The real foe of Dulness, then, is Truth—not simply wit or genius. The night of mind is all that Dulness labours to produce. Misdirected wit and genius help on this consummation, and therefore deserve her smile—all the more that they are her born enemies, turned traitors to their native cause; and most formidable enemies too, had they remained faithful. Needs must she load them with dignity and emoluments. Trace the thought. The poem begins from the real dull Dunces; and their goddess is Dulness, inevitably: nothing can be gainsaid there. This is the central origin. Go on. Pert or lively dunces, who are not real dull, will come in of due course. And from that first foundation the poet may lawfully go on to bring in perverted intelligence and moral vitiation of the soul. Reclining on our swing-chair—and waiting for the devil—with the Æneid in the one hand and the Dunciad in the other, we have this moment made a remarkable discovery in ancient and in modern classic poetry. Virgil, in his eighth book, tells us that the pious Æneas, handling and examining with delight the glorious shield which the Sire of the Forge has fabricated for him, wonders to peruse, storied there in prophetical sculptures, the fates and exploits, and renown, of his earth-subduing descendants. In one of these fore-shadowing representations—that of the decisive sea-fight off the promontory of Actium—you might believe that, under the similitude of the conflict and victory which delivered the sovereignty of the Roman world into the hand of Augustus, the sly Father of the Fire has willed by hints to prefigure an everlasting war of light and darkness, the irreconcilable hostility of the Wits and Dunces, and the sudden interposition of some divine poet, clothed with preternatural power, for the "foul dissipation and forced rout" of the miscreated multitude.

The foe, whose pretensions to the empire of the world are to be signally defeated, advances to the combat—"ope barbarica"—helped with a confederacy of barbarians. Queen Dulness herself is characteristically described as heartening and harking forward her legions with pure noise.

"Regina in mediis patrio vocat agmina sistro,"

that is, rather with her father Chaos's drum, or the drum native to the land of Dulness. Either interpretation forcibly marks out the most turbulent and unintellectual of all musical instruments; and we think at once of her mandate on a later day,

"'Tis yours to shake the soul With thunder rumbling, from the mustard-bowl."

The contending powers are presented under a bold allegory.

"Omnigenumque Deûm Monstra et Latrator Anubis,

Contra Neptunum et Venerem, contraque Minervam,

Tela tenent."

Neptune prefigures this island, the confessed ruler of the waves and the precise spot of the globe vindicated, as we have seen, by two great poets from the reign of Dulness. Venus is here understood in her noblest character, as the Alma Venus of Lucretius's invocation, as the Power of Love and the Beautiful in the Universe. The Goddess of Wisdom speaks for herself. Against them a heterogeneous rabble of monsters direct their artillery, under a dog-headed barking protagonist, (what a chosen symbol of an impudent, wide-mouthed, yelping Bayes!) the ringleader of the Cry of Dunces.

Behold the striking and principal figure of the poet himself, armed and ready to loose from his hand his unerring shafts.

"Actius hæc cernens arcum intendebat Apollo

Desuper."

The poet, impersonated in the patron god of all true poets, is high Virgilian; and the proud station and posture, and the godlike annihilating menace of that "Desuper" is equally picturesque and sublime.

The same verse continued brings out the effect of the god's, or of the poet's interposition, in the instantaneous consternation and utter scattering of the rascal rout.

"… Omnis eo terrore Ægyptus et Indus,

Omnis Arabs, omnes vertebant terga Sabœi."

The entire progeny of barbarism are off, in full precipitation, for a place of refuge, if harbour or haven may be had. Or, as the same inspired bard elsewhere has it—"fugêre feræ"—the wild beasts have fled.

The triumph is complete. The panic seizes their imperial mistress herself, who, turning her prow, sweeps with all sails set from the lost battle.

"Ipsa videbatur ventis Regina vocatis

Vela dare et laxos jam jamque immittere funes;

Illam inter cædes, pallentem morte futurâ,

Fecerat Ignipotens undis et Iapyge ferri."

And why is Augustus made Victor? Does not his name stand, to all time, as the emperor of good letters? Is an Augustan age a less precise and potential phrase for a golden age of the arts, than a Saturnian age for the same of the virtues? And why is Antony beaten? Surely, because he represents the collective Antony-Lumpkinism of literature. And what has the dear Cleopatra to do in the fight? The meretricious gipsy—the word is Virgil's own—by her illicit attractions, and by the dusk grain of her complexion, doubly expresses to the life the foul daughter of Night whom the Dunces obey and worship.

Vulcan, says Virgil, made the shield, like a god, knowing the future. But here Virgil makes Vulcan. And we have now seen enough fully to justify the later popular tradition of his country in steadfastly attributing to him the fame of an arch-wizard. Looking at the thing in this light, we derive extreme consolation from the final augurous words of our last citation—"pallentem morte futurâ"—which we oppose with confidence to the appalling final prophecy of Pope, and believe that the goddess is, as the nymphs were said to be, exceedingly long-lived, but not immortal.

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