UC Davis UC Davis Previously Published Works Title What Was The Trojan Horse Made Of?: Interpreting Virgil’s Aeneid Permalink https://escholarship.org/uc/item/1h5926jd Journal Yale Journal of Criticism, 3(2) ISSN 0893-5378 Author Hexter, Ralph Jay Publication Date 1990-04-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Ralph Hexter What was the Trojan Horse Made Of?: Interpreting Vergil 's Aeneid The most startling feature of the Aeneid's narrative economy is the flash- back represented by books 2 and 3, the account of the fall of Troy and then of Aeneas's wanderings told in Carthage by Aeneas to Dido. Star- tling it is not in the context of Vergilian imitation of Homer: Aeneas tells his story to Dido as Odysseus had told parts of his to the Phaeacians in the Odyssey. 1 But while the Odyssey serves as a rich subtext for the Aeneid, it does not serve readers well if it dulls us to what is novel and, in my view, most characteristically Vergilian about the Roman poet's use of inset narrative, which he doubles or squares. For just as Aeneas's narrative to Dido is set near the beginning of Vergil's narrative to us, as the second and third of twelve books, so near the beginning of Aeneas's narrative we have the account of Sinon's2 deception of the Trojans-by means of storytelling-which leads to their undoing as they accept the Trojan horse into the city. This is a short circuit of narrative and interpretation that no listener or interpreter can overlook. For me, it is the primal scene of narration and misinterpretation in the Aeneid.3 That this inner scene of narrative deception and misinterpretation is itself part of Aeneas's tale to Dido, which in different ways and for very different reasons leads to her undoing, and that Aeneas's account and Dido's suicide are in turn set within Vergil's narrative to us, has profound ramifications for our understanding of Vergil's text and of our own role and responsibilities as readers. 4 In this paper, I wish not to examine the outward or centrifugal movement of this textual system but to move within, to what I see as an absence or void at the very heart of the work. Through an examination of a few of the more notorious of Vergilian puzzles (the wood of the horse at some length, the gates of horn and ivory more briefly), I intend to uncover this absence or set of absences for the reader and at the same time show that the reader has as full a role to play at the interpretive center as at the outer edges. First, however, we must descend into the abyss or, to evoke one of Vergil's most significant recurring images, enter the inner fold, Latin sinus, and take a closer look at Sinon, his narrative, and the Trojans' response. Selective close reading of this episode, this "primal scene of misinterpretation" as I have termed it, will occupy roughly half of the paper. As Vergil's Sibyl tells Aeneas, Yale journal I![ Criticism, volume 3, number 2, © 1990 by Yale University. RALPH HEXTER 109 "Easy the descent to Avemus. But to retrace one's steps and come out into the air above, that is the task, that is the hard part" (foci/is descensus Auerno. I sed reuocare gradum superasque euadere ad auras I hoc opus, hie labor est, 6.126, 128-29). With a craft that has often been explicated and analyzed in rhetorical terms, 5 Sinon manipulates his listeners; indeed, the first admirer of Si- non's oratory is none other than Aeneas himself, who tells Dido quite clearly that he and the other Trojans were taken in by rhetorical trickery. At this point in his own narrative Sinon has insinuated that the hated Greek leaders Odysseus, Agamemnon and Menelaus would all be pleased if the Trojans were to behave as Trojans could be expected to behave and were to kill this errant Greek. Aeneas comments: "we Trojans then truly burned to inquire and investigate the reasons, ignorant as we were of such base crimes and Greek art. Trembling he continued and spoke with feigned emotion" (tum uero ardemus scitari et quaerere causas, I ignari scelerum tantorum artisque Pelasgae, I prosequitur pauitans et .ficto pectore fatur, 2. 105- 107). The Trojans react in precisely the contrarian way Sinon had cal- culated. Here and elsewhere Aeneas interrupts Sinon's narrative to speak to Dido, that is to shift "up" or "out" one level. We readers or listeners are likewise encouraged to shift our attention from Sinon and the Trojans to Aeneas and Dido and then to Vergil and his readers. At this point the reader is invited to ask herself: how long did the Trojans, or their de- scendants the Romans, remain ignorant of Greek art? How much of any account is rhetorical manipulation, how much truth? Gradually we may surmise that rhetorical manipulation is only more apparent in the inner circle than in the outer circles of narration. Sinon is not the author of his own text. I mean neither Aeneas, who is our only witness, nor Vergil; these are obvious. Clearly Sinon is only acting out a script prepared for him by Ulysses. Characteristically, the author is both present and absent: he appears as a "character" in Sinon's text, and though this Ulysses acts plausibly, the entire action imputed to him is fictional (even within the fictional bounds of the Aeneid). In "fact," he is not offstage, but merely concealed: he is inside the Trojan horse. Now, as Ulysses knows, rhetoric can not work on deaf-or wax- stuffed-ears. 6 The final decision to break down the walls of Troy and lead the horse within is the Trojans'. How do they come to make such a disastrous decision? It's not as if they haven't heard what they ought to do. Aeneas begins his "unspeakable" narrative (infandum, 2. 1) before Si- non's entry on the scene. With omniscient hindsight he depicts the moun- tainous horse left by the Greeks, built with Athene's help: "They pretend it is an offering made for their return" (uotum pro reditu simulant, 2.17). IIO THE YAlE JOURNAl OF CRITICISM But here even Aeneas's language takes on ambiguities characteristic, as we will see, of Sinon's discourse. Both words of the phrase pro reditu permit double meanings. Is the Trojan horse an offering against their return, that is, to win their return? This is its ostensible purpose. But it may also be an offering "in place of their return"-for they have not returned. So far by "return" we have understood "return to Greece." But of course, since the Greeks now appear to be gone, it might refer to a return to Troy, either the return to Troy from Greece that Sinon's fiction describes or simply from the hidden harborage at Tenedos, which will in fact take place. Aeneas's remark, "Such was the rumor going about" (ea foma uagatur, 2. 17)-we would respond, "which rumor?"-masks the uncertainty and instability of the assertion with an imputation of its cred- ibility. Long before Ulysses' script begins, and even ignoring the ambiguities of pro reditu, the Trojans are presented with both possibilities. Thymoetes first argues that the horse be brought within the walls and placed on the citadel (2. 32-33), while Capys and others want it destroyed. "The un- certain populace is divided into contrary opinions" (scinditur incertum stu- dia in contraria uulgus, 2.39). It is at a moment when the multiplicity of possible interpretations has left the Trojans paralyzed, suspended in in- action between hope and fear, that Laocoon appears. The very passion and directness of his position defeats his purpose. He gives the Trojans no room to make up their own minds. Unlike Sinon-if I may use vocabulary developed in particular by Wolfgang Iser-Laocoon offers no Leerstellen or "gaps" (literally "empty spaces") by the filling of which his listeners could make his text their own. 7 But Laocoon contravenes not simply recent reader-response theory. Contrary to classical injunctions to begin with a captatio benevolentiae to render his listeners willing to listen and learn, Laocoon insults them. In the first words they-and we-hear, he asks them if they are insane. Considering the inevitability of the poem and not the rhetoric, Servius comments: "he well begins thus, because they were not going to believe one urging sensible things. "8 Perhaps not, but his tactlessness does not help those Trojans, however few, who are inclined to be more cautious. No matter that his suspicions are well- founded, that he hits the nail on the head: the Greeks are hidden within, as he suggests, and it is a war machine of sorts (2.45-4 7). His well-aimed guesses remain without effect, as does the spear he hurls against the horse itself: "a hollow sound emanates from the cavern, and the hollows seem to moan" (uteroque recusso I insonuere cauae gemitumque dedere cauernae, 2. 52-53). Laocoon is an example of an orator who fails because he assaults rather than deceives and seduces his audience. After ten unsuccessful years, the RALPH HFXTER III Greeks themselves have abandoned the siege and frontal assault. While Laocoon sees this, can even articulate this, he fails to make their strategy his own. Entering next, Sinon proves to be Laocoon's opposite, in every way imaginable. For example, while Laocoon dashes on under his own power (decurrit, 2.41), Sinon is dragged in ([pastores] trahebant, 2.58). Lao- coon displays the force of his will (ardens, 2.41); that Sinon's hands are tied behind his back (2. 57) implies the opposite. Correction: it leads his observers to infer that he is unwilling. It is important for us to have stumbled here in the "reading process," to have, as it were, overread. For the moment let us simply note how easily in- terpreters are led to make such inferences, and in particular what role schematized contrasts play in leading them to infer. The significance of these observations will emerge in due course. While both characters enter in the company of others (Laocoon: magna comitante caterua, 2.40; Sinon: pastores, 2.58), Laocoon's accompanying band is nonfunctional in terms of the action. Its only function is to mark "accompaniment" and thus provide a formal balance to Sinon's captors, in other words, to establish a degree zero for the contrasts to follow. Looking back a few lines, we may now see that the involvement of the Trojan audience in Sinon's story is emblematized by another complex of similarities/ differences at the appearance of both: while Laocoon shouts, his companions and his listeners are silent; in contrast to Sinon's initial silence, it is his captors who shout (magno ... clamore, 2. 58). Vergil must smile when I describe Laocoon's companions and auditors as silent. Of course the narrator does not tell us that. Again we have constructed it out of an absence of contradiction and the presence of the counterbal- ancing cry of Sinon's captors. Even as he presents Laocoon, a figure for the bad poet who leaves no gaps, Vergil shows that he practices Sinon's art of gap making; we Trojans complete the equation. Laocoon begins his harangue when he is barely in hailing range; Sinon is at first silent. While both begin with questions, Laocoon directs his straight at his fellow citizens (o miseri ... ciues, 2.42), while Sinon apos- trophizes some absent and never-specified interlocutors. Laocoon's ad- dress of his audience places him in direct confrontation with them. By his initial silence and then his use of the traditional apostrophe-a rhe- torical turning one's back on one's present audience to address absent presences-Sinon creates the first of the many treacherous gaps he is so clever at opening and into which the naive Trojans will, to their destruc- tion, step. None is more characteristic than his dazzling use of negatives, often doubled. 9 But the many negatives, simple and double, only reinforce the dazzling contrafactuals Sinon conjures up right from the start. The Tro- 112 THE YALE JOURNAL OF CRITICISM jans have just unraveled "I'll not deny I'm from the Argive race" to figure out that he is a Greek, when he hits them (hoc primum) with this zinger: Nee, si miserum Fortuna Sinonem I finxit, uanum etiam mendacemque improba finget (2.79-80). One might translate, "Nor, if Fortune has made Sinon wretched, will the bitch also make him empty of believability and men- dacious." It is open to anyone to ask: "Well, what if she didn't make him wretched?" Sinon continues to speak the truth he promised, because the "truth" of a conditional does not depend on the truth of either premise or conclusion but only on the logical relation between them. 10 What is so daring is that Vergil has Sinon play a purloined-letter game. The way he formulates the sentence practically begs the Trojans to con- sider the negative. As punctuated and translated, the if-clause (protasis) is embedded in the then-clause (apodosis). Vergil's readers would have understood this even before editors devised punctuation because the col- location nee si signals as much. But if one removes the mental comma after nee and allows it to negate the entire protasis, Sinon would actually be heard to say: "and if Fortune has not made Sinon wretched, the bitch will indeed make him empty of believability and mendacious." Vergil too is involved in a purloined-letter game, or should we say a game of purloined letters. Look again at this utterance. Right in the middle of the protasis (si miserum fortuna Sinonem finxit), Sinon utters his name for the first time. It is of course the traditional name for the char- acter, one of many traditional figures earlier Latin poets and Vergil took over unchanged from Greek literature. Coming right after nee si, however, one may well wonder if some of Sinon's listeners didn't for an instant think that yet another "if not" clause had been imbedded: si miserum ... , si nonem ... Of course, we pull ourselves up short. That is non- sense. But as this sentence shows, in the linguistic matrix of Latin, "Si- non" 's syllables take on a new life. His name is more than an echo of those "sinuous" serpents that wind themselves around Laocoon and through the whole book, 11 more than a personification of what I have termed one ofVergil's central images, the sinus or fold. Literally-1 mean this graphically or "letterally"- Sinon is "Mr. If Not." Such word play is not only Homeric, it is-and how apt for Sinon!- archetypally Ulyssean. Homer's Odysseus tells Polyphemus: Kyklops, are you asking me my famous name? Well, then, I will tell you. But you are to give me hospitality, just as you promised. No-one [Ovn~] is my name, and my mother and my father and all my other companions call me No-one. Polyphemus, in his cups, responds, "No-one I will eat last with his companions, I the others beforehand. This will be the token of my hos- RALPH HEXTER 113 pitality to you." This utterance is literally true, true in a way its speaker cannot understand. He will eat "no one" last, because he will henceforth eat no one at all. Homer exploits a yet more complex pun when in several constructions oi5n~ becomes 11~ n~. Strikingly similar to the pun "si non I Sinon," the two words heard or read as one combine to make f1fJrt~, which is "wily cleverness," Odysseus's defining characteristic. 12 Latinists will be swift to protest: anatomizing the name "Sinon" as "if not" involves a false quantity, for the "i" is short in the character's name, long in the conjunction "if." This is a sound, indeed a strong objection, one, however, which can be met by pointing not only to Vergil's own occasional variations in the case of proper names13 but to the rules and practice of Classical Latin word play. Both examples and explicit ancient testimony establish clearly that the variation in vowel length would not have put "Sinon" out of the pun's range of "si non. "14 Ultimately, of course, it is not only the opening contrafactual, with its two or three levels of embedded "if nots," but the entire episode, studded with "if nots" and related phenomena (i.e., pluperfect subjunctives), which compels me to believe that this pun was carefully calculated by Vergil. This is matched on the thematic level, where we see what it means that Sinon is the master of the contrafactual, of evoking and manipulating that which is not. For the whole story of the oracle and intended sacrifice is a tissue of lies. Let us pick it up where the pace of Sinon's narrative quickens. The dread day arrived. Sinon was readied for the ritual sacrifice, but he escaped. 15 His words "Escaped death and burst my chains" (eripui ... leto meet uincula rupi, 2. 134) can of course be an example of hysteron proteron, but remember: none of this happened. In what sense does one imaginary action precede another? Again, elaborately figurative language has the paradoxical effect of increasing our assumption that its referent is real, because once we have involved ourselves in the process of making sense, in decoding, we do not look back to see if the effort was well spent. As in many a business venture or defense scheme, once an invest- ment is made, it must be kept going. Sinon makes his rickety Trojan Horse System everybody's project, even its intended victims'. And damned if it doesn't flyP6 Sinon continues: "I hid invisible through the night in the swampy bog and sedge until they gave sail, if perchance they would" (limosoque lacu per noctem obscurus in ulua I delitui dum ue/a darent, si forte dedissent (2. I 3 s- 36). The point of Servius's comment seems to be to increase readers' appreciation of Sinon's rhetorical skill in navigating this treacherous pas- sage: "If perchance they would" is ambiguous: for he neither denies nor confirms that they have sailed, lest he either remove their sense of security or [reveal] II4 THE YALE JOURNAL OF CRITICISM what he said above is false, that the Greeks could not sail without a human sacrifice .... It is a rhetorical trick to use ambiguous language in tight places in the argument. 17 We must, however, remember that since Sinon is in control here, any tight spot is of his own making. His words si forte dedissent risk exposing the whole illogic of his story, for they clearly refer to the fact that the Greeks no longer have the sacrificial victim Apollo's oracle supposedly demanded (2.II6-19; cfn.3). It was a badjoint in the whole story.18 Why does he bring it up again? To anticipate their objections? Instead ofletting the Trojans realize that this is a problem you are trying to cover up, refer to it boldly yourself. Just act as if it's not a problem and, ten to one, they won't think it is either. All this is absolutely true, Yet it seems to me that Vergil's point is not so much to show how clever a rhetorician or mass psychologist Sinon is as to show how gullible the Trojans, indeed, all readers are. 19 For this we want to highlight gaps and inconsistencies, not bridge or reconcile them. The last clause, as we've seen, once again brings the glare of a spotlight onto a major inconsistency in the story. And that is taking it as Sinon's original future perfect indicative now in indirect speech. 20 But of course the original thought never crossed his mind, except as a line in a script. Without an original thought to render, the pluperfect subjunctive-for the third time in this passage-reveals itself as a past contrafactual: "If perchance they had given sail (but they have not)." And once again, the contrafactual is true. The Trojans are presented not only with an astound- ing gap, they are presented with the truth. But they do not have ears to hear. Sinon gets downright sloppy as he pulls out all the stops. He says he has no hope of seeing his fatherland, his sweet children or his beloved father, any and all of whom the Greeks may punish for his crime. While "crime" raises once again the spectre of the problem of a Greek departure without the supposedly necessary sacrifice, "sweet children" presents a new problem. I suppose the failure to mention a wife is easily explained (perhaps they're offspring of a concubine), but didn't you say you were sent to Palamedes primis ab annis (2.87), which one naturally takes to mean "as a boy"?21 That these are purely rhetorical children tossed into a tearjerking peroration is perfectly clear. Or is the omission of a wife's name a discordant note meant to distract attention from the more serious chronological error? Even as we reject that as supersubtle, we may begin to suspect that as interpreters we could probably justify anything. After several more invocations of things that are not, gods cons cia ueri for one, and after further imbedded conditional clauses, 22 Sinon closes, miserere animi non digna Jerentis. One naturally takes the non with digna RALPH HEXTER 115 and renders: "have pity on a soul bearing what he has not deserved." But we and we alone see how much truer it would be to take non with ferentis: "have pity on a soul not suffering what he deserves." Which is of course what Sinon is really asking the Trojans to do. 23 Priam's first words are expansive and magnanimous; for Aeneas to describe the words as "friendly" (dictis ... amicis, 2. 147) is ironic in the extreme. Words themselves, as Sinon's use of them has shown, are hardly friendly, and Sinon has so manipulated the situation that even in our eyes Priam's words now hide dangerous truths beneath friendly lies. "Whoever you are," Priam says (implying-so Servius suggests-" al- though you are an enemy"), "you will now be ours. "24 Alas, the Trojans ought to have taken them at face value-"whoever you are, you aren't what you say you are." Priam urges Sinon henceforth to forget the Greeks he has lost (amissos hinc iam obliuiscere Graios, 2. 148). Sinon can smile to himself and say, "Sure old man, I'll forget all the Greeks I've lost-none, in other words!" Priam is brimming with questions about the horse: For what purpose was it built? Who authorized it? Is it a religious offering or a machine of war? This is just what Sinon has been waiting for, and, as Aeneas again reminds Dido of his rhetorical training, 25 Sinon swears a solemn oath with hands raised aloft. This is an elaborate charade meant to solemnize his public transfer of allegiance from the Greeks to the Trojans: that the gods will permit him to abrogate the oaths binding him and to hate his former friends. Of the many subtle deceptions that follow, let me point only to the oath with which he begins. 26 Bringing up the rear of the divinities and sacred objects Sinon calls on to witness his oath are "altars and unspeakable swords I I escaped, and the gods' fillets I I wore as a sacrificial victim" (arae ensesque nefandi, I quos fogi, uittaeque deum, quas hostia gessi, 2. I 55-56). Servius glosses "I wore" with "almost" (paene, on 2. I 56 [T- H 1.245]). Actually, Servius seems to err, since according to his account, the fillets were already around his temples before he escaped (2.133). But as the rest of the note indicates, the issue is that the sacrifice didn't take place at all. This, however, is to strain at gnats and swallow a camel. The problem is not that Sinon escaped. Rather, the whole story Sinon tells is a fabrication. There never were altars, never were sacrificial fillets. The swords are "unspeakable" in another sense. 27 Sinon is swear- ing on nothing, trifles lighter even than the handkerchief so craftily em- ployed by his descendant Iago. 28 Throughout, the most daring aspect of Sinon's speech is that his lies are fabricated out of literal truths. They have the effect of lies only when readers overlook the equivocations. His final period-significantly, intro- duced by "but if" (sin, 2. 192)-is true in a way that pulls the ground II6 THE YAlE JOURNAl OF CRITICISM out from under Sinon. And it serves him right: the statement that the horse was made large so that it could not be brought into Troy where it could protect the people as a new cult object (2.185-188) ought to have been sufficient. But now Sinon, caught up in his peroration, cannot resist being yet more explicit. For if your hand were to violate this gift to Minerva, then there would be great destruction (may the gods rather turn this omen on him [i.e. Calchas]) to Priam's empire and the Phrygians; but if at your hands it were to climb into the city, then on the offensive Asia to the walls of Pelops will come, and that destiny awaits our descendants.29 Once again, the pluperfect subjunctives represent Calchas's reported future perfect indicatives, but at ascendisset (2. 192) there is a whiff of a past contrafactual, as if the time when this could be done were past. It's not, of course, but the mere suggestion it is will make the Trojans rush the more precipitously to destroy themselves. Sinon understands the apo- dosis of this condition to be an outrageous lie-he knows that to ascend with the horse into the city the Trojans will have to breach their walls, and that between the soldiers in the horse and those that will pour in, Troy will not come to Greek walls but Greece will destroy Asia. Such prophecies are traditionally couched in equivocal language; think of poor Pyrrhus, think of poor Croesus. The equivocation within the equivo- cation is based on the equation that Asis stands for Troy and Troy will become Rome. Only because the Trojans did bring the horse into the city was Troy destroyed, Aeneas sent forth, and Rome founded. Then indeed did the urbs-and to a Latin speaker urbs meant one city and one city only-conquer Greece. The placement of venturam at the beginning of 2.194 supports this suggestion; it echoes the same case occupying the same metrical slot in 1.22 (but masculine, venturum) referring to the manifest destiny of Rome to conquer Carthage. But it is in the last phrase, et nostros ea Jata manere nepotes, that Vergil gives us the strongest hint that we are to think of Rome's destiny. Obviously, all nations have descendants, but nepotes has a very Roman ring to it. 30 It is, however, the mention of posterity alto- gether that projects us into the complex historical project that is the Aeneid. Nor is this futurity necessary for the prophecy. On the face of it, it would be stronger and more attractive if the Trojan revenge Sinon promises were to come at once. But merely as oracular bombast, Sinon tosses in nepotes, and pulls the ground out from under himself. Sinon and I have been talking about, and you and the Trojans have been looking at the Trojan horse for some time now. What is there about this horse? Why have I titled my essay "What was the Trojan horse made RALPH HEXTER 117