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Las diagrammes suivants illustrent la mAthoda. 1 2 3 1 2 3 4 5 6 MICROCOPY RESOLUTION TEST CHART (ANSI and ISC TEST CHART No. 2) ^ ^jPPLIE_DJVHGE_ ^^Z l^^^ ^°^' ^ai" street = (7ie; 288-5989 -Fax Inc The Fates „. angelo Clotho colutn retinet, Lachesis net, et Atropos occat. CrkBBknl ^cxt-fiooh »nm. VERGIL'S AENEID, BOOK I. KDITKD WITH INTRODUCTORY NOTICES, NOTES. COMPLETE VOCABULARY AND ILLUSTRATIONS, JOHN HENDERSON. M.A. AND E. W. HAGARTY, B.A. TORONTO : THE COPP CLARK COMPANY, LmrnD, 231430 Til Ontorio, In th, Offlo, ot th, HinlsKr ol Airrlculluni. lomnio, PREFACE. and nto, It is hoped thdt the present edition will fulfil the dual object of the editors, namely : first, to assist the pupil to study with mtelligence and appreciation the text prescribed for examination, and secondly, to arouse an interest in, and a taste for, classical literature. While it is the duty of an examiner to ascertain whether the student understands the text prescribed, it ought to be the duty of the intelligent teacher to see that the student appreciates the work he is reading. The editors have sought to aid the teacher in his work by furnishing the materials in an attractive form. John Henderson. E. W. Hag ARTY. HH LIST OF ILLUSTRATIONS. The Fates .... r . Vergil, Horace, and Varius at the House of Maecenas ^pp p ^^ introtluction Helen OF Troy opp. p. xviii, Imrcxluction Juno .... r„ "' opp. p. I, Text J"'"^^"^ opp. p. 8. Text Dido Building Karthage ^pp. p. ,^^ ^ext Diana of the Hind „pp p ^^^ ^^^^ hlL^Y.K^ AT THE CoURT OF DiDO .... „pp. p. 23, Text A Bacchanal Reclining at a Feast Funeral of Hector . . „ a^ P- 85 ^'^~^ p. 88 EuRus, THE East W;nd . . „ o^ ' • • • • . p. 09 Ganymede ?• 90 ^=*c"^Y p. 92 Neptune . P- 93 An Amazon . . . , « „« r Fronds/lie,.^ ntrotluction ntrcxluction p. I, Text p. 8, Text p. 14. Text p. 16, Text p. 22, Text • P- 31 . . p. 85 . p. 88 . ]). 89 . p. 90 • P- 92 • p. 93 . . p. 97 LIFE OF VERGIL. CO S o a: Publius Vergilius Maro ' was born on the fifteenth of Birth. October, B.C. 70, in the lirst consulate of M. Licinius Cras^ua and Cn. Pompeius, at Andes (now Pietola), a small village near Mantua. Since the full franchise was not given to this part of Gaul (Gallia Trampadana) till some years after- wards2, the poet, like many of his predecessors and contem- poraries in literature, was not a Roman, but an Italian provincial. The parents of Vergil, like those of Horace, were oi His Parmt, obscure birth. Some authorities say that the poet's father was a potter, others, that he was a brickmaker, while others again assert that he was the servar " a travelling merchant, Magius, whose daughter, Magia Polla, he afterwards married! Whatever may have been his occupation, certain it is, that he was at the time of the poet's birth, the steward, factor, or possessor of an estate near Mantua. The childhood of Vergil was passed amid the hills and woods that fringed the verdant banks of the Mincius, and the early association of the poet with the lovely scenery of the neighbourhood of his native town may account for the exquisite touches of pas- toral life which appear in the Eclogues and the Georgics • The English equivalent of Vergilius is often spelt Virgil. Indeed the nopf U >,..f known by the na„>e thus spelt. However, it is better tolopt thetpem"g h h nomzes wUh what is undoubtedly the correct Latin forn,. The forn V rgi ius ."s not conunon t.ll the nmldle ages. Every Roman citizen had regularly thee names Maro PuhUus ,8 the praenomcn, marking the indimd.uil; VergUius is the Imr denoting the ,,.„., or clan ; while Maro is the coonomen, or fan.ily name Son t me^ an «,;«o».. was added for military distinction, as Africanus to Scinio vZt^L lo ittctelius. '"'• -'-'•-*" — »» 2 B.C. 49. vi Hit ttudiei begin : B.C. 65. Vergil goes to Rome, B.C. 63. Goes to Naples. LIFE OP VERGIL. Studies and Early Life. Vergil began his studies at Cremona, where, we are told, he assumed the toya virilis on the same day on which Lucretius died. The town itself had already been noted, having been the birthplace of Furius Bibaculus, and of the critic, Quinctilius Varro. After a brief stay at Cremona, and subsequently at Medio- lanum (Milan), the poet went to Rome. In the capital, Vergil, after the fashion of the day, attended the lectures of rhetoricians and philosophers. Under Epidius, the rhetorician, the teacher of Marc Antony and afterwards of Octavius, and under the Epicurean philosopher, Siron, the poet became acquainted with the outlines of rhetoric and philosophy. It is quite probable that his father intended him for the bar, but a weak voice and a diffident manner were insuperable barriers in the way of obtaining distinction in public speaking. Vergil soon gave up rhetoric, and, in fact, renounced poetry for the more congenial study of philosophy. Under Siron, he seems to have made considerable progress in Epicurean philosophy, and the love he retained for this branch of learning is plainly observable in many of his extant writings.* In a minor poem, generally supposed to be genuine, he welcomes the exchange of poetry and rhetoric for more useful studies : " Away with you, empty coloured flagons of the rhetori- cians, words swollen, but not with the dews of Greece ; and, away with you, Stilo, Tagitius, and Varro, you, nation of pedants, soaking with fat ; you, empty cymbals of the class- room. Farewell, too, Sabinus, friend of all my friends : now, farewell, all my beautiful companions, we are setting our sails for a haven of bliss, going to hear the learned words of the great Siron, and we mean to redeem our life from all distrac- tion. Farewell, too, sweet Muses ; for, to tell the truth, I have found how sweet you were : and yet, I pray you, look on my pages again, but with modesty and at rare intervals. "^ After a short stay at Rome Vergil probably went to Naples, where, we are told, Parthenius, another Epicurean, was his instructor. The great Epic« of Lucretius, added to the *Eclogiie V! • Qeori'. ' Oataiepta vu. * D« Rer.iin Satura. IV, 219; Aen. i, 743; VI, 7S4 ; Georg. ii, 475-492. vu LIFE OF VERGIL. teachings of his instructors, gave, no doubt, his mind a strong bent towards the doctrines of Epicurus. It is probable that the poet returnci? to his father's farm before the outbreak of Retum$ the war betwt )mpey and Caesar, b.c. 49. It is also likely '"'^' that he remain ihere till after the battle of Philippi (b.c. 42), and that he «^mployed his time in gaining by observation materials which he afterwards employed in his great didactic poem, the Georgics. Acquaintance with Augustus and Maecenas. Unlike Horace, Vergil sympathized with the party of Caesar. The formation of the Second Triumvirate threw the Roman world into the broils of a civil war. In the division of the provinces, the Gauls (except Gallia Narbomnsia) fell to Antony, The lands of eighteen cities were given up to reward the legions of the unscrupulous Antony, and among the lands were those of Cremona. The dis- trict around this city failing to satisfy the greedy rapacity of the legionaries of the Triumvir, the farms of the neighbouring Mantua were seized, and among the lands con- /arm. fiscated were those of the poet's father. C. Asinius PoUio, the prefect of Gallia Transpadana, unable to restrain the lawlessness of the soldiers of Antony, sent Vergil to Rome ^^ ^f^.. with a recommendation to Augustus to allow the poet to/a*m.'"* ** retain his paternal estate. It is quite probable that con- genial tastes and a recognition of the genius of Vergil may have influenced PoUio to take this course. At the close of the same year (41 B.c.), however, war broke out anew between Octavius and L. Antonius. Pollio was deposed from office, and Alfenus Varus appointed in his stead. Another ^r^Ai. division of lands followed, and the poet is said to have been-^"*""*- deprived of his estate the second time.» His friends, Gallus, Pollio, and Varus, however, interposed and saved his farm. By them he was introduced to Maecenas, the patron of f.P: ^^• literary men~afterwards the prime minister of Augustus. ibr'mL o^ This year marks the beginning of the rising fortunes of the ^*'"^"- poet. With his friend and patron, Pollio, as Consul, Vergil became the honoured member of a literary coterie which graced the table of Maecenas. The intimacy that Vergil enjoyed at court, is shewn by his being one of those who Lou of hit vin LIFE OP VERGIL. Bit reiidenees. Death. Epitaph. went to Brundisium along with Maecenas, when the latter was negotiating a treaty between Augustus and Antony.* Through the munificent kindness of his patrons he was raised to luxury and affluence. He had a magnificent house in Rome on the Esquiline, near the residences of Horace and Maecenas, estates in Sicily, and in Campania, near Naples. The mild climate and clear skies of Southern Italy suited his delicate constitution, and till his death, his Campanian resi- dence was his favourite abode.' From the date of his early Eclogues till his death, httle need be said of his life except that he devoted himself to study and to the completion of his immortal works. Death and Character. In the year B.C. 19, he went to Grefice, possibly with a view to restore his health, and to give a iinish to his great work, the Aeneid. At Athens he met Augus- tus, who had just returned from Samos. Vergil returned to Italy in company with the emperor, but died at Brundisium three days after he landed, 22nd September, 19 B.C. He was buried near Naples on the road leading to Puteoli {Puzzuoli). His epitaph, said to have been dictated by himself in his last moments, was as follows :— Mantua me genuit ; Calabri rapxiere ; tenet nunc Parthenope. Cecini pascua, rura, duces. ' <> It is said that shortly before his death Vergil wished to destroy the Aeneid rather than leave it in its unfinished state. His friends however dissuaded him, and the poem was after- wards edited and published by Varius and Tucca under the sanction of Augustus and Maecenas. Vergil is generally described as of tall stature, delicatr frame, homely features, and d ark complexion, abstinent ip the use of food, shy, and fond of retirement. Horace is said to have had Vergil in his mind's eye when he wrote" the lines thus rendered by Conington : 8 Horace Satirea i, 5 and 10. • Geo. IV, 563. Illo Vergilium me tempore dulcis alebat Parthenope, studiis Jlorentem ignnhilis oti. »" Some have taken the last line to refer to the Eclogues, the Georgics, and tbr Aeneid. »» Hor. Sat. i, 8, 29-84. LIFE OF VERGIL. IX " The man is passionate, perhaps misplaced In social circles of fastidious taste ; His ill-trimmed beard, his dress of uncouth style. His shoes ill-fitting, may provoke a smile ; But he's the soul of virtue ; but he's kind But that coarse body hides a mighty n.ind." He was so pure and chaste that the Neapolitans gave him the name of Parthenias, or the maiden.''^ He is said to have been shy and even awkward in society, and these traits even the polished society of the Capital never succeeded in eradicating. He was distrustful of his own powers, which his high ideas of literary excellence led him to underrate. In the midst of an irreligious age, he had the strongest reli- gious sentiment ; in the midst of vice he remained virtuous ; and while licentiousness disfigures the writings of many of his brother poets, the pages of Vergil everywhere inculcate the highest truths of morality and virtue. Works. Vergil is said to have attempted in his youth an epic poem" Early work$ on the wars of Rome, but the difficulty of the task soon led him to abandon his design. His earlier poems, Culex, More- turn, Ciris, Copa, and those that pass under the name Cata- lepta, though they give little proof of great ability, still show the careful attention the poet bestowed on metre and diction, 1. The writings that first established the reputation of Vergil were the Eclogues," pastoral poems, ten in number, written between 43 B.C.-37 B,C. This class of poetry was Edoyues. as yet unknown in Italy, though it had already reached its perfection in the hands of the Sicilian Theocritus, whose in- Theocritus fluence may be traced in many writers from the days of Jof^^"'"'"'"^ Vergil to those of Tennyson. The IdylF of Theocritus exhibits a true picture of the shepherd's life, the joys and sorrows, character, sentiment and habits of the rural swains. •* ffopSei'os, a maiden. '■■•EclogTie VI, 3. «« These were called by the generic term Bucolica (PovKoXiKd, scil. notrj^ara, from fiovKoXiu., to attend cattle). The term Eclogue is from the Greek ^KAoy,, a choice coL lection, and may mean that the pQe!UH under th.-.fc name were a eolleetioji froiu a large number. Spenser wrote the word .Eclogue and followed the deriration of Petrarch, aiyuv Aoyot, "tales ofjoats" or " tales of goatherds." •'eiSuAAoi', a little picture. X WORKS OP YERQIL. andVenil *^® ^'"^ woods, the upland lawns and feeding flocks, the sea compared, and sky of Sicily. Vergil's Ecloguea, on the other hand, can hardly be said to be true pictures of pastoral life. His shep- herds and shepherdesses belong to the island of Sicily rather than to the distriiit of Mantua. His characters are too con- ventional, his repr mentation of life too artificial. Still the earlier poems of \ srgil have beauties. Their melodious diction, their soft and easy flowing stylo,'* were admired by Horace, no mean judge of the poet's art. The 2. The Georgics,^^ in four books, was written (between Georgics. B.C. 37-B.C. 30'^) it the request of Maecenas, ^ to whom the poem was dedicated. In this didactic Epic, Vergil copies largely from Hesiod, Nicander, and Aratus.^'" While the Eclogues have justly been regarded as inferior to the Idylls of his Greek original, Theocritus, the Georgics, on the other hand, have been accounted superior to any other poem on the Be»u*i€H of same subject that has ever appeared. The harmonious and t '^'O'TQ'f*- grskCGixA language, the pleasing descriptions of rural scenes, the apt and charming episodes, all combine to lend an interest to a subject, which in any other hands would have been intolerablj' dull. The time was ripe for such a poem. Agriculture had been the chief employment and the honored occupation of the Romans from the early days of the City. The long-continued wars had, however, desolated Italy.*' Even after war had ceased, the soldier, too long accustomed to camps and the excitement of a military life, cared little about the prosaic life of a farmer. To recall the i«Sat. I, 10, 45. ^'' Georgica yeupyiica, from yea = 7^, the earth and tpyov, a work. •"The chief historical events alluded to in the Georgics are: the death of Julius Caesar, 44 b.c. (B. i, 456); the civil wars ended by the battle of Philippi, 42 B.C. (B, i, 490); the wars waj>:ed (34 b.c.) in rarthia under Antoiiy, aud those on the Rhine unde» Ajjrippa (B. i, 509); the battle of Actium and the submission of thfe East, B.C. ?0 (B. 11, 172 ; in, 27-32 ; iv, 662); the irruptions of the Daci on the Dwiube, f.c. 30 (B. 11. 497). "See the opening lines of Georgics, 1 and iv. *"Hesiod's Works and Days; Aratus's Phaenotnena ; Nicander'a Georgiet *« Civil wars, almost continuous, had been waged in Italy from 49-31 B.o. non ull'ug aratro Dignus honos, squalent abductis arva colonis, Et ourvae rigidwn falees eo7i/iantur in »ntem. WORKS OP VBRQIL. zi peaceful habits of rural industry, the poem, which Addison pronounces " the most complete, elaborate and finished piece of all antiquity," was written. The first book treats of tilling the fields, the second of orchards, the third of the care of horses and cattle, and the fourth of bees. Tlie two most successful imitations in English of this poem are Philips's Pastorals, and Thompson's Seasons. 3. The Aeneid,^'^ in twelve books, written between 29 B.O.- 19 B.C., recounts the story of the escape of Aeneas from burning Troy, his wanderings over the deep in search of a home which the fates had promised, his final settlement in Italy as the founder of the Roman Empire destined in after ages to rule the world. No doubt, Vergil borrowed largely from the Greek and Roman writers who preceded him. The Romans were original in no department of literature, except perhaps in the departments of History and Jurisprudence. Vergil can hardly be called a borrower any more than the rest of his countrymen in other spheres of letters. The object of Vergil was to produce a national epic, by showing the vari- ous steps of the growth of the Empire, and in doing this, he had to give prominence to the influence of Greek litera- ture as an important element in moulding Roman thought. Style of the Aeneid. Defects.— Vergil has been severely censured ^3 for (1) de- ficiency in the power of invention, (2) intermixture of Greek and Latin traditions, (3) anachronisms, (4) his mode of re- presenting the character of Aeneas, (5) the sameness of the individual characters. These are the main charge? brought by his detractors, and granting the full indictment brought against the poem, Vergil still has the proud claim of being one of the greatest of epic poets. No doubt his power of invention 4s less than Homer's, no doubt he did intermingle the traditions of Greece and those of Rome (for Contentt of Ueorgics. Aeneid. Vergil charged with plagiarism. Ver(^il crittei$ed. »" The first notice of the Aeneid that we have is in a letter of Vergil to Augustus written probably b.o. 26. when the latter was on an expedition against the Canta- bnans. Be Aenea quidern nuo, si mehercule iam dignum auribus haberem tuts, libenter mitterem : sed tanta inchoata res est, ut paene vitiis mentis tantum opus ingtessus mihi vtdear, mm praesertim, ut scio, alia quoque studia ad id opus multoque potiora impretiar. Macrob. Sat. i, 24, 12. » Especially by the Emperor Calisfula, MarkUnd, and Ni«buhr. HHVj xu I- Vergil dejfended. STYLE OP THE AENEID. this, as we have remarked, could hardly be otherwise in hi» age), no doubt he did commit the heinous crime of anachron- ism, but he sins in this along with Shakespeare and Milton, and there is no doubt that his hero Aeneas is cold-blootied and uninteresting. Excellena a.— These defects, however, are far more than counterbalanced by his many excellencies. "There is in Vergil a great tenderness of feeling, something better and more charming than mere Roman virtue or morality. That he excels in pathos, as Homer in sublimity, is an old opinion, and it is surely the right one. This pathos is given at times by a single epithet, by a slight touch, with graceful art by an indirect allusion ; this tenderness is more striking as contrasted with the stern Roman character and -with the stately majesty of the verse. The poet never becomes affected or sen- timental ; he hardly ever offends against good taste ; he knows where to stop ; he is excellent in his silence as well as in his speech ; Vergil, as Woi-dsworth says, is a master of language, but no one can really be a master of language unless he be also a master of thought, of which language is the expression. To the above-named qualities may be added picturesqu«*ness in description ; variety and artistic taste in grouping incidents ; also dramatic power, particularly in Books I and iv. Crutwell thus defends Vergil in regard to the main charge : " The Aeneid was meant to be, above all things, a national poem, carrying on the lines of thought, the style of speech, which national progress had chosen ; and it was not meant to eclipse, so much as to do honour to, early literature. Thus those bards who, like Ennius and Naevius, had done good service to Rome by singing, however rudely, her history, find their imagines ranged in the gallery of the Aeneid. Thus they met with the flamens and pontiffs, who drew up the ritual formularies ; with the antiquarians and pious scholars, who had sought to find a meaning in the immemorial names, whether of place or custom or person ; with the magistrates, novelists and philosophers, who had striven to ennoble and enlighten Roman virtue, with the Greek singers and sages, for they, too, had helped to rear the towering fabric of Roman greatness. All these meet together in the Aeneid, as in . JfV i HETRE OF THE AENEID. XUl ' i^emn conclave, to review their joint work, to acknowledge «ti. final completion, and to predict its impending downfall. This is beyond question the explanation of the wholesale appropriation of others' thoughts and language, which would otherwise be sheer plagiarism." The object that Vergil had in writing the Aeneid is object of variously stated by writers. Spence, Holdnworlh and Warton ■^<"«"*- say that the poem was written with a political object to re- concile the Romans to the new order of things. This view is also held by Pope, who says that the poem had as much a political object as Dryden's Absalom and Achitophel ; that its primary object was to praise Augustus, and the secondary one was to flatter the Romans by dwelling on the splendour of their origin. "Augustus is evidently typitied under the character of Aeneas, both are cautious and wise in counsel ; both are free from the perturbations of passion ; they were cold, unfeeling, and uninteresting ; their wisdom and policy were worldly-minded and calculating. Augustus was conscious that he was acting a part, as his last words show ; and the contrast between the sentiment and conduct of Aeneas, when- ever the warm impulses of affection might be supposed to have sway, likewise created an impression of insincerity. The characteristic virtue which adorns the hero of the Aeneid as the epithet pins, so constantly applied to him shows, was filial piety, and there was no virtue which Augustus more ostentatiously put forward than dutiful affection to Julius Caesar who adopted him. "— Browne. METRE. The Aeneid is written in the heroic metre of the Romans ; viz. : the dactylic hexameter. This was the most ancient The daetylie as well as the most dignified form of verse among the Greeks '»**""'«'"■• and Romans. It was cultivated at an early period, far beyond the beginnings of authentic history, as we find it in its most perfect shape in the poems of Homer and Hesiod, and the responses of the Delphic oracle. Ennius is said to have discarded the rude Saturnian metre of his predecessors, and to have introduced the hexameter among the Romans. Vergil is generally considered as the model of this kind of verse among the Latins. XIV METRE OF THE AENEID. No. of dactyls and spondees. The dactylic liexametor consists, ad its name implies, of aix feet, the first four of which may be dactyls or spondees ; the fifth is usually dactyl, and the sixth invariably a spondee. Tlie following is the scheme : I ] ■ Rules for Quantity. In scanning, the pupil should understand tliat his general knowledge of quantity must be constantly brought into use. For example, from the outset of his studies he has learnt that 'is of the dat. and abl. plur. is long, and -is of the gen. sing, is sliort. So -a of the nom. is short, and -a of the abl. is long. Ho knows also that a vowel before a linal t is short. The following special rules may be helpful ; in fact to make scanning easy they must be continually referred to. 1 . A vowel before a vowel in the same word is short. Exceptions Aeneas and many other proper names, illius, etc. 2. A vowel before two consonants (not a mute and liquid) is long by position. 3. Before a mute and liquid (e.g., pi. tr) a vowel is common. 4. The prefix re- (back or again) and the enclitic -que are naturally short. They may of course be long by position. 5. Both for quantity and for elision (see sec. 5 below) the letter h does not count as a consonant. For instance, as in hlc cur\rus fiiU\hoc, v. 17, the it is short though coming before two consonants ; and in atqu(e) hSml7i\um, v. 65, e is elided as before a vowel. In Samo ; hie, v. 16, the pause prevents the elision of o. Peculiarities of Metre. 1. For the comparative number of dactyls and spon- dees in the first four places no definite rule can be given. Generally speaking, the line is more smooth when the arrangement is varied to avoid monotony. A succession of dactyls may be used for various reasons, e.g., quick motion, cp. B. I, 90, Intdnii\er^ pdl(i), \ et creb\ri8 mlcdtllgnibUslaether, where the quick flashes of lightning and the instant peals of thunder fall in quick succession. I MKTRE OF THE AKNRID. SoinB. I, 150: ldmqti}e8t divided Poiiicido ai in "0 in for the "ii(lri.syllahj(3 uino. Soijie- t'»e end of a i-'diy with an I'juae muna. | .V est I '>rt{a) gstj ^el or diph- el and the fie letter h. 1 so ending l>y a vowel on is not (litis. ris.\ iem. poetry. 1 we have XVli (4) n. 1,213: Mlltun]; frtrsdn H\ hafx fi\flm iHfmln\lssS iav\iibU. (5) B. I, 240 : It vuh'S\ prOny>t{iiu.^\ U i>iUhj\u primU\ vrjd >:A\dntl. lu (1) the vowel -e in ante is elided, i.e., left out in scansion before f lo vowel o- in the next word ora. In (2) the diphthong -ae m pracfnc is elided before accinyunt. In (3) the -um is elided ffore the iuh rm. In (4) H is not affected in scansion by the h in luiec, In (5) -Mm in proruptum is elided before e- in ei. (h) The non-elimon of a final vowel or dii.hthong before an ^.^^^ initial vowel, h or diphthong is called a hiatus, e.y., '" "'" B. I, 16: P6sth(tf)l\ta 'c6ln\lssi Sil\mo, hlc\ lUlus \armit. B. I, 617: Tune ilk | Aen5\as quern | Dardanl\5 An\chl8m.\ The first hiatus may be explained by the rule that in the case of a proper noun, and a sense pause, the hiatus is admis- sible. In the second example considerable license is admirted in the case of a proper noun. (c) Synaeresis is defined as the union of two vowels 'n Synaeresii sound winch should bo properly pronounced separately : aa ■ei in Oilei ; -cu in Ilionnts ; -ei in delude. This figure is alsi called Synizesis ; e.g., B. T, 120 : Idm vim\davi "^'Idnld ndv\em, idm ifOrtts Alchatm B. 1, 195 : Vmt h8n\us qtme \d7iiuU rad\is SnSr\drat Celestes, ((l) Synapheia is the principle of continuous scansion. It „ sometimes happens that a final vowel, diphthong, or -m pre- '"''*^'*' ceded by a vowel at the end of a line is elided before the initial vowel, diphthong, or h at the beginning of the next line ; B. I, 332 : Idde\7uur dSce\ds ig\ndr(i) hdmi\numqu& I6\c0rum\qu{e) Erramua. •a. .jH 1 1 "laCt^^f&^Mtii^fiifHf^ xvni THE TROJAN WAR. Hypermet- rical linei. So also in B. i, 448 : AerM\ cfd grddllbus sur\(jehdnt \lijnin&,\ nexae]fjue Aere trdhes. In these lines the final vom el in -que is struck out before the initial vowel in the lirst word of the succeeding line. There are altogether twenty-one hypermetrical lines in Vergil. (e) Ictus is the beat of the foot which corresponds with the elevation of the voice (a/Jff^f ). This naturally falls on the lirst syllable of tlie foot, and we, therefore, lind cases occurring in whioli a syllable naturally short is lengthened, simply from its occupying the natural position of a long syllable. (1)B. I, 308: Qui leiiS\ant, 7i{a7n) in\cfiHu vl\dtt, h8ml7i\esiiS /Sr\aenS. (2) B. I, 478 : Per terr(am) \et ver\su pill\vis ln\scnhUilr \hiistd. | (3) B. I, 651: Perydind \cfim 2)ete\ret in\cvnc(iss\usqu[e) hp7nSii\ aeos. (4) B. I, 668 : LUOrd\idcte\tnr, So fouiulations for a high theatre. Among the throng he mingles still unseen. In the miilst of the city is a sacred grove, where Dido was building a temple in honour of Juno. While Aeneas was waiting for the arrival of the queen, he examines with scruti- nizing gaze each object in the great temple. Hero he sees depicted the scenes of the Trojan war, the crested Achilles pursuing in flight the Trojans, the snow white tents of Rhesus, the flight of Troilus, the procession of Trojan women going to the temple of Minerva to propitiate the dread god- dess, the dragging of Hector round the walls of Troy : all these scenes and many more were witnessed by Aeneas. Meanwhile the queen, attended by her courtiers, enters the temple. With all the graceful dignity of Diana, wlieu she leads the dance, Dido enters the temple and takes her scat as queen and judge of her subjects. Aeneas ^ees, also amid the throng attending the queen, Antheus, Sergestus, and the valiant Cloanthus, and other Trojans supposed to be lost. llioneus tells Dido that they are a shipwrecked remnant of the Trojans on their way to Italy. He also hints at the pro- bable loss of Aeneas. Dido assures them o'. her assistance and protection, and promises them that she will jend them to Sicily, if they desire it, or allow them to settle at Karthage. As for Aeneas, she promised to send trusty men to see whether he had been cast on shore, or not. The cloud which had enshrouded the forms A Aeneas and Achates now parts and immediately Aeneas shone forth in beauty amid the clear light, declaring himself. With grateful heart he prays for a blessing on Dido for her kindness to his comrades. Dido welcomes Aeneas to her palace, which was furnished with princely splendour for the approaching banquet. She also proclaims a public festival. Aeneas sends Achates to the fleet to bring lulus (also called Ascanius) to the city. Gifts also were to be brought from the ships as presents for the queen. The wily goddess Venus, meanwhile causes Cupid to be transformed in form and mien into Ascanius, and acccompany the faithful Achates with presents to the queen. /? A LITERARY STUDY OF BOOK 1. XXV Tho Troiana and Tyriaua, amid the joyous halls, recline on Ainid thu ^ tho uMd»roi(loi(!d oiichoH. Tlio gifts of Aeneas are adnure«l ihefmut by all. Cupid embraces Aeneas and then Dido, and both ^'^"^^'^ j",y the Trojan leader and the Karthaginian queen are in8i)ired f"'^'\J'y''jgg with mutual flame. After the first part of the banquet, the tables are with- Thi- uha- drawn and golden gol)lets crowned with wine are set before '■Ration uf'ihe llio (lueen prays that this day may bo long ,'/'"'« ■■ *"'»J/ A libation 18 then poured on jsS'!Oti. the guests, remembered by tho Tyrians the table and the cup is handed to the courtiers of the queen to drink. The long haired lopas sings songs taught him of yore ])y great Atlas. At the request of the (^ucen Aeneas is asked to tell the story of the Fall of Troy, which occupies Books II and III of the Aeneid. A LITERAllY STUDY OF BOOK I. The Aeneid as a work of art. The Aeneid is a work of art and as such deserves to be read and admired, not merely translated, in our schools. It is Poetry. It is a thing of beauty. It appeals to the imagination as few works of art in the world's history have been al)le to do. It was written to xdease, to stir the finer and grander em >tions, not to instruct. It was written to rouse a nation to er. Jiusiasm over its own boasted ancestry. It is one of the few great Epics of literature. It has a hero and has a plot. It is tragic, grand and sublime, and at the same time it abounds in passages picturesque, beautiful and pathetic. The Artistic grouping of the pictures in Book I. Those students whose privilege it is to study Book I of the Aeneid have, like Aeneas in the temple of Queen Dido, an opportunity of view- ing at the very threshold of this great work a panorama of beautiful and romantic pictures, artistically gr<)uj)ed by a master hand. Let us pause as we enter and take a rapid survey of the " vole. 1. The weary hero near the end of his wanderings arouses the anger of the mighty Queen of Heaven. 2. She enlists the aid of the God of Winds. — The Storm and the Shipwreck. XXVI A LITKRAKY STUDY OF HOOK I. 3. Neptune rises from the sea, rubukes the winds ami lulls the storm. 4. Aeneas consoles his comrades on the shore. (Noto the ex(iuisite beauty and harmony of the picture of the haveti of refuge.) 5. Juppiter in fatlierly contemplation of tlie worhl hdow. — Venus tearfully pleads with him on behalf of her beloved Trojans. — Jove'a consoling kiss. — He depicts the future glories of Konie. — " Pa7'ce melu, Cythtmt." 6. Mercury, the winged messenger of the gods, descends to Karthaga on his errand of peace. 7. Venus disguised as a huntress intercepts Aeneas. She tells of Didu aiul Karthage and reassures her son. — Revealing herself in all her god« like beauty, she departs. 8. Aeneas journeys on. — From a hilltop he views the newly building city. He enters, surrounded and hidden by a cloud. 9. The temple of Juno. — Pictures from the war of Troy. — Aeneas' astonishment and new gleam of liope. (Note the poetic irony. It is in the temple of the very goddess who drove him on this shore that Aeneas finds deliverance.) 10. Enter Dido in queenly splendour. — Sudden appearancj c)f the shipwrecked oomrades of Aeneas. — Their appeal for protection a;i 1 their kindly welcome. — Aeneas revealed. 11. The Banquet. — Cupid substituted for the boy lulus (note (ho tender appeal of Venus to her son). — Dido luxuriates in the presence of Aeneas and all unconscious fondles the boy of the fatal dart. Passages of Special Beauty. V. V. 34-49 - Juno's Anger : Note the tine contrast between the happy mariners swiftly plough- ing through the deep and the sullen anger of the goddess gradually rising to passionate rage. V.V. 51-63.— The Cave of the Winds: The struggling pack howling to get free. —The King with his sceptre on high controls them. — (Note the elaborate Personification.) V.V. 81-123— The Storm : The winds rush forth as to battle — the billows rise — the men shout — the cordage creaks — " black night broods o'er the deep " — the light- nings flash — the sailors are terrified and Aeneas despairs, ((.Jb-serve the Method in the details. ) V V V B A LlTKnARY STUDY OF HOOK I. xxvu \ V.V. 124-15G.— NeptuiH! lulling the Storm: His fine rago at tho uaurpatiou of his authority la iinperioi (liHiiiisHal of the winds. — Hia angry ineHsagc to Acolu.^ ^tieelahorato Siniilo. - (How do tho detai.iof the Simile accord with the original? Is it the vmnner of (luelling the storm or the effort that is illus- trated? Is the attitude of the winds to Neptune one of reverence or one of fear ? Does ^'■jm'tora mulcet " really apply to Neptune ?) V.V. l.'i'J-IGO.— The Haven of llefuge : Observe the Method : the approach — tho quiet hay inside — vista of wooils in the hack-ground -the cave and ahode of the Nymphs on the shore — tho general air of peace and security that pervades tho picture. V.V. 198-209. — Aeneas consoling his Companions : A fine example of that sweetness and teiuler melancholy that per- vade tho pathos of Vergil; e.g., "o jxisfil t/rdinont," — *'/orn(tn el haec oHm merninme miHibit," — "upeni vulta s'unulnt, premit altum corde. dolorem." V.V. 419-4.%.— The newly building City : Note the point of view — the variety of details impressing the busy nature of the scene — this further emphasized by the simile of the bee-hive, A Pair of Portraits : V.V. 496-502— Dido. V.V. 588-59.3— Aeneas. V.V. 664-688— Venus' appeal to Cupid. V.V. 697-711— The Banquet. V.V. 712-722— Dido and Cupid. Book I. essentially dramatic. Examine the following dramatic scenes : — 1. Juno and Aeolus. 2. Neptune rebuking the winds. 3. Venus and Juppiter. 4. Venus and Aeneas on the road to Karthage. 5. Scene in the tenn)Ie of Juno. Aeneas gazing at the pictures. XXVlll HISTORY OP VKUOIL's TKXT. Entry of Dido. The uoinpanioiiH of Auncan Bupplicato Dido. Revelation of AeneaH. (This in itself constitutes a miniature drama.) G. Venus and Oupid. 7. The IJanquet. A spectacular close. The Supernatural in Book I. Juno— the Queen of Heaven in offended dignity. Neptune— the Ruler of the Sea— resents interference with his domain and defies Juno. Juppiter— the kindly though powerful Rulei- of Heaven.— His omnipo- tent and final decree fixing the destinies of Rome. Venus — the goddess mother of our hero. She supplicates Juppiter. Smooths the way for Aeneas. Outwits Juno by calling in the aid of Cupid. Mercury — the winged messenger of the gods. HISTORY OF VERGIL'S TEXT. Not the least of the advantages to be derived from the study of the Classi-8 is the ability to project one's self into the spirit of the past. The effect of this in widening one's mental view, in increasing his sympathies for mati as man, need not here be dwelt upon. That we may be able to carry our pupils back with us through the centuries to Vergil's own time, until they virtually live amid his surroundings, and breathe the atmosphere of his early influence, is a "consumma- tion devoutly to be wished." A knowledge oi the stages through which Vergil's text has passed before reaching us in the garb of a nineteenth century school edition, may be helpful to this end. The young student of Vergil is very apt to forget that the neatly printed, carefully punctuatad text he uses at school, is not at all like the text as it left the hands of Vergil, or as it was circulated amongst school-boys and Vergil's numerous other readers of the first twelve centuries. He may find it hard to realize that within fifty years after I HISTORY OF VEUOIT/s TKXT. XXIX the poet's doatli the Acneid ^,^^aa a school textbook, thumbed and ooniied by Koinau boys and expounded by llonian schoohnasters. A glance at the faesiniile on page xxxi will give the pupil some iilea of thoH.' early cluuactei^; niiieh wi-ru the only means of reproducing the wntmj,'a of Vergil. >\a.n he licfirs of corrupt passages and disputed roadiiij^s, let him bear in mind that the first copies were ma ^ b 2i 3 i» c c U c A '%. V- O O «5 -♦J o -^ a, — ;-i u) 3 3 &i C rt „ X ^ m c o 'C U g t4 O ^jfc-3 f_y r^ U_-» Q ^ ^ ^ 2 '^ --^ "^^ ^ ^ ^ "^ «^ > r^ (_j HI d -s E o (/I 1) 'a, U 1) 1) it 2. 6 ■§1 o u o u: !^ rt s o c '3 o Ii .rt ■;= X d O c .5 o tu r= o g o OJ O C i "3^ ^ C O 3 a* c rt C o (U • — • ^^ rt S5 CI O C P 3 3 S 3 C rt g O 11 a, pq PQ W 1^ > Pi; w o <■ Pi w > 1-1 I— ( <: )— < ai W rr i^ HH W c/3 U ei W X X < > H 5^:: o w O H 6 I— I Z' CJ PM fi; Pi < > h-1 •< > 'T. O o > O) M > Ah < c/: 9 (U C^ <: w Oh f-i \i •ilMkHit 11 Juno. ki;&,«.- VERGIL, THE ROMAN POET. P. VERGILI MARONIS AENEIDOS LIBER PRIMUS. Preface and Invocation. ILLE ego, qui quondam gracili modulatus avena carmen, et egressus silvis vicina coegi ut quamvis avido parerent arva colono, gratum opus agricolis ; at nunc horrentia Martis arnia virumque cano, Troiae qui primus ab oris Italiam fate profugus Lavinaque venit litora, multum ille et terris iactatus et alto VI superum, saevae memorem lunonis ob iram, multa quoque et bello passus, dum conderet urbem inferretque deos Latio, genus unde Latinum Albamque patres atque altae moenia Romae. Musa, mihi causas memora, quo numine laeso, quidve dolens regina deum tot volvere casus insignem pietate virum, tot adire labores inpulerit. tantaene animis caelestibusTrae ? [13 lO p. YEROILI MARONIS AENEIDOS LIB. I. The story begins; origin of Juno^s hatred of Troy, urbs antiqua fuit — Tyrii tenuere coloni — Karthago, Italiam contra Tiberinaque longe ostia, dives opum studiisque asperrima belli ; quam luno fertur terris magis omnibus unam 15 posthabita coluisse Same : hie illius arma, hie currus fuit ; hoc regnum dea gentibus esse, si qua fata sinant, iam turn tenditque fovetque. progeniem sed enim Troiano a sanguine duel audierat, Tyrias olim quae verteret arces ; 30 hinc populum late regem belloque superbum venturum excidio Libyae : sic volvere Parcas. id metuens veterisque memor Saturnia belli, prima quod a Troiam pro caris gesserat Argis — necdum etiam causae irarum saevique dolores 25 exciderant animo ; manet alta mente repostum iudicium Paridis spretaeque iniuria formae, et genus invisuiji, et rapti Ganymedis honores — his accensa super, iactatos aequore toto Troas, reliquias Danaum atque inmitis Achilli, 30 arcebat longe Latio, multosque per annos errabar_v acti fatis maria omnia circum. tantae molis erat Romanam condere gentem. The Trojans^ leaving Sicily, arouse the anger of Juno. vix e conspectu Siculae telluris in altum vela dabant laeti et spumas salis aere ruebant, 35 cum luno aeternum servans sub pectore vulnus haec secum : ' mene incepto desistere victam, nee posse Italia Teuerorum avertere regem? quippe vetor fatis. Pallasne exurere classem Argivom atque ipsos potuit submergere ponto 40 unius ob noxam et fuiias Aiacis Oili ? ipsa lovis rapidum iaculata e nubibus ignem disiecitque rates evertitque aequora ventis, ilium exsniraritem transfixo nectore flammas turbine corripuit scopuloque infixit acuto ; 45 p. VBRQILI MARONIS AENBIDOS LIB. I. y. 30 uno. 35 40 45 ast ego, quae divorn incedo regina, lovisque et soror et coniunx, una cum gente tot annos bella gero. et quisquam numen lunonis adorat praeterea, aut supplex aris inponet honorem ?' She visits the home of Aeolus^ God 0/ the Winds. talia fiammato secum dea corde volutans 50 nimborum in patriam, loca feta furentibus Austris, Aeoliam vtnit. hie vasto rex Aeolus antro luctantes ventos tempestatesque sonoras imperio premit, ac vinclis et carcere frenat. ' illi ir iignantes magno cum murmure montis 55 circum claustra fremunt ; celsa sedet Aeolus arce sceptra tenens, mollitque animos et temperat iras : ni faciat, muria ac terras caelumque profundum quippe ferant rapidi secum verrantque per auras : sed Pater omnipotens speluncis abdidit atris 60 hoc metuens, molemque et monies insuper altos inposuit, regemque dedit, qui foedere certo et premere et laxas sciret dare iussus habenas. Her appeal for help and the god's reply. ad quern tum luno supplex his vocibus usa est : • * Aeole, namque tibi divom Pater atque hominum rex 65 et mulcere dedit fluctus et tollere vento, gens inimica mihi Tyrrhenum navigat aequor, Ilium in Italiam portans victosque Penates : incute vim ventis submersasque obrue puppes, aut age di versos et disiice corpora ponto. 70 sunt mihi bis septem praestanti corpore Nymphae, quarum quae forma pulcherrima Deiopea, conubio iungam stabili propriamque dicabo, onines ut tecum meritis pro talibus annos exigat et pulchra faciat te prole parentem.' 75 Aeolus haec contra : * tuus, o regina, quid optes, \-AtJJUlcHC labor ; nishi iUbsa i;upt;ssefc fas est. tu mihi quodcumque hoc regni, tu sceptra lavemque i p. VERGILI MARONIS AENRIDOS LIB I. concilias, tu das epulis accumbeic divom, nimborumque facis tempestatumque potentem.' 8ci The Storm. haec ubi dicta, cavum conversa cuspide montem inpulit in latus : ac venti velut agmine facto, qua data porta, ruunt et terras turbine perflant. incubuere mari, totumque a sedibus imis una Eurusque Notusque ruunt creberque procellis 85 Africus, et vastos volvunt ad litora fluctus. insequitur clamorque virum stridorque rudentum. eripiunt subito nubes caelumque diemque Teucrorum ex oculis ; ponto nox incubat atra. intonuere poli et crebris micat ignibus aether, 90 praesentemque viris intentant omnia mortem, extemplo Aeneae solvuntur frigore membra ; ingemit, et duplices tendens ad sidera palmas talia voce refert ; * o terque quaterque beati, quis ante ora patrum Troiae sub moenibus altis 95 contigit oppetere ! o Danaum fortissime gentis Tydide, mene lliacis ocumbere campis non potuisse tuaque animam banc effundere dextra, saevus ubi Aeacidae telo iacet Hector, ubi ingens Sarpedon, ubi tot Simois correpta sub undis 100 scuta virum galeasque et fortia corpora volvit ?' The wreck of the fleet. talia iactanti stridens Aquilone procella velum adv6rsa ferit fluctusque ad sidera tollit. franguntur remi ; tum prora avertit et undis dat latus ; insequitur cumulo praeruptus aquae mons. 105 hi summo in fluctu pendent, his unda dehiscens terram inter fluctus aperit , furit aestus harenis. tres Notus abreptas in saxa latentia torquet, (saxa vocant Itali mediis quae in fluctibus Aras, dorsum iiimane rnari sumrriO/ ; tres jj^urus au atto no in brevia et Syrtes urguet — miserabile visu — p. VERGILI MARONIS AENEIDOS LIB. I. inliditque vadis atque aggere cingit harenae. unam, qdae Lycios fidumque vehebat Oronten, ipsius ante oculos ingens a vertice pontus in puppim ferit : excutitur pronusque magister volvitur in caput ; ast illam ter fluctus ibidem torquet agens circum, et rapidus vbrat aequore vortex, apparent rari r . .es in gurgite vasto, arma virum tabulaeque et Troia gaza per undas. iam validam llioriei navem, iam fortis Achat), et qua vectus Abas, et qua grandaevus Aletes', vicit hiemps ; laxis laterum compagibus omnes accipiunt inimicuin imbrem rimisque fatiscunt. Neptune rebukes the winds interea magno misceri murmure pontum emissamque hiemem sensit Neptunus et imis stagna refusa vadis, graviter commotus ; et alto prospiciens summa placidum caput extulit unda. disiectam Aeneae toto videt aequore classem, fluctibus oppressos Troas caelique ruina, nee latuere doli fratrem lunonis et irae. Eurum ad se Zephyrumque vocat, dehinc talia fatur : tantane vos generis tenuit fiducia vestri ? iam caelum terramque meo sine numine, venti, miscere, et tantas audetis tollere moles 1 quos ego— sed motos praestat componere fluctus : post mihi non simili poena commissa luetis. maturate fugam, regique haec dicite vestro : non illi imperium pelagi saevumque tridentem, sed mihi sorte datum, tewet ille inmania saxa, vestras, Eure, domos ; ilia se iactet in aula Aeolus et clauso ventorum carcere regnet.' and lulls the storm. sic ait, et dicto citius tumida aequorn Hacat collectasque fugat nubes soiemque'reducU. Cymothoe sirnui et Triton udnixus acute "5 1 20 125 130 135 14a J i6o 6 P. VBBQILI MAR0NI8 ARNEID08 LIB. I. dctrudunt naves scopulo ; levat ipse tridenti 145 et vastas apeiit Syrtes et temperat aequor, atque'rotis summas levibus perfabitur undas. ac veluti magno in popido cum saepe coorta est seditio, saevitque animis ignobile vulgus^ iamque faces et saxa volant— furor arma ininistrat— 1 50 turn pietate gravem et inerttis si forte virum quern conspexere, silent arrectisque auribus adstant; tile regit dictis animos, et pectora mulcet : sic cunctus pelagi cecidit fragor, aequora postquam prospiciens genitor caeloque invectiis ape" '0 155 flectit equos curruque volans dat lor a set undo. The harbour of refuge. ' defessi Aeneadae, quae proxima litora, cursu contendunt petere, et Libyae vertuutur ad oras. est in secessu longo locus : insula portum efficit obiectu laterum, quibus omnis ab alto frangitur inque sinus scindit sese unda reductos. hinc atque hinc vastae rupes geminique minantur in caelum scopuli, quorum sub vertice late aequora tuta silent : tum silvis scaena coruscis desuper horrentique atrum nemus imminet umbra •. 165 fronte sub adversa scopulis pendentibus antrum ; intus aquae dulces vivoque sedilia saxo, Nympharum domus. hie fessas non vincula naves uUa tenent, unco non r i igat ancora morsu. The weary Trojans land. ; hue septem Aeneas coUectis navibus omni 170 ex numero subit ; ac magno telluris amore egressi optata potiuntur Troes harena et sale tabentes artus in litore ponunt. ac primum silici scintillam excudit Achates succepitque ignem foliis atque arida circum 175 nutrimenta dedit rapuitque in fomite flammami- tum Cererem corruptam undis Cerealiaque arma p. VERGILI MAR0NI8 AENKIDOB LIB. I. expediunt fessi rerum, frugesque receptas et torrere parant flammis et frangere saxo. Aeneas from a cliff spies a herd of deer, ■ Aeneas scopulum interea conscendit et omnem prospectum late pelago petit, Anthea, si quern iactatum vento videat Phrygiasque biremes, aut Capyn, aut celsis in puppibus arn.a Caid. navem in conspectu nullam, tres litore cervos prospicit errantes ; hos to»- arnenta sequuntur a tergo, et longum per valies pascitur agmen. constitit hie, arcumque manii celeresque sagittas corripuit, fidus quae tela gerebat Achates, ductoresque ipsos primum, capita alta ferentes cornibus arboreis, sternit ; turn vulgus et omnem niiscet agens telis nemora inter frondea turbam ; nee prius absistit, quam septem ingentia victor ' corpora fundat humi et numerum cum navibus aequet. and drinks cheer to his companions. hinc portum petit, et socios partitur in omnes. • yma bonus quae deinde cadis onerarat Acestes litore Trinacrio dederatque abeuntibus heros, ^dividit, et dictis maerentia pectora mulcet : »/ 'o socii, neque enim ignari sumus ante malorum, o passi b^raviora, dabit deus his quoque finem. vos et Scyllaeam rabiem penitusque sonantes accestis scopulos, vos et Cyclopea saxa experti : revocate animos, maestumque timorem mittite ; forsan et haec olim meminisse iuvabit. per varies casus, per tot discrimina rerum tendimus in Latium, sedes ubi fata quietas ostendunt ; iUic fas regna resurgere Troiae. durate, et vosmet rebus servate secundis.' The repast on the shore. talia voce refert, curisque ingentibus aeger spem vultu simulat, premit altum corde dolorem. 180 18s 190 «9S 200 205 genus humanum et mortalia temnitis arma, at sperate deos memores fandi atque nefandi. T/tejf tell of iheir leader Aeneas. rex erat Aeneas nobis, quo iustior alter ncc pietate fuit, nee bello maior et armis • quern si fata virum servant, si vescitur aura aetheria neque adhue crudelibus occubat umbris non metus : officio nee te certasse priorem paeniteat : sunt et Sieulis regionibus urbes armaque, Troianoque a sanguine clarus Acestes. quassatam ventis Heeat sub iueere classem et ,ilvis aptare trabes et stringere remos, SI datur Italiam sociis et rege recepto teiidere, ut Iiaiiain laeti Latiumque petamus ; sm absumpta salus, et te. pater optime Teucrum, 555 520 545 550 i^ p. VERGILI MARONia ABNEID08 Lia I. pontiis habet Libyae nee spes iam restat luli, at freta Sicaniae saltern sedesque paratas, imde hue advecti, regemque petamus Acesten.' talibus Ilioneus ; cuncti simul ore fremebant Dardanidae. Dido promises protection. turn breviter Dido vultum demissa profatur : * solvite corde metum, Teucri, secludite curas. res dura el regni novitas me talia cogunt moliri et late fines custode tueri. quis genus Aeneadum, quis Troiae nesciat urbem virtutesque virosque aut tanti incendia belli ? non obtusa adeo gestamus pectora Poeni, nee tarn aversus equos Tyria Sol iungit ab urbe. seu vos Hesperiam magnam Saturniaque arva sive Erycis fines regemque optatis Acesten, auxilio tutos dimittam opibusque iuvabo. vultis ct his meeum pariter jonsidere regnis ? urbem quam statuo, vestra est ; subducite naves ; Tros Tyriusque mihi nullo diserimine agetur. atque utinam rex ipse Noto i.ompulsus eodem adforet Aeneas ! equidem per litora certos dimittam et Libyae lustrare extrema iubebo, si quibus eiectus silvis aut urbibus errat.' Aeneas revealed. his animum arrecti dietis et fortis Achates et pater Aeneas iamdudum erumpere nubem ardebant. prior Aenean compellat Achates : * nate dea, quae nunc animo sententia surgit ? omnia tuta vides, classem sociosque receptos. unus abest, medio in fluctu quem vidimus ipsi submersum ; dietis respondent cetera matris.' vix ea fatus erat, cum circumfusa repente scindit se nubes et in aethera purgat apertum. restitit Aeneas claraque in luce refulsit OS umerosque deo similis ; namque ipsa decoram 560 565 570 575 580 585 p. VERQILI MARONIS AKNEIDOS LIB. I. caesarie.n nato genetrix lui.u ..que iuventae purpureum et laetc.s oculis adflarat honores • quale manus addunt ebori decus, aut ubi flavo argentum Pariusve lapis circumdatur auro. t^is appcalto Dido. turn sic reginam adloquitur cunctisque repente mprovsus ait : 'coram, quern quaeritis, adsum Troms Aeneas, Libycis ereptus ab undis. o sola .nfandos Troiae miserata labores, quae nos, rcliquias Danaum, terraeque marisque omn.bus exhaustos iam casibus, omLm egen'os urbe domo socias, grates persolvere dignas non op.s est nostrae. Dido, nee quidquid ubique est genus Da. dan.ae, magnum quae spa' sa per drbem dJ t.bi, SI .^.., o,os respectant numina, si quid usquan- uvstitia est ot mens sibi conscia recti F-n..d.,nafb,.nt quae te tarn laetatui;runt saecula , ,u, ta", i talem genuere parenf es > in freta dr. riuvii current, dum montibus umbrae lustrabunt convexa, polus dum sidera pascet semper honos nornenque tuun, laudesque manebunt quae „,e cumque vocant terrae.' sic fatus amicum Ilionea pet.t dextra, laevaque Serestum post alios, fortemque Cyan fortemque Cloanthum. Dido's sympathetic reply. obstupuit primo aspectu Sidonia Dido ^ casu deinde viri tanto, et sic ore locuta est • quis te, nate dea, per tanta pericula casus ' msequ.tur ? quae vis inmanibus applicat oris ? tune die Aeneas, quern Dardanio Anchisae a ma Venus Phrygii genuit Simoentis ad undam ? atque equ.dem Teucrum memini Sidona venire " - •-• '< , toCiiiiur lum ueius opimam vastabat Cyprum et victor ditione tenebat tempore ,am ex illo casus mihi cognitus urbis 19 590 m ^KA? 605 610 615 620 20 P. VERGILI MARONIS AENEIDOS LIB. I. Troianae nomenque tuum regesque Pelasgi. ipse hostis Teucros msigni laude ferebat, 625 seque ortum antiqua Teucroruni a stirpe volebat. quare agite o tectis, iuvenes, succedite nostris. me quoque per multos similis fortuna labores iactatam hac demum voluit consistere terra : non ignara mali miseris succurrere disco.' 630 Preparations Jor a feast. sic memorat ; simul Aenean in regia ducit tecta, simul divom templis indicit honorem. nee minus interea sociis ad litora mittit viginti tauros, magnorum horrentia centum terga suum, pingues centum cum matribus agnos, 6.35 munera laetitiamque dei. at domus interior regali splendida luxu instruitur, mediisque parant convivia tectis : arte laboratae vestes ostroque superbo, ingens argentum mensis, caelataque in auro 640 fortia facta patrum, series longissima rerum per tot ducta vires antiqua ab origine gentis. Aeneas sends for Ascanius and for gifts. Aeneas — neque enim patrius consistere mentem passus amor — rapidum ad naves praemittit Achaten, Ascanio ferat haec, ipsumque ad moenia ducat ; 645 omnis in Ascanio cari stat cura parentis, munera praeterea Iliacis erepta ruinis ferre iubet, pallam signis auroque rigentem et circumtextum croceo velamen acantho, ornatus Argivae Helenae, quos ilia Mycenis, 650 Pergama cum peteret inconcessosque hymenaeos, extulerat, matris Ledae mirabile donum ; praeterea sceptium, Ilione quod gesserat olim, maxima natarum Priami, coUoque monile baca' -im et duplicem gemmis auroque coronam. 655 haec celerans iter ad naves tendebat Achates. p. VEROILI MARONIS AENEIDOS LIB. I. VENUS' STRATAGEM. Cupid substituted for Ascanius. at Cytherea novas artes, nova pectore versat consiha, ut faciem mutatus et ora Cupido pro dulci Ascanio veniat, donisque furentem mcendat reginam atque ossibus inplicet ignem quippe domum timet ambiguam Tyriosque bilingues • unt atrox luno, et sub noctem cura recursat ' ergo his ahgerum dictis affatur Amorem : •nate, meae vires, mea magna potentia solus, nate, Patns summi qui tela Typhoia temnis, ad te confugio et supplex tua numina posco. frater ut Aeneas pelago tuus omnia c: cum litora iactetur odiis lunonis acerbae, nota tibi, et nostro doluisti saepe do'lore nunc Phoenissa tenet Dido blandisque moratur vocibus ; et vereor, quo se lunonin vertant hospitia; baud tanto cessabit cardme rerum quocrca capere ante dolis et cingere flamma regmam meditor, ne quo se numine mutet. sed magno Aeneae mecum teneatur amore qua facere id possis, nostram nunc accipe mentem. regms accitu cari genitoris ad urbem Sidoniam puer ire parat, mea maxima cura, dona ferens pelago et flammis restantia Troiae • hunc ego sopitum somno super alta Cythera ' aut super Idalium sacrata sede recondam ne qua scire dolos mediusve occr rere possit tu faciem illius noctem non amplius unam falle ^olo et notos pueri puer mdue vultus, ut, cum te gremio accipiet laetissiiaa Dido regales inter mensas laticemque Lyaeum, cum dabit amplexus atque oscula dulcia figet occultum inspires ignem fallasqueveneno.' ' paret Amor dirfis mt-oo rr^^^t-:--- -■ \ s^-Htii 11,13, ci alas exuit et gressu gaudens incedit luli. at Venus Ascanio placidam per membra quietem 21 660 665 670 675 680 68s 690 I t 22 p. VERGILI HARONIS AEMEIDOS LIB. I. inrigat, et fotum gremio dea tollit in altos Idaliae lucos, ubi mollis amaracus ilium floribus et dulci adspirans complectitur umbra. The Banquet. iamque ibat dicto parens et dona Cupido 695 regia portabat Tyriis duce laetus Achate, cum venit, aulaeis iam se regina superbis aurea composuit sponda mediamque locavit; iam pater Aeneas et iam Troiana inventus conveniunt, stratoque super discumbitur ostro. 700 dant manibus famuli lymphas, Cereremque canistris expediunt, tonsisque ferunt mantelia villis. quinquaginta intus famulae, quibus ordine longam cura penum struere et flammis adolere penates ; centum aliae totidemque pares aetate ministri, 705 qui dapibus mensas onerent et pocula ponant. nee non et Tyrii per limina laeta frequentes convenere, toris iussi discumbere pictis. mirautur dona Aeneae, mirantur lulum flagrantesque dei vultus simulataque verba 710 pallamque et pictum croceo velamen acantho. praecipue infelix, pesti devota futurae, expleri mentem nequit ardescitque tuendo Phoenissa, et pariter puero donisque movetur. ille ubi complexu Aeneae colloque pependit 715 et magnum falsi inplevit genitoris amorem, reginam petit, haec oculis, haec pectore toto haeret et interdum gremio fovet, inscia Dido, insidat quantus miserae dcus. at memor ille matris Acidaliae paulatim abolere Sychaeum 720 incipit, et vivo temptat praevertere amore iam pridem resides animos desuetaque co' da. Wine and Song. poslquam prima quies epulis, mensaeque remotae, crateras magnos statuunt et vina coronant. 695 700 70S 710 715 720 o i W I »3 :©] p. VERGILI MAR0NI8 AENE1D08 LIB. I. 23 it strepitus tectis vocemque per ampla volutant 725 airia ; dependent lychni laqueaiibus aureis incensi, et noctem flammis funalia vincunt. hie regina gravem gemmis auroque poposcit inplevitque mero pateram, quam Belus et omnes a Belo soliti ; turn facta silentia tectis : 73° ' luppiter, hospitibus nam te dare iura loquuntur, hunc laetum Tyriisque diem Troiaque profectis esse velis, nostrosque huius meminisse minores. adsit laetitiae Bacchus dator et bona luno ; et vos o coetum, Tyrii, celebrate faventes.' 735 dixit, et in mensam laticum Ubavit honorem, primaque libato summo tenus attigit ore ; turn Bitiae dedit increpitans ; ille inpiger hausit spumantem pateram et pleno se proluit auro ; post alii proceres. cithara crinitus lopas 74© personat aurata, docuit quern maximus Atlas, hie canit errantem lunam solisque labores, unde hominum genus et pecudes, unde imber et ignes, Arcturum pluviasque Hyadas geminosque Triones, quid tantup' Oceano properent se tinguere soles 745 hiberni, vel quae tardis mora noctibus obstet. ingeminant plausu Tyrii, Troesque sequuntur. Dido calls for the story of Troy. nee non et vario noctem sermone trahebat infelix Dido, longumque bibebat amorem, multa super Priamo rogitans, super Hectore multa ; 75° nunc, quibus Aurorae venisset filius armis, nunc, quales Diomedis equi, nunc, quantus Achilles. * immo age, et a prima, die, hospes, origine nobis insidias,' inquit, ' Danaum casusque tuorum erroresque tuos ; nam te iam septima portat 755 omnibus errantem terris et fluctibus aestas.' (-- CONNECTION OF THE JULIAN FAMILY WITH THE TROJANB Jupiter Bardanua I Tros lius I Laomcdon Prbm = Hacuba Hector = Andromache Astyanax Ganymede Tithonus I Memnon Assaracus Capys Anchises Aeneas Ascaniua or lulus The Julian family I EXCURSUS ON THE OPENING LINES OF THE AENEID. Most modern editions follow MS. authority in rejecting these linea. but as the editors of the present edition have ventured to recognize them aa authentic, a full discussion of the question is appropriate. In preaent- mg the reasons for rejecting, Mr. Page remarks as follows :_ " The following lines are sometimes placed at the commencement of the Aeneid, Ille ego, qui quondam gracili modulatus avena carmen, et egressus silvis vicina coegi ut quamvis avulo parerent arva colono, gratum opus agricolis ; at wunc horrentia Mortis 'lam that (bard) who once tuned his lay {i.e., the Eclogues) on a Blender straw, and then quitting the woods compelled the neighbouring ploughlands to answer the demands of the tiller however grasping, a work dear to husbandmen {i.e., and who subsequently wrote the Georgics) ; but now of war'a bristling arms I sing. . . .' The lines however are to be rejected for many reasons : (1) They are not in any good MSS., but are first mentioned by Suetonius. (2) Arma virumqne are quoted as the first words of the Aeneid by Ovid (Tr. 2. 533), Martial (8. 56. 19), and Persius (1. 96). (3) The commencement arma.. . .ia an imitation of the first line of the Iliad ,if/viv aenh, ded and that of the Odyssey, ivdpa fiot, EweTTE, Movaa (4) That a summary of the poet's history should be introduced in the same opening sentence with a summary of the hero's history is extremely harsh. Moreover, the sentence becomes very long and ugly ; the omission too of sum twice over in the first line ia very objectionable. Milton thought the lines genuine and has imitated them at the com- mencemnnt of Paradise Regained, but his taste when he imitate. ciassicai niociels is not always sound, and the truer ring of Paradiae Lost, 1. 1 should rather be compared." 26 26 EXCURSUS. The opposite contention is that the lines were written by Vergil, but were expunged after his death by his editors Varius and Tucca under orders from Augustus, and that thus the mutilated text became the current and officially authorized one, furnishing ample ground for the error of all the "good" MSS., the earliest of which belong to the 4th century and all of which are obviously based on one archetype ; see p. xxix, Introduction. Granted that the common source of all our best MSS. was tainted, then the MSS. themselves must have been tainted, and the argument based on these MSS., as well as on the subsequent tendency of a great number of editors to follow them, becomes valueless. The following is a summary of Mr. Henry's admirable dissertation on the subject : — " Ille — Martis " INSERTED in 18 out of 50 second class MSS. ; quoted by Servius, who says they were omitted, obviously "ut causa operis obtineret print'ipium" ("that the subject of the poem might hold first place"); accepted by 20 important editors, including N. Heinsius (1670) and Wagner (1832). Omittkd or STIGMATIZED by 2 first-class MSS. (Rom. and Med.), 32 out of 50 second class MSS. and 19 important editors, including N. Heinsius (1704), Peerlkamp, Ladewig, Bibbeck, Conington. Arguments in Favour of Accepting " Hie— Martis." 1. Their intrinsic merit, — modesty, simplicity, purity (** vim et elegan- tiain," Wagner, 1832). 2. They do not contain a single word unworthy of Vergil (Wigner, 1832). 3. No other plausible origin than Vergil's own hand has been assigned to them. 4. The turn of thought, the studied comparison of his present subject with a former subject of his own, or even with other subjects of other writers, is quite iu accord with Vergil's habit. 5. Striking parallels of diction : compare with Eel. I. , 2. Eel. x. . 50. Geo. I., 99. Geo. i., 47. Geo. i., 41. Aen. Xll., 124. fi Tf. ia a mu''h Aaaipr and naf*"* ^■■ask *•" nf.rike ou*"- & i^as's*"** ^'Han to add or prefix one, especially one which would fit so well. EXCURSUS. 27 7. We are informed by Donatus and Servius that after Vergil's death the orcer was given by Augustus to Tucca aud Varius to strike out what- ever thiy might think it advimble to strike out, but not to add anything. 8. Donatus tells us that Nisus, the grammarian, used to say that he had heard "a senioribus" that Varius had actually struck out these verses. 9. From all those MSS. from which these verses are absent, other verses undoubtedly written by Vergil {e.g., Aen. n., 667-588) are absent also. 10. In Aen. vii., 37-45, there is a distinct reference to a premeditated division of the Aeneid into two parts, as foreshadowed in tlie disputed lines, V z., an Iliad in 7imic horrentia Martis Anna, and an Odyssey in Virumque, Troiae qui primus ab oris, etc. 11. As early as the age of Domitian, we find Saleius Bassus figuring Vergil 8 ascent from bucolic to epic poetry under the identical trope under which it is figured in these verses, viz., that of a rural musician issuing forth out of the obscurity of the woods and presenting himself before the world as a performer of the most complicated and difficult pieces. 12. Priscian, though in his Formula Interrogandi he parses Arma viRUMQUB CANO as first verse of the Aeneid, nevertheless in his Gram- mar repeatedly recognizes these verses as Vergil's. 13. Two of our greatest English poets (Spenser aud Milton) were unable to find nobler commencement for two of the i^reatest poems in the English language, than an imitation of the commciicement afforded by these lines to the Aeneid : " Lo I I the man whose muse whylome did maske, As time her taught, in lowly ahepheard's weeds, Am now enforst, a farre unfltter taske, For trumpets sterne to chaunge mine oaten reeds, And sing of knights', and ladies' gentle deeds." Spbnser, Faerie Quetru, I., 1. "I who erewhile the happy garden sung By one man's disobedience lost, now sing Recovered paradise to all mankind By one man's firm obedience fully tried Through all temptation, and the tempter Foiled hi aii his wiiea, delealed and repulsed. And Eden raised in the waste wilderness." Milton, ParadUe Regained, I., 1. . &. 28 BXCURRU8. I i' ^ V 13. (Henry's chief afgument) : The beginning Arma virumquk cano would have been essentially and in itself a bad beginning ; bad as being (1) brusque, abrupt, turgid, and devoid of the "molle atque /acetum" 80 characteristic of Vergil's style, (2) ii'f^VgKniu, tt conflict arising between the interpretation "the cm'or Aeneas," and "the wars {of Aeneas) and Aeneas (him- la rejecting the argument based upon Homer, Henry says, "Very well, if the more ancient and ruder poem is to be, in all respects, the model of the more modern and highly finished ; very well, if there are no excellencies in Vev " ' , i look in vain for in Homer; very well, if the argument is ui»ed in its full strength, and we begin the Aeneid, neither with illb ego, nor with Arma virumquk cano, but with musa, MIHI OAUSAH MEMORA. Then indeed we shall have the Aeneid modelled on (not an improvement of) the Iliad and Odyssey, the whole three poems shall begin alike with the invocation of the Muse. . . ." If, however, my reader scruples, as no doubt he scruples, to go so far ; if he insists, as no doubt he insists, on retaining Arma virumquk cano, though without paralh 1 either in the Iliad or Odyssey, with what vui eonsequentiae does he insist on rejecting "illf. — martis," the explanation and complement of cano, on the ground that there is no parallel for it either in the Iliad or th< Odyssey ? Of the quotations from mbsequent writers pointing *o "Arma virumquk cano" as the beginning, Henry says, "the very utmost shown by those quotations or that ca' )e shown by any number of such quotations, is the e>. istence from the earliest times, perhaps even fvom the date of the author's death, o . n Aeneid without the introductory verse", a fact undispute' nay afii»nied and mr ntained even by those who h ss ai^rm and aintain that the Aeneid did not so come into the world from tht: creative hand of its author and pai at, but only from the mutilating hands of its godfathers, and that co-existent with such mu-Miattid Aeneid l— partly ci. account of imperial influence, partly on account of the invariable predom:'^] -nee .•? c( .rse taste over refined — far less in vogue, there was always the Aeneid as it came from the hand of Vergil. " EXCURSUS. 29 The eflFect of a closer study of the question is undoubtedly in tho direction of du. 'ling tho idea that MSS. and learned editors «ro in all cases to be reli- .,„,n. and of creating tho impression that the taste (questionable ta. e at the best) of Varius and Tucca. coupled with a desire to carry out the instructions of their lord an.l master Augustus, " !r , -[JL ^""« "^*'" ""^ "'■'■"'•' '^ '""' *f'«^« has been, on the part of MSS., quocing authors and critical editors alike. On the whole, therefore, it scoms safer to prefix the disputed word, than to omit them. Summary. The question may be summed up as follows :— The words Illk koo_marti8 are found in some old MSS., though not in the oldest extant; th.j are treated by Servius and Priscian, early commentators, as authentic; it is known that Varius and Tucca had instructions to onut but net to add; no explanation of their composition by a hand other than Vergil's has been offered : that is to say, " if Vereil did n..t write them, who did?"; the oldest MSS. extant (4th and 5th century) o. the lines, but these MSS. are no doubt based upon the current and official version published and circulated under imperial authority ; the testimony of critical editors who base their text .al d^-ci- T.T ZL^tf""""'":'^' "°' ^ ^'^'^'y' «^*"»"»ti"n of MSS. is worthless f the MSS themselves are worthless ; likewise the evidence of quota- tions, based upon an inaccurate tnough current version ; the fact that the majority follow the edited and expurgated version ,a natural : the very existence of the disputed preface is. in view of the circumstances, trong proof of its own authenticity, pointing as it does to an obscure though oripnal version, frowned down by imperial disfavour; the argu- uient based upon taste and imitation of Homer is weak ai the best and m fact, ^ay be turned against ♦he inventors of t^e argument: tastei differ and Verg, did not always imitate Homer; he was more likely ^imitate himself, vide references to parallelisms in the Eclogues and oie trom I !, 30 EXCURSUS. A LIST OF THE MORE IMPORTANT VARIA- TIONS IN THE TEXT. N.B.— The reading of the text in the present edition ia placed first. The Btutlent would do well to look up the context in each case ami care- fully examine the difference in meaning depending upon the difference in the text. On this point see Introductiou, p. xxix. 48. adorat, — adoret. 49. imponet, — imponat, imponit (see Notes). 104. ^jrora avertit, — proraiti avertit. 236. omni, — omnes (see Notes). 317. Hebrum, — Eurum (see Notes). 365. cernis, — cernes. 374. componat, — componet (see Notes). 448. nexaeque, — nixaeque (see Notes). 513. percussus, — perculsus. 518. cunctis, — cuncti. 599. exhaustos,— exhaustis. 604. iustitia, — iustitiae (see Notes). 642. aiitiqua, — antiquau. 701. famuli, — famulae. 725. it,— fit. A BACCHANAL RBCLINIKO AT A FKA8T, T. 688, "Aurea compovuit iponda inediamque locavit." NOTES ON VERGIL'S AENEID. BOOK I. Note on the introductory lines, IIU eso-Martis.-Yor a. discussion of the authenticity of these lines see Excursus, p. 25. Though the editors are of the opinion that it is safer to insert the disputed lines, as being in their judgment more likely to be the genuine product of Vergil's hand than not, still as most of the usually accepted editions begin with " arma vir. umgue," this edition, o as to be uniform for purposes of reference, has been numbered from line S.-///il fnr rrilAl Tiipr* c iinrfirtrgf fnl Qnnrv rt : Horn. 11. 16,432. I i ¥■ VERGIL S AEN. B. I. n I 48 — Gero: "have been (and still am) waging." — quisqttam: implying a negative. Distinguish quisquam, ullits and quivis, quilibet. — adorat: others read adoret : a rlietorical subjunctive. 49 — Praeierea =■ posthac : "hereafter." — imponeli fut. indie: the read- ings here are very mixed. We have also imponat (subj.), and itnponit (pres. indie). The weight of MSS. evidence is in favour of adorai — impov-et, although adoret — imponat would harmonize better. 51 — We have in the following lines a lively personification of the winds. Loca — austHs: "a place big with blustering blasts." The winds mentioned in the Aeneid are: N., B areas. ;'ii.'S,., Aquilo; E., Etirus; S., Noius or Auster ; S.W., Africus ; W., Zephyrus; N.W., Corui or Caurus ; N.N.W., lapyx. Distinguish in meaning loca, loci. 62 — Distinguish in tense v?nit, venit. — antrum : a cave or grotto, as a beautiful object with reference to its romantic appearance and cool- ing temperature: speci/s, a gap with a longish opening ; spelunca, a cavity in a merely physical relation, with reference to its darkness or dread fulness. 53 — We have here a fine example of imitative harmony {onomatcpoeia), the hissing sounds of the winds being well represented by the successive s's ; "the struggling winds and sounding storms." 64 — Imptrio—frenat : * ' restrains beneath his .sway and curbs them with fetters in his prison house." The picture of the winds may have been suggested by the ludi O'rcenses, at which chariot racing was one of the chief features. — vinclis et carcere— vine lis in carcere, or some say = vinclis carceris : what figure ? 65 — llli — fremunt : ' * they chaffinp, while the great ruck roars responsive, rage round the prison bars." Note the alliteration. — magna cum murmufc, a substituie for the ablative absolute. 67 — Sceptta ien(ns = aKTiTiTmx'^? '• "sceptre in hand. "—- a«i>w<>j .• •* passions." — iras : "rage;" cv\ v. 25, note. 68- -iVt archaic form of nisi: see ait, v. e^.—faciat—ferant — vcrrant: the pres. for impf. gives greater vividness. In prose we should have ni faceret—ferrent. — quippe, "doubtless," ironical. Note, vetTant ii. intransitive, "sweep." -Molem et mantes— molem montium (by hendiadys): "a mass of moiin' tains. "~;«j^«/4r; "'on the top of them." 62 — Re^e^tque — habeas: "and gave them such a king as knew, when 61 NOTES. 39 Dossions. bidden (by Jove), by a fixed law either to tighten or to loosen the reins." — qui — sciret, sub, of purpose. ~/r, as blowing from Libya ; called by the Italians still Africo, or Gherbino. %^—Et fluctus : the successive spondees well described the measured motion of the heavy surges. Vl—Insequitur—rtidentum : " then follow both the shrieks of the crew and the creaking of the cordage." —virum ■= viroru/fi : see note on Danaum, v. lo.—rudentes: were the light hanging gear of a ship {jontia), while fuues (ff^oma), were the strong ropes to which the anchors were attached, and by which the ship was fastened to the land. %8—Eripiunt—oculis : " suddenly the clouds blot from the eyes of the Trojans both sky and light."— ^fw, "light," probably the original meaning of the word ; cp. div, " bright : " cp. 6lFog, ^l F^c (gen. of ZeiT. fod of thfl nir^. lutihi/pv /= PHi} f>i t.>*-\ /i.'^..„ / — n:~. ^^- fU- bright one), " the moon." msfr s i'^ ' M'S NOTES. 41 89 — Jncubat : " broods over." Morris well translates : " Night on the ocean lies, Pole thunders unto pole, and still with wild fire glare the skies, And all things hold the face of death before the seamen's eyes." — atra: "sable." Distinguish ater, denoting black as a negative of all colour, opposed to albtis, white : niger, black, as being itself a coio'"- and indeed the darkest, opposed to candidtis. QQ—Inionuetc ^)oli: "it thundered from pole to pole ; " lit. "the poles thundered."— /<7/mj, (TroPof): the Latin term for iruko^ is vertex, the end or axis on which, according to the ancient notions, the heavens turned {verto).—et— aether : " and the heaven gleams with frequent flashes." — aether^ the bright upper sky above the clouds {a'Siip) : aer, the lower air (a'//>). Here the distinction is, however, un- observed. 91 — Praesentemque — mortem: "and all things threaten the crew with instant death." — intentant, note the force of the frequentative. %2—Extemplo {=ex tempulo, ixom tempulum, dim. oi tetnpus), "at once." —frigore, " with a chilling fear." 9^—Duplices: not "clasped," as this was not the attribute of prayer among the Greeks and Romans, who extended the palms of their hands to the supposed dwelling place of the deity addressed, but " both" : cp. the use of dinlovq for d/i^u, 6vu : Aeschylus, Prom. Vinctus, 971, ^Tj(^£ f/oi JtTrXnf dihhg, Upofujiiev, npoaliali)^. So also duplex, said for ambo, uten/tie, of things in pairs : Aen. 7, 140 : duplices pareittes.—palma, " the open hand " : cp. ■KaTiafiri, "the blade of an oar :" root PAI,, " to spread ; " falor, " I wander," and paftdo, "I spread : " for ^/passing into / : cp. odor, olere ; dingua, lingua ; 6aKpv, lacrima. H—Re/ert=dictt. The meaning may be he brings back to light thoughts hidden in his heart : cp. Hom. Od. 5, 309, et sqq. Quis contigit : " whose happy lot it yiz.s."—quts=qnibus.~acndit, it happens unexpectedly, said of good or bad events : contigit, it happens, said of fortunate events : evmit, it happens, said of events expected, good or ha.(.\.—ante ora : considered a happy lot, because their fathers would see their noble deeds. Oppetere, scil. mortem, to die, as a moral act, in so far as a man, if he does not seek death, at any rate awaits it with firmness : obire mortem, to die, as a physical act, by which one ends all suffering. 97 — Tydides=Diomedes, who met Aeneas in single combat : II. 5,297. — 95 96 ii al 42 VERtiiLS ABN. B. I. i \ i- mene — elextra : "alas ! that I could not have fallen on the Tiojan plains and gasped out this life beneath lliy right hand !" For th case of me, see note, v. 37. — OLiumdere, scil., mortem, or m ie, or obviam morti. — campis, local abi. =i« campis. 99 — Saei'us • perhaps ' ' terrible in battle " : cp. Homer's Seivh^ fi^XVV. Aeneashimself is called Jo^vMX in Aen. 12, 107. — AeaciJes: Achilles is meant, who was son of Peleus an gr; th** ordinary motion of water ; fluctus, a wave, caused by some external force, as storms. iC''/ - turit — harenis : "the seething flood rages with sand." — harenis : abl. of instrument. Conington translates : " sand and surf are raving together. " 108 — Abreptas—torquet-=abripuitettorquet: "has caught and whirls." — latentia, "hidden " by the overflowing sea in stormy weather ; in a calm they were visible. IQ^—Saxa — aras. The order is saxa quae mediis in fluctihus (exstantia) Itali vacant Aras: " rocks which (standing out) in the midst of the billows the Italians call Altars." The Jojra referred to are probably the rocks just outside the bay of Karthage. Of these, the insula Aegimuri is the chief. Some say the Karthaginian priests used to offer sacrifices there to avert shipwrecks on the rocks, hence the term Ara. Others say the Skerki rocks are alluded to, situated in the shallow between Tunis and Sicily. Nom. 43 110 Dorsum — summo: "a vayt reef rising to the surface of the main." — dorsum, properly "a back" of an animal: cp. ;tot 'ax^. 158 — Vertuntur=vertunt se: literally "turn >;. . mselves." The passive endings in Latin arose out of the reflexive forms of the active by adding to the verbal stem with the connective vowel the ace. of the reflexive pronoun which was for all persons— j^; — e final was after- wards dropped, and the remaining form sometimes changes j to r; vertor = verto-se ; ve'ieris = vertesi-se ; vertitur — verteti-se. \5^~Est locus : probably an imaginary place. Some refer the description to Nffva Karthago {Cartagena) in Spain; others to Neapolis. — in NOTES. 47 gradual pro- esent.— ^rtf« of arms was ciiance, they ley are silent eritis ; some iter si, ttt'si, e indie, so therwise the [vufgus) are to express force of iui. ce hushed." if. — ae'juora r. 126. epithet of a tier Oceanus ;, 241). So e dogmas of lary element ?.• "cleared" ith loosened ot." — curru ■ "gliding." are called 'iiora: "the ir article. -^ ^he passive e active by ace. of the il was after- iges stor; description rapoiis. — in secessu hngo : " in a deep receding bay. " Conington hnely renders these lines : — Deep in a bay an island makes A haven by its Jutting sides, Wherein each wave from Ocean breaks, And, parting, into hollows glides. High o'er the cove vast rocks extend, A beetling cliff at either end ; Beneath their summits far and wide, In sheltered silence sleeps the tide, While quivering forests crown the scene— A theatre of glancing green. \m—ObjectH laternm: "by the shelter of its sides. "- which;" abl. instr. ■quibus, "against \^\—Inque~reductos : " and wave parts into the deep hollows of the bay " -sinus, properly "a bosom," then "a gulf." Cp. the change of meanmg of K(5;i7rof, Romaic y67.^^, Eng. ^ulf. ~ scindit jese = sctnditur. \Q2~Him—scopuli: "en this side and on that, huge rocks and twin cliffs tower threateningly towards \c^-'tn:'-minat,(ur'. rt. MIN, "to jut : " cp. mons : minae, properly the .-yable end of a house. l&^—Late : ' ' far and wide. " \U~Aeqmra—si/ent : "the calm sea lies safe and still," lit. "the calm sea, safe (from the winds), is still. "-/«/« may, however, mean "safe for sh\^s."-tum-coru:cts : "then a background of waving woods."— ,rf «/.,,« : cp. n is confined 190 res:" abl. of nd (the fire, 192- ests=circurn- nth root DA, /fdt, "and 194- leyne makes 195- ■e started by ickly placing etonymy : so 196- nay refer to erum, either iim, "weary 198- ommon with ratm salutis, ^at. specula, 199- 200- oved over in ; can see any Antheus," i.e., "if he can anywhere see Antheus." It may also be taken, "in the hope that he may see some tempest-tossed (bark oi) Antheus." Yox Antheaqium=Antheiqnatn (navem): cp. Aen. 2,311; iam proximus ardet Ucalegon = iani proxima ardet donius Ucalegon- /is. -biremes : Vergil is guilty of an anachronism here, as no such ships existed in the Homeric era. -Arma, shields arranged on the stern which would flash in the sun- shine : cp. Aen. 8, 92. -Some have raised the question whether deer are found in Africa. - Armenia '. properly, "ploughing cattle," i.e., "oxen," but often applied to other kinds of animals : to horses ' " 3, 540) ; to apes (Pliny 7, 2); to sea monsters (Georg. 4, 395).— imot^«/kw( = i«^. mentum)'. "draft cattle." -Hie : distinguish in meaning hie, hk. -Sternit: "he lays low. "~»«/^«j, said of beasts, cp. Georg. 3, 469; vulgtis incautiim.~it tmhamx "and driving with his shafts the whole herd (of deer), he disperses them amid the leafy woor/^, v. l^x.—olim, here = aIiquando in prose : see note, v. 20. ^^r~Discriminarerum=resptriculosas.—discrimeti', properly, the turn- ing point; root KRi, "to decide" or "to separate;" cerno, Kpivu. 205— Tendirnus, scil., iter : "we pursue our course." 206~Ostemiunt : " promise, "-/zj est, "'tis heaven's will."— /aj; root FA, " to declare " : cp. fart, ^7}/xi ; /atum,