fires were seen in the heavens, and the earth shook, spectres appeared, and supernatural voices were heard, an ox spoke, and a shower of raw flesh fell in the fields. Most of these prodigies were not preternatural; the speaking ox was probably received on the report of a single hearer; and the whole was invested with exaggerated terror by means of the desolation of the preceding year. 112
The Sorceress of Virgil.
Prodigies are plentifully distributed through the earlier parts of the Roman history; but it is not our purpose to enter into a chronological detail on the subject. And in reality those already given, except in the instance of Tullus Hostilius, do not entirely fall within the scope of the present volume. The Roman poets, Virgil, Horace, Ovid and Lucan, give a fuller insight than the Latin prose-writers, into the conceptions of their countrymen upon the subject of incantations and magic.
The eighth eclogue of Virgil, entitled Pharmaceutria, is particularly to our purpose in this point. There is an Idyll of Theocritus under the same name; but it is of an obscurer character; and the enchantress is not, like that of Virgil, triumphant in the success of her arts.
The sorceress is introduced by Virgil, giving direction to her female attendant as to the due administration of her charms. Her object is to recal Daphnis, whom she styles her husband, to his former love for her. At the same time, she says, she will endeavour by magic to turn him away from his wholesome sense. She directs her attendant to burn vervain and frankincense; and she ascribes the highest efficacy to the solemn chant, which, she says, can call down the moon from its sphere, can make the cold-blooded snake burst in the field, and was the means by which Circe turned the companions of Ulysses into beasts. She orders his image to be thrice bound round with fillets of three colours, and then that it be paraded about a prepared altar, while in binding the knots the attendant shall still say, “Thus do I bind the fillets of Venus.” One image of clay and one of wax are placed before the same fire; and as the image of clay hardens, so does the heart of Daphnis harden towards his new mistress; and as the image of wax softens, so is the heart of Daphnis made tender towards the sorceress. She commands a consecrated cake to be broken over the image, and crackling laurels to be burned before it, that as Daphnis had tormented her by his infidelity, so he in his turn may be agitated with a returning constancy. She prays that as the wanton heifer pursues the steer through woods and glens, till at length, worn out with fatigue, she lies down on the oozy reeds by the banks of the stream, and the night-dew is unable to induce her to withdraw, so Daphnis may be led on after her for ever with inextinguishable love. She buries the relics of what had belonged to Daphnis beneath her threshold. She bruises poisonous herbs of resistless virtue which had been gathered in the kingdom of Pontus, herbs, which enabled him who gave them to turn himself into a hungry wolf prowling amidst the forests, to call up ghosts from the grave, and to translate the ripened harvest from the field where it grew to the lands of another. She orders her attendant to bring out to the face of heaven the ashes of these herbs, dele and to cast them over her head into the running stream, and at the same time taking care not to look behind her. After all her efforts the sorceress begins to despair. She says, “Daphnis heeds not my incantations, heeds not the Gods.” She looks again; she perceives the ashes on the altar emit sparkles of fire; she hears her faithful house-dog bark before the door; she says, “Can these things be; or do lovers dream what they desire? It is not so! The real Daphnis comes; I hear his steps; he has left the deluding town; he hastens to my longing arms!”
Canidia.
In the works of Horace occurs a frightful and repulsive, but a curious detail of a scene of incantation. 113 Four sorceresses are represented as assembled, Canidia, the principal, to perform, the other three to assist in, the concoction of a charm, by means of which a certain youth, named Varus, for whom Canidia had conceived a passion, but who regards the hag with the utmost contempt, may be made obsequious to her desires. Canidia appears first, the locks of her dishevelled hair twined round with venomous and deadly serpents, ordering the wild fig-tree and the funereal cypress to be rooted up from the sepulchres on which they grew, and these, together with the egg of a toad smeared with blood, the plumage of the screech-owl, various herbs brought from Thessaly and Georgia, and bones torn from the jaws of a famished dog, to be burned in flames fed with perfumes from Colchis. Of the assistant witches, one traces with hurried steps the edifice, sprinkling it, as she goes, with drops from the Avernus, her hair on her head stiff and erect, like the quills of the sea-hedge-hog, or the bristles of a hunted boar; and another, who is believed by all the neighbourhood to have the faculty of conjuring the stars and the moon down from heaven, contributes her aid.
But, which is most horrible, the last of the assistant witches is seen, armed with a spade, and, with earnest and incessant labour, throwing up earth, that she may dig a trench, in which is to be plunged up to his chin a beardless youth, stripped of his purple robe, the emblem of his noble descent, and naked, that, from his marrow already dry and his liver (when at length his eye-balls, long fixed on the still renovated food which is withheld from his famished jaws, have no more the power to discern), may be concocted the love-potion, from which these hags promise themselves the most marvellous results.
Horace presents before us the helpless victim of their malice, already inclosed in the fatal trench, first viewing their orgies with affright, asking, by the Gods who rule the earth and all the race of mortals, what means the tumult around him? He then intreats Canidia, by her children if ever she had offspring, by the visible evidences of his high rank, and by the never-failing vengeance of Jupiter upon such misdeeds, to say why she casts on him glances, befitting the fury of a stepmother, or suited to a beast already made desperate by the wounds of the hunter.
At length, no longer exhausting himself in fruitless intreaties, the victim has recourse in his agonies to curses on his executioners. He says, his ghost shall haunt them for ever, for no vengeance can expiate such cruelty. He will tear their cheeks with his fangs, for that power is given to the shades below. He will sit, a night-mare, on their bosoms, driving away sleep from their eyes; while the enraged populace shall pursue them with stones, and the wolves shall gnaw and howl over their unburied members. The unhappy youth winds up all with the remark, that his parents who will survive him, shall themselves witness this requital of the sorceresses’ infernal deeds.
Canidia, unmoved by these menaces and execrations, complains of the slow progress of her charms. She gnaws her fingers with rage. She invokes the night and the moon, beneath whose rays these preparations are carried on, now, while the wild beasts lie asleep in the forests, and while the dogs alone bay the superanuated letcher, who relies singly on the rich scents with which he is perfumed for success, to speed her incantations, and signalise their power beneath the roof of him whose love she seeks. She impatiently demands why her drugs should be of less avail than those of Medea, with which she poisoned a garment, that, once put on, caused Creusa, daughter of the king of Corinth, to expire in intolerable torments? She discovers that Varus had hitherto baffled her power by means of some magical antidote; and she resolves to prepare a mightier charm, that nothing from earth or hell shall resist. “Sooner,” she says, “shall the sky be swallowed up in the sea, and the earth be stretched a covering over both, than thou, my enemy, shalt not be wrapped in the flames of love, as subtle and tenacious as those of burning pitch.”
It is not a little curious to remark the operation of the antagonist principles of superstition and scepticism among the Romans in this enlightened period, as it comes illustrated to us in the compositions of Horace on this subject. In the piece, the contents of which have just been given, things are painted in all the solemnity and terror which is characteristic of the darkest ages. But, a few pages further on, we find the poet in a mock Palinodia deprecating the vengeance of the sorceress, who, he says, has already sufficiently punished him by turning through her charms his flaxen hair to hoary white, and overwhelming him by day and night with ceaseless anxieties. He feels himself through her powerful magic
