6 th Year Classical Studies Higher Level Gavin Cowzer Topic 6 - The Epic No part of this publication may be copied, reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission from The Dublin School of Grinds.
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Contents Marking Scheme... 3 Topics... 4 The Greatness of Rome and the idea of propaganda... 4 Character of Aeneas BK I VI... 6 Role of Fathers and father figures in The Aeneid... 9 Turnus and the idea of the antagonist... 11 Nisus and Euryalus... 13 Dido... 15 Venus... 17 Juno... 19 Link between The Odyssey and The Aeneid (Underworld)... 24 Gavin Cowzer 2
Marking Scheme The Leaving Certificate course in Classical Studies is wide- ranging and varied. It presents a study of history, historiography, philosophy, literature of different genres (including drama, epic and lyric poetry) as well as art and architecture. The questions on the examination paper reflect this variety of approaches and skills; the marking scheme is therefore adapted to this differentiation between the individual topics and questions. In discursive questions examiners look for developed points in candidates answers. These points must be individual and substantial. In general, a substantial and well- developed point is one which: - Takes due cognisance of the command words in the question e.g. comment on, describe, analyse, discuss, evaluate, give an opinion, etc. - Addresses the question directly - Establishes a clear link between the question asked and the prescribed material - Clearly expresses either argument or information - Fulfills all of the above at some length. This length depends on the context of the question but would generally comprise a substantial paragraph. It is important to note that at Higher Level, where questions call for analysis, evaluation, comment or discussion, candidates are required to engage with that aspect of the question and not just present a narrative of the story. A display of knowledge which is not applied to answering the question directly, while garnering some marks, will not be rewarded with high marks. As stated above, the variety inherent in the syllabus requires variety in the type of question asked and within the marking scheme. This is particularly apparent in the Art and Architecture questions (Topics 8 and 10) where occasionally a single word or brief point may suffice for full marks. In these topics correct technical terms are expected for full or high marks. The criteria for assessing discursive questions where thirty marks or more are being awarded for a global answer can be seen in Appendix 1 Gavin Cowzer 3
Topics The Greatness of Rome and the idea of propaganda Side point: style of Epic At this stage it is obvious that Virgil, who was commissioned by Augustus to write The Aeneid, weaves propaganda intrinsically throughout the epic. He also includes one or two slights against the Roman Empire, which can be included within an essay. Here we will look at how Virgil suggests / implies the future greatness of Rome. Also included common styles used in Epic poetry. From BK I Virgil maps out that the reign of Caesar, and by extension the reign of Augustus has been divinely ordained. The first episode of the text shows Jupiter on Mt. Olympus explaining to his daughter Venus that the Trojan destiny is to reach Italy and establish a new empire. Within its ranks will be Julius Caesar. This will all happen despite Aeneas and his crew at this time stranded in Carthage. Style ; speeches / prophecies / gods, all features of epic poetry Hectors ghost instructs Aeneas to leave Troy explaining that its last hours have arrived. He goes on to note how Aeneas is destined to found a new city, one that will ultimately rule the world. This prophecy that comes in the form of a dream is another stylistic trait associated with Epics. One of the more unfortunate characters in the text, Creusa has to die in order to impart her wisdom about the greatness of Rome. In BK II, she explains that Aeneas great city will be founded near the river Tiber. Gods / ghosts Interpretations of Oracles and messages from the gods are always a great way to show the importance of someone or something, also a style common to epics. At the oracle of Apollo (Crete) and Gavin Cowzer 4
Nautes (BK V), it is revealed that Aeneas will found the new Troy in Italy. Nautes reveals that the hero must endure his time in Sicily and persist after the burning of the ships. One of the more obvious divine interventions is seen with Mercury. This episode is a potential slight towards Aeneas and Rome. His stern speech to Aeneas shows the plans the gods have for the Trojan and Rome. Speech / Gods / Prophecies Scene at the River Lethe. Aeneas inquires why there are so many souls flying about the place? Anchises responds with the fact that these souls, in time will be reincarnated. They will be the future leaders of the roman world. Within this rabble of spirits is Romulus, founder of Rome, The Gracchi, Julius Ceaser and Augustus, who is paying for the epic to be completed. Propaganda / The greatness of Rome / Speech Evander takes Aeneas his guest on a tour of the major landmarks which correspond to those of Rome. Tarpeian rock / Capitolium Venus presents her son Aeneas with a shield, armour and weapons made by Vulcan alludes to the greatness of rome. Engraved in the armour are important scenes which relate to the foundations of Rome. Romulus and Remus / Sabine women Gavin Cowzer 5
Character of Aeneas BK I VI Virgil creates a very believable charcater in Aeneas. The idea of Aeneas as an anti hero can be discussed (neglect of wife / Dido episode/ Turnus / constant emotions) however realistically our hero has to undergo an incredible amount of hardship. It is through these disagi that Aeneas grows and developes into the hero of the tale. Introduction of our hero, frightened, emotional. Aeneas is weak and damanaged by his travels. His focus on the mission wanes as he constantly lives in the past. His attention remains on Troy. BK I Storm scene. Immediately after the storm we see Paternal Aeneas. He looks after his men by feeding them and attempting to raise their spirts. He also relentlesly searches the sea for his lost man showing his responsibility. Fall of Troy; Virgil portrays Aeneas as the young, patriotic protagonist. Pious He is brave and daring, if a little foolhardy. He wishes to stay and fight for Troy. His avenging is curtailed by numerous instructions to leave. He is drawn to family Pietas At Anchises house the importance of Aeneas is highlighted by Jupiter s Miracle. The flame on Ascanius head shows the importance of Aeneas lineage so he therefore must leave with the surviving Trojans. Death of Creusa* Virgil gives us an insight into the charcter of Aeneas. He shows us the diaspora and the events which have befallen Aeneas. Death of Creusa The destruction of Troy Seven year toil Ghost of Polydorus Pestilence in Crete Gavin Cowzer 6
Harpies Death of Anchises at Drepanum The epsiode concerning Dido shows the human side of Aeneas. In BK IV he is manipulated by the Gods Juno and Venus, and is delayed for over a year in Africa. His focus on the misson once again is marginalised and his duty to the gods dwindles. When forcibly instruced to leave Africa by Mercury Aeneas leaves immediately. He says nothing to Dido which adds fuel to the fire Her subsequent suicide shows how poorly Aeneas handled the situation. Can we blame him for her demise? Discuss Ultimately she is a victim of Rome and a plaything for the gods. Burning of the ships; Forced to make his home in Sicily. Aeneas is devestated by the latest woe. Juno / Iris Dutiful Aeneas funeral games Prayer to Jupiter constantly thinks of Troy Journey to the Underworld.*** A hugely influencinal moment in the life of our hero. BK VI It is the symbolic death and rebirth of Aeneas. His succesful return brings with it a far more confident Aeneas, emboldened by the notion of his great lineage. He is no longer haunted by the memory of Troy and is fully ready to take on any new threats. Turnus Ghosts of the underworld and their impact on Aeneas Discuss; Palinurus; A farewell to he voyages which were a significant source of anguish for seven years Dido; Relieves some of the pain felt at her death when seen with Sychaeus. A finality to the love affair. Deiphobus; Farewell to Troy. Allows Aeneas to now look forward and concentrate on the impending threat of the Rutulians. Gavin Cowzer 7
Anchises; The ghost of his father obviously holds significant importance with the impact on Aeneas. It completes the transformation of our hero. Gives a massive amount of encouragement to his son. River Lethe. Gavin Cowzer 8
Role of Fathers and father figures in The Aeneid Anchises 2011 sample answer Virgil shows enormous respect for the importance of fatherhood through Aeneas reverence and love for Anchises. He will not leave Troy without him and would rather die. He carries him out on his back. He holds games for him and even goes to the Underworld to see him. Anchises has great influence on Aeneas and directs him towards Italy and his great destiny. His unexpected death is a huge cause of upset and woe for Aeneas. Initially an obstacle to the beginning of Aeneas mission, Anchises is vital to the story of the leaving of Troy in Book II. Advises to leave in early summer, and also interprets the oracle at Delos It is he who decides to leave the island of the Harpies / guides the crew past Charybdis Ghost of Anchises instrumental in alleviating Aeneas poor form in Sicily. Ship fire It is he who tells him to visit the Underworld. River Lethe episode once again. Future of Rome Constant advice and support to his son and his key role in the Underworld. Anchises role in explaining the significance of what he sees there. He is also vital in the revealing of Aeneas destiny. Fathers and Father figures in general The relationship between Aeneas and Ascanius. Discuss. Aeneas is devoted to his son and it is this that gets him to move on from Dido. Gavin Cowzer 9
Aeneas the father of the Trojans (Pater Aeneas) Evander and the pathos of his loss of Pallas. Latinus, father of Lavinia. Daunus father of Turnus. Lausus takes the place of his wounded father in the encounter with Aeneas. Iarbas appeal to Jupiter. Gavin Cowzer 10
Turnus and the idea of the antagonist The character of Turnus, under different circumstances could have been considered our lead protagonist. He is handsome, liked by the gods, equips himself well in battle and is an excellent leader of men. He does have his flaws, like his unrelenting anger. Without this however he becomes unbelievable and one- dimensional. Therefor when we look at his role in the text, can we say that he is simply the counter point of Aeneas? Is it fair to call him the bad guy? It is more pertinent to address Turnus as the antagonist. We as readers maintain sympathy for Turnus and his plight. Much like Dido, Turnus is fighting and against an unstoppable force, a battle which he cannot hope to win. In an answer based on or surrounding Turnus there are some areas you must address: First and foremost Turnus is brave. Even in the face of insurmountable odds, he rouses his men. The Burning ships / Jupiter. Turnus turns this event into a positive omen for his side. Virgil goes to lengths to show his ability in battle. Turnus is handsome, a character trait you would normally associate with the hero of the story. This is evident in the fact that he is favourite to win the hand of King Latinus daughter Lavinia. As readers (and within your answers) we sympathise with Turnus. He loses his potential wife, his kingdom and ultimately dies at the hands of an invading force. Much like Aeneas other enemy, he is prone to bouts of furor / anger. BK IX stalking the Trojan camp. Obstacle in the way of the Roman empire. He is used by Juno and ultimately must fight Venus. Dido Ultimately abandoned by Juno to die. Fate Drances and his relationship with Turnus ultimately causes more sympathy. He is an opponent of Turnus, and welcomes the idea of the duel. He also feels Aeneas should be awarded the hand of Gavin Cowzer 11
Lavinia. Identifies Turnus anger and blames him for the death of his soldiers. Accepts the duel twice, showing his bravery once more. Impact of Juturna / Juno. He knows that he is to die at the hands of Aeneas but engages in battle nonetheless. Very obviously outmatched in the battle. Turnus is not our archetypal villain. He is merely an obstacle in the way of Rome, one that must be eradicated. Gavin Cowzer 12
Nisus and Euryalus Comment on the episode involving Nisus and Euryalus This relationship that exists within the epic is deeply moving. It has all the hallmarks of an excellent relationship rich and deep in meaning and love. This is however juxtaposed by the violent and brutal end suffered by both at the hands of the Rutulians. Their decapitation and mutilation is a far cry from our first meeting of the pair. Virgil here goes to lengths to show the harsh and barbaric nature of warfare. It also could be said that it is not without hardship and the shedding of blood do we receive something as significant as the Roman race. It is obvious that Virgil wants the reader to both admire and criticise the young lovers. The foot race and the initial meeting in BK V shows the depth of their friendship with Nisus sacrificing himself so to speak so that Euryalus wins the race. Make sure to note the juxtaposition when commenting on this event. The character traits / personalities will have to be discussed when addressing BK IX. Nissus is adventurous and keen to engage in the night raid, where as Euryalus acts out of a sense of duty. Both share a want for blood and destruction in this episode. They are ruthless and exact in the rutulian camp, slaying all the young men around them. It is Nisus who insists on proceeding and it is also Nisus who reacts when Euryalus is taken, running back in order to save his friend. It is at this moment we see the young man sacrifice himself in the futile hope of saving Euryalus. He is making the conscious decision to die with his friend. Brave / Loyal / selfless Although their actions can be perceived as brave, the two die needlessly. Vigil yet again focuses on the senseless eradication of youth. Note Pallas / Lausus Gavin Cowzer 13
Virgil is also keen on showing the Furor and horrors of war. The mutilation of the beautiful young men and subsequent decapitation shows this. This is accented by the reaction of Euryalus mother, which shows Virgil s sensitivity to the greater scope of war. Gavin Cowzer 14
Dido Dido and her downfall Dido is a woman who epitomizes the idea that as flies to wanton boys are we to the gods. Her life is irrevocably altered and ultimately ended by the involvement of the gods, specifically Juno, Venus and Jupiter. Questions constantly come up about Dido and her involvement in the epic. Again it is NB to note that the same information provided is applicable to a myriad of different questions. It is about using the information you have to your advantage. Influence of the Gods on Dido The role of the gods in the doomed affair of Aeneas and Dido begins with Jupiter. It is he who sent Mercury to inspire the Carthaginian queen to show a tolerance for the Trojans. Venus then sees that Aeneas has been washed up on the shore of North Africa and worries that Juno, patron goddess of Carthage may poison the mind of the queen, Dido, against him. To prevent that, she decides to send Cupid, disguised as Ascanius, to breathe infatuation into the heart of Dido so that, intensely in love with Aeneas, she will not be able to harm him. The goddess Juno then steps in and, shrewdly suggests a truce with Venus, arguing that the couple should marry. This is in the hope that Aeneas will never leave for Italy and Rome will never be founded. Influence of Aeneas A marriage which Virgil clearly describes as false and unholy takes place in a cave when the two are sheltering from a storm in the middle of a hunt. Gavin Cowzer 15
There follows a period where Dido neglects her city, entranced by Aeneas and he neglects his destiny. But prompted by his son, Iarbas (a rejected suitor of Dido s), Jupiter sends down Mercury to prompt Aeneas to leave, reminding him of the greatness of his destiny and that of his own son. He immediately decides to leave. Dido hears of this, rather than hearing it from him. She is like a woman possessed and alternates between rage and pleading. She becomes pitiful and deranged, contemplating an attack on the Romans, wishing she had killed Aeneas and cursing their two peoples to eternal hatred. She finally kills herself on a funeral pyre, on their bed, using his sword. The gods have used her like a puppet, regardless of her feelings and future, they cruelly and callously manipulated her for their own purposes. She is a casualty of the struggle over Rome s destiny. Influence of Herself She has vowed to her dead husband, Sychaeus, that she will not remarry but she allows her own feelings and the advice of her sister Anna to persuade her to break that vow. It is difficult to blame her, but in the ancient world, the breaking of such a vow was likely to have terrible consequences and the queen probably would have been seen as culpable. She is portrayed as a woman prone to intense emotions and unable to see the bigger picture as Aeneas does. It is valid to argue that the gods are responsible to a certain extent in her downfall and that Aeneas too plays a role in her demise. This summative account shows chronologically the downfall of Dido. It is clear that this comes due to the influence of the gods. The deities use her excessively. Ultimately we can also argue that Aeneas, who contains free will in this episode, is also to blame for her death. She too is responsible; as breaking her oath at that time was sure to hold repercussions. A tragic figure by all accounts. Gavin Cowzer 16
Venus Importance of the character Venus (2015) Taking note that a question came up on Venus last year (2015) it is unlikely that a specific question regarding Venus will come up this year. However, that is not to say that some element of her character cannot be used. For example, if a comparison question arose (Venus vs Athena ) / Family question / Role of Gods / Role of Women / Mothers in Epics any of these areas would require you to address this character. Understanding this is NB First and foremost, Venus is Aeneas mother and therefore will show due care towards him. She loves her son Aeneas and tries to help him. He gets angry with her for being distant when in fact she is quite an active deity. Intro She pleads with Jupiter in Book 1 saying that he has been treated unfairly and denied his destiny. Troy Africa During the fall of Troy she persuades Aeneas to spare Helen. Reveals the inevitable fall of the city at the hands of the gods. She also urges him to leave and to fulfill his destiny. When they have landed at Dido s, she appears disguised as a huntress and guides him to Carthage, covering him in a mist. She and Cupid make Dido fall in love with Aeneas in order to protect him and later she allies herself with Juno to arrange a marriage between Aeneas and Dido. Gavin Cowzer 17
Journey / Rutulians In Book VI she provides two doves to guide him to the golden bough. Book VIII she gets Vulcan, her divine husband, to make armour and weapons for her son. Battle between Aeneas and Turnus, she helps him. She gives him the tactical advice to attack the city of the Latins. When he is wounded she heals him. Negatives By making Dido and Aeneas fall in love, she puts him through a lot of grief and indirectly causes the death of Dido. The character of Venus permeates many different aspects of the epic. Discuss. Gavin Cowzer 18
Juno Examine the role of Juno in the Epic Loathes the Trojans. Stems from the judgment of Paris, Carthage, her city is to one day be destroyed by the Romans. She is determined in delaying the Trojans for as long as possible, if not indefinitely. Jupiter allows this. Begins by bribing Aeolus, Trojans washed up in North Africa. Much hardship and misery suffered by the Trojans. Venus and Juno conspire to infect Dido with love, thus slowing Aeneas down even further. Responsible for what happens to Dido. Death It is Juno and only Juno who makes sure that Aeneas stays for an extended period of time. The cave. This delays the Trojan for over a year in Africa. Is responsible for the burning of the ships in Sicily, at the hands of the old Trojan women. Aeneas suffers greatly in this episode. Rocked terribly by the constant misfortune. However, like all heroes, he preservers. Releases Allecto from the underworld, thus severing the relationship with the Latins. Responsible for the death of one of the Latins, resulting in the commencement of war. Amata / Lavinia Protects Turnus in battle Discuss; When is this similar to? Her actions in the epic are only concluded when Jupiter instructs his wife that the Trojan destiny will be fulfilled. Jupiter maintains that the race will worship her, speak Latin and wear the toga. This brings about her removal from the fray and ultimately the death of Turnus at the hands of Aeneas. Gavin Cowzer 19
Summary of the character of Juno in the Aeneid Juno is Aeneas prime adversary in the Aeneid. She is an incredibly active Diety throughout the text. Jupiter places the blame on Juno s shoulders who hates the Trojans because she has heard prophecies and read omens that say a race descended from Troy (the Romans) will one day sack her beloved city of Carthage in Book 1 of the Aeneid. It is in this way that Virgil establishes Juno as Aeneas immortal enemy at the start of the Aeneid. Juno arranges a storm to separate the Trojan fleet as they sail happily towards Italy in Book 1 of the Aeneid. Aeneas wishes Diomedes had killed him in Troy. Aeneas is leading a group of refugees to found a race that will one day bring forth the Romans. Virgil, in order to provide an adversary, and to match Homer s epic, requires a nemesis for Aeneas; a diety committed with all her being to thwarting fate. He achieves this by choosing a character that is totally at odds with that of the ideal Roman: Aeneas. Aeneas is duty- bound to lead his people on for the sake of Ascanius destiny. Juno however does not conform to the Roman notions of piety. In fact, she rather conforms to the exact opposite. Juno is motivated by the antithesis of Roman piety: furor. When we look at Juno s actions in the Aeneid: how she bribes Aeolus to scatter the fleet in Book 1, knowing as Jupiter has told us that he is fated to arrive there. We see her childish refusal to accept fate when she hatches a transparently divisive plot to settle the Trojans in her city of Carthage by marrying Aeneas to Dido and again we see her stubborn refusal to accept fate when she contrives through the agency of Iris to persuade the Trojan women to burn the ships. Gavin Cowzer 20
In each case her plans are brought to an end by the other gods. Neptune calms the storm in Book 1, Venus and Jupiter dissolve Dido s marriage to Aeneas and Jupiter personally quenches the fires on the burning ships. One would expect Juno would learn that nothing can stop fate once Jupiter is decided but she cannot see this fact because of her blind furor. Juno is motivated by blind fury, by irrational, emotional vindictiveness caused by self- interest and pride. Aeneas presents none of these negative qualities. He is motivated by a profound sense of duty to the gods, to his family and to his people. He is rational, emotive and consequently seems cold and taciturn. If anything he is selfless and humble in the extreme. Who better than a furious Juno to present is with the ultimate character foil for our pious hero Aeneas? It is through Juno that we appreciate the greatness of the Virgilian hero and accept his worthiness to lead the Trojans to a new home to create what will become Rome. Juno does not seek to teach Aeneas and his people any lesson. She seeks to annihilate them or at least stop them and put them onto a new destiny; something that we readers know to be impossible because Jupiter has already read out the scroll of Aeneas fate at the start of the epic. He also informs us that Juno s raging will cease one day and she will calm down and see sense but for the time being (actually between Books 1 to 11) she rages against Aeneas and his fate. Juno is a custom- made nemesis for pious Aeneas and one who quite obviously suits the motivations of the Roman poet. Virgil s poem is political, so he needs a political nemesis. Who better than the Queen of Heaven to front the opposition party to the pious government led by Pious Aeneas and supported by Jupiter himself? Gavin Cowzer 21
Comment on Aeneas decent into the Underworld and its significance. Aeneas is spiritually misplaced having lost his father. Like Telemachus in the Odyssey, Aeneas is at a loss about what to do next. He must speak to the ghost of his father to find out and to come to terms with his destiny. Aeneas finds the entrance in a mysterious cave called Aornos (birdless) because the sulphuric fumes emanating from this volcanic fissure kill any bird that happens to fly by. Lake Avernus is equally mystical, ethereal and somewhat grim: the perfect location for a gateway to Dis. Aeneas is guided by the Sibyl of Cumae. There are religious rules to death however. Like Odysseus Aeneas is directed to draw his sword to scare away the shades of monsters and evil spirits. Like Odysseus Aeneas must sacrifice black livestock at night and make prayers to chthonic (underworld) deities such as the Greek Persephone or Latin Proserpina: Queen of the underworld. Aeneas must do more however to prove his worthiness. He must bury a member of his crew who drowned whilst Aeneas consulted the Sibyl and he must retrieve a golden bough from a forest as an offering to appease the dread Proserpina. This is particular to Virgil. Virgil, by way of apology asks the dead permission to divulge these hidden secrets adding fuel to the fires of suspense. Virgil s description of the Kingdom of Dis is so detailed that we can draw a conceptual map or the Halls of Orcus, the River Styx, the fields of mourning in Erebus, the fiery pit of Tartarus, the bronze palace of Pluto and Proserpina and the twin gates of sleep: the gate of horn and the gate of ivory. Palinurus in the Aeneid and Virgil reinforces the religious notion that the living are unto death and therefore have a duty of care towards the dead. Dido s ghost refuses to talk to Aeneas and is seen walking away with her ex- husband Sychaeus reinforcing the same idea. Gavin Cowzer 22
Deiphoebus shade lectures Aeneas on the same lesson as she betrayed him to Menelaus during the sack of Troy as he lay sleeping soundly. Aeneas meets his father Anchises. Our hero attempts to embrace his father three times and three times the embrace the airy phantoms. The point being that death is final and there are painful consequences to one s life choices. In the fields of mourning we find figures such as Dido and Deiphoebus mirroring the sentiments of Homer but later on in Elysium we discover that there is not only a heavenly realm in the underworld but even the chance of redemption through drinking the water of the River Lethe and forgetting one s former life in order to be reborn anew. Virgil has a difficult task. He must honour Homeric epic without copying it and also engrain within his poem Augustus particular brand of Roman propaganda. We may well ask why Aeneas must descend into Dis to speak to the ghost of his father when that same ghost appeared to him in Sicily. Virgil uses the katabasis as a means to mention some of Aeneas more famous descendants by name such as Julius and Augustus Caesar (his patron) and impress upon the reader the greatness that was, is and will be Rome. He can only do that if Aeneas goes down to see the unborn souls of his descendants. This is Virgil s true and hidden reason for having his hero perform the decent and in doing so we learn all about the underworld. Gavin Cowzer 23
Link between The Odyssey and The Aeneid (Underworld) The Underworld Our Hero s respective journeys to the Underworld are significant episodes in both books. Structurally it marks the mid way point in both epics. The material contained in both can be used for a myriad of different questions, not just Underworld questions. For example Character of Aeneas/Odysseus Propaganda/Anti Hero Family/Loyalty Discuss. The entrance to the realm of the dead souls for Odysseus is out in the west, on the banks of Oceanus near the fog bound city of the Cimmerians; For Aeneas it is a cave entrance near lake Avernus, a long sea voyage is not necessary. Aeneas is at the end of his voyage at this stage where as Odysseus has still much of the seas to travel. Aeneas is accompanied by the Sybil, but Odysseus has no such guide with him on his journey to Hades. The Aeneid Book 6 is a very graphic and atmospheric, detailed description of the physical place that is the Underworld whereas Homer s Book of the Dead has the souls come to Odysseus.- - - It is much more difficult for Aeneas to access the dead souls than it appears for Odysseus; finding the golden bough and then going down the dark paths of decay past many frightening creatures and apparitions and then crossing the river Acheron. Hero/Anti hero While both heroes meet people from their past, there is no parallel in the Odyssey for Aeneas meeting with Dido. Obvious similarities between Elpenor and Palinurus scenes, however yet again Aeneas falls short as he can only provide consolation for Palunurus spirit. Odysseus on the otherhand grants Elpenor his request. Gavin Cowzer 24
The detailed account of Anchises explanation of death and reincarnation is unique to the Aeneid and also the parade of his descendants shown to Aeneas. Propaganda In Virgil s account there is a sense of an ordered underground kingdom where different categories of souls reside. There is disorder in Homer s account of how the countless different souls flit about him. Odysseus quits the world of the Dead souls in fear of some dreadful creatures which Persephone may send his way. Aeneas departure is calm, through the Ivory gates, reassured by the ghost of Anchises. The elements of propaganda makes the Aeneid s Underworld completely different to the Odyssey s. Significant point worth noting in the Aeneid alone Scene at the river Lethe Aeneas inquires why there are so many souls flying about the place? Anchises responds with the fact that these souls, in time will be reincarnated. They will be the future leaders of the roman world. Within this rabble of spirits is Romulus, founder of Rome, The Gracchi, Julius Ceaser and Augustus, who is paying for the epic to be completed. Propaganda / The greatness of Rome Gavin Cowzer 25
Comparisons in general If asked a question on comparisons make sure to compare and contrast; Troy the starting point for both; in common they have an enemy god (Juno for Aeneas, Poseidon for Odysseus), trying to stop them reaching their goal Ship- wrecked and caught in storms; Distracted from their goal by women; Cyclops, Scylla and Charybdis; Both refer to Helen and Troy; Underworld. Contrast: One departs Troy as victor the other as the vanquished. Odysseus longs to get home to his wife and son whom he loves, while Aeneas has a huge destiny on his shoulders in search of a new home, the identity of which is only gradually revealed to him. Odysseus is sole commander of the fleet, Aeneas has the guiding hand of Anchises. There is discord between Odysseus and his fellow voyagers, no such disharmony on the Trojan voyages. Gavin Cowzer 26