DOCSLIB.ORG

Killing Turnus: a Reading of Aeneas, Man of Action

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

KILLING TURNUS: A READING OF AENEAS, MAN OF ACTION by Andrew Jason Korzeniewski BA, Villanova University, 1998 MA, Villanova University, 2005 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Andrew Jason Korzeniewski It was defended on November 25, 2014 and approved by Harry C. Avery, PhD, Professor, Classics Nicholas F. Jones, PhD, Professor, Classics Dennis O. Looney, PhD, Professor, French and Italian Dissertation Advisor: D. Mark Possanza, PhD, Chairman, Classics ii Copyright © by Andrew Jason Korzeniewski 2014 iii KILLING TURNUS: A READING OF AENEAS, MAN OF ACTION Andrew Jason Korzeniewski, PhD University of Pittsburgh, 2014 As repeatedly reiterated, Aeneas’ destiny is to found Rome, yet he frequently ignores said mission, choosing instead to live and act in the present. In the Aeneid, how do we reconcile human choice in a world where there is a fated plan? Vergil does not want the reader to write off human decision making or human personality as irrelevant due to some sort of divine sphere forcing a preordained fate; rather, there are different levels that the action of the Aeneid moves on: The divine (i.e., the mythological, poetic level requiring the action to unfold in accordance with the fated destiny of Rome); the human (i.e., the psychological dimension of characters themselves); and the crucial moments at which the two interact. This dissertation will study Vergil’s multiple track arrangement to demonstrate how Aeneas’ actions the night Troy burns reveal that his personality is not yet ready to accept his mission and act in accordance with the poetic level action of the poem. Had Aeneas been ready and willing to flee, Hector’s urging would have proven the ideal catalyst for doing so; instead, here we have the fated mission not in sync with human disposition. Attention will then focus upon how Aeneas, as well as to a certain degree his mother Venus, has to develop from a figure who lives and acts in the present to the point where he can work in accordance with his destined, future oriented assignment. This moment occurs upon receiving his new armor in book viii, gifts whose images Aeneas does not understand but at whose martial exploits he stands in awe, for Aeneas is a hero whose militancy and need for action iv stands as, if not the dominating, then at least a highly dominate aspect of his complex personality. Carrying the imagery of Rome – a civilization whose greatness will be defined by the actions of her heroes – on his shoulders, Aeneas enters the heat of battle satisfying his personal need to act while simultaneously completing his heavenly mission. v TABLE OF CONTENTS PREFACE .............................................................................................................................................. VIII 1.0 GENERAL INTRODUCTION ............................................................................................. 1 1.1 CHAPTERS ..................................................................................................................... 5 1.1.1 Chapter Two ............................................................................................................ 5 1.1.2 Chapter Three ......................................................................................................... 8 1.1.3 Chapter Four ............................................................................................................ 9 1.1.4 Chapter Five .......................................................................................................... 12 1.2 HISTORICAL CONTEXT AND PREVIOUS SCHOLARSHIP .......................... 14 1.3 AENEAS AND FATE .................................................................................................. 18 2.0 THE DIVINE AND HUMAN LEVELS OF THE POEM ................................................ 28 2.1 AENEAS’ OTHERWORLDLY ENCOUNTERS IN AENEID II .......................... 28 2.1.1 The Dream of Hector ........................................................................................... 29 2.1.2 The Intervention of Venus ................................................................................. 60 2.1.3 The Shade of Creusa ............................................................................................ 66 2.2 AENEAS’ DREAM OF ANCHISES (V.719-745) .................................................... 84 2.3 TURNUS’ DREAM OF ALLECTO ........................................................................... 85 2.4 THE HARPIES (III.209-277) ....................................................................................... 92 3.0 AENEAS IN CARTHAGE AND THE ROLE OF VENUS ............................................. 96 3.1 VENUS, JUPITER, AND AENEAS’ DESTINY ...................................................... 96 3.2 VENUS APPEARS BEFORE AENEAS (I.314-417) ............................................... 101 vi 3.3 AENEAS IN THE STORM ....................................................................................... 107 3.4 THE APPROACH TO CARTHAGE ...................................................................... 112 3.5 DIDO’S PERSONALITY .......................................................................................... 120 3.6 THE ROLE OF MERCURY ...................................................................................... 127 3.7 VENUS AND AENEAS’ FATE ................................................................................ 131 4.0 AENEAS’ ACCEPTANCE OF HIS FATE ....................................................................... 133 4.1 PARCERE SUBIECTIS ET DEBELLARE SUPERBOS ......................................... 133 4.2 PARADE OF HEROES ............................................................................................. 139 4.3 GATES OF SLEEP ..................................................................................................... 145 4.4 AENEAS ARRIVES IN ITALY AND PREPARES FOR WAR .......................... 148 4.5 HERCULES-CACUS ................................................................................................. 154 4.6 INVOCATION OF ERATO ..................................................................................... 159 4.7 VENUS PREPARES FOR WAR .............................................................................. 160 4.8 THE ARMS OF AENEAS ......................................................................................... 165 5.0 AENEAS, WARRIOR ......................................................................................................... 172 5.1 AENEAS’ ARRIVAL IN BATTLE .......................................................................... 174 5.2 THE DEATH OF PALLAS ....................................................................................... 184 5.3 THE DEATH OF LAUSUS ....................................................................................... 191 5.4 THE DEATH OF TURNUS ...................................................................................... 195 5.5 THE WRATH OF AENEAS ..................................................................................... 197 5.6 KILLING TURNUS ................................................................................................... 203 6.0 CONCLUSION .................................................................................................................... 207 BIBLIOGRAPHY ................................................................................................................................... 211 vii PREFACE Academically, I spent the 2011-2012 fall and spring semester reading the poem in seminar under Dr. H.-P. Stahl, who, himself working on a manuscript on the Aeneid, had to decline to stand on my committee fearing concerns about having access to unpublished work on Vergil. I generally tend to align with Dr. Stahl approach to the epic, although my interpretation veers from his in a number of points and is a bit less stringent and authoritative in many of the points I make – whether that is good or bad, I suppose, will be left to future critics. Fortunately, Dr. D. Mark Possanza, chair of Classics as well as the department’s reigning Latinist, agreed to oversee my project. To him, I am eternal thankful. Similarly, I wish to express the most sincerely thanks to my readers, Drs. Harry C. Avery and Nicholas F. Jones of the Classics Department of the University of Pittsburgh and Dr. Dennis O. Looney, on sabbatical from Pitt this year while acting as the Director of Programs and ADFL for the Modern Language Association in New York City. I wrote the majority of this dissertation while carrying a fairly substantial teaching load, a fact that caused myself, as well as Dr. Possanza, a good amount of angina concerning its completion. While I did make haste in certain sections, I never cut corners in terms of fully engaging with the text nor did I ever sacrifice quality for quantity. That said, I doubt that this volume is completely without blemish; any faults rest squarely on my own shoulders. While on this topic, two of the major suggestions that were brought up during my defense were stylistic: First, I sometimes write a bit too informally using idiomatic, conversational constructions and language – to which I plead guilty, although
Recommended publications
  • Reading for Monday 4/23/12 History of Rome You Will Find in This Packet

    Reading for Monday 4/23/12 History of Rome You Will Find in This Packet

    Reading for Monday 4/23/12 A e History of Rome A You will find in this packet three different readings. 1) Augustus’ autobiography. which he had posted for all to read at the end of his life: the Res Gestae (“Deeds Accomplished”). 2) A few passages from Vergil’s Aeneid (the epic telling the story of Aeneas’ escape from Troy and journey West to found Rome. The passages from the Aeneid are A) prophecy of the glory of Rome told by Jupiter to Venus (Aeneas’ mother). B) A depiction of the prophetic scenes engraved on Aeneas’ shield by the god Vulcan. The most important part of this passage to read is the depiction of the Battle of Actium as portrayed on Aeneas’ shield. (I’ve marked the beginning of this bit on your handout). Of course Aeneas has no idea what is pictured because it is a scene from the future... Take a moment to consider how the Battle of Actium is portrayed by Vergil in this scene! C) In this scene, Aeneas goes down to the Underworld to see his father, Anchises, who has died. While there, Aeneas sees the pool of Romans waiting to be born. Anchises speaks and tells Aeneas about all of his descendants, pointing each of them out as they wait in line for their birth. 3) A passage from Horace’s “Song of the New Age”: Carmen Saeculare Important questions to ask yourself: Is this poetry propaganda? What do you take away about how Augustus wanted to be viewed, and what were some of the key themes that the poets keep repeating about Augustus or this new Golden Age? Le’,s The Au,qustan Age 195.
  • Aeneidic and Odyssean Patterns of Escape and Release in Tolkien's "The Fall of Gondolin" and the Return of the King

    Aeneidic and Odyssean Patterns of Escape and Release in Tolkien's "The Fall of Gondolin" and the Return of the King

    Volume 18 Number 2 Article 1 Spring 4-15-1992 Aeneidic and Odyssean Patterns of Escape and Release in Tolkien's "The Fall of Gondolin" and The Return of the King David Greenman Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Greenman, David (1992) "Aeneidic and Odyssean Patterns of Escape and Release in Tolkien's "The Fall of Gondolin" and The Return of the King," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 18 : No. 2 , Article 1. Available at: https://dc.swosu.edu/mythlore/vol18/iss2/1 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Sees classical influence in the quest patterns of olkienT ’s heroes. Tuor fits the pattern of Aeneas (the Escape Quest) and the hobbits in Return of the King follow that of Odysseus (the Return Quest).
  • Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal

    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.
  • Statius; with an English Translation by J.H. Mozley

    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.
  • Let's Think About This Reasonably: the Conflict of Passion and Reason

    Let's Think About This Reasonably: the Conflict of Passion and Reason

    Let’s Think About This Reasonably: The Conflict of Passion and Reason in Virgil’s The Aeneid Scott Kleinpeter Course: English 121 Honors Instructor: Joan Faust Essay Type: Poetry Analysis It has long been a philosophical debate as to which is more important in human nature: the ability to feel or the ability to reason. Both functions are integral in our composition as balanced beings, but throughout history, some cultures have invested more importance in one than the other. Ancient Rome, being heavily influenced by stoicism, is probably the earliest example of a society based fundamentally on reason. Its most esteemed leaders and statesmen such as Cicero and Marcus Aurelius are widely praised today for their acumen in affairs of state and personal ethics which has survived as part of the classical canon. But when mentioning the classical canon, and the argument that reason is essential to civilization, a reader need not look further than Virgil’s The Aeneid for a more relevant text. The Aeneid’s protagonist, Aeneas, is a pious man who relies on reason instead of passion to see him through adversities and whose actions are foiled by a cast of overly passionate characters. Personages such as Dido and Juno are both portrayed as emotionally-laden characters whose will is undermined by their more rational counterparts. Also, reason’s importance is expressed in a different way in Book VI when Aeneas’s father explains the role reason will play in the future Roman Empire. Because The Aeneid’s antagonists are capricious individuals who either die or never find contentment, the text very clearly shows the necessity of reason as a human trait for survival and as a means to discover lasting happiness.
  • Faunus and the Fauns in Latin Literature of the Republic and Early Empire

    Faunus and the Fauns in Latin Literature of the Republic and Early Empire

    University of Adelaide Discipline of Classics Faculty of Arts Faunus and the Fauns in Latin Literature of the Republic and Early Empire Tammy DI-Giusto BA (Hons), Grad Dip Ed, Grad Cert Ed Submitted in fulfilment of the requirements for the degree of Master of Philosophy October 2015 Table of Contents Abstract ................................................................................................................... 4 Thesis Declaration ................................................................................................... 5 Acknowledgements ................................................................................................. 6 Introduction ............................................................................................................. 7 Context and introductory background ................................................................. 7 Significance ......................................................................................................... 8 Theoretical framework and methods ................................................................... 9 Research questions ............................................................................................. 11 Aims ................................................................................................................... 11 Literature review ................................................................................................ 11 Outline of chapters ............................................................................................
  • 1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis

    1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis

    Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it.
  • Aeneid 7 Page 1 the BIRTH of WAR -- a Reading of Aeneid 7 Sara Mack

    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).
  • Latin: Figures of Speech & Rhetorical Devices

    Latin: Figures of Speech & Rhetorical Devices

    LATIN: FIGURES OF SPEECH & RHETORICAL DEVICES ALLITERATION (L., toward the same letters) Repetition of the same sound, usually initial, in two or more words. This term normally applies to consonants and accented initial vowel (magno cum murmure montis, Aeneid 1.55). ANAPHORA (Gk., carrying back) Repetition of a word, usually at the beginning of successive clauses or phrases, for emphasis or for pathetic effect. This figure is often accompanied by asyndeton and ellipsis (hic illius arma, hic currus fuit; hoc regnum..., Aeneid 1.16-17; ubi...ubi...ubi, Aeneid 1.99-100). APOSIOPESIS (Gk., becoming silent) An abrupt failure to complete a sentence, for rhetorical effect (Quos ego - , Aeneid 1.135). APOSTROPHE (Gk., turning away) Address of an absent person or an abstraction, usually for pathetic effect (o terque quaterque beati, Aeneid 1.94). ASSONANCE (L., answer with the same sound) The close recurrence of similar sounds, usually used of vowel sounds (amissos longo socios sermone requirunt, Aeneid 1.217). ASYNDETON (Gk., not bound together) Omission of conjunctions in a closely related series (don’t confuse with anaphora). CHIASMUS (Gk., marking with diagonal lines like a X) Arrangement of pairs of words in opposite order ABBA ELLIPSE (Gk., leaving out) Is the suppression of a word or of several words of minor importance the logical expression of the thought, but necessary to the construction. It allows for brevity, force and liveliness and often unconsciously supplied. ENJAMBMENT (Fr., the act of straddling) The running over of a sentence from one verse or couplet into another so that closely related words fall in different lines (ac veluti magno in populo cum saepe coorta est seditio, Aeneid 1.148-49).
  • V.S. Lectures. No. 68 APOLLONIUS RHODIUS and VIRGIL a Lecture

    V.S. Lectures. No. 68 APOLLONIUS RHODIUS and VIRGIL a Lecture

    V.S. Lectures. No. 68 APOLLONIUS RHODIUS AND VIRGIL A lecture delivered to the Virgil Society 24th October 1964 by J. D. M. Preshous, M.A. The propositions that I wish to examine are first, that Virgil in creating his own poetic image very often fused together a number of his sources into what is sometimes a most intricate pattern, and secondly, that among these sources, Apollonius Rhodius was often prominent. Most of the accepted facts of Virgil’s youth and upbringing are to be found in the Vitae Vergilianae, short biographies written by post-classical authors. Of these the most important is that which was for a long time attributed to Donatus but which is now more generally ascribed to Suetonius. The other two Lives - those by Servius and by Valerius Probus (the latter no more than a brief preface) - seem to draw largely for their material upon Suetonius, A few passages only are relevant to a study of Virgil's method of composition. To begin with, Suetonius records that Virgil’s poetry required considerable time for its completion (Life of Virgil, 25): Bucolica trienno, Georgica septem, Aeneidea undecim perfecit annis. This is further emphasised later (22): cum Georgica scriberet, traditur cotidie meditatos mane plurimos versus dictare solitus, ac per totum diem retractando ad paucissimos redigere, non absurde carmen se ursae more parere dicens et lambendo demum effingere... "When he was writing the Georgies, he is said to have been in the habit of writing daily a very large number of verses, thought out early in the morning, and throughout the day of reducing these to a very few by a process of reshaping; saying, not inappropriately, that he produced a poem as a bear her cub and licked it at last into shape..." This is very important.
  • MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1

    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.
  • Metempsychosis in Aeneid Six Author(S): E

    Metempsychosis in Aeneid Six Author(S): E

    Metempsychosis in Aeneid Six Author(s): E. L. Harrison Reviewed work(s): Source: The Classical Journal, Vol. 73, No. 3 (Feb. - Mar., 1978), pp. 193-197 Published by: The Classical Association of the Middle West and South Stable URL: http://www.jstor.org/stable/3296685 . Accessed: 12/02/2013 21:07 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Classical Association of the Middle West and South is collaborating with JSTOR to digitize, preserve and extend access to The Classical Journal. http://www.jstor.org This content downloaded on Tue, 12 Feb 2013 21:07:57 PM All use subject to JSTOR Terms and Conditions METEMPSYCHOSISIN AENEID SIX The purposeof this note is to suggest that, in orderto understandmore clearly the lines in which Virgil preparesthe way for his paradeof heroes in Book Six (679-755), we need to appreciatethe difficulties presentedby the introduction of such an episode, and consider how he handled them.' Although we can only surmise, it seems highly probablethat, influencedby the practice at the funerals of prominentRomans of having relatives walk in processionwearing portrait-masks of the dead man's ancestors,2Virgil decided to stage a similar spectacle on a granderscale, including in its scope the great figures of Rome's past.