Vergil Vergil is generally acknowledged as the greatest of all Latin poets. He was famous in his own lifetime and was the first poet in the history of Latin literature to be the subject of lectures given by a contemporary teacher. There seemed to be a great deal of interest in him and on his rare appearances in Rome he was pointed out in the streets as if he were a celebrity. However, in his private life he was know to be very shy and preferred the quiet countryside to the pandemonium of Rome. He was born as Publius Vergilius Maro in Andes, a small village, near Mantua (Mantova), Italy on October 15, 70 BC. He had two brothers; Silo, who died in his childhood, and Flaccus, who lived to be a young man. Vergil's father, a potter and cattle farmer, worked hard to provide his son with an Aristocratic education. After he completed his studies in Cremona and Milan, Vergil went to Rome to study law and rhetoric at Epidius' academy. It was in Rome that he met Gaius Maecenas, a Roman statesman and patron of the arts, who saw Vergil's promise of greatness and sponsored his education. In addition he developed a friendship with Octavian, who later became Emperor Augustus. While in Rome, he studied alongside many prominent poets including Gaius Cornelius Gallus, Horace, and Lucius Varius Rufus. After leaving Rome, Vergil went to Naples to study under Siro. Here, he studied philosophy and also became a member of a group of Epicurean thinkers outside Naples. This group gathered in Campania, at a retreat known as "the Garden", under the leadership of Siro, Vergil's teacher and friend. Originally, Vergil wanted to study law but he gave up after pleading only one court case and devoted himself to philosophy and literature. He spent mo... ... middle of paper ... ... Augustus and unfortunately became very ill during his stay in Greece. Augustus escorted his friend back to Brundisium, Italy, where he died before his epic could be revised to his satisfaction. To prevent the Aeneid from being read in rough form, Vergil left instructions that it be destroyed. Augustus, realizing the value of this work, intervened before this request could be carried out and assigned two of Vergil's poet friends, Varius Rufus and Plotius Tucca, to edit the manuscript for publication. The work was completed near the end of 18 BC. It achieved immediate acceptance throughout the Mediterranean as the definitive Roman epic. On his deathbed, Vergil immortalized himself with a short epitaph, which his friends inscribed above his grave. It ends with this line: "I sang of pastures, farms and rulers". This became a touching summary of his three great works.
Sulla’s earlier career had not been that of an orthodox Optimate. Though he belonged to an old patrician family, it had long slid into obscurity and poverty. Plutarch suggests that a legacy from his step-mother and another from a mistress helped him, somewhat late, to a public career (Plutarch, p. 327). Plutarch was a Greek historian who wrote more than a century after Sulla’s death. Some of his pieces are polemical, that is, his writings possibly arise from scurrilous tracts, written by political adversaries of his subjects. As Marius’ quaestor, he had captured Jugurtha and won the loyalty of his fellow soldiers, sparking a later brutal animosity between the pair. This talent for winning the loyalty of soldiers never deserted Sulla, and that fact would have terrible consequences for Rome (Williams, p.139).
The opening of Vergil’s The Aeneid begins with the phrase “I sing of warfare and a man at war,” (Vergil 3). Vergil starts off his epic by signaling two important themes: the struggles of one man and warfare. The translation of “warfare” can also be interpreted as arms (Boyle). The hero of the epic, Aeneas, will fight a war that will lead to the establishment of the city of Rome. Aeneas comes to terms with his destiny when he receives a shield in Book Eight. Virgil uses ekphrasis in Aeneas’ shield to highlight certain themes and have the readers examine his text more closely. Exphrasis is the description of a piece of art that is highly symbolic and allows the readers and character to view the art at the same time. Vulcan forges a shield for Aeneas that depicts future events in Roman history. Like Vulcan, Vergil is creating art through writing his epic. The reader examines the events on the shield at the same time as Aeneas, and it's a way for both Aeneas and the reader to understand his role in the future of Rome. Vergil calls upon Homer’s ekphrasis of Achilles shield, but differentiates in his choice of content on Aeneas’ shield and the matter in which the weapon is created and presented to the hero. Through the shield of Aeneas, Vergil comments on the cyclical nature of human history and draws comparisons between himself and the artisan, Vulcan in creating highly symbolic art.
...rtant and have this grand legacy and when he realized his time was being cut-short by illness, he then played more video games than usual and obsessed over being fantastic and remembered in the time he had left. He did not completely lose his abilities (gas station scene) when he broke down physically and emotionally, that he realized some things he cannot help and control. Hazel taught him the "legacy" he had with the ones he loved was more important than fame and glory among strangers (wanting to be remembered). Sometimes an individual has to drop the idea of being “glorious” and accept what God / Fate / the Stars have given you. Life is at times beyond your control and both Augustus and Brutus died trying to control fate.
Ariosto addresses the multiple ambiguities Vergil leaves behind. He indicates that a "happy" ending is not always required to please readers and transforms Vergil’s controversial ending into a straightforward conclusion by adapting Rodomont’s character to Turnus and Ruggiero’s character to Aeneas. When the hero’s foe poses a threat and proves capable of defending himself, we do not feel sorry for his death because the hero obviously must kill to defend his own life. We find comfort in Vergil’s ending by superimposing these interpretations and corrections by Ariosto into The Aeneid.
...” (Livy, Rome 5.23). However, he never gave up on his home and his people, even when they gave up on him. Camillus’s “fervent wish” was that “love for this place will so fill your hearts that you will remain where you are…wracked by longing, homesick for your native soil” (Livy, Rome 5.54). Camillus understood that Rome was more than a conglomeration of buildings and stone. Rome was an idea, to be fostered, protected and shared. He was their savior, their misunderstood leader—a hero before his due time. Henceforth, this is Livy’s intention in engraving the life and story of Marcus Furius Camillus for the world, so that one day we may look back and seek the compassionate hero of Rome: the sun in the land of darkness. Her protector and Second Founder.
Vern Tessio and Teddy Duchamps on the other hand contrast this development. They are afflicted with a bad name, Vern being the brother of a member of Ace Merrill's gang and Teddy being the son of a “loony”, but neither of them actually struggle to break free from those prejudices. As far as one can tell from Gordie's narrative Vern does not reflect on his situation, and Teddy worships his father as a war hero, because that is the only way he is able to deal with the traumatic experience of having his ears burned. There does not seem be any character development for either of them throughout the story.
...azards of human nature. Perhaps it was even a message intentionally hidden in the text to bring a sobering light on the perceptions of war as honorable and glorious. It might have even been a way for Virgil to express his resentment for having written a work that he knew would be viewed as propaganda. I think it is very telling that Virgil tried to burn the epic on his deathbed, signaling not only that he was not happy with it, but maybe that he regretted having written it with Aeneas cast as a hero.
The Greek tragedy Oedipus at Colonus was written by the renowned Greek playwright Sophocles at around 404 B.C.. In the play, considered to be one of the best Greek dramas ever written, Sophocles uses the now broken down and old Oedipus as a statement of hope for man. As Oedipus was royalty and honor before his exile from his kingdom of Thebes he is brought down to a poor, blind old man who wonders, “Who will receive the wandering Oedipus today?” (Sophocles 283) most of the time of his life that is now as low as a peasant’s. Although former ruler of Thebes has been blinded and desecrated to the point where he is a beggar, he will not give up on his life and on the life of his two daughters Antigone and Ismene, and his two sons Eteocles and Polynieces who were supposed to help their sorrowful father like true sons and true men but instead they “tend the hearth like girls.”(304). Yet Oedipus still gives praise to those who have helped him, his daughters Antigone and Ismene, although he has no sight, is poor, and his life is of no meaning to him, he recognizes honor and loyalty when he sees it:
From the beginning of 14.30, the description of the battle at Mona, Tacitus emphasizes the “un-Romaness” of the Druids, particularly their tradition of human sacrifice and the behavior of their women: “in modum Furiarum veste ferali, crinibus deiectis.”2 However, even before this, he begins a subtle campaign of Vergilian allusions, belying his unattractive descriptions of the Druids. The opposing battle line is described as “densa armis virisque,” a phrase which cannot help but recall Vergil's “arma virumque cano,” the first line of the Aeneid.3 Later in 30, he employs the Vergilian expressions “preces...fundentes” and “adolere aras”, referring to the superstitious and barbarian religious practices of the enemy but recalling, respectively, supplicating Trojans and Aen...
Solmsen, Friedrich. “The World of the Dead in Book 6 of the Aeneid.” Oxford Readings in Vergil’s Aeneid. S. J. Harrison, ed. New York: Oxford UP, 1990. 208-223.
As in Book I of "The Aeneid," Book II and Book III are authored by Publius Vergilius Maro, but the entirety of the books is written as exposition delivered by the character Aeneas. Aeneas could thus be considered the "author" of the piece, and his audience is Dido and her Phoenician people. Aeneas narrated the contents of the pieces as a response to Dido's request for his story, and his reluctance apparent in the opening lines suggests that he disagrees with the prospect of recalling such painful memories, but complies regardless. Therefore, Aeneas's motivation in relating his story (and, in a way, Virgil's as well) is to reveal what events transpired on his voyage from Troy to Carthage. His actions during the fall of Troy in particular lend
In addition, the overall theme of the poem highlighted morality, which was a definitive tenet of Greco Roman civilization. In many ways, Virgil wrote the poem as a means of lauding the moral virtues of Roman society and as a personal challenge to outdo Homer’s epic compositions, The Illiad and The Odyssey. Virgil was successful because he had incorporated many of the same tales shared in the works of Homer into one epic poem which presented a linear storyline in the books that detailed the life and times of Aeneas and the Trojans. That being said, Virgil did not stray far from the approach that many writers had used before him; his primary focus throughout the Aeneid was placed squarely upon the back of idealized Greek and Roman moral principles, which were the dedication to ones’ honor, family, and country. By no means is there anything wrong with this approach, but in many ways, the entire poem could be viewed as a “propaganda” piece; while it might have served to enlighten, educate, and create a cohesive and uplifting story for the Roman populace, the poem lacked depth and a more profound exploration of human intricacies. While Virgil’s epic poem has stood the test of time and remains one of the greatest pieces
Augustus accepts death as a part of his life. He believes that cancer is a part of him, which it even scientifically is. His experience of his ex-girlfriend, Caroline's death, made him more acquainted and less afraid of the concept of death(Green, page 190) He, however, feared oblivion(Green, page 14). His only quandary regarding death is whether he would be remembered or not(Green, page 144) Augustus indeed realized that he was uniquely different. His biggest flaw and biggest strength were the fact that he wishes to make his mark on the universe. He did not, however, realize, that people do make a mark on this world, but it slowly fades
Virgil. “The Aeneid, Book IV”. The Norton Anthology of Western Literature. 8th ed. Vol. 1. New York: W.W. Norton, 2006. 974-95. Print.
Lawall, Sarah N. “The Aeneid.” The Norton Anthology of Western Literature. 8th ed. Vol. 1. New York: W.W. Norton, 2006. 612-652. Print.