Dryden.
Seeking Anchises among these happy shades, the two are directed to a remote valley, where, beside the waters of Oblivion, old Anchises is passing in review the long train of his posterity, marshaled in the order of their birth into the world. When Anchises sees his son approaching, he cries out joyfully to him:
And are you come at last? Has love fulfilled a father's hopes and surmounted the perils of the way? Is it mine to look on your face, my son, and listen and reply as we talked of old? Yes; I was even thinking so in my own mind. I was reckoning that it would be, counting over the days. Nor has my longing played me false. Oh, the lands and the mighty seas from which you have come to my presence! the dangers, my son, that have tossed and smitten you!
Oh, how I have feared lest you should come to harm in that realm of Libya!
Conington.
Then follows a revelation of the mysteries of transmigration of souls, the nature of soul essence, its purgation after years of contact with its old body, and its ages of preparation for another mortal habitation.
Anchises now calls his son's attention to his own posterity, standing in majestic review before him--noble shades, some of whom are destined to go to the upper world at once, and some to wait long centuries in the land of preexistent souls. The mighty host of Roman worthies are marshaled here, who, as yet unknown, are to make the name of Rome known and feared or honored to the farthest bounds of earth. Here stalk the shadowy forms of kings, consuls, generals, and statesmen, who on earth shall be Romulus, Numa, and Tarquin; Brutus, Decius, Camillus, Cato, and the Gracchi; the Scipios, the Fabii; Caesar and Pompey, and he whose brow shall be first to wear the imperial crown as ruler of the world--Augustus Caesar.
And now aeneas, fortified for any hardships upon earth by these glorious visions of his posterity, turns his face back to the upper world.
There are two gates of Sleep: the one, as story tells, of horn, supplying a ready exit for true spirits; the other gleaming with the polish of dazzling ivory, but through it the powers below send false dreams to the world above. Thither Anchises, talking thus, conducts his son and the Sibyl, and dismisses them by the gate of ivory. aeneas traces his way to the fleet, and returns to his comrades; then sails along the shore for Caieta's haven. The anchor is cast from the prow; the keels are ranged on the beach.
Conington.
The Trojans sail up the coast, touch once more upon the land, skirt wide past Circe's realm of dreadful magic, and then they come to where a wide-mouthed river pours out into the sea.
The sea was just reddening in the dawn, and Aurora was shining down from heaven's height in saffron robe and rosy car, when all at once the winds were laid, and every breath sank in sudden sleep, and the oars pull slowly against the smooth unmoving wave.
In the same moment aeneas, looking out from the sea, beholds a mighty forest. Among the trees Tiber, that beauteous river, with his gulfy rapids and the burden of his yellow sand, breaks into the main. Around and above, birds of all plumes, the constant tenants of bank and stream, were filling the air with their notes and flying among the woods. He bids his comrades turn aside and set their prows landward, and enters with joy the river's shadowed bed.
Conington.
Up this great stream they sail, and reach at last the spot which Fate has held in store for them. When that Italy which has so long eluded the grasp of the hero is actually reached, and he stands upon the fated ground to which prophecy and the visions of his eager fancy have long been pointing him, the poem is complete; and all that follows is another poem, actuated by another spirit. To this point Fate has led him, through the smoke of his burning city, through storms and shipwreck, and the unceasing opposition of adverse powers, and here she has finally rewarded his piety and unswerving faith in his destiny. The first six books of the _aeneid_ present the hero as the all-enduring one, the last as the warrior king. The first six books are the story of hope and anticipation; the last, of attainment and realization.
The incidents of the last six books which constitute the second part of the _aeneid_ may be briefly told. King Latinus, who ruled over Latium, received the Trojan prince with kindness and promised him Lavinia for his wife, the king's only daughter and heiress of his crown. But Juno's spite still pursued the Trojans, and through her machinations the Latins and their allies were aroused against these foreigners. Especially was Italian Turnus roused, a mighty prince of the Rutuli, for he had long been suitor for Lavinia, and had won the favor of the Queen Amata to his cause.
And now all Italy is ablaze with sudden war. Against his allied foes aeneas secures the aid of the Greek Evander with his Arcadians, and of the Etruscan tribes. The plains of Troy are transferred to Italy. Again are heard the clashing of arms, the trumpet's blare, the snorting of horses, the heavy tread of marching feet, hoarse challenges to conflict, the hollow groans of the wounded and dying; the air is lit with the gleam of torches; the ground is red with streams of blood. Juno and Venus are active throughout, as of old in the Homeric story, each in the interest of her own favorite.
But Juno's implacable hate is no match for destiny. aeneas must triumph, for the fates have spoken it. The interest of the whole conflict centers in the rival heroes; and when these two, after endless slaughter, on both sides, of lesser men, meet at last in single conflict, there is no doubt, even in the Italian's own heart, that he is foredoomed. And when he falls, wounded by aeneas' spear and slain by his sword, the poem ends abruptly, for the story can contain no more.
With these words, fierce as flame, he plunged the steel into the breast that lay before him. That other's frame grows chill and motionless, and the soul, resenting its lot, flies groaningly to the shades.
Conington.
SUMMARY AND QUESTIONS FOR REVIEW
_Roman Epic Poetry_, as illustrated by Naevius (269-199 B. C.), "the first Roman who deserves to be called a poet," _Bellum Punicum_; Ennius (239-169 B. C.), "the father of Roman literature," the _Annals_; Vergil (70-19 B. C.), greatest of Roman poets, the _aeneid_.
1. What is known of the life of Naevius? 2. What is the nature of his _Bellum Punicum_? 3. What did Vergil owe to this poem? 4. Quote the epitaph of Naevius. 5. What is the significance of it? 6. What were the chief events in the life of Ennius? 7. What interesting bit of self-portraiture appears in his _Annals_? 8. Why does he deserve the title of "the father of Roman literature"? 9. What is the nature of the _Annals_? 10. Why is the loss of the great body of this work so much to be regretted? 11. What progress did Latin literature make between the time of Ennius and that of Vergil? 12. How was Vergil fitted for his career both by nature and training? 13. Into what select circle was he privileged to enter? 14. What was the nature of the _Eclogues_? 15. What of the _Georgics_? 16. Why did the _aeneid_ never receive its finishing touches? 17. How was the poem saved from destruction? 18. What was Vergil's probable purpose in writing the _aeneid_? 19. Quote the lines which promise world dominion to the Romans. 20. What religious motive seems to guide aeneas? 21. How does Vergil's treatment of the gods compare with that of Ovid? 22. What in brief is the story of the _aeneid_? 23. What characteristic passages in the poem deal with the mystery of nature? 24. From what different sources does aeneas throughout the poem receive guidance as to his future home? 25. On what occasions do the gods interfere to influence the progress of events? 26.
What characteristic customs of the times are portrayed in the poem? 27.
What picture of life after death does the poem present? 28. What crimes does Vergil represent as unpardonable sins? 29. How does Vergil glorify aeneas in his descendants? 30. How many books of the poem are devoted to the wanderings of aeneas? 31. What in brief is the story of the remaining books?
BIBLIOGRAPHY
SELLAR, _The Roman Poets of the Republic_: Naevius and his Historical Epic, pp. 57-61; Ennius and the _Annales_, pp. 62-79, 88-119.
SELLAR, _The Roman Poetry of the Augustan Age_: _Vergil_.
TYRRELL, _Latin Poetry_: Lost Augustan Poets, pp. 20-26; Vergil, pp. 26, 126-161; Post-Augustan Epics, p. 27; Lucan, pp. 262-269.
NETTLESHIP, _Essays in Latin Literature_: Suggestions Introductory to a Study of the _aeneid_, pp. 97-142.
CONINGTON, _Miscellaneous Writings_: Early Roman Epic Poetry, pp.
324-347; Later Roman Epic, pp. 348-384.
SHAIRP, _Aspects of Poetry_: Vergil as a Religious Poet, pp. 136-163.
SHAIRP, _Poetic Interpretation of Nature_: Nature in Lucretius and Vergil, pp. 153-169.
BOISSIER, _The Country of Horace and Vergil_: The Legend of aeneas, pp.
119-346.
SIMCOX, _History of Latin Literature_: Ennius, the _Annals_, Vol. I, pp.
22-30; Vergil, Vol. I, pp. 253-282; Lucan and his successors, Vol. II, pp. 35-74.
MOMMSEN, _History of Rome_: Early Roman Epic, Naevius and Ennius, Vol.
II, pp. 519-540.
MILLER AND NELSON, _Dido, an Epic Tragedy_: A dramatization of the story of aeneas and Dido.