Underworld descriptions in the Aeneid are no static, separate units in which the story comes to a halt, but they are an integral part of the story telling.10 Aeneas travels through
the eternal space of the Underworld and gazes upon it. The narrator uses Aeneas as a trav- eller and an observer (focalizer in narratological terms) to merge the separate text linguis- tic categories of narrative and description into one blended discourse mode (cf. Mosher 1991, Hamon 1993: 170, Herman 2002: 298, 2009: 131).
Whenever the text indicates spatial progression, the time of the story advances, because Aeneas moves or because his gaze falls upon a new part of the Underworld. This means
that spatial progression, characteristic of the description mode, coincides with temporal progression, characteristic of the narrative mode. The key elements in this blend of dis- course modes are movement and focalization (Zoran 1984, De Jong 1987, Landau & Jack- endoff 1993, Hamon 1993: 173ff, Herman 2002: 298, 2009: 131).11
The element of movement is introduced into the episode in its very first narrative clause, which states that Aeneas and the Sibyl “went on (ibant) dimly, beneath the lonely night amid the gloom, through the empty halls of Dis and his phantom realm” (see example (2)).12 According to Herman (2002: 263-99, 2009: 131) motion verbs such as ibant (from
the verb ire, to go) and references to paths help readers to construct a story world.13 In
Story Logic (2002: 278) he claims that “the notion of paths is an especially important one in narrative domains, since paths imply motion from one part to another and thus dynamic or emergent spatial properties of the sort characteristic of narratives.” Herman uses the term path in a more abstract sense, but in the Underworld there is a literal path (via) by means of which the notion can be illustrated, the road that leads to the waters of Tartarean Acheron:
(6) Aeneid, 6.295-318
From here (hinc) a road (via) leads (fert) to the waters of Tartarean Acheron. Here (hic), thick with mire and of fathomless flood, a whirlpool seethes (aes- tuat) and belches (eructat) into Cocytus all its sand. A grim ferryman guards (servat) these waters and streams, terrible in his squalor – Charon, on whose chin lies (iacet) a mass of unkempt, hoary hair; his eyes are staring (stant) orbs of flame; his squalid garb hangs (dependet) by a knot from his shoulders. Aeneas, as he is aroused and amazed (miratus motusque) by the disorder, cries (ait): “Tell me ...”
It is implied that Aeneas and the Sibyl move along the road, reach the river banks and see Charon. The implication is made explicit in line 317, in which Aeneas is presented as aroused and amazed (miratus motusque) by all the things he sees at those river banks: Aeneas turns out to have, indeed, followed the path. Thus, the description of this road was at the same time a narrative of Aeneas’ walk along it. The passage both shows text-ling- uistic characteristics of description (e.g. the spatial adverbs hinc, hic) and displays the temporal progression characteristic of narrative, added by means of the implied move- ment of Aeneas and the Sibyl.
Likewise, the (implied) movement of the eyes of an embedded focalizer can make spatial progression coincide with temporal progression.14 The passage in example (7) is neither
purely narrative nor entirely descriptive. (7) Aeneid, 6.548-558
Suddenly Aeneas looks back (respicit), and under a cliff on the left (sub rupe sinistra) sees (videt) a broad castle, girt with triple wall. A rushing flood of tor- rent flames encircles (ambit) it, Tartarean Phlegeton, and rolls (torquet) along thundering rocks. In front stands a huge gate, and pillars of solid adamant, that no might of man, nay, not even the sons of heaven, could (valeant) uproot in
war; there stands (stat) an iron tower, soaring high, and Tisiphone, sitting girt with bloody pall, keeps sleepless watch (servat) over the portal night and day (noctesque diesque).
The specific parts of the Underworld are related spatially in this passage (e.g. sinistra, ambit). The element of time plays a role because of the governing verb forms “looks back” (respicit) and “sees” (videt), which imply a movement of Aeneas’ eyes at every spatial progression. Thus, the description is integrated into the narrative.
At the same time, the passage is a clear example of the merging of temporary and eternal. In the last sentence, the adverbial clause “night and day” (noctesque diesque) indicates that at least the present tense form “keeps watch” (servat) represents an eternal situation. That is, Tisiphone is not just keeping watch over this portal when Aeneas happens to look at her, but it is, in fact, her eternal task to do so.
The adverbial clause “night and day” influences, in retrospect, the interpretation of the preceding present tense forms. After the historical presents “looks back” and “sees”, we might have been inclined to interpret “encircles” (ambit) and “rolls” (torquet), too, as his- torical presents. At the end of the passage, however, we learn that they can and should be interpreted as eternal situations as well: the river Phlegeton will always encircle the castle (ambit) and will perpetually roll along thundering rocks (torquet). The use of the present tense for both the events of the past (respicit, videt) and the eternal situations (ambit, torquet, stat, servat) turns Aeneas into the observer of a timeless and perpetual tableau vivant.15
The eternal and the temporary meet in the Underworld as its eternal space is confronted with a living being, who travels through it and is himself bounded by a restricted amount of time. This results in a presentation in which narrative and description as well as the temporary and the eternal seem to become one odyssey through an eternal space. Aeneas’ visit is presented as an experience of eternity.
In the Aeneid, description and narrative are usually presented as separate components, as was illustrated by means of example (5). The deviation of this in the katabasis episode is striking and should be given significance. My interpretation would be that Aeneas needs to experience this eternal space before he can become the instigator of that other eternal space, viz. the city of Rome. This interpretation is corroborated by the presentation of two specific encounters. In the next section I discuss these encounters, aiming to show that Aeneas already instigates eternity during his visit of the Underworld. Thus, his Upper world task is foreshadowed in the Underworld.