Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

World of the Hero > AENEID SCHOLARS > Flashcards

AENEID SCHOLARS Flashcards

1
Q

Aeneas is a new

A

type of hero, an unheroic type. His strength is limited, his resolution sometimes frail.
- Williams

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

one of the tensions

A

the portrayal between Aeneas and Dido assumes is one between passion and patriotic duty.
- Wallace-Hadrill

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

Aeneas and Dido are both

A

victims of external forces, love and duty, brought to bear on them by the gods.
- Wallace-Hadrill

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

Aeneas’ general concern

A

to facilitate fate is the cornerstone of his pietas
- Mackie

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

the effect, haunting,

A

complex and in harmony with the rest of the poem is deliberate
- Griffin

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

Aeneas comes off

A

badly at Carthage and that his killing of Turnus in the closing stages of the epic hurts him in our eyes.
- Anderson

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

Virgil created in Aeneas a new type

A

of Stoic hero willing and ready to subordinate his individual will to that of destiny
- Gransden

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

all great poets

A

draw on and modify the works of the predecessors
- Gransden

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

book 6 is the

A

pivot and turning point of the whole poem - Gransden

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

the Aeneid is dominated

A

by fathers and father-figures
- Gransden

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

Dido and Turnus are minorities who

A

are trampled over by the great Roman juggernaut
- Williams

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

the frivolity

A

found in Homer’s Olympians does not belong in Virgil’s scheme of things
- Gransden

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

The Aeneid is a search

A

for a vision of peace and order for Rome and for humanity.
- West

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

Aeneas is not

A

simply Augustus.
- Anderson

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

Gender in the Aeneid

A

follows Roman stereotypes.
Virgil associates the feminine with unruly passion, the masculine with reasoned self-mastery. Women make trouble and men restore order.
- Oliensis

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

the Aeneid is not a poem about

A

religion… yet fate and the gods are everywhere throughout the poem, seeming to be always in control.
- Ross

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

Virgil uses divine

A

conversations as a means of including Roman historical and propaganda elements.
- Quinn

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

the reader’s first impression

A

is that the human action is dominated constantly by a divine machinery designed strictly in the Homeric tradition.
- Quinn

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

furor is the most

A

pervasive and destructive force in the Aeneid. It can take the form of sexual obsession or murderous greed.
- Cowan

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

the Aeneid generally equates

A

order and reason with masculinity, chaos and passion with femininity.
- Cowan

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

Creusa upholds her role as a wife

A

her nobility in death is that she wants to comfort her husband
- Jenkyns

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

the uncomplicatedly virtuous

A

women of the epic, Creusa and Lavinia, prove their virtue by submitting to the masculine plot of history - Creusa by accepting her relegation to the past, Lavinia by not resisting her exploitation for the future.
- Oliensis

23
Q

we need our heroes to be human

A

and not too great
to be human is to experience failure and suffer defeat.
- Ross

24
Q

Aeneas is a mere

A

emblematic automaton, a wooden puppet lacking in genuine human emotion.
- Ross

25
Q

there is a sense

A

of loss, giving a mood of frustration, loss and sadness
- Parry

26
Q

To a Roman audience

A

Dido deserved her fate for breaking her oath, and suicide was the only way to regain her honour
the violation of an oath involves inevitably a tragic fate
- Teames

27
Q

ancient sentiment

A

did not look for faithfulness in a husband
Aeneas would not have been blamed for Dido’s death
- Teames

28
Q

Virgil portrays characters

A

in a way that serves as a threat to traditional gender roles in Roman society while also providing an example of ideal Roman values.
foreign females: Dido, Camilla - possess Roman qualities but are doomed to fail in a male-dominated world, threaten cultural norms
- Reilly

29
Q

book 4 is like a tragedy

A

with scenes between the protagonists (Aeneas, Dido, Anna), divine messengers and interventions, with the author as chorus, not only narrating but commenting on the action.
- Gransden

30
Q

Jupiter’s prophecy

A

assures the Romans of an empire without end; Dido promises them war without end.
Jupiter emphasises victory, Dido reminds us of the costs of that victory.
- O’Gorman

31
Q

Aeneas is an instrument

A

of the gods and of a bigger mission
emerges as little more than a symbol, passively acquiescent towards the will of the gods or of his father
Aeneas is not a vital character like the heroes of Homer, because all his vital instincts and passions are subdued in the service of the patriarchal ideal
- Sowerby

32
Q

the events in the Underworld

A

act not as reminders but as means to forget
- Powers

33
Q

the underworld has provided

A

a perfectly plausible means for men of the future to feature in the poem
- Powers

34
Q

Aeneas from the start is absorbed in

A

his own destiny.
A destiny which does not ultimately relate to him, but something later, larger and less personal.
Throughout he has no choice. He is always the victim of forces greater than himself, and the one lesson he must learn is, not to resist them
- Parry

35
Q

Aeneas shows none of the

A

zest of adventure or resourcefulness associated with the Homeric Odysseus.
- Sowerby

36
Q

war must be portrayed

A

at least somewhat positively, as war and the making of an empire was very positive for the Romans.
Aeneas must be portrayed as an ancestor of Rome, a prototype of historic qualities Romans had consolidated their country in strength, unity and peace.
- Semple

37
Q

Lavinia and Dido

A

symbolise their nations geographically.
proper Latin woman contrasted to foreign, wilder and chaotic Dido.
- Syed

38
Q

most of the plot is generated

A

by Juno
her reconciliation to the Roman destiny is the true resolution of the poem
- Gransden

39
Q

war is shown

A

as a necessary evil leading to a greater good
- Anderson

40
Q

Aeneas is compared to Hercules

A

a man for who his deeds to improve civilisation was destined for deification
same for Augustus
- Williams

41
Q

the heroic,

A

brave and self-sacrificing ideal is not necessarily the nobler ideal
- Quinn

42
Q

the military bravery

A

and leadership of Aeneas is very sadly missed
- Williams
absence reflects his responsibility, Turnus breaches the walls (book 9)

43
Q

it is to Aeneas

A

that Virgil ascribes the urge to kill in it ugliest form…Aeneas has surrendered to an impulse that disgraces his humanity
- Quinn

44
Q

women who step

A

out of traditional gender roles are doomed to fail, even if they portray virtues that a Roman man should hold
- Reilly

45
Q

Turnus’ death

A

is inevitable and natural so the cutting off of the story along with the cutting off of Turnus’ life is not shocking
- Feeney

46
Q

Dido and Turnus resemble each other

A

as obstacles to the divine will that must be overcome
yet there is sympathy and a feeling of injustice
puppets of the gods
- Williams

47
Q

furor is the

A

chief failing of humans
the tragedy and disasters are due to the violent and unreasoning element in human nature
- Williams

48
Q

Virgil is trying to depict

A

a character upon whom Romans of his day could model themselves.
- Williams

49
Q

Homeric heroes are great

A

individualists but Aeneas has to be the social man, who succeeds in leading his group and not aiming to achieve personal satisfaction
- Williams

50
Q

in book 2 Aeneas

A

is the typical soldier who cannot resist a battle
- Quinn

51
Q

Aeneas is sometimes,

A

under provocation, ruthless and savage.
- Williams

52
Q

Aeneas fights because he

A

must fight, in the bitter fulfilment of duty
- Williams

53
Q

Turnus primarily cares for

A

himself and Aeneas for others
- Williams

World of the Hero (5 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions