mitchell-P044_A-2_9

Critism on Orpheus’ visit to hell.

Virgil’s episode, which presents us with the tale of Orpheus’ visit to Pluto, and his double calamity in twice loosing his Eurydice, is told with that beauty and tenderness, for which that poet is so distinguished. It comes upon in way quite natural. Aristaeus, having met with a disaster in the last of his bees, and having enquired of the sea God, Proteus, for a method of repairing the breed, is imformed that his conduct toward Eurydice, was the cause of his misfortune. This disaster and the cause, being thus introduced, the poet seiseth the occassion, for rousing our passion, now become languid by his long didactic strain. He dwels on the event of her death, and the circumstances, which followed, with peculiar beauty. He does not indeed tell us, that a serpent bit her, or that that she died in consequence of the wound; but the “meritura puella”, the “non videt hydrum ante pedes”, the lamentation of the youthful chorus, echoing on the lofty mountains, the strong metaphor which presents to us the neighbouring hills in tears, effectingly announce, that the beloved Eurydice is no more. The happy manner, in which he apostrophizeth to Eurydice, while he paints Orpheus tuning his hollow lyre to a mournf strain, is well calculated to excite sympathy for the disconsolate husband, and admiration for

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insinuating art of the poet. And now with masterly skill he hurls us down to the ado abode of Pluto. For it is not enough to tell us the story, but his numbers must roll so forcebly, that ere we are aware, we are accompanying Orpheus on his adventurous expedition. Quickly we fine ourselves at the Taenarian a entrance, anon at the high portal of Pluto; scarsely have we seen the “alta ostia”, when we are harried into the dark, horrifick grave, and stand aghast before the frightful King and queen; souls, unaccustomed to sympathized with human woes. But when at the sound of Orpheus’ lyre, thin shades, departed ghosts; Matrones, men, heroes, young men and maidens, even all that who inhabit the gloomy mansion of Pluto, are struck with astonishment; when Cerebus, with his three mouths, is held gaping; and the perpetual wheel of Ixion is cloged, we are indeed delighted with the transporting power of the lyre, but how much more may we admire the beautiful measure, the flowing numbers, and the rapid transition of the skilful poet, who has in so short a preriod, and with such facility borne us to a region so far from our home. Orpheus completes his Journey below, the beloved Eurydice is returned to him, they come almost to the uper region, unmineful of his promise, he violates an engement imposed upon him by

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Proserpina; when, “terque fragor stagnis auditus Avernis” xc, to Invalidasque tibi tendens, hen! non tua, palmas,” give evedent sing signs, “ibi omnis Effusus labor.” All told in that precise, elegant and feeling manner, as highly entertains the imagination, without tireng the attention. Were we to persue the episode thro’ to the end, the same pleasing diverson to the fancy would be found. But enough has been said, to show that it was timely introduced; ingeniously invented for variety; an excellent embellishment to the poem; and concluded without wearying the mind

E. M. July 1826 Last of the Sophomore year ---

1826

Mitchell

P044/A.2.9