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.
This lengthy and intricate description within the epic's narrative represents one of the most famous instances of ekphrasis in extant Roman literature.
In Book VIII of the Aeneid, Virgil describes how the goddess Venus, hoping to aid her son, urges her spouse, Vulcan, to forge for Aeneas a new shield to protect him in the imminent war against the native inhabitants of Italy. Virgil describes Vulcan as "not unversed in prophecy", [1] that is, able to see the destiny of Aeneas' progeny, Rome:
There the lord with the power of fire, not unversed
in prophecy, and knowledge of the centuries to come,
had fashioned the history of Italy, and Rome's triumphs— Virgil, Aeneid, Book VIII, lines 626–628
Several key moments in Roman history are depicted on the shield: [2]
Given that the shield is embellished by lavish pictures and intricate scenes, one of the most immediate interpretations is that the shield was primarily aesthetic in form and thus in function. Some scholars such as Warde Fowler, however, argue that the images depicted on the shield are so salient for Roman history that the shield should not be seen as merely a canvas for a painting. [3] Likewise, Warde argues that the shield is not simply a practical piece of equipment to complement Vulcan's sword. Tempering both suggestions, both Warde and R. D. Williams argue that the shield serves as a symbol and foreshadow of Rome's future glory. [3] Virgil's use of ekphrasis is consistent with Homer, but Williams has noted that the saturation of significant scenes indicates that the shield serves more as a literary tool than a diagetical description. [4] Likewise, both Williams and D. L. West have noted the composition of the shield and Virgil's description of its color, texture, and perspective to emphasize its symbolic quality. [4]
Similar to his own consistent indebtedness to Homer, [5] [6] Virgil is most likely drawing similarities and contrasts to Achilles' shield as described in book 18 of the Iliad. Achilles' shield similarly depicts a set of sweeping images in concentric circles radiating outwards from a central scene of two cities: one at war, the other at peace. John Penwill has noted that, unlike Homer, Virgil reversed the order of images on Achilles' shield, emphasizing the centrality of Rome and the insignificance of barbarian life. [2] Where Homer begins with the elements radiating outwards to the events of man, Virgil begins with Rome. This flattering portrait of Rome is highly consistent throughout the Aeneid and emphasizes the historical context of Rome beset by civil unrest. Virgil composed the Aeneid sometime between 29 and 19 BC in the middle of Rome's transition from Republic into Empire. By linking the founding of Rome to the already accepted body of Homeric literature, Virgil attempted to elevate Rome's stature both politically and symbolically. According to Kimberly Bell, the Aeneid served to "[perpetuate] Augustus's political agenda". [7] With Aeneas wielding the shield in victory, the centrality of Rome coupled with flanking images of Roman triumphs culminating in the ascension of the Caesars links together its symbolic significance with Augustus' political fortunes.
In Greco-Roman mythology, Aeneas was a Trojan hero, the son of the Trojan 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 Víðarr 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 to be dubious.
The Aeneid is a Latin epic poem 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. Written by the Roman poet Virgil between 29 and 19 BC, the Aeneid 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.
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.
In Roman mythology, Evander was a culture hero from Arcadia, Greece, who was said to have brought the pantheon, laws, and alphabet of Greece to ancient Italy, where he founded the city of Pallantium on the future site of Palatine Hill, Rome, sixty years before the Trojan War. He instituted the festival of the Lupercalia. Evander was deified after his death and an altar was constructed to him on the Aventine Hill.
Turnus was the legendary King of the Rutuli in Roman history, and the chief antagonist of the hero Aeneas in Virgil's Aeneid.
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.
In Roman mythology, Caeculus was a son of Vulcan, and the legendary founder of Praeneste.
According to the medieval poet Jean Bodel, the Matter of Rome is the literary cycle of Greek and Roman mythology, together with episodes from the history of classical antiquity, focusing on military heroes like Alexander the Great and Julius Caesar. Bodel's division of literary cycles also included the Matter of France and the Matter of Britain. The Matter of Rome includes the Matter of Troy, consisting of romances and other texts based on the Trojan War and its legacy, including the adventures of Aeneas.
The word ekphrasis, or ecphrasis, comes from the Greek for the written description of a work of art produced as a rhetorical or literary exercise, often used in the adjectival form ekphrastic. It is a vivid, often dramatic, verbal description of a visual work of art, either real or imagined. Thus, "an ekphrastic poem is a vivid description of a scene or, more commonly, a work of art." In ancient times, it might refer more broadly to a description of any thing, person, or experience. The word comes from the Greek ἐκ ek and φράσις phrásis, 'out' and 'speak' respectively, and the verb ἐκφράζειν ekphrázein, 'to proclaim or call an inanimate object by name'.
Marcus Claudius Marcellus was the eldest son of Gaius Claudius Marcellus and Octavia Minor, sister of Augustus. He was Augustus' nephew and closest male relative, and began to enjoy an accelerated political career as a result. He was educated with his cousin Tiberius and traveled with him to Hispania where they served under Augustus in the Cantabrian Wars. In 25 BC he returned to Rome where he married his cousin Julia, who was the emperor's daughter. Marcellus and Augustus' general Marcus Vipsanius Agrippa were the two popular choices as heir to the empire. According to Suetonius, this put Agrippa at odds with Marcellus, and is the reason why Agrippa traveled away from Rome to Mytilene in 23 BC.
The shield of Achilles is the shield that Achilles uses in his fight with Hector, famously described in a passage in Book 18, lines 478–608 of Homer's Iliad. The intricately detailed imagery on the shield has inspired many different interpretations of its significance.
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 Roman mythology, Pallas was the son of King Evander. In Virgil's Aeneid, Evander allows Pallas to fight against the Rutuli with Aeneas, who takes him and treats him like his own son Ascanius. In battle, Pallas proves he is a warrior, killing many Rutulians. Pallas is often compared to the Rutulian Lausus, son of Mezentius, who also dies young in battle. Tragically, however, Pallas is eventually killed by Turnus, who takes his sword-belt, which is decorated with the scene of the fifty slaughtered bridegrooms, as a spoil. Throughout the rest of Book X, Aeneas is filled with rage (furor) at the death of the youth, and he rushes through the Latin lines and mercilessly kills his way to Turnus. Turnus, however, is lured away by Juno so that he might be spared, and Aeneas kills Lausus, instead, which he instantly regrets.
Tiberinus is a figure in Roman mythology. He was the god of the Tiber River. He was added to the 3,000 rivers, as the genius of the Tiber.
The Cumaean Sibyl was the priestess presiding over the Apollonian oracle at Cumae, a Greek colony near Naples, Italy. The word sibyl comes from the ancient Greek word sibylla, meaning prophetess. There were many sibyls throughout the ancient world. Because of the importance of the Cumaean Sibyl in the legends of early Rome as codified in Virgil's Aeneid VI, and because of her proximity to Rome, the Cumaean Sibyl became the most famous among the Romans. The Erythraean Sibyl from modern-day Turkey was famed among Greeks, as was the oldest Hellenic oracle, the Sibyl of Dodona, dating to the second millennium BC according to Herodotus, favored in the east.
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.
In the Aeneid, Achates was a close friend of Aeneas; his name became a by-word for a very intimate companion.
Roman Emperor Augustus employed various forms of propaganda as he ascended to power.
Venus Asks Vulcan to Forge Arms for her Son Aeneas or Venus at Vulcan's Forge is a 1630–1632 oil on canvas painting by Anthony van Dyck, now in the Louvre Museum, in Paris. It depicts a scene from Virgil's Aeneid in which Venus asks her husband Vulcan to forge weapons for Aeneas, her son by Anchises, with her other son Cupid appearing in the centre foreground.
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