“Then, maddening over crime, the queen
With bloodshot eyes, and sanguine streaks
Fresh painted on her quivering cheeks,
And wanning o’er with death foreseen,
Through inner portals wildly fares,
Scales the high pile with swift ascent,
Takes up the Dardan sword and bares—
Sad gift, for different uses meant.
She eyed the robes with wistful look,
And pausing, thought awhile and wept:
Then pressed her to the couch and spoke
Her last good-night or ere she slept.
‘Sweet relics of a time of love,
When fate and heaven were kind,
Receive my life-blood, and remove
These torments of the mind.
My life is lived, and I have played
The part that Fortune gave,
And now I pass, a queenly shade,
Majestic to the grave.
A glorious city I have built,
Have seen my walls ascend;
Chastised for blood of husband spilt,
A brother, yet no friend:
Blest lot! yet lacked one blessing more,
That Troy had never touched my shore!’”
So she mounts the funeral pile, and stabs herself with the Trojan’s sword, her sister Anna coming upon the scene only in time to receive the parting breath.
CHAPTER V.
THE FUNERAL GAMES.
Far off at sea, Æneas and his crew see the flames go up from Dido’s palace.
“What cause has lit so fierce a flame
They know not; but the pangs of shame
From great love wronged, and what despair
Will make a baffled woman dare,—
All this they know; and knowing tread
The paths of presage vague and dread.”
Not yet is their course clear for Italy. A storm comes on, and they make for refuge towards the friendly coast of Sicily, and run their vessels into a sheltered bay under Mount Eryx. Their return is gladly welcomed by their late host, Acestes, who receives the wanderers, as before, with princely hospitality, still mindful of his own Trojan blood. It chances that the morrow is the anniversary of the burial of Anchises; and Æneas, summoning an open-air council of his crews, announces to them his intention of commemorating his father by a solemn public sacrifice. It is a day which—wherever his lot may be hereafter cast—he will ever keep holy; and not without some providential guidance, as he deems, has this opportunity been afforded him, by his being driven back to Sicily, of celebrating it on friendly soil under the auspices of his kinsman. There shall be nine days of sacrifice and prayer; then shall follow funeral games, with prizes at his own cost.
The sacrificial oxen are duly slain, and the libations poured at the tomb of Anchises; the bowls of new milk, of wine, and of blood, and the fresh spring flowers, which were reckoned acceptable offerings to the dead. Then Æneas lifts his voice in prayer to the shade of the hero, and a startling omen follows the invocation. A serpent, dappled with green and gold, glides out of the tomb, tastes of the offerings, and disappears again. Æneas sees in the creature the tutelary genius of the spot, or, it may be, the special attendant of his father’s shade. In either case, he accepts its appearance as a good omen, and joyfully redoubles his devotions.
In the funeral games which follow, the Roman poet no doubt had two models in his mind. He was ambitious to reproduce, or perhaps to rival, in Roman, song, for an audience of his countrymen, the grand description which his great master Homer had given of the games which Achilles celebrates in honour of the dead Patroclus. He wished also, there can be little doubt, to pay a poet’s best compliment to his imperial patron, and to weave into his song, with such licence of embellishment as is allowed to all poets, a record of those funeral games which Augustus had instituted in remembrance of his uncle, the great Dictator Julius. But Virgil is here very far from being a mere copyist from Homer. In lieu of the chariot-race, the great feature in the games of the Iliad, he has given us a galley-race, the incidents of which are quite as exciting, and to our modern comprehensions more thoroughly intelligible.
The day fixed for the great spectacle has arrived, and the Sicilians from far and near flock to it, some to take part in the games, and all to see. First of the various contests comes the galley-race, for which four of the fastest vessels in the fleet have entered—the Shark, the Centaur, the Chimæra, and the Scylla; each displaying, no doubt, as its figure-head, a representation of the monster whose name it bore. Their captains were men well known. Humouring a genealogical fancy of his Roman countrymen for tracing their descent to some one of the old Trojan colonists,—much after the fashion of English houses who try to find an ancestor on the Roll of Battle Abbey,—the poet tells us that three at least out of the four gave their names in due time to patrician houses in Rome. Mnestheus, who commands the Shark, left his name (certainly with considerable modification) to the gens or clan of Memmius. The captain of the Centaur, Sergestus, is in like manner the reputed ancestor of the Sergian clan, as Cloanthus, who sails the Scylla, is of the Cluentian. Only Gyas, the captain of the Chimæra, a bulky craft, “as big as a town,” has no such genealogical honours assigned him.
The course lies out in the bay, and the competing vessels are to round a rock, covered at high tides, on which an oak has been set up, leaves and all, to serve as a mark for the steersmen. They take up their positions by lot, and await the signal, to be given by sound of trumpet. The picture of the start would suit, with wonderfully little alteration, the description of a modern University boat-race:—