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 lunes. 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.5

5 the text runs

. . . qualem primo qui surgere 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 language that seem of heaven rather than of earth.6 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. thinking 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!’

6 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.7 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.”

7

ad maronis mausoleum

ductus, fudit super eum

piae rorem lacrymae.

quem te, inquit, 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.

i resumed the delightful study of my poet. book in hand, i meditated upon the way in which those whom love destroys with its cruel malady wander through the secret paths in the depth of the myrtle forest, and, as i meditated, the quivering reflections of the stars came and mingled with those of the leafless eglantines in the waters of the cloister fountain. suddenly the lights and the perfumes and the stillness of the sky were overwhelmed, a fierce north-wind charged with storm and darkness burst roaring upon me. it lifted me up and carried me like a wisp of straw over fields, cities, rivers, and mountains, and through the midst of thunderclouds, during a long night composed of a whole series of nights and days. and when, after this prolonged and cruel rage, the hurricane was at last stilled, i found myself far from my native land at the bottom of a valley bordered by cypress trees. then a woman of wild beauty, trailing long garments behind her, approached me. she placed her left hand on my shoulder, and, pointing her right arm to an oak with thick foliage:

“look!” said she to me.

immediately i recognised the sibyl who guards the sacred wood of avernus, and i discerned the fair proserpine’s beautiful golden twig amongst the tufted boughs of the tree to which her finger pointed.

“o prophetic virgin,” i exclaimed, “thou hast comprehended my desire and thou hast satisfied it in this way. thou has revealed to me the tree that bears the shining twig without which none can enter alive into the dwelling-place of the dead. and in truth, eagerly did i long to converse with the shade of virgil.”

having said this, i snatched the golden branch from its ancient trunk and i advanced without fear into the smoking gulf that leads to the miry banks of the styx, upon which the shades are tossed about like dead leaves. at sight of the branch dedicated to proserpine, charon took me in his bark, which groaned beneath my weight, and i alighted on the shores of the dead, and was greeted by the mute baying of the threefold cerberus. i pretended to throw the shade of a stone at him, and the vain monster fled into his cave. there, amidst the rushes, wandered the souls of those children whose eyes had but opened and shut to the kindly light of day, and there in a gloomy cavern minos judges men. i penetrated into the myrtle wood in which the victims of love wander languishing, phaedra, procris, the sad eriphyle, evadne, pasiphae, laodamia, and cenis, and the phoenician dido. then i went through the dusty plains reserved for famous warriors. beyond them open two ways. that to the left leads to tartarus, the abode of the wicked. i took that to the right, which leads to elysium and to the dwellings of dis. having hung the sacred branch at the goddess’s door, i reached pleasant fields flooded with purple light. the shades of philosophers and poets hold grave converse there. the graces and the muses formed sprightly choirs upon the grass. old homer sang, accompanying himself upon his rustic lyre. his eyes were closed, but divine images shone upon his lips. i saw solon, democritus, and pythagoras watching the games of the young men in the meadow, and, through the foliage of an ancient laurel, i perceived also hesiod, orpheus, the melancholy euripides, and the masculine sappho. i passed and recognised, as they sat on the bank of a fresh rivulet, the poet horace, varius, gallus, and lycoris. a little apart, leaning against the trunk of a dark holm-oak, virgil was gazing pensively at the grove. of lofty stature, though spare, he still preserved that swarthy complexion, that rustic air, that negligent bearing, and unpolished appearance which during his lifetime concealed his genius. i saluted him piously and remained for a long time without speech.

at last when my halting voice could proceed out of my throat:

“o thou, so dear to the ausonian muses, thou honour of the latin name, virgil,” cried i, “it is through thee i have known what beauty is, it is through thee i have known what the tables of the gods and the beds of the goddesses are like. suffer the praises of the humblest of thy adorers.”

“arise, stranger,” answered the divine poet. “i perceive that thou art a living being among the shades, and that thy body treads down the grass in this eternal evening. thou art not the first man who has descended before his death into these dwellings, although all intercourse between us and the living is difficult. but cease from praise; i do not like eulogies and the confused sounds of glory have always offended my ears. that is why i fled from rome, where i was known to the idle and curious, and laboured in the solitude of my beloved parthenope. and then i am not so convinced that the men of thy generation understand my verses that i should be gratified by thy praises. who art thou?”

“i am called marbodius of the kingdom of alca. i made my profession in the abbey of corrigan. i read thy poems by day and i read them by night. it is thee whom i have come to see in hell; i was impatient to know what thy fate was. on earth the learned often dispute about it. some hold it probable that, having lived under the power of demons, thou art now burning in inextinguishable flames; others, more cautious, pronounce no opinion, believing that all which is said concerning the dead is uncertain and full of lies; several though not in truth the ablest, maintain that, because thou didst elevate the tone of the sicilian muses and foretell that a new progeny would descend from heaven, thou wert admitted, like the emperor trajan, to enjoy eternal blessedness in the christian heaven.”

“thou seest that such is not the case,” answered the shade, smiling.

“i meet thee in truth, o virgil, among the heroes and sages in those elysian fields which thou thyself hast described. thus, contrary to what several on earth believe, no one has come to seek thee on the part of him who reigns on high?”

after a rather long silence:

“i will conceal nought from thee. he sent for me; one of his messengers, a simple man, came to say that i was expected, and that, although i had not been initiated into their mysteries, in consideration of my prophetic verses a place had been reserved for me among those of the new sect. but i refused to accept that invitation; i had no desire to change my place. i did so not because i share the admiration of the greeks for the elysian fields, or because i taste here those joys which caused proserpine to lose the remembrance of her mother. i never believed much myself in what i say about these things in the ‘aeneid.’ i was instructed by philosophers and men of science and i had a correct foreboding of the truth. life in hell is extremely attenuated; we feel neither pleasure nor pain; we are as if we were not. the dead have no existence here except such as the living lend them. nevertheless i prefer to remain here.”

“but what reason didst thou give, o virgil, for so strange a refusal?”

“i gave excellent ones. i said to the messenger of the god that i did not deserve the honour he brought me, and that a meaning had been given to my verses which they did not bear. in truth i have not in my fourth eclogue betrayed the faith of my ancestors. some ignorant jews alone have interpreted in favour of a barbarian god a verse which celebrates the return of the golden age predicted by the sibylline oracles. i excused myself then on the ground that i could not occupy a place which was destined for me in error and to which i recognised that i had no right. then i alleged my disposition and my tastes, which do not accord with the customs of the new heavens.

“‘i am not unsociable,’ said i to this man. ‘i have shown in life a complaisant and easy disposition, although the extreme simplicity of my habits caused me to be suspected of avarice. i kept nothing for myself alone. my library was open to all and i have conformed my conduct to that fine saying of euripides, “all ought to be common among friends.” those praises that seemed obtrusive when i myself received them became agreeable to me when addressed to varius or to macer. but at bottom i am rustic and uncultivated. i take pleasure in the society of animals; i was so zealous in observing them and took so much care of them that i was regarded, not altogether wrongly, as a good veterinary surgeon. i am told that the people of thy sect claim an immortal soul for themselves, but refuse one to the animals. that is a piece of nonsense that makes me doubt their judgment. perhaps i love the flocks and the shepherds a little too much. that would not seem right amongst you. there is a maxim to which i endeavour to conform my actions, “nothing too much.” more even than my feeble health my philosophy teaches me to use things with measure. i am sober; a lettuce and some olives with a drop of falernian wine form all my meals. i have, indeed, to some extent gone with strange women, but i have not delayed over long in taverns to watch the young syrians dance to the sound of the crotalum.8 but if i have restrained my desires it was for my own satisfaction and for the sake of good discipline. to fear pleasure and to fly from joy appears to me the worst insult that one can offer to nature. i am assured that during their lives certain of the elect of thy god abstained from food and avoided women through love of asceticism, and voluntarily exposed themselves to useless sufferings. i should be afraid of meeting those criminals whose frenzy horrifies me. a poet must not be asked to attach himself too strictly to any scientific or moral doctrine. moreover, i am a roman, and the romans, unlike the greeks, are unable to pursue profound speculations in a subtle manner. if they adopt a philosophy it is above all in order to derive some practical advantages from it. siro, who enjoyed a great renown among us, taught me the system of epicurus and thus freed me from vain terrors and turned me aside from the cruelties to which religion persuades ignorant men. i have embraced the views of pythagoras concerning the souls of men and animals, both of which are of divine essence; this invites us to look upon ourselves without pride and without shame. i have learnt from the alexandrines how the earth, at first soft and without form, hardened in proportion as nereus withdrew himself from it to dig his humid dwellings; i have learned how things were formed insensibly; in what manner the rains, falling from the burdened clouds, nourished the silent forests, and by what progress a few animals at last began to wander over the nameless mountains. i could not accustom myself to your cosmogony either, for it seems to me fitter for a camel-driver on the syrian sands than for a disciple of aristarchus and samos. and what would become of me in the abode of your beatitude if i did not find there my friends, my ancestors, my masters, and my gods, and if it is not given me to see rhea’s noble son, or venus, mother of aeneas, with her winning smile, or pan, or the young dryads, or the sylvans, or old silenus, with his face stained by aegle’s purple mulberries.’ these are the reasons which i begged that simple man to plead before the successor of jupiter.”

8 this phrase seems to indicate that, if one is to believe macrobius, the “copa” is by virgil.

“and since then, o great shade, thou has received no other messages?”

“i have received none.”

“to console themselves for thy absence, o virgil, they have three poets, commodianus, prudentius, and fortunatus, who were all three born in those dark days when neither prosody nor grammar were known. but tell me, o mantuan, hast thou never received other intelligence of the god whose company thou didst so deliberately refuse?”

“never that i remember.”

“hast thou not told me that i am not the first who descended alive into these abodes and presented himself before thee?”

“thou dost remind me of it. a century and a half ago, or so it seems to me (it is difficult to reckon days and years amid the shades), my profound peace was intruded upon by a strange visitor. as i was wandering beneath the gloomy foliage that borders the styx, i saw rising before me a human form more opaque and darker than that of the inhabitants of these shores. i recognised a living person. he was of high stature, thin, with an aquiline nose, sharp chin, and hollow cheeks. his dark eyes shot forth fire; a red hood girt with a crown of laurels bound his lean brows. his bones pierced through the tight brown cloak that descended to his heels. he saluted me with deference, tempered by a sort of fierce pride, and addressed me in a speech more obscure and incorrect than that of those gauls with whom the divine julius filled both his legions and the curia. at last i understood that he had been born near fiesole, in an ancient etruscan colony that sulla had founded on the banks of the arno, and which had prospered; that he had obtained municipal honours, but that he had thrown himself vehemently into the sanguinary quarrels which arose between the senate, the knights, and the people, that he had been defeated and banished, and now he wandered in exile throughout the world. he described italy to me as distracted by more wars and discords than in the time of my youth, and as sighing anew for a second augustus. i pitied his misfortunes, remembering what i myself had formerly endured.

“an audacious spirit unceasingly disquieted him, and his mind harboured great thoughts, but alas! his rudeness and ignorance displayed the triumph of barbarism. he knew neither poetry, nor science, nor even the tongue of the greeks, and he was ignorant, too, of the ancient traditions concerning the origin of the world and the nature of the gods. he gravely repeated fables which in my time would have brought smiles to the little children who were not yet old enough to pay for admission at the baths. the vulgar easily believe in monsters. the etruscans especially peopled hell with demons, hideous as a sick man’s dreams. that they have not abandoned their childish imaginings after so many centuries is explained by the continuation and progress of ignorance and misery, but that one of their magistrates whose mind is raised above the common level should share these popular illusions and should be frightened by the hideous demons that the inhabitants of that country painted on the walls of their tombs in the time of porsena — that is something which might sadden even a sage. my etruscan visitor repeated verses to me which he had composed in a new dialect, called by him the vulgar tongue, the sense of which i could not understand. my ears were more surprised than charmed as i heard him repeat the same sound three or four times at regular intervals in his efforts to mark the rhythm. that artifice did not seem ingenious to me; but it is not for the dead to judge of novelties.

“but i do not reproach this colonist of sulla, born in an unhappy time, for making inharmonious verses or for being, if it be possible, as bad a poet as bavius or maevius. i have grievances against him which touch me more closely. the thing is monstrous and scarcely credible, but when this man returned to earth he disseminated the most odious lies about me. he affirmed in several passages of his barbarous poems that i had served him as a guide in the modern tartarus, a place i know nothing of. he insolently proclaimed that i had spoken of the gods of rome as false and lying gods, and that i held as the true god the present successor of jupiter. friend, when thou art restored to the kindly light of day and beholdest again thy native land, contradict those abominable falsehoods. say to thy people that the singer of the pious aeneas has never worshipped the god of the jews. i am assured that his power is declining and that his approaching fall is manifested by undoubted indications. this news would give me some pleasure if one could rejoice in these abodes, where we feel neither fears nor desires.”

he spoke, and with a gesture of farewell he went away. i beheld his shade gliding over the asphodels without bending their stalks. i saw that it became fainter and vaguer as it receded farther from me, and it vanished before it reached the wood of evergreen laurels. then i understood the meaning of the words, “the dead have no life, but that which the living lend them,” and i walked slowly through the pale meadow to the gate of horn.

i affirm that all in this writing is true.9

9 there is in marbodius’s narrative a passage very worthy of notice, viz., that in which the monk of corrigan describes dante alighieri such as we picture him to ourselves today. the miniatures in a very old manuscript of the “divine comedy,” the “codex venetianus,” represent the poet as a little fat man clad in a short tunic, the skirts of which fall above his knees. as for virgil, he still wears the philosophical beard, in the wood-engravings of the sixteenth century.

one would not have thought either that marbodius, or even virgil, could have known the etruscan tombs of chiusi and corneto, where, in fact, there are horrible and burlesque devils closely resembling those of orcagna. nevertheless, the authenticity of the “descent of marbodius into hell” is indisputable. m. du clos des lunes has firmly established it. to doubt it would be to doubt palaeography itself.