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| has many origins (Apple of Discord/Judgment of Paris/Rape of Helen) |
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| (80-7 BCE) – A patron of Virgil; A cultural advisor |
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Aeneas’ son;
o Is destined to be a part of the foundation of the Roman empire
o often used by the gods to ensure fate is met
• In Troy his head is set on fire as a sign that they must all leave
Cupid tricks Dido into falling in love with him and thus Aeneas. This ensures her demise and then eventually the bitter relations between the Romans and the Carthaginians |
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| Queen of Carthage; helps the Trojans after they are ship wrecked by Juno. She falls in love with Aeneas, but he is fated to go to Italy. He must choose his fate or his love for her and of course chooses fate because he has great pietas. She is devastated and kills herself. He also sees her in the underworld. |
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| A simile developed over several lines of verse, a detailed comparision |
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| foundation literature, such as Iliad/Odyssey. The Aeneid is ktistic literature for the ROman people. Viril wrote this great epic past for them in order to glorify their history. |
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| Town and Promontory off NW Coast of Greece. Site of Battle between Octavian’s crew and Antony and Cleopatras Crew |
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| Aeneas’ father; great Trojan solider; He escapes Troy with Aeneas, but dies in Sicily before they arrive in Carthage. Aeneas looks up to him and listens to him…reinforces his pietas. Aeneas eventually sees him in the underworld, where he is told his fate (again) |
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| The daughter of Latinus who is destined to marry Aeneas. She is more of a figure than a character in the poem, reinforcing the idea in many epics such as the Iliad that women are simply property not individuals |
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| the process of going down into the underworld. Aeneas takes the risk of going down into the Underworld in order to see his father and hear his fate. |
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The twin gates of sleep
o Horn: easy passage to all true shades
o Ivory: sends false dreams up from the dead. Aeneas chooses Ivory with the help of his father; He is not a true shade only a visitor of Hades so the Gate of Horn would not be an easy exit. |
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| The King of the Arcadians. Aeneas travels in order to find support and ironically finds much gratitude and helpfulness with a Greek king. This shows that his fate truly is the most important. No amount of previous bad relations with the Greeks will stop him from fulfilling his destiny. |
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One of Aenea's crewmen, he is thrown over board and swims to the coast where savages kill him...it is later named Cape Palinurs in his honor.
-->He must die so that the Trojans can have safe passage into Italy |
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| A might shield created by Vulcan at the request of Venus that aids Aeneas in defeating the Italians, ensuring his fate. It has all of Roman history depicted on it, a way of Virgil ensuring the poem would be a great Roman epic. |
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| Olympic type games played in honor of Anchises in Sicily. They are important because they set up an opportunity for Aeneas to see his father and receive orders to visit him in the Underworld. |
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| Priestess of the Underworld possessed by Apollo that guides Aeneas through the Underworld. She is significant because she shows that the Gods are willing to help Aeneas through any travels to ensure he fulfills his fate. |
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| A little epic, such as the stories of Nisus and Euryallus in the Aeneid. |
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| A necklace that gives the person who is wearing it great beauty, but poisons their mind and makes them into terrible people. All the Queens of Thebes desired and had this necklace, explaining why it is such a terrible place. |
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Along with King Ascastus: Polynices, Tydeus, Amphiarus, Capaneus, Hippomedon & Parthenopalus.
War ended as unfortunately as Amphiarus had predicted and Adrastus alone was saved by his hors Arion.
They have no desire for justice or a better Thebes, only for battling. |
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avant-garde poets and their poetry. Started a new way of poetry.
Deliberately turned away from Homeric style epics. |
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| The son of Creon. Said to have killed himself in order to save Thebes |
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| Form of magic where the practitioner seeks to summon the spirit of a deceased person, either as an apparition or ghost, or to raise them bodily, for the purpose of divination |
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A hero's ultimate goal. This is what they work for their entire lives, a day of glory. Depicted in a dramatic scene where a hero has his finest moment, the author will only describe one character at a time.
Agamemnon is convinced by Diomedes to lead the battle, he accepts reaching aristeia |
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| The killer and victim of Tydeus. He gives Tydeus a fatal wound, but Tydeus reacts by eating his brains out. His death shows that even a hero can die an unhonorable death. |
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| Trojan youth in equestrian display at Anchises' funeral games. Soon to be source of Latin Atians...family of Augustus |
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They kill many Thebans and are slain together. Thebans awake and flee into the city; there is a battle at the gates, which are eventually closed.
Epyllion that is a parrallel to Nisus and Euryallus.
Exemplify pietas |
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| Narrative Technique: narrator touches on a number of topics until a significant topic is reached and then continues narrative by retracing in reverse topics that were mention on way to significant topic. |
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Enormous gates made of brass and iron that are opened when there is a battle. Latinus refuses to open them when the Italians want to battle the Trojans, but Juno opens them anyways.
They were constructed as a tribute to Mars, the God of War.
Historically whenever Romans prepared to march into battle against an enemy they would open the Gates of War |
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Lovers and impatient warriors who search for Aeneas so they can begin the battles against the Italians. They end up rampaging Rutulian soliders and stealing a helmet that ends up getting them killed.
--> encourages Torjans to fight w/o Aeneas because Turnus puts their heads on sticks and marches up to the gates
--> they exemplify pietas by going after Aeneas |
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A fury summoned by Juno to poison Amata with one of her snacks. This causes Amata to externalize her great disregard for Aeneas and go insane. Also makes Amata persuade Turnus to fight.
She is significant because she shows the destruction furies can bring. |
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A Volscian warrior Queen, who helps Turnus in battle agains the Trojans and kills many men.
Diana gives Opis an arrow to kill whomever kills her with. Arrus asks Apollo's permission to kill her and Opis shoots him with the arrow.
Her death leads to the Trojans closing in on the Italians. |
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| Worn by Turnus after killing Pallas in battle. Aeneas was going to spare Turnus' life, but when he sees him dishonoring Pallas by wearing the belt he decides to kill him brutally. It reminds Aeneas of his duty to family, because he was supposed to bring Pallas back to Evander. An example of a surrogate-father son realtionship |
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| Battles with Aeneas but is wounded and his son Lausus fights Aeneas instead and dies. This causes Mezentius to die, so he goes back to battle Aeneas and is killed. His only request is that he and his son are buried next to each other. Aeneas grants him this wish because it is another father-son relationship that reminds him of Iulus and his dedication to pietas |
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The daughter of King Minos. She helps Thetis, whom she is supposed to marry, overcome the Minotar. After receiving her help he leaves her.
She is significant because she is another representation of the way women are treated in epics. Virgil clearly modeled the character Dido after her. |
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| Olympic type games played in honor of the God Jupiter. These were a representation of how powerful Rome was throughout the world. |
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A new form of writing that was caused by the political atmosphere of the time that did not allow freedom in writing poetry.
Characteristics: over the top gore, rich, variety, complex mythical allusion |
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A poem in which a poet claims to not be talented enough to tell the story, but is going to anyways
-->Statius does this with the Thebaid
--> It is a disclaimer for any errors in the story |
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| A great warrior, but terrible diplomat, and one of the Seven Against Thebes. He may be a hero, but because he eats the brain of Melanippus he shows that even a hero can die a dishonroable death |
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| Attributing human characteristics to inanimate objects or animals. Often seen in epics. |
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