The Aeneid ' A Kind Of Propaganda, Cicero 's Second Philippic

A lot of research has been done showing the textual relationship between Virgil and Lucretius. Many have noticed the unique use of gliscit by Virgil in 12.9 to describe Turnus’ reaction to seeing the Latins retreat and have subsequently connected it to Lucretius, specifically passage 1.474: “ignis Alexandri Phrygio sub pectore gliscens clara accendisset saevi certamina belli”. Although Virgil could have had this passage in mind, there is another use in Lucretius which can bring new context and understanding to Virgil’s use of gliscit. Scholars before have noted the relationship between Aen. 12.9 and DRN 4.1069; however, it has not been analyzed why Virgil might be invoking this specific passage.

In examining the histories presented by Livy and Tacitus, it is crucial to take into account the agendas of the respective authors. While both set out to portray as accurate of a historical representation as possible, it is evident that both renowned historians and rhetoricians intended to deliver several significant messages regarding their thoughts on Rome. Both authors do, indeed, acknowledge the greatness of Rome and champion the core of Roman values; however, Livy and Tacitus tactfully elaborate on different troubles that face the Roman Empire. The histories put forth by these great men aim to present the past as an aid to promote

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.

Augustus Caesar: According to Kline’s translation, Virgil introduces Augustus Creaser in verse 791, “This is the man, this is him, whom you so often hear promised you, Augustus Caesar, son of the Deified, who will make a Golden Age again in the fields where Saturn once reigned, and extend the empire beyond the Libyans and the Indians…” (Virgil VI.791-795) Virgil in this passage introduces Augustus Caesar and tells us of his great expansion of territory during his reign.

In Julia Hejduk’s article, “Jupiter’s Aeneid: Fama and Imperium”, she defends her position against other scholars in her discipline, that the Jupiter that Virgil depicts in his epic poem, “the Aeneid” is concerned solely with power (imperium) and adulation (fama), and that he cannot be trusted to act unless driven by others praising these values or desecrating them. Her argument extends the callous descriptions and actions of Jupiter to those of Augustus Caesar. In summary, Hejduk argues that through depicting Jupiter in this way, Virgil criticizes both Augustus and his values, and as an extension the values the entire Roman Empire has been built upon. He emphasizes how war is depicted as more significant than peace or happiness since the founding of Rome. Virgil’s

Before Augustus’ reign began, Civil war had ravished the basic principles of the Roman people. Piety, the warning to “fulfil our duties towards our country, our parents, or others connected with us by ties of blood” was undermined by faction. The duty towards country, parents and relatives was less of a bond because faction determined duty rather that Pietas. Thus Rome, a city founded in pietas, was that foundational principle. internal faction undermined the principles of pietas and corrupted its role in the city. Rome needed a moral reform towards pietas; Rome needed a refocus on the roots of the empire, its duty towards its ancestors, and unity based in pietas. Commissioned by Augustus, Virgil constructs the Aeneid to portray the cruciality of pietas by redefining Greek epic heroism to include pietas. Each comparison of aeneas to another greek hero emphasises the pietas within him, showing how he is better because of it and combining the heroism of all the Greek heroes into Aeneas. By doing this, virgil shows that to unify Rome through pietas is to harness Rome’s power. Thus, Virgil reveals to the Romans a virtue which allows the individual Roman citizen embody and partake in the glory of Rome.

     Virgil opens the ‘Aeneid’ with the words ARMA virumque cano ( I sing of arms and of men). The central role that war plays in this Roman epic is made apparent from the very first word of the ‘Aeneid’ by the emphatic placing of the word arma at the very beginning of the poem. A fair chunk of Virgil’s ‘Aeneid’ is set on the battle field but its violent and gory descriptions of death and its frequent battles alone cannot make this poem an anti-war poem. Virgil does not merely use the notion of war to further his plot but deals with many types and aspects of war throughout the entirety of his book; mythological wars; recent wars; their effects; their causes; and often one is

Rome was experiencing a great deal of internal turmoil during the period when Virgil wrote the Aeneid. There was somewhat of an identity crisis in Rome as it had no definitive leader, or history. With the ascension of Augustus to the throne, Rome was unified again. Still, it had no great book. The Greeks had their Odyssey, giving them a sense of history and of continuity through time. A commonly held view is that the Aeneid attempts to provide the Romans with this sense of continuity or roots. There is a great deal of textual evidence to support this interpretation. Virgil makes numerous references to the greatness of Rome through "ancient" prophecies. Clearly, the entire poem is an account of

The Civil War, consisting in large part of Caesar’s own account of the conflict between himself and Pompey, explores the origins of the war, the manner in which it was carried out, and most importantly the role of pivotal figures on both sides of the struggle. Prior to his records ending and supplementation by military officers, Caesar makes a case for his involvement in and perhaps triggering of the war, one which would transform the social and political landscape of the Roman empire as battles and campaigns were waged from Spain to Italy, Africa to Asia Minor. Caesar walks a fine line between historian, strategist and orator as he attempts to record historical events, martial decisions, and persuade an audience respectively. Despite his efforts to remain impartial, as evidenced by his admission that “the Pompeians were winning” at Dyrrachium, Caesar consistently presents himself as a charismatic and skilled general and leader, jeopardizing the integrity of the text as objective material and allowing it to be a propagandist account of sorts. Ultimately, Caesar uses anecdotal evidence, the presentation of his personal thoughts, and juxtaposition with his opposition to paint his side of the war in a positive and just light.

Virgil opens the ‘Aeneid' with the words ARMA virumque cano ( I sing of arms and of men). The central role that war plays in this Roman epic is made apparent from the very first word of the ‘Aeneid' by the emphatic placing of the word arma at the very beginning of the poem. A fair chunk of Virgil's ‘Aeneid' is set on the battle field but its violent and gory descriptions of death and its frequent battles alone cannot make this poem an anti-war poem. Virgil does not merely use the notion of war to further his plot but deals with many types and aspects of war throughout the entirety of his book; mythological wars; recent wars; their effects; their causes; and often one is able to find Virgil's own

Before Augustus came to power, Civil war had ravished the basic principle of the Roman people. Piety, the warning to “fulfil our duties towards our country, our parents, or others connected with us by ties of blood” was undermined by faction. The duty towards country, parents and relatives was less of a bond because faction determined duty rather that Pietas. Thus Rome, a city founded in pietas, was that foundational principle. internal faction undermined the principles of pietas and corrupted its role in the city. Rome needed a moral reform towards pietas; Rome needed a refocus on the roots of the empire, its duty towards its ancestors, and unity based in pietas. Commissioned by Augustus, Virgil constructs the Aeneid so that it portrays the cruciality of pietas by redefining Greek epic heroism to include pietas. Each comparason of aeneas to another greek hero emphasises the pietas within him, showing how he is better because of it and combining the heroism of all the Greek heroes into Aeneas. By doing this, virgil shows that to unify Rome through pietas is to harness Rome’s power. Thus, Virgil reveals to the Romans a virtue which allows the individual Roman citizen embody and partake in the glory of Rome.

In Virgil’s poem, The Aeneid, the ideal Roman hero is depicted in the form of Aeneas. Not only does Aeneas represent the Roman hero, but he also represents what every Roman citizen is called to be. Each Roman citizen must posses two major virtues, he must remain pious, and he must remain loyal to the Roman race. In the poem, Aeneas encompasses both of these virtues, and must deal with both the rewards and costs of them.

Intro – Begin by talking about how people often see Aeneid by Virgil as focusing on the events surrounding the Trojan war, but an equally important part of the story is the prevalent theme of duty. For instance, if one looks at Aeneas one can see his devotion towards caring for his people, and his persistence to follow his duty. Because of the emphasize that Virgil places on Aeneas devotion to his people and his duty to obey the gods, one can begin to theorize that Virgil believed duty was the most important quality a man could possess. Thesis: Often times, the Aeneid carries the reputation as a book centering around the founding of Rome, however, without the constant reminder of duty, one cannot fully view Virgil’s story as he intended.

The Aeneid is an epic poem originally written in Latin by Publius Vergilius Maro (Virgil). Virgil’s background is rather extraorginary. He was born about 70 B.C in the village of Andes, which is just outside of modern day Mantua. He got his education in the Northern Italian cities of Milan and Cremona. He eventually made his way to Rome where he was quickly immersed in learning the theory of Roman law. Virgil had planned to end up a legal advisor as his dad wished, however after giving law a try, he decided to study philosophy instead.

Virgil was Rome’s unwilling epic poet, he gave the Roman people a cohesive narrative that tied them to the past and propelled them towards the future. This narrative, The Aeneid, had its basis in local lore as well as ties to the older Greek epics of Homer. The Aeneid almost functions as an extension of The Iliad and Odyssey, with its protagonist, Aeneas, being a minor figure in the earlier poems, and the work itself academically divided into “Odyssean” and “Iliadic” parts. In this relationship Virgil owes a creative debt to Homer, and there is a resemblance that can be seen with striking clarity when the experiences of Homers’ Odysseus and Virgil’s Aeneas are examined side by side. Odysseus and Aeneas are both honour bound to reach the destinations of their respective journeys, Odysseus to rule Ithaca and Aeneas to found Rome, and while ones journey often mirrors the others, there are significant differences between the two. The major differences that can be observed lie in their characters and forms of heroism and these variations shape the course of their narratives, yet the similarities of their internal journeys and ultimate fates remain intact.