Fate Versus the Will of Juno Essays

Dido first falls in love with Aeneas after being infected by Cupid at Venus’ command. When Cupid first arrives in Carthage, disguised as Ascanius, Dido watches him from afar as he interacts with deceived Aeneas. As she watches, she becomes entranced with the sight and “the more she looks the more the fire grows,” signaling that Cupid’s hold over her has grown stronger (853,71). Aeneas’ tale of woe only strengthens her adoration of him until she is “consumed by the fire buried in her heart” (3, 127). Tentative thoughts of remarrying after her husband Sychaeus’ death begin to cross her mind and she finally recognizes the “old flame” that is slowly consuming her, suddenly marrying Aeneas one night (30, 128). Yet this fire is short lived and, ultimately, Dido’s downfall. Jove grows anxious for Aeneas to continue on his journey and commands Mercury to pass along the message that Aeneas and the Trojans must leave Carthage. Aeneas pleads with Dido that he leaves not of his own volition and that he must obey the gods’ wishes, but Dido is furious, alternating between pleading with him to stay and cursing him should he go. Firm in his decision, Aeneas returns to his ships while Dido is brought to her chambers. Grief stricken and “fixed on dying,” Dido begins to construct a funeral pyre in her courtyard (595, 144). As she stands before her creation, she laments her choice to trust Aeneas and the Trojans when

The Aeneid, the famous epic poem written by Virgil, depicts the struggle of establishing an empire. The beginning of The Aeneid introduces Aeneas, son of the goddess Venus, whose fate is to find a new home in Italy after the fall of Troy. Throughout the perilous journey, Aeneas faces great obstacles as he strives to fulfill his prophecy and gradually transform into the ideal Virgilian hero. To emphasize his growth, I will discuss three themes in this essay: the extent of free will as it relates to fate, the influence of divine beings on mortals, and the principles of morality. All of these ideas serve as an understanding as to why Aeneas is unable to act on his own accord. This leads me to defend the view that humans require the positive guidance of a mentor figure to resist their self-indulgence.

The Roman epic of Virgil's Aeneid describes the hardship and misadventures of Aeneas and the Trojans quest from Troy to Italy. Like Homer’s famous epics, the Iliad and Odyssey, Virgil’s narrative style and structure portrays similar attributes in the finding of Rome. Aeneas encounters several women on his journey who play a significant role throughout this epic in assisting or destroying his journey to Rome. His representation of female characters provides the readers with a better understanding of gender politics and reasons why some female leaders failed. Each of Virgil's female characters demonstrates a combination of traits throughout the epic; however, such behaviors of these women tend to develop unwanted conflict due to emotions.

The function of prophecy manifests itself in many ways in the Aeneid. Throughout the epic, prophecies and omens act as the agents behind Aeneas fulfilling his destiny as well as providing clear social commentary on the dawn of the Roman Empire under Emperor Augustus. Even though not all of the prophecies and omens included in the epic come to pass in literary terms, Virgil’s inclusion of prophecy is of paramount importance for driving the plot forward. In this essay I will discuss the function of both internal and external prophecy and the effect these prophecies have on both the characters in the epic and the enjoyment of the reader from The Roman Empire until the present day.

     A comparison between Virgil's hero, Aeneas, and the Homeric heroes, Achilles and Odysseus, brings up the question concerning the relevance of the difference between the Homeric heroes and Aeneas. The differences in the poets' concerns are explained by the fact that Virgil lived many years after Homer, giving Virgil the advantage of a more developed literary and philosophical society than Homer had at his disposal. But the question remains: how are the differences between the Homeric heroes and Aeneas relevant to the epic at large? This question will be answered by first pointing out the differences between Greek and Roman society, then explaining

Prophecies are very important to Virgil’s The Aeneid. Early on, Virgil does not hide what will happen, but instead, he allows the reader insight through many prophecies. In the first few lines, Juno makes the statement “that generations born of Trojan blood would one day overthrow her Tyrian walls.” (32). In predicting this, she allows us, the reader, to understand that all of the characters knows what is happening and it is just a matter of time before the Trojans will take over Carthage. The prophecy Virgil projects through Juno is not only a prophecy seen in the book, but Virgil also wants the reader to acknowledge that this prophecy is a representation of what will happen to Rome in the future.

After she falls in love with Aeneas, Dido disregards the vow that she made to her suitors. While Aeneas and Dido go hunting, Juno sends down a storm that forces the two into a cave. In the cave, Dido makes love to Aeneas and calls the affair a marriage. Shortly after this incident, news spreads beyond her kingdom that the Carthaginian leader has abandoned her obligations as a ruler. When the news reaches Iarbas, one of Dido’s suitors, the African king expresses his anger (IV 264-274). Dido’s love for Aeneas has caused her to ignore basic agreements that she has established. Not only did Dido lie to Iarbas, but she has also forgotten to keep the promise that she made to herself to not marry another man (IV 19-35). Dido has abandoned her own reputation. Instead of taking responsibility for the choices she has made, Dido continues her pursuit of the Trojan hero.

When comparing “The Aeneid” to “The Odyssey”, it is impossible not to notice the similarity between Homer and Virgil 's poems. Both heroes leave Troy, granted one barely escapes and the other leaves victoriously, and both in one sense or the other are trying to reach their home, whether it is the old or future home. The adventures of the two heroes are incredibly similar on a number of accounts with the trip to the underworld being most intriguing.

The epic poem The Aeneid, by Vergil adapts scenes, similes, and characters from the Odyssey written by Homer. The works of both authors include the simile of Artemis/Diana. Other characters do overlap in some of Vergil's scenes for instance, Aeneas and Odysseus encounter Cyclops. Both authors also reference the scene of the underworld. Although, Virgil adapts similarities from Homer's epic, each encounter has noticeable comparisons and/or differences. Vergil presents the epic of the Aeneid with a different purpose. At the beginning of the Aeneid, Aeneas leaves his home with other Romans after the Trojan War. Homer starts his epic with Odysseus wanting to return home form Troy.  The motives that guide each character differ from one another. Homers the Odyssey is more of the journey of a man longing to be home again, after the trojan war has ended. His actions are somewhat selfish at times. Virgil's main character Aeneas is driven by more of a scene of duty to the gods, because he is instructed to help build Rome for future generations.

It is consistently difficult to understand in old world literature, from Homeric epics to Virgil's work, The Aeneid, what the relation of fate is to the Pantheon of gods. There seems to be an ongoing debate within the texts discussing whether "fate" is the supreme ruling force in the universe and the controlling element of the lives of men, or whether fate is the will of the king of gods, Jupiter. In, The Aeneid, several situations and instances of the use of fate are presented to the reader. The direction and destination of Aeneas's course are preordained, and his various sufferings and glories in battle and at sea over the course of the epic merely postpone his unchangeable destiny.

Many may tell themselves, “I am the master of my fate, I am the captain of my soul”, William Ernest Henley’s, Invictus. Individuals often believe life is independent of outside forces; one does not often ponder whether situations that introduce decisions or experiences are controlled by fate and the gods. In Virgil’s The Aeneid, he introduces the notion that we are all subject to the workings of fate regardless of our will or desire; this is shown through the tragic romance between Aeneas, a Trojan, and Dido, the queen of Carthage. Their love and lives are a combination of free will, fate, and the work of the gods. We are all brought into the world without choice, thus lack the will to change our destiny from birth. In the end, however it

“The Aeneid” and “The Iliad” are relatively two different epics that were written decades apart. However, they have their similarities. These are two epics with the fate of two heroes. In the epic “The Aeneid,” the readers follow the journey of a man named Aeneas who is a Trojan refugee who journeys from his homeland of Troy to find Rome for the generations of the future. “The Iliad” is a story of the Trojan War and the hero of the story Achilles. Achilles was one of the bravest soldiers of the Greek army, but he was just as vain as he was brave. Both heroes showed a great amount of heroic actions throughout their perspective epics. Aeneas kills the Latin warrior Turnus and ventures away from his burning Troy to find Rome and prepare it for the future generations to come. Achilles fights for the Greeks which eventually results in him dying a hero’s death.

Although Juno already knows about Aeneas’s fate and that it is determined for him to find Rome regardless of anyone’s involvement, she still continues with her childish actions and irrationally tries to stop his fate even though she knows she cannot change the end result. For example, she sends the goddess Iris to stir up discontent among the Trojan women, who are tired of traveling and would like to settle permanently in Drepanum because ‘’her old resentment still unsatisfied’’(Book V, line 801-802). By constantly delaying the Trojans’ journey, she hopes that they will not to be able to get to their destination. Virgil portrays Juno as an impulsive, fickle, and selfish character who acts irrationally and by her selfish desires. She acts contrary to her knowledge and takes her grudge against Troy upon Aeneas. By displaying her negative characteristics, Virgil tells the audience that women should not be involved in politics because they act emotionally and see their own desires as priorities. A leader who acts impulsively and does not care about the consequences of his or her actions can have a tremendously negative effect on the nation. Similarly, Goddess Venus, who is also the mother of Aeneas, behaves just like Juno. Although her actions are all intended to aid

She calls upon Aeolus, King of the Winds, to cause a mighty storm that will destroy the Trojan fleet. As the storm arises, several ships are destroyed while others are swept away, but eventually Aeneas and some other ships end up in the harbor of an unknown land. Aeneas decides to inspect this strange place, and during his exploration he encounters a huntress. This is actually Venus in disguise, and she informs him that this is the land of Dido, Queen of Carthage. Aeneas meets Dido, who welcomes the Trojans and invites them to her feast. During the feast, Venus has her son Cupid, God of Love, make Dido fall in love with Aeneas. He succeeds, and Dido asks Aeneas to tell her of the fall of Troy, which he does.

The interactions between gods and gods is clear from book 1 where Juno is fuming because her favoured city Carthage has been prophesized to be destroyed by Trojans. She calls on Aeolus to let free the ‘brawling winds and howling storms’ [1.54] to keep Aeneas and his men from reaching their destiny in return for the most beautiful nymph. Aelous gives his consent to this and the trojans face a sudden and violent storm. However, Neptune god of the ocean does not appreciate this and calms the storm down ‘he [aeolus] is not the one who has jurisdiction over the sea or holds the trident that knows no pity. That is my responsibility, given to me by my lot.’ [1.137-140] this shows even