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Oh, you are sick of self-love, Malvolio, And taste with a distempered appetite! Shakspeare. Il doutait de tout, même de l'amour. French Novel. Solvitur ambulando. Solutio Sophismatum. Flevit amores Non elaboratum ad pedem. Horace.
Ne foret aut molles elegis qui fleret amores, Aut caneret forti regia bella pede." In the fifth Elegy of the third book occur the words "Natalem nostri primum videre parentes Cum cecidit fato consul uterque pari." As these words nearly reappear in Ovid, fixing the date of his own birth, some critics have supposed them to be spurious here. But there is no occasion for this.
Amores signifies courtship, flirtation, interchange of sentiments between two lovers; and yet we find this word, at every turn, in the prayers and ejaculations of devout Spaniards. The distinguished woman to whom we have alluded carried, even to an incredible excess, this mixture of the sacred affections with the profane.
Shakespeare himself, in his earlier work, alike the plays and the poems, writes in the Ovidian manner, and often in what might be direct imitation of Ovid; the motto from the Amores prefixed to the Venus and Adonis is not idly chosen. Still more remarkable, because less superficially evident, is the affinity between Ovid and Milton. At first sight no two poets, perhaps, could seem less alike.
At the same time, Augustus prepared to make Caius and Lucius his two future collaborators in place of Tiberius; Ovid set his hand to a book still more scandalous and subversive than the Amores, the Ars Amandi; public indulgence covered with its protection all those accused on grounds of the laws of the year 18; and finally, the two boys, Caius and Lucius, became popular, like great personages, all over Italy.
One of her most celebrated spiritual songs differs in nothing from those which might have been written by Ovid or Tibullus. Its burden is this:— Cubridme de flores, Que muero de amores.
Lusisti satis, edisti satis atque bibisti, Tempus abire tibi est, ne potum largius acquo Rideat et pulset lasciva decentius aetas. A new generation, clever, audacious, and corrupt, had silently been growing up under the Empire. Ovid was thirty, and had published his Amores. The death of Virgil had left the field of serious poetry to little men.
And yet this dramatic contrast has been wantonly thrown away by the substitution of narrative for representation, less for the sake of a blind adherence to classical convention, as on account of the author's inability honestly to face a powerful situation. The same dramatic incapacity shows itself in his use of borrowings. It will be sufficient to mention the sententious words from Ovid (Amores, I. viii. 43) placed in the mouth of the chorus: Dunque non si dir
In the genuine language of despair, he soothes himself awhile with the pity that shall be paid him after his death. Tamen cantabitis, arcades, inquit, Montibus hoec vestris: soli cantare periti Arcades. O mihi tum quam molliter ossa quiescant, Vestra meos olim si fistula dicat amores! Virg. Ec. x. 31. Yet, O Arcadian swains, Ye best artificers of soothing strains!
His "Tristia" were more highly praised than his "Amores" or his "Metamorphoses," a fact which shows that contemporaries are not always the best judges of real merit. His poems, great as was their genius, are deficient in the severe taste which marked the Greeks, and are immoral in their tendency. He had great advantages, but was banished by Augustus for his description of licentious love.
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