In his last years he wrote a spirited translation of Vergil, and retold in his own inimitable way various stories from Chaucer and Boccaccio and Ovid.

" [5008]Sanguine quae vero non rubet, arte rubet, (Ovid); and to that purpose they anoint and paint their faces, to make Helen of Hecubaparvamque exortamque

medicinal, lib. 4. &c., which are as forcible and of as much virtue as that fountain Salmacis in Vitruvius, Ovid, Strabo, that made all such mad for love that drank of it, or that hot bath at Aix in Germany, wherein Cupid once dipped his arrows, which ever since hath a peculiar virtue to make them lovers all that wash in it.

Ovid "Illa quidem sentit, foedoque repugnat amori, Et secum quo mente feror, quid molior, inquit, Dii precor, et pietas," &c.

Antony Diogenes the most ancient, whose epitome we find in Phocius Bibliotheca, Longus Sophista, Eustathius, Achilles, Tatius, Aristaenetus, Heliodorus, Plato, Plutarch, Lucian, Parthenius, Theodorus, Prodromus, Ovid, Catullus, Tibullus, &c.

Non me Pelignus, nec spernet Mantua vatem, Si qua Corinna mihi, si quis Alexis erit." "Wanton Propertius and witty Callus, Subtile Tibullus, and learned Catullus, It was Cynthia, Lesbia, Lychoris, That made you poets all; and if Alexis, Or Corinna chance my paramour to be, Virgil and Ovid shall not despise me.

The culta puella and the cultus puer of Ovid's fascinating yet repulsive poem are the products of a society which looks on pleasure, not reason or duty, as the main end of life,not indeed pleasure simply of the grosser type, but the gratification of one's own wish for enjoyment and excitement, without a thought of the misery all around, or any sense of the self-respect that comes of active well-doing.

About the year 8 B.C., not long before Ovid wrote those poems in which married life was assumed to be hardly worth living, a husband in high life at Rome lost the wife who had for forty-one years been his faithful companion in prosperity, his wise and courageous counsellor in adversity.

Ovid indeed apologizes in his banishment for the imperfection of his letters, but mentions his want of leisure to polish them as an addition to his calamities; and was so far from imagining revisals and corrections unnecessary, that at his departure from Rome, he threw his Metamorphoses into the fire, lest he should be disgraced by a book which he could not hope to finish.

This apple was presented to the maiden, and being persuaded that she had written the words, though inadvertently, she consented to marry Acontius for "the oath's sake." Cydippe by a letter was betrayed, Writ on an apple to th' unwary maid Ovid, Art of Love, 1. CYL'LAROS, the horse of Pollux according to Virgil (Georg. iii. 90), but of Castor according to Ovid (Metam

This apple was presented to the maiden, and being persuaded that she had written the words, though inadvertently, she consented to marry Acontius for "the oath's sake." Cydippe by a letter was betrayed, Writ on an apple to th' unwary maid Ovid, Art of Love, 1. CYL'LAROS, the horse of Pollux according to Virgil (Georg. iii. 90), but of Castor according to Ovid (Metam

Ovid says that Dryopê was changed into a lotus (Met., x. 331).

Livy, Nat. Hist., xi.; Ovid, Metaph., xv.

Ovid, Art of Love, iii. ERISICH'THON (should be Erysichthon), a Thessaliad, whose appetite was insatiable.

Ovid, Metaph, viii.

Soon after this, Dryden translated the Epistles of Ovid, thus breathing himself for the far greater efforts which were before him.

For the two first of these, Ovid is famous among the poets; for the latter, Virgil.

Ovid images more often the movements and affections of the mind, either combating between two contrary passions, or extremely discomposed by one.

On the other side, Virgil speaks not so often to us in the person of another, like Ovid, but in his own: he relates almost all things as from himself, and thereby gains more liberty than the other, to express his thoughts with all the graces of elocution, to write more figuratively, and to confess as well the labour as the force of his imagination.

Though he describes his Dido well and naturally, in the violence of her passions, yet he must yield in that to the Myrrha, the Biblis, the Althæa, of Ovid; for as great an admirer of him as I am, I must acknowledge, that if I see not more of their souls than I see of Dido's, at least I have a greater concernment for them: and that convinces me that Ovid has touched those tender strokes more delicately than Virgil could.

Though he describes his Dido well and naturally, in the violence of her passions, yet he must yield in that to the Myrrha, the Biblis, the Althæa, of Ovid; for as great an admirer of him as I am, I must acknowledge, that if I see not more of their souls than I see of Dido's, at least I have a greater concernment for them: and that convinces me that Ovid has touched those tender strokes more delicately than Virgil could.

Ovid, in his sixth book Fastortim, pointedly says that it screeched in his day: "Est illis strigibus nomen: sed nominis hujus Causa, quod horrendâ stridere nocte Solent.

In the same tone, but with more intelligibility, if not felicity, Dryden translates palatia coeli in Ovid, the Louvre of the sky; and, in the version of the first book of Homer, talks of the court of Jupiter in the phrases used at that of Whitehall.

Virgil, Ovid and Catullus were assuredly gifted with delicate and poetic sensibility; but their light is, after all, the light of moons reflected from the Grecian suns, and such as brings little life with its rays, To speak in Greek, to think in Greek, was the ambition of all cultivated Romans, who could not see that it would be a grander thing to utter their pure Roman natures in sincere originality.

Fourth year Latin; selections from Virgil, Ovid, Catullus, Martial, and Horace, edited by Lois Carlisle & Davida Richardson.