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Latin Literature by J. W. (John William) Mackail
page 135 of 298 (45%)
been ever meant seriously. The allusions Ovid himself makes to his own
"error" or "crime" are not meant to be intelligible, and none of the many
theories which have been advanced fully satisfies the facts. But,
whatever may have been the cause--whether Ovid had become implicated in
one of those aristocratic conspiracies against which Augustus had to
exercise constant vigilance, or in the intrigues of the younger Julia, or
in some domestic scandal that touched the Emperor even more personally--
it brought his literary career irretrievably to the ground. The elegies
which he continued to pour forth from his place of exile, though not
without their grace and pathos, struggle almost from the first under the
crowning unhappiness of unhappiness, that it ceases to be interesting.
The five books of the _Tristia,_ written during the earlier years of his
banishment, still retain, through the monotony of their subject, and the
abject humility of their attitude to Augustus, much of the old dexterity.
In the four books of _Epistles from Pontus,_ which continue the
lamentation over his calamities, the failure of power is evident. He went
on writing profusely, because there was nothing else to do; panegyrics on
Augustus and Tiberius alternated with a natural history of fish--the
_Halieutica_--and with abusive poems on his real or fancied enemies at
Rome. While Augustus lived he did not give up hopes of a remission, or at
least an alleviation, of his sentence; but the accession of Tiberius, who
never forgot or forgave anything, must have extinguished them finally;
and he died some three years later, still a heart-broken exile.

Apart from his single tragedy, from a few didactic or mock-didactic
pieces, imitated from Alexandrian originals, and from his great poem of
the _Metamorphoses,_ the whole of Ovid's work was executed in the elegiac
couplet. His earliest poems closely approximate in their management of
this metre to the later work of Propertius. The narrower range of cadence
allowed by the rule which makes every couplet regularly end in a
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