Vergil Aeneid Book VIII, ll.608-629, 671-731. The Shield of Aeneas 1 Venus gives her son, Aeneas

15 Pages·2012·0.33 MB·English

Vergil Aeneid Book VIII, ll.608-629, 671-731. The Shield of Aeneas

Venus gives her son, Aeneas, armour made by her husband, Aeneas is a Trojan Prince and Warrior, destined by the gods to sail to Italy and found a
the god Vulcan. The shield has been decorated with scenes settlement which will in turn lead to the foundation of Rome by his descendants.
showing the “future” of Rome.
at Venus aetherios inter dea candida nimbos But Venus, bright goddess among the airy clouds,
dona ferens aderat; natumque in valle reducta Bearing gifts, appeared; and her son in a secluded valley
ut procul egelido secretum flumine vidit, As, far away, cut off by a chill river, she saw (him),
talibus adfata est dictis seque obtulit ultro: Addressed him with such words, and presented herself, unprompted:
Venus’ brightness contrasts with the airy clouds – she is very Venus = Goddess of love, daughter of Jupiter, mother of Aeneas (by the mortal Anchises)
bright – but her brightness is hidden by those same clouds. Turnus = Prince of the Rutulians, enemies to the arriving Trojans; Turnus is Aeneas’
Compare sunbeams through, and “silver lining” on, clouds opposite number.
masking the sun.
Also: The word-order literally places her between the clouds.

Her arrival is long – Aeneas, her son, does not see her, or
certainly does not greet her, until she speaks (“ultro” suggests a
surprise opening). This perhaps renders her more mysterious.

in valle reducta - A secluded and so solemn place for a divine
encounter and this fateful first view of Rome’s future; the exact
same phrase and kind of location is where Aeneas sees the souls
of Rome’s future heroes in the underworld, Bk.6.703. (see Bk.6
quotation below)
“En perfecta mei promissā coniugis artē “Behold, completed by the promised skill of my husband,
munera, ne mox aut Laurentes, nate, superbos The gifts, lest soon either the proud Laurentines, by son,
aut acrem dubites in proelia poscere Turnum:” Or violent Turnus you may hesitate to summon to battle.”
Dixit et amplexus nati Cytherea petivit, Cytherea spoke, and the embraces of her son she sought,
arma sub adversā posuit radiantia quercū. And placed the gleaming armour under an oak opposite.
Note that it is Vulcan’s “skill” which is “promised” (not the arms). The purpose of the weapons is set out. The entire epic poem of The Aeneid ends with the
The important point is not that she has brought weapons, or even death of Turnus. The final two lines are: “+ and thereupon his limbs collapsed in cold,
immortal weapons, but that they have been made by the skill of and his life, with a groan, fled in outrage to the shades below.”
Vulcan, as she promised.

Note the interlaced arrangement arma ) adversā ) radiantia In 27BC (four years after the Battle of Actium and the effective start of his imperial reign)
quercū. This is known as “chiasmus”, from the “x” shaped “chi” of Octavian was given the title “Augustus” and, in addition to massive powers, was awarded
the Greek alphabet. It neatly intertwines the arms with the oak, an oak wreath (crown) for saving the lives of his fellow-citizens. It is entirely possible that
and makes their relationship more significant. (See right). this reference to oak is intended to remind readers/listeners of that event and of Augustus.
1
Vergil Aeneid Book VIII, ll.608-629, 671-731. The Shield of Aeneas

Ille, deae donis et tanto laetus honore, He, rejoicing in the gifts of the goddess and so great an honour,
expleri nequit atque oculos per singula volvit Could not be satisfied and turned his eyes over each weapon in turn
miraturque interque manus et bracchia versat And wondered, and wielded in his hands and arms
terribilem cristis galeam flammasque vomentem The helmet, terrifying with its crest-feathers, and spouting flames
fatiferumque ensem, loricam ex aere rigentem The death-bringing sword, the breastplate stiff from its bronze,
sanguineam ingentem, qualis cum caerula nubes Blood-red, huge, as when a deep-blue cloud
solis inardescit radiis longeque refulget; Glows in the beams of the sun and shines from far off;
tum leves ocreas electro auroque recocto Then his light greaves, reforged in amber and gold,
hastamque et clipei non enarrabile textum. And his spear and the weft of his shield, not capable of description.
2. Pick out words to do with brightness and shining in this 1. In lines 10-12 (ille deae + bracchia versat), how does Aeneas react to the gift of the
passage, and discuss how they are used. armour?

Before the simile: flammas, aere He rejoices (laetus) in two things closely related things – the gifts from his mother and the
Within the simile: caerula, solis inardescit radiis + refulget; honore then confer upon him. He then tries to take each (singular) item in with his eyes,
electro auroque; but he cannot satisfy himself (expleri nequit) however much he looks at them.
Nevertheless he continues to admire them and to test them out by turning over in his
The phrase flammasque vomentem is echoed a little later when hands and on his arms, as any good warrior would.
we are told of the “aura” around Augustus’ temples: “tempora
flammas + vomunt.” As with the oaken wreath for Augustus (see above), he was given a golden shield at the
same time. This would have been at least as much in the minds of the Vergil’s audience
Fatifer means death- (rather than merely fate-) bringing – so it is as the shield of Achilles in the Iliad. (See below.)
a rather grim – though accurate – descriptor for the sword. The
second half of the poem (books 7-12, particularly 9-12) is It is ironic (or modest?) that Vergil calls the shield “non enarribile”, than proceeds to spend
dominated by war and, consequently, includes a number of about 100 lines “narrating” it!
deaths. This passage has a tension between bright words (see
above), upbeat words (laetus, miratur) and grim words (terribilem, In Homer’s great (Greek) epic poem, The Iliad (written down around 8th century BC and
fatiferum, sanguineam) about the Trojan War – largely mythical events of c. 13th century BC) the Greek hero,
Achilles, is brought a suit of armour by his mother, Thetis. She has obtained it from
The breastplate is not huge on Aeneas – the hero himself is huge Hephaestus (the Greek equivalent of Vulcan – god of fire/volcanoes/blacksmithery). The
to fit it. All “heroes”, i.e. children of gods in ancient myth, were shield is described at length while it is being crafted (at the end of Illiad Book 18). Unlike
taken to be larger and stronger than present day humans. Aeneas’, Achilles’ shield highlights in its depictions the contrasts between life in
prosperous peacetime and life in wartime. The poet W H Auden wrote a powerful poem,
“The Shield of Achilles”, inspired by Homer’s depiction.
2
Vergil Aeneid Book VIII, ll.608-629, 671-731. The Shield of Aeneas

Illic res Italas Romanorumque triumphos There the Italian affairs and the triumphs of the Romans,
haud vatum ignarus venturique inscius aevi Not ignorant of soothsayers and unaware of the future age,
fecerat ignipotens, illic genus omne futurae Had crafted the Fire-god, there the entire race of the future
stirpis ab Ascanio pugnataque in ordine bella. Descent from Ascanius, and the wars fought in order.
E
3. What makes the shield of particular interest to Aeneas? Ascanius/Iulus = Aeneas’ son. Through one account, Romulus was considered to be
descended from Ascanius (and so Aeneas) on his mother’s side.
The shield is of particular interest to Aeneas (though he doesn’t
know it) because it sets out the future greatness of Rome. The shield depicts the earliest history from before the foundation of Rome through to the
Accordingly, Rome’s destiny is seen as Aeneas’ destiny. He must triumph of Augustus in recent years at its centre. The whole of Roman history is seen as
do what is necessary to lead to the foundation of Rome. This is culminating, by destiny, in the new “Augustan” age. Vulcan is seen as wise and capable of
both a source of pride and a heavy burden. (Fortunately, he is not remarkable foresight (though at other times he is depicted as a more laughable figure).
particularly aware of these details.) The shield also links by way Some might say that Vulcan is not unlike Vergil himself E
of the shield, the current Augustan age with ancient, mythic fate.

“Haud ignarus” (of Vulcan) contrasts with “ignarus” (Aeneas)
towards the end of this passage.

3
Vergil Aeneid Book VIII, ll.608-629, 671-731. The Shield of Aeneas

[630-670] The early history of Rome is depicted [not part of
the set text], followed by events which occurred in the Poet’s
(and his Emperor’s) own lifetime.
The Battle of Actium is shown in the middle of the shield. Actium = A Roman colony near the large Bay of Ambracia (now of Arta) on the west coast
of Greece – just north of modern Leukas island. It was the site of the final, naval, battle
between Antony (aided by Cleopatra) and Augustus, then called Octavian, assisted by his
general Agrippa.

Mark Antony held power in the East, including an alliance with Cleopatra of Egypt.
Octavian held power in the West. The power-sharing agreement had broken down by 31
BC, leading to military confrontation on the west coast of Greece. Octavian’s victory at
Actium rendered him the most powerful figure in Rome and marked the end of the
Republic and the beginning of the Empire.
The overarching design of the shield is described first,(
Haec inter tumidi late maris ibat imago Between these scenes flowed broadly the image of the swollen sea,
aurea, sed fluctu spumabant caerula cano; Made of gold, but the blue waters were foaming with white surf;
et circum argento clari delphines in orbem And around it in silver bright dolphins in a circle
aequora verrebant caudis aestumque secabant. Swept the sea with their tails and cut the surge.
Here (imago aurea) and below Virgil repeatedly reminds us that Haec inter – i.e. the eight scenes so far described (but excised from the set text in this
the artwork on the shield, like the shield itself, is made of metal. exam)

aequora verrebant caudis aestumque secabant – notice how, by
his choice of verbs, Vergil suggests motion and activity in the
engraved shield, as if the scenes are brought truly to life. This
might also be said of “fervere” below, and possibly “effulgere”
(though gold shines anyway). See also “agens” further below.
( followed by the the lining-up of the battleships.
In medio classes aeratas, Actia bella, In the middle the bronze fleets, the Actian wars,
cernere erat, totumque instructo Marte videres It was possible to see, and you might see, in full battle order, the whole of
fervere Leucaten auroque effulgere fluctus. Leucate seethe and the billows shine in gold.
4
Vergil Aeneid Book VIII, ll.608-629, 671-731. The Shield of Aeneas

classes aerates: Note the natural run from gold to silver to bronze Earlier in the poem, Vergil has had Aeneas visit Actium, holding games there and
in the metals highlighted by Vergil. The editors suggest the dedicating a shield in the temple of Apollo. (Book 3, ll.278-288)
bronze is not of the shield but of the “beaks” on the ships in real
life. AK disagrees. The run suggests this is part of a structured Leucate = Then, a promontory sticking out into the Ionian Sea, running southwest from
theme, but more than that, bronze would contrast nicely on the Actium. Now, technically an island, called Levkas. It is equated by Vergil with Actium.
gold and silver shield, to depicted the darker wooden ships. Both sites had a temple to Apollo and Leucate had a temple to Venus which, according to
legend, was founded by Aeneas. Vergil is making as many connections between Aeneas
and the victor at Actium, Octavian/Augustus, as he can.
Augustus is described.
Hinc Augustus agens Italos in proelia Caesar On one side Augustus Caesar leading the Italians into battle
cum patribus populoque, penatibus et magnis dis, With the Senate and the People, with the Household and Great Gods,
stans celsa in puppi; geminas cui tempora flammas Standing on the high stern; and upon him his joyful temples twin flames
laeta vomunt patriumque aperitur vertice sidus. Send forth and the star of his father appears upon his head.
Parte alia ventis et dis Agrippa secundis In another part with winds and gods in favour Agrippa
arduus agmen agens; cui, belli insigne superbum, Leading the column at its head; upon whom, his proud badge of war,
tempora navali fulgent rostrata corona. His temples shine with a Naval Crown of ship-prows.
Note the unifying language – Augustus does not lead just the Augustus Caesar = formerly Octavian, great-nephew and heir to Julius Caesar.
Romans but the Italians - Italos. Moreover, he has the support of The Household Gods are a running theme through the poem – Aeneas has brought these
both the Senators and ordinary people – cum patribus populoque. gods with him (i.e. statuettes from Troy) and will set them in his new city to become the
This contrasts with Julius Caesar, assassinated by the Senate. household gods of, eventually, Rome. Thus the Trojan/Roman household gods support
Augustus.
The 2nd line is full of alliteration: patribus populoque, penatibus E
and ends with longer, heavier, slower than usual syllables: E et The Great Gods are either (a) the Greco-Roman gods, Jupiter, Juno et al., or (b) Castor
mag-nis dis (“da da da da”) – all of which adds emphasis to that and Pollux – major figures in the early mythology of Rome, whose temple as next to that
phrase. Compare above and below “proel-i-a Cae-sar” and “temp- of Vesta.
or-a flam-mas” – both the much more usual “dum di di da da”.
Marcus Vipsanius Agrippa = Octavian’s general, commanding the other flank of ships.
It is not clear whether the “twin flames” are part of a helmet,
possibly decorated with his father star or, more poetically, a Agrippa is supported not only by the gods but by the winds, as befits a naval commander
supernatural halo or aura indicating divine favour and great and victor. His own head appears to be carrying gear representing the prow beaks of his
destiny. Such apparitions occur elsewhere in the poem for his son ships. His description is a nice counterpoint to Augustus’, though it is a little shorter. The
Ascanius and for Romulus. The “supernatural” interpretation may crown in question was awarded him in 36BC (5 years earlier) for his defeat of Sextus
seem attractive, until one reads the description of Agrippa, when Pompeius (a son of Pompey, and enemy of Octavian).
one realises it may be all about headgear.

“belli insigne superbum” is a phrase “in apposition” to the main
sentence and describing its subject matter.
5
Vergil Aeneid Book VIII, ll.608-629, 671-731. The Shield of Aeneas

4. How does Vergil suggest movement in this scene from the
shield?
• Verbs of motion/travelling: ibat, agens
• Verbs of activity/excitement: spumabant, verrebant,
secabant, fervere, vomunt
• Verbs in imperfect and present, including participle:
Ebant, fulgent, agens, stans
• Use of “videres”, i.e. you would see this happening.
Antony & Cleopatra are depicted
Hinc ope barbarica variisque Antonius armis, On the other side with exotic wealth and varied weaponry Antony,
victor ab Aurorae populis et litore rubro, Victor from the peoples of the East and the red shore,
Aegyptum viresque Orientis et ultima secum Egypt and the strength of the Orient and far distant Bactra
Bactra vehit, sequiturque (nefas) Aegyptia coniunx. He brings with him, and there follows him (shame!) his Egyptian wife.
5. How do the forces of Augustus contrast with those of Anthony? Antony = Mark Antony, formerly ally of Julius Caesar and then Augustus; estranged
following relationship with Cleopatra and support for her territorial interests, by giving to
Note (a) the foreignness (not Italianness) and (b) the internal her (and to their common children) what was formerly Roman territory, in an effort to
variety (not uniformity) of Antony’s forces. Ope barbarica: a restore the Egyptian kingdom. Note: Vergil (like other poets of the time) never names
foreign force – the adjective is about exotic, not moral, qualities. Cleopatra. Bactra = city in central Asia.

Furthermore, the foreigners are internally distinct – variis. In Vergil’s poem (Book 4), Aeneas had his own dalliance with an exotic African Queen –
Vergil emphasis the variety and the eastern foreignness with a Dido of Carthage. However, he eventually followed his duty, and deserted her to find Italy
range of geographic words – Aurorae, litore rubro, Aegyptum, and found Lavinium, his city. Anthony contrasts poorly with Aeneas in Roman eyes.
Orientis, Bactra. This also suggests their varied provenances.
Una omnes ruere, ac totum spumare reductis All rushed together, and the entire sea foamed torn up
convolsum remis rostrisque tridentibus aequor. By pulled-back oars and triple-pronged prows.
alta petunt: pelago credas innare revolsas The make for the deep water: you would think that floating on the sea, uprooted,
Cycladas aut montes concurrere montibus altos, Were the Cyclades or that the high mountains were colliding with mountains,
tanta mole viri turritis puppibus instant. In so great a mass do men stand on their turreted sterns.
stuppea flamma manu telisque volatile ferrum Towy flame by hand and flying iron in missiles
spargitur, arva nova Neptunia caede rubescunt. Are scattered, the fields of Neptune with fresh slaughter run red.
Regina in mediis patrio vocat agmina sistro The Queen in the midst summons her battle lines with her native rattle
necdum etiam geminos a tergo respicit angues. And not yet even now does she cast her mind behind her to the twin snakes.
6
Vergil Aeneid Book VIII, ll.608-629, 671-731. The Shield of Aeneas

Ruere and spumare are to be taken as full verbs (ruebant E The view widens to an overview or “panorama” – the whole is seen rather than the detail.
spumabant) – known as “historic infinitives”.
You would think E: Epic poetry often has these extended descriptions, usually as similes.
Note the vivid credas – you would think E followed by accusative Here, however, it is an address to the reader (an “apostrophe”), telling them what they
and infinitive construction. Credas is almost a “result” subjunctive, would see or think if they were there – cf. “videres” earlier on in this passage. It is
governed by tanta mole – in so great a mass did E that you E understood that Anthony ships in particular had towers on their decks (turritis puppibus).

nova is ablative, with caede – the slaughter is fresh, i.e. it has just The rattle is a noise-making device, but foreign and therefore strange to Roman eyes –
started or, more simply, is flowing freshly now – i.e. the image is a who would have used trumpets to communicate with troops.
vivid, current one. This interwoven structure is called “chiasmic”.
Two snakes were a symbol of death, also of Egyptian royalty, and Cleopatra was believed
It is not clear whether the snakes are depicted on the shield or yet to have poisoned herself with two snakes (asps) rather than be captured. See also
to come in her life. Shakespeare’s play Antony & Cleopatra.
omnigenumque deum monstra et latrator Anubis Monstrous forms of all kinds of gods and barking Anubis
contra Neptunum et Venerem contraque Minervam Against Neptune and Venus and against Minerva
tela tenent. Saevit medio in certamine Mavors Hold their weapons. There rages in the midst of the conflict Mars
caelatus ferro tristesque ex aethere Dirae, Embossed in iron and the grim Furies from the upper air,
et scissa gaudens vadit Discordia palla, And in torn robe rejoicing walks Discord,
quam cum sanguineo sequitur Bellona flagello. Whom Bellona follows with a blood-soaked whip.
6. What part do the gods play in the battle? Anubis = Egyptian god with head of jackal.
Neptune = the sea/earthquakes; Minerva = wisdom & warfare; Mars = war.
Take as “omnigenorum deorum” i.e. genitive plural. Furies* = vengeful harbingers of dreadful death; Discord* = basis of war; Bellona* = war.

Vergil emphatically contrasts strange/animal Egyption gods The gods not only support their favourites, but personally enter the fray on their behalf.
(monstra, latrator) with Roman ones. Virgil’s use of *personified gods allows him to “pack out” the scene with divine figures.

tristis not only means “sad” but inspiring sadness – so, “grim”. We are reminded of the shield’s metalwork – and Mars is in iron – grey/black – and
therefore deadly. In Book 6 of this poem, Discord and the Furies appear in the entrance
scissa + palla – both ablative singular (feminine). As it happens, way of the Underworld, which Aeneas visits.
the entire line (except –cordia) has long (“heavy”, “slow”) syllables
which underline the seriousness of Discord’s presence/role.

7
Vergil Aeneid Book VIII, ll.608-629, 671-731. The Shield of Aeneas

Actius haec cernens arcum tendebat Apollo Seeing these things, Actian Apollo strains his bow
desuper: omnis eo terrore Aegyptus et Indi, From above: at that terror every Egyptian, and the Indians,
omnis Arabs, omnes vertebant terga Sabaei. Every Arab, all the Sabaeans, began to turn their backs.
Ipsa videbatur ventis regina vocatis The queen herself could be seen, having summoned the winds,
vela dare et laxos iam iamque inmittere funes. Setting sail and now and now letting the ropes go slack.
Illam inter caedes pallentem morte futura She among the slaughter growing pale at her death to come
fecerat Ignipotens undis et Iapyge ferri, The Firegod had depicted, being carried by the waves and the Iapyx wind,
contra autem magno maerentem corpore Nilum But facing her the sorrowing Nile in its great mass,
pandentemque sinus et tota veste vocantem Spreading out its folds and by its whole mantle calling,
caeruleum in gremium latebrosaque flumina victos. Deep blue, the conquered into its lap and secret currents.
Actius E - the line is slow and tense with long syllables. Phoebus Apollo = god of music and archery – pro-Trojan (pro-Aeneas). As mentioned
above, he had a temple at Actium (and on Leucate) – hence “Actian”.
Desuper – Apollo is picked out visually as a decisive figure. As a Sabaeans = tribe in modern Arabia
Trojan supporter, his involvement leads to the rout of the
Egyptian Queen and her exotic allies. This passage starts magnificently tense, and then turns to panic as the Egyptians flee,
moving on to pathos as the Queen foresees her death and, alongside her soldiers, is
Omnis ... the following repetitive lines are more “driven”, with beckoned by the grieving Nile into the safety of its famous Delta.
multiple subjects of the verb vertebant. Also, we are reminded of
the variety of foreign forces. There seems to be unexpected sympathy for Cleopatra, especially given the earlier
disdain shown for her: nefas; patrio + sistro. But such sympathy has surprised readers
Note various effects: the triple repetition “omnis” (a “tricolon” with before, at the end for the dying prince Turnus and in book 4 for Queen Dido – described
“anaphora”, the alliteration of “v”, and the repetition of “iam”. All as pallida morte futura.
such repetitions add an urgent, driven quality.
The reference to Cleopatra’s pallor invites us to feel her fear as a very physical emotion.
Note also the literary “chiasma”: ipsa ventis regina vocatis. More impressively, the Nile is depicted as a parental or nurturing figure, who itself feels
ferri is passive of ferre. sorrow, offering its body and the folds and entirety of its clothing (the waters of the Delta)
as a protective place for its children/charges to enter in secrecy and safety.
7. In lines 61-65 [illam inter + flumina victos], does the poet
arouse sympathy for the Egyptian Queen (Cleopatra)?
8
Vergil Aeneid Book VIII, ll.608-629, 671-731. The Shield of Aeneas

Caesar (Augustus) celebrates his triumph in Rome. The
nations shown reveal the extent of the future empire.
At Caesar, triplici invectus Romana triumpho But Caesar, by his triple triumph borne into the Roman
moenia, dis Italis votum inmortale sacrabat, City walls, to the Italian gods an undying vow dedicated,
maxima ter centum totam delubra per urbem. Three hundred of the greatest shrines through the whole city.
Laetitia ludisque viae plausuque fremebant; With joy and games and applause the streets resounded;
omnibus in templis matrum chorus, omnibus arae; In all the temples were bands of mothers singing and dancing, in all were altars;
ante aras terram caesi stravere iuvenci. Before the altars slaughtered bullocks spread over the earth.
Ipse, sedens niveo candentis limine Phoebi, He himself, sitting at the snow-white threshold of dazzling Phoebus Apollo,
dona recognoscit populorum aptatque superbis Reviewed the gifts of the peoples, and fastened them to the proud
postibus; incedunt victae longo ordine gentes, Doorposts; the conquered races approach in a long line,
quam variae linguis, habitu tam vestis et armis. As varied in their tongues as in the style of their clothing and their weapons.
At + this word marks a decisive change of focus or scene. The triumph [29 BC] is triple, celebrating (1) victories in Italy’s northeast/Illyricum [35/34
BC], securing the frontier; (2) Actium [31 BC] and (3) the invasion/occupation of Egypt [30
The line maxima + urbem details the votum of the previous line. BC].
Vergil says Augustus restored 300 shrines, but Augustus himself
(in Res Gestae) says he restored 82. The reference (limine Phoebi) to the Temple of Apollo on the Palatine Hill in Rome is
anachronistic. Augustus only finished it a year after his triple-triumph, i.e. in 28 BC. But it
Note the use of repetition (“anaphora”) of omnibus. The effect is is included by Vergil for three poetic/political reasons:
to intensify the description. (1) to contrast with the rustic setting earlier found by Aeneas when he arrived in Italy in
Book 6,
stravere = straverunt – spread (2) to underlie the grandeur to come for the future Rome and
(3) to make the connection yet again between Augustus/Actium and Aeneas/Troy by way
Note the chiasma: niveo candentis limine Phoebi. of Apollo, who’s temple is in Actium and who supported the Trojans and Aeneas.

Remember that an important part of a triumph was to display the Earlier in the poem (Book 3), Aeneas tells how, after some celebratory games (athletic
conquered peoples, and note the emphasis of internal variety – contests) at Actium, he dedicated a shield to the Temple of Apollo there.
this time to illustrate the breadth of Rome’s imperial power.

9
Vergil Aeneid Book VIII, ll.608-629, 671-731. The Shield of Aeneas

Hic Nomadum genus et discinctos Mulciber Afros, Here the Metal-Softener the race of the Nomads and the ungirded Africans,
hic Lelegas Carasque sagittiferosque Gelonos Here the Leleges and Carians, and the arrow-bearing Gelonians,
finxerat; Euphrates ibat iam mollior undis, He had fashioned; Euphrates now flowed more gentle in its waves,
extremique hominum Morini, Rhenusque bicornis, And the Morini, most remote of men, and the double-pronged Rhine,
indomitique Dahae, et pontem indignatus Araxes. And the unconquered Dahae, and the Araxes, which resents its bridge.
8. How does the poet convey the scale of Augustus’ triumph? Vulcan (Mulciber) = Blacksmith god of Volcanoes; Creator of Aeneas’ Weapons
Lelages, Carians, Gelonians, Dahae = peoples from places in Asia Minor
By offering a long list of different tribes for far-flung regions. Morini = people from the north coast of Gaul
Araxes = a river in Armenia
9. Euphrates, Rhenus, Araxes: how are the rivers portrayed as
people? Virgil continues to stress of the craftsmanship of Vulcan, here the ‘Metal-softener’
(a) They are included in a list of conquered peoples and (mulciber) rather than ignipotens. The whole effect is to underline the supremacy of order
(b) Araxes is described as indignatus – angry/resentful (and so and control on the shield. But just as Vulcan had subdued metals for the shield, so
capable of emotion). Augustus has subdued the peoples of the known world. Augustus might be seen as
putting everything and everyone into their proper order and place E?
Talia per clipeum Volcani, dona parentis, Such things all over the shield of Vulcan, gifts of a parent,
miratur rerumque ignarus imagine gaudet, He wondered at and, though ignorant of the affairs, he rejoiced in their appearance,
attollens umero famamque et fata nepotum. Lifting onto his shoulder both the fame and the fate of his childrens’ children.
Talia + this word signals the end of the description, and the 10. Comment upon the symbolism of Aeneas’ carrying the shield.
return to the wider story of Aeneas.
By having Aeneas put the shield on his shoulder, Vergil is making the obvious point that
Miratur takes us back to the start of the shield’s description, with Aeneas carries the burden of Rome’s destiny upon him. (This differs from Achilles’ shield
Aeneas wondering at the weaponry. in the Iliad, which is remarkable, but not fateful.)

1. How does the description of the shield go beyond a series of pictures?

The pictures are not described as such, but appear to show moving activities and events. Nevertheless, they retain a metallic, worked feeling.

2. Is the prophecy of Rome’s future greatness included to encourage Aeneas or to flatter the poet’s readers?

Flatter the poet’s readers. These understand all the references (which are largely spelled out to them). Aeneas on the other hand is ignorant of their
meaning and simply marvels at the beauty and liveliness of the depictions on his new shield.

10