The Aeneid Study Guide I Answer the Questions on a Separate Piece of Paper

Total Page:16

File Type:pdf, Size:1020Kb

The Aeneid Study Guide I Answer the Questions on a Separate Piece of Paper PAP English II Summer 2013 Name_______________________________________________ The Aeneid Study Guide I Answer the questions on a separate piece of paper. Include the line number from the chapter where the answer is found. BOOK 1 1. Who uses his or her powers to keep the Trojans lost at sea? 2. Who calms the ocean so Aeneas and his men can make it safely to land? 3. What does Jupiter predict awaits Aeneas in Italy? 4. Who will be descendants of Aeneas' line? 5. From whom will Julius Caesar get his name? 6. Why did Dido's people take on a peaceful mood toward Aeneas' people? 7. Who travels with Aeneas to check out the place where they have landed? 8. Who tells Aeneas he is in Carthage? 9. What hides Aeneas' identity as he travels through Carthage? 10. What does Aeneas see depicted on the walls of the temple that the people of Carthage are building? 11. How does Aeneas know Antheus, Sergestus, Cloanthus, and Ilioneus? 12. What does Ilioneus ask of Dido? 13. Why is Aeneas' appearance a surprise to Dido and the crowd? 14. After first meeting Dido, what does Aeneas send for from his ships? 15. Who does Venus send to Carthage disguised as Aeneas' son? 16. Why does Venus send a fake Ascanius/Iulus to Dido? 17. What does the fake Ascanius/Iulus make Dido forget? 18. What tale does Dido want Aeneas to tell? BOOK 2 1. Why did the Trojans think the Danaans had left? 2. Who warns the Trojans not to trust in the wooden horse the Danaans left behind? Summer 2013 Reading for PreAP Eng II and Eng II 1 3. What does Sinon claim is the reason he was left behind? 4. What does Sinon say is the purpose of the big wooden horse? 5. What does Sinon say will happen if the Trojans violate the wooden horse? 6. How do the Danaans get inside the walls of Troy? 7. Who appears in a dream to warn Aeneas to flee Troy? 8. What is Coroebus' idea for how he, Aeneas, and their companions can pass to safety? 9. What atrocity does Pyrrhus commit in front of Priam? 10. What does Aeneas think when he spots Helen while Troy is being destroyed all around them? 11. Who or what does Venus say is the cause of the fall of Troy? 12. How does Anchises act when Aeneas first comes to help him escape? 13. What portent appears relating to Iulus? 14. What does Anchises pray to the gods for? 15. How does Aeneas transport Anchises out of Troy? 16. For whom does Aeneas return to Troy to search? 17. What does Creusa's ghost tell Aeneas? 18. What does the crowd of refugees expect from Aeneas? BOOK 3 1. What happens every time Aeneas tries to tear a branch from a tree in Thrace to construct a roof for the altar of his new colony? 2. How did Polydorus die? 3. Where does Anchises think the voice in the temple is telling them to go build their new city? 4. What does the plague that descends on the new city Aeneas founds at Pergamum tell the settlers? 5. What important things has Aeneas carried with him from Troy? 6. Why are Aeneas and his people supposed to settle in Hesperia? 7. What happens to everything the Harpies touch? 8. What curse does Celaeno lay on the Trojans? 9. Who is Andromache's new husband? 10. What does Apollo’s priest advise Aeneas and his followers to do? Summer 2013 Reading for PreAP Eng II and Eng II 2 11. Whom does Helenus say Aeneas should visit for advice? 12. Of what is Helenus' city a replica? 13. What meaning does Anchises say the portent of four white horses can have? 14. What is Etna? 15. What kind of countryman is Achaemenides? 16. Who blinded Polyphemus? 17. What danger do Aeneas and his men face by Aetna? 18. Who dies at the end of Book 3? BOOK 4 1. Why has Dido turned her face against remarriage? 2. Why Anna think Dido should make a match with Aeneas? 3. Who is the deity in charge of marriage? 4. What are the effects of Dido's love for Aeneas? 5. Why does Juno say Venus has made Dido fall in love with Aeneas? 6. Why does Venus at first think Juno's idea to have Dido and Aeneas marry and rule Carthage side by side is a bad one? 7. Where do Dido and Aeneas become "married"? 8. What action does the goddess Rumor take after Dido and Aeneas begin to revel in each others' company? 9. Why does King Iarbas pray to Jove/Jupiter? 10. Whom does Jupiter send to talk to Aeneas? 11. What does Jupiter want from Aeneas? 12. How does Dido know that Aeneas plans to leave? 13. What does Dido say has been caused by her love affair with Aeneas? 14. What excuse does Aeneas offer to Dido for why he must leave her? 15. What does Dido tell Aeneas she will do after he leaves? 16. Who does Dido send to plead with Aeneas? 17. When Dido sees Aeneas' men readying their ships to sail, for what does she plead? 18. How does Dido kill herself? Summer 2013 Reading for PreAP Eng II and Eng II 3 BOOK 5 1. At the beginning of Book V, why is the city behind Aeneas' departing ships bright? 2. Why does Acestes welcome Aeneas and his followers? 3. When Aeneas and the Trojans land in Sicily at the beginning of Book 5, a year has passed since which important event? 4. What sign does Aeneas see during the ritual for his father? 5. What are some of the funeral games? 6. How does Cloanthus win the boat race during the funeral games? 7. How does Nisus try to help his friend Euryalus win first prize in the foot race? 8. What prize is Nisus given by Aeneas? 9. What reason does Entellus give for why he didn't volunteer immediately to fight Dares? 10. What is remarkable about the boxing gloves of Eryx? 11. How does Dares get Entellus to fall during their boxing match? 12. To what does Aeneas attribute Dares' inability to beat Entellus? 13. What omen does everyone witness when Acestes is shooting arrows? 14. Who sends Iris to talk to the mourning Trojan women? 15. Why do the Trojan women set fire to the Trojan ships in Book 5? 16. How does Aeneas put out the burning Trojan ships after the Trojan women set them on fire? 17. What does Neptune say must happen for Aeneas and his followers to have safe passage over the seas? 18. Why does Palinurus fall overboard? BOOK 6 1. What is the job of the Sibyl? 2. Who are the figures from Greek and Roman mythology depicted in the temple of Apollo? 3. What does Aeneas ask the gods through the Sibyl? 4. What does Aeneas promise to do if the gods grant his wish? 5. What does the Sibyl predict awaits Aeneas where he is going? 6. What must Aeneas do to enter the underworld? Summer 2013 Reading for PreAP Eng II and Eng II 4 7. Why did Misenus meet an early death? 8. Who leads Aeneas to the golden bough? 9. On what do the gods take oaths that they fear to break? 10. What does Palinurus' ghost ask Aeneas to do when he returns to the world? 11. Who will bury Palinurus' body? 12. What does Aeneas tell the ghost of Dido? 13. How does Dido's ghost react to seeing Aeneas? 14. Where do malefactors live in the underworld? 15. How is Anchises spending his time in the underworld? 16. What happens when souls are destined to be reborn in a second body? 17. What does Anchises show Aeneas in the underworld? 18. Who does Anchises predict will bring an Age of Gold to Latium? Short Answer/Essay Questions Answer 2 of the 3 in paragraph form. 1. Consider the first 13 lines of Fagles’ translation of the Aeneid. How do they compare to the openings of the Iliad and the Odyssey? How does the opening of Virgil's poem set itself apart from those earlier openings, which most of his readers knew by heart? Especially, how does the opening introduce themes, which are unique to the Aeneid and its age? 2. Who or what is Dido? Considering both Aeneas' character and the story-line, why should Dido fall in love with him? Do you have a sense that their affair is doomed from the very beginning? What do you make of Aeneas' encounter with Dido in the underworld, which T. S. Eliot called "the most civilized passage in all of Western Literature"? See Book 1 and Book 6. 3. What sort of a hero is Aeneas? How does he compare to a Homeric hero? Consider his duty to the gods, to his country, and to his family. Consider also how Aeneas portrays himself as the central character in his narrative of the fall of Troy in Book 2. Summer 2013 Reading for PreAP Eng II and Eng II 5 .
Recommended publications
  • HOMERIC-ILIAD.Pdf
    Homeric Iliad Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power Contents Rhapsody 1 Rhapsody 2 Rhapsody 3 Rhapsody 4 Rhapsody 5 Rhapsody 6 Rhapsody 7 Rhapsody 8 Rhapsody 9 Rhapsody 10 Rhapsody 11 Rhapsody 12 Rhapsody 13 Rhapsody 14 Rhapsody 15 Rhapsody 16 Rhapsody 17 Rhapsody 18 Rhapsody 19 Rhapsody 20 Rhapsody 21 Rhapsody 22 Rhapsody 23 Rhapsody 24 Homeric Iliad Rhapsody 1 Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power [1] Anger [mēnis], goddess, sing it, of Achilles, son of Peleus— 2 disastrous [oulomenē] anger that made countless pains [algea] for the Achaeans, 3 and many steadfast lives [psūkhai] it drove down to Hādēs, 4 heroes’ lives, but their bodies it made prizes for dogs [5] and for all birds, and the Will of Zeus was reaching its fulfillment [telos]— 6 sing starting from the point where the two—I now see it—first had a falling out, engaging in strife [eris], 7 I mean, [Agamemnon] the son of Atreus, lord of men, and radiant Achilles. 8 So, which one of the gods was it who impelled the two to fight with each other in strife [eris]? 9 It was [Apollo] the son of Leto and of Zeus. For he [= Apollo], infuriated at the king [= Agamemnon], [10] caused an evil disease to arise throughout the mass of warriors, and the people were getting destroyed, because the son of Atreus had dishonored Khrysēs his priest. Now Khrysēs had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom [apoina]: moreover he bore in his hand the scepter of Apollo wreathed with a suppliant’s wreath [15] and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs.
    [Show full text]
  • Furthest Voices in Virgil's Dido I
    FURTHEST VOICES IN VIRGIL’S DIDO I ‘We have to stop somewhere, but we also have to face the fact that any par- ticular stopping-place is therefore our choice, and carries with it ideological implications.’ Don Fowler 1 ‘Magnus est Maro’. I. L. La Cerda 2 Part one Reading Dido – in the Aeneid and beyond – has always been an intensely charged literary and political game. A sensitive, loving woman, Dido offers Aeneas a real alternative to the complex business of setting Rome in motion, and her death shows the enormous price there is to pay in terms of human fulfilment and happiness for the sake of empire building. How more or less sympathetic and straightforward she is seen to be is of course crucial to our perception of Aeneas as epic hero, and to the meaning of the Aeneid as a whole. It is only natural that throughout the 20th century, and into the 21st, critics have over- whelmingly packaged this fascinating character as the archetypical ‘other voice’ to the poem’s teleological (not to say ‘Augustan’) plot. 1 D. P. FOWLER 1997: 25 = 2000: 127-128. 2 LA CERDA: vol. 1, p. 441. Furthest Voices in Virgil’s Dido 61 This comfortable opposition rests to a significant extent on a one- sided reading of Dido’s emotional intricacies. Already ancient poets and readers, from Ovid to the Christians, vigorously edited Virgil’s Dido to produce their own challenge to his epic. Building upon Heinze’s influ- ential treatment, modern critics have favoured a comparable approach: current readings emphasize the image of a loving and forlorn heroine whose short outbursts of rage and fury are evanescent – and justified.
    [Show full text]
  • Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars.
    [Show full text]
  • Statius; with an English Translation by J.H. Mozley
    THE LOEB CLASSICAL LIBRARY EDITED BY T. E. PAGE, LiTT.D. E. CAPPS, PH.D., LL.D. W. H. D. ROUSE, litt.d. STATIUS II ^cfi STATIUS f WITH AN ENGLISH TRANSLATION BY J. H. MOZLEY, M.A. SOMETIME SCHOLAR OF KING S COLLEGE, CAMBRIDGE USCTDEER IN CLASSICS AT EAST LONDON COLLEGE, UNIVERSITY OF LONDON IN TWO VOLUMES J.^ II THEBAID V-XII • ACHILLEID LONDON : WILLIAM HEINEMANN LTD NEW YORK: G. P. PUTNAM'S SONS MCMXXVIII ; Printed in Great Britain CONTENTS OF VOLUME II THEBAID BOOKS V-XII VOL. 11 THEBAIDOS LIBER V Pulsa sitis fluvio, populataque gurgitis altum^ agmina linquebant ripas amnemque minorem ; acrior et campum sonipes rapit et pedes arva implet ovans, rediere viris animique minaeque votaque, sanguineis mixtum ceu fontibus ignem 5 hausissent belli magnasque in proelia mentes. dispositi in turmas rursus legemque severi ordinis, ut cuique ante locus ductorque, monentur instaurare vias. tellus iam pulvere primo crescit, et armorum transmittunt fulgura silvae. 10 qualia trans pontum Phariis depvensa serenis rauca Paraetonio deeedunt agmina Nilo, quo^ fera cogit hiemps : illae clangore fugaei, umbra fretis arvisque, volant, sonat avius aether, iam Borean imbresque pati, iam nare solutis 15 amnibus et nudo iuvat aestivare sub Haemo. Hie rursus simili procerum vallante corona dux Talaionides, antiqua ut forte sub orno ^ altum P : alvum w (Z) mith alveum written over). ^ quo Vollmer : cum Pa,-. " i.e., cranes, cf. Virg. Aen. x. 264.. * The epithet is taken from a town named Paraetonium, on the Libyan coast west of the Delta. 2 THEBAID BOOK V Their thirst was quenched by the river, and the army haWng ravaged the water's depths was lea\"ing the banks and the diminished stream ; more briskly now the galloping steed scours the plain, and the infantrj' swarm exultant over the fields, inspired once more by courage and hope and warlike temper, as though from the blood-stained springs they had drunk the fire of battle and high resolution for the fray.
    [Show full text]
  • 1996 Njcl Certamen Round A1 (Revised)
    1996 NJCL CERTAMEN ROUND A1 (REVISED) 1. Who immortalized the wife of Quintus Caecilius Metellus as Lesbia in his poetry? (GAIUS VALERIUS) CATULLUS What was probably the real name of Lesbia? CLODIA What orator fiercely attacked Clodia in his Pro Caelio? (MARCUS TULLIUS) CICERO 2. According to Hesiod, who was the first born of Cronus and Rhea? HESTIA Who was the second born? DEMETER Who was the fifth born? POSEIDON 3. Name the twin brothers who fought in their mother's womb. PROETUS & ACRISIUS Whom did Proetus marry? ANTIA (ANTEIA) (STHENEBOEA) With what hero did Antia fall in love? BELLEROPHON 4. Give the comparative and superlative forms of mult§ PLâRS, PLâRIM¦ ...of prÇ. PRIOR, PR¦MUS ...of hebes. HEBETIOR, HEBETISSIMUS 5. LegÇ means “I collect.” What does lectitÇ mean? (I) COLLECT OFTEN, EAGERLY Sitis means “thirst.” What does the verb sitiÇ mean? (I) AM THIRSTY / THIRST CantÇ means “I sing.” What does cantillÇ mean? (I) CHIRP, WARBLE, HUM, SING LOW 6. Differentiate in meaning between p~vÇ and paveÇ. P}VÆ -- PEACOCK PAVEÆ -- (I) FEAR, TREMBLE Differentiate in meaning between cavÇ and caveÇ. CAVÆ -- I HOLLOW OUT CAVEÆ -- I TAKE HEED, BEWARE Differentiate in meaning between modo (must pronounce with short “o”) and madeÇ. MODO -- ONLY, MERELY, BUT, JUST, IMMEDIATELY, PROVIDED THAT MADEÆ -- I AM WET, DRUNK Page 1 -- A1 7. What two words combine to form the Latin verb malÇ? MAGIS & VOLÆ What does malÇ mean? PREFER M~la is a contracted form of maxilla. What is a m~la? CHEEK, JAW 8. Which of the emperors of AD 193 executed the assassins of Commodus? DIDIUS JULIANUS How had Julianus gained imperial power? BOUGHT THE THRONE AT AN AUCTION (HELD BY THE PRAETORIANS) Whom had the Praetorians murdered after his reign of 87 days? PERTINAX 9.
    [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]
  • Dido Y Eneas Ópera En Tres Actos
    Conciertos pa ra Escolares FUNDACIÓN C AJA MADRID Coordin1a0d/o1r3a apñeodas gógica Ana Hernández Sanchiz Dido y Eneas Ópera en tres actos de Henry Purcell Guía Didáctica Ana Hernández Sanchiz DIDO Y ENEAS Conciertos para Escolares de la Fundación Caja Madrid 10 a 13 años Índice EL ESPECTÁCULO..........................................................................................3 LA ÓPERA BARROCA INGLESA....................................................................4 DIDO Y ENEAS o La ópera........................................................................................6 o Los autores: Henry Purcell y Nahum Tate..................................7 o El argumento................................................................................8 o Los intérpretes...............................................................................9 o Dido y Eneas en el arte.............................................................12 EL TEATRO DE SOMBRAS.............................................................................14 ACTIVIDADES 1. A modo de obertura.................................................................15 2. Versionando la versión.............................................................17 3. En viñetas...................................................................................18 4. Para cantar y tocar... el corazón de Dido.............................19 5. El lamento de la reina...............................................................20 6. Asómbrate..................................................................................21
    [Show full text]
  • MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1
    MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1. This son of Zeus was the builder of the palaces on Mt. Olympus and the maker of Achilles’ armor. a. Apollo b. Dionysus c. Hephaestus d. Hermes 2. She was the first wife of Heracles; unfortunately, she was killed by Heracles in a fit of madness. a. Aethra b. Evadne c. Megara d. Penelope 3. He grew up as a fisherman and won fame for himself by slaying Medusa. a. Amphitryon b. Electryon c. Heracles d. Perseus 4. This girl was transformed into a sunflower after she was rejected by the Sun god. a. Arachne b. Clytie c. Leucothoe d. Myrrha 5. According to Hesiod, he was NOT a son of Cronus and Rhea. a. Brontes b. Hades c. Poseidon d. Zeus 6. He chose to die young but with great glory as opposed to dying in old age with no glory. a. Achilles b. Heracles c. Jason d. Perseus 7. This queen of the gods is often depicted as a jealous wife. a. Demeter b. Hera c. Hestia d. Thetis 8. This ruler of the Underworld had the least extra-marital affairs among the three brothers. a. Aeacus b. Hades c. Minos d. Rhadamanthys 9. He imprisoned his daughter because a prophesy said that her son would become his killer. a. Acrisius b. Heracles c. Perseus d. Theseus 10. He fled burning Troy on the shoulder of his son. a. Anchises b. Dardanus c. Laomedon d. Priam 11. He poked his eyes out after learning that he had married his own mother.
    [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]
  • Lunar References in Virgil's Aeneid
    Graeco-Latina Brunensia 24 / 2019 / 1 https://doi.org/10.5817/GLB2019-1-5 Alma Phoebe: Lunar References in Virgil’s Aeneid Lee M. Fratantuono (Ohio Wesleyan University, Delaware) Abstract The moon and lunar phenomena are frequently referenced in Virgil’s Aeneid. Close study of these allusions reveals that the poet employs lunar imagery as a key element in his depiction of the characters of both the Carthaginian Dido and the Volscian Camilla, in particular the de- ČLÁNKY / ARTICLES liberately crafted juxtaposition between the two women. Keywords Virgil; Moon; Luna; Dido; Camilla 61 Lee M. Fratantuono Alma Phoebe: Lunar References in Virgil’s Aeneid The moon serves as astronomical witness to a number of key events in Virgil’s Aeneid.1 The present study will seek to explicate the various references to the moon in the text of the epic (including mentions of the goddess Luna or Phoebe), with a view to illustrating how Virgil employs lunar imagery to significant effect in his poem, in particular in delin- eating the contrast between the opposing pairs Venus/Dido and Diana/Camilla, and as part of his pervasive concern with identifying the relationship between Troy and Rome.2 Near the close of the first book of the epic, the “wandering moon” is cited as the first of the subjects of the song of Dido’s bard Iopas (A. I, 742 hic canit errantem lunam solisque labores).3 The passage echoes similar languages in the song of Silenus from the sixth eclogue (E. VI, 64 tum canit, errantem Permessi ad flumina Gallum),4 where one of the Muses and the divine shepherd Linus rise to give honor to the poet Gallus as he wanders by the Permessus.
    [Show full text]
  • A Study of the Late Antique Latin Wedding Centos
    INSTITUTIONEN FÖR SPRÅK OCH LITTERATURER DE INCONEXIS CONTINUUM A Study of the Late Antique Latin Wedding Centos DE INCONEXIS CONTINUUM A Study of the Late Antique Latin Wedding Centos SARA EHRLING QuickTime och en -dekomprimerare krävs för att kunna se bilden. SARA EHRLING DE INCONEXIS CONTINUUM INSTITUTIONEN FÖR SPRÅK OCH LITTERATURER DE INCONEXIS CONTINUUM A Study of the Late Antique Latin Wedding Centos SARA EHRLING Avhandling för filosofie doktorsexamen i latin, Göteborgs universitet 2011-05-28 Disputationsupplaga Sara Ehrling 2011 ISBN: 978–91–628–8311–9 http://hdl.handle.net/2077/24990 Distribution: Institutionen för språk och litteraturer, Göteborgs universitet, Box 200, 405 30 Göteborg Acknowledgements Due to diverse turns of life, this work has followed me for several years, and I am now happy for having been able to finish it. This would not have been possible without the last years’ patient support and direction of my supervisor Professor Gunhild Vidén at the Department of Languages and Literatures. Despite her full agendas, Gunhild has always found time to read and comment on my work; in her criticism, she has in a remarkable way combined a sharp intellect with deep knowledge and sound common sense. She has also always been a good listener. For this, and for numerous other things, I admire and am deeply grateful to Gunhild. My secondary supervisor, Professor Mats Malm at the Department of Literature, History of Ideas, and Religion, has guided me with insight through the vast field of literary criticism; my discussions with him have helped me correct many mistakes and improve important lines of reasoning.
    [Show full text]