Like every cultivated Roman of that age, Virgil was a close student of the literature and philosophy of the Greeks, and his poems bear eloquent testimony to the profound impression made upon him by his reading of the Greek poets. His first important work, the _Eclogues_, was directly inspired by the pastoral poems of Theocritus, from whom he borrowed not only much of his imagery but even whole lines; in the _Georgics_ he took as his model the _Works and Days_ of Hesiod, and though in the former case it must be confessed that he suffers from the weakness inherent in all imitative poetry, in the latter he far surpasses the slow and simple verses of the Boeotian. But here we must guard ourselves against a misapprehension. We moderns look askance at the writer who borrows without acknowledgment the thoughts and phrases of his forerunners, but the Roman critics of the Augustan Age looked at the matter from a different point of view. They regarded the Greeks as having set the standard of the highest possible achievement in literature, and believed that it should be the aim of every writer to be faithful, not only to the spirit, but even to the letter of their great exemplars. Hence it was only natural that when Virgil essayed the task of writing the national Epic of his country, he should be studious to embody in his work all that was best in Greek Epic poetry. It is difficult in criticizing Virgil to avoid comparing him to some extent with Homer. But though Virgil copied Homer freely, any comparison between them is apt to be misleading. A primitive epic, like the _Iliad_ or the _Nibelungenlied_, produced by an imaginative people at an early stage in its development, telling its stories simply for the sake of story telling, cannot be judged by the same canons of criticism as a literary epic like the _Aeneid_ or _Paradise Lost_, which is the work of a great poet in an age of advanced culture, and sets forth a great idea in a narrative form. The Greek writer to whom Virgil owes most perhaps, is Apollonius of Rhodes, from whose _Argonautica_ he borrowed the love interest of the _Aeneid_. And though the Roman is a far greater poet, in this instance the advantage is by no means on his side, for, as Professor Gilbert Murray has so well said, 'the Medea and Jason of the _Argonautica_ are at once more interesting and more natural than their copies, the Dido and Aeneas of the _Aeneid_. The wild love of the witch-maiden sits curiously on the queen and organizer of industrial Carthage; and the two qualities which form an essential part of Jason--the weakness which makes him a traitor, and the deliberate gentleness which contrasts him with Medea--seem incongruous in the father of Rome.' But though Virgil turned to the Greek epics for the general framework and many of the details of his poem, he always remains master of his materials, and stamps them with the impress of his own genius. The spirit which