It may be observed that in this legend Virgil appears as a guardian spirit or god, certainly not as a mortal.
It would almost seem as if there were an undercurrent of genial satire or mockery in the part where the young Pythia graciously assures the simple peasants that, out of sheer gratitude and to oblige them, she will consult with—of all the gods—the Robin Good-fellow, or goblin of the red-cap! who in all tales, Italian as well as English, is ever a tricksy sprite, more given to teasing and kissing servant-girls, and playing with children and cats, than aught more dignified. When we remember that the object of this gracious benevolence is to make her father chief or king, it verily appears as if the whole were a “put-up job” between parent and child.
THE END.
Elliot Stock, 62, Paternoster Row, London.
FOOTNOTES.
[0a] Of which there is an English translation by E. F. M. Benecke entitled “Virgil in the Middle Ages.” London, Swan Sonnenschein and Co.
[0b] Comparetti.
[0c] Alexandra Dumas also used this book very freely for his “Mille et Une Fantômes”—in fact, the latter work may be said to be based on it. The “Histoire des Fantômes” was the first and principal source from which French lovers of the supernatural derived the interest in were-wolves and vampires which manifested itself during the time of Napoleon and more recently.
[0d] “Pioneers of Evolution.”
[12] Possibly meaning that it was the first time when he recognised his power as a sage or sorcerer.