The most popular production of this poet is his Metamorphoses, not less extraordinary for the nature of the subject, than for the admirable art with which the whole is conducted. The work is founded upon the traditions and theogony of the ancients, which consisted of various detached fables. Those Ovid has not only so happily arranged, that they form a coherent series of narratives, one rising out of another; but he describes the different changes with such an imposing plausibility, as to give a natural appearance to the most incredible fictions. This ingenious production, however perfect it may appear, we are told by himself, had not received his last corrections when he was ordered into banishment. In the Ibis, the author imitates a poem of the same name, written by Callimachus. It is an invective against some person who publicly traduced his character at Rome, after his banishment. A strong sensibility, indignation, and implacable resentment, are conspicuous through the whole. The Tristia were composed in his exile, in which, though his vivacity forsook him, he still retained a genius prolific in versification. In these poems, as well as in many epistles to different persons, he bewails his unhappy situation, and deprecates in the strongest terms the inexorable displeasure of Augustus. Several other productions written by Ovid are now lost, and (179) amongst them a tragedy called Medea, of which Quintilian expresses a high opinion. Ovidii Medea videtur mihi ostendere quantum vir ille praestare potuerit, si ingenio suo temperare quam indulgere maluisset [277]. Lib. x. c. 1. It is a peculiarity in the productions of this author, that, on whatever he employs his pen, he exhausts the subject; not with any prolixity that fatigues the attention, but by a quick succession of new ideas, equally brilliant and apposite, often expressed in antitheses. Void of obscenity in expression, but lascivious in sentiment, he may be said rather to stimulate immorally the natural passions, than to corrupt the imagination. No poet is more guided in versification by the nature of his subject than Ovid. In common narrative, his ideas are expressed with almost colloquial simplicity; but when his fancy glows with sentiment, or is animated by objects of grandeur, his style is proportionably elevated, and he rises to a pitch of sublimity. No point in ancient history has excited more variety of conjectures than the banishment of Ovid; but after all the efforts of different writers to elucidate the subject, the cause of this extraordinary transaction remains involved in obscurity. It may therefore not be improper, in this place, to examine the foundation of the several conjectures which have been formed, and if they appear to be utterly imadmissible, to attempt a solution of the question upon principles more conformable to probability, and countenanced by historical evidence.