Virgil's epic poem "The Aeneid" is often described as the poet's response to Homer's epics "The Iliad," and "The Odyssey" in that it details the Trojan War and its aftermath from the Roman perspective. It is a Roman claim to great and far-reaching origins, and because of this apparently patriotic purpose, many classical scholars have attributed the poem's inspiration as Virgil's attempt to praise the emperor Augustus. However, to ascribe this simple purpose to such a complex text is somewhat problematic, as this paper will make clear.
In ascribing reasons for its author's motivation, a literary analysis of "The Aeneid" presents itself with some problems not present in a similar analysis of Homer's inspiring works. Although the actual status of Homer as either a poet or a collective name of several poets is uncertain, Homer's works formed the basis of virtually all of Greek classical literature. "The Iliad" and "The Odyssey" became the cornerstones of Greek culture, something all Greeks could refer to as a common source of moral values, of rhetoric, and of mythological history. However, as the work of a single individual at a fixed and relatively later point in time and culture, "The Aeneid" does not have a similar quality of assembled stories, but of a work of more clear design than its Greek predecessors do.
This sense of linear clarity gives a certain amount of credibility to the thesis that "The Aeneid" was written in praise of the emperor. After all, unlike the heroes of either "The Odyssey" or "The Iliad," the hero of the Roman epic seems destined for success. He will not be separated from his family for twenty years or die like Achilles surely will after "The Iliad" comes to a close. Aeneas is destined to found Rome,...
"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
Nevertheless, both heroes are very similar in their characterizations: they are both human and are subject to the whims of the gods. Odysseus confides his most troubling mistake: "From the start my companions spoke to men and begged me to take some of the cheeses, come back again, and the next time to drive the lambs and kids from their pens, and get back quickly to the ship again, and
Epic and Epic Heroes Epic is probably one of the most fascinating forms of ancient narratives and its contribution to the growth and evolution of literature cannot be overestimated. To seek a clear definition of an epic would be a futile attempt since there appears to be lesser consensus on its definition than we have on tax cuts today. Philosopher, writers and oral masters since the times of Aristotle to Seamus
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
The first six books tell the story of Aeneas' trip to Italy, and his encounters with a number of people. The second part tells of the Trojan's ultimate victory over the Latin tribes. Agamemnon, one of the most famous plays from Ancient Greece, was written by Aeschylus as commentary on seduction, betrayal, and reconciliation. If Virgil and Aeschylus were to converse about women the might scratch their chins and
Gods in the Aeneid? Viewed from Virgil's Aeneid perspective, gods are central to human existence and fate. They determine the fate of all mortals; Aeneid is included in the category of mortals; and is particularly interesting because his mother is a goddess. Jupiter is the supreme god and controls all other gods. Jupiter controls destiny. Thus, other gods are at his mercy. The other gods have their altercations among themselves
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