Part 60 (1/2)

[18] _Albi, nostrorum sermonum_ candide _index_, Hor. Ep. I. iv.

[19] Ov. Am. III. ix. 32, implies that Delia and Nemesis were the two successive mistresses of the poet.

[20] El. IV. ii. 11, 12, _urit ... urit_. Cf. G. i. 77, 78. Again, _dulcissima furta_ (v. 7), _cape tura libens_ (id. 9); _Pone metum Cerinthe_ (iv. 15), will at once recall familiar Virgilian cadences.

[21] Ib. IV. vi. 2; vii. 8.

[22] Ib. IV. viii. 5; x. 4.

[23] S. I. ix. 45.

[24] Ib. iv. 23, 24; v. 8, 1.

[25] Whatever may be thought of his ident.i.ty with Horace's _bore_, and it does not seem very probable, the pa.s.sage, Ep. II. ii. 101, almost certainly refers to him, and ill.u.s.trates his love of vain praise.

[26] Merivale has noticed this in his eighth volume of the History of the Romans.

[27] As instances of his powerful rhythm, we may select _c.u.m moribunda niger clauderet ora liquor; Et graviora rependit iniquis pensa quasillis: Non exorato stant adamante vias_; and many such pentameters as _Mundus demissis inst.i.tor in tunicis; Candida purpureis mixta papaveribus_.

[28] See El. I. ii. 15, _sqq._; I. iii. 1-8, &c.

[29] Ib. ii. 34, 61.

[30] El. iii. (iv.) 6 (7).

[31] Ib. v. (iv.) 7.

[32] Ib. iv. (iii.) 8 (9). Two or three other elegies are addressed to him.

[33] iv. (iii.) 1, 3.

[34] On these see next chapter, p. 320.

[35] See Contr. ii. 11.

[36] Trist. I. ii. 77.

[37] So says the introduction; but it is of very doubtful authenticity.

[38] Am. II. i. 11.

[39] A. A. III. 346, _ignotum hoc aliis ille novavit opus_

[40] G. iii, 4, _sqq._

[41] These remarks apply equally to the Metamorphoses, and indeed to all Ovid's works.

[42] Lex Papia-Poppaea.

[43] It is probable that the _Art of Love_ was published 3 B.C., the year of Julia's exile.