Virgil Flashcards by Tanya Kraljevic

TRANSLATE

urbs antiqua fuit, (Tyrii tenuere coloni),
Karthago, Italiam contra Tibernique longe
ostia, dives opum studiisque asperrima belli;
quam Iuno fertur terris magis omnibus unam
posthabita coluisse Samo; hic ilius arma,
hic currus fuit; hoc regnum dea gentibus esse,
si qua fata sinant, iam tum tenditque fovetque.

There was an ancient city, Carthage, (the Tyrians held it as colonists) opposite Italy and the mouth of the river Tiber, at a distance; rich in resources and very fierce in the eagerness of war; Juno is said to have nurtured this one place more than all the other lands, with Samos having been neglected; here were her arms, here were her chariots; already at that time the goddess was intending and supporting this kingdom to be for all peoples, if in any way the fates allowed it.

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ANALYSE

‘belli’ - emphatic placement on final word
‘Samo; hic’ - pause after ‘Samos’ to show suprise
‘hic […] hic […] hoc’ - anaphoric tricolon of ‘hic’ to emphasise how special Carthage is, contrasts with Samos directly before
‘si qua fate sinant’ - shows the power of the fates (more powerful than the gods), present subjunctive shows the unlikelyhood, foreshadowing
‘tenditque fovetque’ - both the verbs at the end to emphasise how Juno is actively supporting her city.

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TRANSLATE

progeniem sed enim Troiano a sanguine duci
audierat, Tyrias olim quae verteret arces;
hinc populum late regem belloque superbum
venturum excidio Libyae: sic volvere Parcas.
id metuens, veterisque memor Saturnia belli,
prima quod ad Troiam pro caris gesserat Argis-
necdum etiam causae irarum saevique dolores
exciderant animo: manet alta mente repostum
iudicium Paridis spretaeque iniuria formae,
et genus invisum, et rapti Ganymedis honores.

But in fact she had heard that a race of men was being born from Trojan blood, who, one day, would overturn the Tyrian citadels; that from here, a people, ruling far and wide and proud in war, would come to ruin Libya; that, in this way, the fates were spinning this into motion. The daughter of Saturn, fearing this and mindful of the old war, which, leading the way, she had waged on Troy for her dear Argos - and also the reasons for her anger and cruel griefs had not yet left her heart. The judgement of Paris remained stored up deep in her mind and the injustice of her rejected beauty and the hatred race and the honours of the stolen Ganymede.

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ANALYSE

‘progeniem’ - emphatic placement - August descended from Jupiter
‘duci’ - vivid present, in the process of happening
‘audierat’ - enjambement shows the disruption of Juno’s plans from what she’s heard
‘Tyrias […] arces;’ - ‘Tyrian citadel’ torn apart physically to emphasise destruction
‘volvere’ - vivid present shows the fates are constantly spinning, glory is Rome’s destiny
‘metuens’ - Goddess fearing shows how emotionally affected Juno is
‘irarum saevique dolores’ - triad of negative emotions
‘animo: manet alta mente repostum’ - shows the depth and extent of her resentment - it affects both her ‘mind’ and ‘heart’, manet is promoted to emphasise that her pain will ‘remain’
‘spretaeque […] et […] et’ - polysyndeton emphasises Juno’s sheer number of reasons for her anger

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TRANSLATE

his accensa super, iactatos aequore toto
Troas, reliquias Danaum atque immitis Achilli,
arcebat longe Latio, multosque per annos
errabant acti fatis maria omnia circum.
tantae molis erat Romanam condere gentem!

Enraged by these things, she was keeping the Trojans far away from Latium, who had been thrown about over the whole sea, and who were remnants of the Greeks and of the merciless Achilles; they were wandering for many years, driven by the fates around all the seas. To found the Roman race was such a mighty task!

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ANALYSE

‘iactatos’ - perfect pasive participle shows the lack of Trojan control
‘toto’, ‘longe’, ‘multos’, ‘omnia’, and ‘tantae’ - intensifiers show the extent of woes both spatially and temporally
‘immitis Achilli’ - alliteration of Is emphasises Achilles’s harshness
‘longe Latio’ - alliteration slows the reader, emphasising the distance between the Trojans and Latium
‘tantae molis erat Romanam condere gentem!’ - spondaic line slows the reader, emphasising the great burden of founding Rome, last word is ‘race’ which sets up the the aim of the rest of the Aeneid (to found the Roman race)

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TRANSLATE

vix e conspectu Siculae telluris in altum
vela dabant laeti, et spumas salis aere ruebant,
cum Iuno, aeternum servans sub pectore vulnus,
haec secum: “mene incepto desistere victam,
nec posse Italia Teucrorum avertere regem?
quippe vetor fatis. Pallasne exurere classem
Argivum atque ipsos potuit submergere ponto,
unius ob noxam et furias Aiacis Oilei?

Barely out of sight of the land of Sicily, they were happily unfurling their sails to the deep sea, and they were churning the foam of the salty sea with the bronze prow, when Juno, storing her eternal wound deep in her heart, thought these things to herself: “who could believe that I, defeated, am stopping what I started and that I am not able to divert the king of the Trojans away from Italy? Of course, I am forbidden by the fates. Was Pallas able to burn up the fleet of the Argives and submerge their very selves under the sea because of the harm and madness of one man, Ajax, son of Oileus?

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ANALYSE

‘vix’ - promoted to emphasise how soon it was
‘altum’, ‘salis’, and ‘aere’ - metonymy enhances vivid, visual nature of the narrative
‘laeti’ - dramatic irony
‘spumas salis’ - onamatapoiea, sibilance aurally reflects the meaning of the words (salt spray)
‘aeternum servans sub pectore’ - three things in a row accumulating, emphasises the depth of Juno’s resentment
‘vulnus’ and ‘victam’ - words with connotations of war, suggests that Juno feels as if she’s in a battle
‘haec secum […] submerge ponto’ - first two lines describing Juno follow the same structure (ending in an infinitive and then noun, each four syllables and then two) as the last two lines, showing how Juno believes her and Minerva should be treated as equals
‘mene’ - promoted to show how Juno is prioritising herself
‘quippe’ - sarcasm to further emphasise Juno’s resentful tone
‘exurere’ - prefix emphasises Minerva’s destruction (ex = out)
‘Argivum atque ipsos potuit submergere ponto’ - contains a double eliision (between Argivum atque and between atque ipsos) which speeds up the line to show the haste at which Minerva acts
two rhetorical questions show how Juno is trying to persuade herself out of her rage

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TRANSLATE

ipsa, Iovis rapidum iaculata e nubibus ignem,
disiecitque rates evertitque aequora ventis,
illum expirantem transfixo pectore flammas
turbine corripuit scopuloque infixit acuto.
ast ego, quae divum incedo regina, Iovisque
et soror et coniunx, una cum gente tot annos
bella gero! et quisquam numen Iunonis adorat
praeterea, aut supplex aris imponet honorem?”

She, herself, having hurled from the clouds the consuming fire of Jupiter, scattered ships and upturned the seas with winds. She siezed that man, breathing out flames from his stabbed chest with a whirlwind and she impaled him on a sharp rock. But I, who goes forth as the queen of the gods and as both the sister and wife of Jupiter, I have been waging war against one race for so many years! And moreover, does anyone worship the divine power of Juno, or will anyone, as a suppliant, place a sacrifice on my altar?

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ANALYSE

‘ipsa, Iovis’ - emphatic pronoun describing Minerva next to Jupiter reflects Juno’s jealousy of the closeness between the two, shown by the physical proximity of the words
‘rapidum […] ignem’ - fire is personified, emphasises its power
‘disiecitque […] evertitque’ - polysyndeton emphasises Minerva’s destruction
‘illum expirantem transfixo’ - spondaic, slows the reader, mimicks the man struggling
‘turbine corripui scopuloque’ - dactylic, speeds up the reader, mimicks Minerva’s quick, decisive actions
‘regina, Iovisque’ - showing her importance by referring to her power as well as her closeness to Jupiter
‘et soror et coniunx’ - polysyndeton emphasises how close she is to Jupiter by listing her relations to him, showing her importance
‘tot annos’ - emphasises the length of time shes been waging war and the effort she’s had to put in
‘bella gero! et quisquam’ - pause after ‘gero’ for reflection, marks a change in tone from rage and jealousy to sadness, builds sympathy for Juno
rhetorical question also builds sympathy as Juno is calling out to the listener

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TRANSLATE

talia flammato secum dea corde volutans
nimborum in patriam, loca feta furentibus Austris,
Aeoliam venit. hic vasto rex Aeolus antro
luctantes ventos tempestatesque sonoras
imperio premit ac vinclis et carcere frenat.
illi indignantes magno cum murmure montis
circum claustra fremunt; celsa sedet Aeolus arce
sceptra tenens, mollitque animos et temperat iras.

The goddess, pondering such things to herself in her burning heart, came into Aeolia, the homeland of the clouds, a region full of the raging Southern winds, Here, King Aeolus, in his vast cave, controls and reins them in with his chains of imprisonment. Those frustrated winds roar with a great rumble around the barriers of the mountains; Aeolus sits in his lofty citadel, holding his sceptre and he softens their hearts and restrains their anger.

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ANALYSE

‘talia flammato secum dea corde volutans’ - word order is unconventional/mixed up, reflecting Juno’s emotional disorder
‘feta furentibus’ - onomatopoeia, fricative alliteration reflects the sounds of wind
‘lucantes ventos tempestatesque sonoras’ - spondaic (four spondees at start) to reflect the struggling winds
‘imperio premit ac’ - two quick dactyls contrast with previous spondaic line, showing the contrast between slow struggling winds and Aeolus’s quick power
‘illi indignantes’ - the allitertion of Is reflect the bitter feelings of the wind
‘magno cum murmure montis’ - onomatopoeia, alliteration of Ms reflect the rumbling thunder
‘circum claustra’ - onomatopoeia, cacophony reflects the clinking of chains as the winds struggle
‘celsa’ promoted to the start of the sentence and ‘sceptra’ promoted to the start of the line to emphasise Aeolus’s royal authority and power
‘mollit’ - onomatopoeic, soft sounding Ms and Ls reflect the meaning of the word (‘soften’)

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TRANSLATE

ni faciat, maria ac terras caelumque profundum
quippe ferant rapidi secum verrantque per auras.
sed pater omnipotens speluncis abdidit atris,
hoc metuens, molemque et montes insuper altos
imposuit, regemque dedit, qui fodere certo
et premere et laxas sciret dare iussus habenas.

If he weren’t to do this, indeed they would violently carry with them the seas and lands and the deep sky and they would sweep them up through the air. But the all powerful, fearing this, hid them away in a pitch black cave. And he put on top of them massive, high mountains. And he gave them a king, who under orders with fixed rules, would know how to both tighten the reins and to make them loose.

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ANALYSE

‘maria ac terras caelumque’ - polysyndetic tricolon of parts of the world, emphasises extent of power of the winds (they affect all parts of the world)
‘ferrant […] verrantque’ - pleonism of personified actions emphasise winds’ power
‘pater omnipotens […] hoc metuens’ - Jupiter is described anonomously which emphasises his power (he doesnt need a name) which contrasts with ‘fearing this’, emphasising the danger as even the ‘all powerful father’ is fearing it
‘imposuit regemque dedit, qui foedere certo’ - regular rhythmic meter of an alternating two dactyls and three spondees reflects the order that is imposed on the winds
‘imposuit’, ‘dedit’, ‘certo’, and ‘iussus’ - words with connotations of order and power
‘laxas […] habenas’ - words spread out to reflect the loosening reins

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TRANSLATE

ad quem tum Iuno supplex his vocibus usa est:
‘Aeole, namque tibi divum pater atque hominum rex
et mulcere dedit fluctus et tollere vento,
gens inimica mihi Tyrrhenum navigat aequor,
Ilium in Italiam portans victosque Penates:
incute vim ventis submersasque obrue puppes,
aut age diversos et disiice corpora ponto.

Then, Juno, as a suppliant, appealed to him with these words: ‘Aeolus, for the father of the gods and the king of men has given to you [the power] both to soothe the waves and to raise them up with the wind. A people that are my enemy are sailing the Tyrian sea, carrying Troy into Italy, and their conquered household gods: cast your strength with the winds and overwhelm their sunken ships or drive them in different directions and scatter their bodies in the sea.

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ANALYSE

‘supplex’ - shows her desperation and lack of power, further emphasised by the irony of how she earlier wanted people to treat her with suppliancy
‘divum pater atque hominum rex’ - pleonasm shows how his power extends to both gods and men
‘mulcere’ - onomatopoeic, soft sounding Ms and Ls aurally reflect the ‘soothing’ of the word. Emphasises his power as he can soothe the words on the page as well as the winds
‘inimica mihi […] Ilium in Italiam’ - alliteration of Is provide a harsh sounding phrase, reflecting her bitter feelings
‘vim ventis’ - onomatopoeic as the V sound aurally reflect the whistling wind
‘incute […] obrue […] age […] disiice’ - imperatives emphasise Juno’s desperation and urgency for immediate action

TRANSLATE

‘sunt mihi bis septem praestanti corpore nymphae,
quarum quae forma pulcherrima Deiopea,
conubio iungam stabili propriamque dicabo,
omnes ut tecum meritis pro talibus annos
exigat, et pulchra faciat te prole parentem.’

I work fourteen nymphs with outstanding physical beauty, of whom Deiopea, who is the most attractive in beauty, I shall join [with you] in a lasting marriage, and I shall proclaim her your own, so that she may spend all the years with you for services such as these and that she may make you a parent with beautiful offspring.’

ANALYSE

‘quarum quae forma pulcherrima Deiopea’ - Deiopea’s name is delayed, to present her beauty first, which is further emphasised by the superlative, ‘pulcherrima’
‘iungam […] dicabo’ - future indicative verbs asserts Juno’s certainty and trust
‘omnes ut tecum […] annos’ - start of line is spondaic to reflect the length of time which is further emphasised by how ‘omnes’ and ‘annos’ are separated
‘pulchra […] prole parentem’ - plosive alliteration emphasises the strength of the reward

TRANSLATE

Aeolus haec contra: ‘tuus, o regina, quid optes
explorare labor; mihi iussa capessere fas est.
tu mihi, quodcumque hoc regni, tu sceptra Iovemque
concilias, tu das epulis accumbere divum,
nimborumque facis tempestatumque potentem.’

’ Aeolus said this in reply: ‘Oh, queen, it is your task to discover what you wish for; it is right for me to carry out your orders. You have obtained for me something of a kingdom like this, my sceptre, and Jupiter’s favour; you have allowed me to recline at the feasts of the gods and you have made me powerful over the clouds and the storms.’

ANALYSE

‘tuus […] mihi’ - both words promoted to emphasise the contrast between what Juno and Aelous must do
‘o regina’ - emphasises Juno’s status to show his respect
‘fas est’ - he has a moral duty to carry out her orders
‘tu […] tu […] tu’ alongsied ‘concilias […] das […] facis’ - tricolons of things Juno has provided for him shows his gratitude
‘quodcumque hoc regni’ - shows his humility and humbleness
‘nimborum que facis tempestatumque pontentem’ - polysyndetic pleonasm emphasises the power Juno has given to him

TRANSLATE

haec ubi dicta, cavum conversa cuspide montem
impulit in latus: ac venti, velut agmine facto,
qua data porta, ruunt et terras turbine perflant.
Incubere mari, totumque a sedibus imis
una Eurusque Notusque ruunt creberque procellis
Africus, et vastos volvunt ad litora fluctus.

When these words had been said, he turned his spear over and drove it into the side of the hollow mountain: and the winds, just as in a formation of a column of soldiers, where a gateway had was granted, rushed out and blew all over the lands in a whirlwind. They crashed down on the sea and altogether, the East wind, and the South wind, and the South-West wind, full of squall, churned up the whole thing from the bottom-most depths, and they rolled vast waves towards the shore.

ANALYSE

‘cavum conversa cuspide’ - cacophonous alliteration reflects the harsh noise of the spear banging into the cave
‘impulit’ - delayed to the end of the sentence to for suspense but promoted to the start of the line to show Aeolus’s driving power
‘venti velut’ - onomatopoeic alliteration to reflect the whistling winds
‘velut agmine facto’ - simile presents the winds as a hostile, organised threat
‘ruunt et terras turbine perflant’ - sharp Ts and rolled Rs mimic the rumbling of the winds and the whirring of a hurricane
‘una Eurusque Notusque […] creberque […] Africus’ - polysyndeton emphasises the multiple winds coming from multiple directions. ‘una’ is promoted to emphasise how they are acting as one, making them more threatening
‘vastos volvunt’ - onomatopoeic alliteration to reflect the whistling winds

TRANSLATE

insequitur clamorque virum stridorque rudentum.
Eripiunt subito nubes caelumque diemque
Teucrorum ex oculis; ponto nox incubat atra.
intonuere poli, et crebis micat ignibus aether,
praesentemque viris intentant omnia mortem.

There followed both the shouting of men and the screeching of ropes. Suddenly, the clouds seized both the sky and the daylight from the eyes of the Trojans; the black night settled upon the sea. The skies thundered, and the air flashed with frequent flames, and everything threatened imminent death for the men.

ANALYSE

‘clamorque virum stridorque rudentum’ - polysyndeton alongside the personification of ‘stridorque’ emphasises the chaos and how even inanimate objects are affected
‘eripiunt’ - promoted to emphasise the winds’ forceful action
‘caelumque diemque’ - polysyndetic hendiadys emphasises the complete and total darkness
‘ponto nox incubat atra’ - surrounded by pauses makes the image more oppressive and final
‘praesentemque viris intentant omnia mortem’ - spondaic meter alongside the alliterative Ms and Ns creates a solemn and sombre tone.

# TRANSLATE extemplo Aeneae solvuntur frigore membra: ingemit, et duplicis tendens ad sidera palmas talia voce refert: ‘o terque quaterque beati, quis anteora patrum Troiae sub moenibus altis contigit oppetere! o Danaum fortissime gentis Tydide! mene Iliacis occumbere campis non potuisse, tuaque animam hanc effundere dextra, saevus ubi Aeacidae telo iacet Hector, ubi ingens Sarpedon, ubi tot Simois correpta sub undis scuta virum galeasque et fortia corpora volvit?’

At once, Aeneas’s limbs became weak with cold: he groaned, and stretching out both his palms to the stars, he answered with such words: ‘Oh three times and four times blessed are those who happened to die under the high walls of Troy before the faces of their fathers! Oh Diomedes, the bravest of the race of Greeks! Could I have not fallen dying on the plains of Troy and poured out this spirit by your right hand; where the fierce Hector lies from Achilles’s weapon, where the huge Sarpedon lies, where the river Simois seized so many shields of men, and helmets, and brave bodies, and rolled them under its waves?’

# ANALYSE extemplo Aeneae solvuntur frigore membra: ingemit, et duplicis tendens ad sidera palmas talia voce refert: ‘o terque quaterque beati, quis anteora patrum Troiae sub moenibus altis contigit oppetere! o Danaum fortissime gentis Tydide! mene Iliacis occumbere campis non potuisse, tuaque animam hanc effundere dextra, saevus ubi Aeacidae telo iacet Hector, ubi ingens Sarpedon, ubi tot Simois correpta sub undis scuta virum galeasque et fortia corpora volvit?’

* 'extemplo' - promoted to show Aeneas's immediate, uncontrollable physical reaction * 'duplicis [...] palmas' - hyperbaton stretches out the words, mimicing Aeneas's action of strectching out * 'o terque quaterque beati quis ante ora patrum [...] contigit oppetere' - contrast between the positivity of ;beati' and the tradgedy of 'quis ante ora patrum [...] oppetere' creates a disturbing image to emphasise Aeneas's desperation * 'fortissime [...] saevus [...] ingens [...] fortia' - adjectives of glory to describe the dead heroes of Troy are used to emphasise the contrast with his own dishonourable death * 'ubi [...] ubi [...] ubi' - tricolon of Troy's destruction and glory emphasises his wish for a death at Troy * 'scuta virum galeasque et fortia corpora' - polysyndetic triad emphasises the destruction of the river * The repeated enjambement and pauses in the middle of lines creates a lack of rhythm, reflecting the disorder in Aeneas's mind

# TRANSLATE talia iactanti stridens Aquilone procella velum adversa ferit, fluctusque ad sidera tollit. franguntur remi; tum prora avertit, et undis dat latus; insequitur cumulo praeruptus aquae mons. hi summo in fluctu pendent; his unda dehiscens terram inter fluctus aperit; furit aestus harenis.

As he cried out such words, a howling squall from the North wind struck his sail head on, and raised the waves to the stars. The oars were broken; then the prow lurched round and gave its side to the waters; there followed a massive, sheer mountain of water. Some men were hanging on the top of the wave; for others, the gaping waters opened up the sea bed between the wave; the swell was raging with the sands.

# ANALYSE talia iactanti stridens Aquilone procella velum adversa ferit, fluctusque ad sidera tollit. franguntur remi; tum prora avertit, et undis dat latus; insequitur cumulo praeruptus aquae mons. hi summo in fluctu pendent; his unda dehiscens terram inter fluctus aperit; furit aestus harenis.

* 'iactanti' - words are 'thrown/cast' rather than said, showing Aeneas's desperation * 'ferit fluctusque' - alliteration reflects the force of the winds * 'ad sidera' - hyperbole emphasises the threat of the seas. Ironic as Aeneas earlier reached his palms out to the stars in the hope for mercy, presenting the storm as merciless * 'franguntur remi' - short, spondaic phrase emphasises the finality and reality of the destruction * 'dat latus [...] mons' - a contrasting dactylic line. The sudden speed-up in pace reflects the sudden destruction the men experience. The line ends on a spondee, which puts weight on the word 'mons' emphasising the sheer destruction to come for suspense * 'summo [...] dehiscens' - the stark contrast in imagery shows the totality of damage and suffering that the waves cause * 'pendent' - the pause after this word alongside the spondaic meter creates a suspense as the reader waits for the 'hanging' men to come crashing down * 'terram inter fluctus aperit; furit aestus harenis' - chiasmus (land, water, verb, verb, water, land) shows how the destructive action of the storm, shown by the verbs in the centre, has flung the waters and lands to the edges of the sentence, reflecting the chaos of the Trojan's surroundings being turned upside down

# TRANSLATE tris Notus abreptas in saxa latentia torquet – saxa vocant Itali mediis quae in fluctibus Aras – dorsum immane mari summo; tris Eurus ab alto in brevia et syrtis urget, miserabile visu, inliditque vadis atque aggere cingit harenae.

The South wind snatched away the three ships and flung them with force onto the rocks that were lying hidden – the Italians call these rocks, which are in the middle of the waves, ‘the Altars’ – a huge ridge, just below the surface of the sea; the East wind drove three more ships from the deep to the shallows and the sandy flats – a wretched sight – and it hurled them on the shoals and surrounded them with a mound of sand.

# ANALYSE tris Notus abreptas in saxa latentia torquet – saxa vocant Itali mediis quae in fluctibus Aras – dorsum immane mari summo; tris Eurus ab alto in brevia et syrtis urget, miserabile visu, inliditque vadis atque aggere cingit harenae.

# TRANSLATE unam, quae Lycios fidumque vehebat Oronten, ipsius ante oculos ingens a vertice pontus in puppim ferit: excutitur pronusque magister volvitur in caput; ast illam ter fluctus ibidem torquet agens circum, et rapidus vorat aequore vertex. apparent rari nantes in gurgite vasto, arma virum, tabulaeque, et Troia gaza per undas. iam validam Ilionei navem, iam fortis Achati, et qua vectus Abas, et qua grandaevus Aletes, vicit hiems; laxis laterum compagibus omnes accipiunt inimicum imbrem, rimisque fatiscunt.

Before the eyes of Aeneas, himself, the huge waters, from its peak, struck one ship on the stern, which was carrying the Lycians and the loyal Orontes. The helmsman was shaken out and was hurled straight down head first; and thrice the wave spun that ship around in that same place, driving it around and the devouring whirlpool consumed it in the sea, the swimmers, scattered in the vast whirlpool, appeared, there were weapons of men, planks, and treasures of Troy amongst the water. Now, the storm conquered the strong ship of Ilianeus, now, the ship of brave Achates, and the one in which aged Aletes was; and now that the joints of the ships’ sides had been loosened, all of them took in a hostile torment and split open with cracks.

# ANALYSE unam, quae Lycios fidumque vehebat Oronten, ipsius ante oculos ingens a vertice pontus in puppim ferit: excutitur pronusque magister volvitur in caput; ast illam ter fluctus ibidem torquet agens circum, et rapidus vorat aequore vertex. apparent rari nantes in gurgite vasto, arma virum, tabulaeque, et Troia gaza per undas. iam validam Ilionei navem, iam fortis Achati, et qua vectus Abas, et qua grandaevus Aletes, vicit hiems; laxis laterum compagibus omnes accipiunt inimicum imbrem, rimisque fatiscunt.