Selections from Virgil’s Aeneid Books 1–6 A Student Reader Ashley Carter 36017.indb 3 21/08/2019 14:10 BLOOMSBURY ACADEMIC Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA BLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2020 Copyright © Ashley Carter, 2020 Ashley Carter has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work. Cover design: Terry Woodley Cover image: Aeneas flees burning Troy with father Anchises on his shoulder. Azoor Photo Collection / Alamy Stock Photo. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third-part y websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Title: Selections from Virgil’s Aeneid books 1–6 : a student reader / Ashley Carter. Other titles: Aeneis. Liber 1–6. Selections Description: New York : Continuum International Publishing Group Inc., 2020. | Summary: “This reader of Virgil’s text features passages from the first half of the Aeneid and is designed to help students understand and appreciate Virgil’s poem, as well as improve their Latin reading skills. Each Latin passage is accompanied by running vocabulary, on-page commentary notes and targeted questions. The book can be used as a source of one-off unseen passages or as a reader for students working through individual books or the whole poem. The commentary notes explain references to characters, places and events, provide linguistic and grammatical help on more challenging Latin phrases, and point out stylistic features. The questions test students’ comprehension of the characters and storyline, and give them practice in handling literary terms. The passages are linked by summaries of the continuing plot, so students can grasp the progression of the poem as a whole. An in-depth introduction sets the story of the Aeneid in its mythological, literary and historical context, and at the end of the book is a complete alphabetical vocabulary list, a glossary of literary devices, and essays explaining the principles of Virgil’s word order and metre”—Provided by publisher. Identifiers: LCCN 2019021055 (print) | LCCN 2019981554 (ebook) | ISBN 9781472575708 (paperback) | ISBN 9781472575715 (epub) | ISBN 9781472575722 (pdf) Subjects: LCSH: Virgil. Aeneis. Classification: LCC PA6802.A1 C37 2020 (print) | LCC PA6802.A1 (ebook) | DDC 873/.01—dc23 LC record available at https://lccn.loc.gov/2019021055 LC ebook record available at https://lccn.loc.gov/2019981554 ISBN: PB: 978-1-4725-7570-8 ePDF: 978-1-4725-7572-2 eBook: 978-1-4725-7571-5 Typeset by RefineCatch Limited, Bungay, Suffolk Printed and bound in India To find out more about our authors and books visit www.bloomsbury.com and sign up for our newsletters. 36017.indb 4 21/08/2019 14:10 CONTENTS Preface vi Introduction 1 Book 1 17 Book 2 47 Book 3 77 Book 4 105 Book 5 135 Book 6 163 Word list 193 Index 217 36017.indb 5 21/08/2019 14:10 PREFACE The purpose of this book and the subsequent volume is to provide a source of selections from all twelve books of Virgil’s Aeneid. Each of these books has contributed around 250 lines of text, sufficient to provide comprehensive coverage of the storyline and principal characters. Virgil’s great work has inevitably been dipped into many times over the years. The intention behind this set of selections is to provide the kind of layout and help appropriate to the needs of students with only a few years of study behind them. The book is suitable as a reader for its own sake or to act as a prescribed text for examination. The characters and storyline are summarised in the Introduction; students reading a single book should read this summary first. Significant gaps between Latin passages are summarised in Italics. The principle behind the glossing of words is that all except for the commonest words are glossed, with meanings appropriate to the context. Students wanting a reminder of the word’s meaning can consult the complete alphabetical word list, which is printed at the end of the book. When a word is repeated in the same book, it is not glossed again, unless the meaning has changed. Verbs are given two principal parts if they are used with the present stem, otherwise three or four parts; following the principle used in a number of current text books, the perfect participle passive replaces the supine as the fourth principal part. Since students are likely to focus on one book, full glossing recommences at the start of each book. The Introduction aims to set the story of the Aeneid into its mythological, literary and historical context. Students preparing for GCSE or similar examinations will need little of the information provided there, but those progressing beyond the boundaries of a single book may find at least some of the detail helpful. Those who wish to explore further will find the long- established editions of Williams or Page helpful. The notes aim to help students to understand references to characters, places and events, though only at a basic level. Teachers may wish to expand these references in class. The notes also help students to cope with more challenging linguistic items, and point out some stylistic features. The questions test students’ comprehension of the characters and storyline, and give them practice in handling literary terms. The Introduction contains a list of the commonest literary devices, which are generally considered appropriate for students at this level of study. The text is that of Williams (1972 and 1996), with the following exceptions: all accusative plural endings in -is have been changed to -es, and the lower case is used for initial letters of paragraphs. Line numbers alongside the text are the standard line numbers from the complete books, following Williams where the manuscripts are unclear. I am grateful to Bloomsbury for the encouragement given. 36017.indb 6 21/08/2019 14:10 CH COL IS 36017.indb 7 21/08/2019 14:10 Introduction 1. Virgil and the Aeneid Virgil began composing the Aeneid in about 30 bc, continuing to work on it until his death at the age of 50 in 19 BC. He was commissioned to write the work by Octavian, who in 31 BC had defeated Mark Antony and Cleopatra at the Battle of Actium, thereby gaining supreme power in Rome. Octavian devoted the next four years to making his power secure, with the result that, in 27 BC, he became the first emperor, with the title Augustus. Although he was popular with many sections of Roman society from the moment of his triumph over Antony, he was anxious to avoid the same fate as his adoptive father, Julius Caesar, who, in similar circumstances, had been assassinated in 44 BC by a group of senators. One means available to Octavian of securing his position was self- publicity. Among the various methods regularly used by statesmen of the time was glorification through poetry; in fact it was entirely fashionable for successful and wealthy statesmen to pay poets within their patronage to write poems of various lengths extolling the virtues and achievements of their patron. The poets Horace, Propertius and Virgil were in turn invited to produce an epic poem with Octavian, later Augustus, as its hero. All at first refused, deterred no doubt by the conflicting demands of historical distortion and artistry. Then Virgil changed his mind, having devised a way of combining the positive presentation of Octavian and his victory with the need of all true poets for creative self- expression. And so the Aeneid was born. By the time of Virgil, the tradition of epic poetry was at least 700 years old. Many poets of the classical, Hellenistic and Roman periods produced a wide range of epic poems of very varying quality. None came close to achieving the status accorded by general consent to Homer, the first of the surviving epic poets, who composed the Iliad and Odyssey probably during the late eighth century BC. Homer’s works were widely known and read in Virgil’s Rome, much as Shakespeare is in today’s society. Virgil took upon himself the delicate task of composing an epic similar enough to the Iliad and Odyssey for the two poets to be directly compared, but different enough for Virgil to avoid charges of plagiarism. The Aeneid would combine a conventional epic tale of heroic endeavour (the story of Aeneas), the ancestry of Rome and its leaders, glorification of Rome and the Augustan regime, and an example of the social and moral responsibilities that a pius or dutiful leader ought to be prepared to shoulder. Doubtless Virgil’s contemporaries would have been surprised by a first reading of this literary cocktail: Augustus and his victory at Actium are barely mentioned; and yet from a closer scrutiny, Augustus and his achievements shine forth with more persuasive clarity than any more overt form of flattery could have achieved.