Here are some discussion questions to ponder on IV. 129-278, as promised (post some thoughts with citations on the blog for possible extra points toward a test grade!):
1) Lines 129-142: How does Vergil use visual techniques to build suspense and create a dramatic opening scene?
2) Relate the comparison of Aeneas and Apollo in IV. 143-150 to that of Dido and Diana in I. 494-504. Why might Vergil be deliberately referring back to Dido's simile here?
3) In IV. 173-188, how does Vergil use visual imagery to make his allegorical Rumor especially frightening? Some people believe Vergil was alluding to a painting that his contemporaries would have known. What evidence might support this theory?
4) Compare the conversation between Jove and Mercury in IV. 223-237, to the one between Venus and Jove in I. 229 to 253, and Jove's reply and ensuing action in 257-296. What are the similarities, both verbally and in motivation? Why does Vergil make them so similar? (hint: assume it's not because he's lazy!)
5) Compare the description of Mercury's flight in IV. 245-258 to Rumor's flight in IV. 173-218. What are the narrative and cinematic functions of both scenes? Are they identical, or are they different?
6) Mercury's visit to Aeneas in IV. 259-278 can be seen as both a literal physical event and as symbolic of Aeneas's own conscience. Explain how both of these views can be true.
7) This is the 4th "otherworldly" messenger that has helped Aeneas on his journey. Name the other 3 messengers. Compare the messages of all 4 - what are the similarities and differences? Why do you think Vergil uses these "dei ex machina" rather than having Aeneas figure things out for himself?
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1. Although a lot of action is happening, like the youngmen coming from the gates (130) and the hoofed-one (134) "frena ferox spumantia mandit" (135) (fierce, chew(ing) reins frothing.), no major action takes place in these lines. Just as the people are preparing to go hunting with their scattered nets, snares, hunting spears with broad-iron (131), so too is Vergil preparing the reader. He takes a lot of time to descrive the scene and the characters, dragging out the moment and increasing the suspense for the hunt.
ReplyDelete3. Vergil beings the monstrous description of Rumor as a metaphorical "evil" (174) that "virisque adquirit eundo" (175) (aquires strength by going). Although Rumor starts out as a petty comment, she only grows bigger and bigger, as the hyperbole "steps on the earth and hides her head among the clouds" (176) shows. This also begins the personification of Rumor. Here Vergil depicts Rumor as a human manifestation of people's gossip. The lengthy description of her "vigiles oculis" (181), "tot linguae" (182), "totidem ora" (182), and "tot...auris" (182) (watchful eyes, so many tongues, the same number of mouths, and so many ears) combine to create a horrific subhuman creature. The eyes and ears once meant for good (to simply see and hear) are warped into dangerous weapon, "marvelous to say" (181). It is both the metaphorical and physical descriptions of Rumor that explain why she is able to "magnas territat urbes" (187) (terrorize(s) great cities).
ReplyDeleteGood job, Anna! These are great!
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