Studied by 16 people
(323-6) [7, Alli.x2, WC, Ass., Sync., Per.]
Haec ubi dicta dedit, terras horrenda petivit;
luctificam Allecto dirarum ab sede dearum
infernisque ciet tenebris, cui tristia bella
iraeque insidiaeque et crimina noxia cordi.
Alliteration; ('d' x 2) sound mimics harsh sound of Juno's words in the prior sentence and her feelings and malediction upon the Trojans
Word Choice; horrenda, a gerundive coming from the verb horrere, which means to tremble/shake/shudder, to emphasise that Juno is the villain and to be feared
strong Assonance and Synchisis; for emphasising dread
Personification; Allecto is a personification of fury
Alliteration/Assonance; of ‘c’, ‘i’, ‘ae’ and ‘que’ mimics harsh sounds (such as teeth/beaks clacking) which inspires dread also the vowel sounds mimic the <eee> call of birds of prey also once again depicting her monstrous nature due to being a mixture of different things (as the furies are partially birdlike creatures)
(327-9) [5, Ana., Allu., Synec., Im., Meta.]
odit et ipse pater Pluton, odere sorores
Tartareae monstrum: tot sese vertit in ora,
tam saevae facies, tot pullulat atra colubris.
Anaphora; odit, odere highlighting how she is so despised that not even her monstrous relatives love her (think of the saying ‘every serial killer has a mother’ which implies that everyone is loved) and emphasises negative view the reader is to hold of her
Allusion; to Allecto’s sisters, Tisiphone and Megaera
Synecdoche; Tartarus is a section of the underworld, reserved for criminals, but refers to the whole underworld.
Imagery; of Allecto’s form(s) emphasises her monstrosity and qualities of being fearsome (in this time, being a
Metaphor; pullulat, an agricultural metaphor which creates the imagery of snakes coming out of her head as the verb is used to describe plants shooting
(330-4) [8, WC, Allu.x2, Meto., Hyperba., Alli., Enj., Syne.]
quam Iuno his acuit verbis ac talia fatur:
'hunc mihi da proprium, virgo sata Nocte, laborem,
hanc operam, ne noster honos infractave cedat
fama loco, neu conubiis ambire Latinum
Aeneadae possint Italosve obsidere finis.
Word Choice; fatur, Virgil uses this word to evoke the idea of fates
Allusion; sata nocte Juno calls Allecto by a family tie which completes the family tree, the furies are daughters of the Night
Metonymy; laborem → favour
Hyperbaton; propium … laborem likely done to place plot significance and focus on the favour itself as well as potentially seem foreboding, also note that ‘da mihi’ comes before, possibly establishing Juno’s authority as the actual imperative command comes before all else
Alliteration (‘n’) emphasises Juno’s self (‘noster’) and the importance of Allecto not failing to carry out this mission
Enjambment; fama loco, emphasis on fama as the most important thing, she acts as if she were a hero, thus humanisation of Juno: she has the same motivation as a human; she doesn’t act godly
Allusion; to Aeneas’ companions/Italy) with the word itself betraying how Aeneas is the target of Juno’s hate, thus also betraying her personal and non-godly involvement in the affairs of mortals
Synecdoche; finis → boundaries/territory
(334-40) [15, Sync., Ass.x2, Synec., Tri., Alli., Meto., Meta.x2, Hyperbo., Chia.,]
tu potes unanimos armare in proelia fratres
atque odiis versare domos, tu verbera tectis
funereasque inferre faces, tibi nomina mille,
mille nocendi artes. fecundum concute pectus,
disice compositam pacem, sere crimina belli;
arma velit poscatque simul rapiatque iuventus.'
Synchisis; unanimos fratres, mimics the separation by conflict
Assonance; (‘ver’ x 2) mimics the overturning
Synecdoche; tectis = roofs → houses
Tricolon; making Allecto the subject of everything likely done to emphasise that Allecto is the one who possesses these fearsome, reprehensible and dangerous qualities, once again contributing to Virgil’s portrayal of her monstrosity
Alliteration/Assonance of ‘n’, ‘m’, ‘i’, ‘t’ and ‘f’, which mimics the sound of fire.
Metonymy; funereas … faces = funeral torches → death
Metaphor; verbera and faces are attributes of the Fury, symbolising the madness and frenzy which she brings
Hyperbole and Chiasmus; nomina mille, mille artes, Allecto does not actually have ‘1000’ names or arts/skills, but it refers to the variety of names, expressive of their various attributes, which were given to the gods,
Metaphor; is from shaking out in order to reveal what is hidden, for example, a cloak may be shaken to see if there is anything in it, could also be agricultural, e.g. of shaking acorns out of an oak, which would reflect the underlying image of the Fury sowing the seeds of war
Tricolon; imperatives gradation places emphasis on the actions to be taken to the worst
Metaphor; fecundum and sere; references to fertility and sowing the ‘seeds of war’, fecundum not 'fertile' in any natural or normal sense, but as containing the monstrous seeds of war
Alliteration ;(‘t’ x 4) emphasis for dramatic effect or creating dread(?)
Triad; velit, poscat, rapiat, a triad of verbs in crescendo of intensity and weight, emphasising the three steps of war and how fervently the men should want their weapons as well as creating a warlike/violent atmosphere, setting the scenes to come, also highlighting the rapid pace in which the nations go up in arms.
(341-5) [13, Allu.x3, Sync., Alli., Hypa., Enj., WC., Meto., Chia., Ass., Meta.]
Exim Gorgoneis Allecto infecta venenis
principio Latium et Laurentis tecta tyranni
celsa petit, tacitumque obsedit limen Amatae,
quam super adventu Teucrum Turnique hymenaeis
femineae ardentem curaeque iraeque coquebant.
Allusion; the poisonous snakes of her hair are like those of the Gorgon, which are poisonous to Humans,
Synchisis; structurally reflects that Allecto is ‘steeped’ (with)in the Gorgon’s poison, also represents this poison as yet another power at Allecto’s disposal making her seem more fearsome and thus reinforcing the status of gods and mortals, with morals being more helpless.
Alliteration; (‘t’ x 12) harsh sounds possibly mimicking the clacking of teeth or talons acting as a sound associated with Allecto’s presence
Allusion; Latium, Kingdom where this book is set, Laurentis is a form of Laurentus, meaning Laurentian, meaning ‘of the city of Laurentum’, which is the capital of Latium
Synchisis; Laurentis tecta tyranni celsa, Order of adjective-noun disrupted structure mimics disruption caused by Allecto
Hypallage; tacitum describing Amata’s limen (threshold) but semantically could be taken as a retired, silent part of the house, or as describing loneliness, because Amata was sitting away (from Latinus) to indulge in her melancholy, or referring to the night's silence.
Enjambment; celsa petit, draws attention to how high the halls are which establishes/emphasises Latinus’ status as a powerful king (even though he’s a fucking coward)
Allusion; adventu Teucrum = the arrival of Trojans, which occurs at the start of Bk 7,
Word Choice; ‘Teucrum’ Teucer was a Trojan king and so Trojans are, referred to as Teucer‘s descendants
Metonymy; hymenaeis’ = nuptial song(s) → wedding(s)
Chiasmus; Abl. Gen. Gen. Abl.
Assonance/Alliteration (‘que’ x 3, ‘c’ x 2); startingly harsh, reinforcing the
Metaphor; ardentem … coquebant; ‘cooking/seething’
(346-8) [4, Sync., Meto./Syne., Im.]
huic dea caeruleis unum de crinibus anguem
conicit, inque sinum praecordia ad intima subdit,
quo furibunda domum monstro permisceat omnem.
Synchisis; mimics the braided snakes of Allecto’s hair.
Metonymy/Synecdoche; praecordia → heart, reinforcing the imagery friom 347-56,
Synchisis; mimics the snake wrapping around her
Imagery; of a very vivid and macabre picture of Allecto throwing a snake into Amata and it slithering through her body breathing its snake breath into her and creating a fire which inspires rage in her. This vivid and disturbing description of the means by which the Fury Allecto incites Amata’s rage against Aeneas occurs in Book 7. Virgil plays on our senses, using images of fire, disease, poison, and sex to describe the passionate anger Amata feels at seeing her daughter’s proposed marriage thwarted and at hearing that a Trojan exile is to become part of her household. We can see the snake with 1) all of the action verbs and participles, 2) the description viperea, ingens; we can hear it with all the alliterations which slither/overlap each other; we can feel it with the verbs of interlocking and wrapping and knotting. At the end we have a majestic jewelry intricate piece that is ironically beautiful/lethal. Virgil expresses the idea of being hot with anger by employing the images of things that, literally or figuratively, can heat a human’s blood. The invisible snake deployed by Allecto acts to enhance emotions already latent within Amata, since Amata already feels “womanly / Anxiety and anger” of her own. Even though Amata has perfectly good reason to despise Aeneas and the Trojans, Virgil explains her hatred by placing it physically in her body, suggesting that she incites war in the way she does because there is something wrong inside her. The snake unleashed by Juno essentially has a sexual encounter with Amata—it is as though Juno has impregnated Amata with madness.
(349-52) [4, Alli., Ana., Meta., Oxy.]
ille inter vestis et levia pectora lapsus
volvitur attactu nullo, fallitque furentem
vipeream inspirans animam; fit tortile collo
aurum ingens coluber, fit longae taenia vittae
innectitque comas et membris lubricus errat.
Alliteration; (‘l’ x 3), imitates movements of snakes
Anaphora; fit, fit
Metaphor; A golden necklace (Lit. twisted gold); the snake is of variable size, but when it transforms into her necklace, it becomes huge like the regal necklace.
Oxymoron; fit tortile collo aurum ingens coluber desirable thing (golden necklace) made undesirable (due to snake)
(354-8) [3, Meta., Alli., Allu., Meto./Syne.]
ac dum prima lues udo sublapsa veneno
pertemptat sensus atque ossibus implicat ignem
necdum animus toto percepit pectore flammam,
mollius et solito matrum de more locuta est,
multa super natae lacrimans Phrygiisque hymenaeis:
Metaphor; Fire (ignem and flammam) symbolises furor, fire is always negative and echoing the Fires of Troy
Alliteration; (‘m’ x 4) nasal bilabial used to emphasise softness and motherly nature with which the words are delivered(?)
Allusion; alludes to Lavinia’s wedding to the Phrygiis (Trojan(s))
Metonymy/Synecdoche; ‘hymenaeis’ = nuptial song(s) → wedding(s)
(359-66) [12, Pat., Alli.x2, Allu.x4, Sync.x2, Ana.x2, Alli., Meto., Epi.,]
'exsulibusne datur ducenda Lavinia Teucris,
o genitor, nec te miseret nataeque tuique?
nec matris miseret, quam primo Aquilone relinquet
perfidus alta petens abducta virgine praedo?
at non sic Phrygius penetrat Lacedaemona pastor,
Ledaeamque Helenam Troianas vexit ad urbes?
quid tua sancta fides? quid cura antiqua tuorum
et consanguineo totiens data dextera Turno?
Pathos; Amata evoking pity for herself and Lavinia
Alliteration; (‘d’ x 2) harsh sound for a dire future,
Allusion; alludes to the Trojans ‘taking’ Lavinia away,
Synchisis; physically grabbing her,
Anaphora; nec, nec, miseret, miseret, like repetition in a speech, reinforces pathos by forming rhetorical questions
Alliteration (‘p’ x 6), contemptuous alliteration for the last two ‘p’s
Synchisis (Enclosed); grabbing her?)
Allusion; alludes to when Dido realises the Trojans are preparing for departure and while talking to her siser Anna, calls Aeneas perfidus (4.42
Allusion; alludes to when Paris entered Sparta and ’carried off Helen to Troy,
Metonymy; ‘Phrygius’ = Phrygian → Trojan
Allusion; alludes to the legend that Helen was a child of Leda by Jupiter in the guise of a swan. Basically Amata is saying that the bride (Amata) is a stranger to the groom (Aeneas), as Leda was a stranger to the swan. Reframing of history as Amata compares herself as Leda even though Leda was a willing participant
Epithet; Ledaeam(que) Helenam; Matronymic epithet given to Helen, means 'Leda's'
Anaphora; quid, quid and tua, tuorum
(367-72) [4, Allu., Meto., Enj., Allu.]
si gener externa petitur de gente Latinis,
idque sedet, Faunique premunt te iussa parentis,
omnem equidem sceptris terram quae libera nostris
dissidet externam reor et sic dicere divos.
et Turno, si prima domus repetatur origo,
Inachus Acrisiusque patres mediaeque Mycenae.'
Allusion; alludes to Faunus’ (Latinus’ father) prophecy about Lavinia’s husband
Metonymy; ‘sceptris’ = sceptres → (royal) power
Enjambment; dissidet, emphasises Amata’s claim that lands which are not directly under Latinus’ power are therefore separate and foreign to them (supporting her claim that Turnus could be the prophesised foreigner)
Allusion; References the story that Danae, daughter of Acrisius (a king of Argos of which Inachus was a legendary founder), came to Italy and founded Ardea, Turnus' capital. And Mycenae was said to have been founded by Perseus, Danae's son
(373-7) [5, Allu., Pat., TE., Hyperbo., WO.]
His ubi nequiquam dictis experta Latinum
contra stare videt, penitusque in viscera lapsum
serpentis furiale malum totamque pererrat,
tum vero infelix ingentibus excita monstris
immensam sine more furit lymphata per urbem.
Allusion and Pathos; alludes to another victim of furor, Dido, as the epithet infelix was applied to her many times in earlier books, also monstris alludes to monstrous fantasies, which Allecto inspired,
Transferred Epithet; ‘infelix’ reminds us of Dido, another victim of furor
Hyperbole; immensam sine more furit lymphata per urbem → rages uncustomarily throughout the vast city,
Word Order; reflects unrestrained and chaotic manner in which Amata is raging
(378-84) [6, Ima., Sim., Meto., Per., Lit., WO]
ceu quondam torto volitans sub verbere turbo,
quem pueri magno in gyro vacua atria circum
intenti ludo exercent—ille actus habena
curvatis fertur spatiis; stupet inscia supra
impubesque manus mirata volubile buxum;
dant animos plagae: non cursu segnior illo
per medias urbes agitur populosque ferocis.
Imagery and Simile; ceu quondam… This is one of the most memorable similes in Virgil; its point of comparison is not only the wild and agitated movement of Amata, but also the compulsion exercised; she has become the 'plaything' of Allecto and her whip, being applied to the top in a circling, twisting way. This image is especially approved in view of what is mentioned on 336; the lashes which Allecto brings are here symbolically portrayed as blows from young boys. The boys' innocent incomprehension suggests the Latin townspeople, at the inexplicable spectacle. Virgil may have chosen a spinning top as it was a sacred emblem of Bacchus (as he is mentioned in the following lines).
Metonymy; ‘buxum’ = box-wood → top
Personification; dant animos plagae → the blows give it life
Litotes; non … segnior
Word Order; agitur, in the middle of the line, reflecting how Amata is being driven through the ‘hearts/centres’ of the cities and people
(385-91) [9, Allu.x2, Rep., Meto., Enj., Tri. WC. EWO. x2]
quin etiam in silvas simulato numine Bacchi
maius adorta nefas maioremque orsa furorem
evolat et natam frondosis montibus abdit,
quo thalamum eripiat Teucris taedasque moretur,
euhoe Bacche fremens, solum te virgine dignum
vociferans: etenim mollis tibi sumere thyrsos,
te lustrare choro, sacrum tibi pascere crinem.
Allusion; References the power of Bacchus, whose wine, music, and ecstatic dance free his followers from self-conscious fear and care, and subvert the oppressive restraints of the powerful.
Repetition; maius, maiorem emphasises and draws attention to the very improper nature of what Amata is doing, especially in light of her role as maternal figure.
Word Choice of ‘nefas’ and ‘furorem’: ‘nefas’ delivers sacrilegious connotations as it refers to something specifically forbidden by the gods whereas ‘furorem’ reflects the spreading of the curse of furor between queens (Dido and now Amata)
Metonymy thalamum and taedas (Callback to Dido) = bridal-bed —> marriage, taedas = part of wedding ceremony (wedding torches)
Allusion; foreshadows the wedding of Lavinia and Aeneas
Enjambment; vociferans
Tricolon; etenim … thyrsos, te … choro, sacrum … crinem emphasises the strong religious reverence (in Amata’s mind) which Lavinia has for Bacchus. Works with the previous statements Amata has made in which she claims that Bacchus is the only one worthy of Lavinia (‘Bacche… solum te virgine dignum (es)’
Enclosed Word Order (‘virgine’ enclosed by two adj. desc’ing Bacchus (‘solum’ & ‘dignum’) visually illustrates how Amata (falsely) offers Lavinia to Bacchus (line is essentially a prayer)
Enclosed Word Order (enclosing of ‘tibi’ by two accusatives (‘sacrum…crinem’)) which works in tandem with the EWO on the previous line to illustrate false consent (projected by Amata). The previous line’s EWO presents Lavinia as an offering to Bacchus whereas this one attempts to paint Lavinia as being in love with Bacchus. This is seen through the use of ‘sacrum…crinem’. The direct address to Bacchus as well as the statements on the next line (falsely(?)) liken Lavinia to a maenad, once again stepping up the madness
(392-6) [6, Meta., Sync., Ono. Allu. EWO]
fama volat, furiisque accensas pectore matres
idem omnis simul ardor agit nova quaerere tecta.
deseruere domos, ventis dant colla comasque;
ast aliae tremulis ululatibus aethera complent
pampineasque gerunt incintae pellibus hastas.
Metaphor; accensas, once again fire is used as a symbol for fury + destruction about to occur
Allusion to Dido, another queen on fire
Synchisis; matres idem omnis … ardor reflects ‘binding’/tying of the madness to the (married) women
Onomatopoeia; ‘ululatibus’, sounds like howling, and once again reflects the Bacchant-like nature of the women (sound of Bacchantes)
Enclosed Word Order; pampineas hastas, physical action of spears ‘wrapped’ in vines
(397-400) [5, Jux. x2, Meto., Ima., Pat., Sync. Enj. EWO.]
ipsa inter medias flagrantem fervida pinum
sustinet ac natae Turnique canit hymenaeos
sanguineam torquens aciem, torvumque repente
clamat: 'io matres, audite, ubi quaeque, Latinae:
Juxtaposition; flagrantem fervida, two fire related words,
Synchisis ipsa flagrantem fervida pinum entangles the flame with Amata (burning with madness like the branch)
Metonymy pinum = pine → torch
Imagery of the burning pine-torch, which was an element of Bacchic worship. Here used as imagery for Turnus and Lavinia's marriage,
Juxtaposition; et natae Turnique, significant
Pathos; Amata appealing to the Latin mothers to join her
Enjambment; clamat reflects how suddenly Amata cried out
Enclosed Word Order (‘matres…Latinae’ brackets the line) visually reflects a crowd gathering around Amata and emphasises the number of (married) women gathered.
(401-5) [5, TE., WC., Ana., Iro., Jux., WO., Alli.]
si qua piis animis manet infelicis Amatae
gratia, si iuris materni cura remordet,
solvite crinalis vittas, capite orgia mecum.'
talem inter silvas, inter deserta ferarum
reginam Allecto stimulis agit undique Bacchi.
Transferred Epithet/WC; ‘infelix’ reminds us of Dido, another victim of furor (2C) also, also in ‘Amatae’ which is an attempt by Amata to make her speech seem objective (pulling a Caesar).
Anaphora si, si (affective)
Irony ‘If any thought of a mother’s rights touches you’, ironic as Amata has abdicated her maternal and family responsibilites
Juxtaposition; reginam Allecto, Fury and queen in powerful juxtaposition; Allecto has reduced Amata, for the moment, to her mere spinning toy.
Word Order; agitur,repeated 3 times in this passage, clause spread across two lines, reflecting how Allecto is driving Amata out into the woods and out of society/civility/sanity
Alliteration in C emphasises the harsh nature of the actions ordered. Casting off their ribbons/headbands and having their hair untied goes against societal norms. Amata is essentially asking the women to stop being mothers and married women
(406-14) [4, Ass., Allu., Epi., Synec.x2]
Postquam visa satis primos acuisse furores
consiliumque omnemque domum vertisse Latini,
protinus hinc fuscis tristis dea tollitur alis
audacis Rutuli ad muros, quam dicitur urbem
Acrisioneis Danae fundasse colonis
praecipiti delata Noto. locus Ardea quondam
dictus avis, et nunc magnum manet Ardea nomen,
sed fortuna fuit. tectis hic Turnus in altis
iam mediam nigra carpebat nocte quietem.
Assonance (‘-isse’ x 2) possibly imitating snake noises as the snake’s influence can be seen in these actions
Allusion; alludes to Turnus (bold Rutulian) and how he is related to the story of Danae founding a colony in Italy, by stress of the south wind (Noto), she called it Ardea, Turnus’ capital. Epithet; the adjective audax and words like fiducia, violentia are often associated with Turnus in the rest of the poem, this quality is precisely relevant to his eventual headlong reaction.
Synecdoche; muros = walls → city
Synecdoche; tectis = roofs → houses
(415-20) [2, Per., Hen.x2]
Allecto toruam faciem et furialia membra
exuit, in vultus sese transformat anilis
et frontem obscenam rugis arat, induit albos
cum vitta crinis, tum ramum innectit olivae;
fit Calybe Iunonis anus templique sacerdos,
et iuveni ante oculos his se cum vocibus offert:
Personification; furalia (fearful, Furylike) used to describe her membra
Double Hendiadys; Iunonis anus templique sacerdos, ‘old priestess of Juno’s temple’, this disguise is not a random choice, as there was a temple/cult of Juno in Ardea
(421-6) [10, Pat., Allu.x3, Meta., Meto.x2, WO., Hyperba., Iro.]
'Turne, tot incassum fusos patiere labores,
et tua Dardaniis transcribi sceptra colonis?
rex tibi coniugium et quaesitas sanguine dotes
abnegat, externusque in regnum quaeritur heres.
i nunc, ingratis offer te, inrise, periclis;
Tyrrhenas, i, sterne acies, tege pace Latinos.
Pathos; Allecto evoking resent and anger in Turnus
Allusion; alludes to (a form of) the legend according to which Turnus was helping the Latins in war against the Etruscans, which conflicts with Latinus’ long peace
Allusion; alludes to Trojans as descendants of Dardanus,
Metaphor; transcribi, a financial term basically meaning transfer/transact (property) but here it merely means to assign, in a way, the warrior is being reminded that the wheels of law, state and form are running away from him,
Metonymy; ‘sceptra’ = sceptres → (royal) power, symbolises a physical transfer of power,
Metonymy; Dardaniis = Trojans,
Word Order; tua, The refl. poss. adj is thrown forward and alliteration marks it further, Allecto at the outset reminds Turnus (misleadingly) that he is about to lose what, in her view, and perhaps his too, is already his
Hyperbaton; abnegat, The postponement of the verb gives Latinus' negative decision particular verbal force
Irony; i nunc, Ironic/Sarcastic formula
Allusion; alludes to Turnus’ alliance with the Latins
(427-34) [7, Jux., Allusion, TE., Meto., Allu., Tri., Synec.]
haec adeo tibi me, placida cum nocte iaceres,
ipsa palam fari omnipotens Saturnia iussit.
quare age et armari pubem portisque moveri
laetus in arva para, et Phrygios qui flumine pulchro
consedere duces pictasque exure carinas.
caelestum vis magna iubet. rex ipse Latinus,
ni dare coniugium et dicto parere fatetur,
sentiat et tandem Turnum experiatur in armis.'
Juxtaposition; tibi me; pronouns are next to each other, an ancient stylistic mannerism, which was elevated and popular
Allusion; Allecto alluding to Juno’s orders for her,
(Transferred) Epithet/Metonymy; omnipotens Saturnia = Juno, usually with Jupiter
Allusion; Lit. ‘the Trojan leaders who settled on our beautiful river and their painted ships’, alluding to the arrival of Aeneas and his companions and their painted ships
Tricolon; armari, moveri, exure
Synecdoche; carinas = keels → ships
(435-9) [2, Enj., Ana.]
Hic iuvenis vatem inridens sic orsa vicissim
ore refert: 'classis invectas Thybridis undam
non, ut rere, meas effugit nuntius auris;
ne tantos mihi finge metus. nec regia Iuno
immemor est nostri.
Enjambment; ore refert, draws attention to what he’s about to say in reaction
Anaphora; ne, nec
(440-4) [5, Meta., Per., Iro., Meto., Rep.]
sed te victa situ verique effeta senectus,
o mater, curis nequiquam exercet, et arma
regum inter falsa vatem formidine ludit.
cura tibi divum effigies et templa tueri;
bella viri pacemque gerent quis bella gerenda.'
Metaphor and Personification; senectus (old age), which is ‘victa’ by situ and ‘effeta’ of veri
Irony; Ironic as Allecto is the one starting wars and as Turnus is referring to Calybe (Allecto) as his mother.
Metonymy; arma = arms → wars
Repetition; bella, bella
(445-51) [3, Hyperbo., Meta., Ima., Pers., Meto., Ono.]
Talibus Allecto dictis exarsit in iras.
at iuveni oranti subitus tremor occupat artus,
deriguere oculi: tot Erinys sibilat hydris
tantaque se facies aperit; tum flammea torquens
lumina cunctantem et quaerentem dicere plura
reppulit, et geminos erexit crinibus anguis,
verberaque insonuit rabidoque haec addidit ore:
Hyperbole and Metaphor; Talibus Allecto dictis exarsit in iras → Allecto blazed up in anger from/by these words
Imagery of Allecto reverting back to her fury form with fire-imagery, hissing at Turnus and sounding lashes
Personification; A tremor (tremor), subitus occupat (suddenly seizes) Turnus’ artus (body)
Metonymy; lumina = light → eyes
Onomatopoeia; sibilat / hydris, sounds like hissing
(452-55) [3, Synec., Ass., Sync.]
'en ego victa situ, quam veri effeta senectus
arma inter regum falsa formidine ludit.
respice ad haec: adsum dirarum ab sede sororum,
bella manu letumque gero.'
Synecdoche; arma = arms → wars
Assonance; -um x3
Synchisis;
(456-60) [3, Oxy., Per., Synec.]
sic effata facem iuveni coniecit et atro
lumine fumantis fixit sub pectore taedas.
olli somnum ingens rumpit pavor, ossaque et artus
perfundit toto proruptus corpore sudor.
arma amens fremit, arma toro tectisque requirit;
Oxymoron; atro lumine → black light, appropriate for the torches of the underworld, the light it gives is both dark because Allecto is hellish and pitch is black because the light itself is gloomy
Personification; pavot and sudor; ossa express the penetrating nature of the sweat
Synecdoche; tectis = rooms
(461-6) [12, Meta., Meto.x3, Jux., Sim., Per.x2., Ono., WO., Hyperbo., Im.]
saevit amor ferri et scelerata insania belli,
ira super: magno veluti cum flamma sonore
virgea suggeritur costis undantis aeni
exsultantque aestu latices, furit intus aquai
fumidus atque alte spumis exuberat amnis,
nec iam se capit unda, volat vapor ater ad auras.
Metaphor; amor
Metonymy; ferri = iron → sword
Juxtaposition; amor ferri
Similie; veluti cum… In a memorable simile his frenzied mind is compared with the seething and bubbling water in a boiling cauldron; Virgil sets himself to invest in commonplace things with epic dignity by enhancement of language. The familiar visual image is used to explain what we cannot see — the thoughts and feelings of Turnus. With Amata, the less important of Allecto’s victims, the simile of the top illustrates behaviour; with Turnus the simile goes deeper and reveals the mental and emotional attitude in which he will fight the war
Metonymy; aeni = bronze ‘thing’ → cauldron
Personification; The latices exsultant
Onomatopoeia; ‘spumis’
Personification; The amnis aquai furit
Word Order; Both the nominatives fumidus and amnis are the last words of their respective clauses
Hyperbole; nec iam se capit unda, volat vapor ater ad auras → and the water now cannot contain itself, and a dark vapour rises to the air(s).
Imagery of Turnus’ anger not only rising but not being able to be contained and materialising in a sudden and violent manner.
Metonymy; unda = wave → water
(467-74) [9, EWO., Alli.x3., Ass.x2, Tri.x2, Ass., Ana.]
ergo iter ad regem polluta pace Latinum
indicit primis iuvenum et iubet arma parari,
tutari Italiam, detrudere finibus hostem;
se satis ambobus Teucrisque venire Latinisque.
haec ubi dicta dedit divosque in vota vocavit,
certatim sese Rutuli exhortantur in arma.
hunc decus egregium formae movet atque iuventae,
hunc atavi reges, hunc claris dextera factis.
Enclosed Word Order; regem polluta pace Latinum
Alliteration (‘p’ x 4)
Assonance (‘ar’ x 3),
Tricolon; et … parari, tutari Italiam, detrudere fostem
Assonance (‘-sque’ x 3),
Alliteration (‘v’ x 5)
Alliteration (‘d’ x 3)
Anaphora and Tricolon; hunc … iuventae, hunc … reges, hunc … factis
Note 
Flashcard (23)