Some Funny Reviews Regarding My Opinions on This

1) This work is filled to the brim with overly flowery and excessive language, along with an instalove plot, complete with a hot and sexy bad boy as the main character. It seems a bit too formulaic and lacks true depth.

2) Hello, my name is Aeneas Dark'ness Dementia Raven Way. I possess long, ebony black hair and some individuals claim that I resemble Aphrodite (AN: If you don't know who she is, get the hell out of here!). I was sailing through the ever-mindful anger of the savage Juno. It was raining, so there was no sun, which made me extremely happy. A plethora of gods stared at me, and I responded by raising my middle finger at them. This description is quite humorous and unique, adding a touch of eccentricity to the story.

3) This particular piece doesn't really merit a one-star rating, but my Latin class most definitely does. It's an interesting contrast and shows the writer's sense of humor and perhaps a bit of frustration with their Latin class. Overall, these reviews offer a lighthearted and entertaining take on various aspects.

Book Press:

The genealogy, the search for origin, as Foucault taught us, need not be understood as the foundation of stereotypes, but also as the reexamination of the past, as the fragmentation of any unity. This, however, presupposes a deep knowledge of the past, not as a static and once-spoken mass that weighs as a burden on the perceptions and aesthetics of future generations, but as a continuity, baptized in historicity.

Perhaps there is no single source, known only to the initiates, from which the watery expansions of knowledge flow - yet, it is by no means accidental that those who revel in the art of the word, over time, fall into the pain of Nostos. And Nostos here, inevitably, inclines towards the return to the past. No one has ever longed for the future. And this is simply an observation - I do not indicate it positively or negatively.

In any case, when it comes to our literary works, it is observed in many readers the need to search for the beginnings. Having first harvested the fruits of their contemporary production, their path leads them to some fundamental texts, the value of which is not merely museum-like (admiration from a distance) for any kind of past-loving person, but alive, vibrant and continuous. The edge of the art of these texts remains sharp and the contact with them causes in the always-reader intensities and undercurrents of pure aesthetic enjoyment.

At some of the crossroads of this journey, the map of which has been created in the past, but undergoes slight changes in the course of the ages, the bibliophile reader will meet Vergil and his Aeneid. Epic poetry, measured fantastic mythology, it is the story of Aeneas who, fleeing pursued from Troy, searches, as the gods ordained, for a new homeland in Italy. This journey will have duration, adventures, military encounters, loves and friendships, greatness and pain, life and death. Vergil will attempt to describe the human condition in 12 books and will succeed to the greatest extent.

It makes no sense to stop here at any particular points, given that the introduction of about 130 pages by the outstanding translator/commentator Papangelis comprehensively covers the reader. I think it could (in another ideal world that did not blatantly underestimate spiritual aristocracy) constitute a university course on its own. Given this, all that remains for a simple reader (I am always speaking for myself) is to share with like-minded people the impact that such a work can have on his spiritual formation.

It is not easy for someone who has long broken away from the measured word to synchronize with the said text. The epic has irrevocably handed the baton back to the myth, and this makes the process by which those accustomed to the salty waters of literature are called to dive into the sweet water of epic poetry, to adapt immediately to the absence of elevation (this is a great ease), and to enjoy its charms, clearly more demanding.

Teacher Bloom comes (now and always) to the rescue: poetry of all kinds murmurs, resounds loudly (from the chests, even better), so as to constitute a complete audiovisual experience that turns the word into a sensation, into a living being. Although I would be lying if I said that I faithfully followed the advice throughout the long reading, when I selectively did so, there were indeed paragraphs/lines that were literally realized in front of me, gained substance and weight, broke through time and space and swept me into their vortex.

Since Papangelis in his introduction thoroughly analyzes the issues of objectivity, the elective affinity of the Aeneid with the previous Homeric epics, I will state my personal feeling. The initial sting is clear. Vergil does not spare as many references as possible, does not hide influences and what is owed to Homer. At the same time, however, he has the necessary sense of a great mind to test the edge of his poetic sword against a monolith. Let us not forget that ages have intervened in between, and that in Vergil's arsenal he carries the deposit of the dramatic word as the great tragic poets handed it down.

We would say that Vergil is an epigone, something that in this case does not have the negative shade that Steiner gave to the concept. The Latin poet is the fortunate heir of a tradition that he honored in a wonderful way, introducing the dramatic tone into the epic narrative. And yet his work is a continuation, he does not resort to empty imitation, he does not engage in shadow boxing with the hazy time. The Aeneid belongs to modernity, as in the epic element are embedded fragments of existential questioning. Aeneas, in contrast to the adamantine and somewhat two-dimensional Homeric heroes, doubts, is led and carried away by all those ethical dilemmas that ultimately constitute tragedy. Where the Homeric epic, as the translator beautifully emphasizes, appears "as straightforward, immediate, a compact representation, not self-reflective...", the newer epic looks askance backwards in order to be led a little forward. To return to the introductory paragraph about Foucault, the poet fragments the unity of the past, reexamining the tradition, legitimizing the future as he imagined it.

The divine presence -always present, never questioned- guides the actions of the heroes, prophesying the future, justifying the actions of the tragic heroes who constantly turn to it for guidance and justification of actions (right and wrong). This, however, does not prevent the heroes (Aeneas first of all) from suffering, from feeling the burden of their existence, from doubting and clashing with their conscience and that of others.

As we have been taught by ancient drama, among the elements that define the tragedy of a person are the feelings of guilt, his clash with superior forces, the sudden reversal of fortune, but also the triumph of an inevitable fate. Aeneas is the quintessential tragic hero, but to some extent this also applies to the other dramatis personae of the epic. Among the most characteristic cases is Dido, who caresses Aeneas, loves him only to lose him later, as he follows the fate preordained for him by the gods. Their dialogue before the separation (and her subsequent suicide) is震撼ing and recalls the most beautiful moments of dramatic poetry: "My tear and your word, these and nothing else the poor one has. I ask for delay and time from you, so that I may be delivered to my fate, to learn to suffer." And to this plea, the unyielding Aeneas will reply: "If it were in my power, to determine my life as I wish."

When Aphrodite later asks Hephaestus to make a new chariot for her son (as Thetis did for Achilles), it is as if we are present in the very process of poetic creation. Vergil instantly turns into the god Hephaestus: In the deep darkness of night, underground, alone he fans the fire, hammers the anvil, sharpens the blade of inspiration and forges terrifying armor, of unadorned inspiration, magnificent. The frenzy of creation gasps tirelessly, the lines flow, sharpen and take their shape slowly and steadily, under the vigilant eye of the creator. When he emerges in the morning (lame, often ridiculed - but what does the body and appearance of the creator matter;) he brings to mortals and immortals who watch, strong but unenlightened, his creation: his poetic armor - better yet, the armor for Aeneas and the epic for us mortals.

Examples of high narrative art abound. I will only mention some indicatively.震撼ing is the description of the exit where Nisus and Euryalus attempt unsuccessfully to spy on the enemy in the war against the Rutulians. Their exit is in vain, however, and their subsequent death: "Only one thing could: to love his unlucky friend very much." And the poet continues: "Happy are both of you! May these lines have some power, may the time never come when oblivion will extinguish your name."

To be followed by the massacre of Euryalus' mother. What modern soul, future soul, will not be震撼ed by the poet's lines, the way he conveys the pain of loss? What could have changed drastically over the ages so that someone could claim that the lines have lost their tone and the impact they cause is dull and lifeless? The question is obviously rhetorical.

Next, Aeneas kills the young Lausus who attempts to save his father from certain death. The murder is followed by grief for the unjust fate. He hands the body to his comrades: "He himself lifts the corpse from the ground - the blood dirtied the hair that was always neatly combed." Beauty does not abandon the dead, in contrast to the soul that descends to Hades. It is the deposit in eternity, the poet's way of glorifying the fleeting, the youth that succumbs to the unjust death, but at the same time becomes a line, an eternal presence, becomes beauty for the delight of contemporary and future readers.

The epic is full of military clashes. The reader, of course, gradually discovers that there is order, balance, aesthetics, even in the most violent descriptions. The murderous has its own rules, its own liturgy. Men die because first of all they are mortal. Because they are the interpreters of the will of the gods, but also of their own desires. Because they seek glory, posthumous fame. Because they are undoubtedly brave, but also insanely cowardly. Yet they never die unnamed (in accordance with the Homeric tradition). The man who meets death in battle is named, sometimes a brief reference is made to his family or tribe. This makes him a human being, a subject worthy of mention, not just an unknown soldier, a replacement fighter whose existence contributes to the glory of his king. Such a thing does not exist in Homer nor,显然, in Vergil. The defeated gains from the worth of the victor, with the result that he is mentioned in the ages.

Death for Vergil is heroic, but also mournful. The blood-spilling ones leave the world with grief, they regret their homeland and their loved ones before they unite with the shadows. The poet honors the fallen in a just or unjust battle, wrapping them in the robe of his lines, which will accompany them on their可怕 journey to the underworld. At that moment he lifts himself above the human, turns into a God who attempts to rectify blatant injustice (what is more unjust than the merciless slaughter of young and not so young people on the battlefield), inserting his anvil as a shield: "And if fate led you prematurely to death, my lines will offer you rest, recognition, the comfort of eternity" he seems to say. Death is never final as long as there is art. Similarly, the man who creates remains immortal, builds for himself and those around him a dike in which the waves of time and the inevitable regularly break.

Instead of a conclusion

"What is the Aeneid ultimately?" the modern reader will wonder, who, accustomed to the quick analgesic effect of literary supplements, looks with great suspicion at a text of great extent that, through the ages, observes our digital present from a height, demanding silence, stance, concentration, patience. The Aeneid is, definitely, the dream of its creator, a fetus (and wave) of tireless inspiration, the bright vision of life every time it unsuccessfully imitates art. Vergil weaves the mythical with the realistic, obeys and prays to forces higher than himself (in the Homeric past and the Pantheon). At the same time, however, as a true artist, he deconstructs, rebels, detaches and molds in the hidden clay with blasphemous materials. This is the dual nature, the curse of the artist: where he turns to predecessors, authorities and gods, at the same moment he resists, blasphemes and "reveals ancestral bonds" with all that he considers kindred in his art.

The modern reader is called to share the dream of this creation, to be baptized in the poetic essence, to glorify its gods and to celebrate the humble and the lofty of his existence beside the poet. Nothing less!

https://fotiskblog.home.blog/2020/09/...

Virgil’s Aeneid is not an overly long epic, yet I found myself expending a great deal of mental energy in the process of conquering it.

Heavily influenced by Homer, it chronicles the tale of Aeneas, who can be regarded as a less charming Trojan equivalent of Odysseus. Aeneas survives the fall of Troy, embarks on his own arduous wandering (much like in The Odyssey), engages in war (similar to The Iliad), and finally, after the gods temporarily cease their strife and bestow their blessing, becomes the founder of the Roman race.

Let's talk about plagiarism! Overall, this book seems to be a significant piece of Roman propaganda, and the sheer intensity of it can be rather tiring.

Some chapters lack the stimulation of others. I must admit, I skipped a few sections as I simply couldn't force myself to continue reading. However, I do agree that the ending is quite good! It managed to redeem the rest of the book to some extent in my memory, but not enough to make me eager to reread it anytime soon.

The political/propaganda aspect of it is indeed fascinating, and I was far more captivated by the in-depth contextual analysis at the beginning of my edition than by the work itself.

Overall, it is the antithesis of a page-turner, but the analytical aspect is quite cool and makes that tiresome read somewhat worthwhile.

It remains a very important work of literature, albeit far inferior in quality to Homer's masterpieces, which I believe are immortal. I will likely return to this if, one day, I have an abundance of mental stamina to spare.

Sometime you may recall today with pleasure. An end is set for everyone, for life is brief and cannot be recovered. I don’t fear death. To me, the gods are nothing. He dreamed about immortal fame.

After deciding on Peter Green's recent translations of Homer, I decided on something equally direct for a second reading of the Aeneid to try to get more enjoyment than my very forgettable first reading of Dryden's rendering.

To me, Virgil's epic lacks a certain poetic quality that Homer has, which is likely due to Greek versus Latin. But the story also lacks a resonance that Homer's two epics possess. The first two books of Aeneas' descriptions of the fate of Troy I thought very good, but the allure weakened from there.

The translator writes in the preface: "I am in awe of scholars who can expertly debate Vergil’s political pose and attitude; I find him difficult just to read. In part, I blame the half-finished state of his epic: only twelve out of the projected twenty-four books exist, and many are two- or three-word fragments. Some full lines were obviously misplaced, either by Vergil or by a scribe struggling with the text. We have a reliable report that Vergil was unhappy with the draft, and I am grouchily convinced that this was not only on aesthetic grounds but also on those of clarity."

After all, Vergil did ask for his epic to be burned on his death. Nevertheless, there remain some good poetic imagery and turns of phrase, and no doubt the poem, as it is, is better in the original Latin.

. . . more than words. From them I will not limit time or space. Their rule will have no end. Her rosy neck now shone. Her hair’s ambrosia breathed a holy fragrance. Her belt fell loose, her robe now swept her feet. Like a true god she walked. Graceful long hair, the blushing glow of youth. Don’t trust the horse, my people. Even when they bring gifts, I fear the Greeks. Sinon’s false oaths and trickery convinced us. The tears that he contrived did what Achilles and Diomedes and ten years of war and a thousand ships could not: they brought us down. Out of her rosy mouth there came these words. Truly, I saw the whole of Troy collapsing in flames. . . . rose up, conquered by the truth. Like weightless wind and dreams that flit away. I just want time. Rome will rule the world and raise her heart to heaven. Caesar, and all of Iulus’ offspring, destined to make their way to heaven’s splendid heights. Revered with awe from old times. Through endless blue sea to Italian shores. The azure Tiber, favourite stream of heaven. Dissolved in wine. Dawn rose from the saffron bed. Split oak and fragrant cedar. My fate forbids me joy in life. Any risk that I have to take is worth it. He wore exotic red and splendid purple. Apollo heard. Part of the prayer he granted; the rest he scattered to the fluttering breeze. His spirit filled with unrelenting flame. Is death so terrible?

The Aeneid is the main ancient Roman epic poem, composed at the beginning of the reign of Octavian Augustus.

The plot of the poem is divided into two distinct parts. The first part details the arduous voyage of Aeneas to the shores of Italy, filled with numerous and diverse incidents along the way. The second part focuses on the actions of Aeneas in Latium. I found the second part more captivating as it is replete with military operations and a tense confrontation between the opposing sides. There is a greater sense of drama in this section. While the chapters on Dido are poignant, the descriptions of war, along with the heroics, death, and sorrow associated with it, seemed more convincing to me. The overall plot is varied, incorporating many small branches and events.

The characters in the poem are also notable. Aeneas is well-developed, with his unwavering desire to obey the gods and prioritize the common good over his own desires clearly depicted. The history of Rome in the pre-imperial period was filled with such heroes, and I believe Virgil's portrayal of Aeneas serves as an excellent example of the first hero of Roman times. Although many of the characters are rather faceless, there are memorable personalities such as Dido, Turnus, Camilla, and other episodic characters.

The dialogues in the poem can be regarded as a model of pathos and grandiosity. They are well-suited to the genre, but towards the end of the book, I did grow a little weary of the somewhat monotonous recitations.

The writing style of the poem is rich in beautiful sayings and metaphors. The poems are filled with action and details, firmly placing Virgil among the ranks of the best ancient poets. However, this style can be quite challenging to read, often requiring re-reading of incomprehensible phrases due to the unfamiliar concepts of antiquity and the subtle meanings that Virgil infuses into the text.

The worldbuilding in the poem is truly remarkable. When reading such a work, one can sense the great depth of the Roman world, which was highly developed socially, culturally, and religiously. There are numerous features of antiquity incorporated into the poem. I particularly enjoyed the descriptions of military battles and fights in the Aeneid - for an epic, they are both diverse and reliable.

In conclusion, the Aeneid is a great poem that represents a wonderful fusion of poetry and antiquity. It earns an overall rating of 4.

Disclaimer: I rushed/skimmed through this for a Greek Mythology course.

It was truly interesting to read an epic that centered around Roman history and mythology rather than Greek. The unique perspective it offered provided a fresh look into the rich tapestry of ancient cultures. The story was filled with captivating characters and thrilling adventures that kept me engaged from start to finish.

Will probably reread at some point. This epic is highly recommended for lovers of classics and mythology. It offers a wonderful opportunity to explore the world of Roman mythology and gain a deeper understanding of its significance. Whether you are a seasoned scholar or simply someone with a passion for ancient history, this epic is sure to delight and inspire. 3.25

I'll admit it.

I don't like the style of epic poetry. The constant catalogues and tangents just aren't for me, personally.

That said, this work has been an absolute fucking joy to study. The historical context is almost more interesting than the text itself, particularly in my Latin class of literally eight people.

And despite the fact that the poem itself is often boring, I'm definitely going to read it again, more carefully this time. So, four stars for this world classic.

ETA 9/2/21: I stand by everything I said about the style of epic poetry. However, four stars does not do justice to the degree to which the Aeneid lives in my head and makes me mentally ill up there.

ETA 10/27/21: Having just finished my reread, I am done pretending the Aeneid isn't good. No, it's not the Iliad or the Odyssey, but it's a different sort of story with different aims. And I'm sorry but I am not even going to pretend Virgil did not put his whole pussy into every single line of it. Send POST.

ETA 1/20/23: So we all know this poem is a central pillar of my personality at this point right.

ETA 9/4/23: Reread again for Aeneid Daily, which also involved reading (skimming. I'm not great at Latin yet) the poem in Latin. And holy shit, the better I get at Latin, the more impressed I am by everything about Vergil's poetry and the construction of this work. This poem and specifically the ending of this poem is so fucking good I am inconsolable.

TO CARTHAGE THEN I CAME, WHERE A CAULDRON OF UNHOLY LOVES
SANG IN MY EARS!
The Waste Land

THEY CONQUER WHO BELIEVE THEY CAN -
THEY CAN, BECAUSE THEY THINK THEY CAN!
The Aeneid

You can Conquer - now, isn’t that a nifty quick analysis of how faith works? That’s Virgil talking! Faith can be in oneself or in a Higher Being. Let’s take a closer look. Virgil left off writing this masterpiece a mere twenty years before the Star appeared over ancient Bethlehem.

The Aeneid gave the worldly Romans hope for a brighter future as their history was beginning its long, slow decline into moral chaos. It inspired them to believe that a semi-divine Trojan named Aeneas had given them ideals worth dying for, with not much respect due to Troy’s ancient conquerors - the Greeks. Was it just a coincidence? Sure, it was political propaganda commissioned by Augustus through Virgil’s noble mentor Maecenas. But many of the same Roman readers were fathers of the first Italian Christian converts. The domino effect was about to play its hand.

Early Christian apologists saw in Virgil’s ideas about a blissful afterlife an announcement of the Lord’s salvation. Aeneas must forsake the fleshpot of Carthage. And approximately concurrent with all this was the disastrous destruction of Alexandria’s library. Now, books like the Aeneid were a prime source for imaginative myth-making. It is hard to imagine the Knights of the Round Table or early books like Piers Plowman or Sir Gawain and the Green Knight without the nobility of the Aeneid.

The late medieval romances and the Holy Grail also had Latin magic. The Greeks had little influence on our serious Medieval European ancestors. The dearth of Hellenic playfulness gave them a dour mindset. The popular faith and imagination of the Middle Ages derived largely from books like the Aeneid. Even Aeneas’ victory over Turnus was seen as a divine allegory. But with that, Church censorship began and Roman freedoms were curtailed. Every age has its way of dealing with anarchy. Ours is surveillance.

The Church was right to worry about moral anarchy. It’s like parents weeding out bad influences. There’ll be adjustments for the kids later, but with an active intelligence, they’ll catch up. Without a firm foothold of faith, it’s well nigh impossible. Note the conclusion to Book VI of the Aeneid. Most people prefer a life of Ivory over a life of Horn. The origin of the symbol of the Horn lies in misfortune. Could Christianity have spread without the nobility in the Aeneid? The Aeneid is the great Medieval Desert Island Book, an oasis for lost souls and an ethical bedrock. So I’ll continue to walk with Virgil.

Virgil commences his work by proclaiming, 'I sing of arms and of the man'. This is a poetical endeavor that mirrors the Homeric tales of arms (The Iliad) and man (The Odyssey). Virgil manages to recreate a tale that is infused with the characteristics of both epics, achieving a remarkable feat.

The Aeneid is a mesmerizing experience that words struggle to justify. It is a masterful work in every aspect of storytelling. It is tragic and wrathful, politicized with witty arguments, filled with the fury of war, shaded with philosophical virtue, glorified by the nobility of warriors, and romanticized with love and jealousy.

Aeneas, the protagonist, begins his journey in a pitiable and broken state after witnessing the brutal fall of his homeland. However, his journey is far from simple as Juno's wrath knows no bounds. Even the destruction of Troy is not enough for her as she wishes to destroy Aeneas and the remaining Trojans and undo the prophecy that set them on this path. Venus, Aeneas' mother, on the other hand, does her best to prevent further misery and looks forward to the foundation of Rome by her son.

Virgil vividly describes the tragic fall of Troy, which gives his hero a character development worthy of the protagonist. Aeneas evolves from an exiled refugee to a warrior king who wins not only lands but also hearts. Aware of the aftermath of war, he is more evolved, human, and pragmatic. He never boasts as he knows that even the greatest can fall, as seen in the cases of Achilles and Hector. He understands the tragedy of war, which solidifies his status as a true king. He knows his worth but never lets it cloud his judgment or make him overconfident. This is beautifully exemplified in his quote to his son, \\"From me, my son, you can learn courage and hard toil. Others will teach you about fortune.\\"

He further cautions his son that although the future holds fortune and victories, he should not forget the nobility and spirit of the two greatest Trojan heroes. \\"My hand will now defend you in war and lead you where the prizes are great. I charge you, when in due course your years ripen and you become a man, do not forget, but as you go over in your mind the examples of your kinsmen, let your spirit rise at the thought of your father Aeneas and your uncle Hector.\\"

There are numerous instances where Aeneas is compared to Hector, which I believe is Virgil's way of establishing the nobility of his character by paralleling it with Homer's Hector. This may be to overcome some of the instances where Aeneas' decisions might not align with the proposed character.

Another remarkable aspect of the Aeneid is the way Virgil humanizes even his villains. Additionally, there are moments that make one aware of the futility of wars, as beautifully conveyed through the direct confrontation to Zeus, \\"What god could unfold all this bitter suffering for me? What god could express in song all the different ways of death for men and for their leaders, driven back and forth across the plain, now by Turnus, now by Trojan Aeneas? Was it your will, O Jupiter, that people who were to live at peace for all time should clash so violently in war?\\"

The Aeneid is a literal masterpiece, with poetry oozing throughout. \\"Just as when we are asleep, when in the weariness of night rest lies heavy on our eyes, we dream we are trying desperately to run further and not succeeding, till we fall exhausted in the middle of our efforts; the tongue is useless; the strength we know we have fails our body; we have no voice, no words to obey our will - so it was with Turnus.\\"

Despite the criticism of it being a Roman propaganda and an extended fan fiction, one cannot deny the genius of Virgil. Personally, even if I were to comply with the expressed criticism for a moment, I would still be forever grateful for the existence of this remarkable work.

It is truly a challenging task for me to rate his book. The reason being that a significant portion of it simply went over my head. This book is indeed one of the hardest I have ever attempted to read.

However, despite my struggles in comprehending every single aspect of it, I can clearly see and appreciate that Virgil is without a doubt one of the greatest poets of all time. His work is filled with such depth, beauty, and profound insights that it is no wonder he is held in such high regard.

Although I may not have fully grasped the entirety of the book, I can still recognize the genius and artistry that went into its creation. It is a testament to Virgil's skill and talent as a poet that his work continues to be studied and admired centuries after it was first written.

I may not be able to give a comprehensive and detailed rating of this book, but I can肯定地 say that it is a masterpiece and a must-read for anyone interested in the works of great poets.

Third read, this time it was David West’s translation. It was truly a remarkable experience as it made it significantly easier to perceive more of the story nuances.

A few months ago, I had read Robert Fagles’ verse translation. That one was wonderful in its own way, as it vividly brought the scenes to life. During that second read, I witnessed a more complex Aeneas. I’m still not entirely sure if I like him, but I have a better understanding of the duty that binds him and his profound love for Dido.

In some respects, the story is fascinating precisely because it doesn’t quite fit together seamlessly. There are pages where I become completely engrossed in the drama. I could almost feel Troy burning, Dido’s heart breaking, and the intense pains and sorrows of war.

My least favorite part, however, is how this work bristles with propaganda. What continues to puzzle me is how could there be so many deaths when it was fated? But despite this, it won’t prevent me from reading this again. I am still drawn to the rich tapestry of the story and the emotions it evokes.

I look forward to future readings, hoping to uncover even more hidden gems and gain a deeper appreciation for this classic work.

\\n  \\n    Book Review\\n  \\n

The Aeneid, a classic work penned by Virgil in 17 BC, earns a solid 3 out of 5 stars. In this epic, Virgil crafts two archetypal heroes, Turnus and Aeneas, with distinct characteristics. Aeneas, a Trojan prince, dreams of founding a new Troy in Latium, but his path crosses with the enraged Turnus, a Rutulian prince who opposes his arrival. Both men are equally powerful and determined, and have legitimate claims to the land. However, Virgil introduces a profound difference and animosity between them, which ultimately leads to the rise of Rome.

Turnus, a Rutulian prince, plans to marry Lavinia, the princess of Latium. He displays courage in defending his people against the Trojans (Book IX and X) and devises brilliant strategies to attack the Trojan camp (p.207). Yet, his motives are purely personal, as he sacrifices the public welfare and the good of the state to defeat Aeneas and win Lavinia. On the other hand, Aeneas, also a prince, is planning to marry Lavinia. He shows compassion when he looks back for his late wife Creusa (p.57), respect and love when his father dies (p.80), and determination as he continues his journey to find a new Troy (p.103). Unlike Turnus, Aeneas is truly selfless in his desire for Latium. He wants to settle the land for his people and their families, to create a new homeland. Both Turnus and Aeneas possess physical and mental strength, as well as the support of the gods.

With the assistance of Juno, Turnus fights until the end, narrowly avoiding death on several occasions, such as when Pallas' arrow strikes him and when he jumps into the Tiber River fully armored. Similarly, Aeneas' mother helps him by providing protection through the creation of a shield (p.198) and healing his wound with a special potion (p. 302). Up until this point, Turnus and Aeneas seem almost identical in their strengths, weaknesses, and support. However, the one crucial difference is that Aeneas is fated to succeed. He is destined to care for his Trojan people, find a new Troy, marry Lavinia, and father descendants who will establish the great city of Rome. Aeneas has no choice but to win the war and claim Lavinia's hand in marriage. Turnus, on the other hand, is doomed to lose and suffer; he cannot escape his fate. Virgil utilizes the contrast between the two heroes, through antagonism, hatred, and the superiority of Aeneas, to showcase the greatness of Rome.

At the time of The Aeneid's composition, Augustus Caesar was in power, and the Pax Romana was beginning. Rome was experiencing a period of absolute dominance and glory. Virgil employs the character of Aeneas to glorify his friend Octavian, or Augustus Caesar. By highlighting the difference between the two heroes, he suggests that through destiny, as represented by Aeneas (an ancestor of Octavian Caesar), Rome will lead the world in philosophy, art, intelligence, and more. Turnus is a worthy adversary, but Aeneas is superior, just as the new emperor Caesar is. With Octavian Caesar at the helm, Rome will achieve even greater heights. Virgil successfully accomplishes his goal of exalting Rome and its leader, Augustus Caesar.

In conclusion, Virgil creates a strong resemblance between Turnus and Aeneas, but the key characteristic that sets them apart is Aeneas' destined victory and Turnus' inevitable defeat. This difference overshadows the similarities between the two men and leads to the glorification of Rome. If Augustus Caesar is indeed similar to Aeneas, as Virgil implies, he will guide Rome to the pinnacle of success. And that is precisely what occurs!

\\n  \\n    About Me\\n  \\n

For those new to me or my reviews, here's the lowdown: I'm an avid reader, writer, and now blogger. I start by posting my book reviews on Goodreads, and then I share them on my WordPress blog at https://thisismytruthnow.com. There, you'll also find reviews of TV and films, the revealing and introspective 365 Daily Challenge, and plenty of posts about my travels around the world. You can find all my social media profiles to get the full scoop on who I am, what I do, when and where I do it, and see my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by!