Dream") This poem, traditionally placed at Amores 3.5, is considered spurious. The poet describes a dream to an interpreter, saying that he sees while escaping from the heat of noon a white heifer near a bull; when the heifer is pecked by a crow, it leaves the bull for a meadow with other bulls. The interpreter interprets the dream as a love allegory; the bull represents the poet, the heifer a girl, and the crow an old woman. The old woman spurs the girl to leave her lover and find someone else. The poem is known to have circulated independently and its lack of engagement with Tibullan or Propertian elegy argue in favor of its spuriousness; however, the poem does seem to be datable to the early empire. Style Ovid is traditionally considered the final significant love elegist in the evolution of the genre and one of the most versatile in his handling of the genre's conventions. Like the other canonical elegiac poets Ovid takes on a persona in his works that emphasizes subjectivity and personal emotion over traditional militaristic and public goals, a convention that some scholars link to the relative stability provided by the Augustan settlement. However, although Catullus, Tibullus and Propertius may have been inspired in part by personal experience, the validity of "biographical" readings of these poets' works is a serious point of scholarly contention. Ovid has been seen as taking on a persona in his poetry that is far more emotionally detached from his mistress and less involved in crafting a unique emotional realism within the text than the other elegists. This attitude, coupled with the lack of testimony that identifies Ovid's Corinna with a real person has led scholars to conclude that Corinna was never a real person – and that Ovid's relationship with her is an invention for his elegiac project. Some scholars have even interpreted Corinna as a metapoetic symbol for the elegiac genre itself. Ovid has been considered a highly inventive love elegist who plays with traditional elegiac conventions and elaborates the themes of the genre; Quintilian even calls him a "sportive" elegist. In some poems, he uses traditional conventions in new ways, such as the paraklausithyron of Am. 1.6, while other poems seem to have no elegiac precedents and appear to be Ovid's own generic innovations, such as the poem on Corinna's ruined hair (Am. 1.14). Ovid has been traditionally