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Recommended: Virgils aeneid underworld
Virgil’s Vision of the Underworld and Reincarnation in Book VI of the Aeneid
“Virgil paints his sad prophetic picture of the Underworld in shadowy halftones fraught with tears and pathos. His sources are eclectic, but his poetic vision is personal and unique” (Lenardon, 312). Despite countless writings regarding the region of the Underworld, such as Homer’s Odyssey and Ovid’s Metamorphoses, Virgil bases his book upon traditional elements accompanied with his own vision of the Underworld and reincarnation. In doing so, Virgil’s book VI of the Aeneid serves as an exploration of Virgil’s concept of the Underworld and religious beliefs, one in which the hybrid of the traditional and the personal, create a more poetic vision than standard retelling of past illustrations.
Following his entrance into the Underworld, with his guide the Cumaean Sybil, Aeneas is thrust into the realm of Virgil’s Underworld, beginning first with primarily traditional elements. “Now from the Stygian water the boatman, seeing them in the silent wood and headed for the bank cried out to them (lines 516-518).” Upon reaching the River Styx, the traditional river shades must cross to enter the underworld; Charon the boatman serves as ferryman to transport the two across the river. Upon progressing further, the two come to a fork in the road leading to two separate traditional Underworld realms Tartarus and Elysium: “now of a sudden Aeneas looked and saw to the left, under a cliff, wide buildings girt by a triple wall round which a torrent rushed with scorching flames…they came to places of delight, to green park land, where souls take ease among the Blessed Groves (lines 548-678).” Tartarus, the realm of torment, was reserved for those to be eterna...
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...rgil creates within these passages. Because of the parallels with Christianity within the Underworld passages, and the notion of Aeneas as an anti-hero with false dreams, Virgil’s work connects itself with future works, inspiring Dante and future authors. As illustrated, the Underworld images Virgil leaves the audience with greatly questions the overall integrity of the epic itself, while not completely alienating his audience through the combination of the new and traditional within the book. In the end, the afterlife is a matter of personal opinion, mixed with tradition, and a dash of doubt and ambiguity.
Works Cited/Referenced
Fitzgerald, Robert trans. The Aeneid. Vintage: New York. 1990.
Lenardon, Robert J., Morford, Mark P.O. Classical Mythology. Fourth Edition. Longman: White Plains, NY. 1991. pp. 312-327. Press, Inc.: New York, NY. 1967.
A twenty-first century reading of the Iliad and the Odyssey will highlight a seeming lack of justice: hundreds of men die because of an adulteress, the most honorable characters are killed, the cowards survive, and everyone eventually goes to hell. Due to the difference in the time period, culture, prominent religions and values, the modern idea of justice is much different than that of Greece around 750 B.C. The idea of justice in Virgil’s the Aeneid is easier for us to recognize. As in our own culture, “justice” in the epic is based on a system of punishment for wrongs and rewards for honorable acts. Time and time again, Virgil provides his readers with examples of justice in the lives of his characters. Interestingly, the meaning of justice in the Aeneid transforms when applied to Fate and the actions of the gods. Unlike our modern (American) idea of blind, immutable Justice, the meanings and effects of justice shift, depending on whether its subject is mortal or immortal.
Harris, Stephen L., and Gloria Platzner. Classical Mythology: Images and Insights. 2nd ed. Mountain View: Mayfield, 1995
In his Confessions, Augustine relates that, in his school years, he was required to read Virgil’s Aeneid. The ill-fated romance of Aeneas and Dido produced such an emotional effect on him. Augustine says that Virgil’s epic caused him to forget his own “wanderings” (Augustine 1116). He wept over Dido’s death, but remained “dry-eyed to [his] own pitiful state” (Augustine 1116 – 7). Augustine later rejects literature and theater because he believes that they distract the soul from God. Nonetheless, Augustine shares many of the same experience as the characters in the Aeneid. Augustine discovers that love can be destructive, just as it was for Dido. Both Aeneas and Augustine of them give up love for the sake of duty. Aeneas leaves Dido to fulfill his calling given by the gods. Augustine ends his lustful affairs in order that he may devote himself to his God.
Morford, Mark P.O., and Robert J. Lenardon. Classical Mythology. '7th ed'. New York: Oxford University Press, 2003.
Among the various tools Dante Alighieri employs in the Commedia, his grand imaginative interpretation of life after death, scenes involving figures and beasts from classical mythology provide the reader with allegories and exempla effectively linking universal human themes with Christian thought and ideology. Among these, the figure of the Siren, found in Canto 19 of the Purgatorio, exists as a particularly sinister and moribund image. Visiting Dante in a dream upon the heights of Mount Purgatory, the Siren attempts to seduce the sleeping traveler with her sweet song. Dante finds himself on the brink of giving in to her deadly charms when Virgil, through the intercession of a heavenly lady, wakes him from this troubled slumber (Purgatorio 19.7-36). A complex image, Dante's Siren demonstrates the deadly peril of inordinate earthly pleasure masked by a self-fabricated visage of beauty and goodness, concurrently incorporating themes of unqualified repentance and realization of the true goodness of things divine.
Grant, Michael, and John Hazel. "Athena." Gods and Mortals in Classical Mythology. Springfield, MA: G. & C. Merriam, 1973. Print.
Rosenburg, Donna. World Mythology: An Anthology of the Great Myths and Epics. Third Edition. Chicago: NTC/Contemporary Publishing Group, Inc., 1999. Text.
Lawall, Sarah N. “The Aeneid.” The Norton Anthology of Western Literature. 8th ed. Vol. 1. New York: W.W. Norton, 2006. 612-652. Print.
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
When “Dante” speaks to “Virgil” near the beginning of Inferno, he understands that he is not yet like Aeneas and Paul (Dante 1.2.32). He says that, unlike these two voyagers, his travels cannot profit others because of his soul's state of habitual sin. “Dante” briefly explains his reluctance to begin his odyssey, saying, “if I consent to start this journey, / I fear my venture will be wild and empty” (Dante 1.2.34-35). In this section, Dante uses Virgil's characterization of Aeneas to provide a strong contrast to the character “Dante” of Inferno. According to Dante, Aeneas completes a heaven-sent mission in founding his city, because Rome eventually becomes the home of the Papacy and the Church. In direct opposition to the mindset, at the start of the Commedia, “Dante” perceives himself as a man astray from the True Path; he does not believe that his voyage can ever ultimately lead to salvation in the way that Aeneas's did.
Lewis, Darrel, Johnson. David R, Univeristy of Minnesota, Psychjournal,2003, Assessing State vocational rehabilitaiton performance in serving individuals with disability.
Book IV of the Aeneid can stand alone as Vergil's highest literary achievement, but centered in the epic, it provides a base for the entire work. The book describes Aeneas's trip through the underworld, where after passing through the depths of hell, he reaches his father Anchises in the land of Elysium. Elysium is where the "Soul[s] to which Fate owes Another flesh" lie (115). Here Anchises delivers the prophecy of Rome to Aeneis. He is shown the great souls that will one day occupy the bodies of Rome's leaders. Before the prophecy of Rome is delivered, Aeneis's journey through the underworld provides a definite ranking of souls according to their past lives on Earth. The Aeneid does not encompass a heaven, but the Underworld provides a punishment place where souls are purged of their evils and after one thousand years, regenerated to Earth. The ranking of souls in the Underworld warns of punishment for sin, and provides a moral framework for Roman life.
Damrosch, David, and David Pike. The Longman Anthology of World Literature. The Ancient World. Volume C. Second Edition. New York: Pearson/Longman, 2009. Print.
Morford Mark, Lenardon Robert, and Sham Michael. Classical Mythology, International Edition. New York: Oxford University Press, USA, 2011. Print. 830 pages.
Rosenberg, Donna. World Mythology: An Anthology of the Great Myths and Epics. Illinois: Passport Books, 1988.