[657] Virg. seems to have had in his mind Apoll. R. 3. 112 foll., where Aphrodite, at the instance of Here and Athene, prevails on Love to inflame Medea with a passion for Jason: but there is no similarity in the details. ‘Novas artis’ carries the reader back to v. 417. Virg. however may have intended to represent the Homeric ἔνθ᾽ αὖτ᾽ ἄλλ᾽ ἐνόησε, which he has translated 12. 843.
[658] Faciem, shape. Comp. G. 2. 131, A. 3. 310., 5. 222, quoted by Forb.
[659] Dulci carries us back to his father's feelings v. 646, and forward to his probable attractions for the queen. ‘Donisque furentem incendat reginam,’ inflame the queen to madness by his gifts. Comp. v. 714, “pariter puero donisque movetur.” There is possibly an allusion to the scene in the Medea of Euripides, where Medea's children carry to Creusa a crown and a robe which actually consume her. The parallel may serve as an answer to Schrader's wonder, mentioned by Heyne, that a wealthy queen like Dido should be captivated with presents.
[660] Ossibus inplicet ignem. Comp. Cic. Div. 1. 36, “Di vim suam naturis hominum inplicant.” ‘Ossa’ is put for the seat of feeling, like “medullae.” Comp. G. 3. 258.
[661] Domum ambiguam is to be explained by “Iunonia hospitia” v. 671; and so 4. 96, “veritam te moenia nostra, Suspectas habuisse domos Karthaginis altae.” ‘Tyrios bilinguis’ is of course an anticipation of the Roman feeling against Carthage. ‘Bilinguis’ occurs as a reproach more than once in Plautus (see Freund), where it represents the forked tongue of a serpent, and has apparently no connexion with the notion of speaking two languages.
[662] There is no occasion to separate this line from what precedes with Wagn. and Forb., as vv. 670, 671 prove. “Daphnis me malus urit” E. 8. 83, where the anxiety is that of love.—‘Sub noctem’ may be explained by observing that the action has arrived at evening. Having set her son on the way to Carthage, Venus is not at rest. She is alarmed at the warmth of his reception, and knowing that Ascanius has been sent for to the banquet, at the last moment she proposes to substitute Cupid for him. But there seems also a reference to the common thought that night aggravates rather than soothes anxiety, for which Henry comp. 4. 522 foll. ‘Cura recursat,’ 12. 802.
[664] “Qui solus es meae vires, mea magna potentia.” The punctuation of Med., followed by many editors, which connects ‘solus’ with what follows, is harsh and opposed by similar expressions, such as 8. 574, “care puer, mea sola et sera voluptas.” Catull. 62 (64). 215, “Nate mihi longa iucundior unice vita.” Comp. 10. 507, “O dolor atque decus magnum rediture parenti.” With the nom. ‘solus’ Forb. comp. Ov. Her. 14. 73, “Surge, age, Belide, de tot modo fratribus unus,” remarking that it is a question among grammarians whether ‘solus’ has a vocative. The line is imitated by Ov. M. 5. 365, “Arma manusque meae, mea, nate, potentia, dixit, Illa, quibus superas omnis, cape tela, Cupido.”
[665] For Typhoeus or Typhon struck by lightning comp. Aesch. Prom. 358 foll. The bolts are called from the giant they slew, as Serv. remarks, like Roman generals from the nations they conquered. A more far-fetched explanation is that of Pomponius Sabinus, who makes ‘Typhoia’ = “Aetnaea,” Aetna being called ‘Typhois’ Ov. Her. 15. 11, as resting, according to one story, on Typhoeus. The orthography ‘Typhoia,’ like “Cyclopia” (v. 201), is adopted by Heyne for the sake of the metre, contrary to all the extant MSS., which have ‘Typhoea.’ Serv. however says that many in his time had ‘Typhoia.’ The device of Cupid breaking or trampling on the thunderbolt is common in gems.
[666] Tua numina, the acc. of the person of whom the request is made, not of the thing requested. Comp. 8. 382, “Ergo eadem supplex venio et sanctum mihi numen Arma rogo,” 3. 543 “numina sancta precamur Palladis.”
[667] Serv., in commenting on the adroitness of the whole address, notices ‘frater tuus,’ “ostendit ei etiam profuturum qui rogatur.” ‘Omnia circum litora:’ elsewhere Aeneas is said to wander over all lands (v. 756., 5. 627 &c.); here for the sake of variety he is said to wander about them, tossed from one to another and resting on none. So ‘litora’ is used rather than ‘terras.’ Comp. 3. 75, “oras et litora circum errantem,” of Delos. See on v. 32 above. ‘Pelago,’ on or over the sea, not the instr. abl. Comp. v. 3.
[668] Iactetur fragm. Vat. originally, Pal., ‘iacteturque’ Med., Rom., Gud., and most MSS., including fragm. Vat. corrected, and Serv., who says “vacat que.” It seems hopeless to explain ‘iacteturque,’ as Wagn. inclines to do (Q. V. 12. 13), either by making ‘que’ couple ‘pelago’ with ‘omnia litora,’ or by supposing a corruption in ‘pelago’ or ‘circum;’ or again, as might be just possible, by supposing ‘pelago’ to be coupled with ‘odiis’ (comp. 2. 179, where two dissimilar ablatives are joined by ‘et’); while the insertion of ‘que’ is sufficiently accounted for by an anxiety to mend the metre. With the lengthening of the final syll. here Weidner comp. 4. 222., 5. 284, G. 3. 76, in all which places there is a kind of pause after the word, so that here probably we should take ‘odiis’ in a loose connexion with ‘iactetur’ as an abl. of circumstance, rather than as an instr. abl. Comp. 8. 292, quoted just below. ‘Acerbae’ fragm. Vat., Pal., Gud., all originally, ‘iniquae’ Med., Rom., and apparently the great bulk of MSS. Internal evidence is strongly for ‘acerbae,’ as its insertion cannot easily be explained, while ‘iniquae’ doubtless came from a recollection of 8. 292, “fatis Iunonis iniquae,” where there seems to be no various reading. It is curious that in 11. 587, “fatis urguetur acerbis,” some inferior MSS. give “iniquis,” apparently from a recollection of 2. 257.
[669] Nota, for ‘notum;’ a Grecism: see Il. 16. 128 &c. Comp. 11. 310, “Cetera qua rerum iaceant perculsa ruina, Ante oculos interque manus sunt omnia vestras,” Pliny, Paneg. 44 (quoted by Wund.), “An prona parvaque sunt ad aemulandum, quod nemo incolumitatem turpitudine rependit?” ‘Et nostro doluisti saepe dolore,’ apparently a phrase for sympathy, with which Forb. comp. Plaut. Pers. 5. 1 ult., “Bene ei, qui hoc gaudio gaudet.” ‘Dolore’ however may be merely an abl. of the occasion, ‘thou hast grieved at my grief.’ Serv. gives both interpretations.
[670] Nunc, Pal., fragm. Vat. originally, and some others. ‘Hunc’ Med., Rom., Gud., &c., which Wagn. ingeniously explains as = “eum nunc.” On the whole I have preferred ‘nunc,’ with Wakef. and Ribbeck, as the repetition of ‘hunc’ v. 680 would be rather formal. The line is imitated from Od. 1. 55 foll., as Weidner remarks.
[671] Quo se vertant, what may be their issue. “Quo sese vertant tantae sortes somnium,” Enn. Alex. fr. 1. “Quod se bene vertat,” for the more usual “quod bene vertat,” is found Enn. A. 1. fr. 69. Here the word may suggest a notion of change, like “ne quo se numine mutet,” v. 674. “Aeneia hospitia,” 10. 494, in a different sense.
[672] The nom. to ‘cessabit’ is “Iuno,” contained in ‘Iunonia.’ Comp. Livy 2. 53, “Veiens bellum exortum, quibus (Veientibus) Sabini arma coniunxerant” (quoted by Forb.). Serv. says that there is a proverb “res est in cardine, hoc est, in articulo.” A similar use of ‘cardo’ is found in imitators of Virg., as Statius and Val. Flaccus, and twice in Quinctilian: see Forc. Here it may conceivably have been chosen with reference to ‘vertant,’ which would agree with Serv.'s explanation, “a ianua, quae motu cardinis hac atque illac inpelli potest.”
[673] Capere ante dolis et cingere flamma. Both terms are taken from strategy, though they are clearly not meant to be harmonized. The sense is, I mean to make a complete conquest of her, so as to preclude all other intervention. With ‘cingere flamma,’ comp. 10. 119, “moenia cingere flammis.”
[674] Ne quo se numine mutet, that Dido's friendly feelings may not be changed by Juno. ‘Quo numine’ may either be rendered generally, by any power but mine, or by Juno's power in any way, like “quo numine laeso,” v. 8. The abl. however is rather that of circumstance than of the instrument.
[675] Mecum: “pariter atque ego” is the common interpretation, adopted by Heyne, Wagn., and Forb. Comp. G. 1. 41, “Ignarosque viae mecum miseratus agrestis.” According to this interpretation Venus would wish that Dido's affection should not be hollow (“quippe domum timet ambiguam Tyriosque bilinguis”), but as sincere as her own. It might also be proposed to connect ‘mecum’ closely with ‘teneatur,’ kept on my side, or, in my power, which would accord with the general metaphor of the previous lines. Comp. 4. 115, “Mecum erit iste labor.” ‘Teneri amore’ is a common expression; and if the latter interpretation be adopted, Virg. has blended this with other notions, perhaps that of a town invested (“obsidione teneri,” 10. 109). Serv, who objects to the common view, on the ground that Dido could not love Aeneas like a mother, has “per meos amores, me adnitente,” which would not be so natural.
[676] For ‘qua,’ ‘quam’ is read by Gud., ‘quo’ by some other MSS. ‘Accipere,’ of hearing, 2. 65, like “dare,” of telling, E. 1. 18. “Haec tibi mens est,” 8. 400, though there the notion is rather of purpose than of opinion.
[677] “Regius puer,” 5. 252, of Ganymede. ‘Accitu genitoris,’ like “dei iussu,” 2. 247.
[678] Mea maxuma cura: so Ascanius 10. 132 is called “Veneris iustissima cura,” as also “Dardanius puer.” Wagn. not unnaturally complains of the words as otiose here, the plot not being intended to benefit Ascanius in any way, except so far as he is served by anything which serves Aeneas. It is possible however that the removal of Ascanius to Idalia may be meant to present itself to Venus as a natural outlet for her own affection, as well as in pursuance of the plot: comp. 10. 46—53, where the general thought is parallel. The very obscurity with which this is indicated may be an intentional stroke, in a speech from which everything is excluded which does not bear on the one object of persuading Cupid. But on such matters it is easy to be over-subtle.
[679] Pelago et flammis is probably the dat. (‘restare’ being construed like ‘superesse’), not the abl., as Forb. thinks.
[680] Sopitum somno. A similar pleonasm occurs in Lucr. 4.453, “cum suavi devinxit membra sopore Somnus, et in summa corpus iacet omne quiete” (quoted by Forb.). ‘Super alta Cythera:’ Venus, like other gods, had her temples in high places. Cythera is called high here, and in 10. 86. “Alti Idaliae luci” are mentioned just below, v. 692, and “celsa Paphos,” 10. 51. Comp. also “sublimis abit,” v. 415. Wagn. appears right in remarking that “super” is frequently used for entering a high place, as “sub” for entering a low place, and “per” for entering a large place.
[681] Sacrata sede, in my temple or grove. “Cereris sedem sacratam,” 2. 742. As might be expected, two MSS. have “secreta.”
[682] Ne qua scire dolos. There is something inartificial in the arrangement here, as Cupid has not yet been told that he is to personate Ascanius, and the only way in which Ascanius could spoil the plot would be by appearing along with Cupid. Venus however has had the details in her mind from the first, v. 658, and she naturally dismisses the subject of Ascanius first, so as to conclude her speech with instructions to Cupid. Henry distinguishes between knowledge of the plot (‘scire dolos’） and accidental intervention (‘medius occurrere’). “Medius intercipit,” 10. 402.
[683] “Digitum non altior unum,” Lucr. 4.414. See Madv. § 306. ‘Noctem non amplius unam’ is to be explained like “plus septuma ducitur aestas” G. 4. 207 (note), the case, which here is the acc. of duration, not being altered by the construction with the comparative, any more than if “quam” had been used. See Madv. § § 305, 306.
[684] Falle dolo, personate. Gossrau comp. μορφὴν δολώσας, Soph. Phil. 129, where however δολοῦν merely means to disguise. Comp. rather the use of ‘mentior,’ and see note on v. 407. ‘Notos pueri puer indue voltus:’ it will not be difficult for you to put on the expression of a boy as you are a boy yourself. Venus removes an objection by anticipation. The notions of actual transformation and of imitation are blended and perhaps confused throughout. ‘Notos,’ not known to Cupid, but i. q. “solitos:” “non corpore notae Sufficiunt vires,” 12. 911. ‘Pueri puer:’ comp. 5. 569.
[685] Laetissima, when Dido, at the height of her pleasure as a queen exercising splendid hospitality, and rejoicing herself in the feast, opens her heart and takes thee to her bosom.
[686] Inter mensas, at the table. “Discite, non inter lances mensasque nitentis,” Hor. 2 S. 2. 4. ‘Inter’ seems strictly to mean while the feast is going on, like “inter pocula,” “inter vina.” ‘Laticem,’ of wine, G. 2. 192. With ‘Lyaeum,’ which, as Heyne remarks, would more naturally have been “Lyaeium,” comp. “cineri Sychaeo,” 4. 552, “latices Lenaeos,” G. 3. 510.
[687] Amplexus dare, the correlative of “amplexus petere,” 8. 615. ‘Oscula. figet,’ 2. 490 note.
[688] Fallas, sc. “eam,” as is proved by the parallel passage 7. 350, “fallitque furentem Vipeream inspirans animam.” ‘Poison her unobserved.’ Comp. also 9. 572, “longe fallente sagitta.” The mixture of the images of fire and poison reminds us again of the details of the catastrophe in Euripides' Medea, referred to on v. 659.
[690] Gressu gaudens incedit Iuli refers to his change of nature from a winged god to a boy, not to his change of gait from that of a god (vv. 46, 405., 5. 649) to that of Iulus. ‘Gaudens,’ like “laetus” in v. 696, expresses the sly pleasure with which he enters into his part.
[691] Venus—dea: see note on v. 412.
[692] Lucr. 4.907, “somnus per membra quietem Inriget.” Furius Antias ap. Macrob. Sat. 6. 1, “mitemque rigat per pectora somnum.” The expression seems to be a translation of the Homeric ἐπὶ γλυκὺν ὕπνον ἔχευεν, περὶ δ᾽ ἀμβρόσιος κέχυθ᾽ ὕπνος, but the notions expressed by the two are in all probability quite different; the Homeric image being apparently that of sleep enveloping a man (the reader of Don Quixote will recall Sancho Panza's “Blessings on the man that invented sleep! it folds round a man like a cloak”), while in ‘inrigat’ the conception would seem to be of dew or rain coming down. Comp. the image in 5. 854, where Sleep shakes a bough dripping with the dews of Lethe over the temples of Palinurus, and its imitation in Val. Fl. 4. 15. Whether the dews are the dews of night or of the body in sleep, is not clear. Pers. 5. 56 would prove the latter, if he does not mean satirically to pervert the image.
[694] Umbra implies that he was cradled among the flowers and leaves. Catull. 59 (61). 8, calls upon Hymen to wreath himself “floribus suaveolentis amaraci.”
[695-722] ‘Cupid arrives as the feast is beginning. He is fondled by Dido, whose affections he kindles gradually.’
