Beside that, the [Greek text which cannot be reproduced] which they shed was so very like our common blood that it was not to be distinguished from it but only by the name and colour. As for what Horace says in his "Art of Poetry," that no machines are to be used unless on some extraordinary occasion--"Nec deus intersit, nisi dignus vindice nodus" - that rule is to be applied to the theatre, of which he is then speaking, and means no more than this--that when the knot of the play is to be untied, and no other way is left for ****** the discovery, then, and not otherwise, let a god descend upon a rope, and clear the business to the audience. But this has no relation to the machines which are used in an epic poem.
In the last place, for the dira, or flying pest which, flapping on the shield of Turnus and fluttering about his head, disheartened him in the duel, and presaged to him his approaching death--I might have placed it more properly amongst the objections, for the critics who lay want of courage to the charge of Virgil's hero quote this passage as a main proof of their assertion. They say our author had not only secured him before the duel, but also in the beginning of it had given him the advantage in impenetrable arms and in his sword; for that of Turnus was not his own (which was forged by Vulcan for his father), but a weapon which he had snatched in haste, and by mistake, belonging to his charioteer Metiscus. That after all this Jupiter, who was partial to the Trojan, and distrustful of the event, though he had hung the balance and given it a jog of his hand to weigh down Turnus, thought convenient to give the Fates a collateral security by sending the screech-owl to discourage him; for which they quote these words of Virgil:-
"Non me tua turbida virtus Terret, ait; dii me terrent, et Jupiter hostis."
In answer to which, I say that this machine is one of those which the poet uses only for ornament, and not out of necessity. Nothing can be more beautiful or more poetical than his description of the three Dirae, or the setting of the balance, which our Milton has borrowed from him, but employed to a different end; for, first, he makes God Almighty set the scales for St. Gabriel and Satan, when he knew no combat was to follow; then he makes the good angel's scale descend, and the devil's mount--quite contrary to Virgil, if I have translated the three verses according to my author's sense:-
"Jupiter ipse duas aequota examine lances Sustinet, et fata imponit diversa duorum;
Quem damnet labor, et quo vergat pondere letum."
For I have taken these words Quem damnet labor in the sense which Virgil gives them in another place (Damnabis tu quoque votis), to signify a prosperous event. Yet I dare not condemn so great a genius as Milton; for I am much mistaken if he alludes not to the text in Daniel where Belshazzar was put into the balance and found too light. This is digression, and I return to my subject. I said above that these two machines of the balance and the Dira were only ornamental, and that the success of the duel had been the same without them; for when AEneas and Turnus stood fronting each other before the altar, Turnus looked dejected, and his colour faded in his face, as if he desponded of the victory before the fight; and not only he, but all his party, when the strength of the two champions was judged by the proportion of their limbs, concluded it was impar pugna, and that their chief was overmatched. Whereupon Juturna, who was of the same opinion, took this opportunity to break the treaty and renew the war. Juno herself had plainly told the nymph beforehand that her brother was to fight "Imparibus fatis; nec diis, nec viribus aequis;" so that there was no need of an apparition to fright Turnus, he had the presage within himself of his impending destiny. The Dira only served to confirm him in his first opinion, that it was his destiny to die in the ensuing combat. And in this sense are those words of Virgil to be taken -
"Non me tua turbida virtus Terret, ait; dii me terrent, et Jupiter hostis."
I doubt not but the adverb solum is to be understood ("It is not your valour only that gives me this concernment, but I find also by this portent that Jupiter is my enemy"); for Turnus fled before, when his first sword was broken, till his sister supplied him with a better, which indeed he could not use because AEneas kept him at a distance with his spear. I wonder Ruaeus saw not this, where he charges his author so unjustly for giving Turnus a second sword to no purpose. How could he fasten a blow or make a thrust, when he was not suffered to approach? Besides, the chief errand of the Dira was to warn Juturna from the field, for she could have brought the chariot again when she saw her brother worsted in the duel. I might farther add that AEneas was so eager of the fight that he left the city, now almost in his possession, to decide his quarrel with Turnus by the sword; whereas Turnus had manifestly declined the combat, and suffered his sister to convey him as far from the reach of his enemy as she could. I say, not only suffered her, but consented to it; for it is plain he knew her by these words:-
"O soror, et dudum agnovi, cum prima per artem Faedera turbasti, teque haec in bella dedisti; Et tunc necquicquam fallis dea."
