I rather imagine that the sounds they uttered were signs of
complaint and discontent, and proceeded not from an inability to speak.
complaint and discontent, and proceeded not from an inability to speak.
Camoes - Lusiades
Pope on the
voices of the dead. It will, at least, afford a critical observation
which appears to have escaped them both. "The shades of the suitors,"
observes Dacier, "when they are summoned by Mercury out of the palace of
Ulysses, emit a feeble, plaintive, inarticulate sound, ? ? ? ? ? ? ? ? ,
strident: whereas Agamemnon, and the shades that have been long in the
state of the dead, speak articulately. I doubt not but Homer intended to
show, by the former description, that when the soul is separated from
the organs of the body, it ceases to act after the same manner as while
it was joined to it; but how the dead recover their voices afterwards is
not easy to understand. In other respects Virgil paints after Homer:--
_Pars tollere vocem
Exiguam: inceptus clamor frustratur hiantes. "_
To this Mr. Pope replies, "But why should we suppose, with Dacier, that
these shades of the suitors (of Penelope) have lost the faculty of
speaking?
I rather imagine that the sounds they uttered were signs of
complaint and discontent, and proceeded not from an inability to speak.
After Patroclus was slain he appears to Achilles, and speaks very
articulately to him; yet, to express his sorrow at his departure, he
acts like these suitors: for Achilles--
'Like a thin smoke beholds the spirit fly,
And hears a feeble, lamentable cry. '
Dacier conjectures that the power of speech ceases in the dead, till
they are admitted into a state of rest; but Patroclus is an instance to
the contrary in the Iliad, and Elpenor in the Odyssey, for they both
speak before their funereal rites are performed, and consequently before
they enter into a state of repose amongst the shades of the happy. "
The critic, in his search for distant proofs, often omits the most
material one immediately at hand. Had Madame Dacier attended to the
episode of the souls of the suitors, the world had never seen her
ingenuity in these mythological conjectures; nor had Mr. Pope any need
to bring the case of Patroclus or Elpenor to overthrow her system.
Amphimedon, one of the suitors, in the very episode which gave birth to
Dacier's conjecture, tells his story very articulately to the shade of
Agamemnon, though he had not received the funereal rites:--
"Our mangled bodies, now deform'd with gore,
Cold and neglected spread the marble floor:
No friend to bathe our wounds! or tears to shed
O'er the pale corse! the honours of the dead. "
ODYS. XXIV.
On the whole, the defence of Pope is almost as idle as the conjectures
of Dacier. The plain truth is, poetry delights in personification;
everything in it, as Aristotle says of the Iliad, has manners; poetry
must therefore personify according to our ideas. Thus in Milton:--
"Tears, such as angels weep, burst forth. "
And thus in Homer, while the suitors are conducted to hell:--
"Trembling, the spectres glide, and plaintive vent
Thin, hollow screams, along the deep descent:"
and, unfettered with mythological distinctions, either shriek or
articulately talk, according to the most poetical view of their supposed
circumstances.
[434] Exod.
voices of the dead. It will, at least, afford a critical observation
which appears to have escaped them both. "The shades of the suitors,"
observes Dacier, "when they are summoned by Mercury out of the palace of
Ulysses, emit a feeble, plaintive, inarticulate sound, ? ? ? ? ? ? ? ? ,
strident: whereas Agamemnon, and the shades that have been long in the
state of the dead, speak articulately. I doubt not but Homer intended to
show, by the former description, that when the soul is separated from
the organs of the body, it ceases to act after the same manner as while
it was joined to it; but how the dead recover their voices afterwards is
not easy to understand. In other respects Virgil paints after Homer:--
_Pars tollere vocem
Exiguam: inceptus clamor frustratur hiantes. "_
To this Mr. Pope replies, "But why should we suppose, with Dacier, that
these shades of the suitors (of Penelope) have lost the faculty of
speaking?
I rather imagine that the sounds they uttered were signs of
complaint and discontent, and proceeded not from an inability to speak.
After Patroclus was slain he appears to Achilles, and speaks very
articulately to him; yet, to express his sorrow at his departure, he
acts like these suitors: for Achilles--
'Like a thin smoke beholds the spirit fly,
And hears a feeble, lamentable cry. '
Dacier conjectures that the power of speech ceases in the dead, till
they are admitted into a state of rest; but Patroclus is an instance to
the contrary in the Iliad, and Elpenor in the Odyssey, for they both
speak before their funereal rites are performed, and consequently before
they enter into a state of repose amongst the shades of the happy. "
The critic, in his search for distant proofs, often omits the most
material one immediately at hand. Had Madame Dacier attended to the
episode of the souls of the suitors, the world had never seen her
ingenuity in these mythological conjectures; nor had Mr. Pope any need
to bring the case of Patroclus or Elpenor to overthrow her system.
Amphimedon, one of the suitors, in the very episode which gave birth to
Dacier's conjecture, tells his story very articulately to the shade of
Agamemnon, though he had not received the funereal rites:--
"Our mangled bodies, now deform'd with gore,
Cold and neglected spread the marble floor:
No friend to bathe our wounds! or tears to shed
O'er the pale corse! the honours of the dead. "
ODYS. XXIV.
On the whole, the defence of Pope is almost as idle as the conjectures
of Dacier. The plain truth is, poetry delights in personification;
everything in it, as Aristotle says of the Iliad, has manners; poetry
must therefore personify according to our ideas. Thus in Milton:--
"Tears, such as angels weep, burst forth. "
And thus in Homer, while the suitors are conducted to hell:--
"Trembling, the spectres glide, and plaintive vent
Thin, hollow screams, along the deep descent:"
and, unfettered with mythological distinctions, either shriek or
articulately talk, according to the most poetical view of their supposed
circumstances.
[434] Exod.
