第35章 VI. MARBODIUS(1)

We possess a precious monument of the Penguin literature of the fifteenth century. It is a narrative of a journey to hell undertaken by the monk Marbodius, of the order of St. Benedict, who professed a fervent admiration for the poet Virgil. This narrative, written in fairly good Latin, has been published by M. du Clos des Limes. It is here translated for the first time. I believe that I am doing a service to my fellow-countrymen in making them acquainted with these pages, though doubtless they are far from forming a unique example of this class of mediaeval Latin literature. Among the fictions that may be compared with them we may mention "The Voyage of St. Brendan,"

"The Vision of Albericus," and "St. Patrick's Purgatory," imaginary descriptions, like Dante Alighieri's "Divine Comedy," of the supposed abode of the dead. The narrative of Marbodius is one of the latest works dealing with this theme, but it is not the least singular.

THE DESCENT OF MARBODIUS INTO HELL

In the fourteen hundred and fifty-third year of the incarnation of the Son of God, a few days before the enemies of the Cross entered the city of Helena and the great Constantine, it was given to me, Brother Marbodius, an unworthy monk, to see and to hear what none had hitherto seen or heard. I have composed a faithful narrative of those things so that their memory may not perish with me, for man's time is short.

On the first day of May in the aforesaid year, at the hour of vespers, I was seated in the Abbey of Corrigan on a stone in the cloisters and, as my custom was, I read the verses of the poet whom I love best of all, Virgil, who has sung of the labours: of the field, of shepherds, and of heroes. Evening was hanging its purple folds from the arches of the cloisters and in a voice of emotion I was murmuring the verses which describe how Dido, the Phoenician queen, wanders with her ever-bleeding wound beneath the myrtles of hell. At that moment Brother Hilary happened to pass by, followed by Brother Jacinth, the porter.

Brought up in the barbarous ages before the resurrection of the Muses, Brother Hilary has not been initiated into the wisdom of the ancients; nevertheless, the poetry of the Mantuan has, like a subtle torch, shed some gleams of light into his understanding.

"Brother Marbodius," he asked me, "do those verses that you utter with swelling breast and sparkling eyes--do they belong to that great 'Aeneid' from which morning or evening your glances are never withheld?"

I answered that I was reading in Virgil how the son of Anchises perceived Dido like a moon behind the foliage.*

* The text runs . . .qualem primo qui syrgere mense Aut videt aut vidisse putat per nubila lunam.

Brother Marbodius, by a strange misunderstanding, substitutes an entirely different image for the one created by the poet.

"Brother Marbodius," he replied, "I am certain that on all occasions Virgil gives expression to wise maxims and profound thoughts. But the songs that he modulates on his Syracusan flute hold such a lofty meaning and such exalted doctrine that I am continually puzzled by them."

"Take care, father," cried Brother Jacinth, in an agitated voice. "Virgil was a magician who wrought marvels by the help of demons. It is thus he pierced through a mountain near Naples and fashioned a bronze horse that had power to heal all the diseases of horses. He was a necromancer, and there is still shown, in a certain town in Italy, the mirror in which he made the dead appear. And yet a woman deceived this great sorcerer. A Neapolitan courtesan invited him to hoist himself up to her window in the basket that was used to bring the provisions, and she left him all night suspended between two storeys."

Brother Hilary did not appear to hear these observations.

"Virgil is a prophet," he replied, "and a prophet who leaves far behind him the sibyls with their sacred verses as well as the daughter of King Priam, and that great diviner of future things, Plato of Athens. You will find in the fourth of his Syracusan cantos the birth of our Lord foretold in a lancune that seems of heaven rather than of earth.* In the time of my early studies, when I read for the first time JAM REDIT ET VIRGO, I felt myself bathed in an infinite delight, but I immediately experienced intense grief at the thought that, for ever deprived of the presence of God, the author of this prophetic verse, the noblest that has come from human lips, was pining among the heathen in eternal darkness. This cruel thought did not leave me. It pursued me even in my studies, my prayers, my meditations, and my ascetic labours. Thinkin that Virgil was deprived of the sight of God and that possibly he might even be suffering the fate of the reprobate in hell, I could neither enjoy peace nor rest, and I went so far as to exclaim several times a day with my arms outstretched to heaven:

" 'Reveal to me, O Lord, the lot thou hast assigned to him who sang on earth as the angels sing in heaven!'

*Three centuries before the epoch in which our Marbodius lived the words--

Maro, vates gentilium Da Christo testimonium Were sung in the churches on Christmas Day.

"After some years my anguish ceased when I read in an old book that the great apostle St. Paul, who called the Gentiles into the Church of Christ, went to Naples and sanctified with his tears the tomb of the prince of poets.* This was some ground for believing that Virgil, like the Emperor Trajan, was admitted to Paradise because even in error he had a presentiment of the truth.

We are not compelled to believe it, but I can easily persuade myself that it is true."

*Ad maronis mausoleum Ductus, fudit super eum Piae rorem lacrymae.

Quem te, intuit, reddidissem, Si te vivum invenissem Poetarum maxime!

Having thus spoken, old Hilary wished me the peace of a holy night and went away with Brother Jacinth.