Gilgamesh and Aeneas
The Epic of Gilgamesh and Virgil's Aeneas exemplify ancient epic poetry. Both works trace the psychological evolution of a semi-divine male hero who meets with immense personal trauma and hardship. Gilgamesh mourns the loss of his only companion, Enkidu, while Aeneas experiences the loss of his family, his people, and his homeland. In both cases, the pain transforms the hero into a wiser, more human leader. The ability to overcome personal loss and sacrifice becomes the hallmark of Gilgamesh and Aeneas. Each character must travel far from home to undergo their transformation into an ideal hero. During the course of their journeys, they encounter monsters and other supernatural forces that either assist or thwart their efforts. Throughout the course of the epics, both Gilgamesh and Aeneas exhibit typical heroic traits such as physical prowess, bravery, and leadership. They are both portrayed as possessing human weaknesses coupled with godlike powers. However, as leaders and as men, Gilgamesh and Aeneas differ on many counts. Gilgamesh starts out as an egotistical, brazen king who oppresses his people, while Aeneas begins as a more reluctant and just leader. Therefore, Gilgamesh learns to temper his self-centeredness with humility; Aeneas must build self-confidence and faith in his destiny. Gilgamesh and Aeneas emerge as ideal heroes not only because of their birthright, brawn, and bravery, but also because of their ability to overcome enormous personal loss, tragedy, and grief.
Gilgamesh and Aeneas leave their homelands for entirely different reasons. Gilgamesh sets off on a personal quest, not knowing that the outcome will be a renewed vision of his homeland and his role as leader. Sick of their tyrannical ruler's antics, the oppressed people of Uruk pray to the gods for assistance. The divine response is to create an equal for Gilgamesh, one who rivals him in physical strength. Enkidu thus becomes Gilgamesh's trusted friend and...
"Alas!" said one, "what oceans yet remain For us to sail! what labors to sustain" (Book IV). Playing on their already frustrated emotions, they are quick to succumb when "the goddess, great in mischief, views their pains" (Virgil Book V). Stirred-up by the goddess, the women set fire to the ships, only to have them put out by the Trojans with some assistance from the gods. Thus, this is just another example in
Aeneid - the Duty-Bound Aeneas Aeneas was a Trojan prince who fled from the ruins of Troy to look for Italy as his new fatherland. In his voyage, Aeneas shatters the heart of Dido - the Carthaginian queen, pays a visit to the Underworld, and finds Lavinium, a city on the coast of Italy. His mother is the goddess Venus, and he is a descendant of mighty Jove. According to the
" Finally, Lantinus seals Aeneas's fate as a future Latin by commenting on how the Trojan will bring peace. The king states, "peace is made when I behold him here." Aeneas's being welcomed with genuine warmth into Latinus's home and homeland signal a tremendous transformation in the title character of the poem. Aeneas is no longer just a Trojan, and he is no longer a Trojan without a homeland. Now
Juno does everything in her power to destroy Aeneas; yet he survives. The Homeric heroes had the luxury of divine help to complete their heroic missions. Another important factor is Aeneas' family. Aeneas' first loyalty was to his family. Despite all the odds against their survival, Aeneas makes nothing short of a heroic effort to save his family from the violence of the conflict they face. He succeeds in saving
After an unfortunate set of events which leaves Aeneas with only seven ships from his initial fleet, the Trojans find themselves on the shores of Carthage. Here, there are welcomed by the Phoenician princess, Dido, the founder of the city. The fact that the people of Carthage partially share the same fate as the Trojans makes it easier for them to interact and form bonds. Gradually, a connection forms between Dido
Rhyming also conveys emotion in the Aeneid. The first four lines of the epic read: "Arms, and the man I sing, who, forc'd by fate, / and haughty Juno's unrelenting hate, / Expell'd and exil'd, left the Trojan shore. / Long labors, both by sea and land, he bore." This opening passages also show how regular the meter is in the Aeneid, as each line has ten "feet." The
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