When I think of Aeneid, I think of one Summer not too long ago and one bright fifteen-year-old I taught it to. By that time, I had read Aeneid a number of times and held a very high opinion of it. However, it was the experience of teaching it to someone that made me view it in a whole new light. I felt as if I was reading it for the first time, yet I could still recall all those parts that originally moved me the most. It was interesting to observe my emotional reactions to it anew. Clearly, it was a work capable of moving me deeply.

Tutoring can be quite challenging. Often, those who seek a tutor are the ones having the most difficulty grasping the subject matter. The interesting thing about literature is that students who resist reading it are often the ones most capable of understanding it. Any eyebrows raised yet?

Who are writers, after all? Aren't they those who choose to search for additional meanings and interpretations of this world? Those who are not satisfied with it? Those who are ready to rebel? Don't give me that 'Caesar-ordered-this-book-to-praise-the-Romans-so-the-writer-must-have-been-a-sell-out' argument. I couldn't care less, and I think it's irrelevant. A book is either a success or not. This has nothing to do with whether it was commissioned or not. It depends on the person who wrote it. If the author is an artist determined to create art, then the book usually ends up being art.

If you ask me, the fact that Aeneid is supposed to be written to praise ancient Romans is not important at all. It doesn't subtract or add anything to/from the work. Don't use it as an excuse for giving up on reading it. If you don't like it because it didn't move you, that's fine, but I think this epic deserves a fair chance. I believe it should be read with an open mind and heart.

Sometimes with classics, we forget to truly read them. We read about them, and by the time we get to reading them, we're so engrossed in all that background information that we forget the fundamental joy of reading, which is reading for the love of reading. What matters is that it is an amazing epic poem written by a talented writer. In other words, the writer matters.

Speaking of writers, I imagine many of them were rebellious teens. Those straight A students will read the book cover to cover and learn the basic historical facts about it, but will they be moved? Will they cry when Aeneid leaves a woman who loves him to fulfill what he sees as his duty? Will they offer new interpretations? Those that are truly new and fresh, not just a sum of what critically acclaimed literature professors recently shared?

Perhaps it's an appropriate irony that intelligent but rebellious students often avoid reading assignments just because they find it hard to connect to the subject matter. They're put off by the fact that it's a classic. That's really understandable because when one is fifteen, Aeneid may seem boring. That's why a good teacher must be prepared to invest a bit more time to get their students into reading it. Let's take Aeneid, for example. Yes, we could discuss all kinds of literary interpretations, its background, and its historical context, but wouldn't it be nice to talk about it like readers? Like people who were genuinely moved by it?

I must have read Aeneid at least twice that Summer. Surprisingly, trying hard to focus on every important aspect of it didn't take away from the joy of reading it. That's the wonderful thing about literature. It really doesn't matter how long ago it was written; great literature always makes us feel a certain way. Time is the greatest distance between two places, said Tennessee Williams, and while that's certainly true when it comes to our daily lives and human relationships, such rules don't apply to literature. You know you won't be any less of an intellectual if you admit that you were actually moved by a literary classic. If you don't open up emotionally (and not just intellectually) to some piece of writing, you're bound to miss out.

I'm not going to say that every single verse in Aeneid left me in awe. The poetry is certainly beautiful, but the narrative, the characters, and the overall story might feel a bit alien to a modern reader. Nevertheless, if one is willing to just forget about all that and READ it, I'm sure that one will find that the praise Aeneid has received is well-deserved. Sure, there are events in it that aren't terribly interesting and parts that were an obvious praise of 'you-know-who' and so on... That being said, it is a book I enjoyed reading. It is a book I've read numerous times, and that's the most honest of recommendations.

Don't take my word for it. Go on and read it yourself if you haven't already. If you have, consider rereading it. Aren't you curious why it's such a brilliant piece of writing? Why it inspired so many writers? Why it has been considered one of the most important works of European literature? Don't be afraid to take on this one. Find a good translation and enjoy. And if you happen to be able to read it in the original (for there are people who can read in Latin), lucky you.

The Aeneid is a remarkable Latin epic poem composed by Virgil between 29 and 19 BC. It chronicles the heroic journey of Aeneas, a Trojan who embarks on a perilous adventure to Italy, ultimately becoming the progenitor of the Romans. The poem is divided into twelve books, with the first six detailing Aeneas's arduous wanderings from Troy to Italy. In these books, we witness his encounters with various mythical creatures and his attempts to find a new homeland. The second half of the poem narrates the Trojans' victorious war against the Latins, under whose name Aeneas and his followers are fated to be assimilated.

The story begins with the fall of Troy, where Aeneas and his comrades flee the burning city and set sail for Italy. However, they face numerous obstacles along the way, including the wrath of the gods. Venus, Aeneas's mother, intervenes to protect him, but Juno, who holds a grudge against the Trojans, constantly tries to thwart their progress. Despite the challenges, Aeneas perseveres and eventually arrives in Italy, where he attempts to establish a new kingdom.

The Aeneid is not only a thrilling adventure story but also a profound exploration of themes such as fate, duty, and the nature of heroism. It has had a significant influence on Western literature and culture, inspiring countless works of art, literature, and music.

Æneis = Aeneid, Virgil

When I was in high school, I delved into the Iliad and Odyssey. Once I completed reading them, I felt compelled to explore Virgil's Aeneid. If you have ever perused these books, I firmly believe that the vivid word pictures of this epic story, first Greek myth and then Roman, will be deeply etched in your mind. I highly doubt you will ever encounter clearer ones. Despite being written centuries ago, the epic tales of mythological gods, goddesses, and heroes will remain with you. For me, the "shift" from Greek characters to Roman, especially in the case of the mythological deities, was extremely interesting. The way Homer depicts Aphrodite and Virgil portrays Venus is different. Perhaps the word "complimentary" could be applicable, although it seems to me that they sometimes had radically different views of them. While I departed from Homer picturing Aphrodite, Ares, and their allies in a more negative light, Virgil appeared to view that particular group in a more sympathetic light.

As one perspective on the "heroic" mythical past, this is an enjoyable and worthwhile read.

Also, I must admit that I have always relished fanciful type literature and stories. As a child, it was more challenging to discover stories of swords, daring deeds, magic, and mayhem than it is now, and mythology served very well. Like many people, including Tolkien and Lewis, I favored Norse mythology, but Greek and Roman mythology would suffice in a pinch.

So, think about it. Erudition and high adventure all in one book. What's not to like? It's a win/win situation.

A Gifted Poet's Adventure in the World of Side-Scrolling Platformers

A talented poet embarks on a journey through the virtual realm of a side-scrolling platformer, reaching level 7 with great finesse. The experience is described in a lyrical and vivid manner, much like the heroic exploits of Aeneas. Just as Aeneas was told to fetch a golden bough and had to complete various tasks to obtain it, the poet navigates through the game's challenges with determination. Then, like Aeneas who went to the underground world and gave the bough to the boatman to cross the river, the poet overcomes each obstacle in the game to progress further.

If we understand correctly, Virgil's work was written by order of Caesar Augustus for several important reasons. Firstly, it was to connect Caesar Augustus to the line of the founder of Rome, thereby granting him a special first citizen status and perhaps even a divine right to rule. Secondly, it aimed to connect the Romans to the Greeks, towards whom they had an inferiority complex. And thirdly, it was to justify imposing Roman culture on barbarian cultures as a means of imposing order.

However, Virgil never finished his work. Before his death, he ordered the incomplete manuscript to be destroyed. Amazingly, this book still exists today, defying the poet's final wishes and providing us with a fascinating glimpse into the past.

History records that Virgil penned his epic poem The Aeneid with two distinct purposes in mind.

One was to restore the faith among Romans in the "Greatness of Rome" during a time when such faith was severely tested.

The second reason was to legitimize the Caesar line to the Roman throne.

To accomplish this, Virgil selected a Trojan hero named Aeneas, a mythical figure from Homer's epic poem The Iliad, and crafted a narrative of how he became the founding father of future Roman rulers.

Having drawn his hero from Homer, Virgil was also influenced by him.

The Aeneid is, in every sense, a structural blend of The Iliad and The Odyssey.

Out of the twelve books, the first six recount the story of Aeneas's wanderings and the numerous obstacles he encounters on his voyage to Italy, thus emulating the pattern of The Odyssey.

The next six books hold the tale of warfare: the conflict between the Trojans and the Rutulians for the throne of Italy and the royal bride. This part imitates Homer's The Iliad.

However, upon a second reading, I felt that while Virgil was imitating Homer, he also surpassed him in a different aspect.

Virgil's portrayal of this legendary story is more passionate and expressive than either of Homer's classics.

Even the hero Aeneas is depicted more like a human than the superheroes Hector, Achilles, and Odysseus, making the human connection to the ruling Caesar line more plausible.

The reading experience of The Aeneid was quite enjoyable this time.

The translation I read is praiseworthy. It has maintained the feel of the time period of this legendary tale while simultaneously making it more accessible.

The story was engaging, and it flowed smoothly through the twelve books.

I relished the story and greatly enjoyed the dramatic effect with which it was presented.

One particular aspect that struck me after this reading was that according to this tale, the Trojans, representing the east, are to become the founding fathers of the western Roman line, mingling with the native Italians.

But Virgil states that Jupiter, in order to appease his wife, Juno, promises that the new mixed race emerging from the Trojan-Italian union will uphold the customs, speech, dress, values, and lifestyle of the native Italians, not those of the Trojans.

I couldn't help but wonder if this was Virgil's way of expressing the triumph of the West over the East.

However, from a modern reader's perspective, this epic poem is a literary justice for the Trojans who are finally rescued from their humiliation and restored to their dignity.

For the sympathizers of Troy and the Trojans, Virgil has provided a good remedy.

Aeneas, a renowned Trojan warrior vividly depicted in the Iliad, finds himself in a perilous situation after the Trojan War. He sets sail with his fleet from Troy, which is located in Asia Minor (modern-day Turkey), bound for Italy. However, their journey is marred by misfortune as they incur the wrath of Juno, the wife of Jove. Juno persuades the storm god, Aeolia, to unleash powerful winds and storms upon the fleet. As a result, many of the ships are lost at sea, and the remaining ones are shipwrecked on the North African coast.

Aeneas, in this trying time, must exhibit stoicism to maintain the good spirits of his men. After the shipwreck, he starts a fire and they manage to shoot some game for food. Nevertheless, the men remain dispirited. In an attempt to "relieve their stricken hearts," Aeneas consoles them by saying, "A joy it will be one day, perhaps, to remember even this." However, the poet Virgil astutely adds about Aeneas that, "Sick with mounting cares he assumes a look of hope, and keeps his anguish buried in his heart." This provides a profound insight into the stoicism often demanded of men, especially since they have been traditionally trained for war.

It was recently brought to my attention that the story of the Trojan Horse is not present in the Iliad. It is first recounted in The Odyssey and here in the Aeneid when Aeneas and his men encounter Dido, the queen of Carthage. At her request, Aeneas relates the story of Troy, including the incident of the Trojan Horse.

The primary objective for Virgil in penning this poem was to praise Augustus, as Aeneas was believed to be his ancestor. In the process, the poet expounds on the origins of Rome while borrowing extensively from the style and storylines of Homer.

The Aeneid is such an ancient book and has been so well-reviewed that instead of doing that, in this review I will simply explain what this book, which many of us have only read its name in literature books, is about, how it should be read, and what prerequisites (in my opinion) are needed to read it.

The Plot

Aeneas is actually the name of the main character in this story. A man who, in the last moments of the fall of Troy, escapes from the city with a group and they all embark on a long journey to find a new home for themselves. The land that has been promised to Aeneas by the gods and is Italy. Aeneas and his companions must overcome various challenges to reach the promised land. This story is actually considered the founding myth of Rome and a piece of literary propaganda.

Prerequisites for Reading

If we want to go forward in chronological order, we must first turn to the works of Homer. The Iliad presents a part of the war story and the name of Aeneas is also mentioned in it. But it does not fully explain the reason for the war between the Greeks and the Trojans nor does it cover the part of the capture of Troy. To know these parts, we must take the help of other books that I have listed in the review of the Iliad. The story of the Odyssey also takes place after the war and is about the adventures of Odysseus, one of the Greek commanders. In terms of chronology, the Odyssey and the Aeneid are very close. From a narrative point of view, it is not necessary to read the Iliad and the Odyssey before the Aeneid, and if you know the general story of the war, you will not have a problem.

However, and this is a big point, the Iliad and the Odyssey are considered the literary predecessors of the Aeneid and Virgil has taken the model from Homer's style. So for a literary comparison and more accurately, it is necessary to read these two books first to find their similarities and differences. The first half of the Aeneid is very similar to the adventures of the Odyssey and the second half is very similar to the wars of the Iliad.

Protection of the Gods

It had only been two minutes since I had learned the names of the Greek gods and what each of them did that I started the Aeneid. Then I realized that the Romans, in a strange move, had also chosen the Greek gods for themselves and it can be said that they only changed their names. So I had to constantly check the list of name conversions and see who was who. To read the myths, you are completely forced to learn about this.

Why Should You Read It?

So that one can say that I have read the Aeneid.

Apart from this, these works are the pillars of literature and when you know their content, it is like a special lens is placed on your eyes and you can see their reflection everywhere in the literature of the world.

My Own Experience

Reading the Aeneid bored me. Was this book ahead of its time? Of course, to be fair, it was not a good time either. In my opinion, Aeneas is an uninteresting character and despite all of Virgil's efforts, he has not come out of the lines of poetry at all. Achilles of the Iliad, or Odysseus of the Odyssey, regardless of whether I liked them or not, had "character" and are memorable, but Aeneas does not. I probably would have enjoyed the story more if I had read it further away from Homer's works. The similarity and repetition of the plots were annoying for me and I could not enjoy the beauty of Virgil's pen as I should have.

You can download different versions of the book and its audio from here: Maede's Books

11/11/1403

And it is the Aeneid!

Have you seen the Aeneid? Have you seen how much of its war is artificial? Full of dry movements and shows, as if it is not a war there and two people are with anger and horror, with the intention of stabbing each other's hearts and foreheads with sharp swords. Not horrible, not sweaty, not falling on each other's lives, not an arrow that goes into the flesh and does not come out, not a stream of blood flowing from the forehead...

I think part of this is because the authors did not have the actual experience of being in a war to see its reality (naturally), nor did they have a powerful imagination to be able to envision a chaotic war in front of themselves. And Virgil must have had one of these two: either direct experience of war, or a powerful imagination that could replace all the criteria for experience. This is even more true for Homer, whom Virgil is considered a follower of.

And it is the Iliad

Homer, a Greek poet about three thousand years ago, sang the story of the ten-year war between the Greeks and the Trojans that ended with the destruction of Troy. About a thousand years later, Virgil, a Roman poet, sang and described the sequel for the Aeneid, how the war-stricken refugees of Troy, in search of a new home, founded the Roman civilization in Italy.

Homer's Iliad does not have so many national elements, and Homer is somewhat loyal to both the Trojans and the Greeks, just as the gods are some supporters of this group and some supporters of that group. But perhaps due to the form of the Roman government, Virgil's Aeneid has found a very strong nationalistic color. Apart from the subject (the story of the founders of Rome), in the descriptions, characterizations, events, predictions, and the actions of the gods, absolute loyalty to the Trojans (the founders of Rome) is seen, and rarely are positive characteristics of their enemies shown.

This characteristic, and the lack of a continuous and attractive storyline, makes the Roman epic the Aeneid rank several levels lower than the Greek epic, although it still shines at its peak.

Summary of the book for personal review

Book One

After the war of "Ilium" and the burning of the city of "Troy", its people migrated in all directions. Among them, "Aeneas" and his companions set sail towards Italy. But Juno, the goddess of jealousy, because of her long-standing hatred for the beauty of "Venus", the mother of Aeneas, was an enemy of the Trojans and caused their ships to be caught in a storm to drown them. Venus, who is also the mother of Aeneas, with the help of her son, intervened and threw his ship to the shore of Carthage. Aeneas and his companions went to the queen of Carthage, "Dido", and asked her for help to go to Italy.

Venus, out of fear that Juno would intervene again and put the lives of Aeneas and his companions in danger, sent her other son, "Cupid", the god of love, to the heart of Aeneas to make him fall in love with Dido. The queen of Carthage, Dido, who now fell in love with Aeneas, asked him to tell the story of the Trojan War.

Book Two

Aeneas tells the story of the return of the day of the Trojan War: The Greeks filled a wooden horse with their bravest men and placed it at the gate of Troy, then left the shore. A Greek spy, in the guise of a fugitive, told the Trojans that this horse was a gift from the Greeks to the goddess Athena, who had insulted her temple, and that they had quickly returned to Greece to bring their gods with them so that only with their intercession could they be safe from the wrath of Athena. And if the Trojans bring this gift horse into their city, Athena will be angry with the Greeks.

The Trojans brought the horse into the city, and at midnight, the Greek men jumped out of it and set Troy on fire. Aeneas fought bravely, and in the middle of the battle, his eyes fell on "Helen", the adulteress who was the cause of all these disasters, and he intended to kill her, but his mother, Venus, stopped him and told him to save his family and escape from the city. Aeneas fled from the devastated Troy with his family and those who followed him later.

Book Three

Aeneas and his companions, in search of a land on which to build their new city, first went to "Thrace", but when Aeneas wanted to pick a blood-red plant, a voice came from the ground and introduced itself as the spirit of one of Aeneas' companions who had been killed by the Thracians and this plant had grown from his body.

Aeneas fled from Thrace because of the betrayal of the Thracians, and his gods led him to Italy. On the way to Italy, he wandered among different islands, sometimes encountering the "Harpies", cruel women with the faces of girls, sometimes with the "Cyclops", one-eyed giants, and sometimes fleeing from the "Charybdis", a sea monster: experiences that he had already passed through "Aulis". The story of Aeneas ended with his arrival in Carthage.

Book Four

Aeneas and Dido, the queen of Carthage, fell in love with each other because of mutual affection. Aeneas was distracted from continuing his journey, and this news reached Jupiter. Jupiter called Aeneas back to Italy and his promised kingship. Aeneas left Carthage without hesitation, and Dido, the queen of Carthage, killed herself. This began a long enmity between Rome and Carthage.

Book Five

Aeneas and his companions arrived in "Sicily" and held competitions to honor the gods. Meanwhile, the Trojan women, tired of the endless journey, set the ships on fire in order to stay in Sicily and not wander the seas anymore. Jupiter sent a rain and saved some of the ships. Since the number of ships had been reduced, Aeneas had no choice but to leave the elderly and the weak in Sicily and set off for Italy with the bravest men and women.

Book Six

Aeneas, guided by "Sibyl", the prophetess, traveled to the underworld to see the spirit of his father. After crossing the river that entered the underworld, he passed among the wandering souls (those who had committed suicide or remained unburied) and saw the spirit of Dido, the queen of Carthage. Then he passed through the gate of hell and his guide, Sibyl, told him about the torments of the sinners in hell.

Then he reached heaven and met his father's spirit there. His father showed him the spirits of the descendants who were to be born from Aeneas' line and bring Rome to greatness, and encouraged him with great hope to continue his journey to Italy. Aeneas returned and set off for Italy without hesitation.

Book Seven

Aeneas arrived in Italy and intended to marry the daughter of "Latinus", the king of the "Latins" - one of the tribes living in Italy - to increase his power in that land. But Juno, who was angry with Aeneas' success and the alignment of fate with him, tried to make this success as dark as possible. So, with the help of the underworld goddess "Allecto", she spread war and bloodshed among the Italians and the Trojans. Among them, "Turnus", the king of the "Rutuli" - one of the tribes living in Italy - who was supposed to marry the daughter of Latinus, became angry and went to war with Aeneas.

Book Eight

Aeneas, in order to fight the Italians, made an alliance with their enemy, the king of "Evander". Evander told him the history of the land of Italy: from the time when "Saturn" gave laws to the wild people of that land and ruled over them, to the time when "Hercules" killed the giants living in that land. After Evander, other enemies of Italy also joined Aeneas.

Venus, out of love for her son, asked "Vulcan", the god of fire and craftsmanship, to make weapons and armor for Aeneas, and Vulcan agreed and engraved all the future history of Rome on them, and Aeneas put on the destiny of the future generations.

Book Nine

The Italians - the Latins and the Rutuli - took advantage of Aeneas' absence and besieged his city. A fierce war ensued.

Book Ten

Aeneas returned with his allies. The Italian army was besieged by the enemy, and the battle turned in favor of the Trojans. Juno asked Jupiter that at least Turnus, the king of the Rutuli, who was of the dark gods, should be saved. So, she made a cloud in the shape of Aeneas, and Turnus, thinking that he was chasing Aeneas, criticized the cloud and entered a ship. The ship moved and left the battlefield.

Book Eleven

The Trojans attacked the city of the Latins and besieged their besiegers. A war ensued, and the outcome depended on whether Aeneas and Turnus would fight hand-to-hand and determine the result of the war.

Book Twelve

The hand-to-hand fight ensued, and Aeneas killed Turnus.

Mandelbaum’s translation is truly beautiful. After the fall of Troy, Aeneas and his Trojans endure tremendous pain and hardship as they strive to find their way home. Destiny and fate lurk behind the suffering and the endless journey, and a rich and deep beauty emerges everywhere. It is the combination of destiny and heroic epic poetry that gives meaning and beauty to life, regardless of how difficult it may become.

Although Aeneas wanders through many lands, the great women in the book stand out as landmarks on his journey home. It all begins with the loss of his wife Creusa, whom he loses while escaping the Greeks and the burning ruin of Troy. Like Orpheus when Eurydike follows him out of the underworld, Aeneas turns and discovers that she is gone. Rushing back to find her, he encounters Creusa's ghost. It is too late, but she tells him that another wife awaits him in Italy, and Creusa submits to fate. Then comes the tragedy of Dido, who falls in love with Aeneas when he is shipwrecked in Carthage. He cruelly abandons her (in submission to the ordained fates) and continues on his journey. Halfway through the book, Aeneas descends into the underworld following the Sybil, the priestess of Apollo (as Theseus entered the Labyrinth with the help of Ariadne’s thread).

In the second half of the book, the great heroine is Camilla, whose tragic death (like that of Dido) can evoke deep pity in the reader. Foreshadowed from the very beginning of the poem, Lavinia, the promised bride, awaits him at the end of his journey. She is betrothed to another, and this will cause another war before the foundations of Rome can be laid.

Some examples of the happy success of Mandelbaum’s English translation include the scene near the end of Book I, just before Dido asks Aeneas to tell the tale of his trials and wanderings. The tables are cleared away, and enormous bowls are brought, crowned with wreaths. The uproar grows, swelling through the palace. Voices roll across the ample halls, and the lamps are kindled, hanging from ceilings rich with golden panels. Flaming torches overcome the night. And then the queen calls for a golden cup, massive with jewels, that Belus once used. She fills the cup with wine, and the hall falls still.

Late in the poem, the young hero Pallas exhorts his men, who are being routed. He tells them that they cannot trust to their feet but must hack a passage through the Latin ranks with their swords. He charges against the crowding Latins, saving the battle but costing him everything.

Perhaps the most amazing scene, full of wonder, is when Aeneas weeps upon seeing the relief sculpture that decorates Juno’s temple in Carthage. It depicts scenes from the Trojan war in which he participated. He sees himself, his friends, his former king, and his famous enemies. In this strange new land, with Troy gone, he weeps, feeding his soul on what is just a picture. He discovers that the story of Troy is known everywhere.

However, there are so many rich, deep, meaningful, and wonderful passages that it would be impossible to tell them all without rewriting the entire Aeneid. I look forward to reading it again and again, as it gets better with each reading.

I'm not entirely certain if this is the translation I perused during my studies of Classics at GCSE and A Level. It has a familiar ring to it, but then again, the story would be and two different close translations could still bear resemblance. Anyhow, with my course on Tragic Love in the Trojan War, I've had the inclination to reread The Aeneid throughout the entire term.

I simply can't fathom the loss to the world that would have ensued if Vergil's wishes regarding the burning of the manuscript had been fulfilled. Certain parts of The Aeneid are truly magnificent – Homer's work has its own vitality and robust allure, yet it lacks the refinement of Vergil's masterpiece. There are numerous resplendent metaphors and similes within these pages, elements that are exquisitely crafted, and moments of tenderness that one wouldn't anticipate in the midst of what is admittedly a rather bloody epic. Aeneas' attempts to embrace his deceased (and thus ghostly) wife and father are simply, oh, and the delicate touches of humanity that we encounter from many of the characters – Amata pleading with Turnus to remain safe, Lavinia blushing, Dido falling hopelessly in love...

It is an incredibly rich text with an abundance to delight in. I should, at some point, read a splendid poetic translation – I believe I possess one – but in the interim, even the prose translation, which I imagine was far from the ideal means of translating Vergil's intentions, is charming.

Quizá por primera vez desde que retomé la lectura como un hábito diario en 2022, sentí con verdadera fuerza la necesidad de separar la obra literaria de la experiencia de lectura asociada a ella.

¿Qué es lo que valoramos cuando asignamos en esta red social cierto número de estrellas a un libro? Desde 2023 estoy en Goodreads y creo que pocas veces me lo he planteado. Generalmente puntúo sin más, guiado por mis sensaciones. Pero ¿eso es siempre justo?

Si se tratara sólo de cómo me sentí leyendo la Eneida, dificilmente pasaría de las tres estrellas. Para empezar porque, tal vez un poco apresurado, compré una edición, de Cátedra, que me sacó canas verdes y no recomiendo para nada. El libro viene con una introducción de ¡¡108 páginas!! interminable, confusa y llena de disquisiciones innecesarias. Ya entrados en el texto de Virgilio, nos encontramos permanentemente con excesivas y extensas notas al pie, comentarios irrelevantes que ocupan la mayoría de las veces más de la mitad de la página y que terminé omitiendo para no interrumpir la lectura a cada momento. Y la traducción está en verso, lo que podría ser una ventaja sí, pero en este caso está en endecasílabos, por lo que no respeta la numeración de hexámetros original lo que la hace completamente inútil a nivel académico (en definitiva el fin último por el que hice la compra).

Además de estas dificultades de edición, ya cansado, frustrado y al borde del bloqueo lector intenté apurar la lectura y terminarla rápido pero sin dudas no es un libro para ser leido "por arriba". Escrito hace 2000 años, al igual que la obra de Homero refleja un universo bastante desconocido para los lectores del siglo XXI, y su lenguaje no es sencillo. Requiere una lectura atenta, tranquila, con un diccionario cerca y acceso a internet para consultar referencias, de modo de no perderse detalles de la trama y verdaderas genialidades del autor. Sentí que llegar al final fue sacarme un peso de encima, cuando no debería haber sido así, debería haber disfrutado de la Eneida mucho más. Muchísimo más.

Y es que la obra, por sí sola, es de cinco estrellas, y solo cinco porque en Goodreads no se pueden poner más. ¡Qué maravilla! El despliegue de Virgilio me pareció fantástico, en todo sentido, y me resulta difícil condensar todo lo que representa, expresa y transmite en una simple reseña.

Guiado por el principio de "imitatio" o de resignificación, Virgilio recupera las temáticas de la épica homérica y les da un nuevo sentido y carácter. Partiendo del ciclo troyano, toma como protagonista a Eneas, soldado teucro sobreviviente con su familia y su pueblo de la caída de la famosa ciudad. El héroe tendrá que seguir su destino y sus raices no sin dificultades, hacia las costas de Italia en pos de un nuevo proceso fundacional de lo que en la época de Virgilio se habrá convertido en nada más y nada menos que el Imperio Romano.

En el camino, Eneas protagonizará entre otras cosas un romance trágico con Dido de Cartago, visitará a su difunto padre en el Inframundo, y finalmente se verá envuelto, nuevamente, en una guerra. Junto a su destino (fatum), quizá el motor o aspecto definitorio de Eneas, su areté, es la piedad (pietas) la cual dialoga y alterna emociones y decisiones con la pasión (furor).

Muchos de estos elementos, así como escenas, pasajes del texto, muchas veces tienen gran inspiración no solo en la Iliada y la Odisea sino también en otros textos clásicos. Pero Virgilio redirecciona todo ello, en pos de ciertos "objetivos propios". Para empezar se busca cierta justificación mítico-literaria al origen de Roma y la romanidad. El autor, si bien podría pensarse que glorifica la figura de Cesar Augusto, también es muy crítico de su gobierno y le reclama que sea un gobernante justo, dando muestras de su cercanía a la filosofía estoica. Además, escrita la Eneida en el siglo I a. C, recién impuesta la "pax augusta" tras años de fraticida guerra civil, en ella Virgilio hace varias reivindicaciones "pacifistas". En especial el discurso de Diomedes, hacia el final de la obra, me conmovió especialmente y me pareció un recurso espectacular.

Quizá un elemento que no me gustó (aunque es propio de su época y no es del todo justo hacer juicios de valor) es que otra vez las mujeres se ven disminuidas y señaladas. En la obra se las ve permanentemente dejándose llevar por la pasión, al punto de no medir las consecuencias y causar siempre enormes perjuicios. El ejemplo más representativo es el de Dido pero también en el libro V (antes de llegar a Italia) las mujeres troyanas deciden quemar las naves y en la segunda mitad de la obra, al igual que Helena en el ciclo troyano, una mujer, Lavinia, es el elemento en disputa de una cruenta y feroz guerra. La principal antagonista es la diosa Juno, quien rivaliza permanentemente con Venus, madre de Eneas, y ambas llevan al límite su pasión en pos de favorecer sus intenciones y torcer el destino.

Muchas de las escenas relatadas por Virgilio se han convertido en icónicas y han sido representadas a lo largo de los siglos hasta la actualidad a través de diferentes formas de arte. La Eneida del mismo modo que otras obras clásicas, continúa siendo un referente para el pensamiento de Occidente, para nuestra cultura, y aborda cuestiones trascendentales a toda la humanidad.

En definitiva, las cuatro estrellas resumen esa conjunción entre lo que me pareció la obra y la experiencia de lectura que tuve en este momento. Seguramente vuelva a la Eneida más adelante, con otra edición y otros tiempos. Es un libro fundamental.

Welcome to... the A(UGUST)ENEID.

I know this is my worst title/month pun ever. I know it's actually not even really a pun. But in my defense, August does not lend itself to any of the classics I have interest in. So there.

Anyway. Welcome back to PROJECT LONG CLASSICS, in which I read an intimidating paragon of literature divvied up in nice little chunks over the course of a month in order to get through it.

This one is perfectly timed: it's summertime, and you know what that means. Time to pick which impressive books I'll read outside so people think I'm smart.

The Aeneid divides itself into 12 scary "books," so I'm going to divide those into less-scary halves. Just as Virgil intended, I'm sure.

In Book One, Part One, we have Dido gathering hateful men, loaded-up ships, and ancient treasure to strike out on her own...kinda the original girlboss.

In Book One, Part Two, Aeneas is living my dream: overhearing a bunch of people talking about you and they're only saying really nice things.

In Book Two, Part One, it's like opening up your whole hometown and throwing a huge party to celebrate your invitees only for them to spend the whole time trauma dumping. Pretty bad vibes all around.

In Book Two, Part Two, it's been said before, but...how cool to be so hot that your very existence causes a war among two great powers. Helen was really innovating in the conflict space.

In Book Three, Part One, Aeneas has been through some sh*t, but nothing has rattled me as bad as him cutting a tree and the tree bleeding and then speaking in his dead friend's voice. That'll give you nightmares.

In Book Three, Part Two, I'm going to go ahead and say it: this book has too many names in it. And more than that, too many of them start with A.

In Book Four, Part One, I'm loving that this one is titled Dido. I'm ready to bow down and swear loyalty over one party planning description alone, so I can't wait for what this is all about.

In Book Four, Part Two, Anna is so real for this. If my sister killed herself my first reaction would also be "without me?"

It's hard to wrap my mind around the fact that we are like a quarter of the way through this book and yet it holds nothing for me anymore.

In Book Five, Part One, Dido just set herself on fire and meanwhile Aeneas and his friends are hanging out doing boat races. Men are trash.

In Book Five, Part Two, this morning I went for a run with my fiancé (I contain multitudes) and it started torrentially raining, so of course we both did our finest Aeneas impression and beseeched the sky like "I HAVE DONE ALL YOU ASK! WHY HAVE YOU FORSAKEN ME, JUPITER?" All of which is to say, I wish there were a group of meddling gods I could blame my every inconvenience on.

In Book Six, Part One, the events of this book are interesting because like...the death count is high and yet I wouldn't say much is happening. Thank you to Virgil, who somehow sensed my complaint thousands of years in the future and therefore took us on a field trip to the underworld.

In Book Six, Part Two, Dante was a way better world-of-death hang than Aeneas, I'll say that. All this guy ever wants to do is shout names in a state of great emotion and immediately move on.

In Book Seven, Part One, even half-god war heroes with queen exes have to deal with meddling parents.

In Book Seven, Part Two, we interrupt this battle scene for Virgil to describe someone as the second-hottest guy on record, and make a quick note that he therefore deserves a better father. Sure!

In Book Eight, Part One, this book is titled "Aeneas in Rome." As the saying goes. We can only hope for a Mary Kate and Ashley-esque ride-on-the-back-of-a-vespa romance for our hero.

In Book Eight, Part Two, well, Aeneas didn't get a whirlwind Italian romance with a guy who makes homemade pasta, but he did acquire 400 horses. Maybe that's comparable.

In Book Nine, Part One, now we're getting into some Iliad-esque gruesome and unforgettable violence montages.

In Book Nine, Part Two, I don't feel like I'm not enjoying this book, but also there has never been a single day that I've remembered to do this organically. Which is the excuse I'm giving you for why I've taken 7 days off in total. Anyway, back to the important stuff: can you imagine how humiliating it would be to die by slingshot wound.

In Book Ten, Part One, Aeneas really has to learn to delegate. Why is my guy staying up all night just to sail a ship. Ugh, now he's doing hand to hand combat. Will he ever learn.

In Book Ten, Part Two, in this section, all of the bad guys are saying badass stuff like "no one else fight the scariest enemy. He's mine. My only regret is that his own father cannot witness me take him down," meanwhile Aeneas is being a really bad sport in terms of killing. Not loving that he's our main guy. A lot of this just kind of drives home that Aeneas/Pallas is no Achilles/Patroclus.

In Book Eleven, Part One, imagine you're fighting in Aeneas' war and you die and your spirit is still lingering by the battlefront only to see him give his bff a full funeral and ignore all the other corpses. Come on, dude. You're hurting countless ghost feelings.

In Book Eleven, Part Two, things are finally looking up. The amazonian girlbosses have arrived. NOOOOO!!! NOT THE GIRLBOSSES!

In Book Twelve, Part One, the last chapter but the penultimate part of this project. It is actually electrifying how consistently the chapters of this book have been 24 pages long. Come hell or high water or amazonian girl mob or ex-gf su*cide, I know I'm reading 12 pages a day. At one point in this a guy says "I swear by this scepter" and Virgil interrupts his dialogue to be like "(he was holding a scepter at that point)". Virgil I swear to god. What are we even doing here.

In Book Twelve, Part Two, why are all the bad b*tches killing themselves!!!

Overall, pray for my boy Virgil. He's not sick or anything he'll just forever be known as a worse version of Homer. In many ways this is a great book. It's stood the test of 2,000 years for a reason. And if it were being compared to anything except the Odyssey and/or the Iliad it would probably rock. But unfortunately for Virgil, neither epic was lost to time, and they both put this one to shame. Aeneas is no Achilles, Pallas no Patroclus, Turnus no Hector, Lavinia no Helen. I had a fun time making jokes but I wish I chose to do "THE AUGDYSSEY" instead. Rating: 3.