the poem, it seems to pass at once from serious melodrama to broad comedy; and but that these dwellers in Olympus really rule the fortunes of the tale, it would be scarcely possible not to believe that the poet so intended it.
We are introduced again, then, to Olympus; and, as before, to a quarrel among the Immortals. It is Jove this time who is the aggressor. He has seen the result of the combat, and taunts Juno with the double patronage extended to the Greeks by herself and Minerva—which, after all, has failed—while Venus, more active and energetic, has rescued her favourite. However, he awards the victory to Menelaus; and suggests, as a solution to all disputes and difficulties, that now Helen should be given up, the Greeks go home, and so the fate of Troy be averted. At the thought of her enemy thus escaping, the queen of the gods cannot contain her rage. Jupiter gives way. He loves Troy much, but domestic peace and quietness more. He warns his queen, however, that if he now consents to give up Troy to her insatiable revenge, she shall not stand in his way hereafter, in case some community of mortals who may be her especial favourites shall incur his royal displeasure. And Juno, with that utter indifference to human suffering, or human justice, which characterises the deities of Olympus, makes answer in these words:—
"Three cities there are dearest to my heart;
Argos, and Sparta, and the ample streets
Of rich Mycenæ; work on them thy will—
Destroy them, if thine anger they incur—
I will not interpose nor hinder thee."
In furtherance of this strange compact, Minerva is
