GCSE Latin OCR Aeneid 1

Urbs antīqua fuit, Tyriī tenuēre colōnī,

Karthāgō, Ītaliam contrā Tiberīnaque longē

ōstia, dīves opum studiīsque asperrima bellī,

quam Iūnō fertur terrīs magis omnibus ūnam

posthabitā coluisse Samō; hīc illius arma,

hīc currus fuit; hōc rēgnum dea gentibus esse,

sī quā Fāta sinant, iam tum tenditque fovetque.

There was an ancient city (Tyrian settlers possessed it), Carthage, facing Italy and the mouth of the Tiber far away, rich in resources and very fierce in the pursuits of war; which alone Juno is said to have cherished more than all other lands, regarding Samos as inferior. Here was her armour, here was her chariot; even then the goddess both aimed for and cherished this kingdom to be for the people if in any way the fates allowed it.

• EMPH POS of “Karthago, Italiam” next to each other shows that they’re enemies

• ENJABMENT of “longe”: it’s at the end of the line to emphasise the distance - vivid description

• CHIASMUS of “dīves opum studiīsque asperrima bellī” shows what a big threat Carthage is

• ENCLOSING ORDER OF “quam” and “unam” shows how much Juno loves Carthage

• ANAPHORA + TRICOLON of “hic, hic, hoc” emphases how much she loves Carthage as she keeps valuable possessions there

• HISTORIC PRESENT + POLYSYNDETON of “tenditque fovetque” stresses her level of care

Prōgeniem sed enim Trōiānō ā sanguine dūcī

audierat, Tyriās olim quae verteret arcēs;

hinc populum lātē regem bellōque superbum

ventūrum excidiō Libyae: sīc volvere Parcās.

But in fact, she had heard that a race was being produced from Trojan blood, who would one day overthrow the Tyrian citadels; from this people would come ruling far and wide and arrogant in war to destroy Libya; in this way the Fates decree this.

• EMPH POS of “olim” shows this is inevitable

• “superbum” (proud) is often used in a pejorative/insulting way, reflecting Juno’s opinion on TROJANS/Romans

id metuēns, veterisque memor Sāturnia bellī,

prīma quod ad Trōiam prō cārīs gesserat Argīs—

necdum etiam causae īrārum saevīque dolōrēs

exciderant animō: manet altā mente repostum

iūdicium Paridis sprētaeque iniūria fōrmae,

et genus invīsum, et raptī Ganymēdis honōrēs.

The daughter of Saturn, fearing this, and mindful of the ancient war, which she had at first waged near Troy on behalf of her beloved Greeks — for even now the causes of her (outbursts of) anger and savage pains had not yet disappeared from her mind; the judgement of Paris and the insult done to her despised beauty and the hated race and the honours given to the snatched Ganymede remained buried deep in her mind:

• “metuens” is PRESENT PARTICIPLE, which paints a vivid image of her fear. It’s surprising that a goddess is afraid

• Juno had special connections to “Argis” in Greece, because her most famous temple is there

• “necdum” (even now) breaks off from narrative, changing tone causually to renew excitement

• EMPH POS of “iūdicium Paridis” shows that Juno is most angry due to golden apple contest

• POLYSYNDETON at “et genus invīsum, et” highlights depth of her anger

Hīs accēnsa super, iactātōs aequore tōtō

Trōas, rēliquiās Danaum atque immītis Achillī,

arcēbat longē Latiō, multōsque per annōs

errābant, āctī Fātīs, maria omnia circum.

Tantae mōlis erat Rōmānam condere gentem!

fired by these (injustices) as well, she kept the Trojans tossed about over the whole sea, the remnants left by the Greeks and savage Achilles, far from Latium, and for many years they wandered driven by the fates around all the seas. It involved such great difficulty to found the Roman race!

• ENJABMENT OF “toto Troas” emphasises the distance which the trojans must cover

• BALANCE of “iactātōs aequore tōtō

  Trōas” clause (adj+noun x2) emphasises how much they suffered

• adjective “multosque” promoted to before preposition. emphasises time already spent by Trojans travelling the ocean

• EMPH POS of “circum” shows chaos of journey

• EMPH POS of “tantae” shows the effort put into founding Rome - slow + deliberate process

Vix e conspectu Siculae telluris in altum

vela dabant laeti, et spumas salis aere ruebant,

cum Iuno, aeternum servans sub pectore volnus,

haec secum: 'Mene incepto desistere victam,

nec posse Italia Teucrorum avertere regem?

Scarcely out of sight of the land of Sicily, (the Trojans) were happily sailing into the high sea and churning up the foam of salt sea with their bronze (prows) when Juno, retaining the everlasting wound beneath her breast, (said) these (words) within herself: 'To think that I, defeated, should give up my purpose, and not be able to divert the king of the Trojans from Italy!

• SIBILANCE of “spumas salis” mimics splashing and foaming of the sea - vivid

• ENCLOSING ORDER of “aeturnum” to “vulnus” shows how permanent + strong Juno’s anger is

• EMPS POS “victam” at end of line highlights reason for Juno’s anger

• RHETORICAL Q + MONOLOGUE create vivid picture of Juno’s emotions

Quippe vetor fatis. Pallasne exurere classem

Argivom atque ipsos potuit submergere ponto,

unius ob noxam et furias Aiacis Oilei?

Of course, I am forbidden by the fates. Was Pallas able to burn up the fleet of the Greeks and drown (the Greeks) themselves in the sea because of one man's offence and the madness of Ajax, son of Oileus?

• double destruction of “exuere” and “submergere” by fire and water shows J’s determination to destroy Trojans

• “potuit” + “posse” earlier are POLYPTOTON, showing that fear restricts Juno

• contrast between Athena only punishing a small fleet but Juno wanting to destroy a whole race

Ipsa, Iovis rapidum iaculata e nubibus ignem,

disiecitque rates evertitque aequora ventis,

illum expirantem transfixo pectore flammas

turbine corripuit scopuloque infixit acuto.

(She) herself, hurling the swift fire of Jupiter from the clouds both scattered the ships and upturned the seas with the winds, (while) him, as he breathed forth flame from his pierced breast, she snatched up in a whirlwind and impaled on a sharp rock.

• JUXTAPOSITION between “Ipsa Iovis” shows that husband Jupiter granted this

• POLYSYNDETON OF “disiecitque” and “evertitque” shows violence + chaos of storm

• PROMOTION OF “illum” (him) to start of line, emphasises that what Juno can’t do to Aeneas, Pallas/Athena can do to Ajax

• ENCLOSING ORDER of “scopuloque infixit acuto” paints vivid picture of Ajax pinned to rock - graphic and shows the power of the gods

Ast ego, quae divom incedo regina, Iovisque

et soror et coniunx, una cum gente tot annos

bella gero! Et quisquam numen Iunonis adoret

praeterea, aut supplex aris imponet honorem?'

But I, who walk as queen of the gods, both sister and wife of Jupiter, have been waging wars with one race for so many years!. And will anyone worship the divine power of Juno any more or as a suppliant place an offering upon (her) altars?'

• “regina” shows how her power is greater in comparison to Athena (justifies anger)

• POLYSYNDETON of “et soror et coniunx” shows extent of power in relation to Jupiter - as justification for why it’s unfair she can’t have her way, she has no control

• ENJAMBMENT of “adoret praeterea” emphasises her annoyance - repeating herself

Talia flammato secum dea corde volutans

nimborum in patriam, loca feta furentibus austris,

Aeoliam venit. Hic vasto rex Aeolus antro

luctantes ventos tempestatesque sonoras

imperio premit ac vinclis et carcere frenat.

The goddess, turning over such (things) with herself in her inflamed heart, came to the land of the clouds, Aeolia, a place full of raging south winds. Here, King Aeolus in his vast cave with power confined the struggling winds and the roaring storms and reined them in with chains and imprisonment.

• ENCLOSING ORDER “flammato… corde” shows how Juno is driven by her passion

• ALLITERATION of “feta furentibus” emphasises wind’s violence - reflects Juno’s anger

• SIBILANCE of “luctantes ventos tempestatesque sonoras” imitates storms’ whistling

• EMPH POS of “sonoras” at end of line.

Illi indignantes magno cum murmure montis

circum claustra fremunt; celsa sedet Aeolus arce

sceptra tenens, mollitque animos et temperat iras.

They, indignant, roar around the barriers with the mighty murmur of the mountain; Aeolus sits in the lofty citadel, holding the sceptre, soothes their spirits and restrains their anger.

• ALLITERATION OF m + n adds to indignant roar of chained up winds

• ALLITERATION of c imitates rattling of locked doors

• HENDIADYS “mollitque animos et temperat iras!” emphasises how much effort it took from Aeolus to restrain the winds

Ni faciat, maria ac terras caelumque profundum quippe ferant rapidi secum verrantque per auras.Sed pater omnipotens speluncis abdidit atris, hoc metuens, molemque et montis insuper altosimposuit, regemque dedit, qui foedere certoet premere et laxas sciret dare iussus habenas.Ad quem tum Iuno supplex his vocibus usa est:

If he did not do (this), they would indeed carry quickly away with them seas, lands and the high heaven and would sweep them along through the winds. But the all-powerful father, fearing this, hid (them) in dark caverns, placed a mass of high mountains on top, and gave them a king so that he would know by a fixed contract both how to tighten and loosen the reins having been ordered. Then, Juno as a suppliant used these words to him:

• POLYSYNDETIC TRICOLON: “maria ac terras caelumque profundum” shows winds’ power and extent of their potential damage

• EMPH POS of “altos” (high) at end of line emphasises the size of the mountains

• “et premere et laxas” (to tighen and loosen) creates horse racing imagery - visual picture of winds’ speed

• JUXTAPOSITION of “Iuno supplex” shows powerful Juno’s desperation by flattering

'Aeole, namque tibi divom pater atque hominum rex

et mulcere dedit fluctus et tollere vento,

gens inimica mihi Tyrrhenum navigat aequor,

Ilium in Italiam portans victosque Penates:

incute vim ventis submersasque obrue puppes,

aut age diversos et disiice corpora ponto.

'Aeolus (for the father of the gods and king of men gave to you both (the power) to calm the waves and raise them with the wind), a race hostile to me sails the Etruscan sea carrying Troy and the conquered household gods into Italy: strike violence into the winds and sink and destroy their ships, or drive them in different directions and scatter the bodies in the ocean.'

• POLYPTOTON of “vento” and “ventis” (wind) emphasises Juno’s eagerness for Aeneas to be killed

• “INIMICA” means personal enemy, unlike hostis the whole race is her enemy

• IMPERATIVE “incute” (strike) and “obrue” (destroy) shows her vindicative rage

• ALLITERATION of “vim vento” (violence and winds) shows Aeolus’ ability to cause disaster

Sunt mihi bis septem praestanti corpore nymphae,

quarum quae forma pulcherrima Deiopea,

conubio iungam stabili propriamque dicabo,

omnis ut tecum meritis pro talibus annos

exigat, et pulchra faciat te prole parentem.'

'I have twice seven Nymphs of outstanding body, of whom she who (is) the most beautiful in form, Deiopea, I will join (with you) in lasting marriage and proclaim her as your own, so that, in return for such services, she will spend all her years with you and make you a father to beautiful offspring.'

• SUPERLATIVE + POLYPTOTON OF “pulcherrima” and “pulchra” emphasises beauty

• JUXTAPOSITION of “stabili propriamque” (lasting and one’s own) - marriage will be strong as Juno’s the goddess of marriage

• ENCLOSING ORDER OF “omnis” and “annos” highlights that Deiopea will be in the marriage for eternity

Aeolus haec contra: 'Tuus, O regina, quid optes

explorare labor; mihi iussa capessere fas est.

Tu mihi, quodcumque hoc regni, tu sceptra Iovemque

concilias, tu das epulis accumbere divom,

nimborumque facis tempestatumque potentem.'

In response Aeolus: 'O queen, your task is to find what you desire; for it is right for me to carry out your orders. You grant to me whatever of this kingdom, the sceptre and Jupiter's (favour), you allow me to recline at the banquet of the gods, and make (me) master of the clouds and storms.'

• DIRECT ADDRESS “O regina” shows respect

• ANAPHORA OF “tu” shows that Juno has given Aeolus these powers

• ASYNDETIC TRICOLON “Tu mihi, quodcumque hoc regni, tu sceptra Iovemque

  concilias” shows how much he owes her - grateful

Haec ubi dicta, cavum conversa cuspide montem

impulit in latus: ac venti, velut agmine facto,

qua data porta, ruunt et terras turbine perflant.

Incubuere mari, totumque a sedibus imis

una Eurusque Notusque ruunt creberque procellis

Africus, et vastos volvunt ad litora fluctus.

When these things had been said, reversing his spear, he struck the hollow mountain on the side; and the winds, as if a battle line had been made, rushed out where passage had been given and blew through the lands with a whirlwind. They fell upon the sea, the East and South winds together and the African winds, abundant with storms, churn up everything from their lowest depths, and roll huge waves towards the coasts.

• ALLITERATION OF C (cavum conversa cuspide montem) AND V (venti velut)emphasises Aeolus striking mountain

• ALLITERATION OF A AND T (data porta, ruunt et terras turbine perflant) emphasises roaring of the winds

• EMPH POS OF (una) - adverb at start of line highlights the joint force of the winds

• POLYSYNDETIC TRICOLON (Eurusque Notusque) - winds come from all direction

Insequitur clamorque virum stridorque rudentum.

Eripiunt subito nubes caelumque diemque

Teucrorum ex oculis; ponto nox incubat atra.

Intonuere poli, et crebris micat ignibus aether,

praesentemque viris intentant omnia mortem.

A shout of men and a screech of cables follow. Suddenly, the clouds seize the sky and the day from the eyes of the Trojans; black night settles upon the sea; the heavens thundered and the upper air flashed with frequent fires, and everything threatens instant death for the men.

• HOMIOTELEUTON (alliteration of or and um in first line) creates sense of shouting and noise

• PERSONIFICATION of clouds (nubes) shows the power of the storm

• POLYSYNDETON (caelumque diemque) builds drama

• ENCLOSING ORDER (“praesentemque” and “mortem”) highlights immediacy of danger as it’s instant death - trojans will die

Extemplo Aeneae solvuntur frigore membra:

ingemit, et duplicis tendens ad sidera palmas

talia voce refert: 'O terque quaterque beati,

quis ante ora patrum Troiae sub moenibus altis

contigit oppetere! O Danaum fortissime gentis

Tydide! ...

Immediately, Aeneas's limbs were loosened by the cold; he groaned and, stretching out both his palms towards the stars, he repeated such things aloud: 'O three times and and four times blessed (are those) who happened to die before the faces of their fathers under the high walls of Troy! O son of Tydeus, bravest of the Greek people!

• INTENSIFIER “in” (ingemit meaning groaned) adds terror to Aeneas’ state

• HYBERBOLE (O terque quaterque) shows his desperation (content point)

• ENJABMENT (gentis Tydide!) brings attention to Aeneas evoking Diomedes who nearly killed him earlier - he wishes his enemy could kill him now

... Mene Iliacis occumbere campis

non potuisse, tuaque animam hanc effundere dextra,

saevus ubi Aeacidae telo iacet Hector, ubi ingens

Sarpedon, ubi tot Simois correpta sub undisscuta virum galeasque et fortia corpora volvit?'

To think that I was not able to die on the plains of Troy and pour out this life beneath your right hand, where savage Hector lies under the spear of Achilles, where huge Sarpedon (lies), where the Simois, having seized so many shields of heroes, rolls them, helmets and brave bodies beneath its waves.'

• ANAPHORA OF “ubi” shows how many died in battle of Troy

• TRICOLON shows the same point

• POLYPOTON of “fortia” with line 96 emphasises bravery of all those in the Trojan war

Talia iactanti stridens Aquilone procella

velum adversa ferit, fluctusque ad sidera tollit.

Franguntur remi; tum prora avertit, et undis

dat latus; insequitur cumulo praeruptus aquae mons.

While he was shouting such (words), a storm, whistling with the North wind, struck the sail full in front, and raised the waves to the stars. The oars were broken, the prow turned away and gave its side to the waves; a sheer mountain of water followed in a mass.

• ALLITERATION OF “v” and “f” (velum adversa ferit, fluctusque) imitates storm striking the sail

• ASSONANCE of “u” imitates wind howling

• HYPERBOLE + HISTORIC PRESENT ( ad sidera tollit) heightens how great the wave was + vivid

Hi summo in fluctu pendent; his unda dehiscens

terram inter fluctus aperit; furit aestus harenis.

Some hung on the top of the wave, for others the yawning waves revealed land among the waves, the seething sea rages with the sands.

• POLYPTOTON OF “hi” and “his” adds to chaos

• JUXTAPOSITION OF VERBS “aperit; furit” (revealed and raged) emphasises dramatic reveal of earth

• SIBILANCE (aestus harenis) emphasises churning of sand creating drama

Tris Notus abreptas in saxa latentia torquet—

saxa vocant Itali mediis quae in fluctibus aras—

dorsum immane mari summo; tris Eurus ab alto

in brevia et Syrtis urget, miserabile visu,

inliditque vadis atque aggere cingit harenae.

The South wind hurled three (ships) having been snatched away, onto hidden rocks - rocks in the middle of the waves which the Italians call the Altars, a huge ridge on top of the sea; the East wind pushes three ships from the deep onto the shallows and sandbanks, a wretched sight and dashed them onto the shallows and surrounded them with a mound of sand.

• ANAPHORA OF “saxa” emphasises size + danger of the rocks

• ALLITERATION OF "m” (dorsum immane mari summo) shows size of rocks AND there is BALANCE of noun+adj to highlight this

• MILITARY LANGUAGE “aggere cingit” (meaning surround and mound) shows how aggressive the storm is attacking Aeneas

Unam, quae Lycios fidumque vehebat Oronten,

ipsius ante oculos ingens a vertice pontus

in puppim ferit: excutitur pronusque magister

volvitur in caput; ast illam ter fluctus ibidem

torquet agens circum, et rapidus vorat aequore vortex.

The huge sea, (falling) from its highest point, struck one (ship) on the stern, which was carrying the Lycians and faithful Orontes, before his very eyes: the helmsman is thrown out and bending forward is rolled onto his head, but the ship turns around three times on the same spot, driving it around, and a rapid whirlpool swallows it up in the sea.

• ENCLOSING ORDER of “ingens a vertice pontus” (huge sea) adds drama as waves fall from high

• PLOSIVE ALLITERATION (“pontus” and “puppim” meaning sea and stern) emphasises waves hitting the ship

• EMPH POS of “volvitur” promoted to start of line to emphasise helmsman rolling - violence

• ALLITERATION OF V AND R emphasising whirlpool swallowing ship

Adparent rari nantes in gurgite vasto,

arma virum, tabulaeque, et Troia gaza per undas.

Iam validam Ilionei navem, iam fortis Achati,

et qua vectus Abas, et qua grandaevus Aletes,

vicit hiems; laxis laterum compagibus omnes

accipiunt inimicum imbrem, rimisque fatiscunt.

Here and there, they became visible, swimming in the vast whirlpool (along with) the arms of men and the planks and the Trojan treasure throughout the waves. Now the storm overcame the strong ship of Ilioneus, now the brave Achates, and (the ship) in which Aletes advanced in years (was carried); after the joints of the side had been loosened, all the ships took in the hostile water and fell apart with cracks.

• EMPH POS of “vasto” shows how threatening the whirlpool is

• VICIT: emph pos to show struggle has ended and storm has won, and perfect tense after a string of historic presents.

• ALLITERATION OF “i” (inimicum imbrem meaning hostile water) adds to personification of water as a personal enemy to the Trojans