Lower Sixth Exam Latin Aeneid

translation and analysis 1-9

At regina gravi iamdudum saucia cura

vulnus alit venis et caeco carpitur Igni

But the queen, wounded by intense torment, for a long time, nourishes the wound from her veins, and seized by hidden fire.

• fire imagery emphatically placed ‘igni’ - presents love a destructive force

• love as an injury and wound ‘saucia/vulnus’ → intense impacts on Dido as she is struck by Cupids arrow

• contrast of voices and chiasmus → reflects the confliction that Dido feels between her own control of her mental state and being controlled by love

• ‘regina’ → reminder of royal status

multa viri virtus animo multusque recursat

gentis honos;

The great courage of the man and the high nobility of his family comes back to her mind.

• frequentative verb → how often she is thinking of him

• enjambement → reflects how long his impression remains in her mind

• enclosing word order → mind encompassed by image of Aeneas

• ‘gentis honos’ → obsession with his lineage and heritage rather than him (from Venus)

• lexis ‘viri’ = hero

• polyptoton → propaganda of Aeneas importance

haerent infixi pectore vultus

verbaque nec placidam membris dat cura quietem

His face and words cling, fixed in her heart, and torment grants no peaceful rest to her limbs.

• pleonasm → extent of impression that Aeneas made

• enjambement → mirrors how long they remain with her

• hyperbaton (E.W.O) → torment is stopping her from resting

cum sic unanimam adloquitur male sana sororem

Thus when she spoke, not of sound mind, to her like-minded sister:

• hyperbaton promotes unanimam→ sorority of sisterly bond

• present tense → urgency

• ‘male sane’ → conflicted

'Anna soror, quae me suspensam insomnia terrent!

'Sister Anna, what dreams terrify me, hung up!'

• polyptoton → sorority

• accusative promoted → lack of control even in her own mental state

• present tense → intensity of her mental conflict and long lasting impact (even when awake)

quis novus hic nostris successit sedibus hospes, quem sese ore ferens, quam forti pectore et armis!

What new guest has entered our abode, what a face he bears, how strong are his chest and arms!

• tricolon (anaphora/polyptoton) → focused on Aeneas physical attributes emphasis on infatuation and suggestive of shallow love

• exclamation → Dido is getting carried away

credo equidem, nec vana fides, genus esse deorum

I truly believe, nor is the belief unfounded, that he is of the family of the gods.

• interjection (litotes) → excitement

• emphatic elision of ‘equidem’ → Dido’s certainty of her own opinion and excitement

• delayed ‘deorum’ → obsessed with lineage and emphasis on Aeneas importance

degeneres animos timor arguit, heu, quibus ille

iactatus fatis!

Fear reveals unworthy minds. Alas, with which fates has he been tossed!

• link to lineage again ‘Degeneres’

• ‘heu’ → emphatic breaking up of her speech, showing overwhelm of emotions

• enjambement → highlights physical struggle that she admires (how he has been tossed by fate) and her pity/emotional attachment to him and her excitement (fast pace of speaking about him)

• delayed ‘fatis’ → overall power of fate and significance in rest of story

quae bella exhausta canebat!

Of which wars he sang, that he endured!

• polyptoton → excitement

• canebat → relates to orla tradition as if Aeneas is a ;bard’ she is captivated by him

si mihi non animo fixum immotumque sederet

ne cui me vinclo vellem sociare iugali,

If my mind was not set and immovably fixed that I do not want anyone to join me in the bonds of marriage,

• pleonasm → Dido’s set mind set (more significant that she overrides it)

• E.W.O ‘animo’ → her mind is at centres of her decisions but suggests that its separate from her true desires

• ‘iugali’ and ‘vinclo’ (chains) → marriage as restrictive and how seriously she views marriage (foreshadowing)

• conditional → unfulfilled conditionals foreshadow overriding of her logic

postquam primus amor deceptam morte fefellit

after my first love betrayed me, cheated by death;

• word order → reflects how deception drives a wedge between love and death and how she feels separated from Sychaeus

si non pertaesum thalami taedaeque fuisset

if I were not exhausted by marriage and the marriage-torches,

• hendiadys and metonymy → importance of marriage to Dido

• conditional → overriding of logic also suggests that she desires to get married again if ONLY she hadn't already been married

huic uni forsan potui succumbere culpae

perhaps I might have yielded to this one temptation.

• promoted unnamed ‘this one’ → Dido' struggles to come to terms with her true desires

• delayed ‘culpae’ → shows how she feels guilt and shame for her desires

Anna (fatebor enim) miseri post fata Sychaei

coniugis et sparsos fraterna caede penatis

Anna, for I confess, after the death of my poor husband Sychaeus,

and after the household gods were scattered by fraternal slaughter,

• hyperbaton → lasting impact of Sychaeus’ death

• enjambement → how she feels Sychaeus has been taken away from her

• hyperbaton → reflects scattering of household gods and her by Pygmalion (unnamed shows clash between them)

solus hic inflexit sensus animumque labantem

impulit agnosco veteris vestigia flammae

this man alone has stirred my feelings and has pushed my unstable mind. I know the traces of this old flame.

• chiasmus → demonstrates how Aeneas had caused a significant shift in her mentality

• present participle → uncertainty of her emotions

• archaic language → grandiose emphasis on Aeneas as an Epic hero who she has fallen for

• flame imagery → love as powerful and destructive (foreshadows pyre)

sed mihi vel tellus optem prius ima dehiscat

vel pater omnipotens adigat me flumine ad umbras

But may the depth of the earth gape open for me,

or the omnipotent father drive me away with a lightning bolt to the shades,

• hyperbole → extreme emotions of Dido (unstable state of mind and dangerous mentality)

pallentis umbras Erebo noctemque profundam,

ante, pudor, quam te violo aut tua iura resolvo

to the pale shadows of Erebus and the deep night, before, honour, I violate you or break your laws.

• direct adress → she feels shame as if betraying a God

• tautology → certainty that she would act against honour if she married Aeneas

ille meos, primus qui me sibi iunxit amores

abstulit: ille habeat secum servetque sepulcro.’

That man, who first joined himself to me, has stolen my love. Let him have it and keep it with him in his tomb.

• enjambement → she feels disconnected from love

• delayed ‘sepulcro’ → extreme pledge adds gravity to her speech

sic effata sinum lacrimis implevit obortis

Thus, having spoken, she filled her bosom with streaming tears.

homeric phrase → epic grandoise

Anna refert: 'o luce magis dilecta sorori

Anna replied: 'O you, who is more beloved than light to your sister,

• ‘o’ → emotional register

• comparative → highlights how beloved Dido is

• metaphor → light is necessary for survival and contrasts with Dido’s obsession with the underworld - sorority

solane perpetua maerens carpere iuventa

nec dulcis natos Venens nec praemia noris?'

will you, alone, waste your ongoing youth in mourning, and nor will you know sweet children or the rewards of love?

• emphatic placement and +ne → emphasises Dido’s poor state of lonliness - pity

• enclosing word order → mourning is disrupting her youth - foreshadows death

• juxtaposition and metonymy → foreshadowing influence of Venus and Aeneas (her son) showing how he is the solution to both issues (children/rewards of love) ironically he is also the cause of her worries

id cinerem aut manis credis curare sepultos?

Do you believe that ashes or buried spirits care about this?

• pleonasm → ridicules Dido’s concern for Sycaheus as he is dead (free to remarry)

• hyperbaton and EWO → Dido is consumed by concern for the underworld in her beliefs

esto: aegram nulli quondam flexere mariti

Let it be: no suitors ever swayed you while you were sick with grief;

• imperative → Annas forceful persuasion

• enclosing word order → mimetic of Dido surrounded by suitors

non Libyae, non ante Tyro: despectus larbas

ductoresque alii

not in Libya, not before from Tyre; Iarbas was scorned, and other leaders,

• tetracolon → extent of rejection from Dido

• enjambement

• strong lexis ‘despectus’ → Dido’s rejection was powerful and certain previously

quos Africa terra triumphes

dives alit: placitone etiam pugnabis amore

whom the African terrain, rich in triumphs, nurtures: will you fight against a pleasing love?

• alliteration → benefit that Dido rejected and danger she now finds herself in (warlike nature = danger)

• enjambement → emphasis on qualities of the people she has rejected - provided benefits but now could be strong threats

• rhetorical question → Annas disbelief of Dido’s actions

nec venit in mentem quorum consederis avis?

And will it not come into your mind in whose fields you settled?

• rhetorical question

• enjambement → pacy argument

hinc Gaetulae urbes, genus insuperabile bello

Here the Gaetulian cities, a tribe unconquerable in war,

• epithet → epic and strong presents

et Numidae infreni cingunt et inhospita Syrtis

and the unbridled Numidians surround you, as well as cruel Syrtis;

• enclosing word order → surrounded by enemies

• tricolon→ extent of enemies facing Carthage including natural world

hinc deserta siti regio lateque furentes

Barcaei

here a region, deserted by drought and the Barcali raging far and wide.

• anaphora → vivid extent of threats all around Dido

• enjambement → extent of Barcaei’s power and savageness (reference to Hannibal in Punic Wars)

quid bella Tyro surgentem dicam

germanique minas?

What shall I say about the wars rising in Tyre, and our brother's threats?

• praeteritio → drawing attention to something by not saying it (ironically)

• unnamed → hospitality against her brother Pygmalion

dis equidem auspicibus reor et lunone seconda

hunc cursum IIiacas Vento tenuisse carinas.

Personally, I think that, with favourable gods and with Juno's favour, the Trojan ships have held this course by the wind.

• conversational tone → sorority between Dido and Anna

• tautology → shows the influence and importance of approval of the gods/intervention and convincing her that the Gods are on her side

• epic language and synecdoche → reminder of the Trojans influence and power

• enclosing word order → shows power of the gods in manipulating Aeneas and his ships to stay in Carthage

quam tu urbem, soror, hanc cernes, quae surgere regna

coniugio tali!

What a city, sister, you will see, what kingdoms will arise from such a marriage!

• anaphora/polyptoton tricolon of exclamations → extent of benefits/repercussions for Dido and Anna’s excitement in getting her to agree

• enjambement → emphasis on the marriage to show its the means for connecting Carthage and Troy (incl. next line)

Teucrum comitantibus armis

Punica se quantis attollet gloria rebus!

With Trojan arms accompanying, to what great heights shall Punic glory raise itself!

• ablative absolute → influence and impacts of a partnership with the trojans as epic language shows strong lineage of the Trojans

• emphatic placement (enjambement) of ‘Punica’ → contrast with the Trojans to show impact of marriage on Carthage and how marriage is the means for connecting the two powers

tu modo posce deos veniam

All you need to do is demand pardon from the gods,

• conversational → Anna simplifies the task ahead of Dido to convince her to carry it through

• irony of religious verb ‘demand’ → not that easy to demand things from the Gods without a lot of effort - enormity of task/sacrifice

sacrisque litatis

indulge hospitio causasque innecte morandi

when the rites are duly performed,

give free rein to your guest and contrive reasons for delay,

• tricolon → highlighting importance of obedience to the gods, Xenia and trickery and Annas extremes efforts of persuasion

dum pelago desaevit hiems et aquosus Orion

while winter and rainy Orion rage on the sea,

• emphatic placement of Orion (constellation associated with bad weather) → show how nature is on their side and inevitability of Aeneas’ remain in Carthage

• polysyndeton → extent of support from nature/reasons for Aeneas to stay

quassataeque rates, dum non tractabile caelum

and the ships are battered, while the sky is not manageable.

• polysyndetic tetracolon → nature as a powerful force extent of support for Aeneas staying

• harsh plosive alliteration → violence of the sea on the ships (nature as violent unstoppable force on her side)

his dictis impenso animum flammavit amore spemque dedit dubiae menti solvitque pudorem

With these words she enflamed her mind with excessive love and gave hope to her wavering mind and loosened her inhibition.

• fire imagery → reminder of destructive nature of love

• enclosing word order → Dido overwhelmed by love

• intensifier ‘excessive’ → overwhelming force of love

• polysyndetic tricolon of perfect tense verbs/nouns → Anna’s success in changing Dido’s mind and highlighting the three key aspects of Dido’s life (mental state, love, inhibition)

principio delubra adeunt pacemque per aras

At first they approach the shrines and seek peace through the altars;

• context - type scene and parallel to Aeneas’ sacrifices to enter underworld - shows importance of Aeneas to Dido

• plural ‘shrines’ → the magnitude of the sacrifice

• present tense verbs → vivid and emphasises urgency of their offering

exquirunt: mactant lectas de more bidentis

they slaughter two-year-old sheep chosen according to custom

• juxtaposition → the approach/reason for offering vs actual means of offering highlights how sacred it is

• enjambement → extent of ongoing steps in the offering - difficulty and importance to Dido (methodical)

• ‘lectas de’ → Dido’s care in performing all the rituals to perfection and importance of success

• delayed ‘bidentis’ → importance of success

legiferae Cereri Phoeboque patrique Lyaeo.

to law-bringing Ceres and to Phoebus and to father Bacchus,

• tetracolon of gods → extent of Dido’s offering to all important Gods (meticulous) to keep Aeneas (desperate/extreme)

• law bringing Ceres (grandiose epithet) → Demeter (justice)

• Phoebus → apollo (ratio)

• Bacchus → Dionysus (party/frenzy)

lunoni ante omni cui vincla iugalia curae

to Juno above all, to whom marriage bonds are of care.

• emphatic placement → Dido’s connection with Juno and importance of her support (goddess of marriage and Carthage)

• lexis → restrictive nature of marriage

ipsa tenens dextra pateram pulcherrima Dido

Most beautiful Dido herself, holding the libation bowl in her right hand,

• hyperbaton, superlative (and named Dido for 1st time) → Dido’s control, seriousness and authority in the offering

• ‘dextra’ → left hand seen as inauspicious, Dido being meticulous about every detail

candentis vaccae media inter cornua tindit.

pours the offering between the horns of a brilliantly white cow,

• pleonastic phrase → Dido is taking care seriously

• emphatic placement → purity of the cow - Dido is using the very best offering

aut ante ora deum pinguis spatiatur ad Iras.

or she walks before the faces of the gods to the fat-laden altars,

• present tense verb → vivid suggesting slow and purposeful paces - Dido’s ensuring every step is correct

Instauratque diem donis, pecudumque reclusis

pectoribus inhians spirantia consult exta

renewing the day with offerings, and, gaping over the chests of beasts having been opened, she consults the heaving entrails.

• emphatic placement → Dido’s active involvement in the offering

• enjambement → Didos focus on perfection of the offering

• present participles → vivid examination and recency of the slaughter

heu, vaut ignarae mentes! quid vota furentem,

quid delubra iuvant?

Alas the ignorant minds of prophets! what prayers what shrines help a wavering mind?

• sententia → interjection from Virgil emphasises dramatic irony that Dido is unaware of her fate

• rhetorical question (anaphora)→ forces audience to question the power of the fates and powerlessness of humans

est mollis flamma medullas

Interea et tacitum vivit sub pectore vulnus.

Meanwhile a flame eats away at her soft marrow, and a silent would lives beneath her heart.

• promoted verb → destructive damaging love

• flame imagery → foreshadowing death on the pyre

• enclosing word order → overwhelming nature of love (as a wound)

• lexis → ironic as wounds are silent but highlights how Dido is suppressing the dangerous aspect of her love and unaware to it

uritur infelix Dido totaque vagatur

urbe furens, qualis coniecta cava sagitta

Unlucky Dido burns, and wanders, frenzied, through the whole city, like a doe with a hurled arrow,

• fire imagery → destructive nature of her love/pyre foreshadowing

• epithet ‘inflix’ → Dido is doomed

• motif ‘furor’ → Dido is out of control

• framing deponent verbs → lack of autonomy

• lexis ‘coniecta’ → suggests lack of aim - Dido is unlucky recipient of the Gods purposes

• delayed ‘sagitta’ → importance of Cupids arrow in turning her towards her death

• Virgilian simile → importance of scene as turning point in Dido’s love for Aeneas

quam procul incautam nemora inter Cresia fixit

pastor agens telis quitque volatile ferrum

nescius:

which a shepherd, hunting so far off among Cretan woods, has pierced, unwary, with weapons, and in which, unknowing, he left his flying arrow:

• double enjambement → emphasis on Aeneas’ role and tragic sense that he is unaware of his effect on Dido

• word play → Aeneas as shepherd of Trojans - reminder of his fate

• Cresia → famed for archery

• homeric style simile → importance of scene

illa fuga silvas saltusque peragrat

she runs through the Dictaean woods and forests in flight,

• emphatically placed ‘illa’ → juxtaposes with Aeneas to show how their relationship is ill-fated

• tautology → gradiose/epic

Dictaeos; haeret lateri letalis harundo.

the lethal arrow stuck fast to her side.

• golden line!

• chiastic plosive alliteration → harsh consequences of love and immediacy of her love for Aeneas

• promoted → immediacy of Dido’s intense love

nunc media Aenean secum per moenia ducit

Now she leads Aeneas with her through the middle of the walls,

• enclosing word order → closeness of Aeneas and Dido and her trust in introducing him to Carthage

• active verb → Dido’s control in bringing Aeneas with her - contrasts to when Aeneas is in control and they are separated

• anaphora → immediacy of Dido’s acceptance of Aeneas and how quick time passes

Sidoniasque ostentat opes urbemque paratam.

and she shows him Sidonian wealth and the ready city,

• polysyndeton → Dido’s attempt to lure Aeneas into staying by impressing him with Carthages wealth

• frequentative verb → Dido’s eagerness

Incipit effari mediaque In voce resistit

and she begins to speak and stops mid-speech;

• juxtaposing verbs framing the line → Dido has lack of control around Aeneas, can’t contain herself/form coherent speech

nunc eadem labente die convivia quaerit

now, as the day slips away, she seeks the same company,

• ablative absolute → time passing quickly

• anaphora → time

• hyperbaton → Dido is fixated on the initial impression of Aeneas

Iliacosque iterum demens audire labores

exposcit

and again, out of sound mind, she demands to hear the Trojan exploits

• repeated lexis ‘demens’ → defining feature of Dido she is deteriorating and succumbing to her love

• hyperbaton → extent of Trojan exploits

pendetque iterum narrantis ab ore.

and she hangs, again, from his mouth as he tells the story.

• iterum → constant desire to see Aeneas as a Trojan hero - delusion

• metaphorical language → Dido is engrossed by Aeneas

post ubi digressi, lumenque obscura vicissim

luna premit suadentque cadentia sidera somnos.

Later, when they parted, and the darkening moon dims the light in due turn, and the fading stars urge sleep,

• homeric style → epic

• present participle → vividness of how long they spent together

sola domo maeret vacua stratisque relictis

incubat

alone, in her empty home she mopes, and lay down on the abandoned couch.

• tautology → strong lexis shows intensity of Dido’s mourning and feeling of isolation without Aeneas

• intense lexis → intensity of grieving for Aeneas (as if he is dead)

• promoted sola → intensity of loneliness

• delayed ‘relictis’ → aspects of her life now defined by Aeneas (even couch)

illum absens absentem auditque videtque

She, absent, hears and sees him when he is away,

• polyptoton → irony that even as he is away she connects them

• polysyndeton → homeric style turning point in Dido’s obsession (infatuation increases in intensity)

aut gremio Ascamum genitoris imagine capta

or captured by the image of his father, she holds Ascanius in her lap,

detinet infandum si fallere possit amorem.

to see if she could deceive her unspeakable love.

• strong lexis → concerning behaviour shows desperation

• hyperbaton → personification of love is so extreme it is unexplainable and surrounding her

non coeptae adsurgunt turres, non arma iuventus

exercet portusve aut propugnacula bello

tuta parant:

The towers started no longer rise, nor do the youths use their armour,

neither do they prepare the harbours or the battlements to be safe in war:

• anaphoric polysyndetic tetracolon → immediacy of impact on Carthage and range of neglect

• enjambement → speed of Dido’s neglect

• plosive alliteration → irony of lack of noise in Carthage

pendent opera interrupta minaeque murorum ingentes aequataque machina caelo.

the works hang interrupted, as well as the huge threats of the walls and the contraption as high as the sky.

• polysyndetic tricolon → extent of things halted by Dido

• promoted verb

• enclosing word order (chiasmus) → shows wasted potential of Carthage (hyperbole)

quam simul ac tali persensit peste teneri

cara lovis comunx nec famam obstare furori.

as soon as the dear wife of Jupiter realised that Dido was held by such great sickness, and reputation could not stand in the way of madness,

• emphatically placed → ‘dear wife of Jupiter’ emphasising Juno’s status

• lexis ‘peste’ metaphor → enforcing the idea as love as a sickness - Dido’s weakness and destruction

• promoted ‘quam’ → accusative shows Dido’s objectification by the Gods

• furor → Dido’s defining feature leading to her downfall

talibus adgreditur Venerem Saturnia dictis:

the daughter of Saturn attacked Venus with such words:

• juxtaposition → conflict between the gods

• agressive lexis

'egregiam vero laudem et spolia ampla refertis

tuque puerque tuus (magnum et memorabile numen).

'Truly you, and that son of yours, bring back remarkable praise and ample spoils (great and memorable is your celestial power)

• patronising language (Cupid reference) → recognition of Cupids' role (undertone of contempt) and fake argument empty.

• alliteration → Juno’s fake praise

• sycophancy → manipulation

aim → Juno flatters Venus to get her to agree to the union (as it benefits both Carthage and Dido) Juno uses a fake argument to present why the union would be beneficial for Venus as well as sucking up to her

una dolo divum si femina victa duorum est.

if one woman is conquered by the trickery of two gods.

• chiasmus → lack of Dido’s agency against the gods - Juno showing extent of suffering for Dido thus need for marriage

nec me adeo fallit veritam te moenia nostra

Nor yet does it deceive me that you, having feared our walls,

• delayed ‘nostra’ → closeness of Carthage to Juno

suspectas habuisse domos Karthaginis altae

had held in mind suspiciously the homes of high Carthage,

• Carthage transferred epithet → ironic as not currently being built

• presenting Carthage as a threat to Aeneas and need for union with the Trojans to join powerful forces

sed quis erit modus, aut quo nunc certamine

but what will be the limit, or to where now will it be with such fighting?

• double interrogatives polyptoton → inversement in Dido/Aeneas and Juno’s desperation for urgent agreement

quin potius pacem aeternam pactosque hymenaeos

exercemus?

Why don’t we rather work out external peace and marriage contracts?

• enclosing word order and plosive alliteration→ mirrors binding and eternal nature of their plans - Juno’s strong desires

• polyptoton → binding nature of the peace she is proposing

habes tota quod mente petisti:

You have the thing which you sought in your whole mind:

• enclosed by verbs → Venus’ investment in Aeneas’ life (wants Dido to help him Carry out his fate)

ardet amans Dido traxitque per ossa furorem.

Dido burns as she loves and she drags madness through her bones.

• promoted ‘ardet' juxtaposes with ‘amans’→ foreshadowing death as result of love on the pyre

• named Dido

• enclosed verb → ironic as she has a lack of agency

• delayed furorem → destructive nature of love ‘furor’

• consequence of Dido’s love for Aeneas is that she is suffering while Aeneas is prospering

communem hunc ergo populum paribusque regamus

auspiciis:

Let us therefore rule these people together and with equal authority.

• tautology/pleonastic phrase → Juno’s desire for Venus’ agreement

• empty promises

liceat Phrygio servire marito

Let her be subject to her Phrygian husband,

• ironic → Juno would not want this but trying to get Venus on side

dotalisque tuae Tyrios permittere dextrae.

and for your right hand to allow the Trojans as a dowry.”

• lexis of subservience

• delayed ‘dextrae’ → Venus’ power

• importance of ‘dotalis’ → Juno is goddess of marriage and wants join of Carthage and Trojans

Olli (sensit enim simulata mente locutam,

But Venus, for she felt that Juno had spoken with a fake argument,

• archaic language → epic

quo regnum Italiae Libycas averteret oras)

so that she might turn him to the Libyan shores, away from the kingdom of Italy,

• juxtaposition → foreshadowing punic wars ironically presenting closeness of Dido and Aeneas - doomed love

• irony that Juno believes Carthage could ever be united with Troy (Venus knows the true fate)

sic contra est ingressa Venus: 'quis talia demens

thus went against her: ‘Who, out of their mind, would refuse such things

• delayed → epithet for Dido ironic

abnuat aut tecum malit contendere bello?

or would prefer to compete with you in war?

• delayed → war and conflict is controlling the union of Aeneas and Dido - militia amores - love leads to death and destruction

si modo quod memoras factum fortuna sequatur.

If only fortune would follow the deed of which you speak.

• ironic → Venus knows Aeneas’ fate

• juxtaposition → overruling power of fate

sed fatis incerta feror.

But I, uncertain, am conflicted by the Fates,

• passive → ironic she is appearing to be conflicted (equal to Juno) but is actually in control

• promoted ‘fatis’ → importance of fate

si luppiter

unam esse velit Tyriis urbem Troiaque profectis.

as to whether Jupiter would want there to be one city for the Tyrians and those who set out from Troy,

• enclosing word order → contention for Carthage between Trojans and Tyrians - punic wars

miscerive probet populos aut foedera iungi.

or approves peoples to be mixed or treaties joined.

• chiastic foreshadowing → mixing of the Latins and Trojans not Carthaginians (Venus’ overall control)

tu coniunx, tibi fas animum tempore precando

You are his wife, by praying, it is lawful for you to try his mind.

• promotion → Venus is manipulating Juno to thinking she has power/is in control

perge. sequar.'

Go ahead, I will follow.”

• imperative → authority

tum sic except rega luno:

Then regal Juno replied thus:

• epithet → reminder of Juno’s power

• homeric style → grandiose

mecum erit iste labor. nunc qua ratione quod instat

confieri posit

That task will be mine. now by what means can the pressing task be done?

• ironic promotion of possessive pronoun → Juno’s belief she has control

• polyptoton → careful consideration of manipulation/plan

• nunc/plosives → urgency and authority Juno tries to inflict is ironic

paucis (adverte) docebo.

pay attention! I shall teach in a few words.

• irony of imperatives → Juno thinks she is in control

• interjection → authoritative and condescending

venatum Aeneas unaque miserrima Dido

in nemus ire parant,

Aeneas, together with most wretched Dido are preparing to go on a hunt in the woods,

• epithet for Dido → doomed fate

• emphatic position → importance of the hunt in turning point for Dido’s doom

• present tense → immediacy of the hunt

extulerit Titan radiisque retexerit orbem

when tomorrow’s sun, having risen, will bring forth first light, and uncovers the world with its rays.

• homeric imagery → importance of scene

• Titan → hyperion god of the sun - grandiose (metonymy) - importance of scene

his ego nigrantem commixta grendine nimbum,

dum trepidant alae saltusque indagine cingunt

desuper infundam

upon them I will pour down from above a blackened cloud mixed with hail, while the troops surround the grove with a ring of men

• juxtaposition → closeness of the Gods and men (importance of divine intervention)

• enclosing word order → mimetic of extent Juno will go to to create union

et tonitru caelum omne ciebo

and I will stir up the whole sky with thunder.

• alliteration → aural quality to storm is intense (onomatopoeia)

• future tense → certainty of the plan and immediacy

diffugient comites et nocte tegentur opaca:

the companions will scatter and they will be covered by shadows as if nightfall:

• passive enclosed verb → manipulation by the gods and mimetic of surrounded by nightfall

• hyperbaton → immediacy of plans

speluncam Dido dux et Troianus eandem

devenient

Dido and the Trojan leader will come to the same cave.

• juxtaposition → union of Dido and Aeneas and their closeness

adero et tua si mihi certa voluntas

And I will be present, if your will is certain to me,

• irony → overall power of Venus (goddess of love and mother of Aeneas)

conubio iungam stabili propriamque dabo

I will join them in a stable marriage and I shall announce she is his.

• pleonasm → highlights significance of marriage and binding nature of the union (ironic as actual marriage is ambiguous)

• lexis of subservience

hic hymenaeus erit.

This shall be their marriage.”

• variatio → certainty of their union - still ironic as we are unsure of the actual state of their marriage

• contrast of sentence length