feeling was merely the manifestation of a vague instinct, comparable to the “love” which a bevy of modern boarding-school “buds” show for the only man they are allowed to see regularly—their ugly teacher—and the unreality and silliness of which they laugh at themselves when they are at last allowed to meet the man of their own, individual, free choice, who teaches them the feeling of real Romantic Love.
VIRGIL, DRYDEN, AND SCOTT
Nevertheless, compared with Greek literature, the works of the Roman poets show an advance in their conception of Love; for they avoid at least the Hellenic confusion of love with friendship. Compared with the best modern poets, however, who labour with the pure gold of Love alone, the Roman poet’s productions still show much of the base ore from which the modern gold has been extracted. It is interesting, in this connection, to read what Dryden has to say concerning Virgil’s conception of Love, and Scott’s comments on Dryden.
In his dedication of the Æneid, Dryden speaks of Book IV. as "This noble episode, wherein the whole passion of love is more exactly described than in any other poet. Love was the theme of his fourth book; and though it is the shortest of the whole Æneis, yet there he has given its beginning, its progress, its traverses, and its conclusion; and had exhausted so entirely his subject, that he could resume it but very slightly in the eight ensuing books.
“She was warmed with the graceful appearance of the hero; she smothered those sparkles out of decency; but conversation blew them up into a flame. Then she was forced to make a confidante of her whom she might best trust, her own sister, who approves the passion, and thereby augments it: then succeeds her public owning it; and after that the consummation. Of Venus and Juno, Jupiter and Mercury, I say nothing; for they were all machining work; but, possession having cooled his love, as it increased hers, she soon perceived the change, or at least grew suspicious of a change; this suspicion soon turned to jealousy, and jealousy to rage; then she disdains and threatens, and again is humble and entreats, and nothing availing, despairs, curses, and at last becomes her own executioner. See here the whole process of that passion, to which nothing can be added.”
Sir Walter Scott, however, does add, in a foot-note to his edition of Dryden: “I am afraid this passage, given as a just description of love, serves to confirm what is elsewhere stated, that Dryden’s ideas of the female sex and of the passion were very gross and malicious.”
OVID’S ART OF MAKING LOVE
Gross and malicious also are the ideas of the female sex and the passion frequently encountered in the poems of Ovid; not so coarse and cynical, indeed, as in Martial and Catullus, but sufficiently so to have confounded the æsthetic judgment of the present generation, and spread the notion that Virgil and Horace are greater poets than Ovid, whereas, from the point of view of originality and imaginativeness, by far the greatest of the three is Ovid, who also had much more influence on the great writers of the best period of English literature than his rivals, as Professor W. Y. Sellar has pointed out.
Both these circumstances are to be regretted—the undervaluation of Ovid’s genius as well as his frequent frivolity on which it is based. For Ovid was unquestionably the first poet who had a conception of the higher possibilities of Love; in fact he was the greatest, and the only great, Love-poet before Dante. His rare genius enabled him to anticipate and depict the modern imaginative side of Love, even while he seemed wholly devoted to the ancient sensual side. And, in reading his poems, great caution is necessary, lest these emotional anticipations of his quasi-modern genius be supposed to have been common and prevalent among less gifted Romans of his time.
Ovid was a profound observer and psychologist, and had a most subtle knowledge of contemporary feminine nature; Although the principal object of his Ars Amoris is to teach men how to out-trump the natural cunning of women, yet he does not forget his feminine readers, but gives them numerous hints regarding the best way of fascinating fickle men. In the Remedia Amoris he describes various remedies for healing Cupid’s wounds, most of which are approved to the present day; and the Elegies and Heroides, too, are full of pretty modern touches and flashes of insight. A few of these points may be briefly alluded to.
Coyness, although often manifested by the Roman women in almost as crude a manner as among savages, does not appear to have been appreciated by all of them at its full value; so the poet frequently counsels them as to the more subtle ways of exercising it; one of his rules for women being, that if they have offended an admirer, the best way to make him forget it is to pretend to be offended themselves, which will restore the equilibrium. How the consciousness of being beautiful makes a woman courageous, coy, and cruel is shown in another place. That eyes have a language plainer than speech is not a modern discovery; and that a short absence favours, long absence kills, passion was also known to Ovid. He warns men against the danger of feigning love, because this may end in arousing genuine passion. Men are informed that courage and confidence in one’s ability to win a woman are half the battle. And disappointed lovers are assured that failure sometimes turns into an advantage, for it may arouse pity, and love enter in the guise of friendship.
The emotional hyperbole and mixed feelings of Love are not strangers to Ovid. He compares the tortures of Love to the berries on the trees in number, to the shells on the sea-beach; for true Love, he says, always creates anguish and pain; and “the sweetest torment on earth is woman.” Among the companions of Cupid are “flattery and illusion.” But “even if the beloved deceives me with false words, hope itself will yield me great enjoyment,” could only have been written by one who realised the imaginative side of love. And in another passage the poet directly enjoins the necessity of intellectual culture to take the place of the faded charms of youth.
Hero’s Letter to Leander in the Heroides contains some pretty touches. Leander has informed his love that when the storm prevents him from swimming over to her, his mind yet hastens to meet her. But Hero is in great trouble at his prolonged absence, and her deepest anguish is Jealousy of a possible rival: in the absence of real grounds of apprehension, her imagination invents them, as in a modern lover’s mind. She suspects that his passion has lost the ardour which sustained him in his difficult feat; and, too weak to quite swim over to him and back again, and anxious to save him the double journey, she suggests that they should meet in the middle of the sea, exchange a kiss, and each return to the shore whence they came.
Is there anything more exquisitely romantic or pathetic in all modern Love-poetry—in Shakspere, Heine, Burns, or Byron?
BIRTH OF GALLANTRY
Becker says of the Greeks that “The men were very careful as to their behaviour in the presence of women, but they were quite strangers to those minute attentions which constitute the gallantry of the moderns.” This holds true apparently of all other nations of antiquity; and to a student of the history of Love it is therefore of exceeding interest to find in Ovid’s poetry the first evidences of the existence of Gallantry—a disposition on the part of the men to sacrifice their own comfort to the pleasures and whims of women.
Mr. G. A. Simcox was the first writer, so far as I know, who pointed out Ovid’s priority in this matter (in his History of Latin Literature). In Ovid, he says, “The whole description of gallantry implies that the idea was a novelty, and that the lover would require a great deal of encouragement to enable him to make the sacrifice of paying such
