Virgil’s “the Aeneid” complete style notes

Antiqua (ancient)

Word choice showing Carthage’s power and wisdom as it was so old even to the Romans

Fuit (was)

Perfect tense showing that Carthage has already been destroyed (which the contemporary Roman audience would have already known), creating irony as the ancient, important city has already been destroyed

Longe (far)

Emphatic placement - the adjective is placed at the end of the sentence which is unusual, emphasising how distant and isolated Carthage is from Rome

Dives opum studiisque asperrima (rich in resources and very fierce in activities)

Chiasmus - A=adjectives, B=nouns, used to draw attention to the qualities of Carthage

Quam […] unam (which […] alone)

Enclosing word order, drawing attention to the fact that Juno loves Carthage most by framing the line

Terris […] omnibus (land […] all other)

Enclosing word order within another using a Chiasmus pattern, emphasising that Juno prefers Carthage above all other lands

Samo (Samos)

Emphatic placement at the end of the sentence, showing that Juno has forgotten about her homeland because it is less important than Carthage

Hic (this)

Tricolon to emphasise Juno’s hopes for Carthage and giving reasons why she likes the city

Arma, […] fuit; (weapons, […] was;)

Asyndeton speeding up the pace, adding to the sense that Juno loves Carthage by making it seem like a neverending list as it is unclear when the list will end

Que (and)

Polysyndeton contrasting with the earlier asyndeton to emphasise the number of Juno’s hopes for Carthage

Si qua fata sinant (if the fates would allow it)

Irony from Virgil as, to the contemporary audience and at the time of writing, Rome has already been founded and destroyed Carthage, which is entertaining for the audience

Tenditque fovetque (aimed and cherished)

Word choice of soft and gentle words to highlight Juno’s high hopes and irony as Rome has already fulfilled Juno’s hopes for Carthage and destroyed the city and become the most powerful city - it is propaganda for Rome, praising its achievements

Progeniem (Offspring)

Emphatic placement at the start of the sentence to highlight the offspring’s importance as the founders of Rome

Tyrias […] arces (Tyrian citadels)

Enclosing word order, separated to emphasise the effects of the destroying of Carthage as physically having separated the citadels

Late regem (ruling far and wide), belloque superbum (and arrogant in war), excidio Libyae (destroy Libya)

Tripling to praise Rome, despite Virgil not mentioning the name Rome, the Roman audience would know it. It is propaganda for Rome to highlight and encourage patriotism

Parcas (fates)

Variation by using two different names for the fates to add linguistic variety and keep the poem interesting, it also emphasises that Rome is fated to exist, so will do so

Veteris (old)

Word choice emphasises the length of the war and how long ago it was. It seems more important, impactful and significant because of this choice.

Saturnia (daughter of Saturn)

Patronymic (when a character is referred to as the daughter or son of someone) illustrates respect to Juno, a technique often used by Homer and Virgil is trying to emulate his work

Caris (beloved)

Word choice emphasises the contrast of her emotions (hatred for the Trojans and love for the Greeks), making Juno a multilayered character and seem more interesting

Argis, Danaum (Greeks)

Variation in the word Greek makes it seem like Juno likes many other races than the Trojans, emphasising her dislike and anger towards the Trojans

Caris … Argis (beloved Greeks)

Enclosing word order emphasises why Juno went to war (for the benefit of the Greeks) and shows her loyalties to the Greeks by drawing attention to it

Necdum etiam (for even now)

Emphatic placement at the start of the line highlights how long Juno has been angry for, causing her to seem unreasonable due to the length of her judgement. The timephrases emphasise Vigil’s and the reader’s surprise at the length of Juno’s anger

Irarum saevique dolores (outbursts of anger)

Word choices highlighting Juno’s anger, pain, unreasonable nature and judgement of the Trojans with negative connotations

Manet (remains)

Emphatic placement to the start of the sentence highlights the length of time that Juno has been angry for

Alta (deep), repostum (buried)

Metaphorical language suggests the extent of Juno’s anger, irritation and grudge against the Trojans

Que, et (and)

Polysyndeton highlights the reasons behind Juno’s anger in the list format

Iudicium Paridis (judgement of Paris), iniuria formae (insult done), genus invisum (hated race), Ganymedis honores (snatched Ganymede)

Tetracolon, the list of four reasons for Juno’s anger, making it seem unjustified, unreasonable and never ending

Vix (scarcely)

Word choice emphasises how close they were to reaching their destination, making the reader feel sad that the Trojans have no agency or free will and are being treated like playthings

Altum, salis, ponto (sea)

Linguistic variation of using three different words all meaning ‘sea’, making the sea seem larger as there are many words meaning the same thing, adds interest for the reader through the variety

Speech marks (‘mene’ - to think that I)

Direct speech characterises Juno as she speaks in her own words, creating excitement for the reader and partly justifying Juno’s behaviour as she excuses herself

Spumas salis (foam of the salt sea)

Sibilance for the sound effect of the boats rushing through the sea and the wind howling past the sails, creating more vivid imagery through the use of sound

Aeternum … vulnus (everlasting wound)

Enclosing word order emphasising how great and angry Juno is by highlighting the size and scale of her fury

Mene (to think that i), Pallasne (Pallas Athene)

-ne ending introduces a question - this is rhetorical, used to emphasise how she is behaving, convincing herself and readers that she is acting correctly. The persuasive technique introduces Juno’s ideas to other people’s heads, and the repetition establishes this more clearly

Desistere (give up), posse (be able), avertere (divert), exuere (burn up), submergere (submerge)

Five infinitives used to create an atmosphere of drama and urgency (earlier a tricolon, using only three of the infinitives)

Desistere victam (give up purpose), avertere regem (divert the king), exuere classem (burn up the fleet), submergere ponto (drown in the sea)

Dramatic line ending/emphatic placement - these four lines all end in the same infinitive + noun ending, emphasising Juno’s anger raging across time and consistently burning for all of the Trojans

Italia Teucrorum (Trojans from Italy)

Juxtaposition of Italy and the Trojans highlighting how far they are from each other as they are being shipwrecked, which is slightly sad yet ironic imagery

Unius ob noxam et furias Aiacis (because of one man’s offence and the madness of Ajax)

Chiasmus emphasises how terrible his crime was and that he was mad for having committed it in the first place. It also hints that Athena’s anger towards all of the Greeks was unjustified too.

Noxam (offence), furias (madness)

Strong word choice suggesting that Ajax’s offence was sacrilegious and showing the extent of his crime because he would have had to be mad to commit it

Oilei (son of Oileus)

Patronymic shows respect for Ajax and Athene, that she was able to defeat the son of such a powerful man. It is ironic that Ajax gets respect as he behaved so badly by raping women in Athena’s temple which is a sacrilegious action

Ipsa Iovis rapidum iaculata (hurling the swift fire of Jupiter)

‘I’ alliteration is a harsh painful sound, similar to how someone being struck by lightning might sound and emphasising the aggression of the action

Que (and)

Polysyndeton emphasising the number of things that Athene did to harm Ajax

Disiecit (scatter), evertit (upturn), corripuit (snatch up), infixit (impale)

Tetracolon of four verbs describing Athena’s actions making her seem terrifying, powerful and relentless as she is determined to harm Ajax. They also increase in violence with an ascending tetracolon as impaling is significantly worse than upturning. Juno admires Athene as she is speaking directly here, and suggests that hse wants to imitate her, gruesomely wanting to copy Athena’s violence and aggression

Exspirantem … flammas (breathe forth flames)

Enclosing word order as well as a metaphor for blood pouring out of Ajax’s chest, referencing his madness as it is revealing itself through flames. This highlights the scale and size of violence as ‘chest’ is in the middle of the enclosing word order, which is where the flames are coming out

Divum … regina (queen of the gods)

Enclosing word order illustrating the large scale and size of power - Juno is a god and queen

Que, et (and)

Polysyndeton adds to the sense of power held by Juno by making it seem like a long list

Bella gero (wage war)

Historic present tense emphasises that the war is ongoing

Bella gero (wage war)

Emphatic placement at the start of the line highlights that wanting to wage war with the Trojans is at the front of Juno’s mind

Honorem? (Offering)

Rhetorical question - Juno is trying to justify her actions

Honorem? (Offering)

Emphatic placement at the end of the line, delayed for dramatic impact to emphasise how forgotten and disrespected Juno feels, as the structure mirrors her own emotions

Flammato … corde (inflamed heart)

Enclosing word order illustrating the scale of Juno’s anger

Flammato … corde (inflamed heart)

Fire imagery emphasises how very angry Juno is

Feta furentibus (teeming with rage)

Fricative alliteration sounds like the wind, emphasising that it is blowing strongly by using word painting

Feta furentibus (teeming with rage)

Personification of the wind using strong word choices. This is reminiscent of war and violence and foreshadows the destruction and shiowreck of Aeneas, causing the reader to feel afraid for Aeneas. The word choice shows danger, power and anger

Austris Aeoliam (Aeolia … south winds)

Alliteration of ‘a’ sounds like howling winds

Vasto rex Aeolus antro (king Aeolus … huge cave)

Chiasmus illustrating that Aeolus is powerful and in control of the winds

Vasto … antro (huge cave)

Enclosing word order highlighting Aeolius’ power over the cave

Aeoliam (Aeolius)

Emphatic placement at the start of the line to highlight the importance of Aeolia, with an additional reference to the Odyssey, thus drawing attention to this section

Luctantes ventos tempestatesque sonoras (struggling winds and sounding storms)

Chiasmus highlighting the power of the winds and the force they use. A are the actions of the winds, B are the winds themselves

premit ac vinclis et carcere frenat (curbs them with chains and a prison)

Chiasmus highlighting his power and control over nature and the winds. A is what Aeolus does, B is the method to confine the winds, showing the imprisonment of the winds as they are locked away

Impero (power)

Emphatic placement at the start of the line highlights the power that Aeolus has

Premit (confine), frenat (curb)

Synonyms of each other adds to the perception of control that the readers have of Aeolus

Illi indignantes (they, indignant)

Alliteration of ‘i’ highlights that the winds are annoyed and upset, personifying them

Magno cum murmere montis (mighty murmur of the mountain)

Alliteration of ‘m’ highlights the sense that the mountain is murmuring and coming alive with the winds trapped inside

Circum claustra (around the prison bars)

Alliteration of ‘c’ sounds like clanging prison bars as the winds are struggling to escape

Celsa … arce (lofty citadel)

Enclosing word order, Aeolius is in the middle, showing his power as he stands unafriad despite the fury of the winds around him

Mollit (soothe), temperat (restrain)

Synonyms highlights how much Aeolus is doing, causing him to seem important. Also called pleonasm (varying words despite having the same meaning), used for exaggeration and shows the anger of the winds as Aeolus attempts to control them

Que, et (and)

Polysyndeton highlighting that Aeolus takes many actions

Iras (anger), fremunt (roar), indignantes (indignant), sonoras (sounding), luctantes (struggle), vasto (huge), antro (cave), feta furentibus (teeming with rage)

Word choices throughout the passage suggests danger, power and anger, adding to the feeling of foreshadowing and tension for the Trojans

Maria (seas), terras (lands), caelum (heaven)

Tricolon of three things that the winds can carry away, building in absurdity, foreshadowing the fate of the Trojans through the emphasis of the power of the winds. The last one is the most exaggerated as the heavens aren’t solid

Ac, que (and)

Polysyndeton exaggerating the list of things at risk from the power of the winds

Ferant, verrant (carry, sweep)

Pleonasm/similes with a rhyme, adding to the effect of the hyperbole, and giving more imagery of the chaos that the winds can cause

Ferant (carry)

Hyperbole of the height of the power of the winds

Pater omnipotens (all powerful father)

Epithet (a descriptive phrase that Homer uses often - Virgil is emulating his work), used for respect, honouring his father and status within society

Speluncis … atris (dark caverns)

Enclosing word order hiding the winds in the middle of the cave by using the words on the page, illustrating their isolation and how deep they are hidden

Abdidit (hid), imposuit (placed), dedit (gave)

Tricolon of Jupiter’s actions. He is a very decisive character, highlighting his power and problem solving abilities that he managed to control the winds so easily and quickly

Abdidit atris (hid in dark)

Alliteration of ‘a’, using a sound effect for the howling of the winds

Metuens molemque et montes (fearing…mass of high mountains)

Alliteration of ‘m’ making it sound more interesting and highlighting the force of the winds by needing to place a mountain on top of them to keep them hidden

Montes … altos (high mountains)

Enclosing word order reflecting the earlier one in the previous line to emphasise the size of the mountains as they take up more space on the line and highlights their role to control the winds (using nature to fight nature)

Que, et (and)

Polysyndeton creating an endless list of Jupiter’s actions to control the winds as he is putting lots of effort in ensuring the safety of the sea and land of his kingdom and people

Habenas (rein)

A metaphor showing his control of the winds by linking it to reining in horses and treating the winds like pets or domesticated animals, rather than the wild and powerful entities that they are later. It gives us imagery of the wind as horses

Supplex (in supplication)

Word choice for begging, emphasising Juno’s position of vulnerability and inferiority (creating irony as she is making a deal from her importance). This completely diverts the hierarchy of the gods, as Juno is a much more superior god than Aeolus, creating an illusion of desperation. This emphasises that the suffering of the Trojans is much more important than Juno’s pride, status and appearance to the other gods. She is desperate for the Trojans to be shipwrecked and killed

Direct speech

Direct speech characterises Juno as she explains her desires in her own words, creating excitement and interest in the reader. Juno is acting commandingly herewith forceful words explaining her malintent for the Trojans

Divum (gods), hominum rex (king of men)

Word choices emphasising Jupiter’s power again as he is king and divine

Tyrrhenium … aequor (sea carrying Troy)

Enclosing word order, copying the same style to earlier. The words are acting out what is being described (using word painting), highlighting the surrounding nature of the sea and the ships

Inimica … Ilium in Italiam (hostile … Troy to Italy)

Alliteration of ‘i’ links the words together by tying Troy and its enemy Italy together, highlighting Juno’s purpose in killing the Trojans

Incute (strike), submersas (sink), obrue (destroy), age (drive), dissice (scatter)

Five imperatives (word choices) highlighting the aggression of Juno’s choice on five occasions. It contrasts her earlier begging as she is ordering Aeolus around through imperatives to force him to perform her commands with forceful and scary language. Having five decisions emphasises her desperation and anger to harm the Trojans. It also links to Athena’s commands to kill Ajax - Juno is copying and taking inspiration from her, even using one of the same words as Athena, but she is one-upping her through her use of five verbs, not four

Vim ventis (violence to the winds)

Alliteration of ‘v’, being a terrifying statement emphasising the force and aggression of Juno’s intents towards the Trojans, highlighting the power of the winds. The previous foreshadowing is coming true, and it is everything that the contemporary reader feared. The word choice of adding violence to the winds makes us feel pathos, sympathising with Aeneas’ and the Trojans situation

Diversos et dissice (scatter in different)

Alliteration of ‘d’ links these words relating to scattering together, drawing out attention to them and emphasising the aggression of Juno’s intent to the Trojans

Bis septem (twice seven)

Exaggeration of beauty

Pulcherrima (most beautiful), praestanti (outstanding)

Superlatives highlights and exaggerates beauty

Conubio iungam stabili propriamque dicabo (I will join with you in steadfast marriage and consecrated her as your own)

Chiasmus with A for verbs and B for what Juno is offering. It is a formal way of speaking, drawing attention to her offers

Omnes ut tecum meritis pro talibus annos (in return for such services, she might spend all her years with you)

Chiasmus of A for Deiopea’s years/life/what is going to happen to her) and B for Aeolus’ services. This shows that it was a bribe or reciprocal arrangement - marriage is a reward

Omnes … annos (all her years)

Enclosing word order emphasises the amount of time they spend together, using emphatic placement at the start of the line, drawing attention to the length of time that Deiopea will be faithful for

Pulchra … prole parentem (parent with beautiful offspring)

Alliteration of ‘p’ (plosives) to draw attention to them and offering of marriage - Aeolus wants to have children, showing that this is the most important part of the deal to Aeolus

Pulchra … prole (beautiful offspring)

Enclosing word order to highlight the importance of the deal by emphasising the number of children there will be

O Regina (o, queen)

Word choice, showing respect for Juno through the direct address to her title

Mihi (for me)

Repetition of Mihi, juxtaposing ‘tu’, showing that Virgil doesn’t agree with Juno morally or that they’re going to work together against the odds

Tuus, tu (you, your)

Repetition of pronoun ‘tu’ emphasises what Juno wants rather than himself - Aeolus is taking less responsibility than Juno

Concilias (grant), das (give), facis (make)

Tricolon of verbs in the present tense (using the second person singular) trying to flatter Juno by saying that it was only her. The present tense sounds like a continuous or ongoing action, emphasising Aeolus’ fear as Juno has the power to take his power away from him, showing her respect to her power

Que (and)

Polysyndeton emphasises how grateful Aeolus is