Scholarship - CUT DOWN

Question 1

Morgan - Virgil’s politics + Aug p/a

Answer 1

deciding whether Virgil is ‘pro’ or ‘anti’ Augustus is too reductive, effective propaganda must align with the audience’s beliefs and exps. For Virgil’s readers, the Roman elite, Augustus was deeply tied to the destructive Civil Wars. A skilled propagandist like Virgil would need to carefully balance the wars’ devastation with the potential for positive change under Augustus, rather than ignoring or whitewashing the past.

Question 2

Quinn - Virgil’s politics + Aug com

Answer 2

augustus commissioned the aeneid to be an epic poem with himself as the hero

Question 3

hardie - Virgil’s politics + Aug pgrf

Answer 3

notes that the book 6 pageant of heroes is compared to the illustrious men gallery in the forum of augustus

Question 4

williams - Virgil’s politics + Aug pat

Answer 4

there can be no doubt that a major intention of the aeneid was to glorify virgil’s own country

Question 5

gransden - aeneas’ character com

Answer 5

aeneas is a complex character, pious but also a great soldier

Question 6

pattie - aeneas’ character rel warrior

Answer 6

aeneas does in warfare what has to be done but is generally deeply unhappy about it

Question 7

O’Ross - aeneas’ character rob

Answer 7

he is a mere emblematic automaton, a wooden puppet lacking in genuine human emotion

Question 8

west - aeneas’ character p

Answer 8

apart form his lapse in book 4 aeneas is pietas’ embodiment

Question 9

sowerby - aeneas’ character end

Answer 9

the end is the fulfilment of anger rather than a pious duty

Question 10

syed - otherness/other nations rom

Answer 10

virgil uses the trojans compared with others eg carthaginians and greeks to enable the roman reader to work out what roman rlly is

Question 11

McLeish - otherness/other nations ca sy

Answer 11

we are not supposed to sympathise with the carthaginians as they are “oriental” and “morally corrupt” and dido makes violent threats.

Question 12

saylor - otherness/other nations la

Answer 12

the latins are described as animals, primal and animalisatic

Question 13

Quint - fate, free will and role of immortals sac aen

Answer 13

venus’ willingness to sacrifice aen if she can save ascanius (council of gods book 10) shows the gods are unsure about the certainty of fate.

Question 14

Williams - fate, free will and role of immortals sh

Answer 14

aen carries into battle the prophetic symbol of what is to come

Question 15

west - gods and divine intervention med

Answer 15

describes the poem as a meditation on how there can be so much anger in the hearts of heavenly gods.

Question 16

Cowan - gods and divine intervention j

Answer 16

it is juno who starts the storm and sets the whole poem in motion

Question 17

camps - gods and divine intervention did

Answer 17

what happens to dido is an accidental result of scheming among the gods

Answer 18

x

Question 19

Oliensis - women, gender and sexuality

Answer 19

gender in the aeneid can follow roman stereotypes - associating the feminine with unruly passion, the masculine with reasoned mastery. women destroy, men restore order

Question 20

Hall - women, gender and sexuality

Answer 20

all of the powerful women in the aeneid die except lavinia - who doesnt speak

Question 21

Hardie - women, gender and sexuality + dido

Answer 21

images of dangerous eastern women remind a roman of cleopatra’s threat to rome’s existence

Question 22

semple - portrayal of war and peace

Answer 22

while war must be portrayed somewhat positively as it led to roman empire and pax augustus, virgil is not a man of war and even “hated war” due to its devastation in his contexxt

Question 23

Pattie - portrayal of war and peace and iliad

Answer 23

treatment of battle scenes in virgil is different to iliad. virgil’s descriptions of violent death are presernted to seem unacceptable

Question 24

Boyle - portrayal of war and peace and aeneas furor

Answer 24

aeneas in furor is “a prime embodiment of the values and behaviour of the heroic world of bloodlust, violence, honour, and the senseless pursuit of fame

Question 25

Williams - aen's furor

Answer 25

it is aeneas who loses in the end

Question 26

griffin - homeric and roman heroism

Answer 26

turnus should be read more as a homeric hero. aen motivated by piety and is the reluctant warrior,,, turnus compared to achilles is more seeking kleos and glory

Question 27

Quinn - homeric and roman heroism nob ideal

Answer 27

there are situations where i think we are meant to feel that heroic is not necessarily the nobler ideal

Question 28

Gransden - aen as new hero type

Answer 28

virgil created a new kind of stoic hero, willing to subordinate his individual will to destiny, and the commonwealth, reluctant to fight and not interested in victory

Question 29

Ramsby - homeric and roman heroism + camilla

Answer 29

inspires people to defend their land - female heroism

Question 30

Trotz-Liboff - moral values herc and cacus

Answer 30

the hercules and cacus story is designed to show there is no clear cut struggle between good and evil, questions who is the rightful owner of Geryon's cattle = links to aen +turnus' dispute over lavinia and aug's claim to rule rome

Question 31

Mackie - moral values pietas

Answer 31

aen's general concern to facilitate fate is the cornerstone of his pietas.

Question 32

Sowerby - relationships

Answer 32

the relationship between father and son is the closest bond in the poem

Question 33

gransden - relationships

Answer 33

the aen is dominated by father son figures, aeneas is called pater as often as pious

Answer 34

x

Question 35

Armstrong - Ascanius

Answer 35

he becomes a catalyst for events without meaning to.

Question 36

Braund - turnus

Answer 36

turnus is either a noble heroic figure, fighting for his country against invaders or he is a savage villain who's death represents ultimate defeat

Question 37

sowerby - turnus

Answer 37

by the end of the poem, we feel sympathy for turnus

Question 38

morgan - turnus

Answer 38

notes he is like a devotus as he understands he is dying for the good of the latin people

Question 39

camps - dido

Answer 39

the decision to kill herself is the product of her own character and will

Question 40

syed - women general but dido and lav

Answer 40

women in particular come to symbolise their nations geographically

Question 41

farron - dido

Answer 41

romans felt guilty about fate of carthage so virgil used this to encourage sympathy for dido (symbol of carthage)

Question 42

jenkyns - camilla

Answer 42

both delicate and savage, both virginal and fierce

Question 43

Pillinger - camilla

Answer 43

camilla's death is described in the same way as turnus' = female character an especially heroic death/

Question 44

saylor - camilla

Answer 44

as a "symbol of lost grace and beauty"

Question 45

Reilly - camilla

Answer 45

like dido embodies certain roman virtues but is doomed ot fail as a woman who steps out of traditional gender roles.

Question 46

parry - fate

Answer 46

aeneas from the start is absorbed in his own destiny; he has no choice = aen must follow jupiter's will, even when it causes suffering. fate = dominant force

Question 47

O'Ross and rebuttal - fate

Answer 47

Aeneas is just a "wooden puppet" of fate, lacking real agency or human emotion. =aeneas as a passive figure whose only role is to follow divine commands, removing any personal stakes from his journey but aeneas does show emotions and struggles

Question 48

williams - aen's piety

Answer 48

aeneas is defined by his suffering for others, making him the ultimate "social man" = williams contrasts aeneas with homeric heroes arguing that his piety comes form his committment to others, not personal glory

Question 49

camps - pietas and justification

Answer 49

aeneas' shield justifies his violence by linking it to rome's future. = aeneas' piety extends to war, as his duty to fate means that he must fight and conquer inorder to secure rome's destiny

Question 50

cowan - juno and gods

Answer 50

juno's storm in book 1 is not just literal but symbolic of uncontrolled furor = links gods to wider themes of chaos v order, showing how divine intervention disrupts human lives

Question 51

hardie - dido and gods

Answer 51

modern readers feel more sympathy for dido because we lack the ancient belief in divine power = this argument contrasts ancient and modern perspectives, showing how belief in the gods influenced how audiences interpreted events

Question 52

quinn - aen negative furor

Answer 52

aeneas' urge to kill is not just heroic but unsettling, especially in book 10 quinn highlights the dark side of heroism, arguing that virgil presents killing as necessary but morally troublying

Question 53

cowan - heroism focus in aen

Answer 53

nisus and euryalus fail because they are too homeric, prioritising glory over duty = by comparing them to homeric warriors, cown suggests that virgil criticises outdated heroic ideals in favour of more roman values

Question 54

braund - heroic ideals

Answer 54

characters who show greed (euryalus, turnus) are punished with death = this reinforces the idea that heroism must be disciplined and restrined, rather than driven by personal ambition

Question 55

williams - heroism compared

Answer 55

turnus is an unreformed homeric hero, while aeneas matures into a roman leader = this contrast emphasises that true heroism in the aeneid is about duty, not personal glory