day, whether civilization and national prosperity generally have since that time advanced or retrograded, it is very doubtful whether the decision would prove in favor of the present." Virgil states the function of Rome clearly in the famous passage of the sixth book wherein Greek and Roman are compared:—
"Forget not, O Roman, thy fate—to rule in thy might o'er the nations:
This is to be thine art—peace to the world to give."
So the hero Æneas, himself of divine birth, is preserved by divine intervention when Troy falls, and mid dire perils for seven years' voyagings, and all the bitter warring in Italy, "to bring the gods unto Latium," "to found a city," to teach Italy religion and a virile civilization. "Whence Rome mighty in her defences," "a task of so great magnitude it was to build the Roman nation." Twice,—once in fields Elysian from the lips of sainted Anchises, and again, portrayed on the shield that Vulcan made for Æneas, is rehearsed the long line of legendary and historical Roman heroes down to Augustus himself. "On this side is Augustus Cæsar, leading the Italians to conflict, with the senate and the people, the home-gods and their mighty brethren, standing aloft on the stern." "But Cæsar . . . was consecrating to the gods of Italy a votive tribute to deathless gratitude, three hundred mighty fanes the whole city through." "Such sights Æneas scans with wonder on Vulcan's shield . . . as he heaves on his shoulder the fame and the fate of grandsons yet to be" (end of eighth book). Incidentally ground is given, in compensating fate, for Rome's conquest of Greek lands—she is but loyal to her Trojan ancestry!—and for the duel to the death with Semitic Carthage—whose queen once was the stately Dido, left by King Æneas at Jove's command! Incidentally, too, Virgil draws from Trojan origins governmental forms, religious rites, yes, even games.
While this great task of glorifying patriotism and har-
