Discourses on Satire and Epic Poetry [64]
fictions be delightful (which they always are if they be natural) if they be of a piece; if the beginning, the middle, and the end be in their due places, and artfully united to each other, such works can never fail of their deserved success. And such is Virgil's episode of Dido and AEneas, where the sourest critic must acknowledge that if he had deprived his "AEneis" of so great an ornament, because he found no traces of it in antiquity, he had avoided their unjust censure, but had wanted one of the greatest beauties of his poem.
I shall say more of this in the next article of their charge against him, which is--want of invention. In the meantime I may affirm, in honour of this episode, that it is not only now esteemed the most pleasing entertainment of the "AEneis," but was so accounted in his own age, and before it was mellowed into that reputation which time has given it; for which I need produce no other testimony than that of Ovid, his contemporary:-
"Nec pars ulla magis legitur de corpore toto, Quam non legitimo faedere junctus amor."
Where, by the way, you may observe, my lord, that Ovid in those words, non legitimo faedere junctus amor, will by no means allow it to be a lawful marriage betwixt Dido and AEneas. He was in banishment when he wrote those verses, which I cite from his letter to Augustus. "You, sir," saith he, "have sent me into exile for writing my 'Art of Love' and my wanton elegies; yet your own poet was happy in your good graces, though he brought Dido and AEneas into a cave, and left them there not over-honestly together: may I be so bold to ask your majesty is it a greater fault to teach the art of unlawful love than to show it in the action?" But was Ovid the court-poet so bad a courtier as to find no other plea to excuse himself than by a plain accusation of his master? Virgil confessed it was a lawful marriage betwixt the lovers; that Juno, the goddess of matrimony, had ratified it by her presence (for it was her business to bring matters to that issue): that the ceremonies were short we may believe, for Dido was not only amorous, but a widow. Mercury himself, though employed on a quite contrary errand, yet owns it a marriage by an innuendo--pulchramque uxorius urbem extruis. He calls AEneas not only a husband, but upbraids him for being a fond husband, as the word uxorius implies. Now mark a little, if your lordship pleases, why Virgil is so much concerned to make this marriage (for he seems to be the father of the bride himself, and to give her to the bridegroom); it was to make way for the divorce which he intended afterwards, for he was a finer flatterer than Ovid, and I more than conjecture that he had in his eye the divorce which not long before had passed betwixt the emperor and Scribonia. He drew this dimple in the cheek of AEneas to prove Augustus of the same family by so remarkable a feature in the same place. Thus, as we say in our home-spun English proverb, he killed two birds with one stone--pleased the emperor by giving him the resemblance of his ancestor, and gave him such a resemblance as was not scandalous in that age (for to leave one wife and take another was but a matter of gallantry at that time of day among the Romans). Neque haec in faedera veni is the very excuse which AEneas makes when he leaves his lady. "I made no such bargain with you at our marriage to live always drudging on at Carthage; my business was Italy, and I never made a secret of it. If I took my pleasure, had not you your share of it? I leave you free at my departure to comfort yourself with the next stranger who happens to be shipwrecked on your coast; be as kind an hostess as you have been to me, and you can never fail of another husband. In the meantime I call the gods to witness that I leave your shore unwillingly; for though Juno made the marriage, yet Jupiter commands me to forsake you." This is the effect of what he saith when it is dishonoured out of Latin verse into English prose. If the poet argued not aright, we must pardon him for a poor blind heathen, who knew
I shall say more of this in the next article of their charge against him, which is--want of invention. In the meantime I may affirm, in honour of this episode, that it is not only now esteemed the most pleasing entertainment of the "AEneis," but was so accounted in his own age, and before it was mellowed into that reputation which time has given it; for which I need produce no other testimony than that of Ovid, his contemporary:-
"Nec pars ulla magis legitur de corpore toto, Quam non legitimo faedere junctus amor."
Where, by the way, you may observe, my lord, that Ovid in those words, non legitimo faedere junctus amor, will by no means allow it to be a lawful marriage betwixt Dido and AEneas. He was in banishment when he wrote those verses, which I cite from his letter to Augustus. "You, sir," saith he, "have sent me into exile for writing my 'Art of Love' and my wanton elegies; yet your own poet was happy in your good graces, though he brought Dido and AEneas into a cave, and left them there not over-honestly together: may I be so bold to ask your majesty is it a greater fault to teach the art of unlawful love than to show it in the action?" But was Ovid the court-poet so bad a courtier as to find no other plea to excuse himself than by a plain accusation of his master? Virgil confessed it was a lawful marriage betwixt the lovers; that Juno, the goddess of matrimony, had ratified it by her presence (for it was her business to bring matters to that issue): that the ceremonies were short we may believe, for Dido was not only amorous, but a widow. Mercury himself, though employed on a quite contrary errand, yet owns it a marriage by an innuendo--pulchramque uxorius urbem extruis. He calls AEneas not only a husband, but upbraids him for being a fond husband, as the word uxorius implies. Now mark a little, if your lordship pleases, why Virgil is so much concerned to make this marriage (for he seems to be the father of the bride himself, and to give her to the bridegroom); it was to make way for the divorce which he intended afterwards, for he was a finer flatterer than Ovid, and I more than conjecture that he had in his eye the divorce which not long before had passed betwixt the emperor and Scribonia. He drew this dimple in the cheek of AEneas to prove Augustus of the same family by so remarkable a feature in the same place. Thus, as we say in our home-spun English proverb, he killed two birds with one stone--pleased the emperor by giving him the resemblance of his ancestor, and gave him such a resemblance as was not scandalous in that age (for to leave one wife and take another was but a matter of gallantry at that time of day among the Romans). Neque haec in faedera veni is the very excuse which AEneas makes when he leaves his lady. "I made no such bargain with you at our marriage to live always drudging on at Carthage; my business was Italy, and I never made a secret of it. If I took my pleasure, had not you your share of it? I leave you free at my departure to comfort yourself with the next stranger who happens to be shipwrecked on your coast; be as kind an hostess as you have been to me, and you can never fail of another husband. In the meantime I call the gods to witness that I leave your shore unwillingly; for though Juno made the marriage, yet Jupiter commands me to forsake you." This is the effect of what he saith when it is dishonoured out of Latin verse into English prose. If the poet argued not aright, we must pardon him for a poor blind heathen, who knew