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I.305 –

I.305 –. Aeneas and his (helicopter) mother meet…. Aeneas & Achates set out to explore the region Venus, disguised as a huntress, appears and offers advice to them – it’s two-fold: Gives background about Dido and Carthage – to let Aeneas & the reader learn more… Counselor to her son.

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I.305 –

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  1. I.305 –

  2. Aeneas and his (helicopter) mother meet… • Aeneas & Achates set out to explore the region • Venus, disguised as a huntress, appears and offers advice to them – it’s two-fold: • Gives background about Dido and Carthage – to let Aeneas & the reader learn more… • Counselor to her son

  3. Aeneas & Achates set out to explore (I.305-313) At pius Aeneas per noctemplurimavolvens, utprimumlux alma data est, exirelocosque explorarenovos, quasventoarcesseritoras, qui teneant (namincultavidet), hominesneferaene, quaererecontituitsociisque exacta referre. (I.305-309) • Alliteration (I.305) • Anaphora – ne…ne – feeling of fear

  4. Aeneas & Achates set out to explore (I.305-313) Classem in convexo nemorum sub rupecavata Arboribusclausam circum atquehorrentibiusumbris occulit; ipse unograditurcomitatusAchate binamanulatocrispanshastiliaferro. (I.310-313) • Hyperbaton – classem…clausam – enclosure of fleet in hollow area / picture of safety mixed with fear and danger (horrentibusumbris) • transferred epithet – horrentibus should be w/ arboribus; is w/ umbris • Enjambment – occulit – the verb that controls the previous 2 lines is almost hidden in I.312 • Elision – ipse uno – Aeneas & Achates are inseparable – in word and deed

  5. Appearance of Venus in disguise (I.314-320) • Description of Venus – carefully planned out – picture of wildness, freedom, swiftness • her face (os) • her bearing/look (habitum) • arma = she’s the outdoorsy type • venatrix • her clothing – knees are bare, dress tied in a knot • her hair is flying free • Portrait of wildness, freedom – Spartanae, fatigat, volucrem, praevertitur, habilem, diffundere, ventis, nuda, fluentis, sinus

  6. Appearance of Venus in disguise (I.314-320) Cui mater media sesetulitobviasilva virginisoshabitumquegerens et virginisarma Spartanae, velqualisequosThreissafatigat HarpalycevolucremquefugapraevertiturHebrum. (I.314-317) • Venus may be unrecognizable to Aeneas, but the poet tells the reader/listener outright who she it: mater • Anaphora with virginis – emphasizes that Aeneas does not know who she is • I.315-316 – simile – compared to 2 wild maidens • Looks like a Spartan huntress or Thracian Harpalyce who could outrun horses and a river • Speed throughout the meter – almost all dactyls

  7. Appearance of Venus in disguise (I.314-320) Namqueumeris de more habilemsuspenderatarcum venatrixdederatquecomamdiffundereventis, nudagenunodoque sinus collectafluentes. (I.318-320) • She is a venatrix whose bow is slung over her shoulders and her hair is blowing in the wind • ven sound begins and ends line 319 • Repetition of nud/nod sound in 320

  8. Venus opens the conversation…(I.321-324) • Venus asks Aeneas if he has seen any of her sisters (i.e. not related sisters, but fellow huntresses wandering around the area) • The question is devious, and all of the audience – except Aeneas – are aware of the deceit here • Prominent theme in these opening lines – use of physical senses, vision and hearing • These senses can tell all, but still deceive • Aeneas needs to learn to use other mechanisms to help him sort out his world

  9. Venus opens the conversation…(I.321-324) Ac prior “Heus,” inquit, “iuvenes, monstratemearum vidistissi quam hic errantem forte sororum succinctampharetra et maculosaetegminelyncis, autspumantisapricursumclamoreprementem.” (I.321-324) • Venus starts with “heus” – she’s not shy! • Tone is familiar and intimate • monstrate – imperative – she’s in control here • Hyberbaton – mearum / sororum – presents herself as leader of a group of girls; wide separation of the words hints it is a large group • I.323-324 – description of her companions – huntresses in the pursuit • gird w/ a quiver, wearing cloaks of spotted lynx, chasing after wild boar, they make noise and can be seen and heard

  10. Aeneas’ response…(I.325-334) Sic Venus et Veneris contra sic filiusorsus: “Nullatuarumauditamihineque visa sororum, (I.325-326) • Emphasis on Venus identifies the fact that Aeneas still doesn’t know to whom he is speaking • Uses the same hyperbaton (tuarum…sororum) as Venus • He responds to both requests – he has neither seen nor heard her sisters • chiasmus – tuarumauditamihi visa sororum – Aeneas is in the midst of her fiction – he’s answering her honestly • He has used his senses to the best of his ability, but he’s come up empty-handed to her question; same w/ the idea that his senses aren’t helping him to know who she is

  11. Aeneas’ response…(I.325-334) o quam tememorem, virgo? Namquehaudtibivultus mortalis, necvox hominem sonat; o, deacerte (An Phoebisoror? An Nympharumsanguinisuna?), (I.327-329) • Anaphora – O…O – Aeneas is prone to this lamenting exclamation • Venus’ face and voice are being examined – the senses of vision and hearing continue to be important here • I.328-329 – Aeneas answers his own question and proposes identification of her, which, of course, is false – his senses continue to mislead him

  12. Aeneas’ response…(I.325-334) sis felix nostrumque leves, quaecumque, laborem et quo sub caelo tandem, quibus orbis in oris iactemurdoceas: ignari hominumque locorumque erramus vento huc vastis et fluctibus acti: multa tibi ante aras nostra caedet hostia dextra.” (I.330-334) • Aeneas now turns the tables and asks her for information • lines are full of questioning, indecision, hesitation • iactemur – passive voice – Aeneas still focuses on the fact that he and the Trojans have lost control and are driven by forces outside themselves • I.334 – Aeneas offers a bribe for information – he will offer big sacrifices in thanks for her help • Hyperbaton - multa…hostia – surrounds the altars • Compare this to Juno’s lament in I.48-49, where she worries that no one will over offer sacrifices if she is unable to affect Trojan destiny

  13. Venus tells the story of Dido (I.335-371) • Narrative structure of Venus’ story: • I.335-342 – revelation of location; prologue to story • I.343-364 – story within a story: Dido, Sychaeus, & Pygmalion • I.365-371 – return to present • Prominent Themes (especially in I.343-364) • Dido’s history: reflection of Aeneas’ own past • Dido’s present: stands as prediction of what Aeneas hopes his future might be • Joining of Troy to Carthage and Rome • Joining of Aeneas and Dido on a personal level • Importance of gens, of transference of family from one place to another

  14. Venus tells the story of Dido (I.335-371) – Dido and Aeneas • Similarities • suffered iuiuria • Both were “leftovers” from horrific situations that engulfed their cities • Dido received vision from Sychaeus disclosing the nefas that Pygmalion had tried to conceal, urging her to flee Tyre • Aeneas received vision from Hector telling him about destruction of Troy, urging him to flee • Carried ancestral treasure to new land • Destined to found powerful city in new land • Differences • Dido lost husband at hand of close, named relative – unspeakable crime • Aeneas lost Cruesa through anonymous violence • Dido was never charged with guarding the heritage of an entire nation • Dido has managed to get her city built and her culture transferred; Aeneas – he’s workin’ on it. • Dido is an active leader; right now Aeneas still appears passive

  15. Venus tells the story of Dido (I.335-371) Tum Venus: “Haud equidem tali me dignor honore; virginibus Tyriis mos est gestare pharetram purpureoque alte suras vincire coturno. (I.335-337) • Venus wants Aenas to get past his suspicions that she’s a goddess • Three quick statements • After speedy dismissal of Aeneas’ suspicions, she launches into next section

  16. Venus tells the story of Dido (I.335-371) Punica regna vides, Tyrios et Agenoris urbem; sed fines Libyci, genus intractabile bello. Imperium Dido Tyria regit urbe profecta, germanum fugiens. Longa est iniuria, longae ambages; sed summa sequar fastigia rerum. (I.338-342) • I.338 – immediate statement – no transitional conjunctions • Caesura – I.341 – germnum fugiens // - corresponds to break in thought = story now follows • Enjambment – I.341-342 – ambages; • Venus will tell a complex story that needs complex syntax! (eheu!) • Anaphora – I.341 – longa, longae

  17. Venus tells the story of Dido (I.335-371) – story (within a story) time! (I.343-364) Huic coniunx Sychaeus erat, ditissimus auri Phoenicum, et magno miserae dilectus amore, cui pater intactam dederat primisque iugarat ominibus. (I.343-346) • Introduction of Sychaeus and his wealth • Description of Dido = miserae • First clue to her current psychological state – she should be happy in love, but she becomes miserable because of it • Enjambment – omnibus – caesura after omnibus, also – focuses on the solemnity of the ritual of marriage • I.346 – ominibus – metonymy - marriage

  18. Venus tells the story of Dido (I.335-371) – story (within a story) time! (I.343-364) ………..…sed regna Tyri germanus habebat Pygmalion, scelere ante alios immanior omnes. (I.346-347) • Description of Pygmalion • “ante” serves to emphasize the great degree by which he excels all others in crime

  19. Venus tells the story of Dido (I.335-371) – story (within a story) time! (I.343-364) Quos inter medius venit furor. Ille Sychaeum impius ante aras atque auri caecus amore clam ferro incautum superat, secures amorum germanae; factumque diu celavit et aegram multa malus simulans vana spe lusit amantem. (I.348-352) • Account of Pygmalion’s crime (secrecy) • Pygmalion’s horrible conduct is described in a crescendo; each point adds to terrible nature of hurt that Dido suffered because of him • I.349 – 2 elisions – ante aras / atque auri – the words describing the heinous nature of the crime run together • I.349, 350, 352 – all end in a form from “amo” • They refer to different kinds of love, but all are associated with unhappiness and misery

  20. Venus tells the story of Dido (I.335-371) – story (within a story) time! (I.343-364) Ipsa sed in somnis inhumati venit imago coniugis ora modis attollens pallida miris; crudeles aras traiectaque pectora ferro nudavit, caecumque domus scelus omne retexit. Tum celerare fugam patriaque excedere suadet auxiliumque viae veteres tellure recludit thesauros, ignotum argenti pondus et auri. (I.353-359) Vision of Sychaeus appears to Dido in her dreams Enjambment – imago coniugis – focus is placed on both words Hyberbaton – ipsa imago – vision surrounds Dido in her sleep Interlocked word order (I.354)– ora modis pallida miris Zeugma –I.356 – nudavit – laid bare altars as the scene; laid bare his chest and the sword as evidence of the crime

  21. Venus tells the story of Dido (I.335-371) – story (within a story) time! (I.343-364) His commota fugam Dido sociosque parabat. Conveniunt quibus aut odium crudele tyranni aut metus acer erat; naves, quae forte paratae, corripiunt onerantque auro. Portantur avari Pygmalionis opes pelago; dux femina facti. (I. 360-364) • Dido is a woman of action • Narrative comes to a climax, short sentences • Sharp picture of Dido’s decisive and fearless character • Zeugma – I.360 – parabat – prepared flights & comrades • I.364 – dux femina facti – no verb; emphatic statement about Dido’s power and control

  22. Venus tells the story of Dido (I.335-371) – Devenere locos ubi nunc ingentia cernes moenia surgentemque novae Karthaginis arcem, mercatique solum, facti de nomine Byrsam, taurino quantum possent circumdare tergo. Sed vos qui tandem? Quibus aut venistis ab oris? Quove tenetis iter?” Quaerenti talibus ille suspirans imoque trahens a pectore vocem: (I. 365-371) • Return to present – description of where Dido and her comrades have come to build a new city • Venus calls it “novae Karthaginis” (like “new Troy”, which Aeneas wants and is trying to establish • Moenia (I.366) – theme of city with walls • Connects to the story of Antenor which Venus tells Jupiter – a major goal when founding a city – build fortifications/walls

  23. Aeneas relates his story of their sufferings (I.372-386) “O dea, si prima repetens ab orgine pergam et vacet annalis nostrorum audire laborum, ante diem clause component Vesper Olympo. Nos Troia antique, si vestras forte per aures Troiae nomen iit, diversa per aequora vectos forte sua Libycis tempestas appulit oris. (I.372-377) • I.372-374 – Aeneas’ opening – begins with “O” – length of story is long… • I.373 – emphatic position of laborum • I.375-377 – Aeenas identifies his origin: from Troy • Country of orgin • Name (i.e. gens) • Chance, fate • Trojans as vicitms of fate • Immediate cause of their arrival in Libya • I.377 – forte sua – Aeneas has no knowledge of Juno’s disruptions

  24. Aeneas relates his story of their sufferings (I.372-386) Sum pius Aeneas, raptos qui ex hoste penates classe veho mecum, fama super aethera notus; Italiam quaero patriam, et genus ab Iove summo. Bis denis Phrygium conscendi navibus aequor, matre dea monstrante viam data fata secutus; vix septem convulsae undis Euroque supersunt. Ipse ignotus, egens, Libyae deserta peragro, Europa atque Asia pulsus.” Nec plura querentem passa Venus medio sic interfata dolore est (I.378-386) • I.378-380 – Aeneas gives his credentials and identifies his destination • Loyalty, devotion = pius Aeneas • Foundation of a new race • I.381-385 – Aeneas tells story of their journey and complains to his mother • Fate is a reoccurring theme • I.385-386 – Venus interrupts him in the midst of his complaints • Not even his mother can tolerate Aneeas’ complaints any longer 

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