Chapter Themes of The Aeneid - Study Guide by Virgil

it is used throughout the book to refer to the pain caused by love and especially to Dido's pain. In addition, the use of the imperfect 'premebat' signifies continued action and, together with 'obnixus', emphasises the ongoing struggle that Aeneas is enduring. Thirdly, at 4.447-9, having been compared to an oak tree, buffeted on all sides by the winds, it is stated that 'magno persentit pectore curas' (in his great heart, he felt the pain of love). Once more, therefore, we find Aeneas' feelings referred to as 'curas' and once more the struggle he is undergoing is stressed. Given this, and the fact that the rest of the sentence refers to him, the ambiguous and controversial phrase 'lacrimae volvuntur inanes' (tears rolled down but in vain, 4.449) can, in my view, also be assigned to him, another sign that he does feel some love towards Dido. Finally, when he meets Dido in the Underworld, he sheds tears once more and 'dulcique adfatus amore est' (addressed her with the voice of sweet love, 6.455). This would seem to provide more proof of his feelings.

If we read Book 4 in this way, we can see that, although Dido elicits more sympathy than Aeneas, we are not to see him in a bad light. He may not explain himself to Dido fully, but he can see from her initial responses that she will not accept any reason that he might give. He cannot express his true feelings, as that leaves himself at their mercy and, furthermore, gives Dido false hope that he might be persuaded to stay. The most important thing is his mission, rather than his own or Dido's feelings. This may make him appear cold or hard- hearted, but it is in fact harder for him to fulfil it than to bow to his own or Dido's wishes. By writing Book 4 from Dido's point of view, Virgil invites us to sympathise with her, but he does not suggest that this should denigrate Aeneas in any way. Both are simply unfortunate to be caught in a grand cosmic design that precludes their happiness (for what little we see of Lavinia suggests that she is far less of an ideal match for Aeneas than Dido). We are left with Aeneas' plaintive cry ringing in our ears - 'Italiam non sponte sequor' ("I go to Italy not of my own free will", 4.361).

5. The Gods

Virgil inherited the system of anthropomorphic gods that we find in the Aeneid from Homer. Yet, as with everything that he inherited from Homer, he adapted it to suit his own purpose. As with the Iliad and the Odyssey, the gods in the Aeneid provide divine causation to add to human causation on the mortal plane. They can be used to explain what otherwise is inexplicable, to hurry the action along and generally to effect what cannot be achieved on a human level. In addition, they provide a colourful and fantastic alternative to the mortal world and an opportunity for the poet to utilise all his powers of imagery. At the same time, they offer a constant reminder of the ultimate futility of much human action, since, even on a whim, they can destroy lives. For example, the opposition of Juno to the Trojans, despite her knowledge that it is fated for Aeneas to found the Roman race, results in the deaths of Dido, Turnus, Pallas, Amata, Lausus, Mezentius and many other Trojans, Latins and Rutulians.

This example demonstrates another key aspect of both the Virgilian and Homeric gods, namely that they are ruled by Fate in the same way that the mortals are. Juno may be able to postpone it, but she cannot alter it. Even Jupiter, who proclaims to know the Fates when he prophesies to Venus in Book 1 (227-96), seems confused by the events in Latium at the start of Book 10 (8) and eventually says that he will withdraw and let the Fates find their own way (10.104-13).

Where the divine machinery of the Aeneid differs from its counterpart in Homer is in its essential idea that man, gods and Fate are all working towards a common end, which is ultimately for the benefit of mankind. This common end is the founding of the Roman race and the establishment of the process that will culminate in Augustus' reign over the Roman Empire. The Fates have decreed as much, as Jupiter knows and expresses in his prophecy and as all the other gods also learn. Aeneas having accepted, or having been forced to accept, his divine mission attempts as best he can to bring it about, and when human frailty causes him to doubt, he is aided by the gods, with the exception of Juno, such that he might continue and complete it. Such a view of the interaction of the divine and mortal worlds is profoundly influenced by Roman Stoicism. Man endures all adversity in order to bring about the will of Fate and the gods, while the latter reciprocate by guiding the attempts of those capable of understanding the divine wishes. The eventual result is the increased civilisation of the human race. This is an idea that