[11] W. Y. Sellar in _The Roman Poets of the Augustan Age, Virgil_, Oxford (3d edition), 1908, analyzes under convenient headings Vergil’s position in Latin literature. Henry Nettleship’s discussions in _Lectures and Essays_, Oxford, 1875, 1885, have not been superseded, though they have evidently been suggestive to more recent critics. Sainte-Beuve’s _Étude sur Virgile_, Paris, n. d., and T. R. Glover’s _Virgil_, London, 1904 (4th edition, 1920), appeal more to the general reader. R. Y. Tyrrell’s chapter in his _Latin Poetry_, Boston, 1895, is unsympathetic with Vergil the artist. Most of the innumerable editions of the _Æneid_ have little to say of his poetic art. This is specifically the subject of M. Marjorie Crump’s _The Growth of the Æneid_, Oxford, 1920, which, though little developed, is a distinct contribution to technical study. But _the_ book on Vergilian epic is the exhaustive work of Richard Heinze, _Virgils epische Technik_, Leipzig, 1902 (2d edition. 1908, 3d edition, 1915). References are to pages of the third edition. [12] Heinze, 319, compares in this aspect the Homeric duel of Paris and Menelaus with _Æneid_ xii. Typically, he points out, Vergil’s “Handlung fortschreitet,” and the composition is “szenenhaft.” [13] Paul LeJay, _L’Énéide_, Paris, 1919, page lix. Heinze, 381, shows the minuteness of this care in cases where two scenes are chronologically parallel. One of the two is always subordinated; and the first to be presented is always carried to a state of rest before turning to the second. [14] Heinze, 361. [15] The exactness, brilliancy, and range of Vergil’s color words are studied by T. R. Price, _The Color-System of Vergil_, American Journal of Philology, volume 4, number 13 (1882). See the more extensive work of Hugo Blümner, _Die Farbenbezeichnungen bei den römischen Dichtern_, Berliner Studien, volume 13 (1891). [16] This is the technical secret of the distinction that Sainte-Beuve expresses as “sobriété ... rien que le nécessaire,” _Étude sur Virgile_, 93. [17] Glover, 16, repeats Henry’s praise of Quale per incertam lunam sub luce maligna. VI. 270. Surcharged precision intensifies Lucet via longo Ordine flammarum, et late discriminat agros. XI. 143. But the same distinctness, at once precise and picturesque, may be found almost anywhere in the _Æneid_; it is Vergil’s habit, and it is never obtrusive. [18] Lessing, _Laokoön_, especially chapters xvi and xvii. [19] Heinze, 406. [20] The famous description of the harbor under the cliffs (Est in secessu longo locus. I. 159) is really less characteristic than Adspirant auræ in noctem, nec candida cursus Luna negat; splendet tremulo sub lumine pontus. VII. 8. [21] Heinze, 396. [22] Heinze, 374. [23] Heinze cites the handling of Fama in IV, and of Allecto in VII. [24] See above, page 199.