The Role of the Gods and Fate in Virgil's The Aeneid
Are the deeds of mortal characters in the Aeneid controlled by the gods or by fate? Aeneas must fulfill the will of the gods, while enduring the wrath of other gods, all the while being a worthy predecessor of Augustus and founder of the Roman people. Of course, the Trojan is successful because he gives himself up to these other obligations, while those who resist the will of the gods, Dido and Turnus, die sad deaths.
Juno, the queen of gods, attempts to destroy Aeneas and his men in Book I of the Aeneid. The city of Carthage is Juno's favorite, and it has been prophesized that the race of the Trojans will one day destroy that city. This is too much for Juno to bear as another Trojan, Paris, has already scorned her. And so she calls on King Aeolus, the god of the winds, telling him to bring a great storm down upon Aeneas? fleet. Aeolus obeys and unleashes a fierce hurricane upon the battle-wearied Trojans. However, Neptune, the god of the sea, feels the storm over his dominion; he criticizes Aeolus for overstepping his bounds, and calms the waters just as Aeneas' fleet seems doomed. Seven ships are left, and they head for the nearest land in sight, the coast of Libya. Aeneas's mother, Venus sees the Trojans' poor state and pleads to Jupiter to end their suffering. Jupiter assures her that Aeneas will eventually find his promised home in Italy, and that two of his descendants, Romulus and Remus, will found the mightiest empire in the world. Then Jupiter sends a god down to the Phoenicians, the people of Carthage, to make sure they are welcoming to the Trojans. Juno hears that the Trojans are destined to found a city that will destroy her Carthage. That city is Rome, and ...
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... and in an angry mob set fire to the fleet. The Trojan men see the smoke, rush up the beach and throw water on the ships, but the burning does not stop. Finally, Aeneas prays to Jupiter to save the fleet, and immediately a rainstorm comes, putting out the flames. The goddesses Juno and Venus continue their quarrel by further intervention in the journey of the Trojans. At this point it almost seems to be overdone: the gods are driving the plot, not the hero. Aeneas has been reduced to a reactionary role as the different factions on Olympus duke it out over his fate, and send either aid or abuse down to the Trojans. Incapable to stop the burning of his fleet, he pitifully begs Jupiter to either help or kill him, so disheartened is he at his arbitrary maltreatment by the gods.
Works Cited:
Gransden, Karl W. Virgil: The Aeneid. Cambridge: Cambridge UP, 1990.
In The Aeneid there are rich implemented principles such as fate, discipline, and competition which greatly influenced the Roman empire causing it’s rise from obedience to the principles as well as it’s fall from disobedience. Virgil lived during the dawn of the rising sRoman empire, and his book was a catalyst to the greatness that grew within the nation. The Aeneid focused around the principle that fate’s power and dominance overrule human life, which in turn would bring indolence or proactivity depending on the individual’s capacity. Although fate can easily be ripped down as a belief it did many great things for the Romans whether it is real or not. Unfortunately the themes of deceit and trickery also crept into the book’s contents, which
Aeneas sees the destruction of his city through the work of the gods. This tangible sign teaches Aeneas to leave Troy and start the journey to found Rome. Aeneas would stay and continue to fight for Troy, but the sign furthers the pursuit of his mission. His actions become impersonal toward his own family members when he loses his wife, Creusa. Aeneas never looks back or gives a second thought to his family around him until he stops at the funeral mound (2.960-968). Aeneas focuses too much on leaving Rome and his mission, until he returns to his house where Creusa’s ghost confronts him with the reminder of his mission (2.985-1040). His wife reminds him of what is important—his mission and Rome—so Aeneas returns to the funeral mound and turns toward the future. After adventure and hardships, the ships land on Italy and the men begin to feast. Iulus reminds the crew of a prophecy and Aeneas
It also explains as to why some of the things—like having Carthage as the enemy—happened. Vergil gives the Romans a past that includes the characterizations that they hold dear, as well as a historical past that explains the present, including why Carthage and Rome are enemies . Further, the Aeneid including the importance of Roman standards throughout the epic poem establishes the continuity of what he has said is important to the Romans. From this point on, Aeneas’s piety and heroism is continually mentioned and is brought to light as exceptional parts of ‘good’ Aeneas’s character. Aeneas has become both the cause of Rome’s creation through his following of his fate as well as the symbol of the perfect Roman and what Romans should be like or what type of person they came from, the good and pious
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. In addition, Aeneas is presented as a man with no free will. He is not so much bound to duty as he is shielded by it. It offers a convenient way for hum to dodge crucial moral questions. Although this doesn’t necessarily make him a bad person, it certainly makes him a weak one. Of course some will argue that it takes greater moral conviction to ignore personal temptation and act for the good of the people. These analysts are dodging the issue just like Aeneas does. The fact is that Aeneas doesn’t just sacrifice his own personal happiness for the common good; he also sacrifices the past of the Trojan people, most notably when he dishonors the memory of his fallen city by becoming the men he hated most, the Greek invaders. The picture of Aeneas as seen in the end of the Aeneid bears some sticking resemblances to his own depiction of the savage and treacherous Greeks in the early books.
It is clear when reading the Aeneid that Virgil was familiar with the earlier works of Homer, The Iliad and The Odyssey. Virgil, more than just being aware of these earlier works, uses themes and ideas from these poems in his own. Far more than just copying scenes and ideas, Virgil expands and alters these themes to better tell his story, unique from the Greek originals he is drawing from. Virgil reveals what qualities he regards as heroic through the juxtaposition of Aeneas’ character and the negative aspects of the underworld. By looking at which qualities are esteemed and derided respectively, we can identify the qualities that Virgil would like to emphasize positively to his readers. Also, we can argue that Virgil is indeed trying to convey a particular set or morals to those readers. Beyond the underworld, it is possible to clearly identify these traits in the other sections of the poem where Virgil is borrowing and making his own alterations. Using these distinctions we can very clearly derive Virgil's morality from the poem, and see where Virgil's ideal characters veer away from the Greek ideal that came before.
Impressed by Aeneas’s achievements and compassionate to his suffering Dido falls in love with Aeneas. They live together as lovers for a while, until the gods reminded Aeneas of his responsibility to find a new city “Amazed, and shocked to the bottom of his soul By what his eyes had seen, Aeneas felt. His hackles rise, his voice choke in his throat.As the sharp admonition and command. From heaven had shaken him awake, he now. Burned only to be gone, to leave that land. Of the sweet life behind(4.379-395)”. In this quote, the god had a remind him what his duty was and he couldn’t accomplish it if he spend all of his time with his wife. He determines to set sail once again. Dido is overwhelmed by his leaving, and kills herself by ordering a huge fire to be built with Aeneas’s castaway possession, climbing upon it, and stabling herself with the sword Aeneas leaves behind. As they were traveling to Italy bad weather came again and they ended up in Sicily. The women burn the ship but a downpour put the fire out. His father visits him in his dream and say take the rest toward Italy. While Aeneas was away the Turnus attack the Trojan, when he came back he saw his boy in a
Juno, the queen of the gods, is fueled by her rage and fear to harm and change the wheels of fate however she can so that her beloved Argos would not be taken by the Trojans, “This was Juno’s fear...They festered deep within her, galled her still...the Trojan stock she loathed...Her fury inflamed by all this” (Virgil, 48, 28-36). While Juno’s emotional actions affect the other characters, Dido’s emotional actions resulted in her death. After being abandoned by her beloved, Aeneas, Dido was furious and wounded, “So, driven by madness, beaten down by anguish, Dido was fixed on dying, working out in her mind the means, the moment” (Virgil, 144, 594-596). Rational, only in appearance, Dido tells her sister, Anna, to go build her a “pyre in secret, deep inside our courtyard under the open sky” to “obliterate every trace of the man” (Virgil 144). Anna does as her sister tells her to and is deceived by what the pyre was really meant for. Attempting to rid of her emotions by burning every trace of Aeneas, her emotions eventually take over. With her heart torn apart, Dido commits suicide. Dido’s sister on the other hand is hurt but still emotionally stable. Anna is stunned, grieving, and hurt by the actions of her sister, “how very cruel… You have destroyed your life, my sister, mine too” (Virgil 145). Despite playing a part in her sister’s death, Anna remains levelheaded and requests for help to “bathe [Dido’s]
50),” manifests her rage though the physical fire set to the Trojans ships by the women. Juno’s divine wrath against Aeneas stems from two events; the first being Paris choosing Venus as the fairest women compared to Juno and Minerva. The second being the Trojan descendants are fated to destroy Juno’s favorite city, Carthage. Juno understands she cannot stop Aeneas from reaching fated Italy, but she still does everything in her power to make the journey difficult. Juno’s burning rage is most clearly seen when she sends down her messenger, Iris, to convince the Trojan women to burn Aeneas’ fleet. Aeneas and his crew had just landed in Eryx and held festivities to honor Anchises. As the men are distracted by the games, Iris impersonates Beroe and persuades the women to light “burning torches” (V.635) and ignite the ships. The women act on their emotions and are easily persuaded because they want to stop traveling and stay in Eryx. Iris is “the first to seize destroying flame” (V.641) and throw it onto the ships. The women “watched in horror” (V.643-4) but soon join the attack. The “raging fire didn’t slaken” (V.680) until Jupiter intervenes and releases a “rage of pouring rain and thunder” (V.694). Juno’s internal rage is demonstrated though the external fire set by Iris and the women. The destructive fires and the manipulation of the women’s emotions emphasize the rage Juno feels that is only be smothered by Jupiter’s
In the article “Stories of the Trojan War,” it talks about how the gods are raged by the disobedience of the mortals which caused uproar during the time (Peabody). One of the gods that seemed to have a raging authority was Poseidon, god of the sea. He made the journey of Odysseus very hard. For instance, Poseidon would make the sea’s rage, blew Odysseus and his crew off track, and last he strikes them with thunder. That ultimately destroys the crew; except for Odysseus who is left stranded until found by Calypso (Puchner). The actual cause of Poseidon’s anger was due to the fact that Odysseus had killed Poseidon’s son, Polyphemus in a horrific manner. Also, because Odysseus was not appreciative of the fact that Poseidon helped keep his secret of his plot to invade with the
By mentioning the downfall of his people during the Trojan War and foreshadowing his destiny by "Sparing the conquered" Trojans and "battle down the proud" Greeks, can be looked upon as a reinforcement of his duties not only to his dead father and family, but to the entire Trojan population. To let another character found and rule Rome would just prove the failure of his people again, as shown through the Trojan war. Aeneas feels great pride and energy regarding his role in history and is anxious to continue on his journey. The gods are trying to convince Aeneas to value duty to his city and family, a kind of affiliation or relation by virtue of descent as-if from a parent, above duty to a lover by mere affiliation, or arbitrary association. This perspective on an appeal to authority still hinges on a relationship between Aeneas' desire for affiliation and public authority as the authority of filial priority. We learn early on in this epic that Aeneas is a very important character because of his divine parentage. After all, his mother is the Goddess Venus and his father's brother was the King of Troy. His mother is more concerned with his destiny than with his happiness. She makes Dido fall in love with Aeneas and then he falls in love with the Carthaginian queen in return. Despite the fact that he is happy, his mother is one of the gods working to make him fulfill his destiny. This "destiny" is truly revealed to Aeneas in the underworld when he encounters a few fellow Trojan comrades.
From the ashes of Troy, the light of Rome was born through an act by a man who would be deemed both courageous and cowardly by those who once protected it. The early Roman army was one of the most feared and capable armies in ancient times in part due to their strict code of loyalty and punishment of those who betray said code. One of the most reviled crimes was the act of cowardice and the Roman Empire enforced loyalty among its ranks. To betray Rome was to essentially betray the gods. The hero of Aeneas is a rare character in Ancient Roman history that both forsake the gods he serves but also abides to their will. In defying the code of the Roman soldier, Aeneas would help found a city that would outlive the fallen city of Troy.
To view the links that are instilled between mortals, immortals, and fate in The Iliad, it is worthwhile to examine each on its own to observe how they connect. The characteristics of the three are inherently unique in relation to each other, though in some areas there is overlap. Man is defined as a mortal, someone who can die from old age and disease. Products from mortal and immortal procreation, such as the hero Achilles, fall into a sort of category all their own, but Achilles himself suggests that he would die from old age if he were to return home (9:502-505). In this weakness of the flesh they differ from the immortal gods, who cannot die from natural causes. Nevertheless, the gods share the imperfections of man: disloyalty, deceit, anger, and even lust. They see themselves as above man, and yet their actions are often as selfi...
Aeneas is the son of Venus. This fact alone brings about much of the hero in him. Venus, a concerned mother, always looks out for her son. She does everything she thinks will help to ensure his safety and success. At the beginning of his journey from Troy, she prevents his death at sea. Juno has persuaded King Aeolus to cause vicious storms, rocking Aeneas' fleet and nearly killing all of them. Venus then goes to Jupiter and begs him to help Aeneas: Venus appealed to him, all pale and wan, With tears in her shining eyes:
In Book I, we learn that Aeneas will be facing many obstacles on his journey because Juno (Hera) “in her sleepless rage” does not favor him (1.7). An issue Odysseus also had to deal with. The difference here is, unlike Odysseus who has angered Poseidon by blinding his son, Cyclops, Aeneas has not done anything to provoke this rage. Juno holds a grudge against Paris for not choosing her in a beauty competition against Minerva (Athena) and Venus, “that suffering, still rankled: deep within her, / Hidden away, the judgment Paris gave” (1.39-40). She also knows what is to come of Carthage, “That generations born of Trojan blood [Aeneas] / Would one day overthrow her Tyrian walls,” a city “[Juno] cared more for…/ Than any walled city of the earth” (1.31-32, 24-25). We know that Aeneas is set to build Rome so she will try her hardest to make him fail on his journey. In the case of Odysseus, Athena interc...
The interactions between these is clear from book 1 where Juno is fuming because her favoured city Carthage has been prophesized to be destroyed by Trojans, who she already holds hatred for. She calls on Aeolus to let free the ‘brawling winds and howling storms’ [1.54] to keep Aeneas and his men from reaching their destiny in return for the most beautiful nymph. Aelous gives his consent to this and the Trojans face a sudden and violent storm. However, Neptune, god of the ocean, does not appreciate this and calms the storm down, saying of Aeolus