Discourses on Satire and Epic Poetry [71]
These difficulties are not easily to be solved without confessing that Virgil had not life enough to correct his work, though he had reviewed it and found those errors, which he resolved to mend; but being prevented by death, and not willing to leave an imperfect work behind him, he ordained by his last testament that his "AEneis" should be burned. As for the death of Aruns, who was shot by a goddess, the machine was not altogether so outrageous as the wounding Mars and Venus by the sword of Diomede. Two divinities, one would have thought, might have pleaded their prerogative of impassibility, or at least not have been wounded by any mortal hand. Beside that, the [Greek text which cannot be reproduced] which they shed was so very like our common blood that it was not to be distinguished from it but only by the name and colour. As for what Horace says in his "Art of Poetry," that no machines are to be used unless on some extraordinary occasion--
"Nec deus intersit, nisi dignus vindice nodus" -
that rule is to be applied to the theatre, of which he is then speaking, and means no more than this--that when the knot of the play is to be untied, and no other way is left for making the discovery, then, and not otherwise, let a god descend upon a rope, and clear the business to the audience. But this has no relation to the machines which are used in an epic poem.
In the last place, for the dira, or flying pest which, flapping on the shield of Turnus and fluttering about his head, disheartened him in the duel, and presaged to him his approaching death--I might have placed it more properly amongst the objections, for the critics who lay want of courage to the charge of Virgil's hero quote this passage as a main proof of their assertion. They say our author had not only secured him before the duel, but also in the beginning of it had given him the advantage in impenetrable arms and in his sword; for that of Turnus was not his own (which was forged by Vulcan for his father), but a weapon which he had snatched in haste, and by mistake, belonging to his charioteer Metiscus. That after all this Jupiter, who was partial to the Trojan, and distrustful of the event, though he had hung the balance and given it a jog of his hand to weigh down Turnus, thought convenient to give the Fates a collateral security by sending the screech-owl to discourage him; for which they quote these words of Virgil:-
"Non me tua turbida virtus Terret, ait; dii me terrent, et Jupiter hostis."
In answer to which, I say that this machine is one of those which the poet uses only for ornament, and not out of necessity. Nothing can be more beautiful or more poetical than his description of the three Dirae, or the setting of the balance, which our Milton has borrowed from him, but employed to a different end; for, first, he makes God Almighty set the scales for St. Gabriel and Satan, when he knew no combat was to follow; then he makes the good angel's scale descend, and the devil's mount--quite contrary to Virgil, if I have translated the three verses according to my author's sense:-
"Jupiter ipse duas aequota examine lances Sustinet, et fata imponit diversa duorum; Quem damnet labor, et quo vergat pondere letum."
For I have taken these words Quem damnet labor in the sense which Virgil gives them in another place (Damnabis tu quoque votis), to signify a prosperous event. Yet I dare not condemn so great a genius as Milton; for I am much mistaken if he alludes not to the text in Daniel where Belshazzar was put into the balance and found too light. This is digression, and I return to my subject. I said above that these two machines of the balance and the Dira were only ornamental, and that the success of the duel had been the same without them; for when AEneas and Turnus stood fronting each other before the altar, Turnus looked dejected, and his colour faded in his face, as if he desponded of the victory before the fight; and not only he, but all his party, when the strength of the two champions was judged by the proportion of
"Nec deus intersit, nisi dignus vindice nodus" -
that rule is to be applied to the theatre, of which he is then speaking, and means no more than this--that when the knot of the play is to be untied, and no other way is left for making the discovery, then, and not otherwise, let a god descend upon a rope, and clear the business to the audience. But this has no relation to the machines which are used in an epic poem.
In the last place, for the dira, or flying pest which, flapping on the shield of Turnus and fluttering about his head, disheartened him in the duel, and presaged to him his approaching death--I might have placed it more properly amongst the objections, for the critics who lay want of courage to the charge of Virgil's hero quote this passage as a main proof of their assertion. They say our author had not only secured him before the duel, but also in the beginning of it had given him the advantage in impenetrable arms and in his sword; for that of Turnus was not his own (which was forged by Vulcan for his father), but a weapon which he had snatched in haste, and by mistake, belonging to his charioteer Metiscus. That after all this Jupiter, who was partial to the Trojan, and distrustful of the event, though he had hung the balance and given it a jog of his hand to weigh down Turnus, thought convenient to give the Fates a collateral security by sending the screech-owl to discourage him; for which they quote these words of Virgil:-
"Non me tua turbida virtus Terret, ait; dii me terrent, et Jupiter hostis."
In answer to which, I say that this machine is one of those which the poet uses only for ornament, and not out of necessity. Nothing can be more beautiful or more poetical than his description of the three Dirae, or the setting of the balance, which our Milton has borrowed from him, but employed to a different end; for, first, he makes God Almighty set the scales for St. Gabriel and Satan, when he knew no combat was to follow; then he makes the good angel's scale descend, and the devil's mount--quite contrary to Virgil, if I have translated the three verses according to my author's sense:-
"Jupiter ipse duas aequota examine lances Sustinet, et fata imponit diversa duorum; Quem damnet labor, et quo vergat pondere letum."
For I have taken these words Quem damnet labor in the sense which Virgil gives them in another place (Damnabis tu quoque votis), to signify a prosperous event. Yet I dare not condemn so great a genius as Milton; for I am much mistaken if he alludes not to the text in Daniel where Belshazzar was put into the balance and found too light. This is digression, and I return to my subject. I said above that these two machines of the balance and the Dira were only ornamental, and that the success of the duel had been the same without them; for when AEneas and Turnus stood fronting each other before the altar, Turnus looked dejected, and his colour faded in his face, as if he desponded of the victory before the fight; and not only he, but all his party, when the strength of the two champions was judged by the proportion of