The passage to be analyzed comes from Book 11 of Ovid's Metamorphoses (lines 399-538) (A. Melville, 1986) is the story of Callisto translated with the Moon which is a transition appropriate since it begins with the end of the Sun's story. Ovid uses the destruction caused by Phaethon after using this father's chariot and winged horses to demonstrate his paternal parentage. An important narrative in at least the first two books of the Metamorphoses must be the repetitive and increasingly disturbing nature of Diana's sexual attacks on the nymphs. The story of Callisto leads to the fourth attack and, to date, the most misleading book of all. (Heath, 1991) States: These narrative conventions reach a momentary but divisive climax in the third book of the story of Actaeon, in which Diana an attentive and understandably suspicious audience of Ovid's narrative word of hunting and rape cannot help but misinterpret the actions of Actaeon. although it can be seen that the tales of Daphne, Syrinx, Io and Callisto are only a graduation leading to those of Actaeon in the third book, each has a significance especially that of Callisto as it shows not only the increasing closeness of the attacks on Diana but also that Jupiter /Jupiter/Almighty, learns from every attack like any sexual predator. At the beginning of the story Jupiter sees healing the earth from destruction, the merciful almighty (god of gods) which almost endears Jupiter to the readers. Ovid's use of scenography is not bad (Parry, 1964) suggests "Ovid remains, as Herter insists, a poet and not a painter... a poem is always something more than a transcription from the pictorial to the literal" . Ovid uses these opening lines to set up the The scene showing the imagery of the mountains... in the center of the card... must simply bow to the writer's cunning and somewhat existential style in renewing the myths of the past. It is difficult to understand why it took so many years for the Metamorphoses to become part of mainstream education, but it can also be seen as a work of mythological superiority in the form of poetry that covers all genres with its underlying tales of deception, sexual exploits, corruption, rape and hunting can be transported into modern life. Works Cited A. Melville. (1986). Ovid's Metamorphoses. Oxford: Oxford University Press.Heath, J. (1991). Diana's understanding of Ovid's Metamorphoses. The Classic Journal, 186 (3), 223-243.Parry, H. (1964). Ovid's Metamorphoses: violence in pastoral landscapes. Transactions and Proceedings of the American Association, 95, 268-282. Segal, C. (2001). Jupiter in Ovid's Metamorphoses. Arione: third series , 9 (1), 78=99.