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Gender roles in the aeneid
Gender roles in the aeneid
Introduction to the trojan war annotations
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Aenied
Many argue that throughout Aenied, Virgil develops Aeneas to be a boring and unheroic character; always acting as he should with apparently no power to act in any other way. Occasionally sidetracked, Aeneas is prodded and redirected by the gods toward his destiny. Aeneas’ mother, Venus, constantly interjects to lead Aeneas toward his fate. It is she who leads him away from the fallen city of Troy “ I had twice-ten ships, and my goddess-mother showed me the way.”(I, 541-542) Mercury also sets Aeneas straight from his deviating course by telling him to leave his love Dido “What are you pondering or hoping for while squandering your ease in Libyan lands.” (IV, 362-363) Mercury criticizes Aeneas for ignoring the importance of his empire, and again Aeneas obeys. It is further argued that Aeneas’ makes no significant effort to advance his empire’s fate. He is “handed” all that is needed such as immortal vessels as well as weapons and armor provided by Vulcan and other gods. At first glance this would seemingly prove that Aeneas is in fact a boring character.
Upon deeper investigation of the text the true value of Aeneas’ character can be revealed. Not all of what Aeneas does is driven by the gods. There is in fact a humanistic aspect of Aeneas creating physical and emotional strife which he must endure by himself “I sing of arms and of a man: his fate had made him fugitive.” Virgil is quick to show that Aeneas is but a mortal man with human qualities. It is these human aspects of Aeneas: his leadership, his emotional strengths, and his heroism that make him a crucial and interesting character in the Aeneid.
Leadership is one of the first humanistic qualities that Aeneas is given to create a sense of...
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... of a boring character.
When it is argued that Aeneas was just “handed” everything by the gods, the fact that not all of the gods were in support of him is often overlooked. Although many gods steer Aeneas toward his destiny, Virgil adds complexity to his character by introducing gods who wish not to see Aeneas succeed along with a slew of obstacles. He does this in order to spark the reader’s interest in his hero's successes, which may not necessarily be set in stone. The dangers that Aeneas and his crew face are real, even if it is know that he will survive them. There is in fact a humanistic aspect of Aeneas that is revealed by creating physical and emotional strife, which he must endure by himself. It is these human aspects of Aeneas: his leadership, his emotional strengths, and his heroism that make him a crucial and interesting character in the Aeneid.
At the orders of Jupiter, Mercury is sent down in Book Four of the Aeneid to remind Aeneas of his true fate for Aeneas had fallen in love with Dido and was content to stay in the fertile lands of Carthage, The messenger god mocks and scolds Aeneas for forgetting his duties, especially to his son, Ascanius. As a result of this, Aeneas finally decides to leave Dido and depart Carthage, although he fears losing the queen’s love and her wrath. This demonstrates that he is incredibly pious (as to choose the wishes of the gods over his own love) and that he is noble for attempting to leave Dido as gently as he can. In addition, he displays his admirable hero qualities and commitment to paternal duty in this section.
In both characters loyalty and dutifulness is a central ideal that they stick to. In The Aeneid Aeneas’ loyalty and sense of duty is seen in many instances, such as when they arrive on the shores of Italy and takes refuge Dido’s city of Carthage. While there, Aeneas and his people feast and live well, and Aeneas has the opportunity
Aeneas feels great pride and energy regarding his role in history and is anxious to continue on his journey. The gods are trying to convince Aeneas to value duty to his city and family, a kind of affiliation or relation by virtue of descent as-if from a parent, above duty to a lover by mere affiliation, or arbitrary association. This perspective on an appeal to authority still hinges on a relationship between Aeneas' desire for affiliation and public authority as the authority of filial priority. We learn early on in this epic that Aeneas is a very important character because of his divine parentage. After all, his mother is the Goddess Venus and his father's brother was the King of Troy.
Many people seem to be under the impression that the Aeneid is a celebration of Roman glory, led by the hero of fate Aeneas. I find these preconceived ideas hard to reconcile with my actual reading of the text. For starters, I have a hard time viewing Aeneas as a hero at all. Almost any other main characters in the epic, from Dido to Camilla to Turnus, have more heroic qualities than Aeneas. This is especially noteworthy because many of these characters are his enemies. In addition, Aeneas is presented as a man with no free will. He is not so much bound to duty as he is shielded by it. It offers a convenient way for hum to dodge crucial moral questions. Although this doesn’t necessarily make him a bad person, it certainly makes him a weak one. Of course some will argue that it takes greater moral conviction to ignore personal temptation and act for the good of the people. These analysts are dodging the issue just like Aeneas does. The fact is that Aeneas doesn’t just sacrifice his own personal happiness for the common good; he also sacrifices the past of the Trojan people, most notably when he dishonors the memory of his fallen city by becoming the men he hated most, the Greek invaders. The picture of Aeneas as seen in the end of the Aeneid bears some sticking resemblances to his own depiction of the savage and treacherous Greeks in the early books.
What is a hero? We would like to think that a hero is someone who has achieved some fantastic goal or status, or maybe someone who has accomplished a great task. Heroes find themselves in situations of great pressure and act with nobility and grace. Though the main character of Virgil's Aeneid, Aeneas, is such a person, it is not by his own doing. He encounters situations in which death is near, in which love, hate, peace, and war come together to cause both good and evil. In these positions he conducts himself with honor, by going along with what the gods want. Only then goes on to pave the way for the Roman Empire. His deeds, actions, and leadership would never have come to be if it were not for the gods. The gods took special interest in Aeneas, causing him misfortune in some cases, giving him assistance in others. On the whole, the gods constantly provide perfect opportunities for Aeneas to display his heroism. Without them, Aeneas would not be the hero he is. This gift does not come without a price, though; he must endure the things heroes endure to become what they are. Despite his accomplishments and the glory associated with his life, Aeneas only achieves the status of hero through divine intervention, and this god-given position causes him just as much grief as it does splendor.
Odysseus’ journey is one that features much emotional pain. Pain for being away from his home, wife and son, but in Aeneas’ journey he is a warrior, and he goes through physical pain. Unlike Odysseus, Aeneas begins his journey after the Greeks have burned his home to the ground. He does not have the pleasure of long comfortable “holdups” Odysseus has and he also has to deal with his father dying—the ultimate blow.
Virgil's heroes bear a strong resemblance to the heroes of the earlier works of Homer, however there are some differences that are not merely the result of differences in character. Virgil is depicting his ideals through the traits of his heroes and villains, and some of these traits are different from the Greek traits from The Iliad and The Odyssey. The best way to identify the specific traits that Virgil is trying to plant in the mind of his readers is to look at the main hero, Aeneas. Through Aeneas we see a slightly different variation on the Greek hero. Aeneas is strong and deadly in battle, but fa...
The “tragic hero” with Sophocles and Euripides has several elements that are in common, whereas the character is essentially good, usually has some relation to royalty, however they have some type of flaw or commit some act, going against their better judgment or character, causing something tragic to happen to them or by them. I will explain different examples of the tragic hero in Sophocles and Euripides characters, but Virgil’s characterization of Aeneas I would not say is not completely accurate in comparison to the previous representations of the tragic hero, however I would say that Virgil’s depiction of the tragic hero embodies many of the traits and happenings, however evolution has altered how and for what exact reasons Aeneas is not just like the other tragic heroes of the past. In Sophocles’ Antigone I believe a notable tragic hero is Creon. He is fundamentally good as he is determined to put his kingdom before his personal feelings, but he is also flawed and for Creon his flaw is hubris. What makes him a tragic hero is that though he is doing what he believes to be ri...
In many ways, judging and comparing Vigil’s Aeneid and Ovid’s Metamorphoses is inevitable because each of the writers lived at roughly the same time in history, both sought to create a historical work that would endure long past their mortal existences, and while each man was ultimately successful in their endeavors, they achieved their desired goals in vastly different ways. That being said, the epic poem by Ovid is superior because unlike Virgil, whose epic poem utilized a character centered narrative steeped in historical inferences and a theme that celebrated the moral virtues of Greek and Roman society, Ovid defied tradition by creating an intricate narrative that looked
We also see in the story what someone must sacrifice in order to fulfill their goals. Though Aeneas's destiny was much more grand than many of our own, we still must make choices that can sometimes hurt others. I really thought that Vergil captured our inner emotions with the affair between Dido and Aeneas.
I believe that the ending of the Aeneid shows that Aeneas is very heroic. According to Webster’s New Dictionary, “a man of distinguished bravery” and “admired for his exploits.” Aeneas is very brave when he fights Turnus, especially because it is known that the gods are on his side. He successfully killed Turnus, which is an achievement that calls for admiration.
Ignoring the prophetic dream he received the night of the attack, Aeneas races into battle and is immediately surrounded by the overwhelming scale of death and destruction the Greeks have brought forth. In an act that would have lead to his execution had it been any other day, Aeneas decides to abandon the battle and lead an exodus from the ruined city. Aeneas had most likely taken the oath of allegiance since he was a soldier. He is forced to make a decision that is a double edged sword. Should be choose to die with the city, he would be fulfilling his oath and be considered honorable by Roman standards. However, should he follow the advice of a dream, which may or may not be accurate, he would be saving the spirit of Troy but risks being labeled a coward for abandoning his city in the heat of battle. Choosing the option of fleeing the city showcases Aeneas breaking the code the soldier must have taken years before. By choosing to instead abandon the city and try to allow for as many of its citizens to flee, Aeneas has saved the city in a way that his oath as a soldier would have deemed a cowardious crime and would have seen him executed for. Through his heroic act of fleeing, he would allow his city of Troy to see a victory through his involvement in the creation of Rome decades later (Virgil 29
When discussing the fate of Aeneas, a thought provoking question is posed that is commonly debated. If Aeneas is commanded by fate, does he have free will? It is important to approach this question with a solid understand of fate. There are two common sides to the debate of whether Aeneas had free will or not. One view believes Aeneas had no choice but to follow his destiny because he was commanded by fate, and prophesied to found the race that will one day build Rome. The other side states Aeneas did indeed have free will, and even though his fate was set, room is available within his fate for events to change. One can argue Aeneas makes some of his own choices, but no particular detail of his life is untouched. Destiny determines that the Trojans will found a city in Italy, but it does not stipulate how that will happen. This is where room is left for free will. After much research and considering the views of many commentators and the proof they showed, the answer can simply be found by going back to the text of The Aeneid.
He is the Roman hero whose destiny and duty is to become the founder of Rome. Aeneas had a tough choice to make; to either stay in Carthage and continue to have a romantic affair with Dido, or fulfill his destiny as founder of Rome. It is clear that duty is more important than passion to Aeneas as he eventually makes his decision to leave Dido for the land of Italy. However, the remorse he displays in Book 6 as he tries to soothe Dido’s burning soul in the Underworld demonstrates his sincere regret for having hurt her. He weeps as he tries to free himself of guilt for causing her death, desperately swearing “by the stars, by the powers above” (Aeneid 6.551), that he was commanded by the gods to leave. “I could not believe that I would cause you / Such grief by leaving” (6.557-58). He is unable to convince the soul of Dido to stay and hear his excuses. “With such words Aeneas tried to soothe / Her burning soul. Tears came to his eyes, / But Dido kept her own eyes fixed on the ground / As unmoved by his words as if her averted face / Were made of flint or Marpesian marble” (Aeneid 6.561-565), and she hurried off, hostile and cold, “into a darkling cove” (Aeneid 6.567) to the comforting embrace of her former dead husband. “But Aeneas, struck by the injustice / Of her fate, wept as he watched her / Disappear, and pitied her as she went.” (Aeneid 6.569-571) Aeneas truly regrets leaving
... attempts they do just the opposite. With Venus’ many interventions, Aeneas is prevented from making mistakes and is guided to his fate, from not killing Helen [book 2] to leaving behind the old and the weak for Italy [book 4] . He is shown enough times to be the puppet of their play: from obeying the will of the gods while enduring the wrath of other gods, all this in order to set the wheels in motion for the far off future Roman race. However, there are also times when he is also shown to be exerting his won free will. For example, in book 12, killing Turnus when he is begging for mercy, something not heroic and which Susanna Braund debates the positive and negative aspect of in her essay on Virgil and the Meaning of the Aeneid [1.17-18]. nonetheless, this act demonstrates that even the gods and the fates require his cooperation to fulfil his destiny.