The Aeneid Analysis

Instead, the article further educated me on the inner thoughts and experiences that are associated with being FTM transgender or transsexual. As a cisgender individual, or someone whose gender and biological sex are the same, I am unable to empathize or related to the experiences of transgender and transsexual people. The inside look that the article provided me was appreciated and granted me a deeper understanding of what it is like to be transgender or transsexual, especially regarding how they are socially perceived. Before reading the article, I knew that transgender and transsexual individuals did not feel that their gender matched their biological sex. Through the article, I learned that while that may be true, they do not always feel pressured to change how they physically appear to identify as a gender other than one representative of their biological sex. There are many factors they consider when choosing to transition or not. The factors include: how they want to be perceived in social interactions – as a man or not as a man -, family and friends, loss of their trans or queer identity, and feeling like their gender and sex match (Dozier, 2005). However, regardless of if they transitioned, once the individuals were accepted as their desired gender, the individuals felt more comfortable breaking gendered norms, like presenting as a male but wearing nail

He cried over Dido’s death because he was moved in his heart for her loss; a death brought about by her love and loss of Aeneas. Augustine had

Aeneas seems sad to see Dido, he also appears to pity her. He speaks to her “with tender love”(p. 90) and “wept as he watched her Disappear, and pitied her as she went.”(p.90) Dido seems unaffected by everything he says “As unmoved by his words...Finally she left, a stranger to him now, and fled Into a darkling grove, where her old husband, Sychaeus, comforted her and returned her love.” (p.90) H

Let people not overlook that homosexuals both male and female face the same struggles when it comes to being respected in the field. After “coming out” they are almost alienated from the life that they may have known before. They lose all respect from people they previously considered to be friends. Leaving them alone in what was already a battle.

This love drunk mentality proceeds to gradually ravage her emotional stability and severely hinder her function as head of state. It is as Diotima states that “Footed and winged animals alike, all are plagued by the disease of Love” (Sym. 207b) that it is relevant in Dido’s case; this infatuation becomes so overpowering, it is like a disease that consumes her, forcing her to make decisions that go against her original values. Initially, Dido experiences an internal conflict when wanting to keep her vows to her late husband, while drawn to Aeneas, “If I were not unshakable in my vow” (Aen. 4.77). This vow that acts a barrier from being with Aeneas, creating a sense of shame that pulls her back. These feelings of passion overpower those of wrongdoings,

To begin, Virgil depicts Queen Dido as an emotional person. When her lover Aeneas leaves her to build Rome, Dido curses him and prepares to burn all of his possessions, only to later kill herself. Before Dido ends her life in The Aeneid “Book IV: The Passion of the Queen,” she curses Aeneas by yelling,

Case Study 14.1: David’s coming Out Process 1. What are the developmental challenges for sexual minority youth, as articulated in David’s story? David’s story points out the complicated lives that LGBTQ youth experience, youth who identify as transgender, lesbian, gay, bisexual, or queer are more than twice as likely to attempt suicide, and studies show that that higher risk stems from their experiences of discrimination and victimization. David’s journey as a gay teen reveals the challenges some young people face just for being who they are.

“Dido was dying a death that was neither deserved nor predestined, but premature: a poor woman, swept up by the quick fire of madness.” (Vergil

In every great epic, love plays a key role in bringing people together but also destroying plenty in its way. Even though Dido is characterized as this powerful leader, she slowly starts to fall as her passion for Aeneas starts to grow. As Aeneas tells his story to all the people, Dido slowly starts falling more and more in love with Aeneas. Throughout this Book you slowly start to see the demise of Queen Dido. "Towers, half-built, rose no farther; men no longer trained in arms... Projects were broken off, laid over, and the menacing huge walls with cranes unmoving stood against the sky". Virgil provides images of how Carthage is being affected by the downfall of Queen Dido. Dido is so infatuated with love that she cannot see how she is running Carthage to the ground for the love of Aeneas. The goddess Juno, the queen of gods, saw this as an opportunity to keep Aeneas from reaching Italy. Dido even broke her vow of chastity and surrenders to her desires for Aeneas. “Dido had no further qualms as to impressions given and set abroad; She thought no longer of a secret love but called it marriage”. This statement demonstrates how she is becoming

Dido has infamously been labeled the tragic literary love interest to Aeneas in Virgil's The Aeneid. Her suicide was a vital plot point in Virgil's work and he emphasizes the people who influenced her decision to eventually take her own life in order to gain sympathy for this flawed yet tragic character. There are numerous people who could in fact be held responsible for Dido's death, some of the people were completely out her control and Virgil attempts to have the reader pity her unfortunate circumstances. Dido''s suicide is classic literary trope that makes us question the way others actions fully affect the lives of others. The situations that surrounded the life of Dido appeals to the readers pathos and aids in the question as to why unseen forces can affect life so drastically in these Greek tragedies.

She confronts him asking, “Can our love/Not hold you…?” (Virgil 983). She says that if Aeneas leaves her, then she is a “dying woman” (Virgil 984). When Aeneas persists in his decision to leave, she insults him and angrily sends him away. She calls him a “liar and cheat” (Virgil 985). Dido’s heart is broken at Virgil’s forsaking of her. She becomes inflicted by a “fatal madness” and is “resolved to die” (Virgil 988). After praying for enmity between her descendants and Aeneas’, she climbs atop a pyre of Aeneas’ belongings and stabs herself. Love becomes an obsessive passion to Dido; her life is empty without it. She does not have the will to live forsaken by her lover. She kills herself for love. The poet exclaims, “Unconscionable Love,/To what extremes will you not drive our hearts!” (Virgil 986).

On the other hand, Virgil notes that Dido’s love for Aeneas has caused her to suffer. Dido’s emotions have caused her to act like a wounded animal, not thinking about the consequences of her own actions. By being reduced to an animal, Dido has lost all rational thought. Consequently, Dido’s lack of rational thought causes her to begin to ignore other duties she has to fulfill.

If Dido were truly passive, she would have let Aeneas leave without any trouble. Yet instead, Dido is deeply upset and agitated; she thinks of ways to stop Aeneas from leaving, and confronts him head on, things all uncharacteristic of a passive woman resigned to fate. A passive woman would have given up far before Dido actually does, as Dido goes on to ask Anna to convince Aeneas to change his mind; she continues to fight to keep Aeneas at Carthage despite him leaving under the command of the Gods, which neither Aeneas nor Dido can change.

After receiving this message, Aeneas grows restless, “Revolving in his mind the stern command, he longs to fly, and loathes the charming land,” (Book 4). This is all just another step towards Aeneas’ greater destiny; He flees, and Dido is driven into a suicidal rage; she throws herself upon a sword in view of all of her subjects, ending her existence, as well as her kingdoms. Despite the fact that Dido felt love for Aeneas before Juno attempted to cause their wedding, Aeneas did not, and the love he returned as a result is arguably what drove Dido into the throes of her maddened passion. Thus, without Juno’s forced nuptials, Dido would have acted more rationally in response to Aeneas’ leave, and probably would have lived. In this way, Juno is responsible for the very fall of Carthage she struggled to prevent. With his potential wife no longer living, Aeneas is free to take on an Italian wife, a union that leads to the foundation of Rome. The manipulation of Dido by Venus, in an attempt to make the way for Aeneas easier by motivating the queen to assist him with quarter and goods, shows again how even the Gods must obey the dictates of the Fates.

While Dido’s suicide is seen as a loss of power to many, her decision suggests one last aspect of her life she actually has control over. Although she ends her life due to her immeasurable pain and love with Aeneas, it’s a decision Dido makes on her own, “so broken in mind by suffering, Dido caught her fatal madness and resolved to die” (1099, 10.630-631). Dido makes this decision to “free [herself] of desire” (1099, 11.636), this alone is powerful and moving. Dido’s emotions cause her to make a permanent decision that will allow her to gain the power and control that she lost due to this all-consuming