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It is the presence of a stable, unbending world order that gives Virgil's Orpheus episode its tragic quality. To violate this order is to invite suffering. The consequences are almost automatic, inevitable. In conveying this sense of inevitability, Virgil is the heir of the great tragic poets of Greece.
Ovid's world is very different. There is no sure and stable divine order, or, if there is, its orderliness and objectivity are highly questionable. This world is full of capricious and arbitrary divine powers, easily aroused to love or to wrath, capable now of inflicting sudden and terrible punishments, now of bestowing unexpected, miraculous blessings. The gods' generosity appears in the tales of Iphis and of Pygmalion, which stand in close proximity to that of Orpheus. In such a world human guilt and human responsibility for suffering are reduced, although they are not completely removed. There are still moral laws, and their violation brings punishment, as in the tales of the Cerastae, the Propoetides, Myrrha, Atalanta, which all follow shortly upon that of Orpheus and Eurydice. Yet the suddenness with which lives are turned upside down and the fabulous or mysterious quality in the metamorphoses with which every episode necessarily
concludes greatly weaken the firmness of this moral order.
Ovid's Orpheus episode, like Virgil's, is still a tale of human folly, but in a different way. Ovid replaces the heroic and tragic humanitas of Virgil with a humbler, less heroic humanitas. It is no less compassionate than Virgil's, but it operates on a smaller scale and in a lower key, and it makes greater concessions to the foibles and weaknesses and also to the needs of individual life.
Ovid draws Orpheus himself in more human terms. He emphasizes not tragic furor but the strength of his love. He also gives his hero a fuller private life. Ovid's Orpheus does not merely reject women, as Virgil's figure does, but turns instead to homosexual love affairs (Met. 10.83-85). Hence Ovid breaks down the finality of Virgil's tale, as is to be expected in his carmen perpetuum. The metamorphoses allows the erotic life of Orpheus to continue, albeit on a path different from before.
Ovid's Orpheus exemplifies not only the victory of love but also, in a certain sense, the victory of art. It is both as poet and as lover that Orpheus wins over the deities in the underworld of book 10. Though the Ciconian women finally destroy him, the power of his song temporarily neutralizes their missiles, and his rhythms move the natural world to spontaneous sympathy for his fate (Mef. 11.44-49)
It is one of the paradoxes of Ovid's style and Ovid's world view that
he can humanize his mythical material through exaggerating the nonhuman, fantastic elements of his tales to the point of grotesqueness. This paradox is a corollary of that pointed out by Otis, that the fanciful, Alexandrian, erotic mythology contains a kind of humane seriousness and an ultimate symbolical truth -a truth, that is, to the constants of human nature—that Ovid could not find in the contemporary, historical, Augustan mythology. In human terms, Ovid finds the remote, fairy-tale myths "truer" and more "real" than the contemporary myths of Augustan ideology.