c3109550 AHIS3310 Tutorial Paper Aeneid 6

At the same time as Book 6 is set apart from the rest of the Aeneid, it is also obvious that it is of immense significance for the interpretation of the poem it is, in a sense, an authorial aside, an indirect comment on the significance of the Aeneid as a wholeit sets the actions of Aeneas in a temporal context which looks ahead to the entire history of the Roman state; it alludes specifically to significant events of Virgil's own day.

(Zetzel, 1989) In agreement with this insight from Zetzel, this paper will be a consideration of some of the significant elements within book six of the Aeneid within its story of Aeneas journey to the Underworld. This will reveal that these components of this Book of the Epic were included by Virgil for a specific purpose. Many of the dynamics incorporated into the Aeneid are demonstrated in book six, revealing it to be a significant constituent to examine, both for its importance to plot and for revealing much about the texts wider context as an Alexandrian Epic, and the implications this has for influencing Vergils choices on aspects of the epics content, themes and characterisation.

A significant element of book six that holds weight to the books function within the epic and as part of Virgils context is the brief but symbolic search of Aeneas for the Golden Bough, lines 185 204. This is essentially is a poignant example of Vergils employment of textual techniques to achieve not only a literary objective, but also to connect the content of his epic to his wider context, socially and politically. He grasped it clung: he keenly wrenched it off. This fact that the preceding quest to find this Bough was just as easy as

c3109550 AHIS3310 Tutorial Paper Aeneid 6

this retrieval, despite this feeble resistance is what Segal calls Virgils choice to surprise his audience.
All at once it manifests a disturbing and mysterious life of its own which momentarily at least resists the impetuous desire of the hero and checks our expectation of his totally smooth, divinely prepared success.

(Segal, 1968) The function of the Boughs hesitated submission to Aeneas is potentially a communication of Virgils opinion on his own submission to Augustan Rome.

Another literary demonstration in book six of Virgils skill to simultaneously use the content of his epic to hold literary and contextual symbolic weight is the scene of the encounter between the hero and Dido, as well as the interaction he has with his dead Trojan companion Deiphobus: These encounters of Aeneas with Dido and the son of Priam are necessary elements to constructing the purpose of the Underworld scene. The tragic encounter with Dido functions to provide closure to an important previous element of the epic, an important part of Aeneas journey to become a hero. His choice of duty over love would not be authentic if it did not plague him until he were to find a solution to it, and so this interaction was essential to the completion of his heroic cycle and slow dehumanisation. Discovering that his abandonment had led to such suffering and the intensification of Junos wrath was something that was set up to affect Aeneas greatly by reaffirming to him that he, as an epic hero, remains destined to be simultaneously more and less than human. And so, when Dido does not respond to his pleas His long gaze and

c3109550 AHIS3310 Tutorial Paper Aeneid 6

pitying tears pursue her however, On the appointed path he struggle[s] forward. (Vergil, 2008) His informative contact with his comrades appeals to the audiences existing knowledge of the battle of Troy, although only to manipulate it in order to affirm his heroism at Troy which may have previously been doubted by the fact that he technically fled the battle, despite it being at the will of the gods. Deiphobus explicitly confirms this when he opens with you neglected nothing, (line 509) and finishes with Go on, Troys glory. (Vergil, 2008), 546) Hence Virgil has reworked Homers story of Troy references in order to verify Aeneas and this references Virgils context in writing the Aeneid as a text composed in a time where Homer is already a standard and model for epic, he is obligated to reference Homer and he does this, the Dido episode is modelled on
Odysseus' meeting with Ajax and the horrifying tale of Deiphobus on Agamemnon's similar report about the treachery of his wife, (Solmsen, 1972)

combining his references to Homers epics with elements of his own context. Thus this particular scene of book six is an example of Virgils manipulation of the material of his context, and this is what gives the Aeneid the unique status of a more scholarly dynamic epic than its predecessors.

One of most important extracts from Book Six to be considered in structuring an analytical understanding is the scene devoted to the prophetic speech of Anchises to Aeneas, lines 684 892. This is the centre point and objective of Aeneas journey. The importance of these detailed instructions and revelations lies in the fact that they are the only expected part of the books narrative; this scene is Virgil

c3109550 AHIS3310 Tutorial Paper Aeneid 6

using epic poetrys tendency to reveal a fate for its hero in advance, to his own ends. This interaction between Anchises and Aeneas is imperative to Aeneas in determining his fate. Molyviati-Toptsis notices that Aeneas father is habitually ambiguous and obscure when narrating the events of their descendants,(Molyviati-Toptsis, 1995) and this Virgil manipulates, overtly tampering with a wealth of information and events: The conquest of Greece, the rule of Julius Caesar and the events of the Civil War. This is he does to the end of constructing a specific interpretation on these events from his own perspective; it is essentially a comment on the deliberately misleading purpose of Anchises' prophecy one the texts agendas.
Vergil lets his reader know that the speech was inverted to encourage Aeneas to fulfil his mission. And, indeed, it brings the desired effect: Aeneas, rejoicing at the appearance of the "things" but lacking real knowledge, is motivated to continue his journey to Italy.

(Molyviati-Toptsis, 1995) The scene may be in this way satisfying to Vergils audience as a typically included element of epic narrative, but it also serves appeals to certain aspects of Roman ideology and aspects of Virgils context.

What the fact that there is so much revealing material within just three scenes of one book of Virgils epic truly exposes is the complexity of the Aeneid as a scholarly text. Virgils ability to exploit a popular textual form in order to comment on such a wide range of philosophic, political and social issues is thoroughly shown in the techniques he employs when constructing crucial events and

c3109550 AHIS3310 Tutorial Paper Aeneid 6

significant exchanges for the hero, as seen in the scene of the Golden Bough and Aeneas interaction with Dido, his dead comrades and his father and the way these are integrally shaping components of book six, which serves as a thematically intrinsic part of the epic as a whole, despite the fact that, superficially, its subject matter has little connection to the plot of the Aeneid, and nothing that is said or done has any direct influence on the second half of the poem. (Zetzel, 1989) It may not have a direct effect, but, as we have seen the implications behind the events of book six are incredibly significant to the rest of the action in the epic. Externally, Virgils extended manipulation and juxtaposition of epic themes, material and characters with elements of his personal political and social environment is what makes the Aeneid unique in the way it is simultaneously a multi-lateral narrative and commentary. It is undeniably a book of intense academic expertise, which can be endlessly discussed for its abundant examples of proficiency in literary commentary and complex textual composition.

c3109550 AHIS3310 Tutorial Paper Aeneid 6

Reference List

Molyviati-Toptsis, Urania (1995). Sed Falsa ad Caelum Mittunt Insomnia Manes (Aeneid 6.896). The American Journal of Philology, 116(4), 639-652. Segal, Charles (1968). The Hesitation of the Golden Bough: A Reexamination.

Hermes, 96(1), 74-79.

Solmsen, Friedrich (1972). The World of the Dead in Book 6 of the Aeneid.

Classical Philology 67(1), 31-41.

Vergil (2008). The Aeneid (Sarah Ruden, Trans.). New Haven, London: Yale University Press. Zetzel, James E.G. (1989). Romane Memento: Justice and Judgment in Aeneid 6.

Transactions of the American Philological Association 119, 263-284.