The Tragedy of Dido
I read this book while on the beach in East Africa and was blown away. The beautiful descriptions of temples, castles, people, and their motivations for living and dying were incredible. Particularly, the Carthaginian Queen Dido and her disastrous love for Aeneas made me cringe as she cried in death on the fire. Buy this book---it will resonate within you for years.
What beautiful words these are!
I do not want to get into a discussion as to who was the greater poet - Virgo or Homer. One was Roman and one was Greek. Both wrote with wondrous and beautiful words, but this book by Virgo is a stunner. This lengthy poem in twelve books traces the mighty Roman empire from the end of the Trojan war to the beginnings of the great empire which was led by Julius Caesar. Aeneas was the first of the great Roman rulers. I had read this story many years ago, and as I read it again, I remembered why I enjoyed this Roman story so much. I have always liked the Roman gods and goddesses, and this epic poem was the reason why. In this poem Virgil presents a struggling Aeneas who has to fight and win many battles before he can claim his crown. We also see the mighty gods and goddesses getting involved in human strife while the drama is played out on earth. But it is the descriptive language that is the beautiful thing here. Words like these can truly live forever.
The classic Roman epic, better than I expected
I'm continually impressed by these classics written over two thousand years ago; some of them are astoundingly good. Seutonius' "The Twelve Caesars" or Plato's "The Republic" come to mind. Virgil's masterwork "The Aenied" lies comfortably in this category and is likely just his version of a tale that had been passed down by oration for generations. It's probably the goriest work of that time I've read too: in the battles heads are lopped off, blood jets out of wounds, torsos and groins are skewered by spears, etc.
The basic premise is that Rome was founded by Trojans who'd fled their home city (Troy) while it was being razed and plundered by the victorious Greeks. But it wasn't exactly a quick journey to a new homeland. A few of the gods (Hera in particular) despised the Trojans and did their utmost to prevent these people from reaching Italy. This epic is about the adventures of the Trojan prince Aeneas and his followers as they attempt to achieve their destiny as founders of Rome, which ultimately became the capital of the Roman Empire.
The translation is wonderful, no complaints at all there from a readability standpoint. An exciting adventure that hasn't worn out over time; it's still as fresh as it ever was and deserves its reputation as a classic of all time. The only nitpick I have is that the ending is rather abrupt, without a real sense of closure. I would have liked to know, for example, what happened in Carthage following Aeneas' hasty departure.
I sing of a great story
Roman society was enamoured of Greek culture -- many of the best 'Roman' things were Greek; the major gods were derivative of the Greek pantheon; philosophy, literature, science, political ideals, architecture -- all this was adopted from the Greeks. It makes sense that, at the point of their ascendancy in the world, they would long for an epic history similar to the Homeric legends; the Iliad and the Odyssey, written some 500 years after the actual events they depict, tell of the heroism of the Greeks in their battle against Troy (Ilium). The Aeneid, written by Vergil 700 years after Homer, at the commission of Augustus (himself in the process of consolidating his authority over Rome), turns the heroic victory of the much-admired Greeks on its head by postulating a survivor from Troy, Aeneas, who undergoes as journey akin to the Odyssey, even further afield.
Vergil constructs Aeneas, a very minor character in the Iliad, as the princely survivor and pilgrim from Troy, on a journey through the Mediterranean in search of a new home. According to Fitzgerald, who wrote a brief postscript to the poem, Vergil created a Homeric hero set in a Homeric age, purposefully following the Iliad and Odyssey as if they were formula, in the way that many a Hollywood director follows the formulaic pattern of past successful films. Vergil did not create the Trojan legend of Roman origins, but his poem solidified the notion in popular and scholarly sentiment.
Vergil sets the seeds for future animosity between Carthage and Rome in the Aeneid, too -- the curse of queen Dido on the descendants of Aeneas of never-ending strife played into then-recent recollections of war in the Roman mind. Books I through VI are much more studied than VII through XII, but the whole of the Aeneid is a spectacular tale.
Books I through VI show Aeneas on the journey, and a failed love affair with Queen Dido. Aeneas is shipwrecked, and Dido (also an outcast from her homeland, setting out to found Carthage) gets Aeneas to tell her his story, in which he recasts the tale of the Trojan War and his own journey in terms that will lead to Rome. Gods and goddesses factor in here - Jupiter (the Roman Zeus) is protecting Aeneas, but Juno (the Roman Hera) favours Carthage, and is the one who caused the storm to shipwreck Aeneas near Dido so that he might be thwarted in his plan to found Rome. There is jealousy and rage because Aeneas eventually has to leave; Dido dies in a dramatic fashion, but not before her soul being given a blessed release by the favoured gods.
The most dramatic part of the story over, the reader settles into other action that, while interesting, is somewhat pale in comparison to the first half.
The Aeneid is a fascinating text, one of the greatest epics of the ancient world; it takes up the task of the Iliad/Odyssey cycle and 'updates', if you will, the story line into the Roman era. Pharr's book helps the reader to work with it in its original language, easily and methodically, with only a minimum of Latin training (one year is probably sufficient) required for engagement.
Vergil died before he could complete the story. He wished it to be burned; fortunately, Augustus had other ideas. Still, there are incomplete lines and thoughts, and occasional conflicts in the storyline that one assumes might have been worked out in the end, had more editing time been available. Despite these, the Aeneid remains a masterpiece.
"Fated to be an Exile..."
[This review relates to the wondrous Penguin Classics
edition of THE AENEID, "Tranlated into English Prose with
an Introduction by W.F.Jackson Knight."] If Virgil could lead the poet Dante through the wasteland
and Inferno at the end of the Middle Ages, perhaps the poet
Virgil, aided by the skill and inspiration of the translator
W.F.Jackson Knight, might perform the same needed function for
us, here at the end of the 20th and the beginning of the 21st
centuries.
W.F.Jackson Knight, in his very interesting and insightful
"Introduction," makes the argument that "the AENEID of Virigl
is a gateway between the pagan and the Christian centuries."
That much, itself, might serve as the basis for some excellent
essays of analysis and interpretation. But Knight has his own
path to tread. So we should let him.
-------------
"In the beginning, Rome had been a tiny settlement
surrounded by enemies -- and it had needed a strong will:
proud,disciplined, and sustained -- to survive at all.
Rome did survive and was led on by successive hard-won
victories to world dominion.
The early history is obscure, but the process seems
to have taken at least five centuries of almost continuous
warfare, and during that period the Romans achieved
unparalleled success, apparently through unique merits
of their own, combined with a special share of divine
favor and good fortune [a nice touch of Pagan sentiment,
there, to counter-balance the perhaps over-emphasis on
the Christian tie at the beginning]. This spectacular rise
of Rome was a matter for wonder and a certain reverence
to the Romans themselves, especially when, in the
later years of the republican period, new chances of peace
and prosperity, AND A NEW ACCESS OF SKEPTICISM threatened
THE OLD HABITS OF LOYALTY, INTEGRITY, and SELF-SACRIFICE"
[capitals are mine].
---------
Knight continues with his excellent "Introduction" and talks
of Publius Vergilius Maro [usually denoted as "Virgil"], the
excellent, visionary poet and artist who created the epic
poem for Roman patriotic pride, values teaching, and national
identity -- THE AENEID.
I especially like Knight's discussion of the influences on
Virgil as he wrote the epic.
--------
"The AENEID is the third, last, and longest of Virgil's
poems. It is a legendary narrative, a story about the
imagined origin of the Roman nation in times long before the
foundation of Rome itself. * * * The AENEID, as any epic should
be, is an exciting story extremely well told and full of
incident; it can be read as a story and nothing more. However,
besides being a story, it is a kind of moving picture --
carrying allusive, and in a sense, symbolic meanings. * * *
In the poem [the gods and goddesses]communicate with mortal men
either directly or through dreams, visions, omens, and the
words of prophets and clairvoyants. Virgil had no doubt that
the affairs of the earthly world are subject to the powers of
another world, a world which is normally, but by no means
always, invisible, but no less real for that....
* * * The great poets have a way of making what is seen
reveal the unseen; and they seem to do this better if they
collect an enormous quantity of observations on life, their
own and other people's, and then condense it under strong
pressure so that even a few words have a great power of
suggestion and persuasion. No doubt they are all the time
choosing with precise accuracy what is most important. The
result is an allusive and partly symbolic kind of language
able to communicate not merely single happenings but the
universal truth behind them.
These greater poets also reach back across past time, and
represent a view of the world which belongs not to one man
or one generation of men but to the men of many succeeding
generations or even a whole civilization. The experience
which is distilled may be the experience of many centuries;
and it may be condensed and focused by a single genius in
a single poetic statement. That is what Virgil did to the
experience of the Greeks and Romans in the AENEID."
["Introduction." W.F. Jackson Knight. AENEID. Penguin
Classics.]
-----------------
In talking of the other literary influences which helped
inspire Virgil and which he distilled into his own poetic
process with the helps of the fires of creative energy
and intuition, Knight mentions (of course) the fact of Homer
and his two major epics, the ILIAD and the ODYSSEY.
He also mentions the influence of Lucretius. But he says:
"Virgil knew his [Lucretius] work well and made free use
of many hundreds of his phrases in the AENEID, and let them
suggest ideas. But since HE VIOLENTLY DISAGREED WITH
THE MATERIALISTIC PHILOSOPHY of LUCRETIUS, he could not
adopt his thought. Indeed, he apparently delighted in turning
it upside down, and expressing something far more like the
idealistic philosophy of PLATO, even when the phrases of
Lucretius were influencing him."
I very much prefer Knight's "prose" English version of the
AENEID over most of the other ones which I have encountered.
His English prose flows like poetry, and is eminently readable
as well as instantly understood. One encounters that famous
opening, translated so well into intuitive, inspired English
prose: "This is a tale of arms and of a man. Fated to be
an exile, he was the first to sail from the land of Troy
and reach Italy, at its Lavinian shore. He met many
tribulations on his way both by land and on the ocean; high
Heaven willed it, for Juno was ruthless and could not forget
her anger. And he had also to endure great suffering in
warfare."
Inspiring and instructive, for Romans, for Dante, and
for us!
