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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. Virgil, This course book off ers the original Lati n text, vocabulary aids, study questi ons, and an extensive commentary. Designed to stretch and sti mulate readers, this resource is of parti cular interest to students of Lati n studying for A-Level or on undergraduate courses. It extends beyond detailed linguisti c analysis to encourage criti cal engagement with Aeneid Virgil’s poetry and the most recent scholarly thought. This editi on includes: 11 • Lati n text with Introducti on • Vocabulary Aid (Pallas & Camilla) • Commentary • Study Questi ons As with all Open Book publicati ons, the enti re work is available free to read online, while printable digital editi ons of the volume together with additi onal resources can be downloaded from the publisher’s website: www.openbookpublishers.com Cover image: Jean-Bapti ste Peytavin, Metabus and Camilla (1808). Cover design: Anna Gatti . book INGO GILDENHARD AND JOHN HENDERSON ebooke and OA editi ons also available Virgil, Aeneid 11 (Pallas & Camilla) OPEN ACCESS 1–224, 498–521, 532–96, 648–89, 725–835 OBP Latin text, study aids with vocabulary, and commentary To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/857 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. VIRGIL, AENEID 11 (PALLAS & CAMILLA) Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard and John Henderson https://www.openbookpublishers.com © 2018 Ingo Gildenhard and John Henderson This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Ingo Gildenhard and John Henderson, Virgil, Aeneid 11 (Pallas & Camilla), 1–224, 498–521, 532–96, 648–89, 725– 835. Latin text, study aids with vocabulary, and commentary. Cambridge, UK: Open Book Publishers, 2018, https://doi.org/10.11647/OBP.0158 Detailed information on the license is available at http://www.openbookpublishers.com/ isbn/857#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at http://www. openbookpublishers.com/isbn/857#resources Classics Textbooks, vol. 7 | ISSN: 2054-2437 (Print) | 2054-2445 (Online) ISBN Paperback: 978-1-78374-600-2 ISBN Hardback: 978-1-78374-601-9 ISBN Digital (PDF): 978-1-78374-602-6 ISBN Digital ebook (epub): 978-1-78374-603-3 ISBN Digital ebook (mobi): 978-1-78374-604-0 ISBN XML: 978-1-78374-605-7 DOI: 10.11647/OBP.0158 Cover image: Jean-Baptiste Peytavin, Metabus and Camilla (1808), https://commons. wikimedia.org/wiki/File:Metabus.jpg Cover design: Anna Gatti. All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative), PEFC (Programme for the Endorsement of Forest Certification Schemes) and Forest Stewardship Council® (FSC® certified). Printed in the United Kingdom, United States, and Australia by Lightning Source for Open Book Publishers (Cambridge, UK) In memoriam Rosemary Barrow (9 April 1968–21 September 2016) Contents Preface and Acknowledgements ix Introduction 1 1. Virgil & Homer, or: The Overall Design of the Aeneid 3 (and Book 11’s Place Within It) First Impressions Matter 5 So Do Last 8 And What Happens in-between Matters too 11 2. Aeneid 11 13 Part I: Pallas 17 A Glance at Part II 21 Part III: Camilla 22 3. Further Themes: Battle, Death, Ethnicity 31 Battle 31 Death 32 Ethnicity 35 Extra Information: The Ultimate Deal 38 Text 41 Commentary 169 Camilla 407 Bibliography 567 Preface and Acknowledgements The sections from Aeneid 11 included in the present textbook will serve as two of the set texts for the OCR Latin AS- and A-Level specifications from 2019–2021. The part on Pallas (1–224) forms a unified whole; from the story of Camilla, the prescribed portion only includes significant bits: pieces of her aristeia and the aftermath of the death are not on the Latin syllabus (and are therefore not included in the present commentary), but are of course to be read in English. The recent commentaries on Aeneid 11 by Gransden (1991), Horsfall (2003), and Fratantuono (2009) facilitate engagement with this relatively neglected book of the poem and inform the present volume as well. As in earlier contributions to the Classical Textbook Series from Open Book Publishers, the following pages tend to summarize and cite (at length), rather than just refer to primary sources and pieces of secondary literature: for our primary audience a ‘see e.g.’ or a ‘cf.’ followed by a reference is at best tantalizing, but most likely just irritating. Unless otherwise indicated, translations of Greek and Latin texts are (based on) those in the Loeb Classical Library. Gestures to further readings (in particular in the Introduction) are not entirely absent, however, to render the commentary useful also for readers who have more time on their hands and can get access to scholarly literature, such as students wishing to do an EPQ. The textbook tries to cater for various backgrounds: it contains detailed explication of grammar and syntax, bearing in mind students who study the text off-syllabus; and it endeavours to convey a flavour of Latin studies at undergraduate level for those who are thinking of pursuing classical studies at university. The commentary also tries to bring into view a feature of Virgil’s poetry that the drive towards x Virgil, Aeneid 11 lexicalized entries inherent in the genre often overlooks: the overall design — and the ‘building blocks’ — of larger textual units (here often illustrated through different mark-ups). Awareness of Virgil’s ‘Lego- poetics’ should enhance appreciation of his craftsmanship as a literary artist and the ‘architectural’ dimension of his verse- (and world-) making. In addition, we have introduced images alongside relevant texts in the expectation that the visual ‘commentary’ will generate lively intermedial discussion. The commentary is a joint venture, but it seemed helpful to mark some comments with the siglum JH, to be taken as the equivalent of what educationalists brand with the label S&C (= ‘Stretch & Challenge’). Like the series it belongs to, this volume would have been inconceivable without Open Book Publishers and their customary flexibility and speed, and we are profoundly grateful to Alessandra Tosi and her team. Aeneid 11 immortalizes two victims of mors immatura, and the book is dedicated to the memory of a colleague whose death too was tragically premature. Introduction A dead boy (Pallas) and the death of a girl (Camilla) dominate the opening and the closing third of Aeneid 11 — one from each side of the conflict in prehistoric Italy between the Trojan migrants (and their allies) and the Rutulian Turnus (and his allies). In the middle segment, Turnus and his nemesis Drances mouth off in the council of King Latinus — but OCR’s selection of passages skips over their diplomatic tiff: the exam board goes in for those narrative stretches that have given Aeneid 11 the reputation of being the saddest of the epic.1 With some of the zany material from the Camilla part in mind, it is arguably also the weirdest. But before we can zoom in on the chosen bits — the funerals, the fighting, and the fun — it is worth getting the whole into view. 1 Anderson (1999: 195). © I. Gildenhard and J. Henderson, CC BY 4.0 https://doi.org/10.11647/OBP.0158.04 1.
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