The process of re-imagining is itself consciously metamorphic: there is a marked tendency for the commentary to change the moral polarity, so to speak, of the actors. Where Orpheus detests heterosexual love and chooses the love of young boys — a preference which can be expected to call forth moral condemnation — one of the allegorical readings makes him Christ, who loves the innocent and is disgusted at the 'female' weakness of sinners (10.556-77). This lurking misogyny is often a part of the process of transformation: in particular, female victims of divine rape are regularly transformed into figures of sin, often specifically sexual lust.