sourest critic must acknowledge that if he had deprived his “Æneis” of so great an ornament, because he found no traces of it in antiquity, he had avoided their unjust censure, but had wanted one of the greatest beauties of his poem. I shall say more of this in the next article of their charge against him, which is—want of invention. In the meantime I may affirm, in honour of this episode, that it is not only now esteemed the most pleasing entertainment of the “Æneis,” but was so accounted in his own age, and before it was mellowed into that reputation which time has given it; for which I need produce no other testimony than that of Ovid, his contemporary:— “_Nec pars ulla magis legitur de corpore toto_, _Quam non legitimo fædere junctus amor_.” Where, by the way, you may observe, my lord, that Ovid in those words, _non legitimo fædere junctus amor_, will by no means allow it to be a lawful marriage betwixt Dido and Æneas. He was in banishment when he wrote those verses, which I cite from his letter to Augustus. “You, sir,” saith he, “have sent me into exile for writing my ‘Art of Love’ and my wanton elegies; yet your own poet was happy in your good graces, though he brought Dido and Æneas into a cave, and left them there not over-honestly together: may I be so bold to ask your majesty is it a greater fault to teach the art of unlawful love than to show it in the action?” But was Ovid the court-poet so bad a courtier as to find no other plea to excuse himself than by a plain accusation of his master? Virgil confessed it was a lawful marriage betwixt the lovers; that Juno, the goddess of matrimony, had ratified it by her presence (for it was her business to bring matters to that issue): that the ceremonies were short we may believe, for Dido was not only amorous, but a widow. Mercury himself, though employed on a quite contrary errand, yet owns it a marriage by an innuendo—_pulchramque uxorius urbem extruis_. He calls Æneas not only a husband, but upbraids him for being a fond husband, as the word _uxorius_ implies. Now mark a little, if your lordship pleases, why Virgil is so much concerned to make this marriage (for he seems to be the father of the bride himself, and to give her to the bridegroom); it was to make way for the divorce which he intended afterwards, for he was a finer flatterer than Ovid, and I more than conjecture that he had in his eye the divorce which not long before had passed betwixt the emperor and Scribonia. He drew this dimple in the cheek of Æneas to prove Augustus of the same family by so remarkable a feature in the same place. Thus, as we say in our home-spun English proverb, he killed two birds with one stone—pleased the emperor by giving him the resemblance of his ancestor, and gave him such a resemblance as was not scandalous in that age (for to leave one wife and take another was but a matter of gallantry at that time of day among the Romans). _Neque hæc in fædera veni_ is the