29-30. 1829.
[4446,1]
4446
Ib. sezione intitolata Æneas and the Trojans in
Latium, p. 166 - 7. These wars Virgil describes,
effacing discrepancies and altering and accelerating the succession of
events, in the latter half of the Æneid. Its contents
were certainly national; yet it is scarcely credible that even Romans,
if impartial, should have received sincere delight from these tales. We
feel but too unpleasantly how little the poet succeeded in raising these
shadowy names
*
(degli eroi di quelle guerre), for which he was forced to invent a character, into living
beings, like the heroes of Homer. Perhaps it is a problem that cannot be solved, to form an
epic poem out of an argument which has not lived for centuries in
popular songs and tales as common national property, so that the cycle
of stories which comprises it, and all the persons who act a part in it,
are familiar to every one.
*
{+V. p. 4475} - Assuredly the problem was not to be solved by Virgil, whose genius was barren for creating,
great as was his talent for embellishing. That he felt this himself, and
did not disdain to be great in the way adapted to his endowments, is
proved by his very practice of imitating and borrowing, by the touches
he introduces of his exquisite and extensive erudition, so much admired
by the Romans, now so little appreciated. He who puts together
elaborately and by piecemeal, is aware of the chinks and crevices, which
varnishing and polishing conceal only from the unpractised eye, and from
which the work of the master, issuing at once from the mould, is free.
Accordingly Virgil, we may be
sure, felt a misgiving, that all the foreign ornament with which he was
decking his work, though it might enrich the poem, was not his own
wealth, and that this would at last be perceived by posterity. That
4447 notwithstanding this fretting
consciousness, he strove, in the way which lay open to him, to give to a
poem, which he did not write of his own free choice, the highest degree
of beauty it could receive from his hands; that he did not, like Lucan, vainly and blindly
affect an inspiration which nature had denied to him; that he did not
allow himself to be infatuated, when he was idolized by all around him,
and when Propertius sang:
Yield, Roman poets, bards of Greece, give way,
The Iliad soon shall own a greater lay; *
that, when death was releasing him from the fetters of civil observances, he wished to destroy what in those solemn moments he could not but view with melancholy, as the groundwork of a false reputation; this is what renders him estimable, and makes us indulgent to all the weaknesses of his poem. Τhe merit of a first attempt is not always decisive: yet Virgil's first youthful poem shews that he cultivated his powers with incredible industry, and that no faculty expired in him through neglect. But how amiable and generous he was, is evident where he speaks from the heart: not only in the Georgics, and in all his pictures of pure still life; in the epigram on Syron's * (così, in vece di Sciron's) Villa: it is no less visible in his way of introducing those great spirits that beam in Roman story. * (29-30. 1829.)
Yield, Roman poets, bards of Greece, give way,
The Iliad soon shall own a greater lay; *
that, when death was releasing him from the fetters of civil observances, he wished to destroy what in those solemn moments he could not but view with melancholy, as the groundwork of a false reputation; this is what renders him estimable, and makes us indulgent to all the weaknesses of his poem. Τhe merit of a first attempt is not always decisive: yet Virgil's first youthful poem shews that he cultivated his powers with incredible industry, and that no faculty expired in him through neglect. But how amiable and generous he was, is evident where he speaks from the heart: not only in the Georgics, and in all his pictures of pure still life; in the epigram on Syron's * (così, in vece di Sciron's) Villa: it is no less visible in his way of introducing those great spirits that beam in Roman story. * (29-30. 1829.)