Fluctus Irarum, Fluctus Curarum: Lucretian Religio in the Aeneid Julia T. Dyson Tantum religio potuit suadere malorum. (De Rerum Natura 1.101) Tantae molis erat Romanam condere gentem. (Aeneid 1.33) More than formal similarity unites these lines. 1 Lucretius points out the folly of religio, epitomized in Agamemnon’s sacrifice of his own daughter to appease an indifferent goddess; Virgil emphasizes the hardship of founding Rome in the wake of a goddess’s very real persecution. That is, what Lucretius derides as foolish fantasy, Virgil weaves into the fabric of his epic. 2 I argue here that Virgil continually brings to life Epicurean caricatures of religio—that the vengeful gods and fearful mortals whom Lucretius ridicules become the chief actors in the Aeneid. One of Lucretius’ most “revolutionary” inversions of conventional language and assumptions is his paradoxical assertion that religio and pietas are opposites (see Summers 1995, 33). This paradox underlies his philosophical system: men are unhappy and wicked because of their superstitious fear of the gods (religio), and to free them from the “constricting knots of religion” (artis religionum nodis, 4.6–7) is his passionately stated purpose. He asserts that the gods are sublimely indifferent to human affairs and defines pietas as the equanimity that comes from recognizing this indifference, that is, from seeing the folly of conventional religio: O genus infelix humanum, talia divis cum tribuit facta atque iras adiunxit acerbas! quantos tum gemitus ipsi sibi, quantaque nobis vulnera, quas lacrimas peperere minoribu’ nostris! nec pietas ullast velatum saepe videri [End Page 449] vertier ad lapidem atque omnis accedere ad aras nec procumbere humi prostratum et pandere palmas ante deum delubra nec aras sanguine multo spargere quadrupedum nec votis nectere vota, sed mage pacata posse omnia mente tueri . (DRN 5.1194–1203) For the Epicurean, happiness, wisdom, and pietas all consist in surveying the world with a “peaceful mind.” Virgil shows us a world in which such ataraxia is impossible because the central assumptions of Epicureanism are wrong; in particular, the behavior of Aeneas and of the gods illustrates what Lucretius says should not or cannot happen. Aeneas has long been recognized as a sort of proto-Stoic, struggling with variable success to achieve self-control and obedience to Fate. 3 At the beginning of his journey, however, he momentarily resembles an Epicurean philosopher even as he engages in an act of conventional pietas. When his attempts to uproot a small tree to deck his altar twice cause the bark to drip blood (3.24–29), he tries to discover the hidden cause of this bizarre phenomenon: “mihi frigidus horror membra quatit gelidusque coit formidine sanguis . rursus et alterius lentum convellere vimen insequor et causas penitus temptare latentis ; ater et alterius sequitur de cortice sanguis. multa movens animo Nymphas venerabar agrestis Gradivumque patrem , Geticis qui praesidet arvis, rite secundarent visus omenque levarent.” (Aen. 3.29–36) These lines have a peculiar resonance with one of the most important and controversial passages in the Georgics (2.475–512). In this passage the poet first longs for the ability to explain natural phenomena (like Lucretius), then concedes that if cold fear should prevent him from attaining to this knowledge, he would settle for bucolic seclusion and rustic religio: sin has ne possim naturae accedere partis frigidus obsteterit circum praecordia sanguis , rura mihi et rigui placeant in vallibus amnes, [End Page 450] flumina amem silvasque inglorius. o ubi campi Spercheosque et virginibus bacchata Lacaenis Taygeta! o qui me gelidis convallibus Haemi sistat, et ingenti ramorum protegat umbra! felix qui potuit rerum cognoscere causas , atque metus omnis et inexorabile fatum subiecit pedibus strepitumque Acherontis avari; fortunatus et ille deos qui novit agrestis , Panaque Silvanumque senem Nymphasque sorores . (Geo. 2.483–92) It may seem strange that this passage should have anything to do with Aeneas in Thrace, but the verbal echoes and parallels of thought are striking: an image of chilled blood is followed first by a desire to know the underlying causes of things, then, failing that, by an appeal to rustic religio, symbolized (among other things) by rural nymphs. Most readers see a reference to Lucretius in the line felix qui potuit rerum cognoscere causas (see Dyson 1994...
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