Sed nox atra caput tristi circumvolat umbra.
Tum pater Anchises, lacrimis ingressus obortis :
O gnate, ingentem luctum ne quaere tuorum ;
Ostendent terris hunc tantum fata, neque ultra
Esse sinent. Nimium vobis Romana propago
Visa potens, Superi, propria haec si dona fuissent.
Quantos ille virum magnam Mavortis ad urbem
Campus aget gemitus! vel quae, Tiberine, videbis
Funera, cum tumulum praeterlabere recentem!

tually explains it by 'finis,' " Inculpatus
autem instar est absolutae virtutis: inlau-
datus quoque igitur finis est extremae
malitiae." But the same word may have
many shades of meaning, as might be
shown in the case of 'modus' itself, though
all of course flow from a single notion. In
the case of instar' it seems probable from
the appearance of the word that the original
notion was something like 'standard.'
This will explain all the instances where it
is used with the gen. in the sense of
resemblance (comp. "ad modum"). There
seems no doubt that in some passages (e.g.
Suet. Caes. 61, "cuius etiam instar pro
aede Veneris'genetricis dedicavit") it means
a representation, but it does not appear
that there is any trace of this earlier than
Livy, so that we need not assume it to be
the original notion of the word, at the
same time that we can quite account for
it as
a meaning that may have been
attached to it in subsequent usage. Here
then it might possibly be taken with Serv.
&c. in the sense of similitudo.' It is to
be observed however that Virg. elsewhere
uses the word in connexion with size (2.
15., 3. 637., 7. 707), so that I would
rather suppose the meaning to be, with
Heyne, 'how commanding is his presence,'
which is besides suggested by the context.
Ipso' is evidently meant to distinguish
him from those about him, so that we
should expect some attribute of distinction
to be predicated of him, not simple simi.
larity to his ancestor. Heyne edited 'ipso
est,' the reading before Heins., but all the
best MSS. omit the verb subst.

866.] Partially repeated from 2. 360. Heyne comp. the words of Theoclymenus to the suitors, Od. 20. 351, & deixo, Ti κακὸν τόδε πάσχετε; νυκτὶ μὲν ὑμέων Εἰλύαται κεφαλαί τε πρόσωπά τε νέρθε τε γοῦνα, where as here the image is that of approaching death.

867.] Ingressus' 4. 107. It matters little whether it be taken here as a parti

ciple or as a finite verb.

866

870

868.] Wagn. restored 'gnate' from Med., agreeably to his opinion that Virg. prefers the archaic spelling in solemn passages, and I have not thought it worth while to disturb it, though fragm. Vat., Pal., Rom., and Gud. have 'nate.' 'Tuorum' like suorum' above v. 681. For the well-known story about these lines see vol. i. p. xx (Life of Virgil).

869.] Peerlkamp comp. Tac. Agr. 13, "D. Iulius potest videri (Britanniam) ostendisse posteris, non tradidisse." For neque' Med. and Rom. give 'nec,' which was the reading of Heins. Ultra,' beyond this mere glimpse. Marcellus was in his twentieth year when he died.

870.]"Sit Romana potens Itala virtute propago" 12. 827. The construction seems to be Romana propago visa (est) nimium potens (futura fuisse).'

871.] Rom. has Superis,' only one of many errors that occur in it in this part of the book. Propria,' note on E. 7. 31.

Had it been allowed to call these gifts all its own.' Taubm. has an unseasonable reminiscence of logic, "propria, id est, perpetua : . . . proprium enim numquam avellitur ab essentia."

Ma

872.] Virum' with 'gemitus.' vortis' seems as if it might go both with 'urbem' (comp. "Mavortia moenia" 1. 276) and with campus,' a double reference which is perhaps less common in Virg. than in Horace. Comp. G. 1. 273.

873.] Aget gemitus,' shall send forth groans, like "spumas aget G. 3. 203, comp. by Forb., perhaps with an accessory notion of celebration (" agere triumphum &c.), which is Heyne's suggestion. The mourning for Marcellus is described by Dion 53. 30 foll.

874.] Funera' for 'funus' as in 4. 500, doubtless to enhance the dignity of the thought. There were 600 couches in Marcellus' funeral procession. 'Tumulum recentem,' the mausoleum which Augustus

Nec puer Iliaca quisquam de gente Latinos

In tantum spe tollet avos, nec Romula quondam
Ullo se tantum tellus iactabit alumno.

Heu pietas, heu prisca fides, invictaque bello
Dextera! non illi se quisquam inpune tulisset
Obvius armato, seu cum pedes iret in hostem,
Seu spumantis equi foderet calcaribus armos.
Heu, miserande puer! si qua fata aspera rumpas,
Tu Marcellus eris. Manibus date lilia plenis,
Purpureos spargam flores, animamque nepotis
His saltem adcumulem donis, et fungar inani

had erected in the Campus Martius for the Julian family five years before.

875.]Latinos avos,' the shades of the heroes of Latium or Lavinium, who are supposed either to look forward to the future glory of one who is now a shade along with them, or to be conscious while he is on earth and they themselves in darkness. The future tollet' seems in favour of the latter. We may suppose them to inquire about him from new comers, as Agamemnon in Od. 11 inquires about Orestes. Virg. has adroitly varied his expression, so as to make us think in this sentence of the ancestors of the Romans, Trojan or Latin, in the next of Rome itself.

878.] Pietas,' to gods and men, referring perhaps specially to his relation to Augustus. Prisca fides: Gossrau comp. Hor. Carm. Saec. 57, "Iam Fides et Pax et Honos Pudorque Priscus et neglecta redire Virtus Audet," and reminds us from 1. 292 above that Augustus wished to be regarded as the restorer of ancient virtues. "Vivida bello dextra" 10. 609. Virg. as Henry remarks, lamenting the budding virtues which are never to blossom.

879.] No one would have been his match in fight, had he been destined to live. "Obvius ardenti sese obtulit" 10. 552. 'Quisquam se' was the order before Heins. 880. Perhaps from Od. 9. 49, LOTάμενοι μὲν ἀφ ̓ ἵππων ̓Ανδράσι μάρνασθαι, καὶ ὅθι χρὴ πεζὸν ἐόντα. "Pedes ire" 7. 624.,

10. 453.

881.] Instead of repeating 'cum,' Virg.

875

880

885

has chosen to express himself differently, as if the doubt expressed by 'seu' were about the fact of Marcellus fighting on horseback. Comp. Hor. A. P. 63 foll. "sive receptus Terra Neptunus classis Aquilonibus arcet" &c. "Armos' seems to be used widely for the flank.

882.] "Miserande puer" 10. 825., 11. 42. Henry rightly prefers the old pointing to Wagner's, who makes 'si qua-rumpas' a wish. The sense clearly is, if you can overcome your destiny, you shall be MarRumpere fata' like 'rumpere legem,' foedus ' &c. Comp. generally “ quem Numina laeva sinunt" G. 4. 6.

cellus.'

"si

883.] Tu Marcellus eris' implies, as Henry thinks, that the youth is not Marcellus yet, but only his promise: but it is also meant to include all the glories of the family, as if we were to say 'You shall be a true Marcellus.' 'Date-spargam' &c. See on 4. 683. The sense here, as Wagn. remarks, is probably the same as if he had written "date lilia ut spargam flores," the lilies and the purpurei flores' being identical. Gossrau makes 'date' parenthetical, taking manibus lilia plenis' with 'spargam,' which is of course out of the question. "Dant fruges manibus salsas" 12. 173, where as here manibus' is abl., not, as in 1. 701, dative.

884.] Purpureos' may either be understood generally as bright (see on E. 5. 38), or in its strict sense, as Pliny 21. 5 says, "sunt et purpurea lilia." "Purpureos flores" 5. 79 (note), which also illustrates the custom. Nepotis' is of course used vaguely.

885.] "Acesten Muneribus cumulat 5. 531. Comp. also 11. 25, "egregias animas . . . decorate supremis Muneribus,” and with the feeling expressed in saltem' ib. 23, "qui solus honos Acheronte sub imo est," Hom.'s rò yàp yépas éσrl lavór

Munere. Sic tota passim regione vagantur
Aeris in campis latis, atque omnia lustrant.
Quae postquam Anchises natum per singula duxit,
Incenditque animum famae venientis amore,
Exin bella viro memorat quae deinde gerenda,
Laurentisque docet populos urbemque Latini,
Et quo quemque modo fugiatque feratque laborem.
Sunt geminae Somni portae, quarum altera fertur
Cornea, qua veris facilis datur exitus Umbris;
Altera candenti perfecta nitens elephanto,

538

P. VERGILI MARONIS AENEID. LIB. VI.

Sed falsa ad caelum mittunt insomnia Manes.
His ibi tum natum Anchises unaque Sibyllam
Prosequitur dictis, portaque emittit eburna :
Ille viam secat ad navis sociosque revisit;
Tum se ad Caietae recto fert litore portum.
Ancora de prora iacitur; stant litore puppes.

would naturally go together, like "Cymbia
argento perfecta" 5. 267. Gleaming with
the polish of dazzling ivory.'

896.] Beautiful as the ivory gate is, the apparitions that pass through it are false. For the power of the shades to send dreams comp. Clytaemnestra's dream, which was sent by Agamemnon, Soph. Εl. 459, οἶμαι μὲν οὖν, οἶμαί τι κἀκείνῳ μέλον Πέμψαι τάδ ̓ αὐτῇ δυσπρόσοπτ ̓ ὀνείpara. Wagn. Comp. Tibull. 2. 6. 37, “ne tibi neglecti mittant mala somnia Manes," which Virg. may have thought of, if it was published before his death. Falsa' probably refers both to the quality of the apparition and to the message that it brings. Both may be illustrated from the dreams of Hom.: in Od. 4. 796 the apparition of Iphthime is made by Athene: in II. 2. 6 foll. the Dream-god is sent to give false counsel. There is apparently a similar combination of the two notions in Hor. 3 Od. 27. 40 foll., "imago Vana, quae porta fugiens eburna Somnium ducit."

897.] It is difficult to choose between 'ibi' (fragm. Vat., Rom., Gud. a m. p., and probably Pal.) and 'ubi' (Med.). The former is the more simple, the latter the more artificial. On the whole I have followed Ribbeck in preferring ibi,' as 'portaque emittit eburna ' loses force by being thrown into the protasis, and even Wagn. does not propose to treat it as forming the apodosis, though in 12. 81 he makes rapidusque' the apodosis to ubi.' "Natumque unaque Sibyllam v. 752 above.

898.] "Prosequitur votis " 9. 310.

900

His' is explained by what precedes, vv. 890 foll. Anchises continues his instructions till they part at the gate.

899.] "Viam secat " 12. 368. So Téμvelv ódóv. "Post hinc ad navis graditur sociosque revisit" 8. 546. The sense is from Od. 11. 636, aùtík' čmeit' ènì vña κιὼν ἐκέλευον ἑταίρους Αὐτούς τ ̓ ἀμβαίνειν ἀνά τε πρυμνήσια λῦσαι, of Ulysses leaving the shades.

900.] Recto litore,' sailing straight along the shore, like "recto flumine" 8. 57. He follows the line of coast, and it takes him to Caieta. Heyne read 'limite' from three or four inferior MSS., to avoid the repetition of 'litore' in the same part of the next verse: but though the repetition is certainly awkward, it seems better to suppose a slight carelessness on Virg.'s part than to question the reading of all the great MSS. Ribbeck cuts the knot by bracketing v. 901, which is repeated from 3. 277. Perhaps we may say that Virg. inserted it as a piece of his own epic common-place, whether as a stop-gap or not, and that this accounts for the repetition of litore.' The mention of Caieta has been objected to, as inconsistent with the opening of the next Book, where it is said that the death of Caieta, Aeneas' nurse, was the occasion of the name. But this is natural and Virgilian enough; and we can hardly wish that the poet had rivalled the accuracy of Ovid, who in his brief narrative of Aeneas' adventures (M. 14. 157) says "Litora adit nondum nutricis habentia nomen."

.....

APPENDIX.

"THEN, binding round their brows the mystic branch of bay, they rose, and in silence entered upon holy ground. . . . . . Fronting them rose the high altar, crowned, like the rest, with laurel, on which all must lay tribute who would inquire aught of Phoebus. Here the priests took of their offering and burnt it upon the slab. If the day were one of consultation, lots then were drawn for precedence, and he whom fortune favoured moved on, past the Omphalos, where Apollo had reposed in early days, past the tomb of Neoptolemus, past the image of Pallas, to the steps of the shrine itself. At the foot he left his train of servants, and mounted all alone, wonder

ing at the marvels round, the open colonnades, the wondrous sculptures filling the pediments of the noble tympana, each commemorating the life and labours of a god

And now the jubilant trumpets of the priests pealed out, with notes that rang round the valley, and up among the windings of the Hyampeian cliff. Awed into silence by the sound, he crossed the garlanded threshold: he sprinkled on his head the holy water from the fonts of gold, and entered the outer court. New statues, fresh fonts, craters, and goblets, the gift of many an Eastern king, met his eye: walls emblazoned with dark sayings rose about him as he crossed towards the inner adytum. Then the music grew more loud: the interest deepened: his heart beat faster. With a sound as of many thunders, that penetrated to the crowd without, the subterranean door rolled back: the earth trembled: the laurels nodded: smoke and vapour broke commingled forth: and, railed below within a hollow of the rock, perchance he caught one glimpse of the marble effigies of Zeus and the dread sisters, one gleam of sacred arms; for one moment saw a steaming chasm, a shaking tripod, above all, a Figure with fever on her cheek and foam upon her lips, who, fixing a wild eye upon space, tossed her arms aloft in the agony of her soul, and, with a shriek that never left his ear for days, chanted high and quick the dark utterances of the will of Heaven."

ARNOLD PRIZE ESSAY for 1859, pp. 14, 15.

NOTE on Aen. 6. 646, p. 507.-At the end of this note, after the word " epexegetical," Mr. Conington added: "A development of this view will be found in an extract printed at the end of this Book, from a letter from Mr. D. B. Monro, Fellow and Tutor of Oriel College, to whom I am indebted for the information about the Aristotelian use of avτipwvos." This extract could not be found. Mr. Monro has kindly supplied the defect by sending the following remarks on Aeneid 6. 646 :—

"The passages which Virgil seems chiefly to have had in view in the description of Orpheus are Od. 8. 256–265 (see Mr. Conington's note on Aen. 6. 644), and Il. 18. 590-606, 569-572. In the first of these passages Phemius is represented as playing on the phorminx, and (it would seem) singing the story of Ares and Aphrodite as an accompaniment to the dancing of the Phaeacian youth. In the second passage we are told that one of the pictures on the shield of Achilles represented a chorus dancing, and in their midst a divine singer made music (¿uéλπeto), playing on the phorminx.' In those cases the chorus is not expressly said to be one of singers: but in the procession of grape-gatherers on the same shield (vv. 561-572) the troop moved along with music and joyous cries' (μoλTM TM' ivyμậ Te), while a boy played the phorminx and sang the Linus to its accompaniment (if that is the true meaning of λίνον δ ̓ ὑπὸ καλὸν beide). So according to the Hymn to the Pythian Apollo (H. Apoll. 514 ff.) the god himself led the way bearing the phorminx, while the Cretans followed and sang a Cretan paean and in Olympus Apollo plays on the phorminx, and the Muses sing in turn (II. 1. 604). In all these cases there is a single musician whose instrument regulates and accompanies the chorus: but whether he sings himself, and whether the chorus sings as well as dances, is not always clear. The practice may have varied with the character of the performance, as the epic or lyric element predominated. In the Lament for Hector (I1. 24. 720-776) there are singers who 'lead the wailing,' but nothing is said of instruments: Andromache, Hecuba, and Helen recite in turn their praises of the dead man, and the rest bewail in chorus. Virgil, however, has distinctly made his chorus sing or recite (' carmina dicunt') as well as dance, and therefore he probably intended to represent Orpheus as playing only. Septem discrimina vocum ' refers in the first instance to the lyre, and could not very naturally be applied to the voice: 'vox' is used, like Gr. øwvń, for the 'note' of an instrument. (See Welcker, Ep. Cycl. vol. i. p. 329, and Kl. Schrift. vol. ii. p. 32.)"