Pages 9-10 (style notes)

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