He was hairy, and his speech of rough gutturals was imperfect.

I have no joy of this contract to-night: / It is too rash, too unadvised, too sudden;

Below, the red cedar festoon'd with tylandria, the pines and cypresses growing out of the white sand that spreads far and flat, […]

This makes searing sense of the pauseless transition between the third and fourth scenes: here, this heroine has no sooner left the stage as Aeneas’s public paramour than she at once runs back on, hair flying, to order his departure.