In the following excerpt, Braden compares Golding's Metamorphosis to other translations of Ovid's poetry to demonstrate how Golding's version reflects—and does not reflect—his Puritanism, sense of humor, and humanist bent. Braden also addresses Golding's influence as the creator of one of the most-read poems in the English language during the flowering of Renaissance poetry and verse drama.

In the following essay, Wortham focuses on Golding's translations of Calvin and his translations of histories, highlighting Golding's place in the history of English translations. Wortham admires Golding as a restrained and accurate translator, and suggests the Calvinist influence on his method of translation.

In the following essay, Coleman argues that the placement of the stories in the Metamorphoses creates structural unity in the poem and establishes an anti-heroic, anti-Augustan theme.

In the following essay, Cioffi analyzes Ovid's influence on Dante, focusing on Dante's adaptation of images of transformation from the Metamorphoses in two cantos of The Divine Comedy.

In the following essay, Brown discusses how Golding's translation of Ovid's Metamorphoses, particularly its strong use of contemporary English idiom, served to make the work more useable and accessible for Shakespeare. Focusing on The Tempest, Brown demonstrates the importance of Golding's Metamorphosis to Shakespeare's understanding and adaptation of Ovid's stories.

In the following essay, Johnson examines the significance of Venus' role in the rape of Prosperine as it is related in the Metamorphoses.

In the following excerpt, McKinley examines how Ovid uses female characters' monologues, and mythological allusions to amplify the ways male character and psychology can be represented in literature.

In the following essay, Heath argues that in the Metamorphoses Ovid sees Orpheus' failure to recover Euridyce from death as an indication of the inadequacy of art given human weakness.

In the following essay, Lyne suggests that Golding not only translated the Metamorphoses into the English language, but also appropriated the stories into English culture. Lyne contends that through the translation of Latin text, Renaissance translators such as Golding helped to define English literary identity.

In the following essay, Colton offers a close textual comparison of the Baucis and Philemon story as it is narrated in the Metamorphoses and in La Fontaine's adaptation.

In the following essay, Huot compares sections of the Metamorphoses and the Romance of the Rose, arguing there is an inter-textual relationship between the two works.

In the following essay, Tissol compares Ovid's story of Aeneas in the Metamorphoses to Virgil's Aeneid.

In the following essay, Gildenhard and Zissos examine the relation between the elegiac mode, metrics, and the influence of Cupid in Ovid's poetry.

In the following essay, Barolsky explores the relationship between the content of the Metamorphoses and the aesthetic of transformation in visual arts during the Renaissance.

In the following essay, Atkinson draws parallels between the stories of Actaeon in the Metamorphoses, and Big Boy in Richard Wright's “Big Boy Leaves Home.”

In the following essay, Mowat detects the presence of classical myths from Ovid's Metamorphoses as structuring principles in Shakespeare's plays Titus Andronicus and The Merchant of Venice.

In the following essay, Ginsberg argues that the metaphors Ovid uses in the Metamorphoses create ambiguities, allowing for flexible and even contradictory interpretations of the poem.

In the following essay, Tissol offers a close textual explication of the Ceyx and Alcyone episode in the Metamorphoses.

In the following essay, Segal demonstrates Ovid's narrative technique of presenting typically real human responses inside the context of the artificiality of his stories as evidenced in the Metamorphoses.

In the following essay, Norwood highlights the unifying elements of the Metamorphoses.

In the following essay, Willson contends that Shakespeare's “Pyramus and Thisbe” mocks Golding's translation of the Metamorphoses through the play-within-a-play's comic poetry and exaggerated alliteration. In addition, however, Willson sees in those scenes a parody of the ignorance of stage actors.

In the following essay, Wheeler argues that Ovid's description of the winds in the Metamorphoses as ungoverned by a controlling power is drawn from Lucretius' De Rerum Natura, and is in opposition to Vergil's view in the Aeneid that Jupiter controls elemental forces.

In the following essay, Keith gives examples of how Ovid uses wordplay to reinforce narrative relationships.

In the following essay, McMahon argues that Aragon, one of Portia's suitors in The Merchant of Venice is a reconfiguration of Ovid's Narcissus.

In the following essay, Teague traces Milton's comparison of Satan and his army to pygmies in Paradise Lost to several passages in the Metamorphoses.