Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Literature in english essays
Literature in english essays
Essay on literature
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Virgil has used several similes in Aeneid to create a pictorial representation of the two antagonists in the book, Aeneas, and Turnus. Through these similes, the characters of Aeneas and Turnus are vividly demonstrated to the audience. Virgil creatively presents the military prowess of the two men of valor through various similes in the book. This paper demonstrates through three similes in Book 12 that the author is using the similes to set the stage for the final combat in the book while at the same time pre-conditioning the audience to the inevitable demise of Turnus. The first two similes of “storm” and “rolling stone” are used to present the characters of Aeneas and Turnus respectively while the third simile of “bulls locking horns” describes …show more content…
the final duel. Analysis Aeneas and his big army march from their camp as they head to the open plains where Turnus and his army have camped.
The author describes the marching of Aeneas as “a storm breaks at sea, and the rain cloud moves toward land” (Aeneid, 12:545-555). In this simile, the author tries to bring out the repercussions of war where “the shocked earth trembled under the tramping feet”. The armies are likened as frightened farmers who are aware of the incoming storm that is making them shudder. The author states that the sight of flying the army of Aeneas sent “cold-shudder” throughout the bones of the Ausonians. The theme in this simile is that of a superior army running over another helpless army with the latter’s defeat in the same manner a storm brings down trees and ruins crops through its powerful winds. However, the farmers, in this case, anticipate what is coming, and they can clearly see the storm-signs. Therefore, in the same manner that farmers know the results of a storm, the outcome of this battle can only be destruction and ruin with both sets of the army anticipating a …show more content…
loss. The author likens Turnus to a “stone crashing down a mountain” (Aeneid, 12:820-825).
The theme brought out in this simile is rage and fury taking over a good soldier’s judgment. Turnus battles the Trojans outside the city but gets distracted by the news that the city is under attack by Aeneas and his army. His immediate response is to abandon the war at a battleground that they were “already winning”. He defies his sister’s advice that they should focus on the battle at hand and leaves it for “other troops to defend the town”. However, Turnus loses interest in fighting in a battle that has no “honor” and prefers to die fighting in a more honorable battle against Aeneas. A stone falling from the mountaintop has no control of the direction it takes and knocks out anything it comes across as it creates its path. Turnus’s fury and rage is taking over his objectivity and decision-making. He has no control of his judgment and the kind of decisions that he is making. He ignores his sister’s advice and would eliminate anything else that comes between him and his ambition that is facing Aeneas in a battle. In this simile, the author claims that the storm or time can wash away the stone. Therefore, Turnus’ fury (stone) could have been triggered by Aeneas (storm) or fate/destiny
(time). The author describes the final confrontation between Aeneas and Turnus as “two bulls have locked horns in mortal combat” (Aeneid, 12:855-865). The author in this simile prepares the reader for the climax of the story. All along in the book, the author has been building up the tension for this final battle of these two titans. The author until now presents Aeneas as a storm devouring all that come before him while Turnus represent a stone falling from the mountain that cannot control its emotions and thus it takes down everything that comes in its way. The simile is meant to keep the reader engaged while at the same time pre-conditioning the audience to Turnus’ fateful end. The combustible nature of Turnus appears at this stage as his biggest weakness. Even without reading to the conclusion, the audience can deduce that Turnus’ uncontrollable fury will be the set-up to his fateful demise. The field has been cleared to let these two bulls to lock horns with the author indicating that there can only be one “lord of the entire herd”. Conclusion Aeneid is another classical text that follows in the footsteps of other classical epic stories that have utilized epic similes as an effective method of presenting ideas, building tension for the climax, and comparing two antagonists exhibiting great valor in an epic story. Virgil has effectively capitalized on the similes to create heroic and legendary characters in the two great warriors. Similes provide the author with an opportunity to engage the author by letting them create certain images of the characters in the text. Therefore, Virgil has enriched the text by using various similes in the book that improve delivery of the story.
In The Aeneid there are rich implemented principles such as fate, discipline, and competition which greatly influenced the Roman empire causing it’s rise from obedience to the principles as well as it’s fall from disobedience. Virgil lived during the dawn of the rising sRoman empire, and his book was a catalyst to the greatness that grew within the nation. The Aeneid focused around the principle that fate’s power and dominance overrule human life, which in turn would bring indolence or proactivity depending on the individual’s capacity. Although fate can easily be ripped down as a belief it did many great things for the Romans whether it is real or not. Unfortunately the themes of deceit and trickery also crept into the book’s contents, which
The bee simile is a prominent figure in Virgil’s Aeneid, appearing first in Book I, and then later in Book VI. The careful arrangement and placement of the similes in the text implies that Virgil considered them to be highly significant to the understanding of his work. Each allusion to bee imagery in the Aeneid provides insight into what Virgil views as the perfect society - a diligent, patriotic, well-organized, dutiful community of likeminded individuals working towards a singular, noble end. Through his use of the bee similes, Virgil emphasizes the importance of the collective over the individual, the theme of rebirth, and the eventual rise of Rome.
In this paper, I have considered the above simile in Book 22 of The Odyssey by Homer, and I have argued that although the surface meaning of this passage is the slaughter of the suitors by Odysseus and his men, the deeper meaning of the passage is the revelation of Odysseus ' true nature, similar to that of a vulture, they are both opportunistic and self-serving, even on the most basic
Aeneas witnessed, for apparently the first time in his understanding, the horrors of war and the vile nature that it brings out in men. He calls it an `inhuman shuddering" because the act he has just witnessed is so far from the realm of decent human behavior and it causes an equal reaction.
For a year, Aeneas delayed his destiny and departure to Italy by settling down with queen Dido in Carthage. The gods deliver a message to Aeneas and to his dismay he must leave “the land of his love” and resume his destiny (Aen. 4.). Though his parting from Dido is emotional, and he leaves her broken and suicidal, Aeneas remains level-headed and strong-willed, a noble quality known as gravitas to the Romans. By Aeneas having to leave Dido, he is overcoming a very emotional obstacle; he is leaving despite a chance of stability and love, the first since the death of his wife.
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.
The Aeneid by Vergil is a long-standing epic poem with brief historical connections that was contributed to the Roman people’s beginnings. Of course, the main character, Aeneas has to have had some turning point within the poem that he became Roman rather than Trojan, at least within the eyes of the readers and listeners. This turning point is within Book IV when Aeneas has remembered his fate of creating a great city in Italy, and has to leave Dido and Carthage behind. This scene contributes to Aeneas now becoming a true Roman, at least in the ideals of one, because he has continued to be ‘Pious Aeneas’ and is securing his son’s future with following his fate. As an extra factor, Aeneas is also persisting as a heroic character by putting
Ariosto adapts and transforms Vergil’s final episode of The Aeneid into his own conclusion in Orlando Furioso. The final scenes in the epics parallel one another in many ways, yet also show distinct differences. Ruggiero and Rodomont represent Aeneas and Turnus, respectively, and the actions of Ariosto’s characters can be interchanged with their corresponding characters’ acts in The Aeneid. Ariosto reminds us of controversy and questions that Vergil elicits in his conclusion and responds interpretively, reshaping the ending and clarifying ambiguities.
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.
It is clear when reading the Aeneid that Virgil was familiar with the earlier works of Homer, The Iliad and The Odyssey. Virgil, more than just being aware of these earlier works, uses themes and ideas from these poems in his own. Far more than just copying scenes and ideas, Virgil expands and alters these themes to better tell his story, unique from the Greek originals he is drawing from. Virgil reveals what qualities he regards as heroic through the juxtaposition of Aeneas’ character and the negative aspects of the underworld. By looking at which qualities are esteemed and derided respectively, we can identify the qualities that Virgil would like to emphasize positively to his readers. Also, we can argue that Virgil is indeed trying to convey a particular set or morals to those readers. Beyond the underworld, it is possible to clearly identify these traits in the other sections of the poem where Virgil is borrowing and making his own alterations. Using these distinctions we can very clearly derive Virgil's morality from the poem, and see where Virgil's ideal characters veer away from the Greek ideal that came before.
The roles of Aneas and Turnus are reversed as the Aeneid progresses. The erasure of Aneas' free will accounts for his triumph and success. Time and time again, Aneas' courage, loyalty, and will are tested in the Aeneid. Through seemingly endless journeys by sea, through love left to wither, and through war and death, Aneas exhibits his anchored principals and his unwavering character. "Of arms I sing and the hero, destiny's exile... Who in the grip of immortal powers was pounded By land and sea to sate the implacable hatred of Juno; who suffered bitterly in his battles As he strove for the site of his city, and safe harboring For his Gods in Latium" (Virgil 7).
... and in an angry mob set fire to the fleet. The Trojan men see the smoke, rush up the beach and throw water on the ships, but the burning does not stop. Finally, Aeneas prays to Jupiter to save the fleet, and immediately a rainstorm comes, putting out the flames. The goddesses Juno and Venus continue their quarrel by further intervention in the journey of the Trojans. At this point it almost seems to be overdone: the gods are driving the plot, not the hero. Aeneas has been reduced to a reactionary role as the different factions on Olympus duke it out over his fate, and send either aid or abuse down to the Trojans. Incapable to stop the burning of his fleet, he pitifully begs Jupiter to either help or kill him, so disheartened is he at his arbitrary maltreatment by the gods.
Henry, Elisabeth. The Vigour of Prophecy, A Study of Virgil's Aeneid. Bristol Classical Press, Great Britain, 1989.
The falcon screams,/ Sweeps and plunges/ In its lust for prey.”(158-64) is how Homer describes the beginning of the chase. In this Achilles is chasing after his prey like the falcon, a predatory bird known for its speed and accuracy would swoop down on prey. It is an occurrence that happens over time, Achilles having to cover distance while filled with bloodlust. Hector in this simile is like the dove the subject of the predator’s attention.
This essay will illustrate the types of characters depicted in Sophocles’ tragic drama, Oedipus Rex, whether static or dynamic, flat or round, and whether protrayed through the showing or telling technique.