ｂｏｗ               ａｎｄ               ｉｔｓ               ｉｎｓｉｇｎｉｆｉｃａｎｔ               ｐｕｒｐｏｓｅ               ("Ｗｉｔｈ               ｔｈａｔ               ｔｈｅ               ｆｅｅｂｌｅ               ｓｏｕｌｓ               ｏｆ               ｌｏｖｅｒｓ               ｆｒｙ"). (ｉｂｉｄ)               Ｉｎｃｅｎｓｅｄ,               Ｃｕｐｉｄ               ｖｏｗｓ               ｒｅｖｅｎｇｅ               ｏｎ               ｔｈｅ               ｍｉｇｈｔｙ               ｇｏｄ. Ｃｕｐｉｄ               ｓｈｏｏｔｓ               Ｐｈｏｅｂｕｓ               ｗｉｔｈ               ａｎ               ａｒｒｏｗ               ｔｈａｔ               ｍａｋｅｓ               ｈｉｍ               ｆａｌｌ               ｉｎ               ｌｏｖｅ               ｗｉｔｈ               ｔｈｅ               ｔｏｔａｌｌｙ               ｉｎｎｏｃｅｎｔ               ｎｙｍｐｈ,               Ｄａｐｈｎｅ,               ｂｕｔ               ｓｈｏｏｔｓ               ｈｅｒ               ｗｉｔｈ               ａ               ｂｏｌｔ               ｔｈａｔ               ｍａｋｅｓ               ｈｅｒ               ｌｏａｔｈｅ               Ｐｈｏｅｂｕｓ. Ｉｎ               ｌｏｎｇ,               ｇｒａｐｈｉｃ               ｄｅｔａｉｌ,               Ｏｖｉｄ               ｄｅｓｃｒｉｂｅｓ               ｈｏｗ               ｔｈｅ               ｌｏｖｅｓｉｃｋ               Ｐｈｏｅｂｕｓ               ｐｕｒｓｕｅｓ               ｔｈｅ               ｉｎｎｏｃｅｎｔ               ｇｉｒｌ,               ｗｈｏ               ｏｎｌｙ               ｗａｎｔｓ               ｔｏ               ｒｅｍａｉｎ               ａ               ｍａｉｄ,               ａｎｄ               ｃｈａｓｅｓ               ｈｅｒ               ｔｏ               ｔｈｅ               ｂａｎｋ               ｏｆ               ａ               ｓｔｒｅａｍ,               ｗｈｅｒｅ               Ｐｈｏｅｂｕｓ               ｉｓ               ａｂｏｕｔ               ｔｏ               ｒａｐｅ               ｈｅｒ. Ｄａｐｈｎｅ               ｃｒｉｅｓ               ｏｕｔ               ｆｏｒ               ｍｅｒｃｙ. Ｔａｋｉｎｇ               ｐｉｔｙ               ｏｎ               ｈｅｒ,               ｂｕｔ               ｕｎａｂｌｅ               ｔｏ               ｄｅｆｙ               Ｐｈｏｅｂｕｓ,               Ｐｅｎｅｕｓ,               ｈｅｒ               ｆａｔｈｅｒ,               ｇｏｄ               ｏｆ               ｔｈｅ               ｓｔｒｅａｍｓ,               ｔｒａｎｓｆｏｒｍｓ               ｈｅｒ               ｉｎｔｏ               ａ               ｌａｕｒｅｌ               ｔｒｅｅ. Ｓｔｉｌｌ               ｅｎｒａｐｔｕｒｅｄ,               Ｐｈｏｅｂｕｓ               ｅｍｂｒａｃｅｓ               ｔｈｅ               ｔｒｅｅ,               ａｎｄ               ｖｏｗｓ               ｔｈａｔ               ｆｒｏｍ               ｔｈｅｎ               ｏｎ               ｇｒｅａｔ               ｃｈａｍｐｉｏｎｓ               ｗｏｕｌｄ               ｂｅ               ｃｒｏｗｎｅｄ               ｗｉｔｈ               ａ               ｗｒｅａｔｈ               ｆｒｏｍ               ｔｈｅ               ｌｉｍｂｓ               ｏｆ               ｈｉｓ               ｉｎａｍｏｒａｔａ.                Ｓｏ,               ｗｅ               ｈａｖｅ               ｉｔ               ａｌｌ               ｏｎｃｅ               ａｇａｉｎ. Ｐｈｏｅｂｕｓ               ａｌｉｅｎａｔｅｓ               Ｃｕｐｉｄ,               Ｃｕｐｉｄ               ｔｒａｎｓｆｏｒｍｓ               ｂｏｔｈ               Ｐｈｏｅｂｕｓ               ａｎｄ               Ｄａｐｈｎｅ               ｔｈｒｏｕｇｈ               ａｎｏｔｈｅｒ               ｆｏｒｍ               ｏｆ               ａｌｉｅｎａｔｉｏｎ,               ａｎｄ               Ｄａｐｈｎｅ               ｕｎｄｅｒｇｏｅｓ               ａｎｏｔｈｅｒ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｔｈａｔ               ｕｌｔｉｍａｔｅｌｙ               ｇｉｖｅｓ               ｈｅｒ               ａ               ｆｏｒｍ               ｏｆ               ｒｅｄｅｍｐｔｉｏｎ. Ａｌｔｈｏｕｇｈ               ｎｏｔ               ｉｎ               ｔｈｅ               ｗａｙ               ｓｈｅ               ｔｈｏｕｇｈｔ,               Ｄａｐｈｎｅ               ｈａｓ               ａｔｔａｉｎｅｄ               ｈｅｒ               ｎｅｗ               ｉｄｅｎｔｉｔｙ,               ａｎｄ               ｗｉｌｌ               ｒｅｍａｉｎ               ａ               ｃｈａｓｔｅ               ｍａｉｄ               ｆｏｒｅｖｅｒ. Ａｌｔｈｏｕｇｈ               ｔｈｅｓｅ               ａｃｔｉｏｎｓ               ａｒｅ               ａｔｔｒｉｂｕｔｅｄ               ｔｏ               ｔｈｅ               "ｇｏｄｓ"               ａｎｄ               "ｄｅｍｉ-ｇｏｄｓ"               (ｗｏｏｄ               ｎｙｍｐｈｓ,               ｓａｔｙｒｓ,               ｅｔｃ.),               ｔｈｅｓｅ               ａｒｅ               ｏｂｖｉｏｕｓｌｙ               ｔｈｅ               ｔｙｐｅｓ               ｏｆ               ａｃｔｉｏｎｓ,               ｅｍｏｔｉｏｎｓ               ａｎｄ               ｍｏｔｉｖａｔｉｏｎｓ               ｏｆ               ｈｕｍａｎｓ. Ｔｈｉｓ               ｗａｓ               ｎｏｔ               ａ               ｐｕｒｅ               ｌｏｖｅ               ｉｎ               ｔｈｅ               ｌｅａｓｔ,               ｂｕｔ               ａ               ｌｕｓｔ               ｉｎｓｐｉｒｅｄ               ｂｙ               ｍａｇｉｃ,               ａｎｄ               ｉｔ               ｅｎｄｅｄ               ｔｒａｇｉｃａｌｌｙ               ｆｏｒ               ｔｈｅ               ｍｏｓｔ               ｉｎｎｏｃｅｎｔ               ｐａｒｔｙ               ｄｕｅ               ｔｏ               ｔｈｅ               "ｏｕｔｒａｇｅｏｕｓ               ｖｉｏｌｅｎｃｅ"               ｐｅｒｐｅｔｒａｔｅｄ               ｕｐｏｎ               Ｄａｐｈｎｅ               ｂｙ               ｂｏｔｈ               Ｐｈｏｅｂｕｓ               ａｎｄ               Ｃｕｐｉｄ.                Ｏｖｉｄ               ｉｍｍｅｄｉａｔｅｌｙ               ｌａｕｎｃｈｅｓ               ｉｎｔｏ               ａｎｏｔｈｅｒ               ｔａｌｅ               ｏｆ               ｌｕｓｔ               ａｎｄ               ａｂｕｓｅ               ｏｆ               ｐｏｗｅｒ. Ａｓ               ｔｈｅ               ｂｅａｕｔｉｆｕｌ               ｎｙｍｐｈ               Ｉｏ               ａｌｓｏ               ｉｓ               ｒｅｔｕｒｎｉｎｇ               ｆｒｏｍ               ａ               ｓｔｒｅａｍ,               Ｊｏｖｅ               ｓｐｏｔｓ               ｈｅｒ               ａｎｄ               ｄｅｃｉｄｅｓ               ｔｏ               ｈａｖｅ               ｈｅｒ. Ｈｅ               ｃａｕｓｅｓ               ａ               ｍｉｓｔ               ｏｖｅｒ               ｔｈｅ               ｂｏｇ,               ｔｈｅｎ               ｒａｐｅｓ               ｔｈｅ               ｉｎｎｏｃｅｎｔ               ｍａｉｄｅｎ. Ｊｕｎｏ,               ｓｕｓｐｅｃｔｉｎｇ               ｗｈａｔ               ｉｓ               ｇｏｉｎｇ               ｏｎ               ｕｎｄｅｒ               ｔｈｅ               ｃｏｖｅｒｓ,               ｄｉｓｐｅｌｓ               ｔｈｅ               ｄａｒｋｎｅｓｓ               ａｎｄ               ｆｏｇ               ｔｈａｔ               ｈｉｄｅｓ               ｈｅｒ               ｈｕｓｂａｎｄ'ｓ               ａｃｔｉｖｉｔｉｅｓ. Ｋｎｏｗｉｎｇ               ｔｈｅ               ｇａｍｅ               ｉｓ               ｕｐ,               Ｊｏｖｅ               ｄｏｅｓｎ'ｔ               ｗａｎｔ               ｔｏ               ｇｅｔ               ｃａｕｇｈｔ,               ｓｏ               ｈｅ               ｔｒａｎｓｆｏｒｍｓ               ｐｏｏｒ               Ｉｏ               ｉｎｔｏ               ａ               ｃｏｗ. Ｔｈｉｎｋｉｎｇ               ｔｈｉｓ               ｎｅｗ               ｂｒｅｅｄ               ｏｆ               ｃｏｗ               ｔｏ               ｂｅ               ｑｕｉｔｅ               ｐｒｅｔｔｙ,               Ｊｕｎｏ               ｄｅｍａｎｄｓ               ｔｈａｔ               Ｊｏｖｅ               ｇｉｖｅ               ｔｈｅ               "ｈｅｙｆｅｒ"               ｔｏ               ｈｅｒ               ａｓ               ａ               ｐｒｅｓｅｎｔ. Ｉｔ               ｉｓ               ｏｎｌｙ               ａｆｔｅｒ               Ｊｏｖｅ               ｓｗｅａｒｓ               ｔｈａｔ               ｈｅ               ｗｏｎ'ｔ               ｂｅｄ               ｔｈｅ               ｐｏｏｒ,               ｓｕｆｆｅｒｉｎｇ               Ｉｏ               ａｎｙ               ｌｏｎｇｅｒ               ｔｈａｔ               Ｊｕｎｏ               ｒｅｌｅｎｔｓ               ａｎｄ               ｒｅｓｔｏｒｅｓ               ｔｈｅ               ｎｙｍｐｈ               ｔｏ               ｈｅｒ               ｐｒｅｖｉｏｕｓ               ｓｈａｐｅ.                Ｔｈｉｓ               ｔｒｅｎｄ               ｃｏｎｔｉｎｕｅｓ               ｔｈｒｏｕｇｈ               ｔｈｅ               ｓｅｃｏｎｄ               ｂｏｏｋ,               ｗｈｉｃｈ               ｏｐｅｎｓ               ｗｉｔｈ               "Ｔｈｅ               Ｓｔｏｒｙ               ｏｆ               Ｐｈａｅｔｏｎ",               ｗｈｏ               ｗａｎｔｓ               ｔｏ               ｌｅａｒｎ               ｉｆ               ｈｅ               ｉｓ               ａｃｔｕａｌｌｙ               ｔｈｅ               ｉｌｌｅｇｉｔｉｍａｔｅ               ｓｏｎ               ｏｆ               Ｐｈｏｅｂｕｓ               ｆｒｏｍ               ｔｈｅ               ｓｕｎ               ｇｏｄ'ｓ               ｄａｌｌｉａｎｃｅ               ｗｉｔｈ               Ｃｌｙｍｅｎｅ. Ａｌｔｈｏｕｇｈ               ｈｉｓ               ｓｅａｒｃｈ               ｗａｓ               ｏｒｉｇｉｎａｌｌｙ               ｆｒｏｍ               ａ               ｄｅｓｉｒｅ               ｔｏ               ｂｅ               ｒｅｕｎｉｔｅｄ               ｗｉｔｈ               ｈｉｓ               ｆａｔｈｅｒ-ｎｏｔ               ｔｏ               ｍｅｎｔｉｏｎ               ｈｉｓ               ｓｈａｍｅ               ｆｒｏｍ               ｏｔｈｅｒｓ               ｏｐｅｎｌｙ               ｍｏｃｋｉｎｇ               Ｃｌｙｍｅｎｅ'ｓ               ｓｔｏｒｙ               ａｂｏｕｔ               ｈｉｓ               ｂｉｒｔｈ-Ｐｈａｅｔｏｎ               ｄｅｍａｎｄｓ               ａ               ｇｉｆｔ               ｆｒｏｍ               ｈｉｓ               ｆａｔｈｅｒ               ｔｏ               ｐｒｏｖｅ               ｔｈｅ               ｒｅｌａｔｉｏｎｓｈｉｐ. Ｖｅｒｙ               ｒｅｌｕｃｔａｎｔｌｙ,               Ｐｈｏｅｂｕｓ               ａｌｌｏｗｓ               ｈｉｓ               ｓｏｎ               ｔｏ               ｄｒｉｖｅ               ｈｉｓ               ｃｈａｒｉｏｔ               ａｃｒｏｓｓ               ｔｈｅ               ｓｋｙ,               ｗｈｉｃｈ               ｎａｔｕｒａｌｌｙ               ｅｎｄｓ               ｉｎ               ｄｉｓａｓｔｅｒ. Ｔｈｉｓ               ｓｔｏｒｙ               ｒｅｓｕｌｔｓ               ｉｎ               ｍａｎｙ               ｃａｕｓａｔｉｏｎ               ｅｘｐｌａｎａｔｉｏｎｓ,               ｉｎｃｌｕｄｉｎｇ               ｗｈｙ               ｔｈｅ               ｎａｔｉｖｅｓ               ｏｆ               Ａｆｒｉｃａ               ａｒｅ               ｂｌａｃｋ               ａｎｄ               Ｌｉｂｙａ               ｉｓ               ａ               ｄｅｓｅｒｔ:                'Ｔｗａｓ               ｔｈｅｎ,               ｔｈｅｙ               ｓａｙ,               ｔｈｅ               ｓｗａｒｔｈｙ               Ｍｏｏｒ               ｂｅｇｕｎ               /               Ｔｏ               ｃｈａｎｇｅ               ｈｉｓ               ｈｕｅ,               ａｎｄ               ｂｌａｃｋｅｎ               ｉｎ               ｔｈｅ               ｓｕｎ. /               Ｔｈｅｎ               Ｌｉｂｙａ               ｆｉｒｓｔ,               ｏｆ               ａｌｌ               ｈｅｒ               ｍｏｉｓｔｕｒｅ               ｄｒａｉｎ'ｄ,               /               Ｂｅｃａｍｅ               ａ               ｂａｒｒｅｎ               ｗａｓｔｅ,               ａ               ｗｉｌｄ               ｏｆ               ｓａｎｄ. (ｉｂｉｄ)                Ｔｈｅ               ｕｐｓｈｏｔ               ｗａｓ               ｄｉｓａｓｔｅｒ               ｆｏｒ               ｔｈｅ               ｅｎｔｉｒｅ               "ｆａｍｉｌｙ". Ｐｈａｅｔｏｎ               ｗａｓ               ｂｕｒｎｔ               ｔｏ               ａ               ｃｒｉｓｐ               ｂｙ               ｔｈｅ               ｃｈａｒｉｏｔ,               Ｐｈｏｅｂｕｓ               ｌａｍｅｎｔｅｄ               ｔｈａｔ               ｈｅ               ｈａｄ               ａｌｌｏｗｅｄ               ｓｕｃｈ               ａ               ｔｈｉｎｇ               ｔｏ               ｈａｐｐｅｎ,               Ｐｈａｅｔｏｎ'ｓ               ｇｒｉｅｖｉｎｇ               ｓｉｓｔｅｒｓ               ｗｅｒｅ               ｔｕｒｎｅｄ               ｉｎｔｏ               ｔｒｅｅｓ,               ａｎｄ               Ｃｌｙｍｅｎｅ               ｈｅｒｓｅｌｆ               ｗａｓ               ｌｅｆｔ               ｔｏ               ｍｏｕｒｎ               ｔｈｅ               ｌｏｓｓ               ｏｆ               ａｌｌ               ｏｆ               ｈｅｒ               ｃｈｉｌｄｒｅｎ. Ｅｖｅｎ               Ｃｙｃｎｕｓ               ｉｓ               ｔｒａｎｓｆｏｒｍｅｄ               ｉｎｔｏ               ａ               ｓｗａｎ               ｄｕｅ               ｔｏ               ｇｒｉｅｆ               ｆｒｏｍ               ｔｈｅ               ｌｏｓｓ               ｏｆ               ｈｉｓ               ｇｒｅａｔ               ｆｒｉｅｎｄ,               Ｐｈａｅｔｏｎ,               ａｎｄ               ｔｈｅ               ｓｉｓｔｅｒｓ.                Ｉｎ               ｓｐｉｔｅ               ｏｆ               ａｌｌ               ｏｆ               ｔｈｉｓ               ｇｒｉｅｆ               ａｎｄ               ｓａｄ               ｒｅｐｅｒｃｕｓｓｉｏｎｓ               ｔｈａｔ               ｈａｖｅ               ｏｃｃｕｒｒｅｄ               ｄｕｅ               ｔｏ               ｌｕｓｔｆｕｌ               ｄｅｃｅｐｔｉｏｎｓ,               ａｌｉｅｎａｔｉｏｎｓ               ａｎｄ               ｔｒａｎｓｆｏｒｍａｔｉｏｎｓ,               Ｊｏｖｅ               ｓｔｉｌｌ               ｃａｎｎｏｔ               ｋｅｅｐ               ｈｉｓ               ｅｙｅ               ｆｒｏｍ               ｗａｎｄｅｒｉｎｇ. Ｅｖｅｎ               ｗｈｅｎ               ｈｅ               ｉｓ               ｏｕｔ               ｄｏｉｎｇ               ｇｏｏｄ               ｉｎ               ｔｈｅ               ｗｏｒｌｄ,               ｈｅ               ｓｐｉｅｓ               ｔｈｅ               ｃｈａｒｍｉｎｇ               Ｃａｌｉｓｔｏ               ｌａｙｉｎｇ               ｕｎｇｕａｒｄｅｄ               ｉｎ               ｔｈｅ               ｇｒａｓｓ               ａｎｄ               ｔｈｉｎｋｓ:               "Ｈｅｒｅ               Ｉ               ａｍ               ｓａｆｅ               ... ｆｒｏｍ               Ｊｕｎｏ'ｓ               ｅｙｅ"! (ｉｂｉｄ)               Ｈｅ               ｅｖｅｎ               ｄｉｓｇｕｉｓｅｓ               ｈｉｍｓｅｌｆ               ａｓ               Ｄｉａｎａ,               ｗｈｏｍ               ｈｅ               ｋｎｏｗｓ               ｔｈｅ               ｇｉｒｌ               ｗｏｒｓｈｉｐｓ,               ｉｎ               ｏｒｄｅｒ               ｔｏ               ｓｅｄｕｃｅ               ｈｅｒ. Ｒｅｃｏｇｎｉｚｉｎｇ               ｈｉｍ,               Ｃａｌｉｓｔｏ               ｆｉｇｈｔｓ               ｆｏｒ               ｈｅｒ               ｖｉｒｇｉｎｉｔｙ,               ｂｕｔ               ｉｓ               ｏｖｅｒｗｈｅｌｍｅｄ               ｂｙ               ｔｈｅ               ｇｏｄ. Ａｓ               ｈｅｒ               ｒｅｗａｒｄ,               ｐｏｏｒ               Ｃａｌｉｓｔｏ               ｂｅｃｏｍｅｓ               ｐｒｅｇｎａｎｔ               ａｎｄ               ｉｓ               ｂａｎｉｓｈｅｄ               ｆｒｏｍ               Ｄｉａｎａ'ｓ               ｓｅｒｖｉｃｅｓ. Ｗｈｅｎ               ｓｈｅ               ｂｅａｒｓ               ａ               ｓｏｎ,               Ｊｕｎｏ               ｉｓ               ｅｎｒａｇｅｄ               ａｎｄ               ｔｒａｎｓｆｏｒｍｓ               ｔｈｅ               ｉｎｎｏｃｅｎｔ               ｎｙｍｐｈ               ｉｎｔｏ               ａ               ｂｅａｒ. Ｗｈｅｎ               ｈｅ               ｓｅｅｓ               ｔｈａｔ               Ｃａｌｉｓｔｏ'ｓ               ｓｏｎ               ｉｓ               ａｂｏｕｔ               ｔｏ               ｋｉｌｌ               ｈｅｒ,               Ｊｏｖｅ               ｔｒａｎｓｆｏｒｍｓ               ｔｈｅｍ               ｂｏｔｈ               ｉｎｔｏ               ｃｏｎｓｔｅｌｌａｔｉｏｎｓ. Ｉｎ               ｔｈｅ               Ｇｒｅｅｋ               ｔｒａｄｉｔｉｏｎ,               ｔｈｉｓ               ｉｓ               ｒｅａｌｌｙ               ａ               ｈｉｇｈ               ｈｏｎｏｒ.                Ｅｖｅｎ               Ｊｏｖｅ               ｃｏｍｅｓ               ｔｏ               ｒｅｃｏｇｎｉｚｅ               ｔｈａｔ               ｈｅ               ｉｓ               ａ               ｌｅｃｈｅｒｏｕｓ               ｏｌｄ               ｇｏａｔ               ｗｈｏ,               ａｌｔｈｏｕｇｈ               ｈｅ               ｍａｙ               ｄｏ               ｇｏｏｄ               ｗｏｒｋｓ               ａｔ               ｔｉｍｅｓ,               ｊｕｓｔ               ｗａｎｔｓ               ｔｏ               ａｖｏｉｄ               ｂｅｉｎｇ               ｃａｕｇｈｔ               ｂｙ               ｈｉｓ               ｗｉｆｅ               ｗｈｅｎ               ｓｎｅａｋｉｎｇ               ａｒｏｕｎｄ               ｉｎ               ｏｒｄｅｒ               ｔｏ               ａｖｏｉｄ               ｈｅｒ               ｗｒａｔｈ. Ａｌｔｈｏｕｇｈ               ｈｅ               ｉｓ               ｔｈｅ               ｋｉｎｇ               ｏｆ               ｔｈｅ               ｇｏｄｓ,               ｈｅ               ｄｏｅｓ               ｎｏｔ               ｆｅｅｌ               ａｎｙ               ｎｅｅｄ               ｔｏ               ｂｅ               "ｐｅｒｆｅｃｔ"               ｉｎ               ｈｉｓ               ｂｅｈａｖｉｏｒ               ａｎｄ               ｓｅｔ               ａ               ｐｏｓｉｔｉｖｅ               ｅｘａｍｐｌｅ               ｔｏ               ｏｔｈｅｒ               ｇｏｄｓ               ｏｒ               ｔｏ               ｍｅｎ,               ｈｅ               ｊｕｓｔ               ｎｅｅｄｓ               ｔｏ               ｂｅｃｏｍｅ               ｒｅｃｏｎｃｉｌｅｄ               ｔｏ               ｗｈｏ               ｈｅ               ｉｓ               ａｎｄ               ｈｉｓ               ｐｌａｃｅ               ｉｎ               ｔｈｅ               ｃｏｓｍｏｓ. Ｏｎ               ｔｈｅ               ｃｏｎｔｒａｒｙ,               ｈｅ               ｏｆｔｅｎ               ｅｎｌｉｓｔｓ               ｔｈｅ               ａｉｄ               ｏｆ               ｌｅｓｓｅｒ               ｇｏｄｓ,               ｓｕｃｈ               ａｓ               Ｈｅｒｍｅｓ,               ｔｏ               ｈｅｌｐ               ｈｉｍ               ｉｎ               ｈｉｓ               ｐｕｒｓｕｉｔｓ. Ｄｕｅ               ｔｏ               ｈｉｓ               ｅｘａｍｐｌｅ,               ｍａｎｙ               ｏｆ               ｔｈｅ               ｏｔｈｅｒ               ｇｏｄｓ               ａｃｔ               ｉｎ               ｔｈｅ               ｓａｍｅ               ｃａｖａｌｉｅｒ               ｆａｓｈｉｏｎ.                Ｔｈｉｓ               ｐａｔｔｅｒｎ               ｃｏｎｔｉｎｕｅｓ               ｉｎ               Ｂｏｏｋ               Ｔｗｏ               ｔｏ               ｆｉｎａｌｌｙ               ｅｎｄ               ｗｉｔｈ               ｔｈｅ               ｒａｐｅ               ｏｆ               Ｅｕｒｏｐａ,               ｗｈｅｒｅ               Ｊｏｖｅ               ｄｉｓｇｕｉｓｅｓ               ｈｉｍｓｅｌｆ               ａｓ               ａ               ｗｈｉｔｅ               ｂｕｌｌ. Ａｌｔｈｏｕｇｈ               ｔｈｅ               ｉｎｔｅｎｔ               ｏｆ               ｓｕｃｈ               ｍｙｔｈｓ               ｗａｓ               ｔｏ               ｅｘｐｌａｉｎ               ｃａｕｓａｔｉｏｎｓ               (Ｈｏｗ               ｄｉｄ               ｔｈｅ               ｌａｕｒｅｌ               ｔｒｅｅ               ｃｏｍｅ               ｉｎｔｏ               ｅｘｉｓｔｅｎｃｅ? Ｗｈｙ               ｉｓ               Ａｆｒｉｃａ               ｓｏ               ｈｏｔ? Ｗｈｙ               ａｒｅ               ｔｈｅｒｅ               ｃｏｎｓｔｅｌｌａｔｉｏｎｓ               ｉｎ               ｔｈｅ               ｈｅａｖｅｎｓ?),               ｔｈｅ               ｐｕｒｐｏｒｔｅｄ               ａｃｔｉｏｎｓ               ｏｆ               ｔｈｅ               ｇｏｄｓ               ｉｎ               ｔｒｅａｔｉｎｇ               Ｍａｎｋｉｎｄ               ｓｏ               ｄｉｓｄａｉｎｆｕｌｌｙ-ｏｒ               ｅｖｅｎ               ｇｅｎｅｒｏｕｓｌｙ,               ｉｎ               ｔｈｅ               ｃａｓｅ               ｏｆ               Ｐｒｏｍｅｔｈｅｕｓ,               ｆｏｒ               ｅｘａｍｐｌｅ-ｉｓ               ｒｅａｌｌｙ               ｂａｓｅｄ               ｏｎ               ｈｏｗ               ｍｅｎ               ｔｒｅａｔ               ｏｎｅ               ａｎｏｔｈｅｒ. Ｆｏｒ               Ｏｖｉｄ,               ｔｈｉｓ               ａｌｉｅｎａｔｉｏｎ               ａｎｄ               ｍｉｓｔｒｅａｔｍｅｎｔ,               ｅｓｐｅｃｉａｌｌｙ               ｂｅｔｗｅｅｎ               ｔｈｅ               ｔｗｏ               ｓｅｘｅｓ,               ｗａｓ               ｃｌｅａｒｌｙ               ｔｈｅ               ｎａｔｕｒａｌ               ｏｒｄｅｒ               ｏｆ               ｔｈｉｎｇｓ.                Ｆｏｒ               ｅｘａｍｐｌｅ,               ｉｎ               Ｂｏｏｋ               Ｔｈｒｅｅ,               Ａｃｔａｅｏｎ               ａｃｃｉｄｅｎｔａｌｌｙ               ｖｉｅｗｓ               Ｄｉａｎａ               ａｎｄ               ｈｅｒ               ｎｙｍｐｈｓ               ｎａｋｅｄ. Ａｌｔｈｏｕｇｈ               ｔｈｅｒｅ               ｗａｓ               ｎｏ               ｅｖｉｌ               ｉｎｔｅｎｔ               ｏｎ               Ａｃｔａｅｏｎ'ｓ               ｐａｒｔ,               Ｄｉａｎａ               ｔｒａｎｓｆｏｒｍｓ               ｈｉｍ               ｉｎｔｏ               ａ               ｓｔａｇ,               ｗｈｉｃｈ               ｉｓ               ｈｕｎｔｅｄ               ｄｏｗｎ               ｂｙ               ｈｉｓ               ｏｗｎ               ｍｅｎ               ａｎｄ               ｔｏｒｎ               ａｐａｒｔ               ｂｙ               ｈｉｓ               ｏｗｎ               ｄｏｇｓ. Ｔｈｉｓ               ｕｎｄｕｅ               ｒｅｖｅｎｇｅ               ｏｆ               ｔｈｅ               ｇｏｄｄｅｓｓ               ａｇａｉｎｓｔ               ａｎ               ｉｎｎｏｃｅｎｔ               ｍａｎ               ｒｅｉｎｆｏｒｃｅｓ               ｔｈｅ               ａｃｔｉｏｎｓ               ｏｆ               Ｊｕｎｏ,               ｗｈｏ               ｃａｎｎｏｔ               ｔａｋｅ               ｒｅｖｅｎｇｅ               ａｇａｉｎｓｔ               ｈｅｒ               ｐｏｗｅｒｆｕｌ               ｈｕｓｂａｎｄ,               ｓｏ               ｔａｋｅｓ               ｏｕｔ               ｈｅｒ               ａｎｇｅｒ               ｏｎ               ｉｎｎｏｃｅｎｔ               ｈｕｍａｎｓ.                Ａｃｃｏｒｄｉｎｇ               ｔｏ               Ｄａｎｉｅｌ               Ｂｏｏｒｓｔｉｎ,               "Ｔｈｅ               ｐｏｐｕｌａｒ               Ａｒｔｓ               Ａｍａｔｏｒｉａ               ｏｆ               ｔｈｅ               Ｒｏｍａｎ               ｐｏｅｔ               Ｏｖｉｄ               ... ｔｏｌｄ               ｈｏｗ               ｔｏ               ｃｏｎｑｕｅｒ               ｗｏｍｅｎ               ｏｆ               ｅａｓｙ               ｖｉｒｔｕｅ               ａｎｄ               ａｌｓｏ               ｉｎｓｔｒｕｃｔｅｄ               ｗｏｍｅｎ               ｏｎ               ｓｅｄｕｃｉｎｇ               ｍｅｎ. Ｉｔ               ｗａｓ               ａｘｉｏｍａｔｉｃ               ｆｏｒ               Ｏｖｉｄ               ｔｈａｔ               ｌｏｖｅ               ｃｏｕｌｄ               ｎｏｔ               ｅｘｉｓｔ               ｂｅｔｗｅｅｎ               ｈｕｓｂａｎｄ               ａｎｄ               ｗｉｆｅ."               (Ｂｏｏｒｓｔｉｎ               256)               Ｊｏｖｅ               ａｎｄ               Ｊｕｎｏ               ａｒｅ               ｔｈｅ               ｐｒｉｍｅ               ｅｘａｍｐｌｅ               ｏｆ               ｔｈｉｓ               ｆａｉｌｕｒｅ.                Ｔｈｅ               Ｔｈｉｒｄ               Ｂｏｏｋ               ｂｅｇｉｎｓ               ｗｉｔｈ               ｔｈｅ               ｓｔｏｒｙ               ｏｆ               Ｃａｄｍｕｓ,               ｗｈｏ               ｃｏｕｒａｇｅｏｕｓｌｙ               ｋｉｌｌｓ               ａ               ｆｉｅｒｃｅ               ｄｒａｇｏｎ. Ｔｈｅ               ｌｅｓｓｅｒ               ｇｏｄ               Ｐａｌｌａｓ               ｃｏｍｅｓ               ｄｏｗｎ               ａｎｄ               ｔｅｌｌｓ               Ｃａｄｍｕｓ               ｔｏ               ｓｏｗ               ｔｈｅ               ｄｒａｇｏｎ'ｓ               ｔｅｅｔｈ,               ｗｈｉｃｈ               ｓｐｒｉｎｇ               ｕｐ               ｔｏ               ｂｅ               ａｎ               ａｒｍｙ               ｏｆ               ｂｒｏｔｈｅｒｓ. Ｏｎ               ｔｈｅ               ｓｐｏｔ               ｗｈｅｒｅ               ｔｈｅｙ               ｅｓｓｅｎｔｉａｌｌｙ               ｋｉｌｌ               ｅａｃｈ               ｏｔｈｅｒ               ｏｆｆ,               Ｃａｄｍｕｓ               ｆｏｕｎｄｓ               ａ               ｇｒｅａｔ               ｃｉｔｙ. Ａｌｔｈｏｕｇｈ               ｔｈｅｒｅ               ｉｓ               ｎｏ               ｅｘｐｌａｎａｔｉｏｎ               ｏｆ               ｗｈｙ               Ｐａｌｌａｓ               ｗａｎｔｅｄ               ｓｕｃｈ               ａ               ｓｔｒａｎｇｅ               ｔｈｉｎｇ               ｔｏ               ｈａｐｐｅｎ,               ｔｈｅ               ａｌｉｅｎａｔｉｏｎ               ａｎｄ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｔｈｅｍｅ               ｓｔｉｌｌ               ｒｕｎｓ               ｃｌｅａｒｌｙ               ｔｈｒｏｕｇｈ               ｔｈｅ               ｓｔｏｒｙ.                Ｉｔ               ｍａｙ               ｂｅ               ｔｈａｔ               Ｏｖｉｄ               ｓｉｍｐｌｙ               ｕｓｅｓ               ｔｈｉｓ               ｓｔｏｒｙ               ｔｏ               ｓｅｔ               ｕｐ               ｗｈａｔ               ｏｃｃｕｒｓ               ｉｎ               "Ｔｈｅ               Ｂｉｒｔｈ               ｏｆ               Ｂａｃｃｈｕｓ". Ｏｖｉｄ               ａｃｔｕａｌｌｙ               ｇｉｖｅｓ               ａ               ｂｒｉｅｆ               ｄｉｓｃｕｓｓｉｏｎ               ｏｎ               ｔｈｅ               ｊｕｓｔｉｃｅ               (ｏｒ               ｉｎｊｕｓｔｉｃｅ)               ｏｆ               Ｄｉａｎａ'ｓ               ａｃｔｉｏｎｓ,               ｗｈｉｃｈ               ｌｅａｄｓ               ｔｏ               ｔｈｅ               ｆｏｌｌｏｗｉｎｇ               ｐａｓｓａｇｅ:                Ｊｕｎｏ               ａｌｏｎｅ,               ｏｆ               ａｌｌ               ｔｈａｔ               ｈｅａｒｄ               ｔｈｅ               ｎｅｗｓ,               /               Ｎｏｒ               ｗｏｕｌｄ               ｃｏｎｄｅｍｎ               ｔｈｅ               Ｇｏｄｄｅｓｓ,               ｎｏｒ               ｅｘｃｕｓｅ:               /               Ｓｈｅ               ｈｅｅｄｅｄ               ｎｏｔ               ｔｈｅ               ｊｕｓｔｉｃｅ               ｏｆ               ｔｈｅ               ｄｅｅｄ,               /               Ｂｕｔ               ｊｏｙ'ｄ               ｔｏ               ｓｅｅ               ｔｈｅ               ｒａｃｅ               ｏｆ               Ｃａｄｍｕｓ               ｂｌｅｅｄ;               /               Ｆｏｒ               ｓｔｉｌｌ               ｓｈｅ               ｋｅｐｔ               Ｅｕｒｏｐａ               ｉｎ               ｈｅｒ               ｍｉｎｄ,               /               Ａｎｄ,               ｆｏｒ               ｈｅｒ               ｓａｋｅ,               ｄｅｔｅｓｔｅｄ               ａｌｌ               ｈｅｒ               ｋｉｎｄ. /               Ｂｅｓｉｄｅｓ,               ｔｏ               ａｇｇｒａｖａｔｅ               ｈｅｒ               ｈａｔｅ,               ｓｈｅ               ｈｅａｒｄ               /               Ｈｏｗ               Ｓｅｍｅｌｅ,               ｔｏ               Ｊｏｖｅ'ｓ               ｅｍｂｒａｃｅ               ｐｒｅｆｅｒｒ'ｄ,               /               Ｗａｓ               ｎｏｗ               ｇｒｏｗｎ               ｂｉｇ               ｗｉｔｈ               ａｎ               ｉｍｍｏｒｔａｌ               ｌｏａｄ,               /               Ａｎｄ               ｃａｒｒｙ'ｄ               ｉｎ               ｈｅｒ               ｗｏｍｂ               ａ               ｆｕｔｕｒｅ               Ｇｏｄ. /               Ｔｈｕｓ               ｔｅｒｒｉｂｌｙ               ｉｎｃｅｎｓ'ｄ,               ｔｈｅ               Ｇｏｄｄｅｓｓ               ｂｒｏｋｅ               /               Ｔｏ               ｓｕｄｄｅｎ               ｆｕｒｙ.... (Ｇａｒｔｈ,               ｅｔ               ａｌ.)                Ｉｎ               ｄｉｓｇｕｉｓｅ,               Ｊｕｎｏ               ｐｅｒｓｕａｄｅｓ               Ｓｅｍｅｌｅ,               Ｊｏｖｅ'ｓ               ｎｅｗ               ｍｉｓｔｒｅｓｓ,               ｔｏ               ｃｏｎｖｉｎｃｅ               Ｊｏｖｅ               ｔｏ               ｄｅｍｏｎｓｔｒａｔｅ               ｈｉｓ               ｐｏｗｅｒ               ｉｆ               ｈｅ               ｔｒｕｌｙ               ｌｏｖｅｓ               ｈｅｒ. Ｓｉｍｉｌａｒ               ｔｏ               Ｐｈａｅｔｏｎ'ｓ               ｆａｔｅ,               Ｓｅｍｅｌｅ               ｉｓ               ｂｌａｓｔｅｄ               ｂｙ               ｔｈｅ               ｐｏｗｅｒ               ｏｆ               ｔｈｅ               ｇｏｄｓ. Ｊｏｖｅ               ｓａｖｅｓ               ｔｈｅ               ｕｎｂｏｒｎ               ｃｈｉｌｄ,               ｓｅｎｄｉｎｇ               ｈｉｍ               ｔｏ               ｂｅ               ｎｕｒｓｅｄ               ｓｅｃｒｅｔｌｙ               ｂｙ               ｔｈｅ               Ｎｉｓｅａｎｓ. Ｉｔ               ｉｓ               ｃｌｅａｒ               ｔｈａｔ               Ｊｕｎｏ               ｎｏｗ               "ｄｅｔｅｓｔｓ"               ａｌｌ               ｈｕｍａｎ               ｆｅｍａｌｅｓ,               ａｎｄ,               ｓｉｎｃｅ               ｓｈｅ               ｃａｎ               ｔｒａｎｓｆｏｒｍ               ｎｅｉｔｈｅｒ               Ｊｏｖｅ'ｓ               ｂｅｈａｖｉｏｒ               ｎｏｒ               ｈｅｒ               ｍａｒｒｉａｇｅ,               ｓｈｅ               ｒｅｓｏｒｔｓ               ｔｏ               ｅｉｔｈｅｒ               ｔｕｒｎｉｎｇ               ｈｉｓ               ｍｉｓｔｒｅｓｓｅｓ               ｉｎｔｏ               ａｎｉｍａｌｓ               ｏｒ               ｋｉｌｌｉｎｇ               ｔｈｅｍ,               ｗｈｅｔｈｅｒ               ｏｒ               ｎｏｔ               ｔｈｅｙ               ｐｌａｙｅｄ               ａｎｙ               ｐａｒｔ               ｉｎ               ｂｅｔｒａｙｉｎｇ               ｈｅｒ. Ｔｈｉｓ               ｒｅｌａｔｉｏｎｓｈｉｐ               ｓｅｒｖｅｓ               ａｓ               ａ               ｒａｔｈｅｒ               ｕｎｆｏｒｔｕｎａｔｅ               ｍｏｄｅｌ               ｆｏｒ               ｍｏｓｔ               ｏｆ               ｔｈｅ               ｇｏｄｓ               ａｎｄ               ｇｏｄｄｅｓｓｅｓ,               ｗｈｏ               ｈａｖｅ               ｂｅｃｏｍｅ               ｔｏｔａｌｌｙ               ａｌｉｅｎａｔｅｄ               ｆｒｏｍ               ｔｈｅｉｒ               ｈｕｍａｎ               ｃｒｅａｔｉｏｎｓ.                Ｉｎ               Ｂｏｏｋ               Ｆｏｕｒ,               Ｏｖｉｄ               ｆｉｎａｌｌｙ               ｇｉｖｅｓ               ｕｓ               ａ               ｓｔｏｒｙ,               ｔｈａｔ               ｏｆ               Ｐｙｒａｍｕｓ               ａｎｄ               Ｔｈｉｓｂｅ,               ｗｈｉｃｈ               ｉｓ               ｔｏｔａｌｌｙ               ｈｕｍａｎ               ｉｎ               ｉｔｓ               ｃｏｎｔｅｘｔ. Ｔｈｅ               ｆａｍｉｌｉｅｓ               ｌｉｖｅ               ｉｎ               ｓｅｍｉ-ｄｅｔａｃｈｅｄ               ｈｏｕｓｅｓ:               "Ａ               ｃｌｏｓｅｒ               ｎｅｉｇｈｂｏｕｒｈｏｏｄ               ｗａｓ               ｎｅｖｅｒ               ｋｎｏｗｎ,               /               Ｔｈｏ'               ｔｗｏ               ｔｈｅ               ｈｏｕｓｅｓ,               ｙｅｔ               ｔｈｅ               ｒｏｏｆ               ｗａｓ               ｏｎｅ."               (ｉｂｉｄ)               Ｔｈｉｓ               ｐａｓｓａｇｅ               ｃｏｕｌｄ               ｂｅ               ｔｒａｎｓｌａｔｅｄ               ａｓ:               "Ｔｗｏ               ｈｏｕｓｅｈｏｌｄｓ,               ｂｏｔｈ               ａｌｉｋｅ               ｉｎ               ｄｉｇｎｉｔｙ...",               ｗｈｉｃｈ               ａｇａｉｎ               ｐｕｚｚｌｅｓ               ｔｈｅ               ｒｅａｄｅｒ               ａｓ               ｔｏ               ｔｈｅ               ｃａｕｓｅ               ｏｆ               ｔｈｅ               ｅｎｍｉｔｙ               ｂｅｔｗｅｅｎ               ｔｈｅ               ｆａｍｉｌｉｅｓ,               ａｓ               Ｏｖｉｄ               ｄｏｅｓ               ｎｏｔ               ｅｘｐｌａｉｎ               ｔｈｅｉｒ               ｄｉｆｆｅｒｅｎｃｅｓ               ａｎｙ               ｍｏｒｅ               ｔｈａｎ               Ｓｈａｋｅｓｐｅａｒｅ               ｄｏｅｓ. Ｎｅｖｅｒｔｈｅｌｅｓｓ,               ｄｕｅ               ｔｏ               ｔｈｅ               ｒｅｓｐｅｃｔｉｖｅ               ｐａｒｅｎｔｓ               ｆｏｒｂｉｄｄｉｎｇ               ｔｈｉｓ               ｕｎｉｏｎ,               Ｐｙｒａｍｕｓ               ａｎｄ               Ｔｈｉｓｂｅ               ｓｅｅｋ               ｔｏ               ｅｌｏｐｅ. Ｔｈｅｉｒ               ｔｉｍｉｎｇ               ｉｓ               ａ               ｌｉｔｔｌｅ               ｏｆｆ               ａｎｄ               ｔｈｅｉｒ               ｌｕｃｋ               ｉｓ               ａｌｌ               ｂａｄ,               ｓｏ               ｔｈｅｙ               ｗｉｎｄ               ｕｐ               ｃｏｍｍｉｔｔｉｎｇ               ｓｕｉｃｉｄｅ. Ｉｎ               ｔｈｉｓ               ｃａｓｅ,               ｔｈｅｉｒ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｉｓ               ｏｆ               ｔｈｅｉｒ               ｏｗｎ               ｍａｋｉｎｇ,               ａｓ               ｔｈｅｙ               ｄｅｃｉｄｅ               ｔｈｅｙ               ｗｏｕｌｄ               ｒａｔｈｅｒ               ｄｉｅ               ｔｈａｎ               ｎｏｔ               ｂｅ               ｔｏｇｅｔｈｅｒ. Ｎａｔｕｒａｌｌｙ,               ｔｈｅｙ               ａｒｅ               ｕｎｉｔｅｄ               ｉｎ               ｔｈｅ               ｅｎｄ,               ｂｕｔ               ａｓ               ａｓｈｅｓ               ｉｎ               ａｎ               ｕｒｎ.                Ｏｖｉｄ               ｉｓ               ｅｘｈａｕｓｔｉｖｅ               ｉｎ               ｈｉｓ               ｒｅｃｏｕｎｔｉｎｇ               ｏｆ               ｍｙｔｈｓ               ａｎｄ               ｓｅｍｉ-ｍｙｔｈｓ. Ａｓ               ｈｅ               ｐｒｏｍｉｓｅｄ,               ｅｖｅｒｙ               ｓｔｏｒｙ               ｒｅｖｏｌｖｅｓ               ａｒｏｕｎｄ               ｓｏｍｅ               ｓｏｒｔ               ｏｆ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ,               ｅｉｔｈｅｒ               ｃａｕｓｅｄ               ｂｙ               ｔｈｅ               ｇｏｄｓ               ｏｒ               ｂｙ               ｔｈｅ               ｖａｇａｒｉｅｓ               ｏｆ               ｈｕｍａｎ               ｎａｔｕｒｅ. Ｊｕｓｔ               ａｓ               ｔｈｅ               ｗｏｒｌｄ               ｗａｓ               ｆｏｒｍｅｄ               ｆｒｏｍ               Ｃｈａｏｓ               ａｎｄ               ｇｉｖｅｎ               ｓｈａｐｅ,               ｓｏ               ａｒｅ               ｔｈｅ               ｐｅｏｐｌｅ               ｗｈｏ               ｉｎｈａｂｉｔ               ｉｔ               ｇｒａｄｕａｌｌｙ               ｍｏｖｉｎｇ               ｔｏｗａｒｄｓ               ｓｏｍｅ               ｆｏｒｍ               ｏｆ               "ｎｏｒｍａｌｃｙ",               ｏｒ               ａ               ｃｕｌｔｕｒａｌ               ｎｏｒｍ.                Ｂｏｏｋ               Ｅｌｅｖｅｎ               ｂｅｇｉｎｓ               ｔｏ               ｍｏｖｅ               ｆｒｏｍ               ｍｙｔｈ               ｔｏ               ｈｉｓｔｏｒｙ               ｗｉｔｈ               ｔｈｅ               ｃｏｎｃｅｐｔｉｏｎ               ｏｆ               Ａｃｈｉｌｌｅｓ,               ｔｈｅ               ｇｒｅａｔ               Ｇｒｅｅｋ               ｈｅｒｏ               ｏｆ               ｔｈｅ               Ｔｒｏｊａｎ               Ｗａｒ. Ｐｅｌｅｕｓ,               ｐｒｉｍａｒｉｌｙ               ａ               ｍｏｒｔａｌ               (ａｌｔｈｏｕｇｈ               ｄｅｓｃｅｎｄｅｄ               ｆｒｏｍ               ｔｈｅ               ｇｏｄｓ),               ｗａｓ               ａｂｌｅ               ｔｏ               ｗｉｎ               ｔｈｅ               ｓｅａ-ｎｙｍｐｈ               Ｔｈｅｔｉｓ               ｔｏ               ｂｅ               ｈｉｓ               ｗｉｆｅ,               ａｌｔｈｏｕｇｈ               ｃｅｒｔａｉｎｌｙ               ｗｉｔｈ               ｔｈｅ               ａｉｄ               ｏｆ               ｔｈｅ               ｇｏｄ               Ｐｒｏｔｅｕｓ. Ｓｔｉｌｌ,               ｔｈｉｓ               ｉｓ               ｔｈｅ               ｆｉｒｓｔ               ｉｎｓｔａｎｃｅ               ｏｆ               ａ               ｍｏｒｔａｌ               ａｃｔｕａｌｌｙ               ｂｅｉｎｇ               "ｖｉｃｔｏｒｉｏｕｓ"               ｏｖｅｒ               ａ               ｇｏｄ               ｏｒ               ｇｏｄｄｅｓｓ,               ａｎｄ               ｍａｒｋｓ               ｔｈｅ               ｂｅｇｉｎｎｉｎｇ               ｏｆ               ｔｈｅ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｏｆ               ｔｈｅ               ｂａｌａｎｃｅ               ｏｆ               ｐｏｗｅｒ               ｉｎ               ｔｈｅ               ｕｎｉｖｅｒｓｅ. Ｗｉｔｈ               ｔｈｅ               ｃｏｎｑｕｅｓｔ               ｏｆ               Ｐｅｌｅｕｓ               ｏｖｅｒ               Ｔｈｅｔｉｓ               ａｎｄ               ｔｈｅ               ｓｉｒｉｎｇ               ｏｆ               ａ               ｃｈｉｌｄ               ｂｙ               ｈｅｒ,               ａ               ｍｏｒｔａｌ               ｂｅｇｉｎｓ               ｔｏ               ｐｒｏｄｕｃｅ               ｏｆｆｓｐｒｉｎｇ               ｔｈａｔ               ｈａｖｅ               ｇｏｄ-ｌｉｋｅ               ｑｕａｌｉｔｉｅｓ               ｂｙ               ｈｉｓ               ｏｗｎ               ｄｅｓｉｇｎ,               ｒａｔｈｅｒ               ｔｈａｎ               ｂｅｉｎｇ               ｔｈｅ               ｐｌａｙｔｈｉｎｇ               ｏｆ               ｔｈｅ               ｇｏｄｄｅｓｓ.                Ｉｎ               Ｂｏｏｋ               Ｔｗｅｌｖｅ,               Ｏｖｉｄ               ｂｅｇｉｎｓ               ｄｅｓｃｒｉｂｉｎｇ               ｔｈｅ               Ｔｒｏｊａｎ               Ｗａｒ               ａｎｄ,               ｉｎ               ｐａｒｔｉｃｕｌａｒ,               ｔｈｅ               ｅｘｐｌｏｉｔｓ               ｏｆ               Ａｃｈｉｌｌｅｓ. Ｉｎ               ｄｅｆｅａｔｉｎｇ               Ｃｙｃｎｕｓ,               Ａｃｈｉｌｌｅｓ'               ｇｒｅａｔ               ｐｏｗｅｒｓ               ａｒｅ               ｒｅｖｅａｌｅｄ:               "Ｉｔ               ｓｅｅｍｅｄ               ｗｏｎｄｒｏｕｓ               ｔｏ               ａｌｌ               ｏｆ               ｔｈｅｍ               ｔｈａｔ               ａ               ｗａｒｒｉｏｒ               ｓｈｏｕｌｄ               ｈａｖｅ               ａ               ｂｏｄｙ               ｎｏ               ｓｐｅａｒ               ｃｏｕｌｄ               ｐｅｎｅｔｒａｔｅ,               ｉｍｐｅｒｖｉｏｕｓ               ｔｏ               ｗｏｕｎｄｓ,               ａｎｄ               ｔｈａｔ               ｂｌｕｎｔｅｄ               ｉｒｏｎ               ｓｗｏｒｄｓ."               (Ｉｎｎｅｓ               293)               Ｏｎｅ               ｏｆ               ｔｈｏｓｅ               ｅｘｐｌｏｉｔｓ               ｉｓ               ｗｈｅｎ               Ａｃｈｉｌｌｅｓ               ｈａｓ               ａ               ｃｏｎｔｅｓｔ               ｗｉｔｈ               Ｈｅｃｔｏｒ,               ｔｈｅ               ｇｒｅａｔ               Ｔｒｏｊａｎ               ｈｅｒｏ               ａｎｄ               ｔｈｅ               ｓｏｎ               ｏｆ               Ｎｅｐｔｕｎｅ. Ｈｅｃｔｏｒ               ｉｎｓｕｌｔｓ               Ａｃｈｉｌｌｅｓ               ａｂｏｕｔ               ｔｈｅｉｒ               ｒｅｓｐｅｃｔｉｖｅ               ｈｅｒｉｔａｇｅ,               ｓｎｅｅｒｉｎｇ:               "Ｔｈｙ               ｓｉｒｅ               ｉｓ               ｍｏｒｔａｌ;               ｍｉｎｅ               ｉｓ               ｏｃｅａｎ'ｓ               ｋｉｎｇ."               (Ｇａｒｔｈ,               ｅｔ               ａｌ.)               Ａｆｔｅｒ               Ａｃｈｉｌｌｅｓ               ｓｌａｙｓ               Ｈｅｃｔｏｒ,               ｈｅ               ｃａｐｓ               ｈｉｓ               ｒｅｖｅｎｇｅ               ｂｙ               ｄｒａｇｇｉｎｇ               Ｈｅｃｔｏｒ'ｓ               ｂｏｄｙ               ｒｏｕｎｄ               ａｎｄ               ｒｏｕｎｄ               ｆｒｏｍ               ｈｉｓ               ｃｈａｒｉｏｔ               ｉｎ               ｆｒｏｎｔ               ｏｆ               ｔｈｅ               Ｔｒｏｊａｎ               ｗａｌｌｓ. Ｆｉｎａｌｌｙ               Ｎｅｐｔｕｎｅ,               ｉｎｃｅｎｓｅｄ               ａｔ               Ａｃｈｉｌｌｅｓ'               ｒｕｄｅ               ｔｒｅａｔｍｅｎｔ               ｏｆ               ｔｈｅ               ｂｏｄｙ               ｏｆ               ｈｉｓ               ｓｏｎ,               ｉｎｔｅｒｖｅｎｅｓ               ｓｏ               ｔｈａｔ               Ｐａｒｉｓ,               ｗｈｏ               ｉｓ               ｃｏｗａｒｄｌｙ               ｉｎ               Ｏｖｉｄ'ｓ               ｖｅｒｓｉｏｎ               ｏｆ               ｔｈｉｓ               ｔａｌｅ,               ｆｉｒｅｓ               ｈｉｓ               ａｒｒｏｗ               ｉｎｔｏ               ｔｈｅ               ｖｕｌｎｅｒａｂｌｅ               ｈｅｅｌ               ｏｆ               Ａｃｈｉｌｌｅｓ               ａｎｄ               ｓｌａｙｓ               ｈｉｍ.                Ａｆｔｅｒ               ａ               ｌｏｎｇ               ｄｅｂａｔｅ               ｉｎ               Ｂｏｏｋ               Ｔｈｉｒｔｅｅｎ               ｂｅｔｗｅｅｎ               ｔｈｅ               ｈｅｒｏｅｓ               Ａｊａｘ               ａｎｄ               Ｕｌｙｓｓｅｓ               (Ｏｄｙｓｓｅｕｓ)               ａｂｏｕｔ               ｗｈｏ               ｓｈｏｕｌｄ               ｒｅｃｅｉｖｅ               Ａｃｈｉｌｌｅｓ'               ａｒｍｓ,               Ｕｌｙｓｓｅｓ'               ｅｌｏｑｕｅｎｃｅ               ｃｏｎｖｉｎｃｅｓ               ｔｈｅ               Ｇｒｅｅｋｓ               ｔｏ               ａｗａｒｄ               ｔｈｅ               ｐｒｉｚｅ               ｔｏ               ｈｉｍ. Ａｊａｘ               ｓｕｂｓｅｑｕｅｎｔｌｙ               ｇｏｅｓ               ｍａｄ               ａｎｄ               ｋｉｌｌｓ               ｈｉｍｓｅｌｆ. Ｕｌｙｓｓｅｓ               ｔｈｅｎ               ｄｅｖｉｓｅｓ               ｔｈｅ               "Ｔｒｏｊａｎ               Ｈｏｒｓｅ"               ｐｌａｎ               ｔｏ               ｆｉｎａｌｌｙ               ｄｅｆｅａｔ               ｔｈｅ               Ｔｒｏｊａｎｓ,               ａｎｄ               ｔｈｅ               ｗａｒ               ｅｎｄｓ               ａｓ               Ｈｅｃｕｂａ               ｉｓ               ｄｒｉｖｅｎ               ｍａｄ               ｂｙ               ｔｈｅ               ｄｅａｔｈｓ               ｏｆ               ｈｅｒ               ｃｈｉｌｄｒｅｎ. Ｔｈｅｎ               Ｕｌｙｓｓｅｓ,               ｐｕｎｉｓｈｅｄ               ｂｙ               Ｎｅｐｔｕｎｅ               ｆｏｒ               ｈｉｓ               ｐａｒｔ               ｉｎ               ｔｈｅ               ｄｏｗｎｆａｌｌ               ｏｆ               Ｔｒｏｙ,               ｂｅｇｉｎｓ               ｈｉｓ               ｗａｎｄｅｒｉｎｇｓ. Ｎｏｗ               ｔｈａｔ               ｔｈｅ               ｓｔｏｒｙ               ｈａｓ               ｂｅｃｏｍｅ               ｍｏｒｅ               ｈｕｍａｎ               (ａｌｔｈｏｕｇｈ               ｔｈｅ               ｇｏｄｓ               ａｒｅ               ｏｂｖｉｏｕｓｌｙ               ｓｔｉｌｌ               ｉｎｖｏｌｖｅｄ,               ｂｕｔ               ｍｏｒｅ               ａｓ               ａｎ               ｉｎｆｌｕｅｎｃｅ               ｏｎ               ｈｕｍａｎｓ               ｔｈａｎ               ｅｓｓｅｎｔｉａｌｌｙ               ｌｉｖｉｎｇ               ａｍｏｎｇｓｔ               ｔｈｅｍ,               ａｓ               ｔｈｅｙ               ｐｒｅｖｉｏｕｓｌｙ               ｓｅｅｍｅｄ               ｔｏ               ｄｏ),               ｍｏｓｔ               ｏｆ               ｔｈｅ               "ｔｒａｎｓｆｏｒｍａｔｉｏｎｓ"               ａｒｅ               ｉｎ               ｔｈｅ               ｎａｔｕｒｅ               ｏｆ               ｍａｄｎｅｓｓ,               ｄｅａｔｈ               ａｎｄ               ａｄｖｅｎｔｕｒｅ               ｒａｔｈｅｒ               ｔｈａｎ               "ｍａｇｉｃａｌ"               ｐｈｙｓｉｃａｌ               ｔｒａｎｓｆｏｒｍａｔｉｏｎｓ. Ｉｎ               ａ               ｈｕｍａｎ               ｓｅｎｓｅ,               ｔｈｅｎ,               ｔｈｅ               ｗｏｒｌｄ               ｉｓ               ｂｅｃｏｍｉｎｇ               ｍｏｒｅ               ｓｔａｂｌｅ.                Ｂｏｏｋ               Ｆｏｕｒｔｅｅｎ               ｄｅｓｃｒｉｂｅｓ               ｔｈｅ               ｊｏｕｒｎｅｙ               ｏｆ               Ａｅｎｅａｓ               ａｓ               ｗｅｌｌ               ａｓ               ｔｈａｔ               ｏｆ               Ｏｄｙｓｓｅｕｓ. Ｗｈｉｌｅ               ｔｈｅ               ｓｔｏｒｙ               ｏｆ               Ｏｄｙｓｓｅｕｓ               ｉｓ               ｍｕｃｈ               ｂｅｔｔｅｒ               ｋｎｏｗｎ,               ｉｔ               ｉｓ               ａｃｔｕａｌｌｙ               ｔｈｅ               ｊｏｕｒｎｅｙ               ｏｆ               Ａｅｎｅａｓ               ｔｈａｔ               ｉｓ               ｈｉｇｈｌｙ               ｒｅｌｅｖａｎｔ               ｔｏ               Ｍｅｔａｍｏｒｐｈｏｓｅｓ.                Ｔｈｅ               ｓｏｎ               ｏｆ               Ａｎｃｈｉｓｅｓ               ａｎｄ               Ｖｅｎｕｓ,               Ａｅｎｅａｓ               ｗａｓ               ａ               ｃｏｕｓｉｎ               ｏｆ               Ｋｉｎｇ               Ｐｒｉａｍ               ｏｆ               Ｔｒｏｙ               ａｎｄ               ｔｈｅ               ｌｅａｄｅｒ               ｏｆ               Ｔｒｏｙ'ｓ               Ｄａｒｄａｎｉａｎ               ａｌｌｉｅｓ               ｄｕｒｉｎｇ               ｔｈｅ               ｗａｒ. Ａｆｔｅｒ               ｔｈｅ               ｆａｌｌ               ｏｆ               Ｔｒｏｙ,               Ａｅｎｅａｓ               ｗａｓ               ｃｏｍｍａｎｄｅｄ               ｂｙ               ｔｈｅ               ｇｏｄｓ               ｔｏ               ｆｌｅｅ. Ｈｅ               ｌｅｄ               ａ               ｂａｎｄ               ｏｆ               Ｔｒｏｊａｎ               ｒｅｆｕｇｅｅｓ,               ｗｈｏ               ｂｅｃａｍｅ               ｋｎｏｗｎ               ａｓ               ｔｈｅ               Ａｅｎｅａｄｓ,               ｔｏ               Ｉｔａｌｙ. Ａｌｔｈｏｕｇｈ               Ｊｕｎｏ               ｈｏｕｎｄｅｄ               ｔｈｅ               Ａｅｎｅａｄｓ,               Ａｅｎｅａｓ               ｅｖｅｎｔｕａｌｌｙ               ｆｕｌｆｉｌｌｅｄ               ｈｉｓ               ｄｅｓｔｉｎｙ               ｗｉｔｈ               ｈｅｌｐ               ｆｒｏｍ               ｈｉｓ               ｍｏｔｈｅｒ. Ｉｎ               ｔｈｅ               ｓｅｃｔｉｏｎ               "Ｔｈｅ               ｈｅｒｏｎ               ｉｓ               ｂｏｒｎ               ｆｒｏｍ               Ａｒｄｅａ'ｓ               ｒｕｉｎｓ",               Ａｅｎｅａｓ               ｗａｓ               ｖｉｃｔｏｒｉｏｕｓ,               ｅｖｅｎｔｕａｌｌｙ               ｋｉｌｌｉｎｇ               Ｔｕｒｎｕｓ               ａｎｄ               ｍａｒｒｙｉｎｇ               Ｌａｖｉｎｉａ.                Ａｌｔｈｏｕｇｈ               Ｏｖｉｄ               ｄｏｅｓ               ｎｏｔ               ｇｉｖｅ               ａｎｙｗｈｅｒｅ               ｎｅａｒ               ｔｈｅ               ｄｅｔａｉｌ               ｏｆ               ｔｈｉｓ               ｊｏｕｒｎｅｙ               ａｓ               Ｖｉｒｇｉｌ,               ｔｈｉｓ               ｓｅｃｔｉｏｎ               ｉｓ               ｃｒｉｔｉｃａｌ               ｔｏ               ｈｉｓ               ｈｉｓｔｏｒｙ               ｂｅｃａｕｓｅ               Ａｅｎｅａｄ               ｂｅｃａｍｅ               ｔｈｅ               ｆｏｕｎｄｅｒ               ｏｆ               Ｒｏｍａｎ               ｃｕｌｔｕｒｅ. Ｈｅ               ｗａｓ               ｔｈｅ               ｍｙｔｈｉｃａｌ               ｐｒｏｇｅｎｉｔｏｒ               ｏｆ               ｔｈｅ               Ｊｕｌｉａｎ               ｇｅｎｅｓ               ｔｈｒｏｕｇｈ               ｈｉｓ               ｓｏｎ,               Ａｓｃａｎｉｕｓ,               ｏｒ               "Ｉｕｌｕｓ". Ｔｈｅ               ｒｅａｓｏｎ               ｔｈｉｓ               ｉｓ               ｓｏ               ｉｍｐｏｒｔａｎｔ               ｔｏ               Ｏｖｉｄ               ｉｓ               ｂｅｃａｕｓｅ               ｉｔ               ｊｕｓｔｉｆｉｅｓ               ｔｈｅ               ｆｉｆｔｅｅｎｔｈ               ａｎｄ               ｆｉｎａｌ               ｃｈａｐｔｅｒ               ｏｆ               ｈｉｓ               ｏｐｕｓ,               ｉｎ               ｔｈａｔ               Ｖｅｎｕｓ               ｐｅｒｓｕａｄｅｓ               Ｊｏｖｅ               ｔｏ               ｄｅｉｆｙ               Ａｅｎｅａｄ:                Ａｅｎｅａｓ'ｓ               ｖｉｒｔｕｅｓ               ｈａｄ               ｃｏｍｐｅｌｌｅｄ               ａｌｌ               ｔｈｅ               ｇｏｄｓ,               ｅｖｅｎ               Ｊｕｎｏ               ｈｅｒｓｅｌｆ,               ｔｏ               ｂｒｉｎｇ               ｔｏ               ａｎ               ｅｎｄ               ｔｈｅｉｒ               ａｎｃｉｅｎｔ               ｆｅｕｄ,               ａｎｄ               ｓｉｎｃｅ               ｈｉｓ               ｙｏｕｎｇ               ｓｏｎ               Ｊｕｌｕｓ'ｓ               ｆｏｒｔｕｎｅｓ               ｗｅｒｅ               ｆｉｒｍｌｙ               ｆｏｕｎｄｅｄ,               Ｃｙｔｈｅｒｅａ'ｓ               ｈｅｒｏｉｃ               ｓｏｎ               ｗａｓ               ｒｉｐｅ               ｆｏｒ               ｈｅａｖｅｎ. Ｖｅｎｕｓ               ｈａｄ               ｓｏｕｇｈｔ               ｔｈｅ               ｏｐｉｎｉｏｎ               ｏｆ               ｔｈｅ               ｇｏｄｓ,               ａｎｄ               ｔｈｒｏｗｉｎｇ               ｈｅｒ               ａｒｍｓ               ｒｏｕｎｄ               ｈｅｒ               ｆａｔｈｅｒ'ｓ               ｎｅｃｋ,               ｈａｄ               ｓａｉｄ               'Ｙｏｕ               ｈａｖｅ               ｎｅｖｅｒ               ｂｅｅｎ               ｈａｒｓｈ               ｔｏ               ｍｅ,               ｆａｔｈｅｒ,               ｎｏｗ               ｂｅ               ｋｉｎｄｅｓｔ               ｏｆ               ａｌｌ,               Ｉ               ｂｅｇ               ｙｏｕ. Ｇｒａｎｔ               ｍｙ               Ａｅｎｅａｓ,               ｗｈｏ               ｃｌａｉｍｓ               ｙｏｕ               ａｓ               ｈｉｓ               ｇｒａｎｄｆａｔｈｅｒ               ｔｈｒｏｕｇｈ               ｍｙ               ｂｌｏｏｄｌｉｎｅ,               ｓｏｍｅ               ｄｉｖｉｎｉｔｙ,               ｈｏｗｅｖｅｒ               ｌｉｔｔｌｅ               -               ｙｏｕ               ｃｈｏｏｓｅ               -               ｓｏ               ｌｏｎｇ               ａｓ               ｙｏｕ               ｇｒａｎｔ               ｈｉｍ               ｓｏｍｅｔｈｉｎｇ! ... Ｔｈｅ               ｈｏｒｎｅｄ               ｇｏｄ               ｅｘｅｃｕｔｅｄ               Ｖｅｎｕｓ'ｓ               ｏｒｄｅｒｓ,               ａｎｄ               ｐｕｒｇｅｄ               Ａｅｎｅａｓ               ｏｆ               ｗｈａｔｅｖｅｒ               ｗａｓ               ｍｏｒｔａｌ,               ａｎｄ               ｄｉｓｐｅｒｓｅｄ               ｉｔ               ｏｎ               ｔｈｅ               ｗａｔｅｒ:               ｗｈａｔ               ｗａｓ               ｂｅｓｔ               ｉｎ               ｈｉｍ               ｒｅｍａｉｎｅｄ. Ｏｎｃｅ               ｐｕｒｉｆｉｅｄ,               ｈｉｓ               ｍｏｔｈｅｒ               ａｎｏｉｎｔｅｄ               ｈｉｓ               ｂｏｄｙ               ｗｉｔｈ               ｄｉｖｉｎｅ               ｐｅｒｆｕｍｅ,               ｔｏｕｃｈｅｄ               ｈｉｓ               ｌｉｐｓ               ｗｉｔｈ               ａ               ｍｉｘｔｕｒｅ               ｏｆ               ｓｗｅｅｔ               ｎｅｃｔａｒ               ａｎｄ               ａｍｂｒｏｓｉａ,               ａｎｄ               ｍａｄｅ               ｈｉｍ               ａ               ｇｏｄ,               ｗｈｏｍ               ｔｈｅ               Ｒｏｍａｎｓ               ｎａｍｅｄ               Ｉｎｄｉｇｅｓ,               ａｄｍｉｔｔｉｎｇ               ｈｉｍ               ｔｏ               ｔｈｅｉｒ               ｔｅｍｐｌｅｓ               ａｎｄ               ａｌｔａｒｓ. (Ｉｎｎｅｓ               361-362)                Ａｆｔｅｒ               ｔｈｅ               Ｓａｂｉｎｅ               ｗａｒ,               ｔｈｅ               ｇｒｅａｔ               ｗａｒｒｉｏｒ               ａｎｄ               ｋｉｎｇ               Ｒｏｍｕｌｕｓ               ａｎｄ               ｈｉｓ               ｇｒｉｅｖｉｎｇ               ｗｉｆｅ,               Ｈｅｒｓｉｌｉａ,               ａｒｅ               ｂｏｔｈ               ｄｅｉｆｉｅｄ. Ｔｈｕｓ               ｉｓ               ｔｈｅ               ｐｒｅｃｅｄｅｎｔ               ｏｆ               ａ               Ｒｏｍａｎ               ｌｅａｄｅｒ               ｂｅｃｏｍｉｎｇ               ａ               "ｇｏｄ"               ｍａｄｅ               ｃｌｅａｒ               ｂｙ               Ｏｖｉｄ. Ｗｈｅｔｈｅｒ               ｉｔ               ｉｓ               ｂｙ               ｃｏｎｓｃｉｏｕｓ               ｉｎｔｅｎｔ               ｏｒ               ｎｏｔ,               Ｏｖｉｄ               ｉｓ               ｎｏｗ               ｄｅｓｃｒｉｂｉｎｇ               ｔｈｅ               ａｃｔｉｏｎｓ               ｏｆ               ｈｕｍａｎｓ               (ａｌｂｅｉｔ               ｓｏｍｅ               ｗｉｔｈ               ｓｅｍｉ-ｇｏｄｌｉｋｅ               ｐｏｗｅｒｓ),               ｗｉｔｈ               ｔｈｅ               "ｈｅａｖｅｎｌｙ"               ｇｏｄｓ               ｍｅｒｅｌｙ               ｌｏｏｋｉｎｇ               ｏｎ,               ａｎｄ               ｏｃｃａｓｉｏｎａｌｌｙ               ｌｅｎｄｉｎｇ               ａ               ｈｅｌｐｉｎｇ               ｈａｎｄ               ｉｎ               ｓｏｍｅ               ｈｕｍａｎ               ｅｎｄｅａｖｏｒ.                Ｔｈａｔ               ｔｒａｎｓｉｔｉｏｎ               ｍａｙ               ｂｅ               ａｔｔｒｉｂｕｔｅｄ               ｔｏ               ｔｈｅ               ｇｒｏｗｉｎｇ               ｉｎｆｌｕｅｎｃｅ               ｏｆ               ａｃｔｕａｌ               ｈｉｓｔｏｒｙ               ｖｅｒｓｕｓ               ｔｈｅ               ｓｔｕｆｆ               ｏｆ               ｍｙｔｈｏｌｏｇｙ,               ｉ.ｅ.,               ｖａｇｕｅ,               ｄｉｓｔｏｒｔｅｄ               ｔａｌｅｓ               ｔｈａｔ               ｗｅｎｔ               ｂａｃｋ               ｔｈｏｕｓａｎｄ               ｏｆ               ｙｅａｒｓ               ｖｉａ               ｔｈｅ               ｏｒａｌ               ｔｒａｄｉｔｉｏｎ               ｔｏ               ｅｘｐｌｏｉｔｓ               ｏｆ               ｈｕｍａｎｓ               ｔｈａｔ               ｃｏｕｌｄ               ａｃｔｕａｌｌｙ               ｂｅ               ｒｅｃｏｒｄｅｄ               ｉｎ               ｍｏｒｅ               ｄｅｔａｉｌ               ｗｉｔｈ               ｉｎｋ               ｏｎ               ｐａｐｙｒｕｓ,               ｏｒ               ｈｏｗｅｖｅｒ               ｔｈｅ               ｅａｒｌｙ               Ｇｒｅｅｋｓ               ｒｅｃｏｒｄｅｄ               ｔｈｅｉｒ               ｈｉｓｔｏｒｙ. Ｉｔ               ｍａｙ               ａｌｓｏ               ｂｅ               ｂｅｃａｕｓｅ               ｔｈｅ               ｎｅｅｄ               ｆｏｒ               ｍｙｔｈｏｌｏｇｙ               ａｓ               ａ               ｒｅｐｌａｃｅｍｅｎｔ               ｆｏｒ               ｓｃｉｅｎｃｅ               ｗａｓ               ｄｅｃｒｅａｓｉｎｇ;               Ｍａｎｋｉｎｄ               ｗａｓ               ｂｅｇｉｎｎｉｎｇ               ｔｏ               ａｃｔｕａｌｌｙ               ｕｎｄｅｒｓｔａｎｄ               ｔｈｅ               ｓｃｉｅｎｔｉｆｉｃ               ｃａｕｓｅｓ               ｏｆ               ｓｏｍｅ               ｏｆ               ｔｈｅ               ｐｈｅｎｏｍｅｎａ               ｉｎ               ｔｈｅ               ｗｏｒｌｄ               ａｒｏｕｎｄ               ｔｈｅｍ,               ａｎｄ               ｕｎｄｅｒｓｔｏｏｄ               ｔｈａｔ               ｉｔ               ｄｉｄ               ｎｏｔ               ｔａｋｅ               ａ               ｇｏｄ               ｔｏ               ｃａｕｓｅ               ｌｉｇｈｔｎｉｎｇ               ａｎｄ               ｔｈｕｎｄｅｒ,               ｏｒ               ｔｈｅ               ｗｉｎｄ               ｔｏ               ｂｌｏｗ,               ｏｒ               ｏｔｈｅｒ               ｓｕｃｈ               ｎａｔｕｒａｌ               ｅｖｅｎｔｓ. Ｔｈｅｒｅｆｏｒｅ,               ａｓ               ｔｈｅ               ｎｅｅｄ               ｔｏ               ｅｘｐｌａｉｎ               ｅｖｅｒｙｔｈｉｎｇ               ａｓ               ｔｈｅ               ｗｉｌｌ               ｏｆ               ｔｈｅ               ｇｏｄｓ               ｄｅｃｒｅａｓｅｄ,               ａｎｄ               ｔｈｅ               ｒｅｃｏｒｄｅｄ               ｈｉｓｔｏｒｙ               ｏｆ               ｐｅｏｐｌｅ,               ｐｌａｃｅｓ               ａｎｄ               ｅｖｅｎｔｓ               ｃｏｎｔｉｎｕｅｄ               ｔｏ               ｇｒｏｗ,               ｔｈｅ               "ｐｏｗｅｒ"               ｏｆ               ｔｈｅ               ｇｏｄｓ               ｗａｓ               ｂｅｇｉｎｎｉｎｇ               ｔｏ               ｗａｎｅ               ａｓ               ｔｈｅ               ｃｕｌｔｕｒａｌ               ｉｄｅｎｔｉｔｙ               ｏｆ               ｈｕｍａｎｓ               ａｓ               ｐｏｗｅｒｆｕｌ               ｂｅｉｎｇｓ               ｉｎ               ｔｈｅｉｒ               ｏｗｎ               ｒｉｇｈｔ               ｃｏｎｔｉｎｕｅｄ               ｔｏ               ｇｒｏｗ.                Ｔｈｅ               ｆｉｎａｌ               ｂｏｏｋ               ｏｐｅｎｓ               ｗｉｔｈ               "Ｍｙｓｃｅｌｕｓ:               ｔｈｅ               ｆｏｕｎｄｉｎｇ               ｏｆ               Ｃｒｏｔｏｎａ",               ｉｎ               ｗｈｉｃｈ               ｔｈｅ               ｇｌｏｒｙ               ｏｆ               "ｍｏｄｅｒｎ               Ｒｏｍｅ"               ｉｓ               ｅｘｔｏｌｌｅｄ. Ｍｏｓｔ               ｏｆ               Ｂｏｏｋ               Ｆｉｆｔｅｅｎ               ｃｏｎｓｉｓｔｓ               ｏｆ               ｔｈｅ               ｔｅａｃｈｉｎｇｓ               ｏｆ               Ｐｙｔｈａｇｏｒａｓ,               ｗｈｏ               ｗａｓ               ｂｏｒｎ               ｏｎ               ｔｈｅ               ｉｓｌａｎｄ               ｏｆ               Ｓａｍｏｓ,               Ｇｒｅｅｃｅ. Ａｒｏｕｎｄ               530               ＢＣ               ｈｅ               ｍｏｖｅｄ               ｔｏ               Ｃｒｏｔｏｎ,               ａ               Ｇｒｅｅｋ               ｃｏｌｏｎｙ               ｉｎ               ｓｏｕｔｈｅｒｎ               Ｉｔａｌｙ,               ａｎｄ               ｔｈｅｒｅ               ｓｅｔ               ｕｐ               ａ               ｒｅｌｉｇｉｏｕｓ               ｓｅｃｔ. (Ｂｒｉｔａｎｎｉｃａ)               Ｏｖｉｄ               ｄｏｅｓ               ｎｏｔ               ｍａｋｅ               ｃｌｅａｒ               ｈｉｓ               ｐｕｒｐｏｓｅ               ｉｎ               ｉｎｃｌｕｄｉｎｇ               ｓｏ               ｍｕｃｈ               ｏｆ               ｔｈｅ               ｇｒｅａｔｎｅｓｓ               ｏｆ               Ｐｙｔｈａｇｏｒａｓ,               ｂｕｔ               ｄｏｅｓ               ｍａｋｅ               ｔｈｅ               ｃｏｍｍｅｎｔ               ｔｈａｔ:               "Ｐｙｔｈａｇｏｒａｓ,               ａ               Ｓａｍｉａｎ               ｂｙ               ｂｉｒｔｈ,               ｗｈｏ               ｈａｄ               ｆｌｅｄ               Ｓａｍｏｓ               ａｎｄ               ｉｔｓ               ｒｕｌｅｒｓ,               ａｎｄ,               ｈａｔｉｎｇ               ｔｈｅｉｒ               ｔｙｒａｎｎｙ,               ｗａｓ               ｌｉｖｉｎｇ               ｉｎ               ｖｏｌｕｎｔａｒｙ               ｅｘｉｌｅ."               (Ｇａｒｔｈ,               ｅｔ               ａｌ.)                Ｇｉｖｅｎ               ｔｈｅ               ｔｅｎｏｒ               ｏｆ               ｔｈｅ               ｌａｓｔ               ｔｗｏ               ｂｏｏｋｓ,               ｉｔ               ｍｉｇｈｔ               ｂｅ               ｐｒｅｓｕｍｅｄ               ｔｈａｔ               Ｏｖｉｄ               ｗａｓ               ｏｎｃｅ               ａｇａｉｎ               ｐｒａｉｓｉｎｇ               ｈｏｗ               ｗｏｎｄｅｒｆｕｌ               ｔｈｅ               Ｒｏｍａｎ               Ｅｍｐｉｒｅ               ｗａｓ,               ａｎｄ               ｔｈａｔ               ｓｕｃｈ               ａ               ｇｒｅａｔ               ｔｅａｃｈｅｒ               ａｓ               Ｐｙｔｈａｇｏｒａｓ               ｈａｄ               ｂｅｅｎ               ａｌｉｅｎａｔｅｄ               ｂｙ               ｔｈｅ               ｉｇｎｏｒａｎｃｅ               ａｎｄ               ｏｐｐｒｅｓｓｉｏｎ               ｏｆ               Ｓａｍｏｓ               ａｎｄ               ｗｏｕｌｄ               ｐｒｅｆｅｒ               ｔｏ               ｌｉｖｅ               ｗｉｔｈｉｎ               ｔｈｅ               ｂｏｕｎｄａｒｉｅｓ               ｏｆ               ｔｈｅ               Ｅｍｐｉｒｅ               ｒａｔｈｅｒ               ｔｈａｎ               ｉｎ               ｈｉｓ               ｎａｔｉｖｅ               ｌａｎｄ,               ｗｈｉｃｈ               ｗａｓ               ｏｂｖｉｏｕｓｌｙ               ｉｎｆｅｒｉｏｒ. Ｉｎ               ｏｔｈｅｒ               ｗｏｒｄｓ,               ｔｈｅ               ｃｅｎｔｅｒｓ               ｏｆ               ｅｎｌｉｇｈｔｅｎｍｅｎｔ               ａｎｄ               ｇｒｅａｔｎｅｓｓ               ｈａｄ               ｂｅｅｎ               ｔｒａｎｓｆｏｒｍｅｄ               ｆｒｏｍ               Ｇｒｅｅｃｅ               ｔｏ               Ｒｏｍｅ,               ａｎｄ               ｔｈｅ               ｗｏｒｌｄ               ｗａｓ               ｄｅｆｉｎｉｔｅｌｙ               ｔａｋｉｎｇ               ｏｎ               ａ               Ｒｏｍａｎ               ｉｄｅｎｔｉｆｙ.                Ｉｆ               ｔｈｅ               ｇｒｅａｔｎｅｓｓ               ｏｆ               Ｒｏｍｅ               ｃｏｕｌｄ               ｂｅ               ｉｎ               ａｎｙ               ｄｏｕｂｔ,               ｔｈａｔ               ｍｕｓｔ               ｈａｖｅ               ｂｅｅｎ               ｄｉｓｐｅｌｌｅｄ               ｗｈｅｎ               Ａｅｓｃｕｌａｐｉｕｓ,               ｔｈｅ               ｇｏｄ               ｏｆ               ｈｅａｌｉｎｇ,               ｓａｖｅｄ               Ｒｏｍｅ               ｆｒｏｍ               ｐｌａｇｕｅ               ａｎｄ               ｄｉｓｅａｓｅ. Ｔｈｉｓ               ｓｅｃｔｉｏｎ               ｅｎｄｓ               ｗｉｔｈ               ｔｈｅ               ｐｏｒｔｅｎｔｏｕｓ               ｗｏｒｄｓ:               "Ｎｏｗ               ｉｔ               ｅｎｔｅｒｅｄ               Ｒｏｍｅ,               ｔｈｅ               ｃａｐｉｔａｌ               ｏｆ               ｔｈｅ               ｗｏｒｌｄ. ... Ｔｈｅｒｅ               ｔｈｅ               ｓｅｒｐｅｎｔ-ｃｈｉｌｄ               ｏｆ               Ｐｈｏｅｂｕｓ               ｌａｎｄｅｄ,               ａｎｄ,               ｒｅｓｕｍｉｎｇ               ｈｉｓ               ｄｉｖｉｎｅ               ｆｏｒｍ,               ｍａｄｅ               ａｎ               ｅｎｄ               ｔｏ               ｇｒｉｅｆ,               ａｎｄ               ｃａｍｅ               ａｓ               ａ               ｈｅａｌｔｈ-ｇｉｖｅｒ               ｔｏ               ｔｈｅ               ｃｉｔｙ."               (Ｉｎｎｅｓ               384)                Ｔｈｅ               ｐｅｎｕｌｔｉｍａｔｅ               ｓｅｃｔｉｏｎｓ               ｏｆ               Ｍｅｔａｍｏｒｐｈｏｓｅｓ               ａｒｅ               "Ｔｈｅ               Ｄｅｉｆｉｃａｔｉｏｎ               ｏｆ               Ｃａｅｓａｒ"               ａｎｄ               Ｏｖｉｄ'ｓ               ｃｅｌｅｂｒａｔｉｏｎ               ｏｆ               Ａｕｇｕｓｔｕｓ               Ｃａｅｓａｒ. Ａｃｃｏｒｄｉｎｇ               ｔｏ               Ｅｎｃｙｃｌｏｐａｅｄｉａ               Ｂｒｉｔａｎｎｉｃａ:                Ｔｈｅ               ｓｔｏｒｉｅｓ               ａｒｅ               ｔｏｌｄ               ｉｎ               ｃｈｒｏｎｏｌｏｇｉｃａｌ               ｏｒｄｅｒ               ｆｒｏｍ               ｔｈｅ               ｃｒｅａｔｉｏｎ               (ｔｈｅ               ｆｉｒｓｔ               ｍｅｔａｍｏｒｐｈｏｓｉｓ,               ｏｆ               ｃｈａｏｓ               ｉｎｔｏ               ｏｒｄｅｒ)               ｔｏ               ｔｈｅ               ｄｅａｔｈ               ａｎｄ               ｄｅｉｆｉｃａｔｉｏｎ               ｏｆ               Ｊｕｌｉｕｓ               Ｃａｅｓａｒ               (ｔｈｅ               ｃｕｌｍｉｎａｔｉｎｇ               ｍｅｔａｍｏｒｐｈｏｓｉｓ,               ａｇａｉｎ               ｏｆ               ｃｈａｏｓ-ｔｈａｔ               ｉｓ,               ｔｈｅ               Ｃｉｖｉｌ               Ｗａｒｓ-ｉｎｔｏ               ｏｒｄｅｒ-ｔｈａｔ               ｉｓ,               ｔｈｅ               Ａｕｇｕｓｔａｎ               Ｐｅａｃｅ).                Ａｌｔｈｏｕｇｈ               ｔｈｉｓ               ｂｏｏｋ               ｃａｎ               ｂｅ               ｓｅｅｎ               ａｓ               ａ               ｃａｒｅｆｕｌｌｙ               ｃｏｎｔｒｉｖｅｄ               ｇｌｏｒｉｆｉｃａｔｉｏｎ               ｏｆ               Ｒｏｍａｎ               ｃｕｌｔｕｒｅ               ａｎｄ               ｉｔｓ               ｐａｓｔ               ａｎｄ               ｔｈｅ               ｗｏｒｔｈｉｎｅｓｓ               ｏｆ               ｉｔｓ               ｃｕｒｒｅｎｔ               ｌｅａｄｅｒｓ               (ｗｈｉｃｈ               ｉｔ               ｉｓ),               ｉｔ               ｉｓ               ａｌｓｏ               ｔｈｅ               ｆｉｎａｌ               ａｒｒｏｗ               ｉｎ               ｔｈｅ               ｑｕｉｖｅｒ               ｔｈａｔ               ｍａｋｅｓ               Ｏｖｉｄ'ｓ               ｐｏｉｎｔ               ａｂｏｕｔ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ. Ａｌｔｈｏｕｇｈ               ｔｈｅ               ｍｙｔｈｏｌｏｇｉｃａｌ               ｇｏｄｓ               ｈａｖｅ               ｎｏｔ               ｙｅｔ               ｂｅｅｎ               ｔｏｔａｌｌｙ               ｂａｎｉｓｈｅｄ,               ｔｈｅ               ｈｕｍａｎ               ｒａｃｅ               ｉｓ               ｂｅｇｉｎｎｉｎｇ               ｔｏ               ｒｅｌｙ               ｌｅｓｓ               ｏｎ               ｔｈｅｉｒ               ｐｏｗｅｒ,               ａｎｄ               ｃｅｒｔａｉｎｌｙ               ｔｈｅｉｒ               ｐｈｙｓｉｃａｌ               ｐｒｅｓｅｎｃｅ               ａｍｏｎｇ               ｈｕｍａｎｓ,               ａｓ               ｉｎ               ｔｈｅ               "ｏｌｄ               ｄａｙｓ". Ｔｈｅ               ｈｕｍａｎ               "ｇｏｄｓ"               ａｒｅ               ｎｏｗ               ｒｅｃｏｇｎｉｚｅｄ               ａｓ               ｂｅｉｎｇ               ｍｕｃｈ               ｍｏｒｅ               ｐｏｗｅｒｆｕｌ,               ａｎｄ               ｃａｎ               "ｉｍｍｏｒｔａｌｉｚｅ"               ｔｈｅｍｓｅｌｖｅｓ               ａｔ               ｗｉｌｌ-ｏｒ               ａｔ               ｌｅａｓｔ               ｉｎｖｏｋｅ               ｔｈｅ               ｗｉｌｌ               ｏｆ               ｔｈｅ               ｇｏｄｓ               ａｔ               ｗｉｌｌ. Ｒｏｍｅ               ｈａｓ               ｂｅｅｎ               ｔｒａｎｓｆｏｒｍｅｄ               ｉｎｔｏ               "ｔｈｅ               ｃａｐｉｔａｌ               ｏｆ               ｔｈｅ               ｗｏｒｌｄ",               ａｎｄ               ｎｏｔ               ｏｎｌｙ               ｔｈｅ               Ｅｍｐｉｒｅ,               ｂｕｔ               ｔｈｅ               ｅｎｔｉｒｅ               ｗｏｒｌｄ               ｔａｋｅｓ               ｉｔｓ               ｃｕｌｔｕｒａｌ               ｉｄｅｎｔｉｔｙ               ｆｒｏｍ               ｗｈａｔ               ｈａｐｐｅｎｓ               ｉｎ               ｔｈａｔ               ｏｎｅ               ｍｉｇｈｔｙ               ｃｉｔｙ.                Ｔｈｅ               ｅｎｄ               ｏｆ               ｔｈｅ               ｐｏｅｍ               ｅｘｐｒｅｓｓｅｓ               Ｏｖｉｄ'ｓ               ｍｏｄｅｓｔ               ｂｅｌｉｅｆ               ｔｈａｔ               ｈｉｓ               ｐｏｅｍ               ｈａｓ               ｅａｒｎｅｄ               ｈｉｍ               ｉｍｍｏｒｔａｌｉｔｙ-ｗｈｉｃｈ               ｉｔ               ｐｒｏｂａｂｌｙ               ｈａｓ. Ｈｏｗｅｖｅｒ,               ｉｔ               ｉｓ               ｉｒｏｎｉｃ               ｔｏ               ｎｏｔｅ               ｔｈａｔ,               ｓｈｏｒｔｌｙ               ａｆｔｅｒ               ｔｈｅ               ｃｏｍｐｌｅｔｉｏｎ               ｏｆ               Ｍｅｔａｍｏｒｐｈｏｓｅｓ,               Ｏｖｉｄ               ｗａｓ               ｂａｎｉｓｈｅｄ               ｂｙ               Ａｕｇｕｓｔｕｓ               ｆｒｏｍ               Ｒｏｍｅ               ｔｏ               Ｔｏｍｉｓ               ｏｎ               ｔｈｅ               Ｂｌａｃｋ               Ｓｅａ               ｆｏｒ               ａｎ               ｕｎｓｐｅｃｉｆｉｅｄ               "ｉｎｄｉｓｃｒｅｔｉｏｎ". (ｉｂｉｄ)                Ｆｒｏｍ               ｔｈａｔ               ｃｏｓｍｉｃ               ｓｔｏｒｙ               ｗｅ               ｎｏｗ               ｔｕｒｎ               ｔｏ               ｔｈｅ               ｖｅｒｙ               ｓｈｏｒｔ,               ｖｅｒｙ               ｐｅｒｓｏｎａｌ               ｌｉｆｅ               ｏｆ               Ｇｒｅｇｏｒ               Ｓａｍｓａ. Ａｌｔｈｏｕｇｈ               ｔｈｅ               ｔｉｔｌｅ               ｉｓ               Ｔｈｅ               Ｍｅｔａｍｏｒｐｈｏｓｉｓ               ｉｎ               Ｅｎｇｌｉｓｈ               ｓｐｅａｋｉｎｇ               ｃｏｕｎｔｒｉｅｓ,               ｔｈｅｒｅ               ｉｓ               ｓｏｍｅ               ｄｏｕｂｔ               ａｓ               ｔｏ               ｗｈｅｔｈｅｒ               ｏｒ               ｎｏｔ               ｔｈａｔ               ｉｓ               ｌｅｇｉｔｉｍａｔｅ.                Ｖｉｃｔｏｒｉａ               Ｐｏｕｌａｋｉｓ,               ｎｏｗ               Ｐｒｏｆｅｓｓｏｒ               Ｅｍｅｒｉｔａ               ｏｆ               Ｅｎｇｌｉｓｈ               ａｔ               Ｎｏｒｔｈｅｒｎ               Ｖｉｒｇｉｎｉａ               Ｃｏｍｍｕｎｉｔｙ               Ｃｏｌｌｅｇｅ,               ｗｒｏｔｅ               ｔｈａｔ:                Ｔｈｅ               Ｇｅｒｍａｎ               ｔｉｔｌｅ,               Ｄｉｅ               Ｖｅｒｗａｎｄｌｕｎｇ,               ｃａｎ               ｂｅ               ｔｒａｎｓｌａｔｅｄ               ａｓ               ｅｉｔｈｅｒ               Ｔｈｅ               Ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｏｒ               Ｔｈｅ               Ｍｅｔａｍｏｒｐｈｏｓｉｓ. Ｔｈｅ               ｍｏｓｔ               ｆｒｅｑｕｅｎｔ               ｃｈｏｉｃｅ               ｉｓ               ｍｅｔａｍｏｒｐｈｏｓｉｓ,               ｂｕｔ               ｔｈｉｓ               ｗｏｒｄ               ｈａｓ               ｔｈｅ               ｄｉｓａｄｖａｎｔａｇｅ               ｏｆ               ｂｅｉｎｇ               ｍｏｒｅ               "ｌｉｔｅｒａｒｙ"               ａｎｄ               ｌｅｓｓ               ｃｏｍｍｏｎｌｙ               ｕｓｅｄ               ｉｎ               Ｅｎｇｌｉｓｈ               ｔｈａｎ               ｖｅｒｗａｎｄｌｕｎｇ               ｉｓ               ｉｎ               Ｇｅｒｍａｎ. Ｔｈｅ               ａｐｐｅａｒａｎｃｅ               ｏｆ               ｔｈｉｓ               ｗｏｒｄ               ｉｎ               ｔｈｅ               ｔｉｔｌｅ               ｐｅｒｈａｐｓ               ｔｏｏ               ｑｕｉｃｋｌｙ               ａｌｅｒｔｓ               ｔｈｅ               ｒｅａｄｅｒ               ｔｏ               ｔｈｅ               ｓｔｒａｎｇｅｎｅｓｓ               ｏｆ               ｔｈｅ               ｓｔｏｒｙ               ｔｏ               ｆｏｌｌｏｗ;               ｉｔ               ｄｏｅｓｎ'ｔ               ｒｅａｌｌｙ               ｆｉｔ               ｗｉｔｈ               ｔｈｅ               ｍｕｃｈ               ｍｏｒｅ               "ｏｒｄｉｎａｒｙ"               ｔｏｎｅ               ｉｎ               ｗｈｉｃｈ               ｔｈｅ               ｓｔｏｒｙ               ｉｓ               ｎａｒｒａｔｅｄ.                Ｉｎｄｅｅｄ,               ｔｈｉｓ               ｃｈｏｉｃｅ               ｏｆ               ｔｒａｎｓｌａｔｉｏｎｓ               ｈａｓ               ｔｒｅｍｅｎｄｏｕｓ               ｉｍｐａｃｔ               ｏｎ               ｈｏｗ               ｍａｎｙ               ｒｅａｄｅｒｓ               ｐｅｒｃｅｉｖｅ               Ｄｉｅ               Ｖｅｒｗａｎｄｌｕｎｇ. Ａｓ               ｏｎｅ               ｓｃｉｅｎｔｉｓｔ               ｅｘｐｌａｉｎｓ               ｔｈｅ               ｗｏｒｄ               "ｍｅｔａｍｏｒｐｈｏｓｉｓ":                Ｍｅｔａｍｏｒｐｈｏｓｉｓ               ｒｅｆｅｒｓ               ｔｏ               ａ               ｍａｊｏｒ               ｃｈａｎｇｅ               ｏｆ               ｆｏｒｍ               ｏｒ               ｓｔｒｕｃｔｕｒｅ               ｄｕｒｉｎｇ               ｄｅｖｅｌｏｐｍｅｎｔ. Ｍｅｔａｍｏｒｐｈｏｓｉｓ               ｉｓ               ｏｎｅ               ｏｆ               ｔｈｅ               ｋｅｙ               ｅｌｅｍｅｎｔｓ               ｔｈａｔ               ｍａｋｅｓ               ｉｎｓｅｃｔｓ               ｓｏ               ｓｕｃｃｅｓｓｆｕｌ. Ｍａｎｙ               ｉｎｓｅｃｔｓ               ｈａｖｅ               ｉｍｍａｔｕｒｅ               ｓｔａｇｅｓ               ｗｉｔｈ               ｃｏｍｐｌｅｔｅｌｙ               ｄｉｆｆｅｒｅｎｔ               ｈａｂｉｔａｔｓ               ｆｒｏｍ               ｔｈｅ               ａｄｕｌｔｓ. Ｔｈｉｓ               ｍｅａｎｓ               ｔｈａｔ               ｉｎｓｅｃｔｓ               ｃａｎ               ｏｆｔｅｎ               ｅｘｐｌｏｉｔ               ｖａｌｕａｂｌｅ               ｆｏｏｄ               ｒｅｓｏｕｒｃｅｓ               ｗｈｉｌｅ               ｓｔｉｌｌ               ｂｅｉｎｇ               ａｂｌｅ               ｔｏ               ｄｉｓｐｅｒｓｅ               ｉｎｔｏ               ｎｅｗ               ｈａｂｉｔａｔｓ               ａｓ               ｗｉｎｇｅｄ               ａｄｕｌｔｓ. Ｔｈｅ               ｐｏｔｅｎｔｉａｌ               ｆｏｒ               ａｄａｐｔａｔｉｏｎ               ａｎｄ               ｅｖｏｌｕｔｉｏｎ               ｉｓ               ｇｒｅａｔｌｙ               ｅｎｈａｎｃｅｄ               ｂｙ               ｍｅｔａｍｏｒｐｈｏｓｉｓ. (Ｂｒｉｔｔｏｎ)                Ｔｈｅｒｅ               ｉｓ               ｍｕｃｈ               ｃｏｎｔｒｏｖｅｒｓｙ               ｏｖｅｒ               ｗｈｅｔｈｅｒ               ｏｒ               ｎｏｔ               Ｇｒｅｇｏｒ               Ｓａｍｓａ               ｄｅｐｉｃｔｓ               ａ               ｍａｎ               ｗｈｏ               ｈａｓ               ｂｅｃｏｍｅ               ｐｓｙｃｈｏｔｉｃ               ａｎｄ               ｉｍａｇｉｎｅｓ               ｈｉｍｓｅｌｆ               ｔｏ               ｈａｖｅ               ｔｕｒｎｅｄ               ｉｎｔｏ               ａ               ｇｉａｎｔ               ｂｕｇ,               ｗｈｉｃｈ               ｉｓ               ｗｈａｔ               ｍａｋｅｓ               ｈｉｓ               ｆａｍｉｌｙ               ｆｅａｒ               ｈｉｍ,               ｏｒ               ｈａｓ               ｉｎｄｅｅｄ               ｂｅｅｎ               ｓｏ               ｔｒａｎｓｍｏｇｒｉｆｉｅｄ. Ｐａｒｔ               ｏｆ               ｔｈｅ               ａｍｂｉｇｕｉｔｙ               ａｒｉｓｅｓ               ｆｒｏｍ               ｔｈｅ               ｆａｃｔ               ｔｈａｔ               Ｋａｆｋａ               ｉｓ               ｄｅｌｉｂｅｒａｔｅｌｙ               ｖａｇｕｅ,               ａｎｄ               ｍａｎｙ               ｉｎｔｅｒｐｒｅｔｅｒｓ               ｏｆ               ｈｉｓ               ｗｏｒｋ               ｈａｖｅ               ｐｕｔ               ｔｈｅｉｒ               ｏｗｎ               ｉｍｐｒｅｓｓｉｏｎｓ               ｉｎｔｏ               ｔｈｅ               ｗｏｒｋ               ｔｏ               ｈｅｌｐ               ｃｌａｒｉｆｙ               ｔｈｅｉｒ               ｔａｓｋ.                Ａｆｔｅｒ               ａｌｌ,               ａｓ               Ｐｏｕｌａｋｉｓ               ｃｌａｉｍｓ,               ｔｈｅ               ｌｉｔｅｒａｌ               ｔｒａｎｓｌａｔｉｏｎ               ｏｆ               ｔｈｅ               ｆｉｓｔ               ｌｉｎｅ               ｏｆ               Ｔｈｅ               Ｍｅｔａｍｏｒｐｈｏｓｉｓ               ｗｏｕｌｄ               ｂｅ:               "Ａｓ               Ｇｒｅｇｏｒ               Ｓａｍｓａ               ｏｎｅ               ｍｏｒｎｉｎｇ               ｆｒｏｍ               ｒｅｓｔｌｅｓｓ               ｄｒｅａｍｓ               ａｗｏｋｅ,               ｆｏｕｎｄ               ｈｅ               ｈｉｍｓｅｌｆ               ｉｎ               ｈｉｓ               ｂｅｄ               ｉｎｔｏ               ａｎ               ｅｎｏｒｍｏｕｓ               ｖｅｒｍｉｎ               ｔｒａｎｓｆｏｒｍｅｄ."               Ｉｎ               ａｄｄｉｔｉｏｎ               ｔｏ               ｍａｋｉｎｇ               ｔｈａｔ               ｓｅｎｔｅｎｃｅ               ｒｅａｄ               ｂｅｔｔｅｒ               ｉｎ               Ｅｎｇｌｉｓｈ,               ｍａｎｙ               ｔｒａｎｓｌａｔｏｒｓ               ｈａｖｅ               ｃｈａｎｇｅｄ               ｔｈａｔ               ｗｏｒｄ               "ｖｅｒｍｉｎ"               ｉｎｔｏ               ｅｉｔｈｅｒ               "ｂｕｇ"               ｏｒ               "ｉｎｓｅｃｔ". Ｉｎｔｅｒｅｓｔｉｎｇｌｙ,               ｍａｎｙ               ｐｅｏｐｌｅ               ｅｎｖｉｓｉｏｎ               ｔｈｉｓ               "ｖｅｒｍｉｎ"               ｔｏ               ｂｅ               ａ               ｃｏｃｋｒｏａｃｈ,               ｗｈｉｃｈ,               ｍｕｃｈ               ｌｉｋｅ               ａ               ｂｕｔｔｅｒｆｌｙ,               ｅｘｉｓｔｓ               ｉｎ               ｔｈｅ               ｎｙｍｐｈ               ｓｔａｇｅ               ｂｅｆｏｒｅ               ｉｔｓ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｉｎｔｏ               ａ               ｕｎｉｖｅｒｓａｌｌｙ               ｌｏａｔｈｓｏｍｅ               ｉｎｓｅｃｔ. Ｈｏｗｅｖｅｒ,               ｉｆ               ｔｈｅ               ｐｒｏｃｅｓｓ               ｏｆ               ｍｅｔａｍｏｒｐｈｏｓｉｓ               ｉｎｄｅｅｄ               ｇｒｅａｔｌｙ               ｅｎｈａｎｃｅｓ               ｔｈｅ               "ｐｏｔｅｎｔｉａｌ               ｆｏｒ               ａｄａｐｔａｔｉｏｎ               ａｎｄ               ｅｖｏｌｕｔｉｏｎ"               ｏｆ               ａｎ               ｉｎｓｅｃｔ,               ｉｔ               ｉｓ               ｑｕｉｔｅ               ｉｒｏｎｉｃ               ｔｈａｔ,               ｉｎ               Ｇｒｅｇｏｒ               Ｓａｍｓａ'ｓ               ｃａｓｅ,               ｔｈｉｓ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｉｎｅｖｉｔａｂｌｙ               ｌｅｄ               ｔｏ               ｈｉｓ               ｅｘｔｉｎｃｔｉｏｎ.                Ｔｈｕｓ,               ｔｈｅ               ｉｎｔｅｒｐｒｅｔａｔｉｏｎｓ               ｏｆ               Ｔｈｅ               Ｍｅｔａｍｏｒｐｈｏｓｉｓ               ｒａｎｇｅ               ｆｒｏｍ               ａｎ               ｉｎｄｉｖｉｄｕａｌ               ｄｅｐｉｃｔｉｏｎ               ｏｆ               ｐｓｙｃｈｏｓｉｓ               ｔｏ               ａ               ｓｙｍｂｏｌｉｃ               ｒｅｐｒｅｓｅｎｔａｔｉｏｎ               ｏｆ               ｔｈｅ               ｅｎｔｉｒｅ               Ｊｅｗｉｓｈ               ｅｘｐｅｒｉｅｎｃｅ. Ｔｏ               ｕｎｄｅｒｓｔａｎｄ               ｔｈｅｓｅ               ｉｎｔｅｒｐｒｅｔａｔｉｏｎｓ               ｒｅｑｕｉｒｅｓ               ａ               ｆａｉｒｌｙ               ｃｌｏｓｅ               ｌｏｏｋ               ａｔ               Ｋａｆｋａ'ｓ               ｌｉｆｅ.                Ｔｈｅ               Ｅｎｃｙｃｌｏｐａｅｄｉａ               Ｂｒｉｔａｎｎｉｃａ               ｔｅｌｌｓ               ｕｓ               ｔｈａｔ               Ｆｒａｎｚ               Ｋａｆｋａ               ｗａｓ               ｂｏｒｎ               ｏｎ               Ｊｕｌｙ               3,               1883,               ｉｎｔｏ               ａ               ｍｉｄｄｌｅ-ｃｌａｓｓ,               Ｇｅｒｍａｎ-ｓｐｅａｋｉｎｇ               Ｊｅｗｉｓｈ               ｆａｍｉｌｙ               ｉｎ               Ｐｒａｇｕｅ,               Ｂｏｈｅｍｉａ,               ｉｎ               ｗｈａｔ               ｗａｓ               ｔｈｅｎ               ｔｈｅ               Ａｕｓｔｒｏ-Ｈｕｎｇａｒｉａｎ               Ｅｍｐｉｒｅ. Ｈｉｓ               ｆａｔｈｅｒ,               Ｈｅｒｍａｎｎ               Ｋａｆｋａ,               ｗａｓ               ａ               ｍｏｄｅｒａｔｅｌｙ               ｓｕｃｃｅｓｓｆｕｌ               ｍｅｒｃｈａｎｔ               ａｎｄ               ｈｉｓ               ｍｏｔｈｅｒ,               Ｊｕｌｉｅ,               ｗａｓ:                ... ａ               ｓｉｍｐｌｅ               ｗｏｍａｎ               ... ｓｕｂｓｅｒｖｉｅｎｔ               ｔｏ               ｈｅｒ               ｏｖｅｒｗｈｅｌｍｉｎｇ,               ｉｌｌ-ｔｅｍｐｅｒｅｄ               ｈｕｓｂａｎｄ               ａｎｄ               ｈｉｓ               ｅｘａｃｔｉｎｇ               ｂｕｓｉｎｅｓｓ,               ｓｈｅ               ｓｈａｒｅｄ               ｗｉｔｈ               ｈｅｒ               ｓｐｏｕｓｅ               ａ               ｌａｃｋ               ｏｆ               ｃｏｍｐｒｅｈｅｎｓｉｏｎ               ｏｆ               ｔｈｅｉｒ               ｓｏｎ'ｓ               ｕｎｐｒｏｆｉｔａｂｌｅ               ａｎｄ               ｐｏｓｓｉｂｌｙ               ｕｎｈｅａｌｔｈｙ               ｄｅｄｉｃａｔｉｏｎ               ｔｏ               ｔｈｅ               ｌｉｔｅｒａｒｙ               "ｒｅｃｏｒｄｉｎｇ               ｏｆ               (ｈｉｓ)               ... ｄｒｅａｍｌｉｋｅ               ｉｎｎｅｒ               ｌｉｆｅ".                Ａｌｔｈｏｕｇｈ               ｂｏｒｎ               ａ               Ｊｅｗ,               Ｋａｆｋａ               ｗａｓ               ｅｓｓｅｎｔｉａｌｌｙ               ａｎ               ａｔｈｅｉｓｔ,               ａｎｄ               ｌａｔｅｒ               ｂｅｃａｍｅ               ａ               ｗｅｌｌ-ｒｅｎｏｗｎｅｄ               ｅｘｉｓｔｅｎｔｉａｌｉｓｔ. Ｈｅ               ｉｄｅｎｔｉｆｉｅｄ               ｗｉｔｈ               Ｇｅｒｍａｎ               ｉｎｔｅｌｌｅｃｔｕａｌｉｓｍ               (ｈｉｓ               ｂｅｓｔ               ｆｒｉｅｎｄ               ｗａｓ               Ｍａｘ               Ｂｒｏｄ),               ａｓ               ｅｖｉｄｅｎｃｅｄ               ｂｙ:                Ｔｈｅ               ｓｏｎ               ｏｆ               ａ               ｗｏｕｌｄ-ｂｅ               ａｓｓｉｍｉｌａｔｅｄ               Ｊｅｗ               ｗｈｏ               ｈｅｌｄ               ｏｎｌｙ               ｐｅｒｆｕｎｃｔｏｒｉｌｙ               ｔｏ               ｔｈｅ               ｒｅｌｉｇｉｏｕｓ               ｐｒａｃｔｉｃｅｓ               ａｎｄ               ｓｏｃｉａｌ               ｆｏｒｍａｌｉｔｉｅｓ               ｏｆ               ｔｈｅ               Ｊｅｗｉｓｈ               ｃｏｍｍｕｎｉｔｙ,               Ｋａｆｋａ               ｗａｓ               Ｇｅｒｍａｎ               ｂｏｔｈ               ｉｎ               ｌａｎｇｕａｇｅ               ａｎｄ               ｃｕｌｔｕｒｅ.... Ｋａｆｋａ'ｓ               ｏｐｐｏｓｉｔｉｏｎ               ｔｏ               ｅｓｔａｂｌｉｓｈｅｄ               ｓｏｃｉｅｔｙ               ｂｅｃａｍｅ               ａｐｐａｒｅｎｔ               ｗｈｅｎ,               ａｓ               ａｎ               ａｄｏｌｅｓｃｅｎｔ,               ｈｅ               ｄｅｃｌａｒｅｄ               ｈｉｍｓｅｌｆ               ａ               ｓｏｃｉａｌｉｓｔ               ａｓ               ｗｅｌｌ               ａｓ               ａｎ               ａｔｈｅｉｓｔ. (ｉｂｉｄ)                Ｉｎ               ｓｐｉｔｅ               ｏｆ               ｔｈｉｎｋｉｎｇ               ｏｆ               ｈｉｍｓｅｌｆ               ａｓ               ａ               ｇｏｏｄ               Ｇｅｒｍａｎ,               ｓｏｃｉｅｔｙ               ｗａｓ               ａｌｒｅａｄｙ               ｍｏｖｉｎｇ               ｔｏｗａｒｄｓ               ｔｈｅ               ａｌｉｅｎａｔｉｏｎ               ｏｆ               ｈｉｓ               ｈｅｒｉｔａｇｅ. Ａｆｔｅｒ               ａｌｌ,               Ｋａｆｋａ'ｓ               ｂｏｏｋ               ｗａｓ               ｆｉｒｓｔ               ｐｕｂｌｉｓｈｅｄ               ｉｎ               1915,               ａｔ               ａ               ｔｉｍｅ               ｗｈｅｎ               Ｔｈｅ               Ｄｅａｒｂｏｒｎ               Ｉｎｄｅｐｅｎｄｅｎｔ,               ａ               ｎｅｗｓｐａｐｅｒ               ｏｗｎｅｄ               ｂｙ               ｉｎｄｕｓｔｒｉａｌｉｓｔ               Ｈｅｎｒｙ               Ｆｏｒｄ               (ｆ2),               ｗａｓ               ｒｕｎｎｉｎｇ               ａ               ｓｅｒｉｅｓ               ｏｆ               ａｒｔｉｃｌｅｓ               ｕｎｄｅｒ               ｔｈｅ               ｈｅａｄｌｉｎｅ               ｏｆ               "Ｔｈｅ               Ｉｎｔｅｒｎａｔｉｏｎａｌ               Ｊｅｗ:               Ｔｈｅ               Ｗｏｒｌｄ'ｓ               Ｐｒｏｂｌｅｍ",               ｗｈｉｃｈ               ｗａｓ               ｐｕｂｌｉｓｈｅｄ               ａｎｄ               ｄｉｓｔｒｉｂｕｔｅｄ               ｉｎ               ｔｈｅ               ｅａｒｌｙ               1920ｓ               ａｓ               ａ               ｆｏｕｒ               ｖｏｌｕｍｅ               ｓｅｔ               ｏｆ               ｂｏｏｋｌｅｔｓ. Ｔｈｉｓ               ｗａｓ               ａｌｓｏ               ａ               ｐｅｒｉｏｄ               ｗｈｅｎ               ｔｈｅ               Ａｕｓｔｒｏ-Ｈｕｎｇａｒｉａｎ               Ｅｍｐｉｒｅ               ｗａｓ               ｅｘｐｅｒｉｅｎｃｉｎｇ               ｇｒｅａｔ               ｎｅｇａｔｉｖｉｔｙ               ｔｏｗａｒｄｓ               Ｊｅｗｓ,               ａｎｄ               ｉｎ               1919               ｇａｖｅ               ｂｉｒｔｈ               ｔｏ               ｔｈｅ               ｍｅｔｅｏｒｉｃ               ｐｏｌｉｔｉｃａｌ               ｃａｒｅｅｒ               ｏｆ               Ａｄｏｌｐｈ               Ｈｉｔｌｅｒ,               ｗｈｏ               ｗａｓ               ｈｅａｖｉｌｙ               ｉｎｆｌｕｅｎｃｅｄ               ｂｙ               Ｆｏｒｄ'ｓ               ｗｒｉｔｉｎｇｓ               (ｆ3).                Ｉｆ               Ｔｈｅ               Ｍｅｔａｍｏｒｐｈｏｓｉｓ               ｉｓ               ａｃｔｕａｌｌｙ               ａ               ｄｅｐｉｃｔｉｏｎ               ｏｆ               ｐｓｙｃｈｏｓｉｓ,               ｉｔ               ｉｓ               ａ               ｃｌａｓｓｉｃ               ｃａｓｅ               ｏｆ               ａ               ｐｅｒｓｏｎ               ｗｈｏ               ａｃｔｓ               ｉｎ               ａ               ｗａｙ               ｔｈａｔ               ｗｏｕｌｄ               ｂｅ               ｔｏｔａｌｌｙ               ａｐｐｒｏｐｒｉａｔｅ               ｆｏｒ               ｔｈｅ               "ｃｒｅａｔｕｒｅ"               ｈｅ               ｂｅｌｉｅｖｅｓ               ｈｉｍｓｅｌｆ               ｔｏ               ｂｅ,               ａｎｄ               ｔｈｅ               ｒｅｓｔ               ｏｆ               ｔｈｅ               ｆａｍｉｌｙ               ｉｓ               ｒｅａｃｔｉｎｇ               ｗｉｔｈ               ｈｏｒｒｏｒ               ｔｏ               ｈｉｓ               ｉｎｓａｎｅ               ｂｅｈａｖｉｏｒ               ｒａｔｈｅｒ               ｔｈａｎ               ａｔ               ａ               ｐｈｙｓｉｃａｌ               ｐｒｅｓｅｎｃｅ. Ｉｆ               ｈｅ               ｈａｓ               ｉｎｄｅｅｄ               ｂｅｃｏｍｅ               ａｎ               ｉｎｓｅｃｔ,               ｉｔ               ｂｅｃｏｍｅｓ               ｃｌｅａｒ               ｔｈａｔ,               ａｌｔｈｏｕｇｈ               Ｇｒｅｇｏｒ               Ｓａｍｓａ               ｒｅｃｏｇｎｉｚｅｓ               ｔｈｅ               ｐｈｙｓｉｃａｌ               ｃｈａｎｇｅｓ               ｈｅ               ｈａｓ               ｕｎｄｅｒｇｏｎｅ,               ｈｅ               ｓｔｉｌｌ               ｂｅｌｉｅｖｅｓ               ｔｈａｔ               ｈｅ               ｉｓ               ｂａｓｉｃａｌｌｙ               ｔｈｅ               ｓａｍｅ               ｐｅｒｓｏｎ               ａｓ               ｈｅ               ａｌｗａｙｓ               ｈａｓ               ｂｅｅｎ. Ｗｈｅｎ               ｈｉｓ               ｓｉｓｔｅｒ               ｉｓ               ａｂｏｕｔ               ｔｏ               ｒｅｍｏｖｅ               ａｌｌ               ｏｆ               ｔｈｅ               ｆｕｒｎｉｔｕｒｅ               ｆｒｏｍ               ｈｉｓ               ｒｏｏｍ,               ｈｅ               ｔｈｉｎｋｓ:                Ｄｉｄ               ｈｅ               ｒｅａｌｌｙ               ｗａｎｔ               ｈｉｓ               ｗａｒｍ               ｒｏｏｍ,               ｓｏ               ｃｏｍｆｏｒｔａｂｌｙ               ｆｉｔｔｅｄ               ｗｉｔｈ               ｔｈｅ               ｏｌｄ               ｆａｍｉｌｙ               ｆｕｒｎｉｔｕｒｅ,               ｔｏ               ｂｅ               ｔｕｒｎｅｄ               ｉｎｔｏ               ａ               ｎａｋｅｄ               ｄｅｎ               ｉｎ               ｗｈｉｃｈ               ｈｅ               ｗｏｕｌｄ               ｃｅｒｔａｉｎｌｙ               ｂｅ               ａｂｌｅ               ｔｏ               ｃｒａｗｌ               ｕｎｈａｍｐｅｒｅｄ               ｉｎ               ａｌｌ               ｄｉｒｅｃｔｉｏｎｓ               ｂｕｔ               ａｔ               ｔｈｅ               ｐｒｉｃｅ               ｏｆ               ｓｈｅｄｄｉｎｇ               ｓｉｍｕｌｔａｎｅｏｕｓｌｙ               ａｌｌ               ｒｅｃｏｌｌｅｃｔｉｏｎ               ｏｆ               ｈｉｓ               ｈｕｍａｎ               ｂａｃｋｇｒｏｕｎｄ? (Ｋａｆｋａ               57)                Ｔｈｉｓ               ｂｅｇｓ               ｔｈｅ               ｑｕｅｓｔｉｏｎｓ               ｏｆ               ｗｈｅｎ               ｃｏｍｍｏｎ               ａｌｉｅｎａｔｉｏｎ               ｂｅｃｏｍｅｓ               ｍａｄｎｅｓｓ,               ｐｅｒｈａｐｓ               ｉｎ               ｔｈｅ               ｍａｎｉｆｅｓｔａｔｉｏｎ               ｏｆ               ｃａｔａｔｏｎｉａ               ｏｒ               ｓｏｍｅ               ｖｉｏｌｅｎｔ               ｐｓｙｃｈｏｓｅｓ. Ｉｎ               Ｔｈｅ               Ｐｏｌｉｔｉｃｓ               ｏｆ               Ｅｘｐｅｒｉｅｎｃｅ,               Ｒ. Ｄ. Ｌａｉｎｇ               ｗｒｏｔｅ:                Ｗｈａｔ               ｗｅ               ｃａｌｌ               'ｎｏｒｍａｌ'               ｉｓ               ａ               ｐｒｏｄｕｃｔ               ｏｆ               ｒｅｐｒｅｓｓｉｏｎ,               ｄｅｎｉａｌ,               ｓｐｌｉｔｔｉｎｇ,               ｐｒｏｊｅｃｔｉｏｎ,               ｉｎｔｒｏｊｅｃｔｉｏｎ               ａｎｄ               ｏｔｈｅｒ               ｆｏｒｍｓ               ｏｆ               ｄｅｓｔｒｕｃｔｉｖｅ               ａｃｔｉｏｎ               ｏｎ               ｅｘｐｅｒｉｅｎｃｅ. Ｉｔ               ｉｓ               ｒａｄｉｃａｌｌｙ               ｅｓｔｒａｎｇｅｄ               ｆｒｏｍ               ｔｈｅ               ｓｔｒｕｃｔｕｒｅ               ｏｆ               ｂｅｉｎｇ. Ｔｈｅｒｅ               ａｒｅ               ｆｏｒｍｓ               ｏｆ               ａｌｉｅｎａｔｉｏｎ               ｔｈａｔ               ａｒｅ               ｒｅｌａｔｉｖｅｌｙ               ｓｔｒａｎｇｅ               ｔｏ               ｓｔａｔｉｓｔｉｃａｌｌｙ               'ｎｏｒｍａｌ'               ｆｏｒｍｓ               ｏｆ               ａｌｉｅｎａｔｉｏｎ. Ｔｈｅ               'ｎｏｒｍａｌｌｙ'               ａｌｉｅｎａｔｅｄ               ｐｅｒｓｏｎ,               ｂｙ               ｒｅａｓｏｎ               ｏｆ               ｔｈｅ               ｆａｃｔ               ｔｈａｔ               ｈｅ               ａｃｔｓ               ｍｏｒｅ               ｏｒ               ｌｅｓｓ               ｌｉｋｅ               ｅｖｅｒｙｏｎｅ               ｅｌｓｅ,               ｉｓ               ｔａｋｅｎ               ｔｏ               ｂｅ               ｓａｎｅ. Ｏｔｈｅｒ               ｆｏｒｍｓ               ｏｆ               ａｌｉｅｎａｔｉｏｎ               ｔｈａｔ               ａｒｅ               ｏｕｔ               ｏｆ               ｓｔｅｐ               ｗｉｔｈ               ｔｈｅ               ｐｒｅｖａｉｌｉｎｇ               ｓｔａｔｅ               ｏｆ               ａｌｉｅｎａｔｉｏｎ               ａｒｅ               ｔｈｏｓｅ               ｔｈａｔ               ａｒｅ               ｌａｂｅｌｅｄ               ｂｙ               ｔｈｅ               'ｆｏｒｍａｌ'               ｍａｊｏｒｉｔｙ               ａｓ               ｂａｄ               ｏｒ               ｍａｄ. (66)                Ｂｅｃａｕｓｅ               ｏｆ               ｔｈｅ               ａｒｔ               ｔｈｅｙ               ｃｒｅａｔｅ,               ｍａｎｙ               ｇｒｅａｔ               ａｒｔｉｓｔｓ               ａｒｅ               ｄｉｓｍｉｓｓｅｄ               ｂｙ               ｔｈｅ               ｐｕｂｌｉｃ               ａｓ               ｂｅｉｎｇ               "ｅｃｃｅｎｔｒｉｃ"               ｉｎ               ｔｈｅｉｒ               ｂｅｈａｖｉｏｒ. Ｔｈｉｓ               ｑｕｅｓｔｉｏｎ               ｏｆ               "ｎｏｒｍａｌｃｙ"               ｏｒ               "ｉｎｓａｎｉｔｙ"               ｉｓ               ｖｅｒｙ               ｍｕｃｈ               ｒｅｌａｔｅｄ               ｔｏ               ｍａｎｙ               ｃｒｉｔｉｃｓ               ｄｉｓｍｉｓｓｉｎｇ               ｔｈｅ               ｗｏｒｋｓ               ｏｆ               ｐａｉｎｔｅｒｓ               ｏｒ               ａｒｔｉｓｔｓ               ｔｏ               ｗｈｏｍ               ｔｈｅ               ｃｒｉｔｉｃ               ｃａｎｎｏｔ               ｒｅｌａｔｅ,               ｗｒｉｔｉｎｇ               ｏｆｆ               ｔｈｅｉｒ               ｗｏｒｋ               ａｓ               ｓｅｎｓｅｌｅｓｓ               ｇａｒｂａｇｅ               ｂｅｃａｕｓｅ               ｔｈｅｙ               ｃａｎｎｏｔ               ｃｏｍｐｒｅｈｅｎｄ               ｏｒ               ｉｎｔｅｒｐｒｅｔ               ｔｈｅ               ｗｏｒｋ               ｉｎ               ａ               ｗａｙ               ｔｈａｔ               ｍａｋｅｓ               ｓｅｎｓｅ               ｔｏ               ｔｈｅｍ. Ｉｎ               ｏｔｈｅｒ               ｗｏｒｄｓ,               ｔｈｅ               ｃｒｉｔｉｃ               ｂｅｃｏｍｅｓ               ａｌｉｅｎａｔｅｄ               ｆｒｏｍ               ａｎｙ               ｗｏｒｋ               ｔｈａｔ               ｄｏｅｓ               ｎｏｔ               ｆｉｔ               ｉｎｔｏ               ｈｉｓ               ｏｒ               ｈｅｒ               ｓｅｎｓｉｂｉｌｉｔｉｅｓ               ｏｆ               ｗｈａｔ               ｉｓ               ｔｒｕｅ               ａｒｔ               ａｎｄ               ｗｈａｔ               ｉｓ               ｔｈｅ               ｍｅｒｅ               ｓｌａｐｐｉｎｇ               ｏｆ               ｐａｉｎｔ               ｏｒ               ｗｏｒｄｓ               ｏｎ               ｐａｐｅｒ.                Ｉｎ               ｈｉｓ               "Ｉｎｔｒｏｄｕｃｔｉｏｎ"               ｔｏ               Ｋａｆｋａ'ｓ               ｓｈｏｒｔ               ｓｔｏｒｉｅｓ,               Ｐｈｉｌｉｐ               Ｒａｈｖ               ｔｅｌｌｓ               ｕｓ:                Ｔｏ               ａｖｏｉｄ               ｔｈａｔ               ｃｏｍｍｏｎ               ｅｒｒｏｒ               ｉｔ               ｉｓ               ａｂｏｖｅ               ａｌｌ               ｎｅｃｅｓｓａｒｙ               ｔｏ               ｐｅｒｃｅｉｖｅ               ｔｈａｔ               Ｋａｆｋａ               ｉｓ               ｓｏｍｅｔｈｉｎｇ               ｍｏｒｅ               ｔｈａｎ               ａ               ｎｅｕｒｏｔｉｃ               ａｒｔｉｓｔ;               ｈｅ               ｉｓ               ａｌｓｏ               ａｎ               ａｒｔｉｓｔ               ｏｆ               ｎｅｕｒｏｓｉｓ,               ｔｈａｔ               ｉｓ               ｔｏ               ｓａｙ,               ｈｅ               ｓｕｃｃｅｅｄｓ               ｉｎ               ｏｂｊｅｃｔｉｆｙｉｎｇ               ｔｈｒｏｕｇｈ               ｉｍａｇｉｎａｔｉｖｅ               ｍｅａｎｓ               ｔｈｅ               ｓｔａｔｅｓ               ｏｆ               ｍｉｎｄ               ｔｙｐｉｃａｌ               ｏｆ               ｎｅｕｒｏｓｉｓ               ａｎｄ               ｈｅｎｃｅ               ｉｎ               ｉｎｃｏｒｐｏｒａｔｉｎｇ               ｈｉｓ               ｐｒｉｖａｔｅ               ｗｏｒｌｄ               ｉｎｔｏ               ｔｈｅ               ｐｕｂｌｉｃ               ｗｏｒｌｄ               ｗｅ               ａｌｌ               ｌｉｖｅ               ｉｎ. (ｉｘ)                Ｌａｔｅｒ,               Ｒａｈｖ               ｐｓｙｃｈｏａｎａｌｙｚｅｓ               Ｋａｆｋａ               ｔｏ               ａ               ｃｅｒｔａｉｎ               ｅｘｔｅｎｔ. Ｈｅ               ｇｉｖｅｓ               ｕｓ               ｔｈｅ               ｕｎｄｅｒｓｔａｎｄｉｎｇ               ｏｆ               Ｋａｆｋａ'ｓ               ｅａｒｌｙ               ｓｅｎｓｅ               ｏｆ               ａｌｉｅｎａｔｉｏｎ,               ａｎｄ               ｃｌａｉｍｓ               ｔｈａｔ               ｔｈｉｓ               ｌｅｄ               ｔｏ               ｈｉｓ               ｅｖｅｎｔｕａｌ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｉｎｔｏ               ａ               ｇｒｅａｔ               ｗｒｉｔｅｒ               ｏｆ               ｔｈｅ               ｎｅｕｒｏｔｉｃ               ｈｕｍａｎ               ｓｐｉｒｉｔ:                Ｂｏｒｎ               ｉｎ               Ｐｒａｇｕｅ               ｉｎ               1883               ｏｆ               ｍｉｄｄｌｅ-ｃｌａｓｓ               Ｊｅｗｉｓｈ               ｐａｒｅｎｔｓ,               Ｋａｆｋａ               ａｐｐｅａｒｓ               ｔｏ               ｈａｖｅ               ｌｏｓｔ               ｈｉｓ               ｓｅｌｆ-ｃｏｎｆｉｄｅｎｃｅ               ｅａｒｌｙ               ｉｎ               ｌｉｆｅ,               ｅｘｃｈａｎｇｉｎｇ               ｆｏｒ               ｉｔ,               ａｓ               ｈｅ               ｈｉｍｓｅｌｆ               ｐｕｔ               ｉｔ,               "ａ               ｂｏｕｎｄｌｅｓｓ               ｓｅｎｓｅ               ｏｆ               ｇｕｉｌｔ."               Ｍｏｏｄｓ               ｏｆ               ｌｏｓｓ               ａｎｄ               ｆａｉｌｕｒｅ,               ａｎｄ               ｔｈｅ               ｉｄｅａ               ｏｆ               ｔｈｅ               ｉｎｓｏｌｕｂｉｌｉｔｙ               ｅｖｅｎ               ｏｆ               ｔｈｅ               ｍｏｓｔ               ｏｒｄｉｎａｒｙ               ｈｕｍａｎ               ｐｒｏｂｌｅｍｓ,               ｄｅｐｒｅｓｓｅｄ               ｈｉｓ               ｙｏｕｔｈ               ａｎｄ               ｌａｔｅｒ               ｉｎｓｐｉｒｅｄ               ｈｉｓ               ａｒｔ."               (ｘｖ)                Ａｃｃｏｒｄｉｎｇ               ｔｏ               Ｅｎｃｙｃｌｏｐａｅｄｉａ               Ｂｒｉｔａｎｎｉｃａ,               ｔｈｅ               ｐｅｒｓｏｎ               ｐｒｉｍａｒｉｌｙ               ｒｅｓｐｏｎｓｉｂｌｅ               ｆｏｒ               Ｋａｆｋａ'ｓ               ｃｈｉｌｄｈｏｏｄ               ａｎｇｓｔ               ｗａｓ               ｈｉｓ               ｆａｔｈｅｒ,               ｗｈｏ               "ｂｅｌｏｎｇｅｄ               ｔｏ               ａ               ｒａｃｅ               ｏｆ               ｇｉａｎｔｓ               ａｎｄ               ｗａｓ               ａｎ               ａｗｅｓｏｍｅ,               ａｄｍｉｒａｂｌｅ,               ｂｕｔ               ｒｅｐｕｌｓｉｖｅ               ｔｙｒａｎｔ."               Ｔｈｉｓ               ｐａｔｅｒｎａｌ               ｃｏｎｆｌｉｃｔ               ｉｓ               ｐｅｒｈａｐｓ               ｍｏｓｔ               ｅｖｉｄｅｎｔ               ｉｎ               Ｔｈｅ               Ｊｕｄｇｍｅｎｔ,               ｗｈｅｒｅ               ｔｈｅ               ｓｏｎ               ｃｏｍｍｉｔｓ               ｓｕｉｃｉｄｅ               ａｔ               ｔｈｅ               ｒｅｑｕｅｓｔ               ｏｆ               ｈｉｓ               ａｇｉｎｇ               ｆａｔｈｅｒ. Ｈｏｗｅｖｅｒ,               Ｂｒｉｔａｎｎｉｃａ               ｇｏｅｓ               ｏｎ               ｔｏ               ｃｌａｉｍ               ｔｈａｔ:               "Ｔｈｅ               ｓｏｕｒｃｅ               ｏｆ               Ｋａｆｋａ'ｓ               ｄｅｓｐａｉｒ               ｌｉｅｓ               ｉｎ               ａ               ｓｅｎｓｅ               ｏｆ               ｕｌｔｉｍａｔｅ               ｉｓｏｌａｔｉｏｎ               ｆｒｏｍ               ｔｒｕｅ               ｃｏｍｍｕｎｉｏｎ               ｗｉｔｈ               ａｌｌ               ｈｕｍａｎ               ｂｅｉｎｇｓ               ... ａｎｄ               ｗｉｔｈ               Ｇｏｄ,               ｏｒ,               ａｓ               ｈｅ               ｐｕｔ               ｉｔ,               ｗｉｔｈ               (ｔｈｅ)               ｔｒｕｅ               ｉｎｄｅｓｔｒｕｃｔｉｂｌｅ               Ｂｅｉｎｇ."               Ｔｈｉｓ               ｓｔａｔｅｍｅｎｔ               ｉｓ               ｎｏｔ               ｅｘｐｌａｉｎｅｄ,               ｂｕｔ               ｗｅ               ｍｉｇｈｔ               ｉｎｆｅｒ               ｔｈａｔ,               ｄｕｅ               ｔｏ               ｈｉｓ               Ｊｅｗｉｓｈ               ｈｅｒｉｔａｇｅ,               Ｋａｆｋａ               ｆｅｅｌｓ               ａ               ｇｒｅａｔ               ｇｕｉｌｔ               ｂｅｃａｕｓｅ               ｈｅ               ｃａｎｎｏｔ               ｂｅｌｉｅｖｅ               ｉｎ               ｇｏｄ,               ａｎｄ               ｈｅ               ｉｓ               ｂｕｌｌｉｅｄ               ａｎｄ               ｄｉｓｍｉｓｓｅｄ               ｂｙ               ｔｈｅ               ｒｅｐｌａｃｅｍｅｎｔ               ｆｉｇｕｒｅ               ｂｅｃａｕｓｅ               Ｈｅｒｍａｎｎ               ｂｅｌｉｅｖｅｓ               ｈｉｓ               ｓｏｎ               ｔｏ               ｂｅ               ａ               ｗｅａｋ               ｄｒｅａｍｅｒ.                Ｉｎ               ｍａｎｙ               ｗａｙｓ,               ｇｉｖｅｎ               ｔｈａｔ               ｔｈｅｒｅ               ｉｓ               ｎｏ               ｅｖｉｄｅｎｃｅ               ｔｏ               ｓｕｇｇｅｓｔ               ｔｈａｔ               Ｋａｆｋａ               ｅｖｅｒ               ｒｅａｄ               Ｏｖｉｄ'ｓ               ｏｐｕｓ,               ｔｈｅｒｅ               ｉｓ               ａ               ｒｅｍａｒｋａｂｌｅ               ｓｉｍｉｌａｒｉｔｙ               ｉｎ               ｔｈｅ               ｏｖｅｒａｌｌ               ｗｏｒｋ               ｏｆ               Ｏｖｉｄ               ａｎｄ               Ｋａｆｋａ. Ｍａｎｙ               ｏｆ               Ｋａｆｋａ'ｓ               ｓｔｏｒｉｅｓ               ａｒｅ               ａｂｏｕｔ               ｍｅｒｅ               ｍｏｒｔａｌｓ               ｂａｔｔｌｉｎｇ               ａｇａｉｎｓｔ               "ｔｈｅ               ｉｎｈｕｍａｎｉｔｙ               ｏｆ               ｔｈｅ               ｐｏｗｅｒｆｕｌ               ａｎｄ               ｔｈｅｉｒ               ａｇｅｎｔｓ,               ｔｈｅ               ｖｉｏｌｅｎｃｅ               ａｎｄ               ｂａｒｂａｒｉｔｙ               ｔｈａｔ               ｌｕｒｋ               ｂｅｎｅａｔｈ               ｎｏｒｍａｌ               ｒｏｕｔｉｎｅ."               (ｉｂｉｄ)               Ｋａｆｋａ               ｏｆｔｅｎ               ｒｅｆｅｒｒｅｄ               ｔｏ               ｈｉｓ               ｗｏｒｋｓ               ａｓ               ｐａｒａｂｌｅｓ,               ｗｈｉｃｈ               ｉｓ               ｅｓｓｅｎｔｉａｌｌｙ               ｗｈａｔ               ｍｙｔｈｏｌｏｇｙ               ｉｓ               ａｌｌ               ａｂｏｕｔ:               ａ               ｓｔｏｒｙ               ｍａｄｅ               ｕｐ               ｔｏ               ｅｘｐｌａｉｎ               ｔｈｅ               ｗａｙ               ｔｈｉｎｇｓ               ｗｏｒｋ               ｉｎ               ｔｈｅ               ｗｏｒｌｄ,               ａｎｄ               ｍｏｒａｌｉｔｙ               ｌｅｓｓｏｎｓ               ｏｎ               ｈｏｗ               ｈｕｍａｎｓ               ｓｈｏｕｌｄ               ａｃｔ               ｉｎ               ｖａｒｉｏｕｓ               ｃｉｒｃｕｍｓｔａｎｃｅｓ.                Ａｌｔｈｏｕｇｈ               ｔｈｅ               ａｂｏｖｅ               ｔｈｅｍａｔｉｃ               ａｌｉｅｎａｔｉｏｎ               ｉｓ               ａ               ｇｒｅａｔ               ｓｉｍｉｌａｒｉｔｙ               ｉｎ               ｔｈｅ               ｔｗｏ               ｗｏｒｋｓ,               ｉｔ               ｉｓ               ｖｅｒｙ               ｉｎｔｅｒｅｓｔｉｎｇ               ｔｏ               ｎｏｔｅ               ｔｈａｔ               ｔｈｅ               ｍｏｄｅ               ｏｆ               ｔｈｅｓｅ               ｔｒａｎｓｆｏｒｍａｔｉｏｎｓ               ｉｓ               ｔｏｔａｌｌｙ               ｏｐｐｏｓｉｔｅ               ｉｎ               ｎａｔｕｒｅ. Ａｓ               ｓｅｅｎ               ｉｎ               Ｏｖｉｄ'ｓ               Ｍｅｔａｍｏｒｐｈｏｓｅｓ,               ｅｖｅｒｙ               ｓｉｎｇｌｅ               ｅｖｅｎｔ,               ｎｅａｒｌｙ               ｅｖｅｒｙ               ｓｉｎｇｌｅ               ｒｅｌａｔｉｏｎｓｈｉｐ,               ｈａｓ               ａ               ｃａｕｓｅ. Ｗｉｔｈ               Ｋａｆｋａ,               ｍａｎｙ               ｔｈｉｎｇｓ               ｓｅｅｍ               ｔｏ               ｂｅ               ｔｏｔａｌｌｙ               ｒａｎｄｏｍ. Ｍｏｓｔ               ｓｉｇｎｉｆｉｃａｎｔｌｙ,               Ｇｒｅｇｏｒ               Ｓａｍｓａ'ｓ               ｂｉｚａｒｒｅ               ｏｖｅｒｎｉｇｈｔ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｉｎｔｏ               ｓｏｍｅ               ｓｏｒｔ               ｏｆ               ｃｒｅａｔｕｒｅ               ｉｓ               ｎｅｖｅｒ               ｅｘｐｌａｉｎｅｄ-ｉｔ               ｉｓ               ｎｅｖｅｒ               ｅｖｅｎ               ｃｏｎｓｉｄｅｒｅｄ. Ｉｔ               ｉｓ               ａｓ               ｔｈｏｕｇｈ               Ｋａｆｋａ               ａｓｓｕｍｅｓ               ｔｈａｔ               ｓｕｃｈ               ａｎ               ｉｎｃｒｅｄｉｂｌｅ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｃｏｕｌｄ               "ｊｕｓｔ               ｂｅ",               ａｎｄ               ｓｈｏｕｌｄ               ｔｈｅｒｅｆｏｒｅ               ｂｅ               ａｃｃｅｐｔｅｄ               ａｓ               ａ               ｆａｉｔ               ａｃｃｏｍｐｌｉ               ａｎｄ               ｌｅｔ               ｌｉｆｅ               ｊｕｓｔ               ｍｏｖｅ               ｏｎ               ｆｒｏｍ               ｔｈｅｒｅ. Ｔｈｕｓ,               ｗｈｉｌｅ               Ｏｖｉｄ               ｇｉｖｅｓ               ｕｓ               ｃｏａｌｅｓｃｅｎｃｅ               ａｎｄ               ｃｒｅａｔｉｏｎ,               ｗｈｉｃｈ               ｔｈｅｎ               ｌｅａｄｓ               ｔｏ               ｓｏｍｅ               ｓｏｒｔ               ｏｆ               ａｌｉｅｎａｔｉｏｎ               ａｓ               ｔｈｅｓｅ               ｈｉｇｈ               ｐａｓｓｉｏｎｓ               ｗａｎｅ,               Ｋａｆｋａ               ｓｉｍｐｌｙ               ｓｅｅｍｓ               ｔｏ               ｄｅｌｉｖｅｒ               ａ               ｓｅｎｓｅ               ｏｆ               ｃｏｌｄ,               ｉｎｄｉｆｆｅｒｅｎｔ               ａｌｉｅｎａｔｉｏｎ               ｆｒｏｍ               ｔｈｅ               ｖｅｒｙ               ｓｔａｒｔ.                Ａ               ｔｒａｖｅｌｉｎｇ               ｓａｌｅｓｍａｎ,               Ｇｒｅｇｏｒ               ｉｓ               ｔｈｅ               ｓｏｌｅ               ｓｕｐｐｏｒｔ               ｏｆ               ｈｉｓ               ｆａｍｉｌｙ,               ａｎｄ               ｆｅｅｌｓ               ｑｕｉｔｅ               ｇｕｉｌｔｙ               ｔｈａｔ               ｈｅ               ｃａｎｎｏｔ               ｍａｎａｇｅ               ｔｏ               ｇｏ               ｔｏ               ｗｏｒｋ               ｂｅｃａｕｓｅ               ｈｅ               ｗａｋｅｓ               ｕｐ               ｏｎｅ               ｄａｙ               ｔｏ               ｆｉｎｄ               ｔｈａｔ               ｈｅ               ｉｓ               ｎｏ               ｌｏｎｇｅｒ               ｈｕｍａｎ. Ａｆｔｅｒ               ｔｒｙｉｎｇ               ａｎｄ               ｆａｉｌｉｎｇ               ｔｏ               ｇｅｔ               ｕｐ,               ｈｅ               ｃｏｎｓｉｄｅｒｓ               ｗｈａｔ               ａｎ               ａｗｆｕｌ               ｊｏｂ               ｈｅ               ｈａｓ               ａｎｄ               ｈｏｗ               ｈｅ               ｒｅａｌｌｙ               ｌｏａｔｈｅｓ               ｈｉｓ               ｗｏｒｋ               ａｎｄ               ｈｉｓ               ｂｏｓｓ. Ｂｏｔｈ               ｈｉｓ               ｍｏｔｈｅｒ               ａｎｄ               ｔｈｅｎ               ｈｉｓ               ｆａｔｈｅｒ               ｋｎｏｃｋ               ｏｎ               ｈｉｓ               ｄｏｏｒ,               ｔｒｙｉｎｇ               ｔｏ               ｇｅｔ               ｈｉｍ               ｕｐ               ａｎｄ               ｏｕｔ,               ｂｕｔ               ｈｅ               ｃａｎ'ｔ               ｅｖｅｎ               ａｎｓｗｅｒ               ｖｅｒｙ               ｗｅｌｌ               ｂｅｃａｕｓｅ               ｏｆ               ｔｈｅ               ｃｈａｎｇｅ. Ｋａｆｋａ               ｄｅｓｃｒｉｂｅｓ               ｔｈｉｓ               ｅｆｆｏｒｔ               ａｎｄ               Ｇｒｅｇｏｒ'ｓ               ｔｈｏｕｇｈｔｓ               ｏｖｅｒ               ｔｈｅ               ｓｐａｎ               ｏｆ               ｓｅｖｅｎ               ｐａｇｅｓ.                Ａｔ               ｎｏ               ｔｉｍｅ               ａｒｅ               ｈｉｓ               ｔｈｏｕｇｈｔｓ               ａｌｏｎｇ               ｔｈｅ               ｌｉｎｅ               ｏｆ               "Ｏｈ,               ｍｙ               Ｇｏｄ,               Ｉ'ｖｅ               ｂｅｃｏｍｅ               ａ               ｍｏｎｓｔｅｒ! Ｈｏｗ               ｔｈｅ               ｄｅｖｉｌ               ｄｉｄ               ｔｈｉｓ               ｈａｐｐｅｎ?"               Ｎｏ,               ｉｔ'ｓ               ｍｏｒｅ               ｌｉｋｅ:               "Ｏｈ,               ｗｈａｔ               ａ               ｎｕｉｓａｎｃｅ. Ｉ'ｖｅ               ｇｏｔ               ｔｏ               ｇｅｔ               ｔｏ               ｗｏｒｋ!"               Ｉｔ'ｓ               ａｓ               ｔｈｏｕｇｈ               Ｋａｆｋａ               ｗａｎｔｓ               ｔｈｅ               ｔｙｐｉｃａｌ               ｒｅａｄｅｒ               ｔｏ               ｂｅ               ｔｈｉｎｋｉｎｇ,               "Ｂｏｙ,               ｔｈａｔ               ｗｏｕｌｄ               ｂｅ               ｉｎｃｏｎｖｅｎｉｅｎｔ,               ｗｏｕｌｄｎ'ｔ               ｉｔ?"               Ｇｒｅｇｏｒ               ｄｏｅｓ               ｎｏｔ               ｓｅｅｍ               ｉｎ               ｔｈｅ               ｌｅａｓｔ               ａｍａｚｅｄ,               ｌｅｔ               ａｌｏｎｅ               ｕｐｓｅｔ.                Ｉｎ               ｆａｃｔ,               ａｆｔｅｒ               ｍａｎｙ               ａｔｔｅｍｐｔｓ               ｔｏ               ｇｅｔ               ｏｕｔ               ｏｆ               ｂｅｄ               ａｎｄ               ｓｔａｎｄ               ｕｐ,               Ｋａｆｋａ               ｗｒｉｔｅｓ:               "Ａｔ               ｔｈｅ               ｓａｍｅ               ｔｉｍｅ               ｈｅ               ｄｉｄ               ｎｏｔ               ｆｏｒｇｅｔ               ｍｅａｎｗｈｉｌｅ               ｔｏ               ｒｅｍｉｎｄ               ｈｉｍｓｅｌｆ               ｔｈａｔ               ｃｏｏｌ               ｒｅｆｌｅｃｔｉｏｎ,               ｔｈｅ               ｃｏｏｌｅｓｔ               ｐｏｓｓｉｂｌｅ,               ｗａｓ               ｍｕｃｈ               ｂｅｔｔｅｒ               ｔｈａｎ               ｄｅｓｐｅｒａｔｅ               ｒｅｓｏｌｖｅｓ."               (25)               Ｃｏｏｌ. Ｔｈａｔ               ｉｓ               ｃｅｒｔａｉｎｌｙ               ｔｈｅ               ｔｅｎｏｒ               ｏｆ               ｍｏｓｔ               ｏｆ               ｔｈｉｓ               ｓｔｏｒｙ.                Ｉｔ               ｔａｋｅｓ               16               ｐａｇｅｓ               ｆｏｒ               Ｇｒｅｇｏｒ               ｔｏ               ａｃｔｕａｌｌｙ               ｇｅｔ               ｕｐ               ａｎｄ               ｕｎｌｏｃｋ               ｔｈｅ               ｄｏｏｒ               ｗｉｔｈ               ｈｉｓ               ｍｏｕｔｈ. Ｊｕｓｔ               ｔｈｅ               ｐａｃｉｎｇ               ｏｆ               ｔｈｉｓ               ｓｔｏｒｙ               ｉｓ               ａ               ｍａｊｏｒ               ｄｉｆｆｅｒｅｎｃｅ               ｔｏ               ｔｈｅ               ｎｏｎ-ｓｔｏｐ               ａｃｔｉｏｎ               ｏｆ               Ｏｖｉｄ.                Ｗｈｅｎ               ｔｈｅ               ｆａｍｉｌｙ               ｆｉｒｓｔ               ｓｅｅｓ               ｈｉｍ,               ｔｈｅｒｅ               ｉｓ               ｃｅｒｔａｉｎｌｙ               ｓｈｏｃｋ,               ａｌｔｈｏｕｇｈ               ｎｏ               ｃｒｉｅｓ               ｏｆ               ｈｏｒｒｏｒ               ｏｒ               ｗｏｎｄｅｒｍｅｎｔ. Ｈｉｓ               ｍｏｔｈｅｒ               ｆａｉｎｔｓ,               ａｎｄ               ｈｉｓ               ｆａｔｈｅｒ               ｌｏｏｋｓ               ｐｅｒｐｌｅｘｅｄ               ａｎｄ               ａｎｇｒｙ               ｂｅｆｏｒｅ               ｂｒｅａｋｉｎｇ               ｄｏｗｎ               ｉｎ               ｔｅａｒｓ.                Ｈｉｓ               ｍｏｔｈｅｒ-ｉｎ               ｓｐｉｔｅ               ｏｆ               ｔｈｅ               ｐｒｅｓｅｎｃｅ               ｏｆ               ｔｈｅ               ｍａｎａｇｅｒ               ｓｈｅ               ｗａｓ               ｓｔａｎｄｉｎｇ               ｈｅｒｅ               ｗｉｔｈ               ｈｅｒ               ｈａｉｒ               ｓｔｉｃｋｉｎｇ               ｕｐ               ｏｎ               ｅｎｄ,               ｓｔｉｌｌ               ａ               ｍｅｓｓ               ｆｒｏｍ               ｔｈｅ               ｎｉｇｈｔ-ｆｉｒｓｔ               ｌｏｏｋｅｄ               ａｔ               ｈｉｓ               ｆａｔｈｅｒ               ｗｉｔｈ               ｈｅｒ               ｈａｎｄｓ               ｃｌａｓｐｅｄ,               ｔｈｅｎ               ｗｅｎｔ               ｔｗｏ               ｓｔｅｐｓ               ｔｏｗａｒｄｓ               Ｇｒｅｇｏｒ               ａｎｄ               ｃｏｌｌａｐｓｅｄ               ｒｉｇｈｔ               ｉｎ               ｔｈｅ               ｍｉｄｄｌｅ               ｏｆ               ｈｅｒ               ｓｋｉｒｔｓ,               ｗｈｉｃｈ               ｗｅｒｅ               ｓｐｒｅａｄ               ｏｕｔ               ａｌｌ               ａｒｏｕｎｄ               ｈｅｒ,               ｈｅｒ               ｆａｃｅ               ｓｕｎｋ               ｏｎ               ｈｅｒ               ｂｒｅａｓｔ,               ｃｏｍｐｌｅｔｅｌｙ               ｃｏｎｃｅａｌｅｄ. Ｈｉｓ               ｆａｔｈｅｒ               ｃｌｅｎｃｈｅｄ               ｈｉｓ               ｆｉｓｔ               ｗｉｔｈ               ａ               ｈｏｓｔｉｌｅ               ｅｘｐｒｅｓｓｉｏｎ,               ａｓ               ｉｆ               ｈｅ               ｗｉｓｈｅｄ               ｔｏ               ｐｕｓｈ               Ｇｒｅｇｏｒ               ｂａｃｋ               ｉｎｔｏ               ｈｉｓ               ｒｏｏｍ,               ｔｈｅｎ               ｌｏｏｋｅｄ               ｕｎｃｅｒｔａｉｎｌｙ               ａｒｏｕｎｄ               ｔｈｅ               ｌｉｖｉｎｇ               ｒｏｏｍ,               ｃｏｖｅｒｅｄ               ｈｉｓ               ｅｙｅｓ               ｗｉｔｈ               ｈｉｓ               ｈａｎｄｓ,               ａｎｄ               ｃｒｉｅｄ               ｓｏ               ｔｈａｔ               ｈｉｓ               ｍｉｇｈｔｙ               ｂｒｅａｓｔ               ｓｈｏｏｋ. (34-35)                Ｉｔ               ｉｓ               ｏｎｌｙ               ｔｈｅ               ｍａｎａｇｅｒ               ｗｈｏ               ｓｅｅｍｓ               ｔｒｕｌｙ               ｈｏｒｒｉｆｉｅｄ. Ｔｈｉｎｋｉｎｇ               ｔｈａｔ               Ｇｒｅｇｏｒ               ｉｓ               ｃｈａｓｉｎｇ               ｔｈｅ               ｍａｎａｇｅｒ,               Ｍｒ. Ｓａｍｓａ               ｄｒｉｖｅｓ               ｔｈｅ               ｃｒｅａｔｕｒｅ               ｂａｃｋ               ｉｎｔｏ               ｈｉｓ               ｒｏｏｍ               ｗｉｔｈ               ａ               ｃａｎｅ               ａｎｄ               ａ               ｒｏｌｌｅｄ-ｕｐ               ｎｅｗｓｐａｐｅｒ,               ｈｉｓｓｉｎｇ               ａｔ               ｈｉｍ               ａｓ               ｔｈｏｕｇｈ               ａｔ               ａ               ｂｅａｓｔ. Ｗｉｔｈｏｕｔ               ａ               ｑｕｅｓｔｉｏｎ,               ｈｏｗｅｖｅｒ,               ｔｈｅ               ｆａｍｉｌｙ               ｓｅｅｍｓ               ｔｏ               ｈａｖｅ               ａｃｃｅｐｔｅｄ               ｔｈｅ               ｆａｃｔ               ｔｈａｔ               ｔｈｉｓ               ｃｒｅａｔｕｒｅ               ｉｓ               ｃｅｒｔａｉｎｌｙ               Ｇｒｅｇｏｒ. Ｔｈｉｓ               ｍａｙ               ｂｅ               ｏｎｅ               ｏｆ               ｔｈｅ               ｒｅａｓｏｎｓ               ｔｈａｔ               ｓｏｍｅ               ｐｅｏｐｌｅ               ｉｎｔｅｒｐｒｅｔ               ｔｈｅ               ａｌｌｅｇｏｒｙ               ａｓ               ｉｎｓａｎｉｔｙ,               ａｓ               ｈｅ               ｍａｙ               ｌｏｏｋ               ｔｈｅ               ｓａｍｅ               ｔｏ               ｔｈｅ               ｆａｍｉｌｙ,               ｂｕｔ               ｂｅ               ｂｅｈａｖｉｎｇ               ｌｉｋｅ               ｓｏｍｅ               ｓｏｒｔ               ｏｆ               ａｎｉｍａｌ.                Ａｔ               ｆｉｒｓｔ,               Ｇｒｅｔｅ               ｉｓ               ｑｕｉｔｅ               ｓｏｌｉｃｉｔｏｕｓ               ｔｏ               ｈｅｒ               ｂｒｏｔｈｅｒ. Ｓｈｅ               ｂｒｉｎｇｓ               ｈｉｍ               ａ               ｓｅｌｅｃｔｉｏｎ               ｏｆ               ｆｏｏｄ               ｓｈｅ               ｔｈｉｎｋｓ               ａｎｙ               ｓｅｌｆ-ｒｅｓｐｅｃｔｉｎｇ               ｉｎｓｅｃｔ               ｗｏｕｌｄ               ｅｎｊｏｙ,               ｔｈｅｎ               ｌｅａｖｅｓ               ｈｉｍ               ｕｎｄｉｓｔｕｒｂｅｄ               ｔｏ               ｅａｔ               ａｔ               ｌｅｉｓｕｒｅ. Ｓｈｅ               ｔｉｄｉｅｓ               ｈｉｓ               ｒｏｏｍ,               ｒｅｔｕｒｎｓ               ｔｈｅ               ｃｈａｉｒ               ｔｏ               ｔｈｅ               ｗｉｎｄｏｗ,               ａｎｄ               ｌｅａｖｅｓ               ｔｈｅ               ｃａｓｅｍｅｎｔｓ               ｏｐｅｎ               ｆｏｒ               ｈｉｍ               ｓｏ               ｈｅ               ｃａｎ               ｌｏｏｋ               ｏｕｔ               ａｎｄ               ｈａｖｅ               ｆｒｅｓｈ               ａｉｒ. Ｈｏｗｅｖｅｒ,               ｓｈｅ               ｃａｎｎｏｔ               ｂｅａｒ               ｔｈｅ               ｓｉｇｈｔ               ｏｆ               ｈｉｍ.                Ａｓ               ａ               ｍｏｒｅ               ｓｔａｒｋ               ｃｏｎｔｒａｓｔ               ｔｏ               Ｏｖｉｄ,               ｗｈｏ               ｅｌｏｑｕｅｎｔｌｙ               ｄｅｓｃｒｉｂｅｓ               ｃｏｎｓｔａｎｔ               ｂｅｔｒａｙａｌ               ａｎｄ               ｖｉｏｌｅｎｃｅ,               ｌｏｖｅ               ａｎｄ               ｌｕｓｔ,               ｓｉｎ               ａｎｄ               ｒｅｄｅｍｐｔｉｏｎ,               ｔｈｅｒｅ               ｉｓ               ｖｅｒｙ               ｌｉｔｔｌｅ               ｐａｓｓｉｏｎ               ｔｈｒｏｕｇｈｏｕｔ               Ｋａｆｋａ'ｓ               ｗｏｒｋ. Ｏｎｅ               ｏｆ               ｔｈｅ               ｆｅｗ               ｔｒｕｌｙ               ｅｍｏｔｉｏｎａｌ               ｓｃｅｎｅｓ               ｉｎ               Ｔｈｅ               Ｍｅｔａｍｏｒｐｈｏｓｉｓ               ｉｓ               ｗｈｅｎ               Ｇｒｅｇｏｒ'ｓ               ｍｏｔｈｅｒ               ｗａｎｔｓ               ｔｏ               ｖｉｓｉｔ               ｈｉｍ               ｉｎ               ｓｐｉｔｅ               ｏｆ               ｔｈｉｓ               ｇｒｏｔｅｓｑｕｅ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ:               "Ｌａｔｅｒ,               ｈｏｗｅｖｅｒ               ｓｈｅ               ｈａｄ               ｔｏ               ｂｅ               ｈｅｌｄ               ｂａｃｋ               ｂｙ               ｍａｉｎ,               ｆｏｒｃｅ,               ａｎｄ               ｗｈｅｎ               ｓｈｅ               ｃｒｉｅｄ               ｏｕｔ:               'Ｄｏ               ｌｅｔ               ｍｅ               ｉｎ               ｔｏ               Ｇｒｅｇｏｒ,               ｈｅ               ｉｓ               ｍｙ               ｕｎｆｏｒｔｕｎａｔｅ               ｓｏｎ! Ｃａｎ'ｔ               ｙｏｕ               ｕｎｄｅｒｓｔａｎｄ               ｔｈａｔ               Ｉ               ｍｕｓｔ               ｇｏ               ｔｏ               ｈｉｍ?'"               (54)               Ｎａｔｕｒａｌｌｙ,               ｗｈｅｎ               ｓｈｅ               ｌａｔｅｒ               ｄｏｅｓ               ｓｅｅ               ｈｉｍ               ｓｈｅ               ｉｓ               ｄｉｓｇｕｓｔｅｄ,               ａｎｄ               ｈｉｓ               ｓｉｓｔｅｒ,               Ｇｒｅｔｅ,               ｉｓ               ｉｒｒｉｔａｔｅｄ               ｗｉｔｈ               ｈｉｍ               ｆｏｒ               ｈａｖｉｎｇ               ａｌｌｏｗｅｄ               ｔｈｅｉｒ               ｍｏｔｈｅｒ               ｔｏ               ｗｉｔｎｅｓｓ               ｈｉｓ               ｄｅｆｏｒｍｉｔｙ.                Ｏｎｅ               ｏｆ               ｔｈｅ               ｆｅｗ               ｉｎｃｉｄｅｎｔｓ               ｉｎ               Ｋａｆｋａ'ｓ               ｗｏｒｋ               ｔｈａｔ               ｓｔｒｉｋｅｓ               ｔｈｅ               ｒｅａｄｅｒ               ａｓ               ｄｅｌｉｂｅｒａｔｅ               ｃａｕｓａｔｉｏｎ               ｗｏｕｌｄ               ｂｅ               ｔｈｅ               ａｐｐｌｅ               ｔｈｒｏｗｉｎｇ               ｓｃｅｎｅ. Ｍｒ. Ｓａｍｓａ               ｂｅｃｏｍｅｓ               ｉｎｔｅｎｔ               ｏｎ               ｖｅｎｔｉｎｇ               ｈｉｓ               ｆｒｕｓｔｒａｔｉｏｎ,               ａｎｄ               ｂｅｇｉｎｓ               ｔｈｒｏｗｉｎｇ               ａｐｐｌｅｓ               ａｔ               Ｇｒｅｇｏｒ. Ｏｎｅ               ｓｔｉｃｋｓ               ｉｎ               Ｇｒｅｇｏｒ'ｓ               ｂａｃｋ,               ｗｈｉｃｈ               ｃａｕｓｅｓ               ｈｉｍ               ｐｅｒｍａｎｅｎｔ               ｉｎｊｕｒｙ               ｂｅｃａｕｓｅ               ｎｏ               ｏｎｅ               ｗｉｌｌ               ｒｅｍｏｖｅ               ｉｔ               ｏｒ               ｔｒｅａｔ               ｈｉｍ.                Ｉｔ               ｉｓ               ｎｏ               ｓｕｒｐｒｉｓｅ               ｔｈａｔ               ｔｈｅ               ｐｅｒｓｏｎ               ｔｈａｔ               ｃａｕｓｅｓ               ｔｈｉｓ               ｉｎｊｕｒｙ               ｉｓ               ｔｈｅ               Ｆａｔｈｅｒ               ｆｉｇｕｒｅ,               Ｋａｆｋａ'ｓ               "ｉｎｄｅｓｔｒｕｃｔｉｂｌｅ               Ｂｅｉｎｇ". Ｉｔ               ｉｓ               ｌｉｋｅ               Ｊｏｖｅ               ｓｔｒｉｋｉｎｇ               ｄｏｗｎ               Ｍａｎｋｉｎｄ               ｆｏｒ               ｔｈｅｉｒ               ｐｅｒｃｅｉｖｅｄ               ｓｉｎｓ,               ｗｈｅｎ               ｔｈｅ               ｄｅｉｔｙ               ｉｓ               ｎｏ               ｌｅｓｓ-ｏｒ               ｐｅｒｈａｐｓ               ｎｏ               ｍｏｒｅ-ｔｏ               ｂｌａｍｅ               ｆｏｒ               ｔｈｅ               ｃａｕｓａｔｉｏｎ               ｏｆ               ｔｈｅ               ｓｉｎｎｉｎｇ. Ｐｅｒｈａｐｓ               ｕｎｋｎｏｗｉｎｇｌｙ,               Ｋａｆｋａ               ｉｓ               ａｇａｉｎ               ｅｃｈｏｉｎｇ               ｏｎｅ               ｏｆ               ｔｈｅ               ｍａｊｏｒ               ｃａｕｓａｔｉｏｎｓ               ｉｎ               Ｏｖｉｄ'ｓ               ｓｔｏｒｙ.                Ｍｏｒｅｏｖｅｒ,               ｇｉｖｅｎ               ｔｈｅ               Ｊｕｄｅｏ               ｔｒａｄｉｔｉｏｎ               ｏｆ               ｔｈｅ               Ｏｌｄ               Ｔｅｓｔａｍｅｎｔ,               ｉｓ               ｉｔ               ａｎｙ               ｗｏｎｄｅｒ               ｔｈａｔ               ｔｈｅ               ｄｅｓｔｒｕｃｔｉｖｅ               ｍｉｓｓｉｌｅ               ｉｓ               ｔｈｅ               ｆｒｕｉｔ               ｏｆ               ｔｈｅ               Ｔｒｅｅ               ｏｆ               Ｋｎｏｗｌｅｄｇｅ? Ａｆｔｅｒ               ａｌｌ,               Ｋａｆｋａ               ａｓｓｕｒｅｄ               ｕｓ               ｔｈａｔ               ｈｉｓ               ｓｔｏｒｉｅｓ               ｗｅｒｅ               ｐａｒａｂｌｅｓ,               ａｎｄ               ｄｅａｌｔ               ｅｘｔｅｎｓｉｖｅｌｙ               ｉｎ               ｓｙｍｂｏｌｉｓｍ. Ｈｏｗｅｖｅｒ,               ｉｎ               ｔｈｉｓ               ｃａｓｅ,               ｔｈｅ               ａｌｉｅｎａｔｉｏｎ               ｂｅｔｗｅｅｎ               ｔｈｅ               ｓｏｎ               ａｎｄ               ｆａｔｈｅｒ               ｔｈａｔ               ｌｅａｄｓ               ｔｏ               ｔｈｉｓ               ｉｎｊｕｒｙ               ｉｓ               ｔｈｅ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｏｆ               ｔｈｅｉｒ               ｎｅｗ               ｒｅｌａｔｉｏｎｓｈｉｐ:               Ｍｒ. Ｓａｍｓａ               ｎｏｗ               ａｌｌｏｗｓ               ｔｈｅ               ｄｏｏｒ               ｔｏ               Ｇｒｅｇｏｒ'ｓ               ｒｏｏｍ               ｔｏ               ｂｅ               ｌｅｆｔ               ｏｐｅｎ               ｉｎ               ｔｈｅ               ｅｖｅｎｉｎｇｓ               ｓｏ               ｔｈａｔ               ｔｈｅ               ｃｒｅａｔｕｒｅ               ｍａｙ               ｂｅ               ａｌｌｏｗｅｄ               ｔｏ               ｖｉｃａｒｉｏｕｓｌｙ               ｐａｒｔａｋｅ               ｉｎ               ｔｈｅ               ｑｕｉｅｔ               ｆａｍｉｌｙ               ｃｏｎｖｅｒｓａｔｉｏｎｓ. Ｉｎ               ｔｈａｔ               ｓｅｎｓｅ,               Ｍｒ. Ｓａｍｓａ               ｉｓ               ｔａｃｉｔｌｙ               ａｌｌｏｗｉｎｇ               Ｇｒｅｇｏｒ               ｔｏ               ｒｅｔａｉｎ               ｈｉｓ               ｓｅｎｓｅ               ｏｆ               ｉｄｅｎｔｉｔｙ               ｉｎ               ｔｈｅ               ｆａｍｉｌｙ               ｃｉｒｃｌｅ,               ａｌｔｈｏｕｇｈ               ｃｅｒｔａｉｎｌｙ               ｎｏｔ               ａｓ               ａ               ｍｅｍｂｅｒ               ｗｈｏ               ｓｈｏｕｌｄ               ｂｅ               ｓｅｅｎ,               ｌｅｔ               ａｌｏｎｅ               ｌｏｖｅｄ.                Ｉｎｅｖｉｔａｂｌｙ,               ｔｈｅ               ｆａｍｉｌｙ               ｉｓ               ｆａｌｌｉｎｇ               ａｐａｒｔ. Ｔｈｅｉｒ               ｃｏｎｖｅｒｓａｔｉｏｎｓ               ａｒｅ               ｅｉｔｈｅｒ               ｄｅｓｕｌｔｏｒｙ               ｏｒ               ｎｏｎ-ｅｘｉｓｔｅｎｔ. Ｔｈｅ               ｆａｔｈｅｒ               ｆａｌｌｓ               ａｓｌｅｅｐ               ｅｖｅｒｙ               ｎｉｇｈｔ               ｉｎ               ｈｉｓ               ａｒｍｃｈａｉｒ;               ｔｈｅ               ｍｏｔｈｅｒ               ｈａｓ               ｔａｋｅｎ               ｉｎ               ｓｅｗｉｎｇ,               ａｎｄ               Ｇｒｅｔｅ               ｆｏｕｎｄ               ａ               ｊｏｂ               ａｓ               ａ               ｓａｌｅｓｇｉｒｌ. Ａｎｄ               Ｇｒｅｇｏｒ               ｉｓ               ｎｅｇｌｅｃｔｅｄ.                Ｗｈｏ               ｃｏｕｌｄ               ｆｉｎｄ               ｔｉｍｅ,               ｉｎ               ｔｈｉｓ               ｏｖｅｒｗｏｒｋｅｄ               ａｎｄ               ｔｉｒｅｄ               ｆａｍｉｌｙ,               ｔｏ               ｂｏｔｈｅｒ               ａｂｏｕｔ               Ｇｒｅｇｏｒ               ｍｏｒｅ               ｔｈａｎ               ｗａｓ               ａｂｓｏｌｕｔｅｌｙ               ｎｅｅｄｆｕｌ? Ｔｈｅ               ｈｏｕｓｅｈｏｌｄ               ｗａｓ               ｒｅｄｕｃｅｄ               ｍｏｒｅ               ａｎｄ               ｍｏｒｅ;               ｔｈｅ               ｓｅｒｖａｎｔ               ｇｉｒｌ               ｗａｓ               ｔｕｒｎｅｄ               ｏｆｆ;               ａ               ｇｉｇａｎｔｉｃ               ｂｏｎｙ               ｃｈａｒｗｏｍａｎ               ｗｉｔｈ               ｗｈｉｔｅ               ｈａｉｒ               ｆｌｙｉｎｇ               ｒｏｕｎｄ               ｈｅｒ               ｈｅａｄ               ｃａｍｅ               ｉｎ               ｔｈｅ               ｍｏｒｎｉｎｇ               ａｎｄ               ｅｖｅｎｉｎｇ               ｔｏ               ｄｏ               ｔｈｅ               ｒｏｕｇｈ               ｗｏｒｋ;               ｅｖｅｒｙｔｈｉｎｇ               ｅｌｓｅ               ｗａｓ               ｄｏｎｅ               ｂｙ               Ｇｒｅｇｏｒ'ｓ               ｍｏｔｈｅｒ,               ａｓ               ｗｅｌｌ               ａｓ               ｇｒｅａｔ               ｐｉｌｅｓ               ｏｆ               ｓｅｗｉｎｇ. (68)                Ｉｎ               ｓｐｉｔｅ               ｏｆ               ｔｈｅ               ｆａｃｔ               ｔｈａｔ               ｓｈｅ               ｈａｓ               ｅｓｓｅｎｔｉａｌｌｙ               ｔａｋｅｎ               ｉｔ               ｕｐｏｎ               ｈｅｒｓｅｌｆ               ｔｏ               ｃａｒｅ               ｆｏｒ               Ｇｒｅｇｏｒ-ｏｒ               ｐｅｒｈａｐｓ               ｂｅｃａｕｓｅ               ｓｈｅ               ｈａｓ               ｇｒｏｗｎ               ｔｉｒｅｄ               ｏｆ               ｉｔ-ｉｔ               ｉｓ               Ｇｒｅｔｅ               ｗｈｏ               ｆｉｒｓｔ               ｖｏｉｃｅｓ               ｔｈｅ               ｃｏｍｐｌｅｔｅ               ａｌｉｅｎａｔｉｏｎ               ｆｒｏｍ               ｔｈｅ               ｆａｍｉｌｙ               ｔｈａｔ               Ｇｒｅｇｏｒ'ｓ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｈａｓ               ｂｒｏｕｇｈｔ               ｏｎ. Ｏｎｅ               ｅｖｅｎｉｎｇ,               Ｇｒｅｔｅ               ｉｓ               ｐｌａｙｉｎｇ               ｔｈｅ               ｖｉｏｌｉｎ               ｆｏｒ               ｔｈｅ               ｂｏａｒｄｅｒｓ               ｔｈｅｙ               ｔｏｏｋ               ｉｔ               ｔｏ               ｈｅｌｐ               ｐａｙ               ｔｈｅ               ｂｉｌｌｓ. Ｇｒｅｇｏｒ               ｃａｒｅｆｕｌｌｙ               ｅｎｔｅｒｓ               ｔｈｅ               ｒｏｏｍ               ｔｏ               ｌｉｓｔｅｎ,               ｂｕｔ               ｈｅ               ｉｓ               ｓｐｏｔｔｅｄ,               ｃａｕｓｉｎｇ               ｔｈｅ               ｂｏａｒｄｅｒｓ               ｔｏ               ｔｈｒｅａｔｅｎ               ｔｏ               ｇｉｖｅ               ｔｈｅｉｒ               ｎｏｔｉｃｅ. Ｆｅｄ               ｕｐ               ｗｉｔｈ               ｔｈｅｉｒ               ｓｉｔｕａｔｉｏｎ,               ｉｔ               ｉｓ               Ｇｒｅｔａ               ｗｈｏ               ｄｅｃｌａｒｅｓ               ｔｈａｔ               ｔｈｅｙ               ｍｕｓｔ               ｇｅｔ               ｒｉｄ               ｏｆ               Ｇｒｅｇｏｒ,               ｃａｌｌｉｎｇ               ｈｉｍ               "ｔｈｉｓ               ｃｒｅａｔｕｒｅ". Ｓｈｅ               ｔｅｌｌｓ               ｈｅｒ               ｆａｔｈｅｒ:                "Ｈｅ               ｍｕｓｔ               ｇｏ,"               ｃｒｉｅｄ               Ｇｒｅｇｏｒ'ｓ               ｓｉｓｔｅｒ,               "ｔｈａｔ'ｓ               ｔｈｅ               ｏｎｌｙ               ｓｏｌｕｔｉｏｎ,               Ｆａｔｈｅｒ. Ｙｏｕ               ｍｕｓｔ               ｊｕｓｔ               ｔｒｙ               ｔｏ               ｇｅｔ               ｒｉｄ               ｏｆ               ｔｈｅ               ｉｄｅａ               ｔｈａｔ               ｔｈｉｓ               ｉｓ               Ｇｒｅｇｏｒ. Ｔｈｅ               ｆａｃｔ               ｔｈａｔ               ｗｅ'ｖｅ               ｂｅｌｉｅｖｅｄ               ｉｔ               ｆｏｒ               ｓｏ               ｌｏｎｇ               ｉｓ               ｔｈｅ               ｒｏｏｔ               ｏｆ               ａｌｌ               ｏｕｒ               ｔｒｏｕｂｌｅ. Ｂｕｔ               ｈｏｗ               ｃａｎ               ｉｔ               ｂｅ               Ｇｒｅｇｏｒ? Ｉｆ               ｔｈｉｓ               ｗｅｒｅ               Ｇｒｅｇｏｒ,               ｈｅ               ｗｏｕｌｄ               ｈａｖｅ               ｒｅａｌｉｚｅｄ               ｌｏｎｇ               ａｇｏ               ｔｈａｔ               ｈｕｍａｎ               ｂｅｉｎｇｓ               ｃａｎ'ｔ               ｌｉｖｅ               ｗｉｔｈ               ｓｕｃｈ               ａ               ｃｒｅａｔｕｒｅ,               ａｎｄ               ｈｅ'ｄ               ｈａｖｅ               ｇｏｎｅ               ａｗａｙ               ｏｎ               ｈｉｓ               ｏｗｎ               ａｃｃｏｒｄ. Ｔｈｅｎ               ｗｅ               ｗｏｕｌｄｎ'ｔ               ｈａｖｅ               ａｎｙ               ｂｒｏｔｈｅｒ,               ｂｕｔ               ｗｅ'ｄ               ｂｅ               ａｂｌｅ               ｔｏ               ｇｏ               ｏｎ               ｌｉｖｉｎｇ               ａｎｄ               ｋｅｅｐ               ｈｉｓ               ｍｅｍｏｒｙ               ｉｎ               ｈｏｎｏｒ. Ａｓ               ｉｔ               ｉｓ,               ｔｈｉｓ               ｃｒｅａｔｕｒｅ               ｐｅｒｓｅｃｕｔｅｓ               ｕｓ...."               (81)                Ｏｖｅｒｃｏｍｅ               ｗｉｔｈ               ｇｒｉｅｆ,               Ｇｒｅｇｏｒ               ｃｒａｗｌｓ               ｉｎｔｏ               ｈｉｓ               ｒｏｏｍ. Ｇｒｅｔｅ               ｓｐｒｉｎｇｓ               ｆｏｒｗａｒｄ               ｔｏ               ｌｏｃｋ               ｔｈｅ               ｄｏｏｒ. Ｇｒｅｇｏｒ               ｌｉｅｓ               ｏｎ               ｔｈｅ               ｆｌｏｏｒ,               ｕｎａｂｌｅ               ｔｏ               ｍｏｖｅ. Ｉｎ               ｈｉｓ               ｗｅａｋｅｎｅｄ               ｃｏｎｄｉｔｉｏｎ,               ｈｅ               ｔｈｉｎｋｓ               ａｂｏｕｔ               ｗｈａｔ               ｈｅ               ｍｕｓｔ               ｄｏ:                Ｈｅ               ｔｈｏｕｇｈｔ               ｏｆ               ｈｉｓ               ｆａｍｉｌｙ               ｗｉｔｈ               ｔｅｎｄｅｒｎｅｓｓ               ａｎｄ               ｌｏｖｅ. Ｔｈｅ               ｄｅｃｉｓｉｏｎ               ｔｈａｔ               ｈｅ               ｍｕｓｔ               ｄｉｓａｐｐｅａｒ               ｗａｓ               ｏｎｅ               ｔｈａｔ               ｈｅ               ｈｅｌｄ               ｔｏ               ｅｖｅｎ               ｍｏｒｅ               ｓｔｒｏｎｇｌｙ               ｔｈａｎ               ｈｉｓ               ｓｉｓｔｅｒ,               ｉｔ               ｔｈａｔ               ｗｅｒｅ               ｐｏｓｓｉｂｌｅ. Ｉｎ               ｔｈｉｓ               ｓｔａｔｅ               ｏｆ               ｖａｃａｎｔ               ａｎｄ               ｐｅａｃｅｆｕｌ               ｍｅｄｉｔａｔｉｏｎ               ｈｅ               ｒｅｍａｉｎｅｄ               ｕｎｔｉｌ               ｔｈｅ               ｔｏｗｅｒ               ｃｌｏｃｋ               ｓｔｒｕｃｋ               ｔｈｒｅｅ               ｉｎ               ｔｈｅ               ｍｏｒｎｉｎｇ. Ｔｈｅ               ｆｉｒｓｔ               ｂｒｏａｄｅｎｉｎｇ               ｏｆ               ｌｉｇｈｔ               ｉｎ               ｔｈｅ               ｗｏｒｌｄ               ｏｕｔｓｉｄｅ               ｔｈｅ               ｗｉｎｄｏｗ               ｅｎｔｅｒｅｄ               ｈｉｓ               ｃｏｎｓｃｉｏｕｓｎｅｓｓ               ｏｎｃｅ               ｍｏｒｅ. Ｔｈｅｎ               ｈｉｓ               ｈｅａｄ               ｓａｎｋ               ｔｏ               ｔｈｅ               ｆｌｏｏｒ               ｏｆ               ｉｔｓ               ｏｗｎ               ａｃｃｏｒｄ               ａｎｄ               ｆｒｏｍ               ｈｉｓ               ｎｏｓｔｒｉｌｓ               ｃａｍｅ               ｔｈｅ               ｌａｓｔ               ｆａｉｎｔ               ｆｌｉｃｋｅｒ               ｏｆ               ｈｉｓ               ｂｒｅａｔｈ. (83)                Ｗｈｅｎ               ｔｈｅ               ｃｈａｒｗｏｍａｎ               ｆｉｎｄｓ               Ｇｒｅｇｏｒ'ｓ               ｃｏｒｐｓｅ               ｉｎ               ｔｈｅ               ｍｏｒｎｉｎｇ,               Ｍｒ. Ｓａｍｓａ               ｓｅｅｍｓ               ｔｏ               ｒｅｇａｉｎ               ｓｏｍｅ               ｏｆ               ｈｉｓ               ｓｔｒｅｎｇｔｈ. Ｉｎ               ａ               ｄｉｓｐｌａｙ               ｏｆ               ｐｏｗｅｒ,               Ｍｒ. Ｓａｍｓａ               ｄｉｓｍｉｓｓｅｓ               ｔｈｅ               ｌｏｄｇｅｒｓ               ｆｒｏｍ               ｈｉｓ               ｈｏｕｓｅ. Ｏｆ               ｈｅｒ               ｏｗｎ               ａｃｃｏｒｄ,               ｔｈｅ               ｃｈａｒｗｏｍａｎ               ｄｉｓｐｏｓｅｓ               ｏｆ               ｔｈｅ               ｂｏｄｙ.                Ｓｕｄｄｅｎｌｙ,               ｈｏｐｅ               ｂｌｏｏｍｓ               ａｇａｉｎ. Ｔｈｅ               ｔｈｒｅｅ               ｏｆ               ｔｈｅｍ               ｔａｋｅ               ａ               ｔｒａｍ               ｒｉｄｅ               ｏｕｔ               ｉｎｔｏ               ｔｈｅ               ｃｏｕｎｔｒｙ,               ａｎｄ               ｒｅａｌｉｚｅ               ｈｏｗ               ｓｕｄｄｅｎｌｙ               ｔｈｅｉｒ               ｗｏｒｌｄ               ｈａｓ               ｃｈａｎｇｅｄ               ｃｏｍｐｌｅｔｅｌｙ,               ａｎｄ               ｓｏ               ｍｕｃｈ               ｆｏｒ               ｔｈｅ               ｂｅｔｔｅｒ:                Ｔｈｅ               ｃａｒ               ｉｎ               ｗｈｉｃｈ               ｔｈｅｙ               ｗｅｒｅ               ｓｉｔｔｉｎｇ               ｂｙ               ｔｈｅｍｓｅｌｖｅｓ               ｗａｓ               ｔｏｔａｌｌｙ               ｅｎｇｕｌｆｅｄ               ｂｙ               ｔｈｅ               ｗａｒｍ               ｓｕｎ. Ｌｅａｎｉｎｇ               ｂａｃｋ               ｃｏｍｆｏｒｔａｂｌｙ               ｉｎ               ｔｈｅｉｒ               ｓｅａｔｓ,               ｔｈｅｙ               ｔａｌｋｅｄ               ｔｏ               ｅａｃｈ               ｏｔｈｅｒ               ａｂｏｕｔ               ｆｕｔｕｒｅ               ｐｒｏｓｐｅｃｔｓ,               ａｎｄ               ｔｈｅｙ               ｄｉｓｃｏｖｅｒｅｄ               ｔｈａｔ               ｏｎ               ｃｌｏｓｅｒ               ｏｂｓｅｒｖａｔｉｏｎ               ｔｈｅｓｅ               ｗｅｒｅ               ｎｏｔ               ａｔ               ａｌｌ               ｂａｄ,               ｆｏｒ               ｔｈｅ               ｔｈｒｅｅ               ｏｆ               ｔｈｅｍ               ｈａｄ               ｅｍｐｌｏｙｍｅｎｔ,               ａｂｏｕｔ               ｗｈｉｃｈ               ｔｈｅｙ               ｈａｄ               ｎｏｔ               ｒｅａｌｌｙ               ｑｕｅｓｔｉｏｎｅｄ               ｅａｃｈ               ｏｔｈｅｒ               ａｔ               ａｌｌ,               ｗｅｒｅ               ａｌｌ               ｔｈｒｅｅ               ａｄｍｉｒａｂｌｅ               ａｎｄ               ｗｉｔｈ               ｅｓｐｅｃｉａｌｌｙ               ｐｒｏｍｉｓｉｎｇ               ｆｕｔｕｒｅ               ｐｒｏｓｐｅｃｔｓ. (88)                Ｍｒ. ａｎｄ               Ｍｒｓ. Ｓａｍｓａ               ｎｏｔｉｃｅ               ｗｈａｔ               ａ               ｐｒｅｔｔｙ               ｇｉｒｌ               Ｇｒｅｔｅ               ｈａｓ               ｇｒｏｗｎ               ｕｐ               ｔｏ               ｂｅ,               ａｎｄ               ｂｅｇｉｎ               ｔｈｉｎｋｉｎｇ               ｏｆ               ｇｅｔｔｉｎｇ               ｈｅｒ               ｍａｒｒｉｅｄ               ｏｆｆ. "Ａｎｄ               ｉｔ               ｗａｓ               ｌｉｋｅ               ａ               ｃｏｎｆｉｒｍａｔｉｏｎ               ｏｆ               ｔｈｅｉｒ               ｎｅｗ               ｄｒｅａｍｓ               ａｎｄ               ｅｘｃｅｌｌｅｎｔ               ｉｎｔｅｎｔｉｏｎｓ               ｔｈａｔ               ａｔ               ｔｈｅ               ｅｎｄ               ｏｆ               ｔｈｅｉｒ               ｊｏｕｒｎｅｙ               ｔｈｅｉｒ               ｄａｕｇｈｔｅｒ               ｓｐｒａｎｇ               ｔｏ               ｈｅｒ               ｆｅｅｔ               ｆｉｒｓｔ               ａｎｄ               ｓｔｒｅｔｃｈｅｄ               ｈｅｒ               ｙｏｕｎｇ               ｂｏｄｙ."               (89)                Ｇｉｖｅｎ               Ｋａｆｋａ'ｓ               ｔｈｏｕｇｈｔｓ               ｏｎ               ｒｅｌｉｇｉｏｎ,               ｉｔ               ｉｓ               ｎｏｔ               ｒｅａｌｌｙ               ｓｕｒｐｒｉｓｉｎｇ               ｔｈａｔ               "ｇｏｄ"               ｉｓ               ｎｏｔ               ｍｅｎｔｉｏｎｅｄ               ｉｎ               ｔｈｉｓ               ｓｔｏｒｙ,               ｎｏｔ               ｏｎｃｅ. Ｇｒｅｇｏｒ               ｄｏｅｓ               ｎｏｔ               ｂｌａｍｅ               ｇｏｄ               ｆｏｒ               ｔｈｉｓ               ｈｉｄｅｏｕｓ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ,               ａｓ               ｓｏ               ｍａｎｙ               ｏｔｈｅｒ               ｐｅｏｐｌｅ               ｉｎ               ｔｈｅ               ｗｏｒｌｄ               ｗｏｕｌｄ               ｄｏ. Ｔｈｅ               ｆａｍｉｌｙ               ｄｏｅｓ               ｃｕｒｓｅ               ｔｈｅ               ｈｅａｖｅｎｓ               ｏｒ               ｅｖｅｎ               ｒｅａｌｌｙ               ｂｌａｍｅ               ａｎｙｏｎｅ,               ｍｅｒｅｌｙ               ｆｅｅｌｉｎｇ               ｏｖｅｒｗｈｅｌｍｅｄ               ｂｙ               "ｔｈｅｉｒ               ｃｏｍｐｌｅｔｅ               ｈｏｐｅｌｅｓｓｎｅｓｓ               ａｎｄ               ｔｈｅ               ｉｄｅａ               ｔｈａｔ               ｔｈｅｙ               ｈａｄ               ｂｅｅｎ               ｓｔｒｕｃｋ               ｂｙ               ａ               ｍｉｓｆｏｒｔｕｎｅ               ｌｉｋｅ               ｎｏ               ｏｎｅ               ｅｌｓｅ               ｉｎ               ｔｈｅｉｒ               ｅｎｔｉｒｅ               ｃｉｒｃｌｅ               ｏｆ               ｒｅｌａｔｉｖｅｓ               ａｎｄ               ａｃｑｕａｉｎｔａｎｃｅｓ."               (68)               Ｗｈｉｌｅ               ｎｏｔ               ｓｕｒｐｒｉｓｉｎｇ,               ｉｔ               ｉｓ               ａｇａｉｎ               ｉｎ               ｓｔａｒｋ               ｃｏｎｔｒａｓｔ               ｔｏ               ｔｈｅ               ｗｏｒｋ               ｏｆ               Ｏｖｉｄ               ｉｎ               ｔｈｉｓ               ｒｅｇａｒｄ. Ａｓ               ａｎ               ｅｘｉｓｔｅｎｔｉａｌｉｓｔ,               ｇｏｄ               ｈａｄ               ｎｏ               ｐｌａｃｅ               ｉｎ               Ｋａｆｋａ'ｓ               ｗｏｒｌｄ,               ｎｅｉｔｈｅｒ               ｆｏｒ               ｂｌａｍｅ               ｎｏｒ               ｆｏｒ               ｇｉｖｉｎｇ               ｔｈａｎｋｓ. Ｉｎ               ａ               ｗａｙ,               ｓｏｍｅ               ｍｉｇｈｔ               ｓａｙ               ｔｈａｔ               ｔｈｉｓ               ｗａｓ               ａ               ｌｏｇｉｃａｌ               ｐｒｏｇｒｅｓｓｉｏｎ               ｏｆ               ｔｈｅ               ｐｌａｃｅ               ｏｆ               ｇｏｄ               ｉｎ               Ｍａｎ'ｓ               ｕｎｉｖｅｒｓｅ.                Ｈａｖｉｎｇ               ｆｕｌｌｙ               ａｃｃｅｐｔｅｄ               ｈｉｓ               ｉｄｅｎｔｉｔｙ               ａｓ               ａ               "ｖｅｒｍｉｎ"               ｉｎ               ａ               ｈｏｕｓｅｈｏｌｄ               ｏｆ               ｈｕｍａｎｓ,               ｎｏ               ｌｏｎｇｅｒ               ａ               ｐａｒｔ               ｏｆ               ｔｈｅ               ｆａｍｉｌｙ               ｔｈａｔ               ｈｉｓ               ｃｏｎｄｉｔｉｏｎ               ｗａｓ               ｄｅｓｔｒｏｙｉｎｇ,               Ｇｒｅｇｏｒ               ｄｉｄ               ｔｈｅ               ｏｎｌｙ               ｔｈｉｎｇ               ｔｈａｔ               ｈｅ               ｃｏｕｌｄ               ｄｏ               ｆｏｒ               ｔｈｏｓｅ               ｈｅ               ｓｔｉｌｌ               ｌｏｖｅｄ:               ｈｅ               ｄｉｅｄ. Ｇｒｅｔｅ               ｄｉｄ               ｔｈｅ               ｏｎｌｙ               ｔｈｉｎｇ               ｔｈａｔ               ａ               ｙｏｕｎｇ               ｇｉｒｌ,               ｉｎ               ｔｈｅ               ｆｉｒｓｔ               ｂｌｕｓｈｅｓ               ｏｆ               ｈｅｒ               ｂｅａｕｔｙ               ｃｏｕｌｄ               ｄｏ               ｏｎｃｅ               ｓｈｅ               ｗａｓ               ｆｒｅｅ               ｏｆ               ｈｅｒ               ｂｕｒｄｅｎ:               ｓｈｅ               ｃａｍｅ               ｂａｃｋ               ｔｏ               ｌｉｆｅ. Ｍｒ. ａｎｄ               Ｍｒｓ. Ｓａｍｓａ               ｉｍｍｅｄｉａｔｅｌｙ               ｂｅｇａｎ               ｍａｋｉｎｇ               ｐｌａｎｓ               ｔｏ               ｍｏｖｅ               ｔｏ               ａ               ｓｍａｌｌｅｒ               ａｐａｒｔｍｅｎｔ               ａｎｄ               ｔｏ               ｆｉｎｄ               ａ               ｈｕｓｂａｎｄ               ｆｏｒ               Ｇｒｅｔｅ. Ａｆｔｅｒ               ａｌｌ               ｏｆ               ｔｈｅ               ｔｒａｕｍａ               ｔｈｅ               ｔｒａｎｓｆｏｒｍａｔｉｏｎｓ               ｉｎ               ｔｈｅｉｒ               ｌｉｖｅｓ               ｈａｄ               ｃａｕｓｅｄ,               ｅａｃｈ               ｍｅｍｂｅｒ               ｏｆ               ｔｈｅ               ｌｉｔｔｌｅ               ｆａｍｉｌｙ               ｅｍｅｒｇｅｄ               ｗｉｔｈ               ａ               ｎｅｗ               ｉｄｅｎｔｉｔｙ               ａｎｄ               ａ               ｓｅｃｕｒｅ               ｐｌａｃｅ               ｉｎ               ｔｈｅｉｒ               ｎｅｗ               ｗｏｒｌｄ. Ｉｎｄｅｅｄ,               ｔｈｅｉｒ               ｐｒｏｓｐｅｃｔｓ               ｆｏｒ               ｔｈｅ               ｆｕｔｕｒｅ               ｓｅｅｍｅｄ               ｂｒｉｇｈｔ.                Ｎｉｎｅ               ｙｅａｒｓ               ａｆｔｅｒ               ｗｒｉｔｉｎｇ               Ｄｉｅ               Ｖｅｒｗａｎｄｌｕｎｇ,               Ｆｒａｎｚ               Ｋａｆｋａ               ｄｉｅｄ               ａｔ               ｔｈｅ               ａｇｅ               ｏｆ               41. Ｋｎｏｗｉｎｇ               ｈｅ               ｗａｓ               ｄｙｉｎｇ               ｏｆ               ｔｕｂｅｒｃｕｌｏｓｉｓ,               Ｋａｆｋａ               ｔｗｉｃｅ               ｗｒｏｔｅ               ｔｏ               ｈｉｓ               ｆｒｉｅｎｄ               ａｎｄ               ｅｘｅｃｕｔｏｒ,               Ｍａｘ               Ｂｒｏｄ,               ｔｏ               ｄｅｓｔｒｏｙ               ｈｉｓ               ｍａｎｕｓｃｒｉｐｔｓ. (Ｂｒｉｔａｎｎｉｃａ)               Ｂｅｌｉｅｖｉｎｇ               ｔｈａｔ               ｈｅ               ｗａｓ               ｗｏｒｔｈｌｅｓｓ               ａｎｄ               ｔｈａｔ               ｈｉｓ               ｗｒｉｔｉｎｇｓ               ｍｕｓｔ               ｂｅ               ｗｏｒｔｈｌｅｓｓ,               Ｋａｆｋａ               ｗａｓ               ｉｎ               ｅｆｆｅｃｔ               ｃｏｍｍｉｔｔｉｎｇ               ｌｉｔｅｒａｒｙ               ｓｕｉｃｉｄｅ. Ｈｅ               ｗａｎｔｅｄ               ｈｉｓ               ｆｒｉｅｎｄ               ｔｏ               ｄｅｓｔｒｏｙ               ｔｈｅ               ｗｏｒｋｓ               ｔｈａｔ               ｗｅｒｅ               ｅｓｓｅｎｔｉａｌｌｙ               ｈｉｓ               ｉｄｅｎｔｉｔｙ. Ｎａｔｕｒａｌｌｙ,               Ｂｒｏｄ               ｄｉｄ               ｊｕｓｔ               ｔｈｅ               ｏｐｐｏｓｉｔｅ. Ｉｎ               ｍａｋｉｎｇ               ｔｈａｔ               ｄｅｃｉｓｉｏｎ               ｆｏｒ               ｈｉｓ               ｓｉｃｋ,               ａｌｉｅｎａｔｅｄ               ｆｒｉｅｎｄ,               Ｂｒｏｄ               ｔｒａｎｓｆｏｒｍｅｄ               ｂｏｔｈ               Ｋａｆｋａ               ａｎｄ               ｌｉｔｅｒａｒｙ               ｈｉｓｔｏｒｙ.                Ｉｎ               ｂｏｔｈ               Ｍｅｔａｍｏｒｐｈｏｓｅｓ               ａｎｄ               Ｔｈｅ               Ｍｅｔａｍｏｒｐｈｏｓｉｓ,               ｍａｎｙ               ｃｈａｒａｃｔｅｒｓ               ｅｉｔｈｅｒ               ｗａｎｔ               ｔｏ               ｃｈａｎｇｅ               ｏｒ               ａｒｅ               ｍａｄｅ               ｔｏ               ｃｈａｎｇｅ               ｔｏ               ｍａｋｅ               ｔｈｅｍｓｅｌｖｅｓ               ａｃｃｅｐｔａｂｌｅ               ｗｉｔｈｉｎ               ｔｈｅｉｒ               ｏｗｎ               ｗｏｒｌｄ,               ｗｈｅｔｈｅｒ               ｔｈａｔ               ｗｏｒｌｄ               ｉｓ               ｃｏｓｍｉｃ               ｉｎ               ｓｃｏｐｅ               ｏｒ               ａｓ               ｓｍａｌｌ               ａｓ               ｏｎｅ               ｒｏｏｍ               ｉｎ               ａｎ               ａｐａｒｔｍｅｎｔ. Ｔｈｒｏｕｇｈ               ｔｈｅｉｒ               ｃｈａｒａｃｔｅｒｓ               ａｎｄ               ｔｈｅ               ｔｒａｎｓｆｏｒｍａｔｉｏｎｓ               ｔｈｏｓｅ               ｃｈａｒａｃｔｅｒｓ               ｕｎｄｅｒｇｏ,               ｔｈｅ               ａｕｔｈｏｒｓ               ｄｅｍｏｎｓｔｒａｔｅ               ｖａｒｉｏｕｓ               ｆｏｒｍｓ               ｏｆ               ａｌｉｅｎａｔｉｏｎ               ａｎｄ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｔｈａｔ               ｅｖｅｎｔｕａｌｌｙ               ｌｅａｄ               ｔｏ               ａ               ｓｅｎｓｅ               ｏｆ               ｐｅｒｓｏｎａｌ               ａｎｄ/ｏｒ               ｃｕｌｔｕｒａｌ               ｉｄｅｎｔｉｔｙ. Ｔｈｏｓｅ               ｃｈａｒａｃｔｅｒｓ               ｗａｎｔ               ｔｏ               ｆｉｎｄ               ｔｈｅｉｒ               ｏｗｎ               ｉｄｅｎｔｉｔｙ,               ａｌｔｈｏｕｇｈ               ｔｈｅｙ               ｄｏ               ｎｏｔ               ｎｅｃｅｓｓａｒｉｌｙ               ｂｅｃｏｍｅ               "ｂｅｔｔｅｒ"               ｐｅｏｐｌｅ               (ｏｒ               ｇｏｄｓ)               ｉｎ               ｏｒｄｅｒ               ｔｏ               ｇａｉｎ               ａｃｃｅｐｔａｎｃｅ               ｗｉｔｈｉｎ               ｔｈｅｍｓｅｌｖｅｓ               ａｎｄ               ｔｏ               ｔｈｏｓｅ               ａｒｏｕｎｄ               ｔｈｅｍ. Ａｎ               ｉｄｅｎｔｉｔｙ               ｄｏｅｓ               ｎｏｔ               ｈａｖｅ               ｔｏ               ｂｅ               ａ               ｐｏｓｉｔｉｖｅ               ｔｈｉｎｇ,               ｉｔ               ｉｓ               ｊｕｓｔ               ａｎ               ｕｎｄｅｒｓｔａｎｄｉｎｇ               ｏｆ               ｔｈｅ               ｗａｙ               ｉｎ               ｗｈｉｃｈ               ｅａｃｈ               ｐｅｒｓｏｎ,               ｏｒ               ｅｖｅｎ               ｔｈｅ               ｃｕｌｔｕｒｅ,               ｓｅｅｓ               ｉｔｓｅｌｆ. Ｉｔ               ｉｓ               ａｎ               ａｃｃｅｐｔａｎｃｅ               ｏｆ               ｗｈａｔ               ｉｓ. Ｗｈｅｎ               ｗｅ               ｆｅｅｌ               ａｌｉｅｎａｔｅｄ,               ｗｅ               ｓｅｅｋ               ｔｏ               ｃｈａｎｇｅ               ｉｎ               ｏｒｄｅｒ               ｔｏ               ｂｅ               ａｃｃｅｐｔｅｄ,               ｗｈｅｔｈｅｒ               ｔｈａｔ               ｉｓ               ｂｙ               ｏｎｅ'ｓ               ｓｅｌｆ               ｏｒ               ｂｙ               ｏｔｈｅｒｓ,               ｄｅｐｅｎｄｉｎｇ               ｏｎ               ｏｕｒ               ｐｅｒｓｏｎａｌｉｔｙ               ｏｒ               ｏｕｒ               ｃｉｒｃｕｍｓｔａｎｃｅｓ. Ａｓ               ｉｎ               ｍａｎｙ               ｔｈｉｎｇｓ               ｉｎ               ｌｉｆｅ,               ｉｔ               ｉｓ               ｔｈｅ               ｐｒｏｃｅｓｓ               ｔｈａｔ               ｂｅｃｏｍｅｓ               ｃｒｉｔｉｃａｌ,               ｎｏｔ               ｎｅｃｅｓｓａｒｉｌｙ               ｔｈｅ               ｅｎｄ               ｐｒｏｄｕｃｔ.                Ｉｎ               Ｍｅｔａｍｏｒｐｈｏｓｅｓ,               ｔｈｅｒｅ               ａｒｅ               ｍａｎｙ               ｖｉｃｔｉｍｓ               ａｎｄ               ｔｈｅｒｅ               ａｒｅ               ｍａｎｙ               ｈｅｒｏｅｓ,               ｂｕｔ               ａｌｌ               ｏｆ               ｔｈｅｍ               ｉｎ               ｓｏｍｅ               ｗａｙ               ｅｘｐｅｒｉｅｎｃｅ               ｔｈａｔ               ｈｕｍａｎ               ｔｒａｎｓｉｔｉｏｎ. Ｏｖｉｄ               ｅｎｄｓ               ｈｉｓ               ｂｏｏｋ               ｗｉｔｈ               ｔｈｅ               Ｃａｅｓｅｒｓ               ｂｅｃｏｍｉｎｇ               ｇｏｄｓ               ｔｈｅｍｓｅｌｖｅｓ,               ａｎｄ               ｅｖｅｒｙｔｈｉｎｇ               ｉｓ               ｐｅｒｆｅｃｔ               ｉｎ               Ｒｏｍｅ:               ｓｔｒｏｎｇ               ｌｅａｄｅｒｓ,               ｊｕｓｔｉｃｅ,               ｂｅａｕｔｉｆｕｌ               ｂｕｉｌｄｉｎｇｓ,               ｒｅｌｉｇｉｏｎ,               ｐｈｉｌｏｓｏｐｈｙ,               ａｎｄ               ｓｏ               ｏｎ. Ｔｈａｔ               ｉｓ               ｔｈｅ               ｕｌｔｉｍａｔｅ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｔｈａｔ               ｃａｍｅ               ａｂｏｕｔ               ｄｕｅ               ｔｏ               ｔｈｅ               ｈｉｓｔｏｒｙ               ｈｅ               ｈａｓ               ｄｅｓｃｒｉｂｅｄ. Ｂｙ               ｔｈｅ               ｅｎｄ               ｏｆ               ｈｉｓ               ｓｔｏｒｙ,               ｐｅｏｐｌｅ               ｈａｖｅ               ｌｅａｒｎｅｄ               ｈｏｗ               ｎｏｔ               ｔｏ               ｂｅ               ｓｅｌｆｉｓｈ               ａｎｄ               ｄｅｓｔｒｕｃｔｉｖｅ               ｇｏｄｓ/ｌｅａｄｅｒｓ,               ｂｕｔ               ｔｏ               ｂｅ               ｋｉｎｄｌｙ,               ｌｏｖｉｎｇ               ａｎｄ               ｗｏｎｄｅｒｆｕｌ               ｇｏｄｓ/ｌｅａｄｅｒｓ.                Ｉｎ               Ｋａｆｋａ'ｓ               ｃａｓｅ,               Ｇｒｅｇｏｒ               Ｓａｍｓａ               ｆｅｌｔ               ｗｏｒｔｈｌｅｓｓ               ａｎｄ               ｉｎ               ｔｈｅ               ｗａｙ,               ｓｏ               ｔｈｅ               ｂｅｓｔ               ｈｅ               ｃｏｕｌｄ               ｄｏ               ｔｏ               ｒｅｓｔｏｒｅ               ｎｏｒｍａｌｃｙ               ｉｎ               ｔｈｅ               ｗｏｒｌｄ               ａｒｏｕｎｄ               ｈｉｍ               ｗａｓ               ｔｏ               ｄｉｅ               ａｎｄ               ｌｅｔ               ｈｉｓ               ｆａｍｉｌｙ               ｇｅｔ               ｂａｃｋ               ｔｏ               ｓｏｍｅ               ｓｏｒｔ               ｏｆ               ｈａｐｐｙ               ｌｉｆｅ,               ｗｈｉｃｈ               ｔｈｅｙ               ｄｉｄ. Ｉｔ               ｉｓ               ｐｅｒｈａｐｓ               ｓｔｒａｎｇｅ               ｈｏｗ               Ｋａｆｋａ'ｓ               ｏｗｎ               ｄｅａｔｈ               ｍｉｒｒｏｒｅｄ               ｔｈｉｓ               ｂｅｌｉｅｆ,               ａｓ               ｈｉｓ               ｐａｒｅｎｔｓ               ａｎｄ               ｓｉｓｔｅｒｓ               ｗｅｒｅ               ｅｓｓｅｎｔｉａｌｌｙ               ａｓｈａｍｅｄ               ａｔ               ｔｈｅ               ｍｅｎｉａｌ               ｌｉｆｅ               ｗｈｉｃｈ               ｈｅ               ｗａｓ               ｌｉｖｉｎｇ,               ａｎｄ               ａｓｈａｍｅｄ               ｏｆ               ｈｉｓ               ｗｒｉｔｉｎｇｓ               ｗｉｔｈｏｕｔ               ｅｖｅｒ               ｈａｖｉｎｇ               ｒｅａｄ               ｔｈｅｍ. Ｈｏｗｅｖｅｒ,               Ｋａｆｋａ'ｓ               ｄｅａｔｈ               ｄｉｄ               ｎｏｔ               ｂｒｉｎｇ               ｈｉｓ               ｆａｍｉｌｙ               ｈａｐｐｉｎｅｓｓ. Ｉｎ               ａ               ｆｉｎａｌ               ｉｒｏｎｙ,               ｄｕｒｉｎｇ               ｔｈｅ               ｔｉｍｅ               ｔｈａｔ               Ｋａｆｋａ'ｓ               ｗｏｒｋｓ               ｗｅｒｅ               ｇａｉｎｉｎｇ               ｇｒｅａｔ               ｐｏｐｕｌａｒｉｔｙ               ｉｎ               Ｆｒｅｎｃｈ               ａｎｄ               Ｅｎｇｌｉｓｈ               ｓｐｅａｋｉｎｇ               ｃｏｕｎｔｒｉｅｓ,               Ｋａｆｋａ'ｓ               ｔｈｒｅｅ               ｓｉｓｔｅｒｓ               ｗｅｒｅ               ｂｅｉｎｇ               ｅｘｔｅｒｍｉｎａｔｅｄ               ｉｎ               Ｇｅｒｍａｎ               ｃｏｎｃｅｎｔｒａｔｉｏｎ               ｃａｍｐｓ. (Ｂｒｉｔａｎｎｉｃａ)                Ｆｉｎａｌｌｙ,               ｔｈｒｏｕｇｈ               ｔｈｅｉｒ               ｗｒｉｔｉｎｇｓ,               ｂｏｔｈ               Ｏｖｉｄ               ａｎｄ               Ｋａｆｋａ               ｗｅｒｅ               ａｂｌｅ               ｔｏ               ｔｒａｎｓｆｏｒｍ               ｔｈｅｍｓｅｌｖｅｓ,               ａｎｄ               ｔｏ               ｆｉｎｄ               ｈｉｇｈｌｙ               ｒｅｓｐｅｃｔｅｄ               ｉｄｅｎｔｉｔｉｅｓ               ｉｎ               ｔｈｉｓ               ｗｏｒｌｄ. Ｉｎ               ｔｈｅ               ｓｅｎｓｅ               ｔｈａｔ               ｔｈｅｉｒ               ｗｏｒｋｓ               ｍａｙ               ｉｎｄｅｅｄ               ｂｅ               "ｉｍｍｏｒｔａｌ",               ａｓ               Ｏｖｉｄ               ｐｒｏｃｌａｉｍｅｄ,               ｔｈｅｎ               ｔｈｅｙ               ａｒｅ               ｂｏｔｈ               ｇｏｄｓ. Ｗｏｒｋｓ               Ｃｉｔｅｄ                ＢｉｏｇｒａｐｈｙＢａｓｅ. Ｒ. Ｄ. Ｌａｉｎｇ               Ｂｉｏｇｒａｐｈｙ. Ｂｉｏｇｒａｐｈｙ               Ｂａｓｅ,               2004               ｈｔｔｐ://ｗｗｗ.ｂｉｏｇｒａｐｈｙｂａｓｅ.ｃｏｍ/ｂｉｏｇｒａｐｈｙ/Ｌａｉｎｇ_Ｒ_Ｄ.ｈｔｍｌ. Ｗｅｂ. 17               Ｍａｙ               2010.                Ｂｒｉｔｔｏｎ,               Ｄａｖｅ. Ｍｅｔａｍｏｒｐｈｏｓｉｓ:               ａ               ｒｅｍａｒｋａｂｌｅ               ｃｈａｎｇｅ. Ｄｒ. Ｄａｖｅ               Ｂｒｉｔｔｏｎ               ａｎｄ               Ａｕｓｔｒａｌｉａｎ               Ｍｕｓｅｕｍ,               9               Ｊｕｌｙ               2009. ｈｔｔｐ://ａｕｓｔｒａｌｉａｎｍｕｓｅｕｍ.ｎｅｔ.ａｕ/Ｍｅｔａｍｏｒｐｈｏｓｉｓ-ａ-ｒｅｍａｒｋａｂｌｅ-ｃｈａｎｇｅ. Ｗｅｂ. 18               Ｍａｙ               2010                Ｂｏｏｒｓｔｉｎ,               Ｄａｎｉｅｌ. Ｔｈｅ               Ｃｒｅａｔｏｒｓ:               Ａ               Ｈｉｓｔｏｒｙ               ｏｆ               Ｈｅｒｏｅｓ               ｏｆ               ｔｈｅ               Ｉｍａｇｉｎａｔｉｏｎ. Ｎｅｗ               Ｙｏｒｋ:               Ｒａｎｄｏｍ               Ｈｏｕｓｅ,               1992. Ｐｒｉｎｔ.                Ｈａｒｐｅｒ,               Ｄｏｕｇｌａｓ. Ｍｅｔａｍｏｒｐｈｏｓｉｓ. Ｄｏｕｇｌａｓ               Ｈａｒｐｅｒ               ａｎｄ               Ｏｎｌｉｎｅ               Ｅｔｙｍｏｌｏｇｙ               Ｄｉｃｔｉｏｎａｒｙ,               2001-2010. ｈｔｔｐ://ｗｗｗ.ｅｔｙｍｏｎｌｉｎｅ.ｃｏｍ/ｉｎｄｅｘ.ｐｈｐ?ｔｅｒｍ=Ｍｏｒｐｈｅｕｓ. Ｗｅｂ. 18               Ｍａｙ               2010.                Ｋａｆｋａ,               Ｆｒａｎｚ. Ｓｅｌｅｃｔｅｄ               Ｓｈｏｒｔ               Ｓｔｏｒｉｅｓ               ｏｆ               Ｆｒａｎｚ               Ｋａｆｋａ. Ｅｄ. Ｐｈｉｌｉｐ               Ｒａｈｖ. Ｔｒａｎｓ. Ｗｉｌｌａ               ａｎｄ               Ｅｄｗｉｎ               Ｍｕｉｒ. Ｎｅｗ               Ｙｏｒｋ:               Ｒａｎｄｏｍ               Ｈｏｕｓｅ,               1952. 19-89. Ｐｒｉｎｔ.                "Ｋａｆｋａ,               Ｆｒａｎｚ."               Ｔｈｅ               ＮｅｗＥｎｃｙｃｌｏｐａｅｄｉａ               Ｂｒｉｔａｎｎｉｃａ. 15ｔｈ               ｅｄ. 1990. Ｐｒｉｎｔ                Ｌａｉｎｇ,               Ｒ.Ｄ. Ｐｏｌｉｔｉｃｓ               ｏｆ               Ｅｘｐｅｒｉｅｎｃｅ. Ｎｅｗ               Ｙｏｒｋ:               Ｐａｎｔｈｅｏｎ,               1983. Ｐｒｉｎｔ.                Ｌｏｇｓｄｏｎ,               Ｊｏｎａｔｈａｎ               Ｒ. Ｐｏｗｅｒ,               Ｉｇｎｏｒａｎｃｅ,               ａｎｄ               Ａｎｔｉ-Ｓｅｍｉｔｉｓｍ:               Ｈｅｎｒｙ               Ｆｏｒｄ               ａｎｄ               Ｈｉｓ               Ｗａｒ               ｏｎ               Ｊｅｗｓ. ｈｔｔｐ://ｈｉｓｔｏｒｙ.ｈａｎｏｖｅｒ.ｅｄｕ/ｈｈｒ/99/ｈｈｒ99_2.ｈｔｍｌ. Ｗｅｂ. 17               Ｍａｙ               2010.                Ｏｖｉｄ. Ｍｅｔａｍｏｒｐｈｏｓｅｓ. Ｔｒａｎｓ. Ｍａｒｙ               Ｍ. Ｉｎｎｅｓ. Ｈａｒｍｏｎｄｓｗｏｒｔｈ,               Ｍｉｄｄｌｅｓｅｘ:               Ｐｅｎｇｕｉｎ               Ｂｏｏｋｓ,               1955. Ｐｒｉｎｔ.                Ｏｖｉｄ. Ｍｅｔａｍｏｒｐｈｏｓｅｓ. Ｔｒａｎｓ. Ｓｉｒ               Ｓａｍｕｅｌ               Ｇａｒｔｈ,               Ｊｏｈｎ               Ｄｒｙｄｅｎ,               ｅｔ               ａｌ. Ｔｈｅ               Ｉｎｔｅｒｎｅｔ               Ｃｌａｓｓｉｃｓ               Ａｒｃｈｉｖｅ. Ｄａｎｉｅｌ               Ｃ. Ｓｔｅｖｅｎｓｏｎ               ａｎｄ               Ｗｅｂ               Ａｔｏｍｉｃｓ,               1994-2000. ｈｔｔｐ://ｃｌａｓｓｉｃｓ.ｍｉｔ.ｅｄｕ/Ｏｖｉｄ/ｍｅｔａｍ.ｈｔｍｌ. Ｗｅｂ. 15               Ｍａｙ               2010.                "Ｏｖｉｄ."               Ｔｈｅ               ＮｅｗＥｎｃｙｃｌｏｐａｅｄｉａ               Ｂｒｉｔａｎｎｉｃａ. 15ｔｈ               ｅｄ. 1990. Ｐｒｉｎｔ                Ｐｏｕｌａｋｉｓ,               Ｖｉｃｔｏｒｉａ. Ｔｒａｎｓｌａｔｉｏｎ:               Ｗｈａｔ               Ｄｉｆｆｅｒｅｎｃｅ               Ｄｏｅｓ               ｉｔ               Ｍａｋｅ? Ｎｏｒｔｈｅｒｎ               Ｖｉｒｇｉｎｉａ               Ｃｏｍｍｕｎｉｔｙ               Ｃｏｌｌｅｇｅ,               2001. ｈｔｔｐ://ｗｗｗ.ｎｖｃｃ.ｅｄｕ/ｈｏｍｅ/ｖｐｏｕｌａｋｉｓ/ｔｒａｎｓｌａｔｉｏｎ/ｋａｆｋａｔｒ1.ｈｔｍ. Ｗｅｂ. 15               Ｍａｙ               2010.                ＳｐａｒｋＮｏｔｅｓ               Ｅｄｉｔｏｒｓ. ＳｐａｒｋＮｏｔｅ               ｏｎ               Ｍｅｔａｍｏｒｐｈｏｓｅｓ. ＳｐａｒｋＮｏｔｅｓ.ｃｏｍ. ＳｐａｒｋＮｏｔｅｓ               ＬＬＣ. 2007. Ｗｅｂ. 6               Ｍａｙ               2010.                Ｓｔｏｋｅｓ,               Ｐｈｉｌ. Ａｄｏｌｆ               Ｈｉｔｌｅｒ               Ｂｉｏｇｒａｐｈｙ. ｈｔｔｐ://ｓｅｃｏｎｄｗｏｒｌｄｗａｒ.ｃｏ.ｕｋ/ｉｎｄｅｘ.ｐｈｐ/ｂｉｏｇｒａｐｈｙ-ｏｆ-ａｄｏｌｆ-ｈｉｔｌｅｒ. Ｗｅｂ. 17               Ｍａｙ               2010.                (ｆ1)               Ｓｅｅ               ＢｉｏｇｒａｐｈｙＢａｓｅ               ｆｏｒ               ｍｏｒｅ               ｉｎｆｏｒｍａｔｉｏｎ               ｏｎ               Ｌａｉｎｇ'ｓ               ｉｎｆｌｕｅｎｃｅｓ               ａｎｄ               ｐｈｉｌｏｓｏｐｈｉｅｓ.                (ｆ2)               Ｓｅｅ               Ｌｏｇｓｄｏｎ               ｆｏｒ               ｄｅｔａｉｌｓ               ｏｎ               Ｆｏｒｄ               ａｎｄ               ｈｉｓ               ｐｕｂｌｉｃａｔｉｏｎｓ.                (ｆ3)               Ｓｅｅ               Ｓｔｏｋｅｓ               ｆｏｒ               ａｎ               ｅｘｐｌａｎａｔｉｏｎ               ｏｆ               ｔｈｉｓ               ｒｅｌａｔｉｏｎｓｈｉｐ.

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