Latin Literature by J. W. (John William) Mackail
page 135 of 298 (45%)
page 135 of 298 (45%)
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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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