The Role Of The Gods In The Aeneid

At the beginning of Book 2 of The Aeneid, Aeneas tells his story about the fall of Troy. The Greeks constructed a massive wooden horse to which the Trojans believed was an offering goddess Minerva. They then sent one of their youths, Sinon, to give the offering to the Trojans. The Trojans brought the wooden horse into to please the goddess but, the wooden horse was actually a structure to house some Greek soldiers to infiltrate Troy as well as execute a sneak attack when the city was asleep. Similar to guerrilla soldiers, the Greeks exit the wooden horse to begin their attack on the Trojan city. When Aeneas sees the city in flames, he gathers his men to attempt to save Troy. Aeneas attempts to kill as many Greeks as he can, but forced to retreat.

A classic example of this divine involvement occurs within the first page of The Iliad.  Achilles, the great hero of the Achaean armies, and Agamemnon the commander-in-chief of the Argives clash bitterly, and the entire epic centers on this conflict.  Homer details the cause of this

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 first people he sees are Leucaspis and Orontes, they were last seen sailing their ships away from Troy. “Overwhelmed by the storm that engulfed their ships As they sailed the windy seas out of Troy.” (p. 86)

The ideal virtue in Roman culture was piety, also known as pietas. Pietas had three components: duty to your country, duty to your family, and duty to the gods. When a person followed these guidelines in Ancient Rome, they were considered to have piety. Throughout Aeneas’ journey, the three components to pietas are demonstrated by actions taken by Aeneas’ character. In the epic poem, The Aeneid, the idea of pietas is central to the epic, opposing the Greek ideal of furor, or passionate desire/senseless fury. In this essay, I will analyze the moments in the epic that demonstrate how Aeneas uses these three components of pietas, and how this epic celebrates the shift from Greek ideals to Roman ideals.

That is, Poseidon avidly pursued Odysseus, throughout his journey back to Ithaca, as he had blinded his son, Polyphemus; for example, in Book 5, he creates a storm and shipwrecks Odysseus. Likewise, Juno persuades Aeolus, king of the winds, to create a storm that is consequently stopped by Neptune: A howling gust from due north took the sail aback and lifted wavetops to heaven.[3] These two comparisons of Juno with Hera and Poseidon, depict the Virgilian goddess as being hateful, resentful and vengeful. The fact that Virgil links Juno with the Homeric gods also gives her character an element of seriousness and austerity.

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.

“Gods can be evil sometimes.” In the play “Oedipus the King”, Sophocles defamed the gods’ reputation, and lowered their status by making them look harmful and evil. It is known that all gods should be perfect and infallible, and should represent justice and equity, but with Oedipus, the gods decided to destroy him and his family for no reason. It might be hard to believe that gods can have humanistic traits, but in fact they do. The gods, especially Apollo, are considered evil by the reader because they destroyed an innocent man’s life and his family. They destroyed Oedipus by controlling his fate, granting people the power of prophecy, telling Oedipus about his fate through the oracle of Apollo, and finally afflicting the people of

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.

The Iliad is a book full of poems that talk about the history of Trojans and Greeks. Within the Iliad, there is a strong urge to show a world in which was are tremendous and the gods have direct hand in human events and these deities influence fate. The two leading gods, Achillies and Aeneas, the reader can see the ways in which these two cultural problems entwine and try to create an image of the ancient world which is at once barbarously real in terms of the depiction of not just the glory, but also the horrors of war which are filled with supernatural and mystical figures called the gods.

Not anything like this event can be found in the Odyssey. The role of the Gods in the affairs of humanity is much greater in the Iliad then in the Odyssey. In the Iliad, the Olympians are continually interfering in the conflict between the Greeks and the Trojans. At best, they view mortals as hilarious pets to be cared for, played with, and loved. At worst, humans are just trade in to be dragging your feet around, sacrificed, and set against each other in order to resolve inter-Olympian ego-clashes.

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.

  The Aeneid is a poem of Fate, which acts as an ever-present determinant, and as such Aeneas is entirely in the hands of destiny. The unerring and inexorable passage of fate, assisted by the Gods' intervention, is impossible to prevent and its path does create many victims along the way, who are expendable for Rome to be created. In the Aeneid, mortals suffer, no matter what they do or how good a life they lead and they are unable to rely on the Gods for assistance. However, the Odyssey is a poem of morality, where the good are exulted and the bad are punished ("The blessed gods don't like wicked acts. Justice and fair play are what they respect" O.14.84). It

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

The fall of Troy was brought about because the god Minerva helped to fool the Trojans into accepting the wooden horse. Sinon tells the Greeks, "if your hands should harm Minerva's gift, / then vast destruction...would fall on Priam?s kingdom and the Phrygians; / but if it climbed by your hands into Troy, then Asia would repel the Greeks" (II.268-273). Minerva sends a strange sign to confirm this story: two giant serpents rise up from the sea, devour a priest and his two sons, and then slither up to the shrine of Minerva. The Trojans took this as a sign that they must appease the goddess, and so they wheeled the horse into the city of Troy. Throughout the book Aeneas is convinced that the gods are out to get him: "Had the outcome not / been fated by the gods...Troy, you would be standing yet" (II.75-79); "But oh, it is