her own heart, and the idealization and worship of the woman by the man, were not only scarcely known but, so far as they were known, reprehended or condemned.
Ovid, in the opinion of some, represents a new movement in Rome. We are apt to regard Ovid as, in erotic matters, the representative of a set of immoral Roman voluptuaries.
That view probably requires considerable modification. Ovid was not indeed a champion of morality, but there is no good reason to suppose that, before he appeared, the rather stern Roman mind had yet conceived those refinements and courtesies which he set forth in such charming detail.
If we take a wide survey of his work, we may perhaps regard Ovid as the pioneer of a chivalrous attitude towards women and of a romantic conception of love not only new in Rome but of significance for Europe generally. Ovid was a powerful factor in the Renaissance movement, and not least in England, where his influence on Shakespeare and some others of the Elizabethans cannot easily be overrated. 1
For the ordinary classic mind, Greek or Roman, marriage was intended for the end of building up the family, and the family was consecrated to the State. The fulfilment of so exalted a function involved a certain austere dignity which excluded wayward inclination or passionate emotion. These might indeed occur between a man and a woman outside marriage, but putting aside the very limited phenomena of Athenian hetairism, they were too shameful to be idealized. Some trace of this classic attitude may be said to persist even to-day among the so-called Latin nations, notably in the French tradition (now dying out) of treating marriage as a relationship to be arranged, not by