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which I am sure will entertain you very agreeably. There will be likewise two Lutes and a Trumpet : let me beg you to put yourself in tune, and believe me

Your very faithful servant,

NICHOLAS HUMDRUM*.”

N° 154. TUESDAY, APRIL 4, 1710.

Obscuris vera involvens. Virg. Æn. vi. 100.
Involving truth in terms obscure.

From my own Apartment, April 3. We have already examined Homer's description of a future state, and the condition in which he hath placed the souls of the deceased.' I shall, in this Paper, make some observations on the account which Virgil hath given us of the same subject, who, be. sides a greatness of genius, had all the lights of phi. losophy and human learning to assist and guide him in his discoveries.

Æneas is represented as descending into the empire of death, with a prophetess by his side, who instructs him in the secrets of those lower regions.

Upon the confines of the dead, and before the very gates of this infernal world, Virgil describes several inbabitants, whose natures are wonderfully suited to the situation of the place, as being either

* See Tatler, No. 157.

the occasions or resemblances of death. Of the first kind are the shadows of Sickness, Old Age, Fear, Famine, and Poverty; apparitions very terrible to behold, with several others, as Toil, War, Contention, and Discord, which contribute all of them to people this common receptacle of human souls. As this was likewise a very proper residence for every thing that resembles death, the poet tells us, that Sleep, whom he represents as a near rela.tion to Death, bas likewise his habitation in these quarters : and describes in them a huge gloomy 'elm-tree, which seems a very proper ornament for the place, and is possessed by an innumerable swarm of dreams, that hang in clusters under every leaf of it. He then gives us a list of imaginary persons, who very naturally lie within the shadow of the dream-tree, as being of the same kind of make in themselves, and the materials, or, to use Shakspeare's phrase, “the stuff of which dreams are made.” Such are the shades of the giant with an hundred bands, and of his brother with three bodies ; of the double-shaped Centaur, and Scylla ; the Gorgon with snaky hair ; the Harpy with a. woman's face and lion's talons; the seven-headed Hydra ; and the Chimæra, which breathes forth a flame, and is a compound of three animals. These several mixed natures, the creatures of imagination, are not only introduced with great art after the dreams, but, as they are planted at the very entrance, and within the very gates of those regions, do probably denote the wild deliriums and extravagancies of fancy, which the soul usually falls into when she is just upon the verge of death.

Thus far Æneas travels in an allegory. The rest of the description is drawn with great exactness, according to the religion of the heathens, and the opinions of the Platonic philosophy. I shall not

VOL. IV.,

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trouble my reader with a common dull story, that gives an account why the heathens first of all supposed a ferryman in Hell, and his name to be Charon; but must not pass over in silence the point of doctrine which Virgil hath very much insisted upon in this book, That the souls of those who are unburied, are not permitted to go over into their respective places of rest, until they have wandered a hundred years upon the banks of Styx. This was probably an invention of the heathed priesthood, to make the people extremely careful of performing proper rites and ceremonies to the memory of the dead, I shall not, however, with the infamous scribblers of the age, take an occasion from such a circumstance, to run into declamations against priestcraft, but rather look upon it even in this light as a religious artifice, to raise in the minds of men an esteem for the memory of their forefathers, and a desire to recommend themselves to that of posterity; as also to excite in them an ambition of imitating the virtues of the deceased, and to keep alive in their thoughts the sense of the soul's immortality. In a word, we may say in defence of the severe opinions relating to the shades of unburied persons, what hath been said by some of our divines in regard to the rigid doctrines concerning the souls of such who die without being initiated into our religion, that supposing they should be erroneous, they can do no hurt to the dead, and will have a good effect upon the living, in making them cautious of neglecting such necessary solemnities. · Charon is uo sooner appeased, and the tripleheaded dog laid asleep, but Æneas makes his entrance into the dominions of Pluto. There are three kinds of persons described, as being situated on the borders; and I can give no reason for their being stationed there in so particular a manner, but because none of them scem to have had a proper right to a place among the dead, as not having run out the whole thread of their days, and finished the term of life that had been allotted them upon earth. The first of these are the souls of infants, who are snatched away by untimely ends. The second are of those who are put to death wrongfully, and by an unjust sentence: and the third, of those who grew weary of their lives, and laid violent hands upon themselves. As for the second of these, Virgil adds, with great beauty, that Minos, the judge of the dead, is employed in giving them a rebearing, and assiguing them their several quarters suitable to the parts they acted in life. The poet, after having mentioned the souls of those unhappy men who destroyed themselves, breaks out into a fine exclamation, “Oh! how gladly,” says he, "! would they now endure life with all its miseries! þut the Destinies forbid their return to earth, and the waters of Styx surround them with nine streams that are unpassable." It is very remarkable, that Virgil, notwithstanding self-murder was so frequent amoug the heathens, and had been practised by some of the greatest men in the very age before him, hath here represented it as so heinous a crime. But in this particular he was guided by the doctrines of his great master Plato ; who says on this subject, “ that a man is placed in his station of life, like a soldier in his proper post, wbich he is not to quit, whatever may happen, until he is called off by his commander who planted him in it.

There is another point in the Platonic philosophy, which Virgil has made the ground-work of the greatest part in the piece we are now examining ; haying with wonderful art and beauty materialized, if I may so call it, a scheme of abstracted notions,

and clothed the most nice refined conceptions of philosophy in sensible images, and poetical representations. The Platonists tell us, that the soul, during her residence in the body, contracts many virtuous and vicious habits, so as to become a beneficent, mild, charitable; or an angry, malicious, revengeful being: a substance inflamed with lust, avarice, and pride; or, on the contrary, brightened with pure, generous, and humble dispositions : that these and the like habits of virtue and vice growing into the very essence of the soul, survive and. gather strength in her after her dissolution : that the torments of a vicious soul in a future state arise principally from those importunate passions which are not capable of being gratified without a body; and that, on the contrary, the bappiness of virtuous minds very much consists in their being employed in sublime speculations, innocent diversions, sociable affections, and all the ecstacies of passion and rapture which are agreeable to reasonable natures, and of which they gained a relish in this life.

Upon this foundation the poet raises that beautiful description of the secret baunts and walks, which, he tells us, are inhabited by deceased lovers.

Not far from hence, says he, lies a great waste of plains, that are called, “ the fields of Melancholy.” to these there grows a forest of myrtle, divided into many shady retirements and covered walks, and inhabited by the souls of those who pined away with love. The passion, says he, continues with them after death. He then gives a list of this languishing tribe, in which his own Dido makes the priucipal figure, and is described as living in this soft romantic scene with the shade of her first husband Sicbæus.

The poet, in the next place,"mentions another plain that was peopled with the ghosts of warriors,

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