Abstract This paper takes a look at the legendary story of the hero Aeneas who survives the fall of Troy and follows the will of the gods and fate to build a nation that will eventually become Rome. The paper includes an analysis of "The Aeneid", written in Homeric style and gives a comparison of Aeneas's character with Greek heroes, Odysseus and Achilles.
From the Paper "The son of Anchises and Venus, a prince of Troy and leader of the expedition to Italy, Aeneas is the main character in the book "The Aeneid". The most admired and valued characteristics in Augustan Rome are marked on his personality. He is true to his word devout, a courageous and skillful soldier and a pious. The heroism of Aeneas is his ability, to place his belief in Rome in all times and the Roman ideal before his own selfish interests, which was unlike Achilles and Odysseus."
Abstract This paper discusses Aeneas and his relationship to the Roman Empire. The paper discusses Aeneas' future, according to "The Norton Anthology of World Literature" as leading to a peaceful period in Roman Empire at that time. The paper also discusses what might have been different in Rome if Aeneas had stayed with Carthage and Dido.
Table of Contents:
Who is Aeneas?
Aeneas' Journey
What If's
In Conclusion
From the Paper "In every culture, there is the ideal hero that will either consciously or subconsciously be looked and followed upon. What may be an ideal hero to a certain group of people may not fit the concept of the ideal from another group."
Tags: hero, history, literature, mythology, roman, virgil, world
Abstract Aeneas, a Trojan prince, is destined to become founder to a city that his descendants will develop into the great Roman Empire. Aeneas exhibits Roman values that make him the ideal Roman ruler throughout Virgil's "Aeneid". Among these values is pietas (attention to duty, community, and family), courage (bravery), self-discipline, and finally, humanitas (compassion). This essay provides quotes from Virgil's "Aeneid" to show these virtues, with background testimony from Francis Cairn, a notable author of ancient Roman lore and epics.
From the Paper "Aeneas now loses his kingly qualities by not being mindful of his pietas and completely surrendering to emotion. Francis Cairn in "Aeneas and the Love Affair of Dido" asserts that Aeneas was not concerned with his duty, by stating that Aeneas had, "put his kingdom out of his mind and is enslaved to lust, lacking the royal virtues of self control and care for his people" (Cairns 49). This is proven by the way Aeneas lounges around all winter and does not pay attention to his fated duty. Jupiter, the god of thunder and hospitality gets upset with Aeneas, and sends Mercury the messenger god to remind him of his duty."
Abstract This paper takes a look at the complexity of the heroic character of Aeneas, within Virgil's poem, "Aeneid". According to the paper, in the character of Aeneas, Virgil creates a character who is not just a good warrior and strategist, but also one who is infused with moral piety and a sense of a larger purpose and destiny.
From the Paper "Other key characters in the Aeneid by Virgil are, in general and comparatively speaking, far more one- dimensional, and therefore not nearly as complex as Aeneas himself. Turnus, for instance, Aeneas's rival and enemy on the battlefield, is strong in war (at least initially) but lacks any of the moral piety and respect for the gods that Aeneas clearly possesses. Juno, Aeneas's nemesis, is similarly stubborn and vengeful, i.e., much the opposite of Aeneas himself. For instance, Juno continues, vengefully, to wish to keep punishing Aeneas, and gives up on doing so only after Jupiter twice says that Aeneas is fated to win.
While Aeneas is reflective; respectful of the gods and fate, and deeply pious, then, Juno is stubbornly, single-mindedly vengeful; antagonistic, and angry toward a god more important than herself, and toward mortals, too - qualities that are, ultimately, symbolically vanquished by more positive qualities, e.g., moral piety; patience, humility and obedience toward the gods as embodied by Aeneas."
Abstract In this article, the writer compares the different aspects, both physical and symbolic, attributed to the shields of Achilles and Aeneas. Throughout the paper the writer provides extensive background of both the shields. The writer also explains both the story of Achilles in "The Iliad" by Homer and of Aeneas in Virgil's 'Aeneid'. Further, the writer discusses how the shields were influenced and involved in the stories themselves. Most importantly, the writer analyzes the roles of both shields in their respective works and compares the impacts they make on their respective epic heroes.
From the Paper "In Homer's great work, the Iliad, Achilles is given a set of armor, including a glorious shield which allows him to return to battle and carry out his revenge against Hector. Likewise, in Virgil's Aeneid, Aeneas is sent a shield for the purpose of aiding him in defending Rome from invasion. However, these shields are made special not by their military value, but by the engravings that decorate their surfaces. Achilles' shield holds engravings of common life during his time: farmers plowing the land, young men and women dancing in the vineyards, scenes of the countryside, slaves working for their kings, and armies fighting each other. On the other hand, Aeneas' shield holds the story of Italy, from the birth of the twins, Romulus and Remus, to the peak of the Roman Empire. Because of the images that are depicted on both shields, they are of much more significance than just tools of war. These shields represent all that their nations are worth and have been especially chosen for each hero to carry. This, therefore, makes their presences in the Iliad and the Aeneid worth recognizing."
Abstract The paper deals with the development of Aeneas' character in Virgil's "Aenid", from a weak, fragile mortal in the first lines of the epic, to a raging warrior in the final book and everything in between. It explains how Anchises guides him into his new role as a leader of men and how his divine calling comes into conflict with his human desires and frailties, with tragic results. Finally, the paper discusses his status as a new model of socially responsible hero.
From the Paper "The figure of Aeneas had already been present, albeit in a small role, in the Homeric epics when work on the Aeneid commenced. Virgil, however, chose Aeneas as the hero for his modern, post-civil war, Roman epic and, with skill and sophistication, unquestionably made the character his own. In a bid to give his work emotional depth unheard of in all previous epics, Virgil characterises Aeneas through his two simultaneous journeys: the physical quest for the future site of Rome, and the personal, character-building process he goes through as he matures and grows into the poet's notion of the new "Roman Hero". This is done cleverly by Virgil; since whereas heroes such as Achilles or Odysseus are highly characterised at most opportunities by any means, Aeneas is defined more by his actions and the epithets given him (especially "pietas", which will be discussed later), with Virgil significantly avoiding writing Aeneas much dialogue in the poem."
Abstract The paper starts with an examination of Aeneas's leadership skills in Book II of Virgil's "Aeneid, which are still at a very early stage. It looks at how, by the time he finds a group gathered for him to lead at the end of the Book III, his pietas and duty begin to force him into this responsible role. It also explores how, by the end of Book V, he is less desperate and panicky and it picks up on his examples of fairness and decisiveness.
From the Paper "One of the most outstanding features of the Aeneid is the subtle but convincing development of Aeneas' character throughout the twelve books. A factor in this development is his position as leader of the surviving Trojans and his mission to lead them to the site of Rome. In Books I-VI, Virgil thus charts the process by which Aeneas becomes a true leader of men, ready for the war in the second half of the epic. The hero must become an established leader in the story before Virgil can begin his maius opus (VII.45), and Books II, III and V contain the main stages and turning points in the development of the leader. It should also be noted here that in these Books Virgil concentrates, as is his habit, on the political aspects of leading a group of people, rather than leadership in a military sense."
Abstract The paper begins by emphasising the importance of Book VI of Virgil's "Aeneid" to the epic as a whole and sketching Aeneas' more mature character at the start of the book. It discusses his meetings with old acquaintances in the underworld and the effect of these on him. After dealing with the comparisons to Homer and discussing the "Augustan propaganda" label, it analyses the message of the Show of Heroes and its inspiring effect on the hero.
From the Paper "Furthermore, the most effective example of ad hominem poetry is the sorrowful and slightly speech-deflating lament for Marcellus in lines 868-886, Augustus' own adopted son. The eulogy for him would have commemorated his recent death in battle and been especially effective in impressing and moving Augustus (his sister Octavia, Marcellus' mother, reportedly fainted when the passage was recited). In literary terms, the dramatic, emphatic mention of Marcellus would have set up the later deaths of other such young, valiant warriors such as Euryalus and Pallas, and even would have heightened the pathos of their deaths with reflected glory and sympathy."
Abstract This paper discusses how Virgil intends the reader to understand the apparant suicide of Dido, the lover of Aeneas, the main character in Virgil's "Aeneid" as infact murder at the hands of Aeneas. It examines how the death of Dido can actually be viewed as a murder, through the account that Virgil gives of Aeneas' actions and his psychological murder of Dido before she takes her own life and more so by how he portrays the underworld where Dido and Aeneas eventually meet again. It shows how through these theatrics, Virgil wants to demonstrate a lesson to his readers about the value of passion and love.
From the Paper "Virgil allows Aeneas to further indite himself in the matter through the answers he gives to Dido. Aeneas claims that they, ?Never entered upon the past of marriage,? (IV, 468) and informs Dido that he never ?meant to be deceitful and slip away,? (IV, 466), even though his actions support the contrary belief. As if this was not enough for poor Dido's aching heart to bear, Virgil demonstrates that Aeneas is a cold-blooded killer on and off the battlefield; Aeneas slays Dido's love by telling her, ?But now it is the rich Italian land / Apollo tells me I must make for: Italy, / Named by his oracles. There is my love; / There is my country, (IV, 476-479)."
Tags: suicide, rome, carthage, aeneas, trojan, war, death
Abstract In his text, "The Aeneid", ancient Greek writer, Virgil, frequently referred to Aeneas as "The True" because of how Aeneas always remained true to his faith in the gods. This paper expands on Aeneas's sacrifice of happiness and love as he devotes his entire life to the will of the gods.
From the Paper "Helen had become what was comparable to a plague. Even though killing Helen would not end the war, it would remedy what started the war initially. Her death would be vengeance for all who had died as a result of the war, and in turn all of whom Aeneas was friends with. Though Aeneas knew that there was no honor in killing a woman, the desire to kill someone so scorned by both the Trojans and Greeks was nearly uncontrollable. Jealousy started the war and bloodlust was going to end it."
Abstract This paper discusses the classic Roman tale by Virgil, "The Aeneid" and its hero Aenea. It describes Aenea character and his destiny to lead his nation in battle for the creation of Rome. The paper provides a synopsis of the story, along with quotations from the text.
From the Paper "Aeneas is said to possess spiritual or godlike qualities that make him fit his role as a hero and destined founder of Rome. Critics see this achievement as proceeding both from his destiny and his own actions. He is the son of the Trojan mortal, Anchises, and the goddess of beauty and love, Venus, and as such, enjoys special protection, while remaining mortal.
His most outstanding quality is his respect and fidelity to prophecy. Ever aware of his destiny and role in the founding of a nation, he always takes this into consideration in taking every action. This awareness and devotion to his noble destiny enable him to endure much suffering and difficulty, from the defeat at Troy to his final duel with Turnus in Italy."
A literary and historical analysis of the appropriate levels of blame that should be affixed to Dido and Aeneas, two of the primary characters in Virgil's epic Latin poem "The Aeneid."
Abstract An analysis of the joint culpability of Dido and Aeneas, both of whom are responsible for their illicit relationship and yet who are also both victims of the forces of fate. This essay examines, by means of a close analysis of literary devices, Virgil's biased presentation of the story of Dido and Aeneas and offers an alternative reading that is nevertheless grounded in the text of "The Aeneid." Includes quotations from the Latin text (as well as English translations of these quotations) in support.
From the Paper "One of the most powerful natural human tendencies in reaction to any great trouble or tragedy is to attempt to assign blame. In searching for the causes of problems in life, we often try to blame the faults or shortcomings of others in order to absolve ourselves of guilt and set our minds and our consciences at ease. Even when considering tragedies or problems with which we have no personal connection, we feel an overwhelming urge to simplify, explain, and resolve the situation by affixing culpability. However, in doing so we frequently overlook extenuating circumstances and allow ourselves to succumb to narrow, biased interpretations of these circumstances. We simply cannot seem to accept the fundamental truth that in some of the greatest tragedies of life, everyone and yet no one is truly to blame. The story of Dido and Aeneas in Virgil's Aeneid epitomizes this truth; Dido and Aeneas are both equally to blame, and yet neither is truly deserving of blame because both were victims of fate and forces beyond their control."
Abstract The paper concerns the story of Aeneas, more specifically, the role of Aeneas's father on the future of his son and the Roman Empire.
From the Paper "The continued future of any civilization lies in its ability to amass a new generation of leaders and followers. And at the forefront of each new generation is its familial ties,. The smallest yet most essential proponent of every civilization. It is the relationships between fathers and sons, mothers and daughters that ensure the continuation of any great civilization. Civilizations like Rome and Greece. Their importance is transcribed in the lines of many great literary works. In the Aeneid, for example, Virgil illustrates the significance of the familial bond in particular, Anchises? role in Aeneus? future and his inherent role in the future of Rome. Yet oddly enough Virgil places more value in Anchises? death than in his life. He seems to suggest that only in Anchises? death can Aeneus fulfill his destiny in founding Rome, arguably the greatest empire of that time."
Abstract This paper examines Book XII of Virgil's "Aeneid" and its appropriateness to the rest of the work. While the first eleven books of Virgil's work seem to focus on Aeneas's pious nature, Book XII shows readers a different side to his character and appears to be completely contradictory to the earlier books. However, the thesis of this paper argues that Book XII is appropriate to the rest of the "Aeneid" and forces readers to understand that Virgil uses this last book of his work to dispel the belief that Aeneas relies only on the decrees of fate from the gods to make his decisions.
From the Paper "Although I understand that Book XII of Virgil's Aeneid has been the subject of much scholarly debate throughout history, I believe that the ending of the poem is quite appropriate, especially when considering the events that unfold throughout the first eleven books. While some may argue that Book XII is simply a culmination of Aeneas? pious submission to the decrees of fate, I will attempt to demonstrate that, on the contrary, Aeneas? faith in his mission to found a new city for his people leads to a defining choice that demonstrates his leadership abilities to those whom he intends to rule."
Tags: greek, history, homeric, literature, poetry, roman
Abstract This paper explains that Virgil wrote "The Aeneid" in response to pressure from Augustus Caesar to write about the glory of the great Roman Empire. The author points out that Aeneas's visit to the underworld is crucial to understanding the importance of fate within the "Aeneid". The paper contends that Aeneas's visit to the underworld helps to reinforce the theme of fate within the story itself and helps to reassert the work's underlying theme that the great Roman Empire was fated to exist.
From the Paper "Virgil's "Aeneid", despite all its amazing complexities of plot and character, has a relatively simple message about the fate of individuals and history itself. Ultimately, Virgil reveals that fate is a great driving force that ultimately results in the formation of the great Roman Empire. Fate is a religious, unalterable force that determines the course of all human life and human history. Fate is a powerful and ongoing theme in The Aeneid, and Aeneas' journey to the underworld is absolutely crucial in helping to further define this theme. Aeneas' journeys are preordained, and even his great sufferings and wanderings at sea only serve to delay this fate. Even the interference of lesser Gods can do little to change the fate of Aeneas the individual, or the fate of history itself."
