——————Vos exemplaria Graeca
Nocturna versate manu, versate diurna.
Make the Greek authors your supreme delight;
Read them by day, and study them by night.—Francis.
In the writings of Horace there appears a fund of good sense, enlivened with pleasantry, and refined by philosophical reflection. He had cultivated his judgment with great application, and his taste was guided by intuitive perception of moral beauty, aptitude, and propriety. The few instances of indelicacy which occur in his compositions, we may ascribe rather to the manners of the times, than to any blameable propensity in the author. Horace died in the fifty-seventh year of his age, surviving his beloved Mecaenas only three weeks; a circumstance which, added to the declaration in an ode [276] to that personage, supposed to have been written in Mecaenas’s last illness, has given rise to a conjecture, that Horace ended his days by a violent death, to accompany his friend. But it is more natural to conclude that he died of excessive grief, as, had he literally adhered to the affirmation contained in the ode, he would have followed his patron more closely. This seems to be confirmed by a fact immediately preceding his death; for though he declared Augustus heir to his whole estate, he was not able, on account of weakness, to put his signature to the will; a failure which it is probable that he would have taken care to obviate, had his death been premeditated. He was interred, at his own desire, near the tomb of Mecaenas.——
OVID was born of an equestrian family, at Sulmo, a town of the Peligni, on the 21st of March, in the consulship of Hirtius and Pansa. His father intended him for the bar; and after passing him through the usual course of instruction at Rome, he was sent to Athens, the emporium of learning, to complete his education. On his return to Rome, in obedience to the desire of his father, he entered upon the offices of public life in the forum, and declaimed with great applause. But this was the effect of paternal authority, not of choice: for, from his earliest years, he discovered an extreme attachment to poetry; and no sooner was his father dead, than, renouncing the bar, he devoted himself entirely to the cultivation of that fascinating art, his propensity to which was invincible. His productions, all written either in heroic or pentameter verse, are numerous, and on various subjects. It will be sufficient to mention them briefly.
(178) The Heroides consist of twenty-one Epistles, all which, except three, are feigned to be written from celebrated women of antiquity, to their husbands or lovers, such as Penelope to Ulysses, Dido to Aeneas, Sappho to Phaon, etc. These compositions are nervous, animated and elegant: they discover a high degree of poetic enthusiasm, but blended with that lascivious turn of thought, which pervades all the amorous productions of this celebrated author.
The elegies on subjects of love, particularly the Ars Amandi, or Ars Amatoria, though not all uniform in versification, possess the same general character, of warmth of passion, and luscious description, as the epistles.
The Fasti were divided into twelve books, of which only the first six now remain. The design of them was to deliver an account of the Roman festivals in every month of the year, with a description of the rites and ceremonies, as well as the sacrifices on those occasions. It is to be regretted, that, on a subject so interesting, this valuable work should not have been transmitted entire: but in the part which remains, we are furnished with a beautiful description of the ceremonial transactions in the Roman calendar, from the first of January to the end of June. The versification, as in all the compositions of this author, is easy and harmonious.
The most popular production of this poet is his Metamorphoses, not less extraordinary for the nature of the subject, than for the admirable art with which the whole is conducted. The work is founded upon the traditions and theogony of the ancients, which consisted of various detached fables. Those Ovid has not only so happily arranged, that they form a coherent series of narratives, one rising out of another; but he describes the different changes with such an imposing plausibility, as to give a natural appearance to the most incredible fictions. This ingenious production, however perfect it may appear, we are told by himself, had not received his last corrections when he was ordered into banishment.
In the Ibis, the author imitates a poem of the same name, written by Callimachus. It is an invective against some person who publicly traduced his character at Rome, after his banishment. A strong sensibility, indignation, and implacable resentment, are conspicuous through the whole.
The Tristia were composed in his exile, in which, though his vivacity forsook him, he still retained a genius prolific in versification. In these poems, as well as in many epistles to different persons, he bewails his unhappy situation, and deprecates in the strongest terms the inexorable displeasure of Augustus.
Several other productions written by Ovid are now lost, and (179) amongst them a tragedy called Medea, of which Quintilian expresses a high opinion. Ovidii Medea videtur mihi ostendere quantum vir ille praestare potuerit, si ingenio suo temperare quam indulgere maluisset [277]. Lib. x. c. 1.