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Virgil, Aeneid 4.1-299 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/162 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Ingo Gildenhard is currently Professor of Classics and the Classical Tradition at Durham University. In January 2013, he will take up a Lectureship in the Faculty of Classics, Cambridge University, and a Fellowship at King’s College Cambridge. His previous publications include the monographs Paideia Romana: Cicero’s Tusculan Disputations (Cambridge, 2007) and Creative Eloquence: The Construction of Reality in Cicero’s Speeches (Oxford, 2011). He has also published another textbook with Open Book Publishers, Cicero, Against Verres, 2.1.53-86. Virgil, Aeneid 4.1–299: Latin Text, Study Questions, Commentary and Interpretative Essays Ingo Gildenhard Open Book Publishers CIC Ltd., 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com © Ingo Gildenhard This book is licensed under a Creative Commons Attribution-NonCommercial 3.0 unported license available at: http://creativecommons.org/licenses/by- nc/3.0/ This license allows you to share, copy, distribute, transmit and adapt the work, but not for commerical purposes. The work must be attributed to the respective authors (but not in any way that suggests that they endorse you or your use of the work). As with all Open Book Publishers titles, digital material and resources associated with this volume are available from our website at: http://www.openbookpublishers.com/product/162 ISBN Hardback: 978-1-909254-16-9 ISBN Paperback: 978-1-909254-15-2 ISBN Digital (PDF): 978-1-909254-17-6 ISBN Digital ebook (epub): 978-1-909254-18-3 ISBN Digital ebook (mobi): 978-1-909254-19-0 Cover image: Augustin Cayot, La mort de Didon (1711). Louvre museum. Photo by Marie-Lan Nguyen. Image available at: http://commons.wikimedia.org/wiki/File:Death_Dido_Cayot_Louvre_ MR1780.jpg (the work is in the public domain) All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative), and PEFC (Programme for the Endorsement of Forest Certification Schemes) Certified. Printed in the United Kingdom and United States by Lightning Source for Open Book Publishers For Alessandro Contents Acknowledgements ix 1. Preface 1 2. Latin Text 7 3. Study Questions 17 4. Commentary 39 5. Interpretative Essays 229 5.1 Content and Form 229 5.2 Historiographical Dido 244 5.3 Allusion 256 5.4 Religion 279 Bibliography 299 A. Texts 299 B. Recent Translations 299 C. Modern Commentaries 300 D. Introductions 300 E. Secondary Literature 301 Acknowledgements I am most grateful to Open Book Publishers, in particular Rupert Gatti and Alessandra Tosi. They gave their enthusiastic support when I approached them with the idea for this project earlier this year and showed remarkable patience when the typescript took longer to materialize than initially anticipated. John Henderson read a draft version of the book with his unique speed and acumen and supplied me with a bounteous windfall of critical gems, comments, and corrections that enabled the volume to take a quantum leap forward. For decades, he has shown fellow classicists how to have a blast with Latin literature while using the texts to reflect on issues that matter. Working through his notes has been an exhilarating experience and it frequently seemed best to let him speak in his own inimitable voice— though readers ought not to assume that his co-authorship is limited to those places where I explicitly cite or acknowledge his feedback. Finally, it gives me great pleasure to dedicate this volume to another inspiring critic, Alessandro Schiesaro, for now twenty years of friendship and support—as a surely inadequate, but perhaps not inappropriate, token of gratitude for someone who has pushed our understanding of Virgil’s Dido ‘further’ than anyone. 1. Preface For the years 2013–2015, lines 1–299 of Aeneid 4 form part of the OCR Latin A-Level specifications. According to the current Mayor of London, Boris Johnson, students are thus able to enjoy a portion of ‘the best book of the best poem of the best poet’!1 One can see where Johnson is coming from, not least from the point of view of the ‘classical tradition’—that is, the impact and presence of ancient Greece and Rome, after the end of antiquity, down the centuries until the present day. For among other things, the fourth book of the Aeneid features three powerful forces in human experience—Love, Sex, and Tragedy—that, in their classical inflections, continue to ‘shape our lives’.2 ‘Euge!’, then, as Minimus, the Latin-speaking Mouse of Roman Vindolanda would have put it, or, in English, ‘hooray!’3—even though the text is, apart from being ‘violently emotive’ also ‘undeniably difficult’.4 As with my little volume on Cicero’s Verrines 2.1.53–86 (an AS-level set text for 2012–14), which appeared last November, the initial impulse behind writing this textbook on Aeneid 4.1–299 was an invitation to speak at a conference for teachers on the available resources and ‘the latest thinking’ on the new set text.5 Yet unlike the situation with Cicero’s Verrines—where 1. Cf. John Dryden’s (1631–1700) famous appraisal of Virgil’s Georgics as ‘the best poem by the best poet.’ For Boris Johnson’s mischievous misprision, see the promotional video for CICERO, an acronym for Certamen In Concordiam Europae Regionumque Orbis, a competition (certamen) designed to further the peaceful harmony (concordia) of Europe (Europae) and the regions (regionum) of the world (orbis), at www.ciceroconcordia.com. 2. See Goldhill (2004). 3. To meet Minimus, go to http://www.minimus-etc.co.uk/. 4. Horsfall (1995), p. 123. 5. See I. Gildenhard, Cicero, Against Verres, 2.1.53–86: Latin Text with Introduction, Study Questions, Commentary and English Translation (Cambridge, 2011). The book is also freely available to read in its entirety at the publisher’s website (http://www.openbookpublishers. com/product/96) and at Google Books at http://www.openbookpublishers.com. The free interactive version with teachers’ comments is available at http://openbookpublishers. theclassicslibrary.com/home/ 2 Virgil, Aeneid 4.1–299 the aids available to come to terms with the set text proved rather scarce— introductions and commentaries on the Aeneid as a whole, and Book 4 in particular, are of course plentiful. Over the last seventy-five years or so no fewer than four special editions have appeared—by A. S. Pease (1935), R. G. Austin (1955, 2nd edn 1963), Keith Maclennan (2007) and James J. O’Hara (2011).6 Each one has its particular areas of strength: Pease impresses with his careful and diligent collection of literary and historical data; Austin offers superb analyses of Virgil’s style and handling of the hexameter; Maclennan renders the text admirably accessible to students, while also drawing attention to the depth and complexity of Virgil’s poetry; and O’Hara compels with his concise explication of difficult grammar and determined distillation of the scholarly literature. Electronic resources, too, exist in abundance, most notably the remarkable ‘Vergil Project’ sponsored by the University of Pennsylvania at http://vergil.classics.upenn.edu/. Apart from offering a hyperlinked Latin text that provides handy reading assistance in the form of parsing each individual word, the website also features other helpful material such as a Concordance, electronic versions of the commentaries by Servius and Conington/Nettleship, and various translations (including the one by John Dryden). In the light of such cornucopia, there was, arguably, no need to add a further resource to the list. I went ahead nevertheless, in part to experiment with a novel format designed specifically for the special challenges of the Latin A-level and its liminal position between school and university. Unlike standard commentaries, which principally aim at explicating difficulties and providing answers or solutions to questions or problems in the text, this textbook tries first and foremost to stimulate critical engagement with Virgil’s poetry. Given the manifold aids available elsewhere in terms of translations; basic introductions to Virgil, the Aeneid, and the wider historical context; vocabulary lists; definitions of technical terms; or guidance on matters to do with metre etc., I have dispensed with recapitulating basics in favour of the following: (a) Latin Text: going by my own experience and preferences, I assume that most users of this book will want to have their text in a separate volume (or window), to avoid flipping about or scrolling up and down. It seemed nevertheless advisable to re-print a plain text of the 6. See Bibliography for details. Preface 3 assigned passage here, for the sake of completeness and convenience and to facilitate checks and revision. The text here comes from the Latin Library (http://www.thelatinlibrary.com/), with occasional adjustments. (b) Study Questions: a crucial feature of this textbook is the list of study questions as an intermediary stage between ‘text’ and ‘commentary’, designed to stimulate independent thought about Virgil’s poem and poetry. They are meant to draw attention to interesting or difficult features of the text (from grammar to syntax, from style to theme) and to indicate lines of enquiry worth pursuing further. As such, they are meant to function as gateways into critical dialogue with the Aeneid. Teachers may wish to pick and choose from the list for their work in class; but the questions are phrased and set up in such a way that they lend themselves to independent study as well, especially since the more technical ones find answers in the commentary.
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