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The Aeneid has been analyzed by scholars of several different generations and schools of thought to try to determine the political commentary that Virgil had hoped to portray. The major schools of thought include the overarching idea that Virgil had written a story that parallels Roman history at the time it was written as well as messages both in support of and against the rule of Augustus Caesar. Finally, it has been argued that Virgil had a stance on geopolitics which he conveys in the actions of Aeneas and his crew.
It has been claimed that Virgil wrote the Aeneid to reflect the Roman political stance of his time. [1] [ citation needed ] Virgil does this primarily by splitting the story into two parts. The first half shows an obsession with the fall of Troy, together with failed attempts to establish cities during Aeneas' wanderings; while the second half depicts victory in battle and the establishment of a new Troy at Rome. This mirrors Rome's disestablishment of the republic after the strife of a civil war, and the establishment of peace and prosperity with the new Roman Empire. These reflect Augustan propaganda which asks that his people not forget the repetition of the past of civil war but remember and repeat it in order to conquer their problems in support of his new reign of the empire.[ clarification needed ] [1]
The Aeneid was written during a period of political unrest in Rome. The Roman republic had effectively been abolished, and Octavian (Augustus Caesar) had taken over as the leader of the new Roman empire. The Aeneid was written to praise Augustus by drawing parallels between him and the protagonist, Aeneas. Virgil does so by mirroring Caesar with Aeneas and by creating a direct lineage between Aeneas and Augustus.
Aeneas is the founder of the new city of Rome, while Octavian, as the first Roman emperor, founded a new and improved Rome. Specifically, Aeneas seeks to establish a new nation based on that of Italy and Troy, just as Augustus sought to create a new Rome based on Rome's older traditions. These parallels, combined with Aeneas' portrayal as a strong and powerful leader, establish his means of promoting Augustus as a great leader.
Virgil creates a common ancestry between Aeneas and Augustus by interacting[ clarification needed ] with the Roman tradition of viewing Romulus as the founder of Rome. Romulus is known as the son of Mars and a vestal virgin. According to the historian Livy, this vestal virgin's name was Rhea Silvia, who is described in Book I of the Aeneid as a descendant of Aeneas. Virgil establishes a stronger connection of Silvia to the Trojans by changing her name in the epic to Ilia. This new name connects her by its similarity to the name "Ilium", another name for the city of Troy, and because it is the feminine form of both Ilus (Aeneas' great-great-grandfather) and Ilus, the second name of Ascanius before the fall of Troy.
Virgil also references Julius Caesar's claim to divine ancestry as a descendant of Venus and Anchises, supporting this claim in his text. In a speech by Jupiter, he references a "Trojan Caesar" as a descendant of Ascanius (by the name of Iulus) and therefore of Venus:
"from this noble line shall be born the Trojan Caesar... a Julius, name descended from great lulus!"
This text also reminds the audience of the bloodline shared between Aeneas and Augustus.
In Book VI, when Aeneas is in Elysium, his father describes descendants who will one day inherit their name. He describes Aeneas' children, followed by Romulus, then skips ahead to Augustus Caesar. This creates the illusion of a direct connection between Caesar and Romulus. [2]
Within the context of the Aeneid there are also warnings against the new political regime. Virgil questions whether the new political foundation promised by Caesar will actually be an escape from the repetitions of the civil war. Caesar claims that good repetition can replace the bad, but Virgil asks in his epic whether repetition can be a good thing at all. This is shown when Anchises misreads the oracle of Delos, leading to the failure of the settlement on Crete. This is intended to indicate how an obsession with the former Troy interferes with the goal of establishing a new one, thus representing the failure in a focus on the past.
When Anchises interprets the Delian oracle he states that the Trojan Ida got her name from the Cretan mountain. The repetition of "Idaeus/idaeumque" reflects their attempts to repeat the past by finding likeness in new land. This repetition suggests their desire for the familiar rather than willingness to confront something new. [1] [ citation needed ] This is parallel to Caesar's claim of good repetition replacing the bad. [1]
Virgil also wishes to express his concerns for the geopolitics of Rome. He does so by depicting a war against nature by Aeneas and his men. There are several examples of this, starting early in the epic when Aeneas has to kill seven stags, which is notable as one of the first events in the story.
Other occurrences of Aeneas and his men waging war against nature include:
Upon the first sight of Italy, Virgil repeatedly refers to the natural wealth of the land, writing about the great soil and the Tiber River. This is accompanied by much destruction of that land by the Trojans as depicted by the use of nature for strategy in Book XI, and the destruction of the trees by Aeneas and his men late in Book XII. In Virgil's most significant display of war against nature, the Trojans cut down a sacred olive tree in preparation of an open battlefield. This sacred tree represents a focus on preservation of nature, and is therefore in opposition to the political values of the contemporary Roman Empire. This violence opens a commentary on the establishment of the Empire based on destruction. It mirrors the chaos of the Italian countryside during Virgil's time. Through the events of the Aeneid, Virgil hopes to reveal the consequences of Aeneas' mission as the destruction of Italy's natural environment. [3]
In Greco-Roman mythology, Aeneas was a Trojan hero, the son of the Dardanian prince Anchises and the Greek goddess Aphrodite. His father was a first cousin of King Priam of Troy, making Aeneas a second cousin to Priam's children. He is a minor character in Greek mythology and is mentioned in Homer's Iliad. Aeneas receives full treatment in Roman mythology, most extensively in Virgil's Aeneid, where he is cast as an ancestor of Romulus and Remus. He became the first true hero of Rome. Snorri Sturluson identifies him with the Norse god Vidarr of the Æsir.
Publius Vergilius Maro, usually called Virgil or Vergil in English, was an ancient Roman poet of the Augustan period. He composed three of the most famous poems in Latin literature: the Eclogues, the Georgics, and the epic Aeneid. A number of minor poems, collected in the Appendix Vergiliana, were attributed to him in ancient times, but modern scholars consider his authorship of these poems as dubious.
The Aeneid is a Latin epic poem, written by Virgil between 29 and 19 BC, that tells the legendary story of Aeneas, a Trojan who fled the fall of Troy and travelled to Italy, where he became the ancestor of the Romans. It comprises 9,896 lines in dactylic hexameter. The first six of the poem's twelve books tell the story of Aeneas' wanderings from Troy to Italy, and the poem's second half tells of the Trojans' ultimately victorious war upon the Latins, under whose name Aeneas and his Trojan followers are destined to be subsumed.
The tale of the founding of Rome is recounted in traditional stories handed down by the ancient Romans themselves as the earliest history of their city in terms of legend and myth. The most familiar of these myths, and perhaps the most famous of all Roman myths, is the story of Romulus and Remus, twins who were suckled by a she-wolf as infants. Another account, set earlier in time, claims that the Roman people are descended from Trojan War hero Aeneas, who escaped to Italy after the war, and whose son, Iulus, was the ancestor of the family of Julius Caesar. The archaeological evidence of human occupation of the area of modern-day Rome dates from about 14,000 years ago.
Ascanius was a legendary king of Alba Longa and is the son of the Trojan hero Aeneas and Creusa, daughter of Priam. He is a character in Roman mythology, and has a divine lineage, being the son of Aeneas, who is the son of the goddess Venus and the hero Anchises, a relative of the king Priam; thus Ascanius has divine ascendents by both parents, being descendants of god Jupiter and Dardanus. He is also an ancestor of Romulus, Remus and the Gens Julia. Together with his father, he is a major character in Virgil's Aeneid, and he is depicted as one of the founders of the Roman race.
Anchises was a member of the royal family of Troy in Greek and Roman legend. He was said to have been the son of King Capys of Dardania and Themiste, daughter of Ilus, who was son of Tros. He is most famous as the father of Aeneas and for his treatment in Virgil's Aeneid. Anchises' brother was Acoetes, father of the priest Laocoön.
In Roman mythology, the Aeneads were the friends, family and companions of Aeneas, with whom they fled from Troy after the Trojan War. Aenides was another patronymic from Aeneas, which is applied by Gaius Valerius Flaccus to the inhabitants of Cyzicus, whose town was believed to have been founded by Cyzicus, the son of Aeneas and Aenete. Similarly, Aeneades was a patronymic from Aeneas, and applied as a surname to those who were believed to have been descended from him, such as Ascanius, Augustus, and the Romans in general.
Brutus, also called Brute of Troy, is a legendary descendant of the Trojan hero Aeneas, known in medieval British legend as the eponymous founder and first king of Britain. This legend first appears in the Historia Brittonum, an anonymous 9th-century historical compilation to which commentary was added by Nennius, but is best known from the account given by the 12th-century chronicler Geoffrey of Monmouth in his Historia Regum Britanniae.
The Dardanoi were a legendary people of the Troad, located in northwestern Anatolia. The Dardanoi were the descendants of Dardanus, the mythical founder of Dardanus, an ancient city in the Troad. A contingent of Dardanians figures among Troy's allies in the Trojan War. Homer makes a clear distinction between the Trojans and the Dardanoi, however, "Dardanoi"/"Dardanian" later became essentially metonymous–– or at least is commonly perceived to be so–– with "Trojan", especially in the works of Vergil such as the Aeneid.
Aeneas, Anchises, and Ascanius is a sculpture by the Italian artist Gian Lorenzo Bernini created c. 1618-19. Housed in the Galleria Borghese in Rome, the sculpture depicts a scene from the Aeneid, where the hero Aeneas leads his family from burning Troy.
The kings of Alba Longa, or Alban kings, were a series of legendary kings of Latium, who ruled from the ancient city of Alba Longa. In the mythic tradition of ancient Rome, they fill the 400-year gap between the settlement of Aeneas in Italy and the founding of the city of Rome by Romulus. It was this line of descent to which the Julii claimed kinship. The traditional line of the Alban kings ends with Numitor, the grandfather of Romulus and Remus. One later king, Gaius Cluilius, is mentioned by Roman historians, although his relation to the original line, if any, is unknown; and after his death, a few generations after the time of Romulus, the city was destroyed by Tullus Hostilius, the third King of Rome, and its population transferred to Alba's daughter city.
In Greek and Roman mythology, Nisus and Euryalus are a pair of friends and lovers serving under Aeneas in the Aeneid, the Augustan epic by Virgil. Their foray among the enemy, narrated in book nine, demonstrates their stealth and prowess as warriors, but ends as a tragedy: the loot Euryalus acquires attracts attention, and the two die together. Virgil presents their deaths as a loss of admirable loyalty and valor. They also appear in Book 5, during the funeral games of Anchises, where Virgil takes note of their amor pius, a love that exhibits the pietas that is Aeneas's own distinguishing virtue.
Lavinia is the Locus Award-winning novel by American author Ursula K. Le Guin. Published in 2008, it was Le Guin's last novel. It is written in a first-person, self-conscious style that recounts the life of Lavinia, a minor character in Virgil's epic poem the Aeneid.
Alba Longa was an ancient Latin city in Central Italy in the vicinity of Lake Albano in the Alban Hills. The ancient Romans believed it to be the founder and head of the Latin League, before it was destroyed by the Roman Kingdom around the middle of the 7th century BC and its inhabitants were forced to settle in Rome. In legend, Romulus and Remus, founders of Rome, had come from the royal dynasty of Alba Longa, which in Virgil's Aeneid had been the bloodline of Aeneas, a son of Venus.
The Golden Bough is one of the episodic tales written in the epic Aeneid, book VI, by the Roman poet Virgil, which narrates the adventures of the Trojan hero Aeneas after the Trojan War.
When writing the Aeneid, Virgil drew from his studies on the Homeric epics of the Iliad to help him create a national epic poem for the Roman people. Virgil used several characteristics associated with epic poetry, more specifically Homer's epics, including the use of hexameter verse, book division, lists of genealogies and underlying themes to draw parallels between the Romans and their cultural predecessors, the Greeks.
In Greek mythology, Creusa was the daughter of Priam and Hecuba. She was the first wife of Aeneas and mother to Ascanius.
Eneide is a seven-episode 1971–1972 Italian television drama, adapted by Franco Rossi from Virgil's epic poem the Aeneid. It stars Giulio Brogi as Aeneas and Olga Karlatos as Dido, and also stars Alessandro Haber, Andrea Giordana and Marilù Tolo. RAI originally broadcast the hour-long episodes from 19 December 1971 to 30 January 1972. A shorter theatrical version was released in 1974 as Le avventure di Enea.
The Shield of Aeneas is the shield that Aeneas receives from the god Vulcan in Book VIII of Virgil's Aeneid to aid in his war against the Rutuli. Imprinted on the front of the shield is a grand depiction of the destiny of Aeneas' descendants and the future of Rome.