DOCSLIB.ORG

{PDF} Virgil: Aeneid Book

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
{PDF} Virgil: Aeneid Book VIRGIL: AENEID BOOK XII PDF, EPUB, EBOOK Professor Richard Tarrant | 371 pages | 30 Sep 2012 | CAMBRIDGE UNIVERSITY PRESS | 9780521313636 | English | Cambridge, United Kingdom The Aeneid Book XII Summary and Analysis | GradeSaver Juturna, realizing that there is nothing more that she can do to help her brother, flees into the depths of the river, moaning. Aeneas hurls his spear at the fallen Turnus, and it pierces his thigh. Aeneas approaches Turnus to end his life, but Turnus pleads for mercy, for the sake of his father. Aeneas is moved by Turnus's words and momentarily considers sparing him, but then notices Pallas 's belt slung across Turnus's shoulders, and drives his sword through his opponent's chest. One of the most fascinating and perplexing aspects of Virgil 's epic is its ending: even though our hero Aeneas is victorious, the Aeneid ends on an unquestionably tragic note, devoting its final lines to the sad last moments of Turnus's short life. Virgil could have ended the story with, for example, victory celebrations and the joining together of the Latins and the Trojans, but he chooses to end it in a manner that not only takes readers to the opposite emotional pole from the triumphant, positive beginning, but is consistent with his interest in creating multilayered, painfully human characters. The ending of the epic is tragic in order to convey Turnus's complexity, as well as the complexity of the situation at hand compare the funeral of Hector at the end of the Iliad , after which the second half of Virgil's epic is patterned. Turnus is arguably one of the most inconsistent characters in the Aeneid. He is by turns courageous, antagonistic, sympathetic, impassioned, and pitiful. This very complexity lends him his humanity. Just as Virgil invests Aeneas with flaws in order to enhance the sense that he is not simply an epic hero but a real person, Turnus's capriciousness enables the audience to view him not merely as a villain but as a person whose misdeeds are motivated by internal conflicts and flaws. Indeed, his motivations, while vastly different from those of Aeneas, are in some ways no less pure. Turnus seems to be truly passionate about Lavinia, while Aeneas wishes to marry her simply because it his destiny to do so; Turnus wishes to uphold his sense of honor regardless of the challenges that face him, while Aeneas can, to some degree, rest in the security of knowing he is destined to succeed. In the final episode, Turnus's willingness to fight Aeneas even though he knows that he is fated to lose demonstrates his courage, placing him on a level closer to Aeneas than any other warrior. Yet in the last moments of his life he is reduced to begging on his knees to be spared. Readers cannot help but feel pity for this fallen man, and it is exactly this sentiment that Virgil hopes to elicit. Even though the ending is "happy" in that the protagonist, Aeneas, is victorious, the focus on Turnus's sad end demonstrates that no victory is without its downside. In the closing moments of Homer's Iliad , Achilles demonstrates his compassion by agreeing to return Hector's body to King Priam. At the end of the Aeneid , Aeneas is confronted with a similar decision, but he does not show a comparable level of empathy even though his loss of Pallas might be compared with Achilles' loss of his friend Patroclus. The fact that Virgil's epic ends with Aeneas's sword plunging through Turnus to his death, and with Turnus's embittered shade fleeing to the underworld, might be even more downbeat than the funeral of Hector at the end of Homer's work. By ending the poem in this manner, Virgil underscores the theme of loss as a consequence of following one's destiny. Aeneas's adventures result in the loss of countless lives, but in the end something even more precious is lost, Aeneas's mercy. Throughout the Aeneid , the protagonist has shown himself to be a just, moral, and kind leader, but in the final moments of the epic he is a fighter, slaying a man who lies pleading for his life at his feet. While Aeneas may be a classic hero, modern readers might want their heroes to mix more mercy with their justice. Aeneus is the titular protagonist of the Aeneid , Aeneas is one of the great epic heroes. A fearless warrior and remarkable leader, Aeneas guides his How does Aeneas illustrate the values of Rome and societal expectations for behavior. Virgil quite clearly intended the Aeneid to appeal to the patriotic spirit of the Romans, documenting the origins of the great Roman Empire. Virgil's contemporaries, who relished their belief that they were direct descendants of the mighty The Aeneid study guide contains a biography of Virgil, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis. The Aeneid literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of The Aeneid. Remember me. Forgot your password? Buy Study Guide. Angered, the Rutulians are ready to break the truce. At this moment, a pack of waterfowl dive and threaten an eagle that has seized a swan; when the eagle releases the swan, the Rutulians take this act as a portent signifying that they, too, will be victorious if they resist Aeneas. They are encouraged by an augur, a priest adept at reading bird omens, who hurls his spear at the Trojans and thus initiates a resumption of hostilities. Aeneas, who vainly attempts to restore the broken peace, is wounded by an arrow and forced to leave the field. His withdrawal raises Turnus's fighting spirit to the point that Turnus goes mad with bloodlust and kills as many opponents as he can reach. Meanwhile, Venus heals Aeneas with a magic herb: The enemy arrow drops from his wound, and his strength is miraculously restored. Returning to the field, Aeneas rallies his forces and goes in pursuit of Turnus. Juturna, meanwhile, who has cleverly taken control of her brother's chariot by disguising herself as its driver, drives Turnus all over the field, keeping him safe from an attack by Aeneas, who goes wild with frustration and, like Turnus, kills without stint. Venus now directs her son's attention to the fact that Laurentum's citadel has been left undefended by the Latins, whereupon Aeneas commands his men to attack it immediately, to the horror of the citadel's Latin inhabitants. Fearing that all is lost and that Turnus is dead, Amata hangs herself in despair. On the battlefield, Turnus hears cries coming from the besieged citadel and tells Juturna that he has finally seen through her disguise as his charioteer. At this point, a warrior coming in haste from Laurentum informs Turnus about what has been happening in the city and announces the queen's death. He mockingly points out that Turnus, the famous warrior, has been driving over an empty meadow — a fact to which Turnus now fully awakens, filled with remorse. Turnus tells Juturna that now he will fight Aeneas alone, as he promised earlier. Turnus and Aeneas meet outside Laurentum, and the long-awaited battle takes place. Full of confidence, the Rutulian strikes the Trojan with his sword, which is not his own powerful weapon but one belonging to his original chariot driver, taken by mistake. The sword shatters immediately upon contact with Aeneas's armor. Calling on his men to bring him his proper sword, Turnus withdraws as Aeneas pursues him. The Trojan prince hurls his spear at the Rutulian prince, but the spear gets immovably lodged in the trunk of a sacred olive tree in answer to Turnus's prayer to the god Faunus. Juturna brings her brother his true sword, but Venus intervenes and enables Aeneas to extricate his spear. The duel continues, watched by Jupiter and Juno from a golden cloud. Jupiter tells Juno that Aeneas is about to win and that she can do nothing more to hinder him. Juno promises to cease her opposition to the Trojans, but she asks her husband to permit the Latins to retain both their language and their name. Jupiter grants these requests and tells Juno that out of this alliance of Latins and Trojans will come an indomitable race — the epic's final prophecy, which matches the one Jupiter made to Venus in Book I. Jupiter now sends a fury to earth disguised as an owl, which darts at Turnus and fills him with terror. Juturna withdraws in discouragement, realizing her helplessness in the face of such an omen. Aeneas advances at Turnus with his spear as the Rutulian, making a last, desperate effort, heaves an enormous rock at Aeneas. The rock falls short, and Turnus, paralyzed by fear, is knocked down by Aeneas's spear, which strikes him in the thigh. Helpless, Turnus says he is resigned to dying, but he begs Aeneas to see that his body is returned to his father. Moved by this plea, Aeneas considers sparing Turnus's life, but then he sees that the dying warrior is wearing Pallas's swordbelt as a trophy. This reminder that Turnus killed Aeneas's dear friend arouses the Trojan hero's anger, and he remorselessly thrusts his sword into Turnus's chest, killing him. The tragic, somber, final line of the Aeneid and the epic poem's ringing, declamatory opening line signify the two emotional poles of the epic. Their positioning has a symbolic as well as a narrative importance, for between the moods to which they give voice, the poem constantly moves back and forth as it unfolds.
Load more

Recommended publications
  • Read the Entire Aeneid. Do Not Skip Sections of the Book. You Need to Read the Whole Thing in Order to Understand All of the Motivations
    Instructions: Read the entire Aeneid. Do not skip sections of the book. You need to read the whole thing in order to understand all of the motivations. Answer the following questions about books 1, 2, 4, 6, 8, and 12 for the AP syllabus. Your answers do not have to be in complete sentences, but some questions will require sentences or a paragraph. If you have any questions about a question, send me an email ONLY after you have tried to look it up elsewhere. Have a good summer! Content Questions Aeneid Book 1 1.) What goddess opposes Aeneas? 2.) Two cities are mentioned in the beginning of the Aeneid. These later become bitter enemies. What are they? 3.) Name 4 reasons which the answer to #1 has for hating Trojans: 1. 2. 3. 4. 4.) What was the crime for which Ajax the son of Oileus was punished by Athena? (Check reference book) 5. a.) Who is the King of the Winds? b.) What bribe does the goddess offer him? c.) What does he do for her? 6.) What are the winds compared to as they leave the mountain? 7.) What is the first action which happens to the Trojans? 8.) Who stops the storm? 9.) What is the name by which you know Ilia? (Not in book) 10.) How long will Julus rule? 11.) What race is descended from the Trojans? 12.) What was Julus' name originally? 13.) What great Roman will take his name from Julus? 14.) What Roman king does Juppiter mention? 15.) Juppiter names many Greek kingdoms, which Rome shall conquer.
    [Show full text]
  • Domitian's Arae Incendii Neroniani in New Flavian Rome
    Rising from the Ashes: Domitian’s Arae Incendii Neroniani in New Flavian Rome Lea K. Cline In the August 1888 edition of the Notizie degli Scavi, profes- on a base of two steps; it is a long, solid rectangle, 6.25 m sors Guliermo Gatti and Rodolfo Lanciani announced the deep, 3.25 m wide, and 1.26 m high (lacking its crown). rediscovery of a Domitianic altar on the Quirinal hill during These dimensions make it the second largest public altar to the construction of the Casa Reale (Figures 1 and 2).1 This survive in the ancient capital. Built of travertine and revet- altar, found in situ on the southeast side of the Alta Semita ted in marble, this altar lacks sculptural decoration. Only its (an important northern thoroughfare) adjacent to the church inscription identifies it as an Ara Incendii Neroniani, an altar of San Andrea al Quirinale, was not unknown to scholars.2 erected in fulfillment of a vow made after the great fire of The site was discovered, but not excavated, in 1644 when Nero (A.D. 64).7 Pope Urban VIII (Maffeo Barberini) and Gianlorenzo Bernini Archaeological evidence attests to two other altars, laid the foundations of San Andrea al Quirinale; at that time, bearing identical inscriptions, excavated in the sixteenth the inscription was removed to the Vatican, and then the and seventeenth centuries; the Ara Incendii Neroniani found altar was essentially forgotten.3 Lanciani’s notes from May on the Quirinal was the last of the three to be discovered.8 22, 1889, describe a fairly intact structure—a travertine block Little is known of the two other altars; one, presumably altar with remnants of a marble base molding on two sides.4 found on the Vatican plain, was reportedly used as building Although the altar’s inscription was not in situ, Lanciani refers material for the basilica of St.
    [Show full text]
  • Santa Maria Antiqua: the Amalgamation of Identity in Early Medieval Rome
    Pursuit - The Journal of Undergraduate Research at The University of Tennessee Volume 6 Issue 1 Article 7 April 2015 Santa Maria Antiqua: The Amalgamation of Identity in Early Medieval Rome Cayce Davis University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/pursuit Part of the Architectural History and Criticism Commons, and the Historic Preservation and Conservation Commons Recommended Citation Davis, Cayce (2015) "Santa Maria Antiqua: The Amalgamation of Identity in Early Medieval Rome," Pursuit - The Journal of Undergraduate Research at The University of Tennessee: Vol. 6 : Iss. 1 , Article 7. Available at: https://trace.tennessee.edu/pursuit/vol6/iss1/7 This Article is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Pursuit - The Journal of Undergraduate Research at The University of Tennessee by an authorized editor. For more information, please visit https://trace.tennessee.edu/pursuit. Pursuit: The Journal of Undergraduate Research at the University of Tennessee Copyright © The University of Tennessee PURSUIT trace.tennessee.edu/pursuit Santa Maria Antiqua: The amalgamation of Identity in Early Medieval Rome CAYCE DAVIS Advisor: Dr. Gregor Kalas The intent of this investigation is to frame an identity for the church of Santa Maria Antiqua and the urban condition of Rome during the sixth through eighth centuries. Coupling topographical and semiotic information with larger geographic issues, this study interrogates the church and specific individuals associated with it as a way of more comprehensively understanding Santa Maria Antiqua as a visual medium of cultural change and political propaganda.
    [Show full text]
  • Aeneid 7 Page 1 the BIRTH of WAR -- a Reading of Aeneid 7 Sara Mack
    Birth of War – Aeneid 7 page 1 THE BIRTH OF WAR -- A Reading of Aeneid 7 Sara Mack In this essay I will touch on aspects of Book 7 that readers are likely either to have trouble with (the Muse Erato, for one) or not to notice at all (the founding of Ardea is a prime example), rather than on major elements of plot. I will also look at some of the intertexts suggested by Virgil's allusions to other poets and to his own poetry. We know that Virgil wrote with immense care, finishing fewer than three verses a day over a ten-year period, and we know that he is one of the most allusive (and elusive) of Roman poets, all of whom wrote with an eye and an ear on their Greek and Roman predecessors. We twentieth-century readers do not have in our heads what Virgil seems to have expected his Augustan readers to have in theirs (Homer, Aeschylus, Euripides, Apollonius, Lucretius, and Catullus, to name just a few); reading the Aeneid with an eye to what Virgil has "stolen" from others can enhance our enjoyment of the poem. Book 7 is a new beginning. So the Erato invocation, parallel to the invocation of the Muse in Book 1, seems to indicate. I shall begin my discussion of the book with an extended look at some of the implications of the Erato passage. These difficult lines make a good introduction to the themes of the book as a whole (to the themes of the whole second half of the poem, in fact).
    [Show full text]
  • The Wolf in Virgil Lee Fratantuono
    The Wolf in Virgil Lee Fratantuono To cite this version: Lee Fratantuono. The Wolf in Virgil. Revue des études anciennes, Revue des études anciennes, Université Bordeaux Montaigne, 2018, 120 (1), pp.101-120. hal-01944509 HAL Id: hal-01944509 https://hal.archives-ouvertes.fr/hal-01944509 Submitted on 23 Sep 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Copyright ISSN 0035-2004 REVUE DES ÉTUDES ANCIENNES TOME 120, 2018 N°1 SOMMAIRE ARTICLES : Milagros NAVARRO CABALLERO, María del Rosario HERNANDO SOBRINO, À l’ombre de Mommsen : retour sur la donation alimentaire de Fabia H[---]la................................................................... 3 Michele BELLOMO, La (pro)dittatura di Quinto Fabio Massimo (217 a.C.): a proposito di alcune ipotesi recenti ................................................................................................................................ 37 Massimo BLASI, La consecratio manquée de L. Cornelius Sulla Felix ......................................... 57 Sophie HULOT, César génocidaire ? Le massacre des
    [Show full text]
  • Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
    Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag.
    [Show full text]
  • Further Commentary Notes
    Virgil Aeneid X Further Commentary Notes Servius, the author of a fourth-century CE commentary on Virgil is mentioned several times. Servius based his notes extensively on the lost commentary composed earlier in the century by Aelius Donatus. A version of Servius, amplified by material apparently taken straight from Donatus, was compiled later, probably in the seventh or eighth century. It was published in 1600 by Pierre Daniel and is variously referred to as Servius Auctus, Servius Danielis, or DServius. Cross-reference may be made to language notes – these are in the printed book. An asterisk against a word means that it is a term explained in ‘Introduction, Style’ in the printed book. A tilde means that the term is explained in ‘Introduction, Metre’ in the printed book. 215 – 6 In epic, descriptions of the time of day, particularly dawn, call forth sometimes surprising poetic flights. In Homer these are recycled as formulae; not so in Virgil (for the most part), although here he is adapting a passage from an earlier first- century epic poet Egnatius, from whose depiction of dawn seems to come the phrase curru noctivago (cited in Macrobius, Sat. 6.5.12). This is the middle of the night following Aeneas’s trip to Caere. The chronology of Books VIII – X is as follows: TWO DAYS AGO Aeneas sails up the Tiber to Evander (VIII). NIGHT BEFORE Aeneas with Evander. Venus and Vulcan (VIII). Nisus and Euryalus (IX). DAY BEFORE Evander sends Aeneas on to Caere; Aneneas receives his armour (VIII). Turnus attacks the Trojan camp (IX, X).
    [Show full text]
  • The Idea of the Labyrinth
    ·THE IDEA OF · THE LABYRINTH · THE IDEA OF · THE LABYRINTH from Classical Antiquity through the Middle Ages Penelope Reed Doob CORNELL UNIVERSITY PRESS ITHACA AND LONDON Open access edition funded by the National Endowment for the Humanities/Andrew W. Mellon Foundation Humanities Open Book Program. Copyright © 1990 by Cornell University First printing, Cornell Paperbacks, 1992 Second paperback printing 2019 All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. Visit our website at cornellpress.cornell.edu. Printed in the United States of America ISBN 978-0-8014-2393-2 (cloth: alk. paper) ISBN 978-1-5017-3845-6 (pbk.: alk. paper) ISBN 978-1-5017-3846-3 (pdf) ISBN 978-1-5017-3847-0 (epub/mobi) Librarians: A CIP catalog record for this book is available from the Library of Congress An open access (OA) ebook edition of this title is available under the following Creative Commons license: Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0): https://creativecommons.org/licenses/ by- nc-nd/4.0/. For more information about Cornell University Press’s OA program or to download our OA titles, visit cornellopen.org. Jacket illustration: Photograph courtesy of the Soprintendenza Archeologica, Milan. For GrahamEric Parker worthy companion in multiplicitous mazes and in memory of JudsonBoyce Allen and Constantin Patsalas Contents List of Plates lX Acknowledgments: Four Labyrinths xi Abbreviations XVll Introduction: Charting the Maze 1 The Cretan Labyrinth Myth 11 PART ONE THE LABYRINTH IN THE CLASSICAL AND EARLY CHRISTIAN PERIODS 1.
    [Show full text]
  • David Hadbawnik Blackbox Manifold 24.Pdf
    Aeneid from Book 9 Translation by David Hadbawnik; images by Omar Al-Nakib [With Aeneas away solidifying allies, the Trojans are hunkered down refusing to leave camp as Turnus and his army threaten. In frustration Turnus attempts to burn the Trojan fleet, only to see it miraculously saved and the ships turned into sea nymphs by Jupiter.] II. ‘Sed periise semel satis est.’ Awe grips the Rutulian minds. Messapus is spooked, also his horses, at the noise of gurgling water. But TURNUS doesn’t flinch. He alone raises their spirits and settles them with his words. “Sure these are bad signs … for the Trojans. Jupiter himself snatches away any expectation of help— and we didn’t have to fight or burn anything. They’ve got nowhere to run. Italy’s up in arms. The Fates? They don’t frighten me. Whatever the Phyrgian oracles twist, Venus is paid in full, because they’ve touched down here. I’ve got my own destiny. And a sharp sword to cut down a crime-ridden race that stole my bride. It’s not just the sons of Atreus that sorrow touches. Myceneans aren’t the only ones allowed to bear arms. But to die once is enough. To sin once is enough, or it would’ve been, if from here on out they hate women (you’d think they would after what happened with Helen), 1 these bastards for whom faith in crappy walls and makeshift fortifications – a slight pause before death – gives courage. Didn’t they just watch Troy’s walls made by Neptune engulfed in flames? But you chosen lot, who’ll come with me to chop down ramparts and invade that quivering camp? There’s no Vulcan-forged arms for me.
    [Show full text]
  • Of Turnus in the Aeneid Michael Kelley
    Tricks and Treaties: The “Trojanification” of Turnus in the Aeneid Michael Kelley, ‘18 In a poem characterized in large part by human intercourse with the divine, one of the most enigmatic augury passages of Virgil’s Aeneid occurs in Book XII, in which Juturna delivers an omen to incite the Latins toward breaking their treaty with the Trojans. The augury passage is, at a superficial level, a deceptive exhortation addressed to the Latins, but on a meta- textual, intra-textual, and inter-textual level, a foreshadowing of the downfall of Turnus and the Latins. In this paper, I will begin by illustrating how the deception within Juturna’s rhetoric and linguistic allusions to deception in the eagle apparition indicate a true meaning which supersedes Juturna’s intended trickery. Then, in demonstrating inter-textual and intra-textual paradigms for Turnus, I will explain how the omen, and the associations called for therein, actually anticipate Turnus’s impending, sacrificial death. Finally, I will address the implications of my claim, presenting an interpretation of a sympathetic Turnus and a pathetically deceived Juturna. While the omen which follows is not necessarily false, Juturna’s rhetoric, spoken in the guise of Turnus’s charioteer Metiscus,1 is marked by several rhetorical techniques that are, ultimately, fruitful in inciting the Latins toward combat. Attempting to invoke their better reason, Juturna begins the speech with several rhetorical questions that appeal to their sense of honor and their devotion to Turnus.2 Her description of the Trojans as a fatalis manus, translated by Tarrant as “a troop protected by fate,”3 is most likely sarcastic, referencing what she deems a self-important insistence on prophecy from the Trojans.
    [Show full text]
  • Virgil's Pier Group
    Virgil’s Pier Group In this paper I argue that the ship race of Aeneid 5 presents a metapoetic commentary whereby Virgil re-validates heroic epic and announces the principal intertexts of his middle triad. The games as a whole are rooted in transparent allusion to Iliad 23 and have, accordingly, drawn somewhat less critical attention than books 4 and 6. For Heinze (121-36), the agonistic scenes exemplify Virgil’s artistic principles for reshaping Homeric material. Similarly, Otis (41- 61) emphasized Virgilian characterization. Putnam (64-104) reads the games in conjunction with the Palinurus episode as a reflection on heroic sacrifice. Galinsky has emphasized the degree to which the games are interwoven with themes and diction in both book 5 and the poem as a whole. Harris, Briggs, and Feldherr have explored historical elements and Augustan political themes within the games. Farrell attempts to bring synthesis to these views by reading the games through a lens of parenthood themes. A critical observation remains missing. Water and nautical imagery are well-established metaphors for poetry and poiesis. The association is attested as early as Pindar (e.g. P. 10.51-4). In regard to neoteric and Augustan poetics, it is sufficient to recall the prominence of water in Callimachus (Ap. 105-113). This same topos lies at the foundation of Catullus 64 and appears within both the Georgics and Horace’s Odes (cf. Harrison). The agones of Aeneid 5 would be a natural moment for such motifs. Virgil introduces all four ships as equals (114). Nevertheless, the Chimaera is conspicuous for its bulk and its three-fold oars (118-20).
    [Show full text]
  • The Power of Images in the Age of Mussolini
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 The Power of Images in the Age of Mussolini Valentina Follo University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Follo, Valentina, "The Power of Images in the Age of Mussolini" (2013). Publicly Accessible Penn Dissertations. 858. https://repository.upenn.edu/edissertations/858 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/858 For more information, please contact [email protected]. The Power of Images in the Age of Mussolini Abstract The year 1937 marked the bimillenary of the birth of Augustus. With characteristic pomp and vigor, Benito Mussolini undertook numerous initiatives keyed to the occasion, including the opening of the Mostra Augustea della Romanità , the restoration of the Ara Pacis , and the reconstruction of Piazza Augusto Imperatore. New excavation campaigns were inaugurated at Augustan sites throughout the peninsula, while the state issued a series of commemorative stamps and medallions focused on ancient Rome. In the same year, Mussolini inaugurated an impressive square named Forum Imperii, situated within the Foro Mussolini - known today as the Foro Italico, in celebration of the first anniversary of his Ethiopian conquest. The Forum Imperii's decorative program included large-scale black and white figural mosaics flanked by rows of marble blocks; each of these featured inscriptions boasting about key events in the regime's history. This work examines the iconography of the Forum Imperii's mosaic decorative program and situates these visual statements into a broader discourse that encompasses the panorama of images that circulated in abundance throughout Italy and its colonies.
    [Show full text]