Landscape in Lucretius, Virgil, and other Augustan poets is then taken up. The contrast between Lucretius and Virgil is vast, "hardly less than the transit in imagination from Siberia to Italy." "To Lucretius impassive, feelingless law sways the world, dead to mankind, who can only accept their fate. Virgil for this substitutes a vision of Providential rule, which teaches man by its constant order. Unlike Lucretius, he lived when the world was at length 'lapt in universal law. Yet a 'pathetic undertone, a "sad earnestness, as Cardinal Newman has beautifully remarked, almost everywhere underlies his verse. He has the note of yearning." He delights in "the soft sweet freshness of Italy," and describes it with a melody whose cadences, as Hamerton says of the line "Maioresque cadunt altis de montibus umbrae," in the first Eclogue, are "soft almost as the falling of the shadows themselves." (By the way, why does Mr. Palgrave translate this line, "And larger shadows fall on the lofty mountains"?). To sum up the matter, "whilst Lucretius scientifically interrogates Nature, Virgil, though longing to investigate, embraces her." The illustrations from Virgil are exclusively from the "Eclogues" and the "Georgics." The "Æneid" is dismissed with a brief mention of "two bright pictures from insect life; the bees whose toil is compared with that of the builders from [at] Carthage, and the ants as they store grain for winter." Yet there are lovely little landscape sketches in the "Æneid," like that of the landing place of the Trojans in book i., lines 159-169 ("Est in secessu longo locus," etc.), to refer to a single instance which we have always admired. -The Critic, Vol. 30