[885] De Republica, vi. 15.
[886] It may be as well to note here that the actual representation of God in the Aeneid is its weakest point. It was an epic poem, and could not dispense with the Homeric machinery: hence Jupiter is practically the representative of the Stoic all-pervading deity, with the Fates behind him. But it is not unlikely that Virgil may thus have actually helped to make the way clear for a nobler monotheistic idea by damaging Jupiter in the course of this treatment; see Social Life at Rome in the Age of Cicero, p. 341 foll.
[887] On the Homeric Aeneas there are some good remarks in Boissier's Nouvelles Promenades archaeologiques (Horace et Virgile), p. 130 foll. Of all the Homeric heroes he seems to come nearest, though but slightly sketched, to the Roman ideal of heroism.
[888] Heinze, Vergils epische Technik, p. 17.
[889] I should be disposed to consider this passage as decisive of the point, but that it immediately follows upon the doubtful lines 567-588, in which Aeneas is tempted in his mad fury to slay Helen; and if those lines are not Virgil's, we have not sufficient explanation of the rebuke which Venus here administers to her son. On the other hand, if they were really Virgil's, and omitted (as Servius declares) by the original editors Tucca and Varius, we should have a convincing proof that the poet meant his hero, in these terrible scenes, to come so short of the true Roman heroic type as to be capable of slaying a woman in cold blood, and while a suppliant at an altar of the gods. Into this much-disputed question I must not go farther, except to note that while Heinze is absolutely confident that Virgil never wrote these lines, the editor of the new Oxford text of Virgil is equally certain that he did. My opinion is of no value on such a point; but I am disposed to agree with Mr. Hirtzel that "versus valde Vergilianos, ab optimis codicibus omissos, iniuria obleverunt Tucca et Varius." They are certainly in keeping with the picture of Aeneas' impotentia which is generally suggested in Book ii. If it should be argued that this impotentia, i.e. want of self-control, is only put into the mouth of Aeneas in order to heighten the effect of his stirring narrative, it will be well to remember the remonstrances of Venus, which make such a hypothesis impossible.
[890] Op. cit. p. 231.
[891] Vergils epische Technik, p. 113 foll.
[892] The original story was, that unable to escape from an enforced marriage with Iarbas, she killed herself to mark her unflinching faithfulness to her first husband Sicharbas. Servius quotes Varro as stating that it was not Dido, but Anna who committed suicide for love of Aeneas (on Aen. iv. 682); and as Varro died before the Aeneid was begun, this may be taken as proving that Virgil's version of the love-story was not his own invention. But it is quite possible that Servius here only means that Varro's version differed in this point from that which the poet soon afterwards adopted; it may be that the story in the poem is thus practically his own.
[893] Op. cit. p. 116.
[894] Ancient Lives of Vergil, Clarendon Press, 1879.