us, 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 exi