aeneid modern scholars

George Sanderlin

b2 shift in person, observer - removes from blame

Duckworth

fate - aeneas gradually learns the will of the gods

Smail

aeneas the reluctant hero

Syed

cultures enable roman reader to define being roman, women symbolise their nations geographically

prescott

b2 virgils priority from preventing shame to aeneas - fate at blame

oliensis

Iarbas calls A effeminate to insult - compared to Paris
gender stereotypes - women make trouble, men restore order
virtuous women prove virtue by submitting to masculine plot

reilly

characters serve as threats to traditional roman gender roles and also provide example of ideal roman values - dido, camilla
women who step out of gender roles are doomed to fall

Tarrant

virgil stuck in middle of 2 kinda of poetry - praising and not praising
work reflects great political events of time

Griffin

chaotic period gave place to enlightened supremacy of one man
b12 deliberate contrasting ending

Adam Parry

hypothetical roman reader would not be blinded by Augustus
aeneas absorbed in own destiny - impersonal
aeneas victim of larger forces than himself

Williams

as a leader, A has to be the social man - success through other
not meant to be Achilles

Gransden

b4 is like a tragedy - divine messengers, author as chorus
fate is fixed but not circumstances of it

Ross

Aeneid not about religion - but fate and gods are everywhere and in control
heroes need to be human - imperfect

Hardie

Aeneas forced into mission by circumstance - not ambition

Gildenhard

b9 Nisus Euryalus - E virgin young man - deflowering adds to pathos

Semple

war portrayed somewhat positively - how Roman empire was made

Adler

Aeneas contribution to Rome is making peace in Italy

Oyler

death by sword - Dido masculine heroic suicide

Perkell

Aeneas failed Creusa, has more care for his son and father

Desmond

Dido's change from a good to bad queen - her activities as a lover compromise her status as good king

Feeney

death of turnus is massively prepared for

Buckley

Aeneas kills turnus - verb condere used - means to stab and to found

Stabbing sets motions of foundation of roman race

Cox

Aeneas leaving Troy symbolises departure from Homeric values

Williams

Turnus resembles Dido - an obstacle to the divine which must be overcome

But has feeling of injustice and sympathy

Gale

Distinction between Turnus and Aeneas - distinction between personal glory and impersonal duty, private desires and public pietas

Burke

Turnus is both the noble man of action (Hector) an the selfish lover (Paris)

Rutherford

Everyone is powerless and hopeless under forces of the gods

Jenkyns

Camilla is Virgil's strangest creation - both delicate and savage, virginal and fierce

Williams

It is Aeneas who loses in the end