Aeneas as a Roman Hero in The Aeneid
In Virgil’s poem, The Aeneid, the ideal Roman hero is depicted in the form of Aeneas. Not only does Aeneas represent the Roman hero, but he also represents what every Roman citizen is called to be. Each Roman citizen must posses two major virtues, he must remain pious, and he must remain loyal to the Roman race. In the poem, Aeneas encompasses both of these virtues, and must deal with both the rewards and costs of them.
In the poem, Virgil says that all Romans ought to have two certain virtues: he must remain a pious Roman citizen, and he must remain loyal to the Roman race.
Caesar Augustus’ rise to absolute power in the year 31 BCE motioned to a deviation in the politics of Rome, shifting from a republic to a monarchy, though shielded in evident conservatism. It was through the formation of a prescribed mythology to the Julii family name that Augustus and his reign were cemented. By way of the insistence of Augustus, Vergil created the Aeneid to illustrate the mythological underpinnings of the Julii line, and how Augustus offered the hope of prosperity for Rome after a period of civil wars, as the gods supposedly directed it.
The Aeneid is riddled throughout with veiled pieces of Augustan propaganda, reflected in Augustan architecture, highlighting the prominence of the Aeneid as a means of advertising the appeal of Augustus.
I believe that the ending of the Aeneid shows that Aeneas is very heroic. According to Webster’s New Dictionary, “a man of distinguished bravery” and “admired for his exploits.” Aeneas is very brave when he fights Turnus, especially because it is known that the gods are on his side. He successfully killed Turnus, which is an achievement that calls for admiration.
Aeneas, the Anti-hero of Aeneid
Many people seem to be under the impression that the Aeneid is a celebration of Roman glory, led by the hero of fate Aeneas. I find these preconceived ideas hard to reconcile with my actual reading of the text. For starters, I have a hard time viewing Aeneas as a hero at all. Almost any other main characters in the epic, from Dido to Camilla to Turnus, have more heroic qualities than Aeneas. This is especially noteworthy because many of these characters are his enemies.
“The Dido-Aeneas Relationship: A Re-Examination” is a written by T. R. Bryce. Bryce’s argument is that Dido would not have loved Aeneas at all had she not been shot by Cupid’s arrow. Her actions toward Aeneas before being influenced by Cupid, he says, were characteristic of any powerful ruler. The queen saw a potential ally in Aeneas, and treated him as such. Dido would not have been completely mad about how much she loved Aeneas, and would not have been throwing herself at him as many times as she had before. After her husband was murdered, she vowed that she would never marry or lay with another man, and she stood firm in that promise up until her fateful encounter with our epic hero. When Venus became aware of how Juno was sabotaging Aeneas,
The New Hero of Aeneas
Can myopia afflict an individual with so severe a malady to the extreme of proclaiming, "If you take from Vergilius his diction and metre, what do you leave him"? Unless we take this statement as a neophyte joke, we may not be able to continue. The objective of this essay is to clean the bifocals of those whom I presumed after reading the Aeneid as a botched-up replica of the Iliad and the Odyssey conclude that it is indeed so and go about perpetuating such calumny. Hence, to answer the obvious, if we strip Vergilius of his diction and metre, we leave him a new type of hero.
“Am I to admit defeat/ Unable to keep these Trojans and their kings/ From Italy? Forbidden by the Fates, am I?” (1.50-52). Knowing the outcome doesn’t sway the decisions of Juno at all is overcome with rage. It is keen to note that rage is one of the most important themes of The Aeneid and is showed from the poem starts till it ends. Juno and Dido are the two major characters that are affected by this rage. It is Juno who allows Dido to believe that she and Aeneas are married; with hopes that Aeneas would not leave to the build the city of Rome. The intervention of the gods shows how they can easily sway the lives of their mortal men for their own personal desires. For example, when Juno incites rage on the Trojan women allowing them to burn their ships. Virgil clearly shows that aren’t no women of rationality all women are controlled by their emotions. It is clear from the start that Juno is on a man hunt to put an end to the Trojans reign; as result Aeneas becomes a subject of Juno’s rage. Virgil depicts Juno as vengeful Antagonist who tortures a pietious man,
His actions following his dialogue with the priest demonstrate his tendency to engage in rash behavior, as he charges blindly into a battle that he was just told was pointless. Aeneas recalls that at the time, "...[Panthus] heaves a long-drawn breath: / ' 'Tis come, our fated day of death. / We have been Trojans: Troy has been: / She sat, but sits no more, a queen... Greece holds a city wrapt in flames....' So, stirred by Heaven and Orthys' son, / Forth into flames and spears I run..." (Virgil 307-308). Aeneas relates that Panthus informed him that Troy is facing its end as a city set aflame, and that its inhabitants have arrived at the day of their death, but these words served only to strengthen Aeneas's resolve and prompt him into the fray. Aeneas demonstrates his recklessness by charging into a battle immediately after being told the grim circumstances, which was a decision appropriate to the persona of a hero, but irrational nevertheless. His decision to enter the battle in the first place was the first indication of his character during the eventful fall of Troy, showcasing a person who values dramatic heroics over logic and forward thinking. His decision would contribute to the events that were yet to occur, and his behavior during such events would provide further insight into this aspect of his
... prominent source of his weighty troubles. They are helpless to withstand the gods, restrain Aeneas from advancing towards Italy, and burn at women’s torches. Yet, his ships are invaluable to the overall success of his journey and the expression of his character. Aeneas is a ship, chugging toward western shores and providing refuge for his people. However, this extended analogy has greater importance to Virgil and the rest of human society. After the destruction of Troy, Aeneas has no country to protect or call his home. The cargo and soldiers aboard his ships are the remnants of his past civilization, but they are also the seeds for a new empire. Aeneas, just as his ships, is the invaluable carrier and protector of one of the greatest empires in all of human history – Rome.
What is a hero? We would like to think that a hero is someone who has achieved some fantastic goal or status, or maybe someone who has accomplished a great task. Heroes find themselves in situations of great pressure and act with nobility and grace. Though the main character of Virgil's Aeneid, Aeneas, is such a person, it is not by his own doing. He encounters situations in which death is near, in which love, hate, peace, and war come together to cause both good and evil. In these positions he conducts himself with honor, by going along with what the gods want. Only then goes on to pave the way for the Roman Empire. His deeds, actions, and leadership would never have come to be if it were not for the gods. The gods took special interest in Aeneas, causing him misfortune in some cases, giving him assistance in others. On the whole, the gods constantly provide perfect opportunities for Aeneas to display his heroism. Without them, Aeneas would not be the hero he is. This gift does not come without a price, though; he must endure the things heroes endure to become what they are. Despite his accomplishments and the glory associated with his life, Aeneas only achieves the status of hero through divine intervention, and this god-given position causes him just as much grief as it does splendor.