:
Beitrage
zur Geschichte der Ovid-Studien im Mittelalter,
Wiener Studien, VI.
Wiener Studien, VI.
Ovid - Some Elizabethan Opinions of the Poetry and Character of OVid
Some Elizabethan opinions of the poetry and character of Ovid .
.
.
by Clyde Barnes Cooper.
Cooper, Clyde Barnes.
Menasha, Wis. , George Banta publishing co. , 1914.
http://hdl. handle. net/2027/mdp. 39015031370292
Public Domain, Google-digitized
http://www. hathitrust. org/access_use#pd-google
We have determined this work to be in the public domain, meaning that it is not subject to copyright. Users are free to copy, use, and redistribute the work in part or in whole. It is possible that current copyright holders, heirs or the estate of the authors of individual portions of the work, such as illustrations or photographs, assert copyrights over these portions. Depending on the nature of subsequent use that is made, additional rights may need to be obtained independently of anything we can address. The digital images and OCR of this work were produced by Google, Inc. (indicated by a watermark on each page in the PageTurner). Google requests that the images and OCR not be re-hosted, redistributed or used commercially. The images are provided for educational, scholarly, non-commercial purposes.
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? Some Elizabethan opinions of the poetry and character of Ovid . . . Clyde Barnes Cooper
? ? Generated for (University of Chicago) on 2014-12-26 11:21 GMT / http://hdl. handle. net/2027/mdp. 39015031370292 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
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? 278
en
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? (C)I}? Inttttrattg of (Elprago
FOUNDED BY JOHN D. ROCKEFELLER
Some Elizabethan Opinions of the
Poetry and Character of Ovid
A DISSERTATION
SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF ARTS AND
LITERATURE IN CANDIDACY FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY
(DEPARTMENT OF ENGLISH)
BY
CLYDE BARNES COOPER
MENASHA, WIS.
THE COLLEGIATE PRESS
GEORGE BANTA PUBLISHING CO.
1914
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? ir
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? The literary fortunes of the Roman poet Ovid are little short
of the marvelous. Accorded among his own people a rank second
only to that of Virgil, distinguished for admirable narrative, tender
elegy, and for at least one notable experiment in tragedy--the lost
Medea, he received even in his own lifetime that striking mixture of
praise and censure that has continued to the present. 1
Throughout mediaeval literature his influence was potent and
pervasive. 2 He appears in various ways in Italian, Provencal, Span-
ish, Bohemian, German, Icelandic, French, and English. He was a
main source of inspiration for the first part of the Roman de la j?
1 For remarks of Seneca and of Quintilian on the character of Ovid, see
Teuffel-Schwabe-Warr: Hist. of Roman Lit. , I, p. 495.
'The character and extent of the references to Ovid during the Middle
Ages in England may be seen in part by consulting the carefully prepared
indexes to the following: (Rolls Series. )
Warner, G. F. : Giraldi Cambrensis Opera. VIII vols.
Haydon, F. S. : Eulogium Historiarum.
Anstey, H. : Munimenta Academica. II vols.
Riley, H. T. : Chronica Monasterii S. Albani.
Luard, H. R. : Roberti Grosseteste Epistolae.
Luard, H. R. : Annales Monastici.
Lumby, J. R. : Polychronicon Ranulphi Higden. IX vols.
Wright, Th. : Alexandri Neckham de Naturis Rerum Libri Duo.
Madden, Sir F. : Matthaei Parisiensis Historia Anglorum. Ill vols.
Luard, H. R. : Flores Historiarum.
<fc The most extensive collection of mediaeval citations of Ovid is in
Manitius: Beitrage zur Geschichte des Ovid im Mittelalter. Philologus,
Suppl. VII (1899), pp. 721 ff.
No study of Ovid in mediaeval literature such as Comparetti's VWgilio
nell medio evo has yet appeared. The following references are of value:
Bartsch, Karl: Albrecht von Halberstadt und Ovid im Mittelalter. Qued-
linburg, 1861.
Belloni, Egidio: Note sulle traduzione dell' Arte Amatoria e dei Remedia
Amoris d'Ovidio anteriori al Rinascimento. Bergamo, 1892. Completed
study, Turin, 1900 [Romania, 22, 339, and 29, 630].
Cloetta, W. : Beitrage zur Litteraturgeschichte des Mittelalters und der Ren-
aissance. Erster Theil, Halle, 1890. P. 164 ff.
Dernedde, R. : Uber die den altfr. Dichtern bekannten epischen Stoffe aus
dem Altertum. Gottingen, 1887.
Kuhlhora, G. : Das Verhaltnis der Art d'amors des Jacques d'Amiens zu
Ovids Ars amatoria. Quedlinburg, 1908.
284970
? ? Generated for (University of Chicago) on 2014-12-26 11:21 GMT / http://hdl. handle. net/2027/mdp. 39015031370292 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? 2 SOME ELIZABETHAN OPINIONS OF
^L Rose,3 and he supplied a code of laws for the Courts of Love. 4 The
poem Flamenca, says Mr. Ker, "is really the triumph of Ovid over
all his Gothic contemporaries. "5 Monastic annalists frequently
quote him,8 and the numerous manuscripts bear witness to his
popularity. 7 Dante makes some hundred references to Ovid, and
-k ranks him third among the four great poets of the world. 8 Chaucer
aCand Gower knew him well, as did a host of lesser men. " \The med-
iaeval mind, however, approached the classics in its own way. The
schoolmen admired Virgil's Fourth Eclogue because they saw there
a prophecy of the birth of Christ. ^x Allegorizing was the recog-
nized mode oJJntexpTM>>tatinn; and the ingenuity that exercised itself
on the mystic properties of numbers and the hidden significations
of the parts of speech saw justifiable meanings in even the most
licentious passages in Ovid, and insisted that here also were moral
and religious lessons had one but the wit to find them. 11 As Canon
iyC ;_ Neilson, W. A. : The Origins and Sources of the Court of Love. Harvard
Studies and Notes--Vol. VI, pp. 170-212, The Ovidian Tradition.
Runge, O. : Die Metamorphoseon-Verdeutschung Albrechts von Halberstadt.
Berlin, 1908. Palaestra--No. 73.
Sudre, L. : Publii Ovidii Metamorphoseon libros quomodo nostrates medii
aevi poetae imitati interpretatique sunt Paris, 1893. [Romania, 22, 242]
Sandys, J. E. : History of Classical Scholarship. Cambridge, 1906. Page 638,
Seldmayer, H. : Beitrage zur Geschichte der Ovid-Studien im Mittelalter,
Wiener Studien, VI. 1884.
* E. Langlois: Origines et sources du Roman de la Rose, pp. 69-75.
*L. F. Mott: The Court of Love, p. 55.
'Epic and Romance, p. 361.
'Indexes to the Rolls Series.
'Teuffel-Schwabe-Warr: Hist, of Roman Lit. , I, sec 249, note 3.
"Scartazzini: Enciclopedia Dantesca, II, p. 1412.
Moore: Studies in Dante, pp. 206-228.
: Beitrage zur Geschichte der Ovid-Studien im Mittelalter,
Wiener Studien, VI. 1884.
* E. Langlois: Origines et sources du Roman de la Rose, pp. 69-75.
*L. F. Mott: The Court of Love, p. 55.
'Epic and Romance, p. 361.
'Indexes to the Rolls Series.
'Teuffel-Schwabe-Warr: Hist, of Roman Lit. , I, sec 249, note 3.
"Scartazzini: Enciclopedia Dantesca, II, p. 1412.
Moore: Studies in Dante, pp. 206-228.
Inferno, Canto IV, line 90.
* Skeat: Chaucer, VI, p. 387.
Lounsbury: Studies in Chaucer, II, 251-252.
G. C. Macaulay: The Complete Works of John Gower, IV, p. 369 ff.
u Greenough: The Greater Poems of Virgil, notes, p. 27.
For the best account of the legend, see Comparetti: Virgil in the
Middle Ages, Eng. trans, by Benecke.
11 See below, note 46.
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? THE POETRY AND CHARACTER OF OVID 3
J. Janssen has shown, mediaeval writers employed such Latin
authors as they knew as aids toward a deeper knowledge of Chris-
tianity and as incentives toward a purer moral life. 12
In the Renaissance also Ovid was a great favorite with painter,
poet, and cultivated readers generally. 18 To an astonishingly early
reading of that poet Montaigne ascribed his love of literature,
although in later life his fondness for Ovid left him. 14 Clement
Marot promised: "de tout mon povoir suyvre et contrefaire la
veine du noble poete Ovide. " 15 Of the whole Rhetorical School
in France, M. Guy observes: "Le poete qu'ils preferent, c'est Ovide;
viennent ensuite Virgile, Horace, Terence. "18 During the same
period, however, appeared also the note of disparagement or cen-
sure, as may be seen in the following opinions. Thus in 1450 ^Eneas
Sylvius remarked in his De Liberorum Educatione: "Ubique tristis,
ubique dulcis est, in plerisque tamen locis nimium lascivus. "17
And Ludovicus Vives, whose writings were widely influential, ob-
served in his De Tradendis Disciplinis, 1555: "Imo vero amissa
sunt tot philosophorum et sacrorum autorum monumenta, et grave
erit et non ferendum facinus, si Tibullus pereat aut Ars Amandi
Nasonis. " 18 The latter statement is not, of course, to be inter-
preted as evidence of a special attack on Ovid. As will appear in
the course of the discussion, it is really but a part of the prevailing
attitude toward the claims of poetry. But it shows that in the very
heyday of his fame doubt and censure were mingled with the
praise of Ovid.
That Elizabethan poets and playwrights had a special fondness
for the poetry of Ovid has long been a commonplace of English
UJ. Janssen: History of the German People at the Close of the Middle
Ages. English trans. , London, 1896. I, p. 63.
"The painters of the Renaissance found Ovid a source of suggestion for
mythological subjects. Cf. Schoenfeld, P. : Ovids Metamorphosen in ihrem
Verhaltnis zur antiken Kunst. Wunderer, W. : Ovids Werke in ihrem Ver-
haltnis zur antiken Kunst.
"Montaigne: Essays, trans, by Cotton, I, p. 204.
"Oeuvres de Clement Marot, Lyon, 1870, II, p. 154.
"L'Ecole des Rhetoriquers, p. 10.
"Elyot: The Governour. Ed. Croft, I, p. 124, note.
"lb.
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? 4 SOME ELIZABETHAN OPINIONS OF
literary history. 19 Mr. Alfred Dorrinck, in the conclusion of his
dissertation, Die lateinischen Zitafe in den Dramen der wichtigsten
Vorganger Shakespeares, p. 75, gives the following table of cita-
tions: Catullus 1, Cicero 11, Claudian 1, Gellius 1, Horace 16,
Juvenal 3, Lucan 1, Martial 1, Ovid 54, Plautus 11, Pliny i, Pub-
lilius Syrus 1, Seneca 7, Statius i, Terence 14, Virgil 12. Herein
he sees, "Die grosse Vorliebe der Elisabethaner fur Ovid. " This
judgment is further supported by the investigations of Mr. Karl
Frey. 20 In his essay, Ovid and Shakespeare's Sonnets, Sidney Lee .
has sketched the vogue of Ovid from 1200 to 1700, maintaining
that the poet appealed to readers of all classes and was an educational
manual in all schools and colleges of the Sixteenth Century. 21
Here, as well as in his Life of Shakespeare,22 he points out the
latter's indebtedness to Ovid, a view thoroughly confirmed by Mr.
R. K. Root. 23 In the same way Mr. R. Bayley regards "ultra-classi-
cism" as a characteristic of the Elizabethan drama, even of the
plays destined solely for the popular stage. "To the plebeian
crowd," he thinks, "fully one-half of the Elizabethan drama must
have been caviare utterly beyond their reach. " 24
Mr. McKerrow, however, in his edition of Nashe, reaches the
conclusion that Roman authors were not the favorite reading of
the average literary man of the period. 25 Hence, "the ultimate debt
of Elizabethan literature to the classics is hardly at all a debt at
"P first hand. " The reason given for this latter view is that there were
numerous collections of scraps of Latin, from which Nashe and
others might have drawn. Numbers of illustrations and proverbs
in Latin were current. Such books as Lilly's Latin Grammar, Eras-
mus's Parabolae, or the Sententiae Pueriles would serve as sources
M Cambridge Hist, of Eng. Lit. , IV, p. 22.
? Die klassische Cotter- und Heldensage in den Dramen von Marlowe,
Lyly, Kyd, Greene und Peele. Karlsruhe, 1909.
"Quarterly Review, No. 210.
"Ed. of 1909, p. 262.
"Classical Mythology in Shakespeare, pp. 3-10.
Cf. H. R. D. Anders: Shakespeare's Books, pp. 21-30.
24 The Shakespeare Symphony, Ch. 10.
"VoLV, p. 133 ff.
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? THE POETRY AND CHARACTER OF OVID 5
for large numbers of the quotations of the time. "Interlarding
one's work with quotations was a favorite practice. " In the case
,\ of Nashe, his reading "seems to have been limited to Ovid, a play
of Plautus, the Epistles of Horace, and perhaps some plays of
Terence. " ( Nashe has one hundred quotations from Ovid, twenty
from Homer, and twelve from Virgil. 28 But so many of these
are vague in character or had appeared in Lilly, that Nashe "need
never have opened a volume of Ovid in his life. "2v
-. The importance of the foregoing will escape no one. In any
problem of classical influence in the Sixteenth Century it will not
suffice merely to exhibit an array of quotations or allusions. An
effort must be made to discover whether the author is depending >
on current collections of sayings or_Qn_his own reading of the
classics. 28 Particularly does this condition apply to the work of j
so eminently quotable an author as Ovid. For citations from him
appear in the school grammars of both Linacre and Lilly. 29 In the
school curricula he has a prominent place. Thus Wolsey's plan of
r studies for Ipswich School. ? 1528) directed: "The party in the
seventh Form should regularly have in hand either Horace's Epistles
or Ovid's Metamorphoses or Fasti. "30 Bishop Pilkington's Statutes
of Rivington Grammar School (1566) recommended, among other
"Latin texts, Epistolae Ovidii. 31 Brinsley translated Tristia and
Metamorphoses according to his own special plan of instruction,
and recommended versification on Ovidian models. 32 Hoole recom-
mended that De Tristibus be learned memoriter, "to impart a lively
pattern of hexameters and pentameters. "33
To the Elizabethan reader, as to all others, a chief source of \
attraction in Ovid lay in his superb gift as a story-teller. And
"See Vol. V, p. 313, for Index of Allusions.
"lb. , p. 134.
"Cf. M. B. Ogle: Classical Literary Tradition in Early German and
Romance Literature. Mod. Lang. Notes, Dec, 1912.
"Watson, F. : The English Grammar Schools to 1660, p. 245.
"lb. , p. 472.
uIb. , p. 472.
"lb. , p. 357-
MIb. , p. 371.
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? 6 SOME ELIZABETHAN OPINIONS OF
although in him as in Spenser, "the narrative may be said to fall
below the highest order in that the independence of the character is
merged in description and sequence of events",34 he remains one of
the favorite narrative poets of the world. By common consent, he is
master of the art of transition and_ skillfulI variation of material.
With unerring instinct he seizes upon the essentials of his narrative,
jtrjoarejQtly with no thought of any lesson to teach or moral to impart.
Of the Metamorphoses Mackail justly observes: "One might almost
say that it is without moral quality. Ovid narrates the treachery of
Scylla or the incestuous passion of Myrrha with the same light and
secure touch as he applies to the charming idyl of Baucis and Phil-
emon or the love-tale of Pyramus and Thisbe; his interest is in what
happened, in the story for the story's sake. " S5 The Elizabethan
poet and his audience were almost as insistent upon story. 36
Moreover, Ovid was a master of verse-form. As a result of his
extraordinary mastery of the elegiac couplet: "The usage was stereo-
typed by his example; all through the Empire and the Middle Ages,
and even down to the present day, the Ovidian metre has been the
single dominant type: and though no one ever managed it with such
ingenuity again, he taught enough of the secret to make its use
possible for almost every kind of subject. "37 "For the metre of
the Metamorphoses Ovid chose the heroic hexameter, but he used
it in a strikingly new and original way Ovid's hexameter
is a thing of his own. It becomes with him almost a new metre--
light, brilliant, and rapid, but with some monotony of cadence, and
without the deep swell that it had, not in Virgil only, but in his
**W.
by Clyde Barnes Cooper.
Cooper, Clyde Barnes.
Menasha, Wis. , George Banta publishing co. , 1914.
http://hdl. handle. net/2027/mdp. 39015031370292
Public Domain, Google-digitized
http://www. hathitrust. org/access_use#pd-google
We have determined this work to be in the public domain, meaning that it is not subject to copyright. Users are free to copy, use, and redistribute the work in part or in whole. It is possible that current copyright holders, heirs or the estate of the authors of individual portions of the work, such as illustrations or photographs, assert copyrights over these portions. Depending on the nature of subsequent use that is made, additional rights may need to be obtained independently of anything we can address. The digital images and OCR of this work were produced by Google, Inc. (indicated by a watermark on each page in the PageTurner). Google requests that the images and OCR not be re-hosted, redistributed or used commercially. The images are provided for educational, scholarly, non-commercial purposes.
? Generated for (University of Chicago) on 2014-12-26 11:21 GMT / http://hdl. handle. net/2027/mdp. 39015031370292 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? Some Elizabethan opinions of the poetry and character of Ovid . . . Clyde Barnes Cooper
? ? Generated for (University of Chicago) on 2014-12-26 11:21 GMT / http://hdl. handle. net/2027/mdp. 39015031370292 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? ? ? Generated for (University of Chicago) on 2014-12-26 11:21 GMT / http://hdl. handle. net/2027/mdp. 39015031370292 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? 278
en
? ? Generated for (University of Chicago) on 2014-12-26 11:21 GMT / http://hdl. handle. net/2027/mdp. 39015031370292 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
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? (C)I}? Inttttrattg of (Elprago
FOUNDED BY JOHN D. ROCKEFELLER
Some Elizabethan Opinions of the
Poetry and Character of Ovid
A DISSERTATION
SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF ARTS AND
LITERATURE IN CANDIDACY FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY
(DEPARTMENT OF ENGLISH)
BY
CLYDE BARNES COOPER
MENASHA, WIS.
THE COLLEGIATE PRESS
GEORGE BANTA PUBLISHING CO.
1914
? ? Generated for (University of Chicago) on 2014-12-26 11:21 GMT / http://hdl. handle. net/2027/mdp. 39015031370292 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? ir
? ? Generated for (University of Chicago) on 2014-12-26 11:21 GMT / http://hdl. handle. net/2027/mdp. 39015031370292 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? The literary fortunes of the Roman poet Ovid are little short
of the marvelous. Accorded among his own people a rank second
only to that of Virgil, distinguished for admirable narrative, tender
elegy, and for at least one notable experiment in tragedy--the lost
Medea, he received even in his own lifetime that striking mixture of
praise and censure that has continued to the present. 1
Throughout mediaeval literature his influence was potent and
pervasive. 2 He appears in various ways in Italian, Provencal, Span-
ish, Bohemian, German, Icelandic, French, and English. He was a
main source of inspiration for the first part of the Roman de la j?
1 For remarks of Seneca and of Quintilian on the character of Ovid, see
Teuffel-Schwabe-Warr: Hist. of Roman Lit. , I, p. 495.
'The character and extent of the references to Ovid during the Middle
Ages in England may be seen in part by consulting the carefully prepared
indexes to the following: (Rolls Series. )
Warner, G. F. : Giraldi Cambrensis Opera. VIII vols.
Haydon, F. S. : Eulogium Historiarum.
Anstey, H. : Munimenta Academica. II vols.
Riley, H. T. : Chronica Monasterii S. Albani.
Luard, H. R. : Roberti Grosseteste Epistolae.
Luard, H. R. : Annales Monastici.
Lumby, J. R. : Polychronicon Ranulphi Higden. IX vols.
Wright, Th. : Alexandri Neckham de Naturis Rerum Libri Duo.
Madden, Sir F. : Matthaei Parisiensis Historia Anglorum. Ill vols.
Luard, H. R. : Flores Historiarum.
<fc The most extensive collection of mediaeval citations of Ovid is in
Manitius: Beitrage zur Geschichte des Ovid im Mittelalter. Philologus,
Suppl. VII (1899), pp. 721 ff.
No study of Ovid in mediaeval literature such as Comparetti's VWgilio
nell medio evo has yet appeared. The following references are of value:
Bartsch, Karl: Albrecht von Halberstadt und Ovid im Mittelalter. Qued-
linburg, 1861.
Belloni, Egidio: Note sulle traduzione dell' Arte Amatoria e dei Remedia
Amoris d'Ovidio anteriori al Rinascimento. Bergamo, 1892. Completed
study, Turin, 1900 [Romania, 22, 339, and 29, 630].
Cloetta, W. : Beitrage zur Litteraturgeschichte des Mittelalters und der Ren-
aissance. Erster Theil, Halle, 1890. P. 164 ff.
Dernedde, R. : Uber die den altfr. Dichtern bekannten epischen Stoffe aus
dem Altertum. Gottingen, 1887.
Kuhlhora, G. : Das Verhaltnis der Art d'amors des Jacques d'Amiens zu
Ovids Ars amatoria. Quedlinburg, 1908.
284970
? ? Generated for (University of Chicago) on 2014-12-26 11:21 GMT / http://hdl. handle. net/2027/mdp. 39015031370292 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? 2 SOME ELIZABETHAN OPINIONS OF
^L Rose,3 and he supplied a code of laws for the Courts of Love. 4 The
poem Flamenca, says Mr. Ker, "is really the triumph of Ovid over
all his Gothic contemporaries. "5 Monastic annalists frequently
quote him,8 and the numerous manuscripts bear witness to his
popularity. 7 Dante makes some hundred references to Ovid, and
-k ranks him third among the four great poets of the world. 8 Chaucer
aCand Gower knew him well, as did a host of lesser men. " \The med-
iaeval mind, however, approached the classics in its own way. The
schoolmen admired Virgil's Fourth Eclogue because they saw there
a prophecy of the birth of Christ. ^x Allegorizing was the recog-
nized mode oJJntexpTM>>tatinn; and the ingenuity that exercised itself
on the mystic properties of numbers and the hidden significations
of the parts of speech saw justifiable meanings in even the most
licentious passages in Ovid, and insisted that here also were moral
and religious lessons had one but the wit to find them. 11 As Canon
iyC ;_ Neilson, W. A. : The Origins and Sources of the Court of Love. Harvard
Studies and Notes--Vol. VI, pp. 170-212, The Ovidian Tradition.
Runge, O. : Die Metamorphoseon-Verdeutschung Albrechts von Halberstadt.
Berlin, 1908. Palaestra--No. 73.
Sudre, L. : Publii Ovidii Metamorphoseon libros quomodo nostrates medii
aevi poetae imitati interpretatique sunt Paris, 1893. [Romania, 22, 242]
Sandys, J. E. : History of Classical Scholarship. Cambridge, 1906. Page 638,
Seldmayer, H. : Beitrage zur Geschichte der Ovid-Studien im Mittelalter,
Wiener Studien, VI. 1884.
* E. Langlois: Origines et sources du Roman de la Rose, pp. 69-75.
*L. F. Mott: The Court of Love, p. 55.
'Epic and Romance, p. 361.
'Indexes to the Rolls Series.
'Teuffel-Schwabe-Warr: Hist, of Roman Lit. , I, sec 249, note 3.
"Scartazzini: Enciclopedia Dantesca, II, p. 1412.
Moore: Studies in Dante, pp. 206-228.
: Beitrage zur Geschichte der Ovid-Studien im Mittelalter,
Wiener Studien, VI. 1884.
* E. Langlois: Origines et sources du Roman de la Rose, pp. 69-75.
*L. F. Mott: The Court of Love, p. 55.
'Epic and Romance, p. 361.
'Indexes to the Rolls Series.
'Teuffel-Schwabe-Warr: Hist, of Roman Lit. , I, sec 249, note 3.
"Scartazzini: Enciclopedia Dantesca, II, p. 1412.
Moore: Studies in Dante, pp. 206-228.
Inferno, Canto IV, line 90.
* Skeat: Chaucer, VI, p. 387.
Lounsbury: Studies in Chaucer, II, 251-252.
G. C. Macaulay: The Complete Works of John Gower, IV, p. 369 ff.
u Greenough: The Greater Poems of Virgil, notes, p. 27.
For the best account of the legend, see Comparetti: Virgil in the
Middle Ages, Eng. trans, by Benecke.
11 See below, note 46.
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? THE POETRY AND CHARACTER OF OVID 3
J. Janssen has shown, mediaeval writers employed such Latin
authors as they knew as aids toward a deeper knowledge of Chris-
tianity and as incentives toward a purer moral life. 12
In the Renaissance also Ovid was a great favorite with painter,
poet, and cultivated readers generally. 18 To an astonishingly early
reading of that poet Montaigne ascribed his love of literature,
although in later life his fondness for Ovid left him. 14 Clement
Marot promised: "de tout mon povoir suyvre et contrefaire la
veine du noble poete Ovide. " 15 Of the whole Rhetorical School
in France, M. Guy observes: "Le poete qu'ils preferent, c'est Ovide;
viennent ensuite Virgile, Horace, Terence. "18 During the same
period, however, appeared also the note of disparagement or cen-
sure, as may be seen in the following opinions. Thus in 1450 ^Eneas
Sylvius remarked in his De Liberorum Educatione: "Ubique tristis,
ubique dulcis est, in plerisque tamen locis nimium lascivus. "17
And Ludovicus Vives, whose writings were widely influential, ob-
served in his De Tradendis Disciplinis, 1555: "Imo vero amissa
sunt tot philosophorum et sacrorum autorum monumenta, et grave
erit et non ferendum facinus, si Tibullus pereat aut Ars Amandi
Nasonis. " 18 The latter statement is not, of course, to be inter-
preted as evidence of a special attack on Ovid. As will appear in
the course of the discussion, it is really but a part of the prevailing
attitude toward the claims of poetry. But it shows that in the very
heyday of his fame doubt and censure were mingled with the
praise of Ovid.
That Elizabethan poets and playwrights had a special fondness
for the poetry of Ovid has long been a commonplace of English
UJ. Janssen: History of the German People at the Close of the Middle
Ages. English trans. , London, 1896. I, p. 63.
"The painters of the Renaissance found Ovid a source of suggestion for
mythological subjects. Cf. Schoenfeld, P. : Ovids Metamorphosen in ihrem
Verhaltnis zur antiken Kunst. Wunderer, W. : Ovids Werke in ihrem Ver-
haltnis zur antiken Kunst.
"Montaigne: Essays, trans, by Cotton, I, p. 204.
"Oeuvres de Clement Marot, Lyon, 1870, II, p. 154.
"L'Ecole des Rhetoriquers, p. 10.
"Elyot: The Governour. Ed. Croft, I, p. 124, note.
"lb.
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? 4 SOME ELIZABETHAN OPINIONS OF
literary history. 19 Mr. Alfred Dorrinck, in the conclusion of his
dissertation, Die lateinischen Zitafe in den Dramen der wichtigsten
Vorganger Shakespeares, p. 75, gives the following table of cita-
tions: Catullus 1, Cicero 11, Claudian 1, Gellius 1, Horace 16,
Juvenal 3, Lucan 1, Martial 1, Ovid 54, Plautus 11, Pliny i, Pub-
lilius Syrus 1, Seneca 7, Statius i, Terence 14, Virgil 12. Herein
he sees, "Die grosse Vorliebe der Elisabethaner fur Ovid. " This
judgment is further supported by the investigations of Mr. Karl
Frey. 20 In his essay, Ovid and Shakespeare's Sonnets, Sidney Lee .
has sketched the vogue of Ovid from 1200 to 1700, maintaining
that the poet appealed to readers of all classes and was an educational
manual in all schools and colleges of the Sixteenth Century. 21
Here, as well as in his Life of Shakespeare,22 he points out the
latter's indebtedness to Ovid, a view thoroughly confirmed by Mr.
R. K. Root. 23 In the same way Mr. R. Bayley regards "ultra-classi-
cism" as a characteristic of the Elizabethan drama, even of the
plays destined solely for the popular stage. "To the plebeian
crowd," he thinks, "fully one-half of the Elizabethan drama must
have been caviare utterly beyond their reach. " 24
Mr. McKerrow, however, in his edition of Nashe, reaches the
conclusion that Roman authors were not the favorite reading of
the average literary man of the period. 25 Hence, "the ultimate debt
of Elizabethan literature to the classics is hardly at all a debt at
"P first hand. " The reason given for this latter view is that there were
numerous collections of scraps of Latin, from which Nashe and
others might have drawn. Numbers of illustrations and proverbs
in Latin were current. Such books as Lilly's Latin Grammar, Eras-
mus's Parabolae, or the Sententiae Pueriles would serve as sources
M Cambridge Hist, of Eng. Lit. , IV, p. 22.
? Die klassische Cotter- und Heldensage in den Dramen von Marlowe,
Lyly, Kyd, Greene und Peele. Karlsruhe, 1909.
"Quarterly Review, No. 210.
"Ed. of 1909, p. 262.
"Classical Mythology in Shakespeare, pp. 3-10.
Cf. H. R. D. Anders: Shakespeare's Books, pp. 21-30.
24 The Shakespeare Symphony, Ch. 10.
"VoLV, p. 133 ff.
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? THE POETRY AND CHARACTER OF OVID 5
for large numbers of the quotations of the time. "Interlarding
one's work with quotations was a favorite practice. " In the case
,\ of Nashe, his reading "seems to have been limited to Ovid, a play
of Plautus, the Epistles of Horace, and perhaps some plays of
Terence. " ( Nashe has one hundred quotations from Ovid, twenty
from Homer, and twelve from Virgil. 28 But so many of these
are vague in character or had appeared in Lilly, that Nashe "need
never have opened a volume of Ovid in his life. "2v
-. The importance of the foregoing will escape no one. In any
problem of classical influence in the Sixteenth Century it will not
suffice merely to exhibit an array of quotations or allusions. An
effort must be made to discover whether the author is depending >
on current collections of sayings or_Qn_his own reading of the
classics. 28 Particularly does this condition apply to the work of j
so eminently quotable an author as Ovid. For citations from him
appear in the school grammars of both Linacre and Lilly. 29 In the
school curricula he has a prominent place. Thus Wolsey's plan of
r studies for Ipswich School. ? 1528) directed: "The party in the
seventh Form should regularly have in hand either Horace's Epistles
or Ovid's Metamorphoses or Fasti. "30 Bishop Pilkington's Statutes
of Rivington Grammar School (1566) recommended, among other
"Latin texts, Epistolae Ovidii. 31 Brinsley translated Tristia and
Metamorphoses according to his own special plan of instruction,
and recommended versification on Ovidian models. 32 Hoole recom-
mended that De Tristibus be learned memoriter, "to impart a lively
pattern of hexameters and pentameters. "33
To the Elizabethan reader, as to all others, a chief source of \
attraction in Ovid lay in his superb gift as a story-teller. And
"See Vol. V, p. 313, for Index of Allusions.
"lb. , p. 134.
"Cf. M. B. Ogle: Classical Literary Tradition in Early German and
Romance Literature. Mod. Lang. Notes, Dec, 1912.
"Watson, F. : The English Grammar Schools to 1660, p. 245.
"lb. , p. 472.
uIb. , p. 472.
"lb. , p. 357-
MIb. , p. 371.
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? 6 SOME ELIZABETHAN OPINIONS OF
although in him as in Spenser, "the narrative may be said to fall
below the highest order in that the independence of the character is
merged in description and sequence of events",34 he remains one of
the favorite narrative poets of the world. By common consent, he is
master of the art of transition and_ skillfulI variation of material.
With unerring instinct he seizes upon the essentials of his narrative,
jtrjoarejQtly with no thought of any lesson to teach or moral to impart.
Of the Metamorphoses Mackail justly observes: "One might almost
say that it is without moral quality. Ovid narrates the treachery of
Scylla or the incestuous passion of Myrrha with the same light and
secure touch as he applies to the charming idyl of Baucis and Phil-
emon or the love-tale of Pyramus and Thisbe; his interest is in what
happened, in the story for the story's sake. " S5 The Elizabethan
poet and his audience were almost as insistent upon story. 36
Moreover, Ovid was a master of verse-form. As a result of his
extraordinary mastery of the elegiac couplet: "The usage was stereo-
typed by his example; all through the Empire and the Middle Ages,
and even down to the present day, the Ovidian metre has been the
single dominant type: and though no one ever managed it with such
ingenuity again, he taught enough of the secret to make its use
possible for almost every kind of subject. "37 "For the metre of
the Metamorphoses Ovid chose the heroic hexameter, but he used
it in a strikingly new and original way Ovid's hexameter
is a thing of his own. It becomes with him almost a new metre--
light, brilliant, and rapid, but with some monotony of cadence, and
without the deep swell that it had, not in Virgil only, but in his
**W.
