Pages 17-18 (style notes)

Aquilone (north wind), Notus (south wind), Eurus (east wind)

Naming of the winds is a tricolon to give them personification as if they are people wanting to exact revenge

Stridens (whistling)

Present participle, used for vividity of the passage as the reader is watching it happen. It is also an onomatopoeic word used to create the sound effect of whistling.

Ferit fluctus (struck, raised)

Fricative alliteration creates a sound effect of the winds and the sea

Ad sidera tollit (raised the waves to the stars)

Hyperbole, using exaggeration to create drama and a metaphor to create tension at what will happen to the ships. This is a repeated phrase from the earlier page, acting as a callback or reminder of Aeneas’ actions as he raised his palms to the stars

Franguntur (were broken)

Emphatic placement to highlight what is happening to the ship by drawing attention to it

Franguntur remi (the oars were broken), prora avertit (the prow turned away), dat latus (offered the side)

Tricolon of verbs making the effect of the waves on the ship seem worse by increasing the danger and intensity of the passage and highlighting the number of problems that the ships are facing

Cumulo praeruptus aquae mons (a sheer mountain of water followed in a mass)

Hyperbole and metaphor to exaggerate how solid the water feels hitting against the ship. It uses powerful imagery to emphasise the volume of water

Franguntur (were broken), avertit (turns away), insequitur (follows), vocant (call)

Historic present tense used throughout the passage to increase the vividity of the events

Tres (three)

Repetition highlights the number of the winds, and the choice of three is significant as it is a powerful number

Hi, his (some, others)

Repetition highlights the number of ships and how they are all being affected by the storm in different ways - Juno’s anger is great and the winds are a reflection of this

Dehiscens (yawning)

Hyperbole to suggest that the wave is yawning. Virgil also uses word choice and a metaphor here to personify the wave, as it implies that the wave is bored or tired, further hinting that their work is easy for them despite being so destructive - this is only the start of their brutality and suggests that the end for the Trojans will not come soon, creating tension at their power

Fluctus, fluctu, unda (wave)

Three words used all meaning wave, showing linguistic variation to highlight the danger and number of the waves as they are tripled

Furit aestus (seething sea raged)

Personification to show the anger of the sea, which are unusual emotions for the sea, and makes the water seem like they are purposefully trying to attack Aeneas

Saxa (rocks)

Repetition to create a lexical field of waves, ships and rocks

Miserabile visu (wretched to behold)

The narrator (Virgil) is bringing his own opinions into the passage, and thus pausing in his description to add details of his emotions - this adds power and impact on the reader. It also creates pathos as the readers feel sorry for the Trojans involved since many are doomed to die in the shipwreck

Harenis, harenae (sand)

Repetition highlights that the sand is surrounding the Trojans within the passage

Aggere … harenae (mound of sand)

Enclosing word order to highlight that the sand is surrounding the ships are they are described physically

Inliditque vadis atque (and dashed them onto the shallows and)

Polysyndeton to emphasise the suffering of the Trojans and their ships as they are killed and broken

Atque aggere (and … mound)

Alliteration of ‘a’ to create a sound effect of screams and terror

Inliditque (dashed)

Emphatic placement at the start of the line, suggesting that the ships are being thrown