Scholarship

• “Aeneas must bury the old city of Troy and his memories to be an effective leader for the founding of his new city in Italy.” HARRISON
• Books 6-8: “Roman Middle” BRAUND
• “architecture of the Aeneid” DUCKWORTH (parallel books, etc)
• “[Aeneas’] faults, if they are faults, are not feeling too little, it’s feeling too much” JENKYNS
• Nisus and Euryalus = “too Homeric” COWAN
• “individual stardom often conflicts with the interests of the team” KERSHAW
• Aeneas goes from “Homeric leader” to “proto-Roman” BRAUND
• “painfully ambiguous epic” FARRON
• “the concerns of Roman history through the vehicle of myth” MAC GÓRÁIN
• “making the destiny of Rome part of a cosmic order” HALL
• “The Aeneid is the epic that defines and justifies the role of the Romans in history” HARDIE
• “There are tears at the heart of things” HEANY
• “The Aeneid puts in the glamour and the horror of conquest” O’HIGGINS
• Epic = “all male, al war, all the time” HINDS
• Virgil is not a “pea-shooting pacifist” HARRISON
• “Aeneas in this conflict between love and duty, decides immediately for duty” WILLIAMS
• Aeneas “scrupulously fulfils his duties to the gods, to his family, and to his fatherland” MAC GÓRÁIN
• “He’s not a man who is out there pursuing his own glory” EDWARDS
• “The words which characterize Turnus in the Aeneid are  furor and violentia” CAMPS
• The ending is the triumph of furor and non-reason, not pietas BOYLE
• “frenzy or furor is the most pervasive and destructive force in the Aeneid” COWAN
• Aeneas is “too much of a puppet” JENKYNS
• Aeneas is an ”agent of fate, a self-denying public servant” MARSHALL
• “Aeneas’ general concern to facilitate fate is the cornerstone of his pietas” MACKIE
• “Aeneas is commanded by a higher power but not compelled” CAMPS
• “The Aeneid is a battle of giants against gods” MORGAN
• “[The gods] values and behaviour do not respond to human moral standards” HARRISON
• “friendship was an institution central to Roman cultural life” MEBAN
• ”As a commander in a proto Roman contubernium, he grieves the loss of a quasi-child” MCGILL
• women “have license to perform in the poem for as long as they act like men” MORGAN
• “women are empty vessels into which the gods inject furor” HALL
• “there are no powerful or successful women in the Aeneid” HARDIE
• “dominated by fathers and father figures” GRANSDEN
• Anchises, Aeneas, Ascanius “the past, the present, the future of what will be Rome” BRAGG
• “ideal Virgilian family” GRIFFIN
• “not very helpful to the regime” JENKYNS
• “Augustus, like Aeneas, paints himself as the reluctant leader” MARSHALL
• Virgil “forces his readers to recapture the moral quandaries of the civil war” MORGAN
• “received as a poem which endorses Augustus” EDWARDS
• “purposeful propaganda, aimed at proving that Augustus deserved his place in the world” POWELL