In and before the age of Chaucer the poems of Ovid upon love and its cure were much drawn upon by writers of romances and allegories. They were the direct inspiration of much of the troubadour poetry of Provence and thence of the mediaeval lyric verse of Europe in general. Ovidian borrowings are manifest in the _Romance of the Rose_. Chaucer himself was a student of Ovid, Lucan, Virgil, “Stace,” and also Livy. From Ovid’s _Metamorphoses_ and love-elegies in particular he took much matter. His _Knight’s Tale_ is ultimately from the _Thebaid_ of Statius. The reading of his contemporary Gower, and of his successor Lydgate, was even more deep in the same authors. At the beginning of the sixteenth century Gawin Douglas translated the _Aeneid_, and soon afterwards Wyatt and Surrey show themselves steeped in Seneca and the epigrams of Martial; Surrey also translated portions of the _Aeneid_. Before Marlowe and Shakespeare the more scholarly pioneers of drama, such as Sackville, sought for tragic models in Seneca and for comic models in Plautus. Elizabethan readers ransacked all available Latin books. Spenser’s _Eclogues_ follow Virgil’s, and his _Faerie Queene_ is full of borrowings from the _Aeneid_ and from Ovid’s _Metamorphoses_. The effect of Ovid on Shakespeare himself is manifest in his _Venus and Adonis_. Bacon who, like all the great prose-writers of his time, could use both English and Latin, shows in especial the influence of Seneca. Ben Jonson, who translated portions of Horace and Martial, is an imitator of Horace in the way of poetical epistles and short lyrics, and of Martial in epigram. In the school of the “Sons of Ben” and the “Cavalier poets,” we meet with very distinct manifestations of the combined influence of the lyrists Horace and Catullus and the epigrammatist Martial. We know these to have been favourite poetic reading of the period. Simultaneously the general style of prose-writing, whether as in Milton or as in Jeremy Taylor, was imagined to be based upon the rounded periodic style of Cicero, and the language itself is deliberately Latinized to a remarkable degree. Milton, who wrote Latin poems as well as English, is greatly and openly indebted in his epics to both the matter and the manner of Virgil. The post-Restoration comedy derives itself through a French medium from that of Plautus and Terence. At the same time the second-hand critical principles of Rome begin to prevail in England. Roscommon translates the _Ars Poetica_ of Horace; Dryden translates the _Aeneid_ and passages of Ovid; he also writes powerful satire in direct imitation of Juvenal. Addison produced his _Campaign_ under the influence of Lucan, and his _Cato_ under the influence of Seneca. Pope begins with pastorals after the manner of Virgil and Theocritus, composes _Imitations of Horace_, and copies the _Ars Poetica_ and Epistles and Satires in his own poetical essays on criticism and morals. His _Messiah_ is a recasting of