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390 the foundress of Carthage. Her imprecation: "Exoriare aliquis nostris ex ossibus ultor," is the most clever and most poetical conception of the Punic wars. Then take the sixth book, where Aeneas, in a grand vision, sees all the future splendor and glory of Rome, and show in Homer's poems, or in any other work, a passage of nobler, more majestic and more poetical character. It is true, the hero of the poem, Aeneas, does not inspire the reader. He lacks the fiery passion and impetuous vigor of Achilles, the chivalrous spirit of Hector, the inventiveness and cunning of Odysseus. But he is more than all that: he is the chosen instrument of Divine Providence for bringing about the greatest achievement in human history: "the settlement of that race in Italy, from which were to spring the founders of Rome." Only narrow prejudice, therefore, can depreciate Virgil's immortal work. Rightly has a Jesuit said: "This grand picture warmed with strong national and religious enthusiasm, elevated by the consciousness of Roman majesty and dignity, illumined by the light of a higher world, outweighs many a beautiful passage of the Iliad. This is not merely frosty imitation, not studied artifice, this is poetry, as it can well forth only from the inspired heart of a true poet. This noble idealism and genuine enthusiasm is the soul and the life-inspiring principle of the whole poem."

I think it is Nagelsbach who says, that every classical scholar should study carefully all the works of Virgil. For the pupils, of course, selections must suffice. But, as far as possible, these selections should give a view of the whole poem. The I. book, the II.