A charge is brought against the Aeneid that it is propaganda. I do not know when this criticism first came to be brought; I suspect it is only our own time, with its persistent devotion to all the aspects of advertising and sloganeering, that feels sufficiently guilty about these activities to project the accusation across twenty centuries. Virgil, with whatever cheerfulness his nature was capable of, would readily have agreed that the Aeneid was propaganda; but then he did not know the invidious connotations of the word,--he would have taken it to mean only “things that ought to be propagated.” An institute of propaganda analysis would be completely baffled by the Aeneid; the conclusion might be that the poem was either the best or the worst propaganda that had ever been written. What kind of propaganda is it to begin a nationalist epic with the sorrowful sigh, “It was such a great burden,--a millstone around the neck--to found the Roman race”? What kind of propaganda is it to make the enemies, by and large, more interesting and sympathetic and colorful fellows than our own side? Lausus and Mezentius, for example, are a far more engaging father-and-son combination than Aeneas-Anchises, Aeneas-Ascanius, or Evander-Pallas. Dido and Camilla command our admiration much more than the blushing Lavinia or the fading Creusa. We respond to Turnus, and are at best coldly respectful to Aeneas. What goes on here, anyway? Shouldn’t some patriotic organization investigate this subversive writer, secretly in the pay of a foreign power? On the other hand, it is just possible that this is the very best form which national propaganda can take, the implicit and pervasive doctrine that great and good as our enemies may be, we can admire them, surpass them, be just to them, and not be afraid of them, either.
A word or two about the character of Aeneas. It may be that the trouble with him is really the trouble with us. We are not mature enough to accept, as epic hero, a man who is imaginative, sensitive, compassionate (everywhere except in parts of Books IV and X), and, in short, civilized; in other words, a paradox. There seems to be almost no aggression at all in the character of Aeneas: even in his dreams he wants to get out of trouble and avoid fighting. We don’t like this; we find most satisfactory those moments when he is telling Dido off, or making bitter sarcastic speeches at Lucagus and Liger. We object, further, that when he does fight, he knows very well that he is protected by the gods and by magic armor. (Yet we do not mind the latter in the case of, for instance, Superman; and would we rather have our hero sponsored by devils?) In the matter of invulnerability we are, I think, a little unjust: Virgil takes some pains to show that he can be hurt: he rushes in, unarmed, to preserve the truce; he is grievously wounded by the death of Pallas. In any event, we need not feel too guilty if we are not crazy about Aeneas; there is little in the record to show that the Romans left enthusiastic encomia, either.