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The Aeneid ( ; or ) is a Latin Epic poetry that tells the story of Aeneas, a Troy who fled the fall of Troy and travelled to Italy, where he became the ancestor of the Ancient Rome. Written by the Roman poet Virgil between 29 and 19 BC, the Aeneid comprises 9,896 lines in dactylic hexameter. The first six of the poem's twelve books tell the story of Aeneas' wanderings from Troy to Italy, and the poem's second half tells of the Trojans' ultimately victorious war upon the Latins, under whose name Aeneas and his Trojan followers are destined to be subsumed.
The hero Aeneas was already known to Greco-Roman legend and myth, having been a character in the Iliad. Virgil took the disconnected tales of Aeneas' wanderings, his vague association with the foundation of Ancient Rome and his description as a personage of no fixed characteristics other than a scrupulous pietas, and fashioned the Aeneid into a compelling founding myth or national epic that tied Rome to the legends of Troy, explained the Punic Wars, glorified traditional Roman virtues, and legitimised the Julio-Claudian dynasty as descendants of the founders, heroes, and gods of Rome and Troy.
The Aeneid is widely regarded as Virgil's masterpiece and one of the greatest works of Latin literature.
Greek vases as early as the sixth century BC provide evidence for these early Greek mythological accounts of Aeneas founding a new home in Etruria predating Virgil by a wide margin, and he was known to have been worshipped in Lavinium, the city he founded. The discovery of thirteen large altars in Lavinium indicates early Greek influence, dating to the sixth through fourth century BC. In the following centuries, the Romans would come in contact with Greek colonies, conquer them and subsume the legend of Aeneas into their own mythological narratives. It is most likely that they fully became interested in Greek myths—and their incorporation into their own foundation legends concerning Rome and the Roman people—following the war against King Pyrrhus of Epirus in 280 BC, as Troy offered a way to insert Rome into Greek historical tradition as good as the one it had in the past for Greeks to link themselves to their new lands.
Literary evidence of a pre-Virgil attestation of Aeneas' journey can also be found. A fragment usually attributed to fifth-century BC logographer Hellanicus of Lesbos' lost History of the Priestesses of Argos states that Rome was founded by Aeneas with the help of Odysseus and named after Rhome, a Trojan woman Aeneas was acquainted with. The attribution of this passage to Hellanicus has been met with some doubt and rejection, but other scholars are less dismissive. Around the fourth century BC, an otherwise unknown Alcimus apparently made Aeneas the father of Romulus by Thyrrenia. Romulus' then grandson Rhomus (Remus) went on to found Rome.
Neptune takes notice: although he himself is no friend of the Trojans, he is infuriated by Juno's intrusion into his domain, and stills the winds and calms the waters, after making sure that the winds would not bother the Trojans again, lest they be punished more harshly than they were this time. The fleet takes shelter on the coast of Africa, where Aeneas rouses the spirits of his men, reassuring them that they have been through worse situations before. There, Aeneas' mother, Venus, in the form of a huntress very similar to the goddess Diana, encourages him and recounts to him the history of Carthage. Eventually, Aeneas ventures into the city, and in the temple of Juno he seeks and gains the favour of Dido, queen of the city. The city has only recently been founded by refugees from Tyre and will later become a great imperial rival and enemy to Rome.
Meanwhile, Venus has her own plans. She goes to her son, Aeneas' half-brother Cupid, and tells him to imitate Ascanius (the son of Aeneas and his first wife Creusa). Thus disguised, Cupid goes to Dido and offers the gifts expected from a guest. As Dido cradles the boy during a banquet given in honour of the Troy, Cupid secretly weakens her sworn fidelity to the soul of her late husband Sychaeus, who was murdered by her brother Pygmalion back in Tyre, by inciting fresh love for Aeneas.
In a dream, Hector, the fallen Trojan prince, advised Aeneas to flee with his family. Aeneas awoke and saw with horror what was happening to his beloved city. At first he tried to fight the enemy, but soon he lost his comrades and was left alone to fend off the Greeks. He witnessed the murder of Priam by Achilles' son Neoptolemus. His mother, Venus, appeared to him and led him back to his house. Aeneas tells of his escape with his son, Ascanius, his wife Creusa, and his father, Anchises, after the occurrence of various omens (Ascanius' head catching fire without his being harmed, a clap of thunder and a shooting star). At the city gates, they notice that they have lost Creusa, and Aeneas has to re-enter the city in order to look for her. To his sorrow, he encounters only her ghost, who tells him that his destiny is to reach Hesperia, where kingship and a royal spouse await him.
Heading into the open sea, Aeneas leaves Buthrotum, rounds the south eastern tip of Italy and makes his way towards Sicily (Trinacria). There, they are caught in the whirlpool of Charybdis and driven out to sea. Soon they come ashore at the land of the Cyclopes. There they meet a Greek, Achaemenides, one of Ulysses' men, who has been left behind when his comrades escaped the cave of Polyphemus. They take Achaemenides on board and narrowly escape Polyphemus. Shortly after, at Drepana, Aeneas' father Anchises dies of old age. Aeneas heads on (towards Italy) and gets deflected to Carthage (by the storm described in book 1). Here, Aeneas ends his account of his wanderings to Dido.
Pheme (the personification of rumour) spreads the news of Aeneas and Dido's marriage, which eventually reaches king Iarbas. Iarbas, who also sought relations with Dido but was rejected, angrily prays to his father Jupiter to express his feeling that his worship of Jupiter has not earned him the rewards he deserves. As a result, Jupiter sends Mercury to remind Aeneas of his duty, leaving him no choice but to depart.
When Aeneas clandestinely begins making preparations to leave at the behest of Mercury, Dido discovers Aeneas' intentions. Enraged and heartbroken, she accuses Aeneas of infidelity while also imploring him to stay. Aeneas responds by attempting to explain that his duty is important and that he does not leave of his own volition, but Dido is not satisfied. Ultimately, her heart broken, Dido commits suicide by stabbing herself upon a pyre with Aeneas' sword. Before dying, she predicts eternal strife between Aeneas' people and hers; "rise up from my bones, avenging spirit" (4.625, trans. Fitzgerald) is a possible invocation to Hannibal. (2025). 9780143105138, Viking Penguin. ISBN 9780143105138
Hindered by bad weather from reaching Italy, the Trojans return to where they started at the beginning of book 1. Book 5 then takes place on Sicily and centres on the funeral games that Aeneas organises for the anniversary of his father's death. Aeneas organises celebratory games for the men—a boat race, a foot race, a boxing match, and an archery contest. In all those contests, Aeneas is careful to reward winners and losers, showing his leadership qualities by not allowing antagonism even after foul play. Each of these contests comments on past events or prefigures future events: the boxing match, for instance, is "a preview of the final encounter of Aeneas and Turnus", and the dove, the target during the archery contest, is connected to the deaths of Polites and King Priam in Book 2 and that of Camilla in Book 11. Afterwards, Ascanius leads the boys in a military parade and mock battle, the Lusus Troiae—a tradition he will teach the Latins while building the walls of Alba Longa.
During these events, Juno, via her messenger Iris, who disguises herself as an old woman, incites the Trojan women to burn the fleet and prevent the Trojans from ever reaching Italy, but her plan is thwarted when Ascanius and Aeneas intervene. Aeneas prays to Jupiter to quench the fires, which the god does with a torrential rainstorm. An anxious Aeneas is comforted by a vision of his father, who tells him to go to the underworld to receive a vision of his and Rome's future. In return for safe passage to Italy, the gods, by order of Jupiter, will receive one of Aeneas' men as a sacrifice: Palinurus, who steers Aeneas' ship by night, is put to sleep by Somnus and falls overboard.
The Aeneid appears to have been a great success. Virgil is said to have recited Books 2, 4 and 6 to Augustus;Fowler, pg.1603 the mention of her son, Marcellus, in book 6 apparently caused Augustus' sister Octavia to faint. The poem was unfinished when Virgil died in 19 BC.
The perceived deficiency of any account of Aeneas' marriage to Lavinia or his founding of the Roman race led some writers, such as the 15th-century Italian poet Maffeo Vegio (through his Thirteenth Book of the Aeneid widely printed in the Renaissance), Pier Candido Decembrio (whose attempt was never completed), Claudio Salvucci (in his 1994 epic poem The Laviniad), and Ursula K. Le Guin (in her 2008 novel Lavinia) to compose their own supplements.
Despite the polished and complex nature of the Aeneid (legend stating that Virgil wrote only three lines of the poem each day), the number of half-complete lines and the abrupt ending are generally seen as evidence that Virgil died before he could finish the work. Some legends state that Virgil, fearing that he would die before he had properly revised the poem, gave instructions to friends (including the current emperor, Augustus) that the Aeneid should be burned upon his death, owing to its unfinished state and because he had come to dislike one of the sequences in Book VIII, in which Venus and Vulcan made love, for its nonconformity to Roman moral virtues. The friends did not comply with Virgil's wishes and Augustus himself ordered that they be disregarded. After minor modifications, the Aeneid was published. Because it was composed and preserved in writing rather than orally, the text exhibits less variation than other classical epics.
As was the rule in classical antiquity, an author's style was seen as an expression of his personality and character. Virgil's Latin has been praised for its evenness, subtlety and dignity.
However, Aeneas' pietas extends beyond his devotion to his father: we also see several examples of his religious fervour. Aeneas is consistently subservient to the gods, even in actions opposed to his own desires, as he responds to one such divine command, "I sail to Italy not of my own free will."Fitzgerald 1983, 4.499.McLeish, Kenneth. "Dido, Aeneas, and the Concept of 'Pietas'." Greece and Rome 19.2 (1972): 127–135.
In addition to his religious and familial pietas, Aeneas also displays fervent patriotism and devotion to his people, particularly in a military capacity. For instance, as he and his followers leave Troy, Aeneas swears that he will "take up/ The combat once again. We shall not all/ Die this day unavenged."Fitzgerald 1983, 2.874–876.
Aeneas is a symbol of pietas in all of its forms, serving as a moral paragon to whom a Roman should aspire.
Divine intervention occurs multiple times, in Book 4 especially. Aeneas falls in love with Dido, delaying his ultimate fate of travelling to Italy. However, it is actually the gods who inspired the love, as Juno plots:
Dido and the Trojan captain will
To one same cavern. I shall be on hand,
And if I can be certain you are willing,
There I shall marry them and call her his.
A wedding, this will be.Fitzgerald 1983, 4.173–177.
Juno is speaking to Venus, making an agreement and influencing the lives and emotions of both Dido and Aeneas. Later in the same book, Jupiter steps in and restores what is the true fate and path for Aeneas, sending Mercury down to Aeneas' dreams, telling him that he must travel to Italy and leave his new-found lover. As Aeneas later pleads with Dido:
The gods' interpreter, sent by Jove himself –
I swear it by your head and mine – has brought
Commands down through the racing winds!...
I sail for Italy not of my own free will.Fitzgerald 1983, 4.492–499.
Several of the gods try to intervene against the powers of fate, even though they know what the eventual outcome will be. The interventions are really just distractions to continue the conflict and postpone the inevitable. If the gods represent humans, just as the human characters engage in conflicts and power struggles, so too do the gods.
He was to be ruler of Italy,
Potential empire, armorer of war;
To father men from Teucer's noble blood
And bring the whole world under law's dominion.Fitzgerald 1983, 4.312–315.
It is important to recognise that there is a marked difference between fate and divine intervention, as even though the gods might remind mortals of their eventual fate, the gods themselves are not in control of it.Fitzgerald, Robert, translator and postscript. Virgil's The Aeneid . New York: Vintage Books (1990). 415. For example, the opening lines of the poem specify that Aeneas "came to Italy by destiny", but is also harassed by the separate force of "baleful Juno in her sleepless rage".Fitzgerald 1983, 1.3–8. Even though Juno might intervene, Aeneas' fate is set in stone and cannot be changed.
Later in Book 6, when Aeneas visits the underworld, his father Anchises introduces him to the larger fate of the Roman people, as contrasted against his own personal fate to found Rome:
So raptly, everywhere, father and son
Wandered the airy plain and viewed it all.
After Anchises had conducted him
To every region and had fired his love
Of glory in the years to come, he spoke
Of wars that he might fight, of Laurentines,
And of Latinus' city, then of how
He might avoid or bear each toil to come.Fitzgerald 1983, 6.1203–1210.
This violence continues as Aeneas makes his journey. Dido kills herself in order to end and escape her worldly problem: being heartbroken over the departure of Aeneas and now left alone, surrounded by violent rulers who desire her and her throne. Queen Dido's suicide is a double edged sword. While releasing herself from the burden of her pain through violence, her last words implore her people to view Aeneas' people with hate for all eternity:
This is my last cry, as my last blood flows.
Then, O my Tyrians, besiege with hate
His progeny and all his race to come:
Make this your offering to my dust. No love,
No pact must be between our peoples.Fitzgerald 1983, 4.864–868.
Furthermore, her people, hearing of their queen's death, have only one avenue on which to direct the blame: the already-departed Trojans. Thus, Dido's request of her people and her people's only recourse for closure align in their mutual hate for Aeneas and his Trojans. In effect, Dido's violent suicide leads to the violent nature of the Punic WarsFitzgerald, Robert, translator and postscript. "Virgil's The Aeneid". New York: Vintage Books (1990). 407.
Finally, when Aeneas arrives in Latium, conflict inevitably arises.Hahn, E. Adelaide. "Pietas versus Violentia in the Aeneid." The Classical Weekly, 25.2 (1931): 9. Juno sends Alecto, one of the Erinyes, to cause Turnus to go against Aeneas. In the ensuing battles, Turnus kills Pallas, who is supposed to be under Aeneas' protection. This act of violence causes Aeneas to be consumed with fury. Although Turnus asks for mercy in their final encounter, when Aeneas sees that Turnus has taken Pallas' sword belt, Aeneas proclaims:
You in your plunder, torn from one of mine,
Shall I be robbed of you? This wound will come
From Pallas: Pallas makes this offering
And from your criminal blood exacts his due.Fitzgerald 1983, 12.1291–1294.
This final act of violence shows how Turnus' violence—the act of killing Pallas—inevitably leads to more violence and his own death.
It is possible that the recurring theme of violence in the Aeneid is a subtle commentary on the bloody violence contemporary readers would have just experienced during the Late Republican civil wars. The Aeneid potentially explores whether the violence of the civil wars was necessary to establish a lasting peace under Augustus, or whether it would just lead to more violence in the future.Pogorselski, Randall J. "The "Reassurance of Fratricide" in The Aeneid." The American Journal of Philology 130.2 (Summer 2009): 261–289.
In the Aeneid, Aeneas is portrayed as the singular hope for the rebirth of the Trojan people. Charged with the preservation of his people by divine authority, Aeneas is symbolic of Augustus' own accomplishments in establishing order after the long period of chaos of the Roman civil wars. Augustus as the light of savior and the last hope of the Roman people is a parallel to Aeneas as the savior of the Trojans. This parallel functions as propaganda in support of Augustus,Grebe, Sabine. "Augustus' Divine Authority and Virgil's Aeneid." Vergilius (1959–) 50 (2004): 35–62.Scully, Stephen. "Refining Fire in Aeneid 8." Vergilius (1959–) 46 (2000): 91–113. as it depicts the Trojan people, future Romans themselves, as uniting behind a single leader who will lead them out of ruin:
New refugees in a great crowd: men and women
Gathered for exile, young-pitiful people
Coming from every quarter, minds made up,
With their belongings, for whatever lands
I'd lead them to by sea.Fitzgerald 1983, 2.1036–1040.
Later in Book 6, Aeneas travels to the underworld where he sees his father Anchises, who tells him of his own destiny as well as that of the Roman people. Anchises describes how Aeneas' descendant Romulus will found the great city of Rome, which will eventually be ruled by Caesar Augustus:
Turn your two eyes
This way and see this people, your own Romans.
Here is Caesar, and all the line of Iulus,
All who shall one day pass under the dome
Of the great sky: this is the man, this one,
Of whom so often you have heard the promise,
Caesar Augustus, son of the deified,
Who shall bring once again an Age of Gold
To Latium, to the land where Saturn reigned
In early times.Fitzgerald 1983, 6.1058–1067.
Virgil writes about the fated future of Lavinium, the city that Aeneas will found, which will in turn lead directly to the golden reign of Augustus. Virgil is using a form of literary propaganda to demonstrate the Augustan regime's destiny to bring glory and peace to Rome. Rather than use Aeneas indirectly as a positive parallel to Augustus as in other parts of the poem, Virgil outright praises the emperor in Book 6, referring to Augustus as a harbinger for the glory of Rome and new levels of prosperity.
Aeneas' leaving the underworld through the gate of false dreams has been variously interpreted: one suggestion is that the passage simply refers to the time of day at which Aeneas returned to the world of the living; another is that it implies that all of Aeneas' actions in the remainder of the poem are somehow "false". In an extension of the latter interpretation, it has been suggested that Virgil is conveying that the history of the world since the foundation of Rome is but a lie. Other scholars claim that Virgil is establishing that the theological implications of the preceding scene (an apparent system of reincarnation) are not to be taken as literal.Trans. David West, "The Aeneid" (1991) xxiii.
The second section in question is
This section has been interpreted to mean that for the entire passage of the poem, Aeneas, who symbolises pietas (piety or morality), in a moment becomes furor (fury), thus destroying what is essentially the primary theme of the poem itself. Many have argued over these two sections. Some claim that Virgil meant to change them before he died, while others find that the location of the two passages, at the very end of the so-called Volume I (Books 1–6, the Odyssey), and Volume II (Books 7–12, the Iliad), and their short length, which contrasts with the lengthy nature of the poem, are evidence that Virgil placed them purposefully there.
The strong influence of the Aeneid has been identified in the development of European vernacular literatures—some English works that show its influence being Beowulf, Layamon's Brut (through the source text Historia Regum Britanniae), The Faerie Queene, and John Milton's Paradise Lost. The Italian poet Dante Alighieri was himself profoundly influenced by the Aeneid, so much so that his magnum opus Divine Comedy, itself widely considered central to the western canon, includes a number of quotations from and allusions to the Aeneid and features the author Virgil as a major character—the guide of Dante through the realms of the Inferno and Purgatorio. Another continental work displaying the influence of the Aeneid is the 16th-century Portuguese epic Os Lusíadas, written by Luís de Camões and dealing with Vasco da Gama's voyage to India.
The importance of Latin education itself was paramount in Western culture: "from 1600 to 1900, the Latin school was at the centre of European education, wherever it was found"; within that Latin school, Virgil was taught at the advanced level and, in 19th-century England, special editions of Virgil were awarded to students who distinguished themselves. In the United States, Virgil and specifically the Aeneid were taught in the fourth year of a Latin sequence, at least until the 1960s; the current (2011) Advanced Placement curriculum in Latin continues to assign a central position to the poem: "The AP Latin: Virgil Exam is designed to test the student's ability to read, translate, understand, analyze, and interpret the lines of the Aeneid that appear on the course syllabus in Latin."
Many phrases from this poem entered the Latin language, much as passages from Shakespeare and Alexander Pope have entered the English language. One example is from Aeneas' reaction to a painting of the sack of Troy: Sunt lacrimae rerum et mentem mortalia tangunt—"These are the tears of things, and our mortality cuts to the heart" ( Aeneid I, 462). The influence is also visible in very modern work: Brian Friel's Translations (a play written in the 1980s, set in 19th-century Ireland), makes references to the classics throughout and ends with a passage from the Aeneid:
Urbs antiqua fuit—there was an ancient city which, 'tis said, Juno loved above all the lands. And it was the goddess' aim and cherished hope that here should be the capital of all nations—should the fates perchance allow that. Yet in truth she discovered that a race was springing from Trojan blood to overthrow some day these Tyrian towers—a people late regem belloque superbum—kings of broad realms and proud in war who would come forth for Libya's downfall.
Recent English verse translations include those by Patric Dickinson (1961); British Poet Laureate Cecil Day-Lewis (1963), who strove to render Virgil's original hexameter line; Allen Mandelbaum (honoured by a 1973 National Book Award); Library of Congress Poet Laureate Robert Fitzgerald (1981); David West (1990); Stanley Lombardo (2005); Robert Fagles (2006); Frederick Ahl (2007); Sarah Ruden (2008); Barry B. Powell (2015); David Ferry (2017); Len Krisak (2020); and Shadi Bartsch (2021).
There have also been partial translations, such as those by Henry Howard, Earl of Surrey (Book 2 and Book 4), and Seamus Heaney (Book 6).
The story of the Aeneid was made into the grand opera Les Troyens (1856–1858) by the French composer Hector Berlioz.
The Aeneid was the basis for the 1962 Italian film The Avenger and the 1971–1972 television serial Eneide.
In the musical Spring Awakening, based on the play of the same title by Frank Wedekind, schoolboys study the Latin text, and the first verse of Book 1 is incorporated into the number "All That's Known".
Ursula Le Guin's 2008 novel Lavinia is a free prose retelling of the last six books of the Aeneid narrated by and centred on Aeneas' Latin wife Lavinia, a minor character in the epic poem. It carries the action forward to the crowning of Aeneas' younger son Silvius as king of Latium.
A 17th-century popular broadside ballad also appears to recount events from books 1–4 of the Aeneid, focusing mostly on the relationship between Aeneas and Dido. The ballad, "The Wandering Prince of Troy", presents many similar elements as Virgil's epic, but alters Dido's final sentiments toward Aeneas, as well as presenting an interesting end for Aeneas himself. Ballad Full Text at the English Broadside Ballad Archive
target="_blank" rel="nofollow"> Virgil's relationship to Roman history,
target="_blank" rel="nofollow"> the Rome of Caesar Augustus,
target="_blank" rel="nofollow"> the challenges of translating Latin poetry, and
target="_blank" rel="nofollow"> Purcell's opera Dido and Aeneas, delivered at the Maine Humanities Council's Winter Weekend program.
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