Chaonian dove - Boyle • The disparity between the supposed civilizing influence of imperial rome, and the actions

of the germ of Imperial Rome in 9-12, fully explored through the use of ‘furor’ and also fire imagery in book 9. • Italians are characterized by Furor - 9.552, 9.652, 9.703, 9.736. • Look especially at Nisus and Euryalus - Fire imagery is seen constantly. • Ardor 9.184, ardentem 9.198, incensus, 9.342, fervidus 9.350 - combined with this is the evoaction of sympathy for their sleeping victims (9.324-38) • Nisus at 9.339-41 is a lion. • Roaring with bloody jaws - just like the furor we saw earlier at 1.296. • Euryalus is no better • Furor 9.342, inflamed on the same line, ragin at 9.343, killer ff. Ferbidus 9.350. • Mindless suicide is elicited from Nisus by his capture. 9.424. • Wouldn’t necessarily say there is no pity in their deaths however - Boyle perhaps goes to far when he says ‘Virgil’s overt eulogy 9.446-49 seems tinged by no small amount of Irony. Now also Aeneas at his arrival in book 10. • • Depicted 10.270-75 with slightly sinister tones. • Further images of fire - 270, 271, 273, 262. - key note. • Further more words like vomit, anguinei, lugubre rubent, laevo contristat lumine ‘glooms with sinster light’ 275 • The simile with the dog-star instantly recalls avenging Achilles , book 22 of th eIliad. • Some similarities with Augustus of Book 8.678-81. • Sinister - and not flattering is the universal theme of these images. This sinister start is confirmed later on by the destruction that is wrought by him • having learnt of Pallas’ death. • 10.515,552,545,604,572,569,565-68,570 - images of furor, burning, roaring, savegery, and comparison with Aegaeon himself. • The obscenity of the destruction contrasts the realationship that Aeneas has with Pallas, the one he is trying to save. • Captures youths for sacrifice - 10.519, rejects pleas for mercy 10.521-36. Is irreverant to Apollo’s priest 10.541. • Has further graphic and destuctive kills. • :iger even appeals to filial pietas 10.597 - and is rejected - abnegation of a moral vision. • 10.602-4 - he is a cosmological force. • He is destructive and completely against an idealogical image that we might try to glean from him. Image and Symbol. • Fabric of the Aeneid is permeated by images of the serpent, the wound, the fire, the storm, the bee, hunting, sacrifice, shadow and darkenss. • These occurences bring to their contexts associations derived from their occurence in other contexts. • These examples will focus attention not on Romes Ideology but on induvidual loss and suffering.

364. • In 2 we see further images.499/2.392ff. the hunt most of book IV really/ • Second image more complex .587.‘symbolically represents the fall of Troy itself’ • Echoes throughout .483.561.431. And the non-metaphorical slaying of the pet stag at 7. 1.66.397.346.A1. emphasized by the simile at A.148. • Also Aeneas’ own fire matches that burns the buildings of troy . fire.749-55 is compared to a stag.360.e. • Boyle says that ‘it seems perverse to argue as some critics do. .54. wound and storm. 416 • Connected significantly with Juno is the image of fire .2.304.Book 2 his renzies heroics 2.660/73/88/710/713/726-. • So in Book 1/2.occurs throughout book 1. 9-12 associated with Trojan and Italian fighting forces.481f.564.302/336/379575 all ff.376.494. so consistently maintained and sharpened throughout Book 2.pervasive employment of a number of different images serpent.160ff. • Accordingly all these images escalate with each other and make smaller and less telling images of hunting and deers .reducing Dido to Furor ‘furentem a. • Strongly used in book 4 in connection with Dido’s love.g. Serpent imagery first seen in book 2. and 2.36. • Strong fire imagery in book 2 as well see serpent and flame notes.1. • And also used in book 12.462-66.interlinking the lives that are lost to Trojan destruction.174/213/472/491/515/581.the destruction of Priam’s city is peretrated by a serpent.50. Dido’s bow. vulnerability and pastoral freedom’ • These notions are what Virgil is trying to emphasize across all the instances of deer imagery .445-50. .300. Dido. • • Also used a lot in relation to Aeneas . • Also the similes 2. . • Book 7 images have serpent fire and wound.679’.456-57.481-82. ‘furentem’ Pyrrhus presses upon his foe with ‘infesto vulnere’ a. • • Killing of Laoocon .659’.345. • 329.337. • Final scene has loads of it. flammato corde.81 a symbol of furor.529. • These are all images that seem to represent to an extent furor.528-30 etc.101. • 23. . • This imagery continues and is seen most strongly in the fight with turnus and Aeneas.69-73. that the destructive connotations of this image. are absent in the Iulus portent episode at 2.384. • The focus of book 7’s image is one of ‘beauty. ‘the rebirth of Troy will involve the rebirth of the violence and destruction displayed at the fall of the city’ . • Seen to be the ‘prima laborum causa’ 7. but also the literal storm at 1.• Deer imagery • Three images of the deer . 1..496. Furor is the figurative wound at 1. Priam then breaths out his life with ‘crudeli vulnere 2.575.120-22.culminates with Venus and Dido at 1.29. All the simages are fixed as representing (to an extent furor) • • Lot of images in book 4 that are similar to this. acensa.567etc.4. Turnus at 12. loads in the Allecto episode.culminating at 2.441. Aeneas’ landing.

• He is inflamed 12.but also similar to Pallas’ black whirlwind at book 1 . burning 12.951.has much storm imagery.all violence is like this.12.921 . he sacrifices Turnus immolat 12. even some ‘hissing sibilants’ at 12.946.603 .949.949 apparently ‘imitate the presence of the serpent’ • This is Virgil’s . a wound is drawn hoc vulnere 948. So cacus etc.• Final spear throw . ‘atri turbinis’ also similar to the ‘turbinis atri’ at 10.

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