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386 very marrow." In some parts of the second and third book of the Ars Amandi, the poet burns a firework, the stench of which leaves no doubt as to where we are. The poison is all the more dangerous as it is offered sweetened with the virgin honey of genuine poetic diction. But even the Metamorphoses contain many seductive passages, for which reason only selections should be in the hands of the pupils.

The Metamorphoses are the most important work for class reading. There is, on the whole, not very much depth of feeling or thought, but myth after myth is related, in a marvellous variety of detailed description, in a most fascinating style, and in a truly Homeric naiveté. Indeed Ovid has little of the stern Roman character; he has more of the gay, imaginative Greek. As regards his style, the elegance and unlabored ease of his versification is unrivalled. He says himself of his facility in writing verses: Et quod temptabam dicere, versus erat. The brilliancy of his imagination, the liveliness of his wit, the wonderful art of bringing every scene distinctly before the eye, whether he describes the palace of the Sun-God or the cottage of Philemon, have been universally admired. If properly treated, Ovid will please and delight boys. Above all, the account of the primeval chaos and creation should be read. It is, as Father Baumgartner says, "clear and grand and forms the noblest and most beautiful cosmogony which classical antiquity and the pagan Orient have handed down."