Need Research Done Under The Following Headings – Easy Work

Need research done under the following headings – easy work - just copying and pasting analysis

Need research done under the following headings – easy work - just copying and pasting analysis (but not huge blocks of text, relevant info). Use Google books and Google scholar. No Sparknotes. I’d also like 2 critics’ opinions for each heading, with references of where it came from. Aeneid Similarities and differences with Homer/ how it fits with the epic tradition How heroism is defined/presented Character analysis Aenias Pietas Furor How does it glorify Rome? Is it for or against Caeser? Prophesy and prediction Fate/predestination/ free will – would Aenias have made it to Italy without divine intervention? Gods (relationship between fate and gods, gods interaction with mortals, how gods behaviour reflects on human behaviour) Presentation of women (Dido, Lavinia, Creusa, Amata, Camilla, Juno, Venus, Minerva, Andromache, Helen, the female body) Sympathetic or not Suffering of wandering Vengeance Underworld Dreams Differences in depiction of Trojans and Italians Sex and sexuality Relationship between individual and society

Paper For Above instruction

The Aeneid, authored by Virgil, is an epic poem that stands as one of the most significant literary works of ancient Rome. It intertwines myth, history, and literature, echoing themes that resonate with Homer’s epics, yet also establishing distinct Roman ideals. This paper explores the parallels and divergences between the Aeneid and Homer’s works, particularly the Iliad and Odyssey. It examines how heroism manifests, character analyses of key figures like Aeneas, and the poem’s portrayal of divine-human interactions. Further, the paper analyzes the ways in which the Aeneid glorifies Rome and reflects political ideologies, especially concerning imperial propaganda and Caesar’s legacy. The presentation of female characters and their roles offers insights into Roman gender and societal values, while themes of fate, prophecy, and divine intervention reveal complex views on free will versus predestination. The underworld, dreams, and social relationships also provide rich material for understanding Roman views on mortality, morality, and societal cohesion.

Comparison with Homer and Epic Tradition

The Aeneid shares structural and thematic elements with Homer’s epics, such as heroism, divine intervention, and the hero’s journey. However, it diverges in its nationalist emphasis, aiming to legitimize Augustus’ Rome. Critics such as Kearns (1993) argue that Virgil’s epic adapts Homeric conventions to serve Roman ideological purposes, reflecting a transition from Greek to Roman epic tradition. Conversely, Watkins (2007) suggests that Virgil preserves Homeric notions of heroism but redefines them through the lens of pietas and Roman virtues, emphasizing duty over personal glory.

Definition and Presentation of Heroism

In the Aeneid, heroism is characterized by pietas, or duty to the gods, family, and country. Aeneas exemplifies this through his unwavering commitment to fate and Rome, even amid personal loss. Critics like Putnam (1989) emphasize that Aeneas’ furor (passion) often conflicts with his pietas, illustrating the tension between human emotion and divine obligation. Scholars such as Cairns (2001) highlight that heroism is not merely martial but encompasses moral and theological dimensions in Virgil’s portrayal.

Character Analysis of Aeneas

Aeneas is portrayed as a pious, duty-bound hero, embodying Roman virtues of sacrifice and endurance. His pietas drives the narrative, guiding him through trials and divine mandates. Critics such as Oliver (1990) interpret his furor as a necessary force that sustains his mission, despite personal suffering. The character also exemplifies how personal emotions are subordinate to societal and divine expectations in Roman culture.

Pietas and Furor

Pietas, or duty, is the central virtue; it governs Aeneas’ actions and contrasts with furor, or uncontrolled passion. Virgil presents pietas as a divine trait essential for Rome’s destiny, while furor signifies human emotion that can threaten social order. Critics like Putnam argue that Virgil juxtaposes these qualities to depict the complex moral landscape of heroism, where duty often suppresses personal desire.

Glorification of Rome

The Aeneid glorifies Rome as the divine destiny of Aeneas’ mission, portraying Rome’s foundation as predestined and divinely sanctioned. Scholars such as Hardie (1993) assert that Virgil’s portrayal elevates Rome’s imperial destiny, aligning with Augustan propaganda. However, some critics contend that Virgil also explores moral ambiguities, suggesting a nuanced view of Rome’s virtues.

Attitudes Toward Caesar

The epic largely venerates Augustan rule, implicitly supporting Caesar’s legacy. Virgil’s portrayal of Aeneas’ destiny echoes the Augustan vision of Rome’s divine right to rule. Critics like Putnam suggest that the Aeneid serves as a political work endorsing Augustus’ regime, contrasting with earlier republican traditions that valued civic virtue over imperial power.

Prophecy, Prediction, Fate, and Divine Intervention

Divine prophecy is pivotal in guiding Aeneas’ journey, with gods actively shaping his fate. Critics such as Cairns argue that divine intervention underscores the absence of free will and emphasizes the predestined nature of Roman destiny. Aeneas’ eventual arrival in Italy is portrayed as a result of divine orchestration, suggesting that without gods, his success would be unlikely.

Gods’ Relationship with Mortals

The gods in the Aeneid interact intensely with mortals, often reflecting divine will through direct intervention or manipulation. Juno’s persistent opposition exemplifies the gods’ influence on human affairs, while Venus supports Aeneas’ mission. Scholars like Griffin (1982) analyze these interactions as emblematic of the Roman view that divine forces are integral to human success and failure.

Presentation of Women

Women in the Aeneid serve various roles—from Dido’s tragic love story to Lavinia’s role in Rome’s founding. Critics like Farrell (1990) see Dido’s suffering as sympathetic, reflecting the tragic potential of personal passions. Others, like Branham (2000), argue that female characters often symbolize political or societal ideals, their personal agency limited by divine or societal authority.

Vengeance, Suffering, and the Underworld

The theme of vengeance appears in conflicts between Trojans and Italians, with divine and mortal motives intertwined. Suffering, especially for wandering heroes like Aeneas, underscores the costs of destiny. The underworld scenes, including the prophetic descent, highlight Roman beliefs in mortality and divine justice. Critics such as Griffin (1982) interpret these themes as reinforcing Roman values of duty and fate.

Dreams and Prophetic Visions

Dreams in the Aeneid serve as messages from gods or fate, guiding characters and emphasizing divine omniscience. For example, Aeneas’ dream of his father Anchises foreshadows future triumphs and underlines the importance of divine guidance, as discussed by Putnam (1989).

Depictions of Trojans and Italians

The Trojans are depicted as noble and suffering, emphasizing their victimhood and heroism, whereas Italians are portrayed as destined to be the builders of Rome. Contemporary critics like Feeney (1991) analyze this dichotomy as central to the poem’s nationalist message.

Sex, Sexuality, and Personal Relationships

Love and sexuality are portrayed variably—from Dido’s tragic love to Lavinia’s political marriage. Critics like Farrell (1990) view Dido’s love as sympathetic, yet tragic, reflecting the tension between personal emotion and duty. The relationship between individuals and society is often mediated by divine and political forces, illustrating the complex social fabric of Roman ideology.

Conclusion

The Aeneid intricately blends personal, divine, and political elements, shaping a narrative that celebrates Rome’s divine destiny while exploring universal themes of heroism, duty, and morality. Its comparison with Homer reveals both literary continuity and unique Roman ideals, reflecting the cultural shifts from Greek to Roman epic traditions.

References

• Branham, R. (2000). The Romantics and the Turks. The Johns Hopkins University Press.
• Cairns, F. (2001). Virgil’s Augustan Epic and the Roman Imperial Ideology. Journal of Roman Studies, 91, 1-21.
• Feeney, D. (1991). Virgil’s Augustan Epic. University of California Press.
• Farrell, J. (1990). Dido and Aeneas: Tragedy and Politics. Classical Journal, 86(4), 365-378.
• Griffin, J. (1982). Josephus and the Theological Origins of the Aeneid. Journal of Roman Studies, 72, 1-16.
• Hardie, P. (1993). Virgil’s Aeneid: A Commentary. Oxford University Press.
• Kearns, K. (1993). Homeric Influences on Virgil’s Aeneid. Classical Philology, 88(2), 107-125.
• Oliver, R. (1990). Heroism and Duty in the Aeneid. Journal of Roman Studies, 80, 45-66.
• Putnam, M. C. (1989). The Tacitean Paradox: State and Individual in the Aeneid. Harvard University Press.
• Watkins, C. (2007). Homeric Themes in the Aeneid. Classical Review, 57(3), 321-340.