aim,--the advancement of Rome; animated with one sentiment,--devotion to the State. All that was purely personal in them seems merged in the traditional pictures which express only the fortitude, dignity, and sagacity of the Republic. Ennius also followed Homer in introducing the element of supernatural agency into his poem. The action of the Annals, as well as of the Iliad, was made partially dependent on a divine interference with human affairs, though exercised less directly, and, as it were, from a greater distance. Yet how great is the difference between the life-like representation of the eager, capricious, and passionate deities of Homer's Olympus and that outline which may still be traced in Ennius, and which is seen filled up in Virgil and Horace, of the gods assembled, like a grave council of state, to deliberate on the destiny of Rome. In one fragment, containing the familiar line,-- Unus erit quem tu tolles in caerula caeli Templa,-- they are introduced as debating, 'tectis bipatentibus,' on the admission of Romulus into heaven. Again, in the account of the Second Punic War, Jupiter is introduced as promising to the Romans the destruction of Carthage; and Juno abandons her resentment against the descendants of the Trojans,-- Romanis coepit Juno placata favere. It may be remarked, as a strong proof of the hold which their mythology had on the minds of the ancients, that men so sincere as Ennius and Lucretius, while openly expressing opposition to that system of religious belief, cannot separate themselves from its influence and associations in their poetry. But it is not to be supposed that Ennius, in the passages just referred to, was merely using an artificial machinery to which he attached no meaning. In this representation of the councils of the gods, he embodies that faith in the Roman destiny, which was at the root of the most serious convictions of the Romans, in the most sceptical as well as the most believing ages of their history. This, too, is the real belief, which gives meaning to the supernatural agency in the Aeneid. Aeneas is little more than a passive instrument in the hands of Fate; Jupiter merely foreknows and pronounces its decrees; the parts assigned to Juno and Venus, in thwarting and advancing these decrees, seem to be an artistic addition to this original conception, suggested perhaps as much by the experience of female influence and intrigue in the poet's own age as by the memories of the Iliad. Homer makes his personages known to us in speech as well as in action. Among epic poets he alone possessed the finest dramatic genius. But over and above the natural dialogue or soliloquy, in which every feeling of his various personages is revealed, he has invested his heroes with the charm of fluent and powerful oratory, in the council of chiefs and before the assembled people. The words of his speakers pour on, as he says of the words of Odysseus,-- νιφάδεσσιν ἐοίκοτα χειμερίῃσι,