No More Learning

, pp. 67-68.
"lb. , p. 123.
"lb. , p. 123.
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? l6 SOME ELIZABETHAN OPINIONS OF
wanton bokes [who still] hath right commendable and noble sen-
tences; as for proufe thereof I will recite some that I have taken
at aduenture. " TM And here he translates lines 131 to 136 of De
Remedio Amoris. In fine, he makes a plea in extenuation: he
cannot deny that there are matters in his author that may justly
give offense; but he still maintains that whatever is good in the
poet should be turned to enjoyment and profit. On the whole,
this may be regarded as a very characteristic expression of the
more moderate view that prevailed throughout the period. In
the case of Ovid and in that of the poets of love generally it
was frankly admitted that occasions for offense to moral ideals were
sometimes given. The defense generally made was that such oc-
casions were negligible, or at least should not be allowed to out-
weigh the excellencies of the poet. So Elyot argues:
"Martialis, whiche, for his dissoulute wrytynge, is mooste sel-
dome radde of men of moche grauitie, hath not withstandynge
many commendable sentences and right wise counsailes, as among
diuers I will reherce one which is first come to my remembrance.
If thou wylte eschew bytter aduenture,
And auoide the gnawynge of a pensifull harte,
Sette in no one persone all holy thy pleasure,
The lasse ioy shalte thou haue but the lasse shalte thou smarte.
"I coulde recite a great nombre of semblable good sentences out
of these and other wanton poetes, who in the latine do expresse
them incomparably with more grace and delectation than our
englische tonge may yet comprehende.
"Wherefore sens good and wise mater may be picked out of
these poetes, it were no reason, for some lite mater that is in their
verses, to abandone therefore al their warkes, no more than it were
to forbeare or prohibite a man to come into a faire garden, lest
the redolent sauors of swete herbes and floures shall meue him to
wanton courage, or leste in gadring good and holsome herbes he
may happen to be stunge with a nettile Semblablye if he
do rede wanton mater mixte with wisedome, he putteth the warst
under foote and sorteth out the best, or, if his courage be stered
or prouoked, he remembereth the litel pleasure and gret detriment
wIb. , p. 133-
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? THE POETRY AND CHARACTER OF OVID \J
that shulde ensue of it, and withdrawynge his minde to some other
studie or exercise shortly forgetteth it
"So all thoughe I do nat approue the lesson of wanton poetes
to be taughte unto all children, yet thynke I conuenient and neces-
sary that, whan the mynde is become constant and courage is
asswaged, or that children of their naturall disposition be shamfaste
and continent, none auncient poete wolde be excluded from the
lesson of suche one as desireth to come to the perfection of wyse-
dome. ""
In The Scholemaster, published in 1568, Ascham lays no stress
on the reading of Ovid: Varro, Sallust, Caesar, and Cicero are his
favorites as subjects of instruction. And he approves the dictum
of Sir John Cheke--"I would haue a good student passe and iorney
through all authors both Greke and Latin: But he that will dwell
in these few books onelie: first, in Gods holie Bible, and than
ioyne with it, Tullie in Latin, Plato, Aristotle, Xenophon, Isocrates,
and Demosthenes in Greke: must nedes proue an excellent man. "72
Erasmus, De Ratione Studii Commentariolus (1512) recommends
that the teacher "should himself have travelled through the whole
circle of knowledge among the poets, Homer and Ovid. "73
Webbe, however, in his essay Of English Poetry carries Elyot's
view still further: "For surelie I am of this opinion that the
wantonest Poets of all, in their most laciuious workes wherein
they busied themselues, sought rather by that meanes to withdraw
mens mindes (especiallie the best natures) from such foule vices
then to allure them to imbrace such beastly follies as they de-
tected. " 74
So far then the lover of poetry and the friend of Ovid had
before him certain clearly defined possibilities. Enjoying and ap-
propriating whatever was good in the poet, he could ignore or
forget any "unhonest matter", he could regard it as an exemplum,
he could "moralize it in its kind", or he could explore the mine
n lb. , pp. 123-131.
"G. G. Smith: Elizabethan Critical Essays, I. p. 18.
"W. H. Woodward: Desiderius Erasmus Concerning the Aim and
Method of Education, p. 167.
TM G. G. Smith: Elizabethan Critical Essays, I, p. 251.
*
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? l8 SOME ELIZABETHAN OPINIONS OF
, of allegory for meanings and lessons completely hidden from the
eyes of the ignorant reader. And although Homer and Virgil had
. distinctly greater claims upon his attention, he could find in Ovid
"right commendable and noble sentences. " Turning now to the
more distinctively critical writers, such as are represented in Mr.
G. G. Smith's Elizabethan Critical Essays, one sees at once the
limitations and the experimental character of their work. With
them the chief object of concern was not Ovid, or indeed any one
poet. Rather were they interested in the nature and scope of
poetry and in the validity of its claims to the attention of serious
men. Such expressions of opinion about Ovid as have come down
to us from the more obviously critical writings are, therefore,
mainly incidental to the wider and more absorbing question. Sincere
if narrow-minded men like Gosson were ready to condemn the art
of poetry because of the outrage to their moral ideals which they
found in such poems as the Ars Amandi or the Metamorphoses.
Others like Breton felt that poetry was but "a study of Idleness",78
and to be tolerated only as a form of relaxation from the sober
and practical affairs of the day. Others who rallied to the defense
of poetry and who insisted that the errors and shortcomings of
one poet were not sufficient to condemn the art itself, were never-
theless not always agreed that it was something to be prised and
cultivated for its own sake. Golding, Lodge, Webbe, and others,
with whatever delight they may have read poetry and discussed
it with their intimates, ventured to defend the poems of Ovid only
on the ground that superior insight into such matters or the proper
method of interpretation enabled them to see deep meanings of
moral or philosophical import where ignorant or untrained readers
saw only "toyes. "
Most blatant of all was Stephen Gosson in his Schoole of Abuse
(1579). In his strictures on the poetic art he lays stress on the
fact that "Ouid bestirreth himself to paint out his Flea76
[and shows] his cunning in the inceste of Myrrha, and that trumpet
of Baudrie, the Craft of Loue. " 77 He expresses approval of the
"A Packet of Letters, Book II, Letter XVI.
"G. G. Smith: Elizabethan Critical Essays, I, p. 364, note. The reference
is to the pseudo-Ovidian De Pulice.
"Arber's ed. , p. 19.
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? THE POETRY AND CHARACTER OF OVID IO.
fact that Augustus banished the author, whom he terms "the hight^
martial of Venus fielde," and "the amorous Scholemaister. "78 Direct
issue to this position is taken in the swiftly ensuing and vigorous
Defence of Poetry by Thomas Lodge. "Haue you not reason",
he asks, "to waye that whatsoeuer either Virgil did write of his
gnatt or Ouid of his fley was all couertly to declare abuse?
you remember not that under the shadow of byrds,
beastes, and trees the follies of the world were desiphered; you
know not that the creation is signified in the Image of Prometheus,
the fall of pride in the person of Narcissus; these are toyes, because
they sauor of wisdome which you want. " TM Here again recourse
is had to allegory, and the critic is charged with ignorance in that
he failed to interpret. Moreover, "Ouids abuses, in describing
whereof you labour very vehementlye, terming him letcher, and
in his person dispraise all poems: but shall on(e) man's follye
destroye a universal commodity? I like not of an angrye
Augustus which wyll banishe Ouid for enuy. I loue a wise Senator,[/
which in wisedome wyll correct him, and with aduise burne his
follyes. "80 Not content with thus meeting the objections of Gosson,
Lodge is drawn on by the fluency of the Latin poet to exclaim:
"Who liketh not of the promptness of Ouid? who not unworthily
could boast of himself thus, Quicquid conabar dicere versus erat.
Who then doth not woonder at poetry? Who thinketh not that
it proceedeth from aboue. " 81
The sage and serious doctrine of allegorical interpretation^
aroused even greater enthusiasm in William Webbe. The essay
Of English Poetry (1586) has this to say: "Ouid, a most learned
and exquisite Poet. The work of greatest profite which he wrote was
his Booke of Metamorphosis, which though it consisted of fayned
Fables for the most part, and poetical inuentions, yet beeing mora-
lized according to his meaning, and the trueth of euery tale beeing
discouered, it is a work of exceeding wysedome and sounde iudge-
ment. If one lyst in like manner to haue knowledge and perfect
"Arber's ed. , p. 29.
TM G. G. Smith: Elizabethan Critical Essays, I, p. 65.
"lb. , p. 75.
"lb. , p. 70.
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? 20 SOME ELIZABETHAN OPINIONS OF
intelligence of those rytes and ceremonies which were obserued
after the Religion of the Heathen, no more profitable worke for
. that purpose then his bookes De fastis. The rest of his dooinges,
^though they tende to the vayne delights of loue and dalliaunce
(except his Tristibus wherein he bewayleth his exile), yet surely
are mixed with much good counsayle and profitable lessons, if
\they be wisely and narrowly read. "82 Webbe believed that his
countrymen owed a great debt to Master Arthur Golding, "for
his labour in englyshing Ouids Metamorphosis to profit
this nation in all kind of good learning. " 83 Webbe is ready too
with an answer to the censure of the moralist: "Nowe, if the ill
and undecent prouocations whereof some unbridled witts take oc-
casion by the reading of laciuious Poemes, bee objected--such as
are Ouids loue Bookes and Elegies I thinke it easily
aunswered. For though it may not iustlie be denied that these workes
are indeed very Poetrie, yet that Poetrie in them is not the essentiall
or formall matter or cause of the hurt therein might be affirmed . . .
vK. . the workes themseules doo not corrupt, but the abuse of the
vsers Ouid, in his most wanton Bookes of loue and the
remedies thereof, hath many pithy and wise sentences, which a
\ heedfull Reader may marke and chose out from the other stuffe. "84
Here we are on familiar ground, as we are also in Nashe's
>S Anatomie of Absurditie. "I woulde not haue any man imagine that in
praysing of Poetry I endeuor to approue Virgils vnchast Priapus, or
Ouids obscenitie: I commend their witte, not their wantonnes, their
learning, not their lust: yet euen as the Bee out of the bitterest
flowers and the sharpest thistles gathers honey, so out of the filthiest
\ Fables may profitable knowledge be sucked and selected. Neuer-
thelesse, tender youth ought to bee restrained for a time from the
reading of such ribauldrie they that couet to picke more
precious knowledge out of Poets amorous Elegies must haue a dis-
cerning knowledge. "85 Furthermore: "When as lust is the tractate
of so many leaues, and loue passions the lauish dispence of so much
"lb. , p. 238.
M Ed. Arber, p. 34.
84 G. G. Smith: Elizabethan Critical Essays, I, p. 252.
"Ed. McKerrow, I, pp. 29-30.
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? THE POETRY AND CHARACTER OF OVID 21
paper, I must needes send such idle wits to the vicar of S. Fooles
Might Ouids exile admonish such Idlebies to betake
them to a new trade Henceforth let them alter their
posies of profit with intermingled pleasure, inserting that of Ouid
in steed.
"Si quis in hoc artem populo non nouit amandi,
Me legat, & lecto carmine doctus amet. " 8a
The attitude of distrust toward works of the imagination was,
however, not to be cleared away by any single utterance, and is
perhaps nowhere more characteristically shown than in Breton's
A Packet of Letters, Book II, Letter 16: "And take heed of Poetry,
lest it run away with thy wit: for it hath commonly one of these
three properties, belibelling the wicked, abusing the honest, or
pleasing the foolish: in a word, it is more full of pleasure
then profit. " The same production has this further recommen-
dation: "Doe thou rather reade in an Euening, then make thy dayes
worke in the study of idlenesse. " Those who delighted in produc-
tions, "where more is meant than meets the ear", would fall
back on such statements as that of Wilson in The Arte of Rhetor-
ique: "For undoubtedly there is no one tale among all the poets,
but under the same is comprehended something that pertaineth,
either to the amendment of manners, to the knowledge of truth,
to the setting forth of Natures work, or els the understanding of
some notable thing done. "87 With that belief men like Golding,
Sandys, and later Garth himself, would search with the utmost
diligence for every trace of concealed meaning that might appear
to justify their admiration for a given author and for the art itself.
For an expression of this point of view even the most enthusiastic
of them could scarcely have asked for more than was offered by Sir
John Harington in his vehement Apologie for Poetrie (1591).
One might almost be tempted to regard the statement as a parody;
but Harington believed that he was fighting Philistines, and he was
determined to make out his case.
"Perseus sonne of Iupiter is fained by the Poets to haue slaine
Gorgon, and after that conquest atchiued, to haue flowen up to
"lb. , p. 10.
"Ed. G. H. Mair, p. 195.
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? 22 SOME ELIZABETHAN OPINIONS OF
heauen. The Historicall sence is this, Perseus the sonne of Iupiter,
by the participation of Iupiters vertues that were in him
slew Gorgon a tyrant in that country (Gorgon in greeke signifieth
earth) and was for his vertuous parts exalted by men up into
heauen. Morally it signifieth this much, Perseus a wise man, sonne
of Iupiter endewed with vertue from aboue, slayeth sinne and vice,
a thing base and earthly; signified by Gorgon, and so mounteth up
to the skie of vertue. " Another allegory is then declared, and
"also another Theological Allegorie", until like a schoolman of a
later day the triumphant apologist tells us: "the like infinite Al-
legories I could pike out of other Poeticall fictions saue that I
would auoid tediousnes. It sufficeth me therefore to note this, that
the men of greatest learning and highest wit in auncient times did
of purpose conceale these deepe mysteries of learning for
sundrie causes; that they might not rashly be abused by pro-
phane wits [for] conservation of the memorie of their pre-
cepts: to be able with one kinde of meate and one dish (as
I may so call it) to feed diuers tastes.
For the weaker capacities
will feede themseules with the pleasantness of the historie and
sweetnes of the verse, some that haue stronger stomackes will as
it were take a further taste of the Morall sence, a third sort more
high conceited than they, will digest the allegorie. "88
Allegorical interpretation had by no means gone out of fashion.
It could and did still do yeoman service for the champions of poetry.
I What a part it played in Elizabethan literary criticism is clearly
-* pointed out by Mr. G. G. Smith. 89 Bacon himself shared the cur-
rent view of the matter. "Upon deliberate consideration," he says
in De Sapientia Veterum, "my judgment is that a concealed instruc-
tion and allegory was intended in many of the ancient fables. " He
took great pride in his interpretation of the Orpheus legend. Long
before, Sir Thomas Elyot had been sure that: "No man can ap-
prehende the very delectation that is in the leeson of noble poetes
unlasse he have radde very moche and in diuers autors of diuers
lernynges. " *? Gascoigne, in his Notes of Instruction (1575)
"Haslewood, II, p. 128 ft.
? G. G. Smith, I, pp. XXIV-XXX.
"The Governour, Bk. I, Ch. XIII.
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? THE POETRY AND CHARACTER OF OVID 23
regards the ability to write allegorically as a badge of distinction:
"I woulde discouer my disquiet in shadowes per allegoriam,
or use the couertest meane that I could to auoyde the vncomely
customes of common writers. " 91 Nashe appears to take a sly dig\
at over-subtle interpretations of Ovidian story thus: "To see how
lovingly hee made the sence of the Apostle and Ouids fiction of
Phaetons firing of the world to kisse before they parted was
sport enough for us to beguile the way. " 92 Gosson, in his Schoole
of Abuse, is frankly contemptuous of the fashion: "It is a Pageaunt
woorth the sight, to beholde how he labors with Mountains to/
bring foorth Mise. " 9S So J. Eachard makes this remark: "It is
usually said by those that are intimately acquainted with him, that
Homer's Iliad and Odyssey contain, mystically, all the Moral Law
for certain, if not a great part of the Gospel (I suppose much
after the rate that Rabelais said his Gargantua contained all the
Ten Commandments) but perceivable only to those that have a
poetical discerning spirit. "94 Owen Felltham was, however, of
another opinion. In his Resolves96 he speakes thus Of Poets and
Poetry: "Surely he was a little wanton with his leisure, that first
invented Poetry But the Words being rather the drossie
part, conceit I take to be the principal. And here though it disgress-
eth from Truth, it flies about her, making her more rare, by giving
curious raiment to her nakedness. . . . -. If the Learned and
Judicious like it, let the Throng bray Two things are com-
monly blamed in Poetry: nay, you take away That if Them, and
these are Lyes and Flattery. But I have told them in the worst
words: For 'tis only to the shallow insight that they appear thus.
Truth may dwell more clearly in Allegory, or a moral 'd Fable,
than in a bare Narration The greatest danger that I find
in it is that it wantons the Blood, and Imagination; as carrying a
man in too high a Delight. " John Davies of Hereford was moved
to declare in Humours Heauen on Earth:96 "Poets, whiche all men
w The Posies, ed. Cunliffe, p. 466.
"Ed. McKerrow, I, p. 89.
"G. G. Smith, I, p. 365.
"Arber: English Garner, VII, p. 253.
"Ed. of 1696, p. 96.
"His note to stanza 148.
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? 24 SOME ELIZABETHAN OPINIONS OF
taxe for lying, doe least lie of any, the morall of their fictions
considered. " No ordinary ridicule sufficed to strike out of the hand
of the defender of poetry his trusted weapon of allegory. With
that he felt ready to meet any attack.
The most enthusiastic appreciation of the poetry of Ovid occurs
in the introduction of Arthur Golding to his famous and widely
influential translation of the Metamorphoses. In the Dedication of
the first four books to Leicester, "at Cecil House, the 23rd day of
I December, 1564," Golding says:
"If this woorke was fully performed with like eloquence and
connying of endyting by me in Englishe, as it was written by Thauc-
thor thereof in his moother' tonge, it might perchaunce delight your
honor for the nomber of excellent devices and fine inven-
tions conteined in the same, purporting outwardly moste pleasant
tales and delectable histories, and fraughted inwardlye with moste
pithie instructions and wholesome examples, and conteynyng bothe
wayes moste exquisite connynge and deepe knowledge. "
In the dedicatory epistle of 1567 to his noble patron, Golding
undertakes to show by elaborate analysis what he regards as the
great significance of the poem. Ovid has brought the entire philoso-
phy of "turned shapes" into "one whole masse. " The poet shows
that nothing persists without change, and that in these changes
nothing is lost; that the soul is immortal; and that the Pythagor-
ean view of the transmigration of the soul applies to the spirit of
animal life, not to the rational soul.
"and in all are pitthie apt and pleyne
Instructions which import the prayse of vertues, and the shame
Of vices, with the due rewardes of eyther of the same. "
Hence the translator sees in the Daphne story "a myrror of
virginitee. " In the story of the fall of Phaethon he reads the
miserable end of youthful ambition.
"This fable also dooth advyse all parents and all such
As bring up youth, too take good heede of cockering them too
much.
It further dooth commend the meane: and willeth too beware
Of rash and hasty promises which most pernicious are,
And not to bee performed: and in fine it playnly showes
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? THE POETRY AND CHARACTER OF OVID 25
What sorrow too the parents and too all the kinred growes
By disobedience of the chyld: and in the chyld is ment
The disobedient subject that ageinst his prince is bent. "
The metamorphoses of the crow and of the raven warn against
the consequence of ill report; the mishaps of Ocyroee show the
perils of undue curiosity; and the tale of Battus is to be taken as
"a very good example" for the covetous. Those who delight in
hawking and hunting, in wantonness and gluttony
"Upon the piteous story of Actaeon ought to think.
For theis and theyre adherents used excessive are in deede ?
The dogs that dayly doo devour theyre followers on with speede. "*
Thus to Golding every myth is an exemplum, and from that point of^
view he thus sums up his account:
"Theis fables out of every booke I have interpreted,
Too shew how they and all the rest may stand a man in sted. "
The next object of the translator's concern is to remind his
patron that the ancients in their ignorance attributed to many gods
what is actually the will of "the true eternall God. "
"For Gods, and fate, and fortune are the terms of heathenesse,
If men usurp them in the sense that Paynims doe expresse. "
These terms Golding proceeds to interpret, admitting the while
that their most satisfactory explanation is to be found in Scripture.
Nevertheless, he insists that the legends that employ the terms
are really of value in promoting virtue and godliness, especially
since in the opinion of many pious and learned men the legends
originated in Scripture.
"What man is he but would suppose the author of this booke
The first foundation of his woorke from Moyses wryghtings
tooke?
Not only in effect he dooth with Genesis agree,
But also in the order of creation, save that hee
Makes no distinction of the dayes. "
Not only does Golding square to his own satisfaction Ovid's
account with that of Moses, but he further argues that the order of
creation is in agreement. According to this position Prometheus
appears to be "theternall woord of God. " The Golden Age finds
its counterpart in Eden; the four ages have biblical parallels; and
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? 26 SOME ELIZABETHAN OPINIONS OF
even the account of the flood is satisfactory, save that Ovid was
misled as to the date because in his account he followed "the boast-
ful, shameless Greeks. "
In conclusion:
"The readers therefore earnestly admonisht are too bee
Too seeke a further meaning then the letter gives too see,
The travell tane in that behalf although it have sum payne
Yet makes it double recompence with pleasure and with gayne. "
No one is more insistent than Golding that the reader is not to
take offense at what may appear to him wanton word or lewd
matter:
"For sure theis fables are not put in wryghting to thentent
Too further or allure too vyce: but rather this is ment,
That men beholding what they bee when vyce dooth reign in stead
Of vertue, should not let their lewd affections have the head. "
In his Preface to the Reader Golding makes an earnest attempt
to guard against offense "the simpler sort" when confronted with
the many names of pagan deities. He sadly admits that:
"The trewe and ever living God the Paynims did not knowe:
Which caused them the names of Goddes on creatures too
bestowe. "
For human nature, he explains, corrupted by Adam's fall, lost
the original sparks of divine grace and descended into superstitions
of all sorts. Satan directing, stars, spirits, animals, and even human
passions became objects of worship among the pagans. Myth-
makers had, therefore, an ulterior purpose in bestowing the various
names of the deities. Hence the names Jove and Juno signify
princes; Ops and Saturn, old people; Phoebus signifies the young;
Mars, men of war; Pallas, the learned, and so on. Moreover, the
proper names stand for various other things which the translator
leaves to the interpretation of his readers:
"Now when thou readst of God or man, in stone, in beast, or tree
It is a mirror of thyself thyne owne estate too see.
For under feyned names of Goddes it was the poets guyse
The vice and faults of all estates too taunt in convert wyse
And likewyse too extoll with prayse such things as doo deserve. "
The various metamorphoses, are therefore to be interpreted in a
spiritual sense, and are related both for pleasure and for profit.
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? THE POETRY AND CHARACTER OF OVID 2. "]
K
"Pleasant terms and art" are employed by the poet in order to hold
the attention to the moral lessons in the legends. And if these lessons
are presented in veiled or dark language, it is in order to make their
discovery all the more attractive to the reader. On his part certainly
good judgment is essential; for in Golding's view the poems are **
flowers, from which bees will extract honey and spiders poison. ,
Those who cannot brook "the lively setting forth" of the work
should recognize their classification as readers and for the time
being at least leave the work alone. Thus Golding brings his in-
troduction to a close, not hoping to have equalled "the pleasant
style" of his original, "who in that all other doth surmount. " He
takes satisfaction in having presented to English readers a "sea of
goodes and Jewelles," for no other work of Ovid, he believes, has
more mysteries, sage counsels, good examples, fine inventions,
strange variety, and wealth of information.
Despite the familiar sound of much of this, it is clear that the
translator himself believed that he had rendered a real service. His
attitude may be defensive and his method of interpretation still
resolutely allegorical; but he has a fine and infectious enthusiasm for
his original. Twenty years later Webbe recognised the service of
Golding to the nation in making accessible "all kind of good learn-
ing,"97 and 10 narrative poets and dramatists the translation became
a treasury of classic myth and legend.
It remains to note some of the chief obiter dicta relating to Ovid
during the Elizabethan period. They serve to illustrate the views
expressed in the preceding discussion. That the statements here
presented are not more numerous or more extensive is due in part
to the fact that they antedate historical criticism in England and in
part to the fact that where an influence is so widely and persistently
felt as was that of Ovid, there is less occasion for specific acknowl-
edgements.
As might be expected, there is expression of the view that Ovid
was a corrupting influence. From this point of view the Ars Amandi
is censured. In several instances the poem is held to be the real
"A Discourse of English Poetrie, ed. Arber, p. 34.
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? 28 SOME ELIZABETHAN OPINIONS OF
cause for the poet's banishment from Rome. George Whetstone,
in his Rocke of Regarde, makes Bianca Maria sum up her evil life
thus:
"The Arte of Love for exercise I redde,
And thus my life in Venus court I ledde. "98
A naive expression of the same view appears in Tom Tel-
Trot hes Message:
"Whilome by nature men and women loued,
And prone enough they were to loue thereby;
But when they Ouids ars amendi proued,
Both men and women fell to lecherie. "99
The suggestive quality of the poem is recognised by John Day in
his lie of Guls (produced in 1605) when he makes the gentleman
in the prologue call for scenes "that will make a man's spirits stand
on their tip toes, and dye his blood in a deep scarlet like your Ovid's
Ars Amandi. "100
John Davies of Hereford regards the poem as the antithesis of
his own ideals:
"Whist, Muse, be mute, wilt thou like Naso proue,
And interlace thy Lynes with levity?
Wilt thou add Precepts to the Arte of Loue,
And show thy vertue in such vanity?
So to pollute thy purer Poesy ? "101
He makes the as yet unsullied sheet of paper thus exclaim:
"Another (ah, Lorde helpe) mee vilifies
With Art of Loue, and how to subtilize. "102
Nicholas Breton reflects the same attitude when he declares:
"I will give over Artem Amandi and I will with thee to some more
worthy study. "103 Two conditions imposed upon Maurice Byrchen-
shaw when he was granted laureation at Oxford were that he
"Ed. J. P. Collier, pp. 20-22.
"New Sh. Soc, Series VI, p. 113.
100 Ed. Bullen, Prologue, pp. 5-6.
m Ed. Grosart, I, p. 67.
1MVol. II, p. 75, Papers Complaint.
m The Wil of Wit, etc, ed. Grosart, II, p. 12.
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? THE POETRY AND CHARACTER OF OVID 20.
should write the required number of verses and promise not to read
Ovid's Art of Love to his pupils. 104
Although even now the precise reason for the banishment of
Ovid is unknown, Elizabethan writers often ascribe the punish-
ment to the displeasure of Augustus at the character of the Ars
Amandi. Such is the belief, of Thomas Becon: "Was not the poet,
Ovidius banished of Augustus Caesar for the books which he made
De Arte Amandi (he might more justly have termed them
De Arte Meretricandi), because that through the reading of them he
corrupteth the minds of the youth. "106 The views of Robert Greene
are similar: "Such fantastike poets who with Ouid
seeke to nourish vice in Rome by setting down Artem Amandi, and
giuing dishonest precepts of lust and leacherie, corrupting youth
with the expence of time, vpon such friuolous fables; and therefore
deserue by Augustus to be banished from so ciuill a countrie as Italie,
amongst the barbarous Getes to Hue in exile. "108 In Greenes
Mourning Garment this opinion is reiterated: "Ouid, after he was
banished for his wanton papers written de Arte Amandi, and his
amorous Elegies between him and Corrina, being amongst the
barbarous Getes, and though a Pagan, yet toucht with a repenting
passion of the follies of his youth, hee sent his Remedium Amoris
and part of his Tristibus to Caesar, not that Augustus was forward
in those fancies, or that hee sought to reclaim the Emperor from such
faults; but as a gathering by infallible coniectures, that hee which
seuerely punished such lasciuious liuers, would be glad to hear of
their repentant labours. "107 The legend is repeated in the curious
poem entitled Greenes Vision.