P. VERGILI MARONIS AENEIDOS LIBER PRIMVS WITH A COMMENTARY BY R. G. AUSTIN ifmmn mum vmnw mmm 1 V'-G Pro fetelNäö FHoloaiii CLARENDON PRESS • OXFORD AENEIDOS I impleuitque mero pateram. quam Belus ct omnes a Belo soli ti; turn facta silent ia tectis: 'Iuppiter, hospitibus nam te dare iura loquuntur, hunc laetum Tyriisque diem Troiaque profectis esse uelis, nostrosque huius meminisse minores. adsit laetitiae Bacchus dator et bona luno; et uos o coetum, Tyrii, celebrate fauentes.' dixit et in mensam Iaticum libauit honorem primaque, libato, summo tenus attigit ore; turn Bitiae dedit increpitans; ille impiger hausit spumantem pateram et pleno se proluit auro; post alii proceres. cithara crinitus lopas personat aurata, docuit quern maximus Atlas. hie canit errantem lunam solisque labores, unde hominum genus et pecudes, unde imber et ignes, Arctunim pluuiasque Hyadas geminosque Triones, quid tantum Oceano properent se tingere soles hiberni, vel quae tardis mora noctibus obstet; ingeminant plausu Tyrii, Troesque sequuntur. nec non et uario noctem sermone trahebat infelix Dido longumque bibebat amorem, multa super Priamo rogitans, super Hectore multa; nunc quibus Aurorae uenisset films armis, nunc quales Diomedis equi, nunc quantus Achilles. 'immo age et a prima die, hospes, origine nobis insidias' inquit 'Danaum casusque tuorum erroresque tuos; nam te iam septima portat omnibus errantem terris et fluctibus aestas.' 730 735 740 745 750 735 729-56 MPR quae bdv, praefert Seru. 734 adsis 'alii' ap. Seru, 741 quem] COMMENTARY I—II. My song is of war, and of the man whose destiny brought him in exile, from Troy to Italy, to found the race from which sprang Rome. Muse, tell me why he suffered so, through the enmity of the Queen of the Gods. 1-7. The famous opening, arma uirumque cano, has suffered from an ancient controversy. Donatus (uita 42) and Servius (praef., p. 2, ed. Harv.) record that Virgil's first editors deleted four preliminary lines: Ille ego, qui quondam gracili modulatus auena carmen, et egressus siluis uicina coegi ut quamuis auido parerent arua colono, gratum opus agricolis, at nunc horrentia Martis . . . These lines are not in the early manuscripts; their earliest witness is cod. Bernensis 172 (ninth century), where they are inserted marginally by a later hand. They have often been thought genuine. I have rejected their authenticity in CQ n.s. xviii (1968), 107ft., for the following principal reasons: (a) they have no firm textual authority; they depend ultimately on Donatus' story that the grammaticus Nisus (first century) had heard from his 'seniofes' of their excision by Varius; (b) they are inappropriate to an epic prooemium; (c) their style and expression, when closely examined, are unacceptable; (d) their presence ruins a noble period. It has been suggested that they were intended as an inscription beneath a portrait of Virgil, forming a frontispiece to a copy of the Aeneid (cf. Martial 14. 186): see E. Brandt, Philologus lxxxiii (1928), 331 ff. For another possibility see below, p. 27. That the canonical opening was arma uirumque cano is clear, from the evidence of the capital manuscripts and from allusions in literature: it is implicit in Prop. 2.34. 63f. 'qui nunc Aeneae Troiani suscitat arma / iactaque Lauinis moenia litoribus', and explicit in Ovid, Tr. 2. 533 f. 'ille tuae felix Aeneidos auctor / contulit in Tyrios arma uirumque toros', Persius 1. 96 'arma uirum: nonne hoc spumosum?', Martial 14. 185 'accipe facundi Culicem, studiose, Maronis / ne nucibus positis arma uirumque legas' (the Aeneid makes too serious reading for the Saturnalia; cf. id, 8. 55. 19), Seneca, Epp. 113. 25 (poking fun at the Stoics) ' prudens uersus bonum est, bonum autem omne animal est; uersus ergo 26 COMMENTARY LINE 1 27 animal est. ita artna uirumque cano animal est, quod non possunt rotundum dicere cum sex pedes habeat'. The words occur in several Pompeian graffiti (one a parody, 'fullones ululamque cano, non arma uirumque', Carm. Lat. Epigr. 1936): see R. P. Hoogma, Der Einfluß Vergils auf die Car-mina Latino. Epigraphxca (Amsterdam, 1959), pp. 222 f. Homer had set the pattern for an epic prooemium in the Iliad and Odyssey, invoking the goddess-Muse at the outset; for an ancient epic poet was the Muses' mouthpiece, not speaking for himself (as in didactic poetry) nor about himself (as in personal poetry}. .Virgil follows this at certain crucial points within the Aeneid where he needs strengthened inspiration (7. 641, 9. 525, 10. 163). But there was another type of opening, used in the ' epic cycle': so the Ilias Parua began "/Atov da'Scu «ai AaphavLrfv (vnwXov. Virgil blends this with the Homeric pattern at the pivotal moment of the Aeneid (7. 37 ff.), the exordium to the second half of his epic, where he first invokes the Muse and then continues (41 f.) ' dicam horrida bella, / dicam acies actosque animis in funera reges'. It is inconceivable that in his prooemium to the whole epic he should have violated ancient tradition by opening with four lines of personal introduction quite alien to the epic genre. Their removal shows the prooemium in a reverse pattern from that in 7. 37 ff.: first, the 'cyclic' opening arma uirumque cano, developed in a fine period, then (8ff.) the invocation to the Muse. This opening period has a noteworthy structure: ear and eye are led from the man of Troy to the climax in altae moenia Romae; the hero, his purpose, its significance, are succinctly clear (cf. Heinze, p. 437). It is carefully balanced: a statement in two lines, spilling over to a third {arma . . . litora), then a central narratio in just over three lines, cunningly made to look like a parenthesis {multum . . . Latio), then a conclusion in just under a line and a half {genus . . . Romae). The exordium to the Iliad also occupies seven lines: two set out the subject, three more give added detail, and there is a two-line conclusion; Achilles is named in the first, Agamemnon (Atrides) and Achilles in the last. Virgil has silently acknowledged Homer's precedent: if the apocryphal four lines are prefixed, this acknowledgement is blurred, while Troy and Rome no longer stand out clear, and the period becomes ungainly and burdensome to read. The rhythmical art of the passage is deeply satisfying. Sense-pauses are skilfully varied, there is much enjamb-ment, and a masterly closing cadence in the uninterrupted unit Albanique patres atque altae moenia Romae; controlled I assonance and alliteration increase the effectiveness. Quin-tilian uses it (11. 3. 36 f.) to illustrate punctuation {distinctio) in reading (he takes for granted that the opening is arma uirumque cano). He postulates a light pause ('suspenditur') after cano, oris, Italiam, profugus, and a stop sufficient for taking breath after litora, 'quia inde alius incipit sensus'; he omits discussion of multum . , . patres (a pity), and ends ' cum illuc uenero atque altae moenia Romae, deponam et morabor' (the precise meaning of deponam is debatable, but plainly a full stop with a long pause is indicated; cf. C. P. Bill, CP xxvii, 1932, 170f.). It is hard now to understand how arma uirumque could ever have been thought to need some amplification to explain arma, and to balance the relative clause attached to uirum. But Servius states 'multi uarie disserunt cur ab armis Vergilius coeperit'; James Henry found arma uirumque cano marked by abruptness, turgidity, and ambiguity' {Aeneidea i. 6; he defends the apocryphal lines in 113 pages of fierce argument). Possibly the criticisms implied by Servius may explain the origin of 'ille ego", etc.: the question was asked, and the demand created the supply. His comment, however, well shows the startling impact of Virgil's opening words upon a Roman reader hearing them for the first time; they are so powerfully direct and resonant, and they are the words of a poet of peace, whose Georgics had shown him studiis florentem ignobilis oti, and whose Eclogues had been composed patulae sub tegmine fagi. No wonder that Propertius proclaimed (2. 34. 66) 'nescio quid maius nascitur Iliade'. For discussion of the linguistic difficulties in the four 'ille ego' lines see CQ, I.e.; for the Servian tradition see H. T. Rowell in The Classical Tradition : Studies in Honor of Harry Caplan (ed. L. Wallach, Cornell, 1966), pp. 216ff.; G. P. Goold, HSCP lxxiv (1970), 126 ff. 1. arma uirumque: for arma ('war') cf. 8. 114 'pacemne hue fertis an arma?'; uirum clearly points to Od. 1. 1 aiipa pot iwertf, Movaa, troXinpoitov, and Virgil's allusiveness is continued in multum . . . alto, multa . . . passus: while the structure of the prooemium recalls the Iliad, the language recalls the Odyssey. Homer soon names Odysseus {Od. 1. 21); Virgil does not identify his uir until line 92, and then almost casuallv, an approach much less direct than Homer's. Troiae qui: the word-order removes the coincidence of metrical ictus and speech-accent in the fourth foot that ' qui Troiae' would have given. Virgil tends to avoid having a spondaic disyllable in the fourth foot, unless a preceding preposition coalesces structurally with it, e.g. pro caris (24), 28 COMMENTARY LINES 1-3 29 per uallis (186), per noctetn (305), sub noctem (662). He often does this by postponing a relative (as here) or a connective, e.g. primo quae (470), magnum quae (602), talis nee (4.551). When he does not avoid the pattern even where it could be avoided, there is often some obvious reason, such as emphasis (e.g. 565 'quis Troiae nesciat urbem?', 6. 22 'stat ductis sortibus urna') or euphony (e.g. 299 'ne fati nescia Dido', 5. 751 'animos nil magnae laudis egentis', where 'ne nescia', ' nil laudis' would have been uncomfortable to the ear). Sometimes metrical considerations prevent avoidance, e.g. 481, 489, where the connective et might have been postponed (see on 333) ii metre had allowed. Since in a normal line ictus and accent must coincide in the last two feet (see on 105), a similar coincidence in the fourth foot also (e.g. 7, 24, 26, 29, 33) can produce monotony of rhythm if it is too frequent. Virgil constantly has this in mind, and his technique in this matter of the fourth foot differs markedly from that of Lucretius and Catullus: see Munro's introduction to his notes on Lucretius, 4th edn. (1886), p. 14; Bailey, Lucretius, proleg. pp. 112 f.; L. P. Wilkinson, CQ xxxiv (1940), 33; for a wider discussion see W. F. J. Knight, Accentual Symmetry in Vergil (Blackwell, Oxford, 1939), ch. 5; A. G. Harkness, CP iii (1908), 50 ff.; A. Woodward, Philological Quarterly xv (1936), 126 ff. primus : Servius notes that some critics objected that Antenor had made a settlement in Italy before Aeneas reached Latium (see 242 ff.). This is pedantry; Antenor was not the founder of the Roman race, and Virgil justifiably ignores the tradition in the interests of his high theme. 2. Italiam : the first syllable is lengthened to suit the hexameter (so Callimachus, h. 3. 58; the reading Italiae in Lucr. 1. 721 is doubtful); less often Virgil has the metrically easier Hesperia (cf. 530), found in Ennius also {Ann. 23), or Ausonia (from the indigenous Ausones of Campania), which he is the first to employ. The adjective Italus is less intractable, but Virgil lengthens the first syllable if necessary (note Itala de genie, 6. 757, but Itála regna, 3. 185), as Catullus had done (1. 5) to bring Italorum into hendecasyllabics, probably influenced by Callimachus' precedent. Cf. Norden on 6. 61; Leumann, Kleine Sckriften, p. 146 n. 3, and Glotta xix (1931), 249. For the accusative without preposition after verbs of motion see LHS, pp, 49 f., and Landgraf's detailed study in ALL x. 391 ff.; with names of countries it is occasionally found in early Latin (Liv. Andr. fr. 13 M, Graeciam redire; Plaut. Capt. 573, abiit Alidem; Cure. 206, parasitům misi Curiam). Virgil, following Homeric practice, much extended the use, applying it to names of peoples (£. 1. 64, ibimus Afros) and to nouns of place (365, deuenere locos; 3. 601, quascumque abducite terras; 6. 696, limina tendere). In prose there are few certain examples before Tacitus, who provides numerous instances. fato profugus : Quintilian (11. 3. 37) took these words together, and this seems natural to the rhythm; but the force of fato extends to uenit also; Aeneas was destined to exile, and destined to reach Italy. Profugus is regularly used of Aeneas and the Trojan migration: Sallust, Cat. 6. 1 ' Troiani , . . Aenea duce profugi'; Livy 1. 1. 8 'postquam audierit multitudinem Troianos esse, ducem Aeneam .... cremata patria domo profugos . . .'; Ovid, Ars 3. 337 'profugum Aenean'; Silius 8. 52 f. 'corripit ensem / certa necis, profugi donum exitiale mariti' (of Dido). Lauiniaque uenit: a more precise statement of the place to which Aeneas came, expressed paratactically in Virgil's manner. Lauinia here is trisyllabic, by synizesis (' Lauinja'); cf- 6. 33. omnia, with Norden's detailed note, and 7. 237, precantia. The textual tradition varies between Lauiniaque and Lauinaque, with good authority for both: but the former would be the more liable to correction, by a scribe unfamiliar with such prosody. Cf. E. Benoist, Revue archeo-logique xxxvii (1879), 1156. The first syllable of the adjective Lauinius is long (4. 236; Lucan 9. 991; Silius 1. 44, 10. 438, 13. 64; cf. Prop. 2. 34. 64). The quantity varies in the nouns Lauinium and Lauinia (daughter of Latinus), according to metrical need and the position in the line: Lduini (genitive), 1. 258, 270, 6. 84, Tibullus 2. 5. 49; Lauini, Ovid, Met. 15. 728: Lauinia, 6. 764, 7, 72, 314, 11. 479, 12. 17, 64, 80, 194, 605, 937, Ovid, Met. 14. 570, Stat. S. 1.2. 244; Lauinia, 7. 359, Ovid, F. 3. 629, 633, Silius 8. 176, 13. 806. Lavinium was traditionally Aeneas' first foundation in Italy, and from there the Trojan Penates reached Rome: for a valuable discussion of its importance for the Trojan legend see R. M. Ogilvie on Livy 1. 1. 10; G. K. Galinsky, Aeneas, Sicily, and Rome (Princeton, 1969), ch. 4; for an account of two archaic inscriptions confirming the tradition, found on or near the site of Lavinium (the modern Pratica di Mare), see S. Weinstock, JRS 1 (i960), 112 ff. 3. ille : = o yt. The reflection from the Odyssey continues (oj fidXa noXXa j irXdyxfh) ■ • • / »">AAo 8' 5 y* «v nowrot nddtv aXyta). The pronoun is pleonastic, with resumptive force, adding a fresh point ('est autem archaismos', Servius); cf. 5. 456f. 3o COMMENTARY 'Daren ardens agit aequore toto / nunc dextra ingeminans ictus, nunc ille sinistra', 9. 478fr. 'agmina cursu / prima petit, non ilia uirum, non ilia pericli / telorumque memor', Hor. C. 4, 9. 47 ft. ' qui dec-rum / muneribus sapienter uti / duramque callet pauperiem pati . . . / non ille pro cans amicis / aut patria timidus perire'. iactatus : Virgil constantly has this verb to express the Trojans' ' bufferings': again in 29, 182, 332, 668, 3. 197, 4. 14, 6. 693; so of the Phoenicians, 442, and of Dido, 629. 4. ui superum : cf. 7. 432 'caelestum uis magna iubet', 12. 199 ' uimque deum infernam et duri sacraria Ditis'; in these passages uis comes close in meaning to nutnen (so Cic. Verr. ii. 4. 107 'multa prodigia uim eius [sc. Cereris] numenque declarant', post red. 25 'qui apud me deorum immortalium uim et numen tenetis'). The implication in superum is made more precise by Iunonis ob iram. The archaic genitive form is a mark of epic style; it survived in official formulae (e.g. triumuirum, socium, liberum); the form in -orum came by analogy with the first declension -arum. memorem . . . iram : the words recall both //. 1. 1 ixrjmv detSr and Od. 1. 20 f. (of Poseidon) 6 h' imttpxts p.€i>4atvtv / ävnßeti) 'O&vtrij'i wdpoy tjv yaiav Ueu8at. But Virgil's phrase is a striking personification, even more effective from the juxtaposition of memorem with saeuae; Ovid borrows it, Her. 21. 9 'memori te uindicat ira', Met. 12. 583 'exercet memoresplus quam ciuiliter iras', 14. 694 ' memoremque time Rhamnu-sidis iram'; cf. Silius 13. 71 'pone, Anchisiade, memores irasque metusque'. Virgil may have thought of Aesch. Ag. 155 fwdfUDv Mijvts; but the phrase might come from early Latin poetry, in view of Livy 9. 29. 11 'censorem etiam memori deum ira post aliquot annos luminibus captum', for Livy's first decade appeared before the publication of the Aeneid, and it is not safe to infer that he has used Virgil here: see S. G. Stacey, ALL x. 38 f., 50, and Ogilvie, Livy 1-5. p. 3 (cf. my note on 2. 486 ff.). For Iuno's implacability cf. 5. 781 ff. 'Iunonis grauis ira neque exsaturabile pectus', etc. 5. urbem : Lavinium. The subjunctive conderet marks the aim to which his wanderings and sufferings were directed (cf. 10. 800 'dum genitor nati parma protectus abiret'). 6. inferretque . . . Latio: an extension of conderet; in founding Lavinium, Aeneas was to make it the home of the Penates of Troy; cf. 8. 10ff. 'Latio consistere Teucros, / aduectum Aenean classi uictosque penatis / inferre'. For the Penates see F. Börner, Rom und Troia (Baden-Baden, 1951), pp. 50 ff. genus unde Latinum: sc. ortum est. The reference in unde could be to the whole process just described, but uirum is the LINES 3-8 31 more natural antecedent; for this archaic use of unde with a personal reference see Fraenkel, Horace, p. 102 n. 2, and Nisbet-Hubbard on Hor. C. 1. 12. 17: Virgil likes it in a solemn context and in high style, 5.122 f.' Cloanthus /... genus unde tibi, Romane Cluenti', 5. 568 'Atys, genus unde Atii duxere Latini', 6. 765 f. 'regem, regumque parentem, / unde genus Longa nostrum dominabitur Alba'; cf. Hor. 5. 1.6. 12 f. 'Laeuinum, Valeri genus, unde Superbus / Tarquinius regno pulsus fugit'. 7. This ringing line foreshadows the subsequent move from Lavinium to Alba (cf. 270 f.), and thence to Rome. Albani patres is a high allusion to a developed city with its ruling families forming a ' senate'. In altae moenia Romae Virgil sums up all his pride in the City of the Seven Hills; cf. G. 2. 534 f.' rerum facta est pulcherrima Roma, / septemque una sibi muro circumdedit arces'. Prop. 3. 11. 57 'septem urbs alta iugis'; but altae possibly suggests highmindedness too (cf. G. 3. 42 'te sine nil altum mens incohat'). Virgil does not use alta elsewhere as an epithet of Rome; yet to limit its application by taking it simply as ' transferred' from moenia (so Mackail) is to miss much of its evocative power: Ovid understood something of Virgil's pride, in his periphrasis for the Aeneid (part of a reading-course with which a girl can impress a man),' profugum Aenean, altae primordia Romae, / quo nullum Latio clarius exstat opus' (Ars 3. 337 f.). Silius has an imitation, 3. 182 ' uictorem ante altae statuam te moenia Romae'. 8—11. The ritual invocation of the Muse now begins, in which the poet speaks as the instrument through whom the divine Muses make poetry known to men: so II. 2. 484 ff. eairtTc vvv uoi, Movaai, 'OAu/nwia Swfiar' e^owm, ip.(l$ yap 8tal tare, mLptore re, tort Te wdirra., jjjuefy 8« kXcos olov 6-Kovop.tv ouSe ti lS/jcp, Apollonius Rhodius 4. 1381 f. Movadum oSf ixOBos' ty 8' vtto-kovos aet'Stu Tliepihwv, Kai TTjvhc iravarpfKes fKXvov 6p.ijv, Callimachus, h. 3. 186 ciVt, Qtyj, av p.kv tLnp.iv, eyco 5* erepoioiv attow, Theocritus 22. Ii6f. etire. Bed, ov yap olada- €yw 8' iripuiv iWo^ijnjf tt>8ey£onai 000' e9<\ei$ ov Kai ottituj; toi iftlXov avrrj. This consciousness of complete subordination to the goddess-Muse is deep in the ethos of ancient epic; that is why Virgil (like Homer) asks the Muse's support at special moments; 32 COMMENTARY LINES 8-11 33 e-g- 7- 37 ff- (where mains opus moueo explains his need), 7. 641 ff., before the Catalogue (where his prayer ends with words that recall //. 2. 485 f., 'et meministis enim, diuae, et memorare potestis; / ad nos uix tenuis famae perlabitur aura'). See Norden on 6. 264 ff., and cf. Stat. Th. r. 3, 8. 374, Silius r. 3, 3. 222, 12. 390, Val. Flacc. 3. 213, 6. 34, 516; for a parody of the manner see Hor. 5. 1. 5. 53 (Fraenkel, Horace, p. 111 n. 1). In a mosaic portrait of Virgil (first or second century), found in 1896 at Sousse in Tunisia, the poet is seated with a Muse on either side; he holds a papyrus roll of the Aeneid, open at the words Musa mihi causas memora:.see D. Compa-retti, Atene e Roma, xvii (1914), cols. 66ff., and Mackail's Aeneid, p. xlvii. Portraits of Virgil were prominent among those possessed by Silius in his various Campanian villas (Pliny, Epp. 3. 7. 8), and Martial lists among his apopkoreta (14. 186) a miniature text of Virgil, with a portrait ('quam breuis inmensum cepit membrana Maronem! / ipsius et uultus prima tabella gerit'). The emperor Gaius planned to remove busts of Virgil (and Livy) from all libraries, since the poet was ' nullius ingenii minimaeque doctrinae' (Suetonius, Gaius 34. 2). 8. quo numine laeso : a difficult phrase, the meaning of which must be deduced from the uncomplicated quidue dolens. The interrogative quo is attached not to numine alone but to numine laeso, which forms a unit, so that quo numine laeso = quam ob iniuriam numinis, ' for what affront to her divinity '; for a simpler example of the form of interrogative in which an ablative absolute expresses ground for an action (an unusual type) cf. Cie. Verr. ii. 3. 185 'tu uero quibus rebus gestis, quo hoste superato contionem donandi causa aduocare ausus es?' Some have equated numen here with arbitrium or uoluntas, adducing 2. 123 'quae sint ea numina diuum', 9. 661 'dictisac numine Phoebi' (cf. Birt, BPhW 1918, 212 ff.), not sound parallels (since diuum, Phoebi make all the difference). For the expression cf. Ovid, Her. 20. ggi. (of Diana) ' nihil est uiolentius ilia, / cum sua, quod nolim, numina laesa uidet'. The affront to Iuno's divine authority is explained in 19 ff. (her wish for Carthaginian supremacy thwarted by the Fates); and her resentment is further particularized by the personal dolores of 25 ff. 9. deum : for the genitive cf. superum (4, note). uoluere : the infinitive after impello is not found before Virgil (again, 2. 520) and Horace (C. 3. 7. 14), and is infrequent later (Ovid, Am. 2. 12. 22; Livy 22. 6. 6; Tac. H. 3. 4). Voluere suggests partly the passage of time (cf. G. 2. 295 'multa uirum uoluens durando saecula uincit'), partly the idea of unrolling a series of events (cf. 262), partly the picture of an activity that goes on and on, circle-wise (cf. 305): the full sense is something like ' to undergo so many endlessly recurring misfortunes' (cf. 10. 61 f. 'iterumque reuoluere casus / da, pater, Iliacos Teucris'). 10. insignem pietate uirum: so Virgil makes explicit from the start the essential characteristic of his hero, assigned by legend, and based ultimately on his deliverance of his father and the Trojan Penates from burning Troy; the frequent treatment of this act in art shows that the legend was known and honoured in Italy as early as the sixth century (see my note on 2. 708, with references). Pietas is a very Roman concept, embracing many aspects of man's relationship to the gods and to fellow men: duty, devoted service, responsibility, compassion, the full consciousness of what is due to others. It was not unilateral: it made equal demands upon those to whom it was given (cf. 253 hie pietatis honos?'; Catullus 76. 26 'o di, reddite mi hoc pro pietate mea'). It was not smug; it could involve pain and self-sacrifice (cf. my note on 4. 393). It was a code of high conduct and an integral part of patriotism in the best sense. Cicero (de inu. 2. 65) includes it in naturae ius, implanted by an innata uis; he sums it up as ' quae erga patriam aut parentes aut alios sanguine coniunctos officium conseruare moneat'. See Henry's twelve-page comment here; Warde Fowler, The Death of Turnus (Blackwell, Oxford, 1919), pp. 146ff.; U. Knoche, Festschrift Bruno Snell (Munich, 1956), pp. 89 ff.; P. Grimal, Pius Aeneas (Virgil Soc. Lecture, 1959); K. Latte, Römische Religionsgeschichte (Munich, i960), pp. 39 f.; V. Buchheit, Vergil über die Sendung Roms (Heidelberg, 1963), p. 19 n. 28; A. Wlosok, Die Göttin Venus in Vergils Aeneis (Heidelberg, 1967), p. 24 n. 39; W. A. Camps, An Introduction to Virgil's Aeneid (Oxford, 1969), pp. 24 f. ; G. K. Galinsky, op. cit., ch. 1. II. impulerit: the strong pause after a single word, run on from the previous line to end a period, is a favourite device of Virgil's. Such a pause, as here, is often the preliminary to a sharp, pregnant question or statement; so 241, 672, 2. 669 f. sinite instaurata reuisam / proelia. numquam omnes hodie moriemur inulti', 4. 22 f. 'solus hie inflexit sensus animumque labantem / impulit. agnosco ueteris uestigia Mammae', 4. 623 t. "... cinerique haec mittite nostro / munera. nullus amor populis nee foedera sunto'. But often the word so carried over has special emphasis; 34 COMMENTARY so 346 (ominibus), 549 (paeniteat), 2. 467 (incidit), 1. 529 (saucius), 4. 29 (abstulit), 4. 72 (ttesews). Cf. Henry on 2. 247. tantaene .. . irae ? : for a similar summing-up line or phrase cf. 33, 8. 693, G. 3. 112, G. 4. 205; Lucr. 1. 101 'tantum reli-gio potuit suadere malorum'. The plural irae is primarily-necessitated by the metre [tanta could not stand); but Virgil often has the plural where the singular would be metrically possible, implying repeated feelings of anger, bursts of temper: see Landgraf, ALL xiv. 74, and my notes on 2. 381, 4. 197. Virgil has put in the forefront of the Aeneid the problem that constantly exercised him: the ways of god to man. 12-32. The history of Iuno's enmity to the Trojans: her dear city, Carthage, was threatened by a decree of the Fates to be destroyed by a Trojan race; further, she had hated Troy's people ever since the insult set upon her by the judgement of Paris. Virgil now sets out, succinctly and forcefully, in a passage of intricate art, the main issue from which his epic tale springs. It corresponds to a narratio in a speech, such as ' plerique . . . uolunt esse lucidam, breuem, ueri similem' (Quintilian 4. 2. 31). But it is much more than a statement of facts: it makes clear the final power of Fate, against which even Iuno will be powerless in the end: Fate can be delayed, but it cannot be prevented; the foundation of the Roman race had a long and hard passage, but it was inevitable. 12. urbs antiqua fuit: for Virgil's opening cf. Cic. Verr. ii. 1. 63 'oppidum est in Hellesponto Lampsacum, iudices, in primis Asiae prouinciae clarum et nobile'. Antiqua implies not only age, but the honour due to age: cf. 6. 648 ' genus antiquum Teucri, pulcherrima proles', G. 2. 174 'res antiquae laudis et artem'; so of Troy, 375, 2. 363 ('urbs antiqua ruit'), 4. 312; of trees, 2. 626, 714, 6. 179, G. 2. 209, G. 3. 332. In this way Virgil suggests to his contemporaries the respect due to an old and honourable foe. The nuance in fuit (cf. 2. 325 'fuit Ilium') can hardly be pressed. In urbs antiqua fuit there is an epic stylistic feature which recurs in 159 'est in secessu longo locus', 441 'lucus in urbe fuit', 530 'est locus, Hesperiam Grai cognomine dicunt': such phrases mark an (V^Wott in which the poet digresses to describe for his readers a scene that is of importance to his narrative; the manner goes back to Homer {e.g. //. 6. 152 ion ttoAis 'EtfrvpTj pvx£> fipyeos tmroftoToio), and may be traced through Greek Tragedy and New Comedy to Hellenistic Epic, and thence to Roman Epic and Roman Comedy. The descriptive opening is picked up by some word that marks LINES 11-16 35 the return to the narrative proper: here, hie, hie, hoc regnum (similarly hue, 170; hie, 534; hoc in luco, 450). English also uses the device, e.g. Tennyson's Oenone, ' There lies a vale in Ida . . . / Hither came at noon / Mournful Oenone'. See my notes on 1. i\, 4. 480ff., 483, and the valuable discussion by G. Williams, Tradition and Originality in Roman Poetry (Oxford, 1968), pp. 640 ff., 651 ff. Tyrii. . . coloni: an important fact is put in a parenthesis, giving the illusion of casual narrative (see on 530). There may be a reminiscence of Ennius (Ann. 24 'quam prisci casci populi tenuere Latini'). 13. longe : adjectival, with ostia ('the far-away Tiber mouth'), in the Greek manner; cf. 7. 727 í. 'Aurunci misere patres Sidicinaque iuxta / aequora', Tac. Agr. 10. 2 ' septentrionalia eius, nullis contra terris, uasto atque aperto man pulsantur'. The geographical opposition suggests the historical conflict. 14. diues opum : again, 2. 22 (of Tenedos); cf. 9. 26 'diues equum, diues pictai uestis et auri', 11. 338 'largus opum'; the genitive is either one of content or of reference. Virgil's little vignette of Carthage, rich and pugnacious, is a notable expression of the qualities that made her so formidable to Rome. 15. fertur : this type of word generally shows that Virgil is following some antiquarian or literary tradition; cf. 532 [fama), 3. 416 (ferunt), 4. 179 (ut perhibent), 6. 14 (ut fama est), 7. 409 (dicitur): see Norden on 6. 14, an important note; Leo, Ausg. kleine Schriften, ii. 103ff.; Heinze, pp. 240ff. For the effective juxtaposition omnibus unam cf. Catullus 5. 3 ' omnes unius aestimemus assis'. 16. posthabita . . . Samo : Iuno put even Samos second to Carthage; cf. Stat. Th. 12. 115í. 'Cadmi / moenia post-habitis uelit incoluisse Mycenis'; posthabere does not occur in high poetry except in Virgil (again, E. 7. 17) and Statius. Hera's temple at Samos is said -by Herodotus (3. 60) to be vt)Os fiéyurroi ttÍvtwv vtjúiv tuiv 17/i.efí ÍS/x«v, and (2. I48) as much i^LÓXoyoi as the temple of Artemis at Ephesus. The temple at Carthage was destroyed by the Romans in 146 b.C. There is hiatus between Samo and hie: so 5. 735 ' concilia Elysiumque colo. hue casta Sibylla', 9. 291 'hanc sine me spem ferre tui, audentior ibo', 10. 141 'Maeonia generose domo, ubi pinguia culta', 12. 31 'promissam eripui genero, arma impia sumpsi'; so in the second foot, 3. 606, G. 1. 4; in the third, 4. 235, 7. 226, 11. 480, E. 3. 6, 63, 8. 41, 10. 13, G. 1. 341. Nine of these lines occur in speeches, and most show a pause at the hiatus, which Virgil probably introduces as a dramatic device, just as in Plautus hiatus often occurs 36 COMMENTARY LINES lfi-24 37 at a change of speaker or before a new point in the narrative (see Lindsay, Early Latin Verse, p. 240). See my note on 4. 235; W, R. Hardie, Res Metrica, pp. 45 ff.; F. W. Shipley, TAP A Iv (1924), 140 ft. For other types of hiatus see on 405, 617. hie illius arma: this and the two following clauses form a tricolon in crescendo pattern, with anaphora (for which see on 78 ff.): a marked feature of Virgilian style. 17. currus : see II. 5. 720 ft.; cf. Ovid, F. 6. 45 f. 'paeniteat quod non foueo Carthaginis arces, / cum mea sint illo currus et arma loco'. Virgil means that there was an image of luno in her temple, armed and in her chariot. hoc : attracted into the gender of the predicate regnum; cf. 6. 129 'hoc opus, hie labor est'; Cic. Clu. 146 'hoc enim uinculum est huius dignitatis qua fruimur in re publica, hoc fundamentum libertatis, hie fons aequitatis' (where hoc . . . hoc . . . hie pick up leges). dea : this (for ilia, picking up illius) stresses Iuno's divine authority; cf. 412, 692 (so heros, 196; deus, 5. 841). 18. si qua fata sinant: si qua — ' if by any means' (cf. 6. 882 ' si qua fata aspera rumpas'); the subjunctive represents Iuno's thoughts. Her struggle against Fate is a basic motif of the Aeneid (cf. 7. 293 f. 'heu stirpem inuisam et fatis contraria nostris / fata Phrygum'); she may, and does, go to extreme lengths to gain her purpose; she fights to the last (cf. 12. 819 f. 'illud te, nulla fati quod lege tenetur, / pro Latio obtestor'), but the will of Iuppiter must prevail. For the relationship of the gods to Fate see C. Bailey, Religion in Virgil (Oxford, 1935), ch. 9; W. A. Camps, op. cit., ch. 5; Warde Fowler, Roman Essays and Interpretations (Oxford, 1920), pp. 201 f. tenditque fouetque : this correlating -que... -que is a feature of epic style, found already in Ennius, who took it over from the Homeric correlation « ... re; see Norden on 6. 336, and my note on 4. 83; Fraenkel, Plautinisches im Plautus (Berlin, 1922), pp. 209 f.; H. Christensen, ^4LL xv. 165 ff. (an elaborate statistical study). The words so linked are, normally, related concepts (so caelumque diemque, 88; terque quaterque, 94; ceruixque comae-que, 477). Here Virgil has used the device to produce a striking word-complex with remarkable elasticity of construction. The intransitive tendit is given an object-clause (an innovation which has no parallel), and fouet is linked with it as if a transitive verb with direct object had preceded: difficult and interesting. The sense is: 'that this city should have sovereignty over the nations, this was her aim from the start (' iam turn'), this her cherished plan". 19. sed enim : 'but in fact' (so 2. 164, 5. 395, 6. 28); enim was originally asseverative ('indeed'), and Plautus regularly uses it so. Sed enim is listed by Quintilian (9. 3. 14) as a Virgilian archaism (Cato used it; see Gellius 6. 3. 16); Ovid and Silver Epic follow Virgil's revival of it. See LHS, p. 508; Norden on 6. 28. For the postponement of the connective see on 333. duci : present, because the train of events was already in being. 20. olim : 'one day', of the future; cf. 203, 4. 627 'nunc, olim, quocumque dabunt se tempore uires'. uerteret: cf. 2. 652 f. ' ne uertere secum / cuncta pater . . . uellet'; the simple verb is used for the compound euertere (poetic style, cf. Norden on 6. 620); so for auertere, 528. Virgil likes arces as a virtual synonym for urbs; cf. 4. 347 f. 'si te Karthaginis arces / Phoenissam Libycaeque aspectus detinet urbis', 10. 12 f. 'fera Karthago Romanis arcibus olim / exitium magnum . . . immittet'. 21. hinc : i.e. Troiano a sanguine; this and the next line extend the matter of 19-20, more precisely defining it. Virgil thus represents the defeat and destruction of Carthage by Rome as predestined; the history of the Punic Wars darkens the whole background of this Book. late regem: 'with widespread dominion'; cf. Hor. C. 3. 17. 9 'late tyrannus'; the verbal idea in rex makes the adverb less remarkable than the use of longe in 13. superbum : 'arrogant', from Iuno's standpoint; from a different angle it was the Roman duty debellare superbos (6. 853). 22. excidio : 'predicative' dative of purpose; cf. Tac. H. 1.80. 1 'orta seditio prope urbi excidio fuit'. Esse predominates with such datives; uenire occurs also with auxilio and sub-sidio: see H. J. Roby, Latin Grammar (London, 1889), ii, pp. xxv ff., a valuable study. sic uoluere Parcas : this explains the authority of her information (20); uoluere may suggest the turning of the Fates' spindles, or simply the 'unrolling' of their plans; cf. 262, 3. 375 f. 'sic fata deum rex / sortitur uoluitque uices, is uertitur ordo", 23. ueteris . . . belli: the Trojan war, now long past (cf. 31), of which Iuno's present hostility is a survival; prima (24) picks up ueteris (i.e. 'in the beginning', = prius). 24. Argis : this masculine plural form (for the Greek neuter Apyos) is regular in Virgil; cf. Varro, LL 9. 89 'dicimus hie Argus cum hominem dicimus, cum oppidum, Graece hoc Argos, cum Latine, Argi': cf. Thes. L.L., s.v. Argos, for the practice of different authors. 38 COMMENTARY LINES 24-33 39 Virgil now breaks off, to add a further cause for Iuno's resentment in an aside of studied casualness, as if the Muse were speaking informally to him and had suddenly remembered something fresh: this is a way of giving liveliness to a long exposition that might become tedious {cf. the elaborate opening of G. i). After the parenthesis, again with deceptively casual art, he makes a new start on his main theme, in his accensa (29). 25. Iuno's bitter resentment (dolores) had a deep-seated personal origin, now to be explained. 26. The negative necdum exciderant animo is reinforced by the positive manet alta mente reposlum; Iuno is represented as very feminine in her brooding jealousy. repostum : see note on compostus, 249; but whereas com-positus is equally possible in hexameters, the participle of repono (répôsitus) would be impossible unless in this syncopated form. 27. spretaeque . . . formae: an explanatory variation of indicium Paridis; the insult (iniuria) is defined by spretae formae, ' the scorning of her beauty' (cf. numine laeso, 8): so Velleius 1. 1. 1 'ob segnitiam non uindicatae fratris iniuriae' (" because of slowness in leaving unpunished the wrong done to his brother'). 28. genus inuisum : ' the stock she abominated'; Dardanus, from whom the Trojans were descended, was an illegitimate son of Iuppiter (by Electra). rapti Ganymedis : objective genitive. Ganymede too belonged to the genus inuisum (his father Tros was Dardanus' grandson); Homer (77. 20. 234) says that the gods carried him off to be the cupbearer of Zeus; later versions made Zeus himself the abductor (Horn. h. 5. 202 ff.) by means of a storm-wind (óeAAa), or employing his eagle (cf. 5. 254 í. 'quern praepes ab Ida / sublimem pedibus rapuit Iouis armiger uncis'), or disguised as his eagle (Ovid, Met. 10. 155 ff., where Ganymede serves nectar inuita lunone, an idea embroidered by Statius, S. 3. 4. 15 ' Iuno uidet refugitque manum nectarque recusat'). 29. his accensa super : this picks up id metuens (23), resuming the narrative after the parenthesis, another touch designed to give an impression of informality. Super = insuper, as in 2. 71 f. 'et super ipsi / Dardanidae infensi', (i.e. 'all this besides inflamed her'). Some take super with his (for de, cf. 750), which seems unlikely: cf. J. Kvičala, Vergil-Studien (Prague, 1878), p. 11, and Deuticke's note. 30. Troas : a Greek accusative. Virgil is sparing in his use of a spondaic disyllable in the first foot, which tends to slow down the rhythm. In general, such words have a more or less close connection, either in grammar or sense, with what follows; Norden (Aeneis VI, Anh. viii) makes this classification: (a) a connective follows (cf. 433); (b) the word is a preposition (cf. 56), or a conjunction (cf. 723), or a form of Hie (cf. 210, 254) or of qui (cf. 72); (c) a reflexive pronoun follows (cf. 439, 587), or there is a grammatical connection (cf. 602). Within these categories, special emphasis is often obtained, as in 33, 376, 423, 524. Here, Troas is closely connected with the limiting apposition reliquias Danaum. See also P. Maas, ALL xii. 515 n.; and cf. my note on 4- 453- reliquias Danaum: 'the leavings of the Greeks', such survivors as the Greeks had left (again 598, 3. 87); cf. Cic. de sen. 19 'aui reliquias' (= 'what your grandfather left unfinished); Silius 10. 416 'reliquias belli' (= 'whom war had left alive'), 15. 538 (of land untouched by war): contrast 5. 787 reliquias Troiae' (= 'the remnants of Troy'). For the prosody reliquias (necessary for the metre) cf. Lucr. 1. X109, 3. 656, 6. 825; see Bailey, Lucretius, proleg. p. 132; Kuhner-Holzweissig, Gramm. d. lat. Spr., p. 938; Leumann, Kleine Schriften, p. 146 n. 3. Achilli : for the form see Leumann, Kleine Schriften, pp. 108 ff., 144; cf. my notes on 2. 7, 275. 31. arcebat: imperfect of constant action. Here now is the main verb of the sentence that began in 23; but the artfully contrived parenthesis, with the resumptive his accensa, prevents any straggling effect. The whole passage (12-33) 1S a notable example of Virgilian sustained composition. 32. acti fatis : cf. 2 'fato profugus'. It was because of Iuno's attempts to keep them from their goal that their wanderings continued multos per annos. 33. A line of extreme grauiias, slow and deliberate, with only one clash of ictus and word-accent (erdt): Quintilian quotes it (8. 5. n) to illustrate the figure epiphonema, rei narratae uel probatae summa acclamatio' (cf. Volkmann, Rhetorik, p. 455). Virgil has added a summarizing reflection to round off his narrative prelude, once more leading eye and ear and thought to Rome. Formally the reference is only to the founding of the city; but it inevitably brings to mind also the long, gradual, difficult but inexorable process by which Roman supremacy was established. It is worth remembering that for Virgil and his contemporaries the final destruction of Carthage in 146 was no remote event, but something that their own grandfathers could have seen happening in their lifetime. 4o COMMENTARY LINES 34-44 41 34-49. luno, seeing the Trojans cheerfully voyaging on from Sicily, soliloquizes angrily on her humiliating position. Virgil now 'in medias res non secus ac notas auditorem rapit' (Hor. AP 148i.): he assumes knowledge of preceding events, later to be described in Aeneas' own narrative, and opens his tale with the Trojans setting sail from Sicily after the journeyings that followed Troy's fall. In this way he puts in the forefront of his epic the storm and shipwreck from which such momentous consequences came, making an immediate impact on the reader. 35. laeti: the Trojans' delight was the last straw for luno, and their happiness is charged with irony. spumas ... ruebant:' they were churning the sea-foam with their bronze prows'; cf. 10. 214 ' campos salis aere secabant'; Ennius, Ann. 385 'caeruleum spumat sale conferta rate pulsum'. The 'bronze' is strictly an anachronism; cf. F. H. Sandbach, Proc. Virg. Soc. v (1965-6), 26ft. For ruere of violent driving motion cf. 85, G. 2. 308 f. ' ruit atram / ad caelum picea crassus caligine nubem'; Lucr. 6. 726 'mare permotum uentis ruit intus harenam'. 36. uulnus: a 'hurt', physical or mental; cf. 4. 67 "taciturn uiuit sub pectore uulnus'; Lucr. 1. 34 'aeterno deuictus uulnere amoris', 2. 639 'aeternumque daret matri sub pectore uulnus'; Theocritus 1 r. 15 ix8umv ixs vauj tc irip-irpavw. wpl), 43. disiecitque . . . euertitque : cf. note on 18. Pallas 'split their ships and upturned the sea with gales': the two actions are simultaneous, linked by the double -que, and there is no vortpov irportpov (for which see on 526). 44. ilium : emphatic, in adversative asyndeton: ' but as for him, with pierced breast he gasped out flame, as she whirled him 42 COMMENTARY LINES 44-51 43 off in the spinning blast and impaled him upon a jagged crag'. Homer (Od. 4. 499 ff.) represents Ajax as drowned by Poseidon, with no mention of the thunderbolt; this, however, had evidently been in the tradition used before Virgil by Accius, for DServius quotes a line 'de Aiace' from Accius' play Clytemestra, ' in pectore / fulmen incohatum flammam osten-tabat Iouis'. Virgil's restraint is well seen by comparing the horror versions of Seneca, Agam. 528 ff., and Quintus Smyrnaeus 14. 530 ff. For the legend cf. Frazer's note on Apollodorus, Epit. 6. 6 (Loeb edn., p. 246); Pearson, Fragments of Sophocles i, 8 ff. Virgil must have remembered Lucr. 6. 390 ft., the argument against Iuppiter's control of thunderbolts: cur quibus incautum scelus auersabile cumquest non faciunt icti flammas ut fuiguris halent pectore perfixo, documen mortalibus acre, et potius nulla sibi turpi consents in re uoluitur in fianums innoxius inque peditur turbine caelesti subito correptus et igni ? But such rationalizing was not in his line, as he often makes clear. 45. turbine : the wind-force of the thunderbolt; cf. 6. 594 ' praecipitemque immani turbine adegit': so of an arrow's flight, 12. 320 'incertum qua pulsa manu, quo turbine adacta', and of a whirled stone, 12. 531 f. 'praecipitem scopulo atque ingentis turbine saxi / excutit effunditque solo'. Henry's fifteen-page note on infixit makes lively reading. 46. ast ego : see on 39. Ast is archaic; in early Latin it occurs in legal formulae (e.g. the Twelve Tables), and in sentences with a double protasis, e.g. Plaut. Capt. 683 'si ego hie peribo, ast ille ut dixit non ředit' (a parody of the legal manner); for other formulaic uses see Cic. de leg. 3. 10, Livy 10. 19. 17. In classical poetry it normally occurs only before a vowel, and most often with a pronoun following, as here, or before ubi, ibi; but note 10. 743 'ast de me diuum pater atque hominum rex', where the tone is solemn and has the ring of Old Latin (cf, Norden on 6. 316). See Leo, Senecae tragoediae, i. 214 ff.; Nettleship, Contr.Lat. Lex., s.v.; and my note on 2. 467. diuum regina : so 7. 308 'ast ego, magna Iouis coniunx'. With incedit cf. 405 ' uera incessu patuit dea'; luno 'walks in majesty': the verb is coloured by its context (cf. 497, of Dido the Queen); in 8. 722 'incedunt uictae longo ordine gentes', uictae supplies the picture of a slow, sad walk (Henry has a good note on the point). 47. et soror et coniunx : cf. 16. 432 «aatynfnp' äXaxóv «; Hor. C. 3- 3- 64 'coniuge me Iouis et sorore'; Ovid, Met. 3. 265 í. 'si sum regina Iouisque / et soror et coniunx, certe soror'. 48. et quisquam : cf. Ovid, Am. 3. 8. 1 'et quisquam ingenuas etiam nunc suspicit artes ?'; et marks a querulous or angry tone, as in 4. 215; cf. Cic. de domo 85 'et tu unus pestifer ciuis eum restitutum negas esse ciuem ?' Iunonis : this device (the speaker's own name, instead of a pronoun or possessive adjective) is often used by Virgil, with varying nuances: e.g. 2. 79 (virtuous selfrighteousness, Sinonem), 2. 778 (affection, Creusam), 6. 510 (pity, Deiphobo), 7. 261 (honour, Latino), 8. 73 (reverence, Aenean), 11. 689 (pride, Camillae): see Kvičala, Vergil-Studien, pp. 17ff., an interesting list of passages from Virgil and Homer. adorat: Quintilian (9. 2. 10) quotes the line with adoret, and so too Servius (three times); but the indicative has more force—Iuno sees herself already being neglected in worship. The future imponet in 49 (for which there are variants im-ponit, imponat) adds further dramatic tone ('Does anyone now . . . ? Will anyone after this . . . ?'). 49. praeterea : ' any more', as in 6. 4. 500 f. ' neque ilium /. . . praeterea uidit'. honorem : i.e. sacrifice; cf. 3. 118 'meritos aris mactauit honores', 3. 264 'numina magna uocat meritosque indicit honores'. 50-64. Iuno visits the cave of Aeolus, the Lord of the Winds. The passage forms a smooth and artistic transition, leading on to the storm and shipwreck, from which so much was to depend. Homer's account of Aeolus (Od. 10. 1 ff.) is only incidental to his tale of Odysseus' calamities: Virgil uses the detail to serve a basic theme of the Aeneid, Aeneas' involvement with Dido and the tragedy of her death. Cf. also Quintus Smyrnaeus 14. 466 ff.: on the relationship of the two passages see Heinze, pp. 74ff.; Buchheit, op. cit., pp. 193ff. 50. flammato : this metaphorical use is not recorded earlier; it is imitated by Statius (Th. 1. 249 f.' flammato uersans inopinum corde dolorem / talia Iuno refert') and Silius (15. 560). secum . . . uolutans : a frequent turn: so 4. 533 'secumque ita corde uolutať, 6. 185 'haec ipse suo tristi cum corde uolutat', 12. 843 ' aliud genitor secum ipse uolutať ; 6. 157 í. 'caecosque uolutat / euentus animosecum', 10. 159f.' secumque uolutat / euentus belli uarios'. 51. patriam : the winds have a settled homeland, with established traditions and loyalties: so the bees ' patriam solae et certos nouere penatis' (G. 4. 155). 44 COMMENTARY loca . . . Austris : cf. 6, 265' loca nocte tacentia late'; Ovid, Met. 14. 103 'loca feta palustribus undis'; feia suggests the large family of the winds (cf. Varro Atacinus, fr. 12 Morel, ' feta feris Libye'). Servius comments ' legerat apud Ennium [Ann. 594] furentibus uentis, sed quasi asperum fugit et posuit austris pro " uentis " ': Virgil could not treat final -s as Ennius and Lucretius did, but the particularizing is in any case characteristic of his manner. Cf. 12. 115 Tucemque elatis naribus efřlanť, where Servius notes 'Ennianus uersus est ordine commutato. ille enim ait [Ann. 600] " funduntque elatis naribus lucem" '. 52. Aeoliam: for the accusative see on 2. With the strong pause at the second-foot diaeresis cf. 168 'Nympharum domus. hie . . .': contrast 54, a like metrical pattern, where the absence of pause after premit makes a different rhythm. From 8.417 it appears that Aeolia was identified with Lipara, off Sicily. hie : this picks up the miniature ÍKpaai.s of 51. Homer does not mention a cave; his Aeolus lives richly in a city, hdifíara naÁá {Od. io. 13). Virgil seems to have had in mind Lucr. 6. 189 ff., where the winds are pent in clouds like caged beasts: contemplator enim, cum montibus assimulata nubila portabunt uenti transuersa per auras, aut ubi per magnos mentis cumulata uidebis insuper esse aliis alia atque urgere superne in statione locata sepultis undique uentis. turn poteris magnas moles cognoscere eorum speluncasque uelut saxis pendentibu' structas cernere, quas uenti cum tempestate coorta complerunt, magno indignantur murmure clausi nubibus in caueisque ferarum more minantur; nunc hinc nunc illinc fremitus per nubila mittunt. For other Aeolus-pictures cf. Val. Flacc. i. 591 ff., Quintus Smyrnaeus 14. 474 ff. 53. A fine line, showing metrically and linguistically the noise and straining of the imprisoned winds: the massive spondees (the maximum number possible), the struggle of ictus and word-accent, the huge stretch of tempestatesque from the third to the fifth foot, the highly charged epithet sonoras ending the line—all combine to form a memorable sound-picture. 54. imperio . . . frenat: Aeolus ' holds them down with his authority, curbing them with chains and prison-bars'; the force of frenat properly applies to uinclis only, and is then extended to careere. LINES 51-9 45 L jvjj ; the shift from object (uentos, 53) to subject is a characteristic Virgilian device, giving variety and emphasis together; cf. 2. 50ff. {hastam . . . ilia), 2. 460 ff. (turrim . . . ea): it occurs often in similes (cf. 153; 2. 628, where ilia picks up ornum; 4. 445. where ipsa picks up quercum). cum : 'to the accompaniment of; cf. Cic. Verr. ii. 1. 49 'nunc . . ■ abstulit magno cum gemitu ciuitatis': murmure must be taken with montis (the mons is explained in 61), cf. 245. Again the line has much metrical weight and strain, with effective alliteration (note the clatter of repeated c in 56). The winds 'fume and fret ranged round their bars, while the mountain rumbles and roars'. 56. arce : deliberately ambiguous; it could mean an actual 'citadel', high above the winds' dungeon, or the ruler's headquarters, or simply a mountain-peak; Virgil imposingly shows the autocratic power of Aeolus over his prisoners. Cf. Ovid, H. 11. 65 'media sedet Aeolus aula'; Stat. Th. 8. 21 'sedens media regni infelicis in arce' (of Pluto). 57. animos : cf. G. 2. 441 'animosi Euri'. The word both implies the 'spirit' or 'temper' of the winds (cf. 10. 356f. 'dis-cordes aethere uenti / proelia ceu tollunt animis') and hints at their ' breath'; cf. Ovid, Met. 2. 84 f. ' quadripedes ani-mosos ignibus illis / quos in pectore habent, quos ore et naribus efflant', where ejflant is carefully chosen to support animosos. Cf. Cic. Tusc. 1. 19 'ipse autem animus ab anima dictus est; Zenoni Stoico animus ignis uidetur'; Lactantius, de opificio dei 17.2' alii sanguinem esse [sc. animam] dixerunt, alii ignem, alii uentum; unde anima, uel animus, nomen ac-cepit, quod Graece uentus äve/tos dicitur': see Wackernagel, Vorlesungen über Syntax (Basel, 1928), ii. 13 ff. temperat iras : a variation on mollit animos (for iras see on 11). 58. faciat: the vivid present suggests that the catastrophe might happen at any minute, were it not for Aeolus; cf. 6. 292 ft., ni . . . admoneat . . . inruat; 11. 912 ft., ineant pugnas . . . ni . . . Phoebus . . . tingat equos. But the construction is metrically advantageous too: Virgil could have written faceret, following it up with auferrent, but he could not have used uerrerent, and he would have had no room for quippe; cf. Norden on 6. 3 ff., 293 f. For a more complicated example of this vivid use cf. 2. 599 f., with my note on 2. 600. maria . . . profundum : the whole universe. Cf. E. 4. 51, G. 4. 222 'terrasque tractusque maris caelumque profundum'; see J. Sparrow, Half-Lines and Repetitions in Virgil (Oxford, 1931), pp. 75 ff. 59. quippe : here simply explanatory, like the explanatory 4ó COMMENTARY scilicet (cf. 39 note); its postponed position enables emphasis to be put on ferant. rapidi : cf. 117 'rapidus uorat aequore uertex', where the sense of rapere also appears in the adjective; so 2. 305, 4. 241. Ferant rapidi uerrantque is an elaboration of the use of rapere with ferre to mean ' plunder': if Aeolus did not keep watch, the winds would loot the universe. 60. omnipotens : Ennian {Ann. 458), — myitparýs; see Fraenkel, Plautinisches im Plautus, pp. 207 ff., and on Aesch. Agam. 1648, for this and similarly formed compounds; cf. Leumann, Kleine Schriften, p. 152. molemque . . . altos : et . . . altos explains the moles: Iuppiter 'set a towering mountain-mass above them (in-super)'; molemque . . . regemque (62) link correlated aspects of control over the winds (cf. 18 note). 62. foedere certo : Aeolus had a fixed contract, to check or loose the winds on order (iussus): he was now to ignore this, by going beyond his proper powers at Iuno's request, to his own ultimate discomfiture (132 ff.). 64. supplex : cf. 666 (Venus to Cupid): both goddesses were wily. 65—80. Iuno asks Aeolus to cause a storm, offering him a beautiful nymph as bride if he does her will. Immensely flattered, he agrees. Iuno's crafty speech combines flattery with business acumen. She conveniently ignores the fact that Aeolus is not in her employ, and he is too delighted and overawed to have any misgivings. 65. Iuno addresses Aeolus with formal ceremony. Namque is in the style of prayers, explaining why the functions of the divinity addressed are appropriate: so 731 ' Iuppiter, hospiti-bus nam te dare iura loquuntur', 6. 117! 'alma, precor, miserere (potes namque omnia, nec te / nequiquam lucis Hecate praefecit Auernis)'; similarly 5. 533 f. (Aeneas to Acestes) 'sume, pater, nam te uoluit rex magnus Olympi / talibus auspiciis exsortem ducere honores', 6. 365 f. (Palinurus to Aeneas) 'aut tu mihi terram / inice, namque potes'; cf. Hor. C. 3. 11. 1 f. 'Mercuri, nam te docilis magistro / mouit Amphion lapides canendo'; II. 24, 334 f. 'Eptitla, aoi yáp t< fiáXiorá yt ^iXrarov itrrtv j dvSpi iraipiaaai; Callimachus, h. 4. 226 áXÁá, 4>tÁri, hvvaaai yip. d/niWo nórvta hovXous. See G. Williams, op. cit., pp. 139ff.; Fraenkel, JRS xxxv (1945), 4 n.; Norden on 6. 117. diuum . . . rex : a solemn and impressive formula (cf. 10. 2, 10. 743), going back to Ennius (.4mm. 175, cf. 580, 581), and LINES 59-71 47 ultimately to Homer's 7ranj/> avbpwv rt 8iu>v t« (II. 1. 544, etc.); cf. 254 note. For the monosyllabic ending hominum rex see on 105. 66. mulcere . . . tollere; this infinitive (cf. 319) after concessive or permissive dare is frequent in poetry from Lucretius (6. 1227) onwards; it is an extension of the special use of dare with bibere in early Latin (found also in Cicero and Livy), where the infinitive acts as a direct object; see LHS, p. 345. Vento belongs both to mulcere and to tollere; as a strong wind roughens the sea, so its withdrawal brings calm (cf. E. 2. 26 'cum placidum uentis staret mare', G. 4. 484 'Ixionii uento rota constitit orbis'). Henry has an entertaining note. 67. nauigat aequor : quoted as a Grecism by Quintilian (9. 3. 17); cf. 524 'maria omnia uecti', 5. 235 'quorum aequora curro', G. 3. 260 'natat. . . serus freta'; Ovid, F. 4. 573 'immensum est erratas dicere terras': this accusative of' extent of space' after a normally intransitive verb is mainly poetic; for Cic. de fin. 2. 112 'si Xerxes . . . maria ambulauisset' see Reid ad loc. Cf. K-S i. 263 f. 68. Ilium . . . portans : cf. Ovid, F. 4. 251 'cum Troiam Aeneas Italos portaret in agros', Eur. Orest. 1365 IJapw, os iyay' 'EXXdb' eij 'I\u»>. Virgil always uses the Latin form Ilium, never Ilion or Ilios as Horace, Ovid, and others do, in spite of the harsh and unusual elision involved (cf. Norden, Aeneis VI, Anh. xi. 1. 8); see my note on 2. 625. uictosque penatis : an expansion of Ilium; the Trojans ' carry Ilium to Italy' by bringing overseas the state gods, Penates, of Troy (cf. 8.11 f.' aduectum Aenean classi uictosque penatis / inferre'); so 2. 320, where the priest Panthus brings to Anchises' house 'sacra manu uictosque deos' (cf. 2. 717). 69. incute uim uentis : Iuno is brutally direct; DServius quotes Ennius (Ann. 512} 'dictis Romanis incutit iram'. submersasque . . . puppis : ' sink their ships without trace'; a frequent construction, by which the action of one verb is expressed by a participle in agreement with the object of another verb, instead of two finite verbs being linked by coordination or subordination. 70. age diuersos : sc. Troas: ' drive them in all directions'. This is then varied and extended in dissice (from disicere, cf. Thes. L.L., s.v.) corpora ponto; corpora means the living Trojans, not corpses (cf. 10. 430 ' uos, o Grais imperdita corpora, Teucri'), and is little more than a substitute for eos. 71 ff. Cf. Hera's promise to Hypnos, II. 14. 267 f., that she will give him one of the Graces to marry (hwaut dsW/wvai <"P> KtitXijadcu d#«MTii>). But Iuno speaks more solemnly and earnestly. I 48 COMMENTARY LINES 72-7 49 est; cf. 157, 9. 238 'in bhiio portae quae proxima 1. 233. For such omission in other types of sub- 72. quae : sc ponto', G. ordinate clauses cf. 81, 216, 520; in a principal clause cf. 202, 237. See Leo, Senecae tragoediae i. 184 ff. for the practice of Virgil and other poets in this matter, and cf. my note on 2. 2, forma pulcherrima : Deiopea was a very handsome girl with a neat figure. The Greek name accounts for the polysyllabic line-ending. 73. 'I will join her to you in lasting wedlock, and formally make her your own.' luno makes it clear that she does not propose a casual liaison; as goddess of marriage she uses the Roman technical term conubium fius legitimi matrimonii', Servius) and the ritual verb dicare ('obsequentem earn fore demonstrat', Servius), for which cf. Val. Flacc. 3. 535! ' quern tibi coniugio tot dedignata dicaui, / Nympha, procos', Stat. S. 2. 7. 82 f. 'taedis genialibus dicabo / doctam atque ingenio tuo decoram'. The marriage-bond is to be permanent, the wife is to be dutiful to her husband, the purpose of the marriage is to produce children (75): all very Roman, and far removed from Homer. This line, with its solemn significance, is repeated at 4. 126, where luno sets out her plan for Dido: see G. Williams, op. cit.. pp. 370 ff. for an important discussion of both contexts, and especially of the implications for the position of Dido and Aeneas. conubio : the prosody of the second syllable is a problem. Servius states that it is naturally long, and that Virgil has shortened it here. It could, however, be scanned as long if the word is made trisyllabic by synizesis, with consonantal -»-; the same possibility is open, in theory, with all forms of the word (not only in Virgil but in Ovid, Lucan, and Statius) other than the nominative and accusative plural, where conubia is regular (except in Lucr. 3. 776, Stat. S. 2. 3. 19, 3. 3. no, 5. 3. 241, Th. 1. 245, 3. 579, 8. 235, 11. 216, where synizesis would be necessary if the -m- is to be long). But such frequent invocation of synizesis is improbable; and on this and on other grounds it is reasonable to accept Wacker-nagel's view {Festschrift fur P. Kretschmer [Vienna-Leipzig, 1926], pp. 289 ft.) that, despite Servius, the true prosody is conubium—cf. innuba, pronuba, subnuba—and that metrical convenience alone accounts for conubia where the second syllable bears the ictus (as it does in the majority of examples). For further detail see my note on 4. 126, and cf. Munro on Lucr. 3. 776. propriam : 'yours', as a permanent possession; a variation of stabili: cf, 6. 871 'propria haec si dona fuissent' (i.e. 'if these gifts had been lasting'); Hor. S. 2. 6. 5 ' ut propria haec mini munera faxis' (a prayer); Cic. leg. Man. 48 ' quod ut illi [sc. Pompeio] proprium ac perpetuum sit . . . uelle et optare debetis'. omnis : emphatically placed {cf. 30 note): a further extension of the idea in stabili and propriam. This is a characteristic line-pattern, with epithet and noun in agreement at beginning and end (see Norden, Aeneis VI, Anh. iii. A. 1); often a syntactical unit is so enclosed (e.g. 368, 551), a technique studied in valuable detail by T. E. V. Pearce. CQ n.s. xvi (1966), 140ff., 298ft. 7c pulchra . . . prole : either causal (with facial), or descriptive (with parentem), or a fusion of both ideas. Aeolus will become a family man, with handsome children like their mother. Ennius puts the purpose of marriage more directly, Sc. 129 'ducit me uxorem liberorum sibi quaesendum gratia' (see Vahlen on Sc. 120, and G. Williams, op. cit., p. 371); cf. Catullus 61. 204f. Tudite ut lubet, et breui / liberos date'; Hom. h. 5. 126 f. AyxyatfH 8« p,t doKt itapal Xixtaiv KoXitaQiu j In Od. 10. 5 ff. Aeolus has a wife, with six sons and six daughters married to each other, feasting continually with their parents: Virgil has chosen to make him a lonely bachelor. But DServius (on 71) offers some entertaining efforts by scandalized critics to explain away Virgil's temptation of a married man. 76ff. A clever piece of characterization: Aeolus is awed and excited, and full of innocent self-importance (so soon to be shattered). 76. contra : 'in reply*; 6. 544 "Deiphobus contra , 7. 552 turn contra luno'. . tuus : in antithesis with mihi (77). The emotional o with the vocative (cf. LHS, p. 26; Fordyce on Catullus 46. 9) suggests awe and respect here (cf. 229, 327 f., 522), sorrow in 198 f. Optare is stronger than uelle, suggesting a longing for something; cf. 10. 279 'quod uotis optastis adest*. 77, explorare :' to settle', after thinking things out:' deliberare' (Servius); 'aperire uel pensare' (DServius). capessere : cf. Plaut. Trin. 300 'haec tibi si mea impena capesses, multa bona in pectore considenf. Ovid is blunter. Met. 4. 477 'facta puta, quaecumque rubes' (Tisiphone to luno). . . fas est: cf. 4. 113 (Venus to luno) 'tu comunx, tibi fas animum temptare precando*. The basis of fas is divine sanction; here it means virtually 'duty' (cf. Shackleton Bailey, Propertiana, p. 91): Aeolus says 'Your task is to settle your pleasure; I have a duty to carry out orders', 5o COMMENTARY LINES 77-81 51 naively assuming that what Iuppiter's wife bids is within his brief from Iuppiter. For the double monosyllable ending the line, cf. 181, 603; there is no resulting rhythmic disturbance like that of 105 (aquae mons): see Norden, Aeneis VI, Anh. ix. 4. b. 78 ff. tu . . . tu . . . tu : Aeolus returns Iuno's compliment (65) by using the ceremonial style of hymns, with anaphora (see Nisbet-Hubbard on Hor. C. 1. 10. 9): cf. 8. 293 ff. (hymn to Hercules) 'tu nubigenas . . . tu Cresia . . . te . . . te . . .'; Catullus 34. 13ft. 'tu Lucina . . . tu potens Triuia . . . tu cursu . . .': the powers and honour of the deity are formally listed (so too Catullus 36. 12 ff.). In 7. 335 ff. Iuno uses this style to Allecto, 'tu potes . . . tu uerbera . . . tibi nomina . . .'; so Amata to Turnus, 12. 57 ff. 'spes tu . . . tu requies . . . te penes, in te . . .'; Horace slily adapts it for his Ode to a wine-bottle, C. 3. 21, 13 ff. 'tu lene tormentum . . . tu sapien-tium . . . tu spem . . . te Liber . . .' (see G. Williams, op. cit., pp. 132 ff.). Anaphora has its roots in the lively dramatic manner of spoken Latin, giving emotional emphasis in sentences of parallel structure: see Hofmann, hat. Umgangsspr., pp. 61 ff. for its development in Plautus and Terence (it reappears in the speeches of freedmen in Petronius, 44. 7, 63. 8, 9). The poets made it a conscious stylistic ornament, often serving as an artistic form of emphatic connective: e.g. 421 f., 709, 2. 306 'sternit agros, sternit sata laeta', G. 1. 77 f. 'urit enim lini campum seges, urit auenae, / urunt Lethaeo perfusa papauera somno': see LHS, pp. 694 f. Quintilian (11. 3. 176) comments on the difference of tone needed for 'tu mihi quodcumque hoc regni' and 'tune ille Aeneas?' (617). 78. quodcumque hoc regni: sc. est. The partitive is depreciatory; cf. Lucr. 2. 16 'hoc aeui quodcumque est', Catullus 1. 8 'quicquid hoc libelli' (see Fordyce ad loc). Aeolus means 'my humble kingdom', with the modesty that conceals pride. sceptra Iouemque : a compression for 'royal power and Iuppiter's favour'. Virgil has invented this detail (perhaps for sheer fun), that it was Iuno who had got the wind-kingdom concession for Aeolus from Iuppiter, to suit his plot. 79. concilias . . . das : the present is used, of a completed action with lasting effect: Iuno once did Aeolus this favour, and she remains his benefactress; so 9. 266 'cratera antiquum quern dat Sidonia Dido' (the bowl 'is a present from Dido', who was long since dead). The Augustan and later poets like the idiom (which has much metrical advantage for the hexameter): see LHS, p. 306, and my note on 2. 663; Vahlen, Opu.sc. Acad. i. 364. go A line of almost operatic bombast (but innocently proud), full of noise and weight; a four-word line is rare. Conington found it awkward, a mere repetition of 78: but there Aeolus speaks of his power in general, here of his special sphere and of the capacity in which he has the entree to the parties of the gods. 81-123. Aeolus looses the winds. The Trojans, caught in a hurricane, face death; and Aeneas laments that he did not die at Troy. Jhe storm falls violently upon the ships, and many are wrecked. Virgil first describes the swooping of the storm (81-101), then its effects (102-13), a balanced arrangement. Till now, except for the brief mention of the Trojans in 34 f., set on a fair course, the action has been on the divine plane; now the mortal actors take the stage, with their immediate condition settled arbitrarily by Iuno. Virgil's storm is clearly reminiscent of Od. 5. 291 ff.; but there it is a horrible incidental only, here the storm has profound and lasting implications for Aeneas. Some modern scholars discover far-reaching symbolism in the passage: see Pdschl, Die Dichtkunst Virgils (Innsbruck-Vienna, 1950), pp. 23ff. (English version, pp. 13 ff.); B. Otis, Virgil (Oxford, 1963), pp. 227ff.; such speculations are of undoubted interest, but they are entirely subjective. Homer's example, and the precedent of Naevius, who had likewise described the Trojans as overtaken by a storm (see on 229), had shaped poetic tradition for Virgil; his dramatic intuition showed him how and where to use it. Juvenal, telling how a friend had escaped from a storm at sea, observes sardonically (12. 22 ff.) 'omnia hunt /talia, tarn grauiter, si quando poetica surgit / tempestas'. Virgil's sense of proportion may be realized from a comparison with other storm-descriptions: Ovid, Met. 11. 4740.; Lucan 5, 560 ff.; Seneca, Agam. 462 ff.; Val. Flacc. 1. 608 ff.; Statius, Tk. 1. 342 ff.; Quintus Smyrnaeus 14. 488ff.: cf. W. H. Friedrich, Festschrift Bruno Snell (Munich. 1956), pp. 77 ff. The locus spread from poetry to history; cf. Livy 21. 58, 40. 58, Tac. Ann. 2. 23. It was taken up in the declamation-exercises of the schools of rhetoric (Seneca, Contr. 7. 1.4, 10; cf. the parody in Petronius 114): see J. de Decker, Juvenalis Declamans (Ghent, 1913), pp. 148ff.; S. F. Bonner, AJP lxxxvii (1966), 280. 81. haec ubi dicta : again, 5. 32, 315, 8.175; cf. 5. 362 'post, ubi confecti cursus'; for the omission of sunt see on 72: such an 52 COMMENTARY LINES 81-8 53 omission in a subordinate clause is less common in Virgil with a passive participle than it is with a deponent (cf. 520, where both occur). cauum . . . montem : a conflation of the antrum (52) and the mons (55}. Probably conuersa cuspide means 'with the butt-end of his spear' (but it could mean ' turning his spearhead' against the mountainside); cf. Ovid, Met. 14. 300 ' percutimurque caput conuersae uerbere uirgae', Lucan 7. 577 ' uerbere conuersae cessantis excitat hastae'. Some commentators think that Aeolus was inside the winds' cave (e.g. Kvičala, Vergil-Studien, p. 43), which seems improbable. The harsh alliteration marks the clatter of the blow; and the noise is continued by the winds themselves (in 83, every word but one contains t). 82. impulit in latus : Aeolus drove at the cavernous mountain on its flank; cf. 7. 621 'impulit ipsa manu portas'. Virgil reflects Ennius, Ann. 551í. 'nam me grauis impetus Orci / percutit in latus'. The strong pause at the second-foot diaeresis (cf. 52 note) brings the rhythm to a jerk at the blow; see also 115, 116 for a like effect. uelut agmine facto : the winds come pouring from the' gate' like an army in column of march, moving with precision. 83. data: sc. est (see on 81). The dactyls here and in 84-5 suggest the rush of the winds; Virgil uses every device of rhythm and language in the whole passage to make us feel and see his storm. perflant: cf. Lucr. 6. 132 ft. "est etiam ratio, cum uenti nubila perflant, / ut sonitus faciant. . . . / scilicet ut, cre-bram siluam cum flamina cauri / perflant, dant sonitum frondes ramique fragorem', a grand effect of noise. 84. incubuere man :' down they crash upon the sea'; the perfect marks instantaneous action (so 90 intonuere). 85í. Cf. 2. 416ff. 'aduersi rupto ceu quondam turbine uenti / confligunt, Zephymsque Notusque et laetus Eois / Eurus equis': a like arrangement (two winds named together, then an epithet of a third, named in the next line). The assortment of winds goes back to Od. 5. 295í., with a variation: Virgil's winds are south-east, south, and south-west, with the north in reserve for 102. Seneca (NQ 5. 16. 2) complains that in describing these winds as all blowing together Virgil has stated ' quod fieri nullo modo potest': yet as a dramatist he himself has (Agatn. 474 ff.) ' undique incumbunt simul / rapiuntque pelagus infimo euersum solo / aduersus Euro Zephyrus et Boreae Notus'. Mackail remarks that Virgil accurately represents a Mediterranean cyclone, and Conway defends him through painful personal experience; cf. Nisbet- Hubbard on Hor. C. 1. 3. 13. But in any case Virgil knew what an epic storm ought to be like. 8<. Eurusque Notusque : for the correlation see on 18. ruunt: transitive (cf. 35); its repetition (with changed meaning) so closely after 83 is in Virgil's manner: cf. 684, 688 (falle ■ ■ ./alias), 2. 65, 70 (accipe . . . accipere), 2. 470f. (luce , .in lucent), 4. 406, 412 (cogunt . . . cogis), 5. 780 f. (pectore . . pectus): see my note on 2. 505, with bibliographical references, and cf. Sparrow, op. cit., p. 60. creberque procellis : ' squall-packed', one squall rapidly succeeding another. The construction, an adjective with dependent noun in the ablative, is a substitute for a compound epithet. Such compounding, natural to Greek, is a feature of early Latin; but greater linguistic sophistication brought severe restrictions: cf. Quintilian 1. 5. 70 'sed res tota magis Graecos decet, nobis minus succedit: nec id fieri natura puto, sed alienis fauemus, ideoque cum tcvpravx™"1 mirati simus, incuruiceruicum uix a risu defendimus'. 86. Africus: a wet and stormy south-wester. Its prominence here is due to its special villainy: Horace constantly curses it: it is praeceps (C. 1. 3. 12), celer (C. 1. 14. 5), pestilens (C. 3- 23- 5)> pyoteruus (Epod. 16. 22); the merchant fears it (C. 1. 1. 15 f.), the mast shrieks with its storms (C. 3. 29. 57 f.). Livy (30. 24. 7) tells how Cn. Octavius, on a fair-seeming course from Sicily to Africa, met with the Africus which 'passim naues disiecit'; Tacitus {Ann. 15. 46) describes how some Roman captains 'graui Africo, dum promunturium Miseni superare contendunt, Cumanis litoribus impacti trire-mium plerasque .. . amiserunt'. One of the virtues of Pliny's cryptoporticus in his Laurentine villa was that it ' Africum sistif (Epp. 2. 17. 17). uastos . . . fluctus : for this frequent pattern (an epithet before the caesura agreeing with a noun at the end of the line, enclosing a syntactical unit) see T. E. V. Pearce, CQ n.s. xvi (1966), 149f., 157 f.. 317 f. 87. DServius quotes from Pacuvius' Teucer (fr. 335 R), 'arma-mentum stridor et rudentum sibilus'; Caelius, describing to Cicero (ad Fam. 8. 2. 1) how Hortensius was booed in the theatre, quotes ' strepitus fremitus clamor tonitruum et rudentum sibilus' (evidently from the same passage): cf. Ovid, Met. 11. 495 'quippe sonant clamore uiri, stridore rudentes'. uirum : for the genitive form see on 4. The double correlation of que . . . que here and in 88, following closely on 85, helps to give an impression of swift, cumulative terror. 88. Cf. 3. 198 f. 'inuoluere diem nimbi et nox umida caelum / 54 COMMENTARY abstulit'; Accius, fr. 32 R ' deum regnator nocte caeca caelum e conspectu abstulit': so in a rhetorical storm (Seneca, Contr. 7. 1. 4) 'emicabant densis undique nubibus fulmina et terri-bili fragore horridae tempestates absconderant diem*; the manner is taken off by Petrontus (114) 'dum haec taliaque iactamus, inhorruit mare nubesque undique adductae ob-ruere tenebris diem'. 89. ponto . . . atra :' black night settles upon the sea'. Quintus Curtius makes Alexander's soldiers list among imminent terrors {9. 4. 18) 'caliginem ac tenebras et perpetuam noctem prof undo incubantem man'. 90. intonuere poli: possibly a deliberate echo of incubuere mari (84). The intensive compound intonate occurs first in Cic. poet. fr. 7. 12 Tr., ' partibus intonuit caeli pater ipse sinistris' (cf. Norden on 6. 607}. Virgil uses the plural poli here only (later Epic has it often): the thunder crashed ' from pole to pole' (Conmgton). Lucan improves upon the idea, 5. 632f. ' arduus axis / intonuit, motaque poli conpage laborant'. micat . . , aether : cf. Pacuvius, fr. 413 R 'flamma inter nubes coruscat, caelum tonitru contremit'. Ovid plays further with his lightning, Met. 11. 521 ff. 'caecaque nox premitur tenebris hiemisque suisque; / discutiunt tamen has prae-bentque micantia lumen / fulmina, fulmineis ardescunt igni-bus ignes'; Seneca's picture is (Agam. 493 ff.) 'premunt tenebrae lumina et dirae Stygis / interna nox est. excidunt ignes tamen / et nube dirum fulmen elisa micat': a brisk game. It is misleading to call this line an example of wmpov trportpov (see on 526): or is 'thunder and lightning' one? 91. mtentant . . . mortem : cf. Seneca, Phaedr. 727 'instat pre-mitque, mortis intentat metum'. Intentare is not recorded in poetry before Virgil. The line may echo Catullus 64. 187 'omnia sunt deserta, ostentant omnia letum': Virgil is so steeped in him that it is not possible to tell whether such reminiscences are conscious or not (cf. Fordyce on Catullus 66. 39). 92. extemplo : an augural word, which occurs in ordinary usage as early as Plautus (Hofmann, Lat. Umgangsspr., p. 83). Ennius, Accius, and Lucretius have it, and its status of archaic dignity is seen from its occurrence in Epic and its absence in Lyric and Elegy (Ovid has it in the Metamorphoses only). See Thes. L.L., s.v.; J, C. Jones, ALL xiv. 104. Aeneae : the first naming of Aeneas, almost casually. Similarly, Latinus' regia coniunx is mentioned in 7. 56, but not named until 7. 343; Turnus' soror alma is mentioned in 10. 439, but not named until 12. 146: they are first indicated 'off-stage', named when they come directly into the action LINES 88-93 55 (cf. Eumelus, Od. 14. 55): see Heinze, pp. 377 f., an interesting discussion. One of the pictures in Vat. lat. 3867 (the Romanus) shows the scene with considerable vigour: the Trojans are in a violently storm-tossed ship, Aeneas has his arms outstretched to the sky, above is a winged Iuno with Eurus and Notus flanking her: see the Rome facsimile {Codices e Vaticanis selecti ii, published in 1902), and cf. K. Weitzmann, Ancient Book Illumination (Harvard, 1959). P- 6o- soluuntur frigore membra : a Virgilian fusion of Od. 5. 297 Xrlro yowara with Livius Andronicus' translation 'Ulixi cor frixit prae pauore' (fr. 16 M). DServius, who quotes this, proceeds to show the captious naivete of early critics: ' repre-henditur . . . Vergilius quod improprie hos uersus Homeri transtulerit, Kai tot' 'Oovooijos Xvro yowara Kai euptt'j); but he then laments the loss of glory from death in battle if he drowns, while Aeneas thinks of the brave men who are dead when he lives. 94. terque quaterque : for the correlation see on 18. 95. quis : this form (dative and ablative) occurs in Comedy, Lucilius, Sallust, Varro, Cicero's letters, Virgil has it eight times in the Aeneid, only once in the Georgics (1. 161), nowhere in the Eclogues: presumably its archaic tone commended it for Epic (in Silius it predominates). Lucretius has it once (5. 871), Catullus uses it sometimes, but only in his longer poems. But Horace uses it only in the Satires and (once) in the Epodes, presumably influenced by its familiar tone. In Elegy, Ovid, Propertius and Tibullus have it occasionally. In prose, it recurs in Livy and Tacitus. The form is thus clearly a matter for stylistic ' feel': see Leo, Plautinische Forschungen1, p. 316 n. 1, and cf. Kiessling-Heinze on Hor. C. 1. 26. 3. ante ora patrum : the saddest of all deaths, and yet to Aeneas such men are beati; cf. Priam's outraged reproach to Pyrrhus, 2. 538f. 'qui nati coram me cemere letum / fecisti et patrios foedasti funere uultus", 6. 308 'impositique rogis iuuenes ante ora parentum'. There are many tomb-inscriptions of the type ' quod par parenti fuerat facere filium / mors immatura fecit ut faceret pater' (Carm. Lat. Epigr. 164 etc.): see R. Lattimore, Themes in Greek and Roman Epitaphs (Urbana, 1962), pp. 187 ff.; he suggests that the Romans felt more deeply on this than the Greeks. 96. oppetere : Ennian (Sc. 203 'utinam mortem obpetam'). Virgil's use without mortem or the like was taken up by Tacitus (Ann. 2. 24, 4. 50). The repeated 0 marks strong emotion (cf. 76 note). 97. Tydide : Greek vocative, Greek patronymic of Diomede: for Aeneas' escape from death at his hands, helped by Aphrodite, see 77. 5. 297 ff. (cf. the allusion in 4. 228); Helenus terms Diomede Kdprurrov A\(uu>v (II. 6. 98), putting him even above Achilles. mene . . . potuisse : for the construction see on 37. Occum-bere (never of natural death) is absolute here (so 7. 294, 10. 865); occumbere morti, 2. 62 (see my note there for other constructions, and Krebs-Schmalz, Anlibarbarus d. lat. Sprache, s.v.). LINES 93-102 57 00. Aeacidae : i.e. Achilles (so 6. 58; of Pyrrhus, 3. 296; of Perseus, king of Macedon, 6. 839). For the characteristic triple anaphora cf. 78 ff. note (a quadruple etia in a similar passage, Od. 3. 109 ft.). Unnecessary difficulty has been made of iacet (cf. Conway's note): for the moment, Aeneas is back on the battlefields of Troy, seeing his friends' bodies, dead. ubi ingens : an elision at this point is unusual, except with -que (e.g. 177) and neque; cf. 9. 351 ' ibi ignem', G. 4. 491 'ibi omnis', both with a strong pause preceding: see Norden, Aeneis VI, Anh. xi. 1. 9. The sense-pause (before ubi here) is also rare in Virgil (Norden, ib., Anh. ii. 4. 4). This is the first occurrence in the Aeneid of ingens, so dear to Virgil: see Henry on 5. 118, a classic example of his manner; but cf. my note on 4. 89, and Conway on 453 below. For Sarpedon's death see II. 16. 426 ft. 100. correpta : with uoluit (see on 69); Aeneas still sees events as if they were before his eyes. Servius knew a variant sub undas, cf. 8. 538 (a near-repetition of this passage; see Sparrow, op. cit., pp. 66, 103). 101. The arrangement is noteworthy: two nouns with acommon genitive (uirum), then a noun with epithet. The main pauses in the whole speech have been carefully planned: end of second foot (96 oppetere); beginning of second foot (97 Tydide); a lighter pause at dextra (end of 98); then a tricolon, of which the first clause occupies nearly the whole of 99, the second spills over to the second foot of 100 (Sarpedon), and the third, much longer, takes nearly two lines, giving a strong and effective finale. The speech is also markedly dactylic, a rush of anguished utterance. 102 ff. The shipwreck is described with vivid power (cf. the account of St. Paul's shipwreck off Malta in Acts 27). There are many violent verbs: ferit, franguntur, furit, torquet, urget, inlidit, excutitur, uoluitur, uorat. The sea is tossing everywhere: fluctus, undis, aquae, fluctu, unda, fluctus, aestus, fluctibus, wart, alto, uadis, pontus, fluctus, aequore, gurgite, undas; and in one tremendous phrase (105) we are shown metrically and verbally a piling jagged massif of waters. Cf. N. I. Herescu, RE.L x (1932), 322 f. 102. talia iactanti : so Petronius in his parody (114) 'dum haec taliaque iactamus, inhorruit mare'. The dative of 'person affected' provides a neat transition; contrast the varying methods of 50, 81, 142, 208, 297, 402, 579, 610, 631, 689, Iactare takes its tone from its context: it is often used of ranting, boastful talk (e.g. 2. 588, 9. 621), and Servius unsympathetically interprets here 'inaniter loquenti', but 58 COMMENTARY LINES 102-9 59 Aeneas' cry is one of despair (cf. 2. 768 'ausus . . . uoces iactare per umbram'); in a remarkable passage (E. 5. 62 f.) the mountains 'shout for joy' ('ipsi laetitia uoces ad sidera iactant / intonsi montes'). stridens . . . procella: ' a shrieking northerly squall'; the Aquilo comes in at last (cf. 85 f. note). Aquxlone may mark direction ('ab Aquilone', Servius), or, more probably, the specific manner of the stridor; the ablative with stridens acts for a compound epithet ('North-wind-whistling'). Virgil reflects early poetry: Ennius, Ann. 443ff. 'concurrent ueluti uenti cum spiritus austri / imbricitor aquiloque suo cum flamine contra / indu mari magno fluctus extollere certant'; Accius, fr. 566f. R 'unde horrifer / Aquilonis stridor gelidas molitur niues'. Cf. Acts 27: 14 (New English Bible) 'A fierce wind, the "North-Easter" as they call it [' Euroclydon' AV; Euro-aquilo Vulgate], tore down from the landward side. It caught the ship, and, as it was impossible to keep head to wind, we had to give way and run before it'. 104. prora auertit:' the prow lurches round'. MR have prorant, which involves an abrupt change of subject for dat latus, whereas franguntur remi)( prora auertit give a balanced chiasmus and there is no problem with dat latus. For auertere used intransitively cf. 402; see Thes. L.L., s.v., 1321. 53. 105. insequitur . . . mons : contrast the blandness of Ovid, Tr. 1. 2. 19f. 'me miserum, quanti montes uoluuntur aquarum! / iam iam tacturos sidera summa putes'. The modal cumulo applies both to insequitur and to praeruptus (cf. 2. 498 ' fertur in arua furens cumulo', of a river in flood). The rhythm is notable, a run of dactyls and a sharp monosyllabic ending. The normal end-pattern in Virgil is either of the type Aquildne procella or of the type sidera tdllit; in both, the speech-accent and the metrical ictus fall upon the same syllable, giving a smooth close to the line: such coincidence must occur if the final word is disyllabic or trisyllabic and the last two feet are shared between two words only (or have the pattern of 104, auertit et undis). In this abnormal line, because of the monosyllable at the end, there is clash, not coincidence: the ictus gives praeruptus aquae mons, against the speech-accent praeruptus aquae mdns. Such abnormality in Virgil is usually designed for some graphic effect; here, the mountainous waves rear up metrically. But sometimes such an ending reflects a traditional formula from early poetry, as in 65 ' diuum pater atque hominum rex'. See my note on 4. 132; Norden, Aeneis VI, Anh. ix, 2, 3. 106. hi ... his : different crews; the varied construction is in Virgil's manner. Contrast Seneca, Agam. 497ff. 'ipsa se classis premit / et prora prorae nocuit et lateri latus. / ill am dehiscens pontus in praeceps rapit / hauritque et alto reddi-tam reuomit mari; / haec onere sidit, ilia conuulsum latus / submittit undis, fluctus hanc decimus tegit': Virgil knew when to stop. dehiscens : the verb is recorded in Varro only before Virgil. 107. terram : the sea-bed; cf. Ovid, Tr. 1. 2. 21 f. 'quantae diducto subsidunt aequore ualles! / iam iam tacturas Tartara nigra putes'. furit . . . harenis : ' there is a mad swirl of sea and sand'; cf. 3- 557 'aestu miscentur harenae'; Quintus Smyrnaeus 14, 495 f. fill) 8f tis qox*tos a'« / ifiafifiov dvafikv^taitt Skotyoficvoio AfAu5 nirpats, afs wv ovvop.a iTaAAartSc;, ft, II. 5 f. yXthoo' ivoftrpt "n&Xas". It is marked by two striking figures, epanalepsis (as in Callimachus, k. 5. 40 f.) and hyperbaton (see on quae, below). Epanalepsis (the rhetorical repetition of a word or phrase from a previous line) is used with varied effect according to its context, sometimes merely ornamental, sometimes emotional; with this example (saxa latentia . . . saxa) cf. Lucr. 5. 950 f.' proluuie larga lauere umida saxa, / umida saxa', and see, e.g., 2. 406, 6. 496, 7. 587, 10. 822: see Norden on 6. 164, and my note on 2. 406; G. Williams, op. cit., pp. 705, 730. Here the figure is designed to dress the didactic manner with ornament, and to give lively emphasis to the apparently casual parenthesis (which is itself a Hellenistic device of style; see G. Williams, op. cit., pp. 730f.). Virgil was in any case interested in the kind of detail that he offers here; it is as if he wishes to give his readers ('Itali') the pleasure of looking at a map with him and of identifying the very place where these mythical events occurred; there is something 6o COMMENTARY LINES 109-17 61 too of a historian's manner, e.g. Livy 30. 10, 9 'sub occasum solis in portum (Rusucmona Afri uocant) classem adpulere'. quae: the word-order is dislocated (hyperbaton). Quin-tilian (8.2. 14) quotes the line disapprovingly (' peior mixtura uerborum'): but, as Conway remarks, he was advising orators, not poets. The figure gives further colour to the footnote; there is a remarkable example (also in a passage of antiquarian interest) in 7. 678 ff. 'nec Praenestinae fun-dator defuit urbis, / Volcano genitum pecora inter agrestia regem / inuentumque focis omnis quem credidit aetas, / Caeculus' (cf. also 9. 359 ff., again didactic): for its use by Callimachus (e.g. fr. 66. 2 f. ovbi piv "HftS j ayvov ifaaiifttvai rj;