_demi-monde_ is probable from this fact; as also from the poet's strong assertion that he had never been guilty of an intrigue with a married woman. The class to which she belonged were mostly Greeks or Easterns, beautiful and accomplished, often poetesses, and mingling with these seductive qualities the fickleness and greed natural to their position, of which Ovid somewhat unreasonably complains. To her are dedicated the great majority of the _Amores_, his earliest extant work. These elegant but lascivious poems, some of which perhaps were the same which he recited to large audiences as early as his twenty-second year, were published 13 B.C., and consisted at first of five books, which he afterwards reduced to three. [37] No sooner were they before the public than they became universally popular, combining as they do the personal experiences already made familiar to Roman audiences through Tibullus and Propertius, with a levity, a dash, a gaiety, and a brilliant polish, far surpassing anything that his more serious predecessors had attained. During their composition he was smitten with the desire (perhaps owing to his Asiatic tour) to write an epic poem on the wars of the gods and giants, but Corinna, determined to keep his muse for herself, would not allow him to gratify it. [38] The _Heroides_ or love-letters from mythological heroines to their (mostly) faithless spouses, are declared by Ovid to be an original importation from Greece. [39.] They are erotic _suasoriae_, based on the declamations of the schools, and are perhaps the best appreciated of all his compositions. They present the Greek mythology under an entirely new phase of treatment. Virgil had complained [40] that its resources were used up, and in Propertius we already see that allusive way of dealing with it which savours of a general satiety. But in Ovid's hands the old myths became young again, indeed, younger than ever; and people wonder they could ever have lost their interest. His method is the reverse of Virgil's or Livy's. [41] They take pains to make themselves ancient; he, with wanton effrontery, makes the myths modern. Jupiter, Juno, the whole circle of Olympus, are transformed into the _hommes et femmes galantes_ of Augustus's court, and their history into a _chronique scandaleuse_. The immoral incidents, round which a veil of poetic sanctity had been cast by the great consecrator time, are here displayed in all their mundane pruriency. In the _Metamorphoses_ Jupiter is introduced as smitten with the love of a nymph, Dictynna; some compunctions of conscience seize him, and the image of Juno's wrath daunts him, but he finally overcomes his fear with these words-- "Hoc furtum certe coniux mea nesciet (inquit); Aut si rescierit, sunt O sunt iurgia tanti?"