rave in a
manner no less fervid and hyperbolic? and in Enobarbus's description of
her magnificence when she met Antony is there not a reminiscence of the
oriental splendour of Dido's proposed fleet?

We quote part of the farewell scene between Dido and Aeneas.

_Dido._ But yet Aeneas will not leave his love.

_Aeneas._ I am commanded by immortal Jove
To leave this town and pass to Italy:
And therefore must of force.

_Dido._ These words proceed not from Aeneas' heart.

_Aeneas._ Not from my heart, for I can hardly go;
And yet I may not stay. Dido, farewell.

_Dido._ Farewell! is this the 'mends for Dido's love?
Do Trojans use to quit their lovers thus?
Fare well may Dido, so Aeneas stay;
I die, if my Aeneas say farewell.

_Aeneas._ Then let me go, and never say farewell;
Let me go: farewell: I must from hence.

_Dido._ These words are poison to poor Dido's soul:
O, speak like my Aeneas, like my love!
Why look'st thou toward the sea? the time hath been
When Dido's beauty chained thine eyes to her.
Am I less fair than when thou saw'st me first?
O, then, Aeneas, 'tis for grief of thee!
Say thou wilt stay in Carthage with thy queen,
And Dido's beauty will return again.
Aeneas, say, how canst thou take thy leave?
Wilt thou kiss Dido? O, thy lips have sworn
To stay with Dido! Canst thou take her hand?
Thy hand and mine have plighted mutual faith.
Therefore, unkind Aeneas, must thou say,
'Then let me go, and never say farewell'?

_Aeneas._ O queen of Carthage, wert thou ugly-black,
Aeneas could not choose but hold thee dear!
Yet must he not gainsay the gods' behest.

_Dido._ The gods! what gods be those that seek my death?
Wherein have I offended Jupiter,
That he should take Aeneas from mine arms?
O, no! the gods weigh not what lovers do:
It is Aeneas calls Aeneas hence.

Summarizing, in one short paragraph, the advance in tragedy inaugurated
by Kyd and Marlowe, we record the progress made in characterization,
plot structure, and verse, and in the treatment of history. A play has
now become interesting for its delineation of character, not merely for
its events or 'story'. One or two figures monopolize the attention by
their lofty passions, their sufferings, and their fate. We look on at a
tremendous conflict waged between will and circumstance, betwe