is regret at
parting is not the simulated grief of a hollow deceiver, but the sincere
emotion of a lover acting under compulsion. Constructively the play is
well balanced, although the incidents of the first two acts form,
perhaps, a rather too elaborate introduction to the main plot. Some
initial reference to the gods is necessary to set Aeneas's action in the
right light. The writer is inclined, however, to turn the occasion into
an opportunity for fine picture painting when he should be pressing
forward to the essential theme. The long story of the destruction of
Troy, also, has no proper place in this drama, inasmuch as Aeneas's
piety and prowess at that time are not even converted to use as an
incentive to Dido's love. Nevertheless it must be admitted that some of
the most charming passages are to be found in these first two acts. The
commencement of the third act at once sets the real business of the
tragedy in motion: by a delicate piece of deception Queen Dido is
persuaded to clasp young Cupid, instead of little Ascanius, to her
bosom--with fatal results. Before the act is over Dido and Aeneas have
plighted troth, romantically, in a cave where they are sheltering
together from a storm. With the fourth act comes the first warning of
impending shipwreck to their loves. Aeneas has a dream, and prepares to
sail for Italy. On this occasion, however, the queen is able to overcome
his doubts by bestowing upon him her crown and sceptre, thus providing
him with a kingdom powerful enough to content his ambitions. Yet the
gods are not to be satisfied so; Hermes himself is sent to command the
Trojan's instant departure for another shore. In vain now does Dido
plead. Aeneas departs, and there is nothing left for her in her anguish
but to fling herself upon the sacrificial fire raised on the pretence of
curing her love. A grim pretence, verily.

Besides the two principal characters there are Dido's sister Anna, and a
visiting king, Iarbas, several friends of Aeneas, Ascanius (as himself
and as impersonated by Cupid), and various gods and goddesses. None of
these are developed beyond a secondary pitch; but Ascanius (or Cupid) is
quite invaluable for the lightness and freedom which his presence
conveys to the atmosphere about him; while the unrequited loves of Anna
and Iarbas soften for us the severity of the blow that crushes the
Carthaginian queen. Aeneas himself is presented in a subdued light, his
soldier's heart being fair