Section 1A

Fate

 explored through a tricolon crescendo - "genus unde Latinum, Albanique patres, atque altae moenia
Romae" - shows the destiny of Rome by Aeneas founding it - beginning to climax
 constant references to Fate in "si qua Fata sinant" and "sic volvere Parcas" - conveys how fate is the
overarching power which controls actions of people and even the gods - suggests that the Fates even
can control the gods actions, and the gods can do nothing to prevent the intended course of action
 metonymy in "sic volvere Parcas" conveys that the Fates were literally spinning destiny

The Gods and Divine Intervention

 framing of "terris iactatus et alto" - gives image of man in misery - conveys the extent Juno went to in
an attempt to morph destiny
 polyptoton of "multum" and "multa" stresses the amount of his suffering by extending the suffering
through many lines of the poem - conveying that Aeneas has suffered in many things such as the
Trojan War and now the escape to Italy after the Trojan War
 anaphora of "tot volvere casus" and "tot adire labores" - conveys the hardships and disasters that
Aeneas had to face because of Juno's rage - also an allusion to Hercules who was also a victim of
Juno's persecution
 tricolon crescendo with polyptoton in "hic illius arma, hic currus fuit; hoc regnum..." - conveys that
Juno was obsessed with Carthage and fully supported it - meddling in human affairs - supported by
juxtaposition and antithesis of "posthabita coluisse Samo" - conveys that Juno even neglected her place
of upbringing Samos
 hyperbaton in "Tyrias olim quae verteret arces" - puts focus on Tyrians who are characterised as Juno's
favourite in this story

Piety

 framing in "insignem pietate virum" shows extent of trouble but also shows that Aeneas' duty to his
people, family, country is immense - characterisation of Aeneas is full of 'piety'
 anaphora of "tot volvere casus" and "tot adire labores" - conveys the hardships and disasters that
Aeneas had to face because of Juno's rage - also an allusion to Hercules who was also a victim of
Juno's persecution - conveys Aeneas' piety in enduring all these hardships just to found Rome

Rome

 explored through a tricolon crescendo - "genus unde Latinum, Albanique patres, atque altae moenia
Romae" - shows the destiny of Rome by Aeneas founding it - beginning to climax
 anastrophe and juxtaposition in "Karthago, Italiam contra" conveys that not only was Carthage
geographically opposite Italy but even politically against it - foreshadowing the future of Rome as the
leader of the ancient world

War and Peace

 tricolon crescendo with polyptoton in "hic illius arma, hic currus fuit; hoc regnum..." - conveys that
Juno was obsessed with Carthage and fully supported it - meddling in human affairs - supported by
juxtaposition and antithesis of "posthabita coluisse Samo" - conveys that Juno even neglected her place
of upbringing Samos

References

 "Lavinia" - daughter of Latinus is who Aeneas is going to marry

 "Parcas" - the Fates, three sisters, were the source of Juno's information
Section 1B
Fate

 syntactic placement in "acti Fatis" conveys that the fates were literally the main reason that
the Trojans had been wandering for such a long time - connotes that Fates were responsible
for everything in this journey
 interjection in "quippe vetor fatis" conveys that despite being prohibited by the Fates, Juno
still tried to shape destiny to suit her motives - but still was unable to do anything - Fate is
very powerful - "quippe" denotes a scornful thought conveying that the driving force behind
this story is Juno's sole motive to undermine the "Fates"

The Gods and Divine Intervention

 placement of "prima" as the first word in the line syntactically conveys that Juno intervened
in human affairs during a war - conveys that Juno was engrossed in the state of Carthage and
Tyre
 tricolon and allusions & polysndeton in "iudicium Paridis spretaeque iniuria formae, et genus
invisum, et rapti Ganymedis honores" conveys the reasons that Juno was prejudiced against
Troy and gives each element focus
 imperfect tense in "arcebat" shows the constancy of her actions in keeping the remaining
Trojans from Latium
 hyperbaton in "aeternum servans sub pectore vulnus" stresses the unremitting nature of her
wound
 elision in “mene incepto” gives the Greek word menin = wrath and is an allusion to the Iliad
 use of acc. inf. interrogatively without principal verb in “mene…regem” expresses extreme
indignation

Piety

 the deliberate spondaic nature of the line "Tantae molis erat Romanam condere gentem!"
conveys that forming the Roman people was hard, affirming the duty that Aeneas had to his
people
 contextual echo in "iactatos aequore toto" conveys the hardships Aeneas had to face to
complete his duty to his people

War and Peace

 framing of "memor Saturnia belli" conveys that Juno was engrossed in the war, affirming her
war-like nature

References

 "Saturnia" - regular epithet for Juno, daugher of Saturn

 "genus invisum" - Juno was jealous of Dardanus, the founder of the Trojan race
 "Pallasne exurere classem Argivum...summergere ponto" - Pallas Minerva took revenge
against a single Greek, Ajax, for the violation of Cassandra in her temple the night Troy was
sacked, by burning his fleet
Section 2A
The Gods and Divine Intervention

 emphatic initial placement of “ipsa” conveys that Juno accentuates Pallas’ power
while contrasting it to her own seeming weekness
 initial placement + hyperbaton in "rapidum...ignem" stresses the speed of the
lightning
 juxtaposition of "aequora ventis" has cause and effect side by side
 dramatic description + vivid visual imagery in "expirantem...acuto"
 tricolon crescendo with polysyndeton in "regina Iovisque / et soror et coniunx" places
emphasis on each element while conveying how highly Juno thinks of herself
 hyperbaton in "flammato...corde" puts the focus on Venus' burning anger
 personification and initial placement of "nimborum in patriam" suggests that the
winds have minds of their own, while also foreshadowing the imminent storm
 f alliteration in "loca feta furentibus Austris" highlights the strength of these winds
through their characterisation as raging
 chiasmus in "luctantis...sonoras" juxtaposes the winds and storms while effectively
amplifying their magnificence and rage through vivid description
 slow spondees of long words in "luctantis...sonoras" characterises the winds as
groaning and struggling
 resonant m, n, ng alliteration and onomatopoeia in "illi...fremunt" describe the
rumbling of the winds
 anaphora in "mollitque animos et temperat iras" shows that Aeolus has to make an
effort to control the relentless rage of the winds
 vivid present subjunctive in "ni faciat" suggests that a catastrophe might happen at
any time if Aeolus were not guarding the winds
 tricolon crescendo with polysyndeton in "maria ac terras caelumque profundum"
reminds us of the power of these winds along with Juno's malignant intentions

References

"ipsa" - Jupiter gave Pallas Minerva the permission to use his thunderbolts which pissed off
Juno
Section 2B
The Gods and Divine Intervention

 strong m alliteration in "metuens molemque et montis insuper altos / imposuit"

suggests that the mass that restrained the winds was so great
 metaphor of horses' reins being tightened and loosened in "certo foedere et premere et
laxas...dare...iussus habenas" conveys the strength of these winds and the measures
that Aeolus had to take to restrain them
 juxtaposition in "Iuno supplex" invokes that Juno is humble and submissive which she
isn't and effectively shows her manipulative nature
 strong v alliteration in "vim ventis" shows that Juno is cruel and pitiless in her orders
 heavy sound of "obrue" stands out in "summersasque obrue puppes"
 initial placement of "praestanti" suggests that Juno wants Aeolus to focus on the
beauty of these nymphs and be enticed into doing her bidding
 juxtaposition of "pulcherrima Deiopea" conveys to Aeolus that he will receive the
most beautiful nymph for his favours
 hyperbaton in "omnis...annos" stresses each word in the middle and conveys that Juno
is being very persuasive
 strong p alliteration in "pulchra...prole parentem" suggests that Juno has successfully
enticed Aeolus by making him feel important and excited
 repeated contrast in "tuus mihi" with "tu" always before "me" suggests that Aeolus is
being subservient and is addressing Juno's divinity
 strong s alliteration in "mihi iussa capessere fas est" gives a subservient tone to
Aeolus' speech
 emphatic repetition of "tu...tu...tu" indicates Aeolus' exaggerated humility towards
Juno
 tricolon crescendo in "tu mihi...tempestatumque potentem" as Aeolus is in awe of all
the things that Juno has supposedly done for him
 multi-syllabic phrase and homeoteleuton of umque in
"nimborumque...tempestatumque" suggests the role is full of noise and weight
 final placement of "potentem" stresses his obligation to Juno

References

 "certo foedere" - Jupiter and Aeolus had a fixed agreement whereby Aeolus checked
or freed the winds on Jupiter's orders
 "Tyrrhenum aequor" - the Tyrhhenian Sea, off the coast of Etruria, bounded by
Corsica, Sardinia, and the north of Sicily
Section 3A
The Gods and Divine Intervention

 framing and heavy c sound in "cavum conversa cuspide montem" depicts the force with
which Aeolus strikes the mountain
 initial placement + 2 dactyls in "impulit in latus" continues this image of the force and
direction of the blow

The Storm

 simile + military image + v alliteration in "ac venti, velut agmine facto" likens these winds to
Juno's soldiers who are on the march to wreak havoc and the v alliteration suggests that there
will be violence
 strong staccato t alliteration + 2 initial dactyls in "qua data porta, ruunt et terras turbine
perflant" suggests a strong rush of wind
 tricolon of winds in "una Eurusque Notusque ruunt creberque procellis / Africus" suggests
that all the winds blow out together and make a mighty storm
 hyperbaton + v alliteration in "et vastos volvunt ad litora fluctus" shows the immense size of
the waves
 initial placement of insequitur + parallel phrases + internal rhymes of orque...orque and
um...um in "insequitur clamorque virum stridorque rudentum" create a strong auditory
imagery while showing the immediate effect of the storm on the men and boats
 initial placement of "eripiunt" intensifies and speeds up the action
 juxtaposition in "nubes caelumque diemque" shows the clouds covering the day with darkness
 repeated "que" in lines 85, 87, 88 give the impression that many things are happening in
terrifyingly quick sequence - epic device
 ominous final placement of "atra" shifts the scene from the sea to the darkness of the sky
 ringing n sound + initial placement of "intonuere" intensifies the sudden clap of thunder
 spondaic line with framing of 'imminent death' in "praesentemque viris intenant omnia
mortem" gives a solemn feel and threatens the Trojans

Aeneas

 inversion in "Aeneae...frigore membra" presents Aeneas as not showing heroic characteristics

- an ordinary man with no firm confidence in heroic destiny, bewildered, frightened of the
elements
 repetition and strong emotion in "o terque, quaterque beati" indicates Aeneas strong emotion
while addressing the dead heroes
 initial placement, anastrophe & hyperbaton in "saevus Hector" draw attention to this bravest
of the Trojans
 tricolon crescendo of objects in "tot correpta...scuta...galeasque et fortia corpora" conveys the
aftermath of the Trojan war along with visual imagery of the scenes that Aeneas is reliving in
his head
 pathetic repetition of "ubi...ubi...ubi" shows that Aeneas is reliving these events from the
Trojan War, seeing his dead friends

References

 "Africus" is a wet and stormy south-westerly wind, its prominence due to its special villainy -
notable for its special connection to Dido and Carthage
  "Aecidae telo" - Achilles killed Hector in retaliation for Hector killing Patroclus, Achilles'
close friend

Section 3B
The Storm

 present participle + juxtaposition in "stridens Aquilone procella" suggests the constant

howling of the winds and the storm
 hyperbole in "ad sidera" suggests the vast size of the waves
 initial placement + lengthened passive form in "franguntur...latus" starts a detailed
description of the events that follow the arrival of the waves
 metonymy of size in "cumulo, praeruptus, mons" gives visual imagery of the huge
wave
 polyptoton in "hi...his" moves the scene around to crews of different ships but the
waves remain the focus in the synonyms "fluctu...unda...inter fluctus"
 dramatic hyperbole in "terram" as the sea bed is revealed between the waves
 variation of scene in "tris Notus...syrtis urget" shows the action occurring from the
topmost waves to the shallows
 exclamation in "miserabile visu" is a dramatic way of drawing attention to something
horrible
 chiasmus in "inliditque vadis...aggere cingit harenae" juxtaposes the shallows and the
pile of sand stirred up
 verbs of forceful action
"urget...inlidit...cingit...ferit...excutitur...volvitur...torquet...vorat" are used by Virgil to
invoke a sense of action and urgency about the scene
 auditory imagery in "torquet agens...vertex" is brought about by racing dactyls and an
almost non-existent caesura"
 personification + strong v alliteration in "rapidus vorat aequore vertex" personifies
this whirlpool as voracious monster from the sea
 spondaic line + assonance in "apparent rari nantes in gurgito vasto" conveys the pity
of this situation of the Trojans
 violent verbs + descriptive language from lines 102 - 119 describe the shipwreck with
vivid power and in one tremendous phrase we are shown metrically and verbally a
piling jagged massif of water
 contextual echo of "arma virumque" conveys two different representations of Aeneas
and the Trojans
 tricolon in "arma...tabulae...Troia gaza" describes the wreckage of the ships
 tetracolon in "iam validem...Aletes" shows the ships that were wrecked
 repetition of "iam...iam" adds vividness as each fresh disaster is told
 chiasmus + personification in "accipiunt inimicum imbrem rimisque fatiscunt"
juxtaposes the rain and the cracks and essentially personifies the entire storm as
hostile to the Trojans, and by extension Aeolus and Juno

References

 Lycios...fidumque...Oronten - the Lycians were Trojan allies and Orontes was the
ship's captain
 gaza - suggests the Eastern heritage of the Trojans
  Aras - refers to the Altars which is a rock ledge off the African coast, just outside the
harbour of ancient Carthage

Section 4A
The Gods and Divine Intervention

 build up to "graviter commotus" shows the extent to which Neptune is troubled by

these things
 contrast of "placidum" with "commutus" suggests that Neptune is a composed god
 final placement of "irae" stresses Juno's constant anger
 sarcasm + t alliteration in the rhetorical question "Tantane vos generis tenuit fiducia
vestri?" shows Neptune's supremacy and power over these third-rate deities - t
alliteration exaggerates the sarcasm
 m alliteration + consonance of 'ine' + initial placement of 'iam' in "iam caelum
terramque meo sine numine" gives a note of incredulity
 hyperbaton in "tantas...moles" indicate the vast amount of water raised up by these
winds
 lack of an interrogative particle in this rhetorical question conveys the heated nature
of it
 aposiopesis in "quos ego—!" indicates Neptune choking with rage
 imperatives in "maturate...regi...dicite" give an imperious tone
 contrast of "illi...mihi" emphasises Neptune's statement
 word placement + framing of "clauso ventorum carcere" confines the winds in their
prison
 jussive subjunctives in "se iactet..regnet" convey Neptune's scorn and his diminishing
of Aeolus' power

The Aftermath of the Storm

 characteristic m alliteration and onomatopoeia in "magno misceri murmure pontum /

emissamque hiemem" creates an ominous tone and effectively describe the storm
 tricolon in "misceri murmure pontum / emissamque hiemem...stagna refusa" to
convey the three things which Neptune notices and the effect of the storm
 hyperbaton and framing of "disiectam...classem" suggests the fleet is scattered with
Aeneas and the sea in the middle
Section 4B
The Gods and Divine Intervention

 dactyls in "tumida aequora placat" convey the swiftness of Neptune's actions

 tricolon of verbs + polysyndeton in "levat ipse...temperat aequor" shows Neptune's
actions of lifting up the ships, opening up the sandbanks and calming the sea
 simile in "ac veluti..." compares Neptune to a man of "pietas" calming the crowd with
his calm words
 juxtaposition + s alliteration in "seditio saevit" gives a disparaging tone
 asyndeton + dactylic line in "iamque faces...arma minstrat" shows the rapid
movement of the launched missiles
 furor is controlled by pietas in the two lines "pietate...astant" and connects Neptune to
Augustus
 echo of 'dicto' in "dictis" and 'tumida aequora placat' in "pectora mulcet" shows how
the simile is extended further
 hyperbaton in "acuto...scopulo" makes the sharpness of the rock the focus and is a
textual echo of "scopulo infixit acuto"

References

 Cymothoe - Nereid, minor goddess

 Triton - Neptune's assistants
Section 5A
The Gods and Divine Intervention

 juxtaposition of "cui mater" shows that Aeneas and his mother are side by side
 picture of Harpalyce is built up step by step in "virginis...fluentis" and she is
described so that she seems to be un-Venus like
 small talk begins in "heus" which conveys the maiden (Venus') cheery tone

Pious Aeneas

 epithet of "pius Aeneas" indicates the responsibilities put upon him by his position as
destined leader of his men and saviour of Troy
 repeated ex and hyperbaton of "exire locosque / explorare novos" gives a sense of
Aeneas' search for answers
 asyndeton gives build up of questions in "quas vento accesserit oras, / qui teneant
(nam inculta videt), hominesnse feraene" for which Aeneas seeks answers
 enjambment in "classem...occulit" conveys the lengths that Aeneas is willing to go to
hide the fleet to ensure its safety

References

 Spartanae - Spartan maidens were well-known for their physical toughness and
hunting
 Harpalyce - young Spartan woman who was forced to live in the woods after her
father was killed. She stole from country folk and showed her speed by outrunning the
horses of her victims
 de more - according to Spartan custom
Section 5B
The Gods and Divine Intervention

 repetition of sic + polyptoton of Venus in "Sic Venus; et Veneris...sic filius" show

both the son and mother close together and the fact that Aeneas doesn't recognise her
 enjambment + description in "haud tibi vultus / mortalis, nec vox hominem sonat"
conveys that Aeneas recognises that she neither looks nor sounds human
 quick successive questions in "an Phoebi soror? an Nympharum sanguinis una?"
suggest that Aeneas is trying to guess who she is
 initial placement of "virginibus Tyriis" draws Aeneas' attention to the fact that she is a
Tyrian maiden

Pious Aeneas

 optative subjunctive in "sis felix...leves...laborem" suggests that Aeneas is asking for

this divine being to give him some help
 initial spondees and delay of the verbs in "quo sub caelo tandem, quibus...in oris"
gives a mournful tone to these questions
 elision and sonorous genitive plurals in "ignari hominumque locorumque" continue
the melancholic tone of Aeneas' questions

Dido

 framing of "imperium Dido Tyria regit" suggests that Dido is surrounded by power,
she's ruling
 meaning of "Dido" in Phoenician means brave woman
 initial placement of "germanum fugiens" is emphatic and cryptic and leaves audiences
begging for more information
 anaphora + polyptoton of "longa est iniuria/longae ambages" extends Dido’s pains
and griefs and also likens her grief to Aeneas'

References

 Phoebi - Aeneas thinks that Venus is Diana, Apollo's sister, because of her clothes
Section 6A
Dido

 juxtaposition in "dilectus amore" strengthens Dido's love for her husband

 enjambment in "primisque...ominibus" emphasises the solemnity of the ritual
 enjambment in "germanus.../ Pygmalion" puts focus on his name
 final placement of "furor" in "inter medius venit furor" stresses the emotion which is
one most often seen in the Aeneid
 grisly crescendo in "ille Sychaeum impius...superat" conveys Pygmalion's horrible
conduct
 final placement of "amore...amorum...aegram...amantem" conveys the great love that
Dido felt for Sychaeus and so makes Pygmalion's crimes much more severe
 enjambment of "coniugius" conveys a sense of shock in this scene
 framing of "caecumque domus scelus" suggests that the family home is at the core of
the abominable crime
 zeugma + juxtaposition + 2 framing infinitives in "celerare fugam patriaque excedere
suadet" highlights the necessity for flight and quickens the pace
 variety of narrative movement throughout Virgil's depiction of this storm with many
short sentences and many main verbs maintains the impetus of the Aeneid
 present tense throughout increases the quick, dramatic action
 crescendo to verbs revealing her actions + present tense in "navis.../ corripiunt
onerantque auro" heightens the drama
 notable initial placement of words highlights the most significant aspects of this story

References

 Dido is a central commanding figure and makes plans to escape. She shows great
spirit and leadership. Her ability to establish her city and administer it causes the
Trojans to admire and envy here
Section 6B
Dido and Carthage

 metonymy of "ingentia...surgentem" conveys the size of this new city

 framing of "surgentumque novae Karthaginis arcem" suggests that the name of the
city appears between its rising citadel and so Venus awakens interest in this woman
who has founded a city, which Aeneas desperately longs to do

The Gods and Divine Intervention

 variation of "qui...quibus...quo" and s alliteration give an earnest tone to Venus'

questions
 "forte sua" reveals that Aeneas knows nothing of Juno's machinations
 juxtaposition of "undis Euroque" highlights what caused the sinking of Aeneas' ships

Pious Aeneas

 visual imagery and characterisation in "suspirans imo trahens a pectore vocem" gives
us a clear picture of Aeneas' weary and disheartened mood
 juxtaposition of "Vesper Olympo" stresses that the tales of hardship are long and
severe
 epithet in "sum pius Aeneas" when Aeneas introduces himself to his mother conveys
that Aeneas is bitter at being treated such when he is meant to be the saviour of Troy
 hyperbaton of "raptos...ex hoste penatis" brings attention to the fact that Aeneas saved
the gods of Troy, stressing his piety
 the reasons why Aeneas is indignant are shown in "matre dea monstrante vim data
fata secutus" that with divine assistance and obeying the oracles, he has still
encountered such hardships
 asyndeton in "ignotus, egens...deserta peragro" continues Aeneas' plaintive self-
pitying tone

References

 Byrsam - Libyan natives agreed to sell as much land as could be covered with a bull's
hide to the Phoenicians. The Carthaginians cut the hide into long strips and so secured
a considerable area
Section 7A
The Gods and Divine Intervention

 litotes in "haud...invisus caelestibus" reveals that Aeneas is being helped by divine

beings
 prescient juxtaposition in "te reginae" for the interactions that will occur between
Dido and Aeneas
 chiasmus in "reduces socios classemque relatam" juxtaposes Aeneas' men and ships,
framed by synonyms of reaching safety
 tautology of "frustra...vani" gives a note of playful irony as Venus continues her
charade as a Tyrian huntress
 vivid visual imagery in "rosea cervice refulsit...spiravere" conveying Venus' divinity
 hiatus after 'dea' + juxtaposition in "dea ille" shows the moment after her revelation as
a goddess and Aeneas' astonishment as he recognises her
 elision + framing in "tali fugientum est voce" highlights the fleeing form of his
mother followed by Aeneas' reaching words

The Trojans

 simile in "aspice bis senos...cycnos" comparing the twelve ships to the twelve swans
reaching safety
 simile in "Iovis ales" likens Jupiter's bird to Juno and her obliteration of the Trojans
 textual echo in "reduces illi" affirms the simile refers to the Trojans as they were
described as "reduces socios"
 cacophony of hard c constants and assonance of ere in "coetu cinxere polum
cantusque dedere" reflect the general noise of the swans
 strong alliteration and polyptoton in "puppesque tuae pubesque tuorum" accentuates
that the ships and men are safe
Section 7B
The Gods and Divine Intervention

 framing of "obscuro gradientes aere" syntactically envelops Aeneas and Achates

within a thick mist
 juxtaposition + placement in "dea fudit" highlights Venus' divine power and the result
of her action
 delay of 'ne' in "cernere ne" puts emphasis on them not being able to be seen
 tricolon in "cernere ne... poscere causas" conveys that Venus wishes to prevent
anyone from finding them out until Dido has revealed herself to Aeneas
 olfactory and sensory imagery in "centumque Sabaeo / ture calent arae sertisque
recentibus halant" reveals the magnificence of the temple in which Venus is prayed to

Pious Aeneas

 initial placement of "natum" highlights Aeneas' appeal to Venus as his mother

 consonance of 'is' in "crudelis...falsis...ludis" unites these words with Aeneas'
accusatory tone
 tricolon of infinitives in "dextrae iungere dextram...veras audire et reddere voces" is a
periphrastic way of Aeneas complaining about his mother leaving him and hurting
him just like all the other gods

Carthage

 metonymy of largeness in "plurimus urbi imminet...desuper" to describe the height of

the hill is a rhetorical way of showing the height of Carthage's citadels
 spondaic line + strong m alliteration in "miratur molem Aeneas magalia" conveys
Aeneas amazement at the size of the rising Carthaginian city
 anaphora + asyndeton + spondaic rhythm of the descriptive lines strengthen Aeneas'
wonderment
 initial placement of "instant" is more vivid and emphatic and conveys that the Tyrians
were toiling away
 polysyndeton in describing what the Tyrians are doing makes each aspect of
construction stand out
 alternating dactyls and spondees in "iura magistratusque...sanctumque senatum" has a
reverential tone

References

 Paphus - a city on Cyprus, where Venus is worshipped

  laeta suas - Venus has gone to Paphos where Cupid has disguised himself as Ascanius
in order to sit on Dido's lap and prompt her love for Aeneas; meanwhile Ascanius
himself is whisked by Venus to Cyprus
 Sabaeo - the Sabaei were from Saudi Arabia

Section 7C
Pious Aeneas

 textual echo in "o fortunati...moenia surgunt" conveys that Dido is accomplishing

what Aeneas hopes to do and is part of what attract him to her - impatience
 connotation of esteem and respect in "suspicit" when Aeneas is looking up at the
forming city
 m alliteration + ring composition in "per medios, miscetque viris nequi cernitur ulli"
rounds off the passage and conveys that he walks through the crowd unseen

Carthage

 anaphora of "hic...hic" gives the impression of the activities being pointed out by a
guide
 anachronism in "scaenis...futuris" where Virgil refers to the scaene frons, which
forms the back of the stage allowing contemporary readers to visualise this scene
 simile of the Carthaginians working in "qualis...mella" conveys that Aeneas envies the
purposeful energy of the Tyrians and the enticing quality of what they are doing
 hyperbaton of "qualis...labor" creates a crescendo to hard work being done
 vivid visual imagery in "aestate nova per florea rura...sub sole" paints an idyllic
picture of a bright summer's day in the country
 l alliteration in "liquentia mella" enhances the flow of the honey
 enjambment of "stipant" highlights the fact that the cells are packed
 military imagery in "agmine facto" is reflective of the fact that the Carthaginians were
under constant attack by the local tribes because of Dido rejecting their suitors for
Aeneas