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the superior classics set ;) > aeneid scholarship > Flashcards

aeneid scholarship Flashcards

1
Q

Braund on Aeneas

A

“proto-Roman”

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2
Q

Harrison on Aeneas’ emotions

who for?

A

“suppression of emotion… a key virtue”

romans

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3
Q

Anderson on Aeneas’ emotions

A

when Aeneas suppresses emotions, he aligns himself with order

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4
Q

Harrison on how Aeneas feels

A

“Aeneas often feels depressed and isolated”

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5
Q

Williams on Aeneas’ heroism

A

“he is not less than Homeric in his heroism”

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6
Q

Williams on Aeneas’ narration of bk 2

A

“Aeneas’ character emerges from his own words”

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7
Q

Griffin on Aeneas’ family

A

“ideal Virgilian family”

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8
Q

Williams on Aeneas in Carthage

A

“furthest from Rome’s destiny”

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9
Q

Braund on Aeneas in book 5

A

“sees Aeneas growing as a leader”

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10
Q

Williams on Aeneas in book 6

A

“crucial for the development of Aeneas”

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11
Q

Harrison on Aeneas

warrior and general

A

“Number 1 warrior, 5 Star general”

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12
Q

Morgan on Aeneas and Turnus

A

“as Aeneas pursues Turnus, he is doing the only thing he can do”

because of Evander and Pallas

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13
Q

Braund on Aeneas’ killing of Turnus

A

“killing Turnus might be the act of a truly good leader”

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14
Q

Williams on Aeneas’ motives

A

Aeneas does not fight for personal glory, but to aid others’ success

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15
Q

Morgan on the morals of Aeneas’ actions

bk 10 especially

A

“morally disorientating”

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16
Q

Marshall on Aeneas and fate

A

“agent of fate”

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17
Q

Morgan on our thoughts abt Aeneas’ actions

A

“morally difficult for us to handle”

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18
Q

Morgan on Aeneas, Turnus and impiety

A

“it’s an act of extreme impiety to kill Turnus”

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19
Q

Kershaw on Aeneas’ piety

A

“he is Mr Pious”

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20
Q

Mac Gorain on Aeneas’ romanness

A

“he displays values that are quintessentially Roman”

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21
Q

Merriam on Ascanius

A

“agent of chaos”

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22
Q

Merriam on Ascanius’ symbolism

A

“identified with the future of the Trojan refugees and their Roman descendants”

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23
Q

Griffin on the fall of Troy and Aeneas

A

“the doom of Troy was fixed and unavoidable… it is stressed that Aeneas is very unwilling to accept these instructions”

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24
Q

Anderson on Aeneas and Dido

A

“Aeneas has no choice but to follow his duty and Dido is a tragic victim of impossible circumstances”

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25
Q

Camps on Aeneas and Fate

A

“though Aeneas is commanded by a higher power, he is not compelled”

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26
Q

Cowan on Furor

A

The poem is really about how to calm furor

book 1, soothing the storm

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27
Q

Hall on women and furor

A

“Women are the empty vessels into which the gods pour furor”

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28
Q

Boyle on Aeneas and Furor

A

Aeneas doesn’t succeed in overcoming furor

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29
Q

Braund on furor

A

“anger is perhaps neverending”

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30
Q

Gransden on Turnus’ heroism

A

“old-style homeric hero”

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31
Q

Gransden on Turnus’ furor

A

“brave but foolhardy… violent and uncontrolled”

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32
Q

Gransden on Turnus’ symbolism

A

“an archaic value system is superceded”

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33
Q

Camps on Turnus

A

We are meant to feel sympathy for him

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34
Q

Camps on Dido and Turnus

A

“victims of the destiny of Rome and Juno’s opposition to it”

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35
Q

Morgan on what Turnus could ‘turn’ (ha) into

A

“Turnus might turn into a kind of Antony figure”

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36
Q

Anderson on Turnus being Homeric, and what it means

A

“no better than the young Euryalus, and therefore the Italian cause is equally doomed”

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37
Q

Di Cesare on Turnus’ heroism

A

“has become, inevitably, an anachronism”

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38
Q

Harrison on Dido and Aeneas’ marriage

A

Virgil does not make judgements about the ‘marriage’ – any views are Dido’s own

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39
Q

Jenkyns on the relationship between Dido and Aeneas

A

A fit of passion, nobody was to blame

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40
Q

Giusti on Dido’s character

A

“intersection of multiple prejudices”

i.e. woman, foreigner

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41
Q

Anderson on the death of Dido

A

Death of Dido is a symbol for the defeated victims of Roman destiny

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42
Q

Nugent on perceptions of Dido

A

“Dido has been understood both as the most dangerous threat to the Roman Project and as an enormously sympathetic tragic figure”

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43
Q

Morgan on Priam’s death

A

“designed to recall Pompey the Great”

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44
Q

Braund on Aeneas and Augustus

A

“map onto one another”

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45
Q

Camps on the story of Hercules and Cacus

(book 8)

A

an allegory for civilisation v chaos, Augustus v civil war

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46
Q

Meban on the fight between Trojans and Rutulians

A

“this is not a victory over a foreign enemy, but rather a conflict between two peoples who are destined to be joined in a close bond”

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47
Q

Meban on friendship

A

“friendship was always an institution central to Roman Cultural life”

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48
Q

Meban on Nisus and Euryalus

A

“Virgil not only locates the relationship of Nisus and Euryalus in the past, but also orients it to the future”

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49
Q

Jenkyns about the poem as Augustan Propaganda

A

“if Augustus wanted a glorious poem about his glorious deeds, he never got it”

50
Q

Marshall on what the poem shows about Rome

A

“human cost of founding Rome”

51
Q

Boyle on the parade of Heroes

A

the empire that Anchises lays out will never be realised

52
Q

Marshall on the pessimism of the Parade of Heroes

A

“Virgil ends that catalogue with the greatness that might have been”

53
Q

Beard on the purpose of the Aeneid

A

“was using myth to explain the complexities of the rise of Rome and its empire”

54
Q

Marshall on the shield of Aeneas

A

“Rome’s propensity to inner conflict… inner strife”

55
Q

Cowan on Aeneas and Aug.

A

Aeneas “is the model for the Emperor Augustus, a template for what a good Roman is expected to be”

56
Q

W.H. Auden on the Parade of Heroes

A

“history in the future tense”

57
Q

Hardie on the Parade of Heroes

A

Parade suggests that “the Roman Empire is part of the pre-ordained working of the universe”

58
Q

Mac Gorain on the purpose of the Aeneid

A

“Virgil’s Epic aimed to explore the concerns of Roman History through the vehicle of myth”

59
Q

Anderson on the role of the Gods

A

“do gods inspire men with their eager, burning desires, or do men make gods of the passion inside them? Virgil’s answer… seems to be both”

60
Q

Feeney on Juno at the end of the poem

A

“Juno is still biding her time, still nursing one of her two grudges”

61
Q

Braund on Juno in the poem

A

“the story of the wrath of Juno”

62
Q

Morgan on the role of the Gods

A

“all of this is scripted by the gods”

63
Q

Harrison on Juno

A

“the classic soap-opera bitch”

64
Q

Morgan on Allecto’s speech

(bk 7)

A

“a splendid piece of wicked rhetoric”

65
Q

Harrison on Virgil’s wartime narrative

A

“someone who appreciates a fine kill… not a pea-shooting pacifist”

66
Q

Harrison on Virgil and the portrayal of violence

A

“interested in the artistic portrayal of violence”

67
Q

Anderson on Virgil’s portrayal of war

A

Virgil shows war to brutalise men and invites his audience to sympathise with Aeneas’ victims

68
Q

Cowan on the mission

A

“the mission to found the Roman people, a mission founded upon the self-denial which made Aeneas abandon Dido”

69
Q

Gransden on the structure of the poem

A

odd-numbered books are less important than even-numbered ones

70
Q

Putnam on ekphrasis

A

“ambiguous potential of Virgilian ekphrasis”

71
Q

Hardie on the mural of Troy

(bk 1)

A

“passage is framed by tears”

72
Q

Gransden on bk 6

A

“pivoting point of Aeneid”

73
Q

Williams on bk 6

A

“crucial for the development of Aeneas”

74
Q

Duckworth on the structure of the poem

A

Parallel books (1/7, 2/8…)

75
Q

Hall on women

A

“Women are the empty vessels into which the gods pour furor”

76
Q

Hardie on women

A

“there are no powerful successful women in the Aeneid”

77
Q

Heinze on Euryalus’ mother

A

“enters into the text not as a subject but as a topic of men’s discussion”

78
Q

Morgan on women’s license

A

“license to perform in the poem for as long as they behave like men”

79
Q

Oliensis on women’s vs men’s focus

A

“women tend towards origins, men are oriented towards ends”

80
Q

Pillinger on the place of women

A

“don’t fit well with the future-facing mission that Aeneas has”

81
Q

Giusti on the comparison of Dido to Penthesileia

A

“double vision of Penthesileia and Dido… potentially threatening”

82
Q

Hines on ‘epic’

A

“all male, all war, all the time”

83
Q

Morgan on Camilla and Juturna, and what they show

A

“skewed and inverted pictures of marriage and sexuality” (they show the impropriety of Turnus’ match with Lavinia)

84
Q

Gildenhard and Henderson on Camilla

A

“her masculine side enables her to triumph temporarily; her feminine side will be responsible for her ultimate tragedy”

85
Q

Gransden on Latinus

A

“an Italian Priam”

86
Q

Vandiver on a theme of men in the Aenied

A

theme in the Aeneid of a young man and an older man who are “especially devoted to each other” (Nisus/Euryalus, Aeneas/Pallas)

87
Q

Braund on the death of Euryalus

A

an attempt is made to feminise Euryalus

88
Q

Vandiver on the sword belt of Pallas

A

theme of ruined marriages

89
Q

Braund on the sword-belt of Pallas

A

theme of excessive violence

90
Q

O’Higgins on the image on the sword-belt of Pallas

A

“matrimonial abbatoir”

91
Q

Spence on the image of the sword-belt of Pallas

A

the belt shows the Danaids. In the temple of Palatine Apollo Augustus had a depiction of the women, so Virgil shows the reverse here

92
Q

Cowan on people dying young

A

“Wider theme of anthems for doomed youth”

93
Q

Harvard School

A

Negative views on all Augustan propaganda

94
Q

Gransden on fathers/sons

A

“the Aeneid is dominated by fathers and father-figures”

95
Q

Morgan on being a young man

A

“being a young man is not a good condition in the Aeneid”

96
Q

Natalie Haynes on Venus and Aeneas

A

“in spite of her physical distance from Aeneas… [Venus] is deeply invested in his wellbeing”

97
Q

Kershaw on Aeneas’s response to Pallas’s death

A

“a mixture of mad anger (furor) and pietas”

98
Q

Kershaw on the ending

A

“did furor win in the end, or pietas? The emotional and moral effects of the ending are highly ambiguous”

99
Q

Sforza on Aeneas

A

“practically impossible to find a passage, where Aeneas appears, that does not in some way indict him with dastardly, criminal, or stupid actions”

100
Q

Fearn and Laird on the epic’s themes

A

“though the epic is about war, it is also about human values and human emotions”

101
Q

Bragg on Ascanius, Aeneas and Anchises

A

“the past, the present, the future of what will be Rome”

102
Q

Edwards on Aeneas and duty

A

‘he must overcome emotion to pursue duty”

103
Q

Braund on books 6-8

A

Roman middle

104
Q

Merriam on Ascanius’ symbolism (bad thing)

A

“the happiness and security that the Trojan refugees dream of can be compromised by human folly, childish enthusiasm and heedless selfishness”

105
Q

Southon on Virgil’s addition of Marcellus to the parade

A

“a legitimately wild piece of sucking up”

106
Q

Morgan on Lausus, Aeneas and Mezentius

A

“Aeneas and Mezentius are brought back to normality by the figure of Lausus” he works to “humanise” them

107
Q

Mattes on the killing of Turnus

A

“leaves the reader questioning the glory of Roman history”

108
Q

Mattes on the Aeneid’s purpose

A

“the Aeneid is really anti-Augustan while feigning to be pro-Augustan”

109
Q

Bartsch on the poem as a whole

A

“a deeply thoughtful poem by a man who’d lived through the horrors of war and the compromises of peace”

110
Q

Hardie on the poem as a whole

A

“a natural text for successive installments of the transfer of power”

111
Q

Bartsch on Aeneas’ piety

A

“it is this piety… that drives him onward in the search for a new homeland”

112
Q

Bartsch on the poem’s ending

A

“an ending so bleak and startling that many have wondered whether Vergil intended to write more”

113
Q

Bartsch on the purpose of the poem (divine approval)

A

“sets the stamp of divine approval on imperial expansion”

114
Q

Bartsch on the poem (foundation)

A

“tells a story of foundation but puts on display the fault lines at the base of its own edifice”

115
Q

Bartsch on how Virgil uses Aeneas

A

“with Aeneas as his hero, Vergil could avoid dealing with contemporary politics and still address Augustus’ declared values”

116
Q

Bartsch on the whole ‘Aeneas is a traitor’ spiel

A

the original character of Aeneas is a traitor - maybe Vergil makes him a new person to help the Romans adjust to Augustus instead of Octavian

117
Q

Bartsch on why Virgil allegedly changed the story

A

“this revision serves an imperial purpose… we are being asked to forget”

118
Q

Bartsch on what Virgil did

A

“Vergil did with Aeneas what Augustus did with Octavian - that is, wrote a new version of a tainted figure”

119
Q

Bartsch on the poem as Augustan Propaganda

A

“the Aeneid is not a cipher with which to unlock Augustan Propaganda”

120
Q

Bartsch on the violent ending

A

“the poem’s violent ending is not random but picks up and resonates with its major themes”

121
Q

Bartsch on the end of the poem (aeneas//juno)

A

“the furious goddess has subsided but the rabid Roman takes her place”

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