Now the reason is that there was a secret harmony between Virgil's soul and the soul of Augustin. Both were gracious and serious. One, the great poet, and one, the humble schoolboy, they both had pity on the Queen of Carthage, they would have liked to save her, or at any rate to mitigate her sadness, to alter a little the callousness of Æneas and the harshness of the Fates. But think of it! Love is a divine sickness, a chastisement sent by the gods. It is just, when all's said, that the guilty one should endure her agony to the very end. And then, such very great things are going to arise out of this poor love! Upon it depends the lot of two Empires. What counts a woman before Rome and Carthage? Besides, she was bound to perish: the gods had decreed it.... There was in all that a concentrated emotion, a depth of sentiment, a religious appeal which stirred Augustin's heart, still unaware of itself. This obedience of the Virgilian hero to the heavenly will, was already an adumbration of the humility of the future Christian. Certainly, Augustin did not perceive very plainly in these turbid years of his youth the full religious significance of Virgil's poem. Carried away by his headstrong nature, he yielded to the heart-rending charm of the romantic story: he lived it, literally, with the heroine. When his schoolmasters desired him to elaborate the lament of the dying Queen Dido in Latin prose, what he wrote had a veritable quiver of anguish. Without the least defence against lust and the delusions of the heart, he spent intellectually and in a single outburst all the strength of passion. He absorbed every love-poem with the eagerness of a participating soul. If he took pleasure in the licentiousness of Plautus and Terence, if he read delightfully those comedies wherein the worst weaknesses are excused and glorified, I believe that he took still more pleasure in the Latin Elegiacs who present without any shame the romantic madness of Alexandrine love. For what sing these poets even to weariness, unless it be that no one can resist the Cyprian goddess, that life has no other end but love? Love for itself, to love for the sake of loving--there is the constant subject of these sensualists, of Catullus, Propertius, Tibullus, Ovid. After the story of Dido, the youthful reader was ravished by the story of Ariadne, even more disturbing, because no remorse modifies the frenzy of it. He read: