How Virgil Integrates Myth and History in The Aeneid

How Virgil Integrates Myth and History in The AeneidHow does Virgil integrate myth and history in The Aeneid? Discuss with reference to specific passages.Written as capital of Italy face a new era, and as its politics and society rapidly evolved, The Aeneid is essentially Virgils own reflection on these transformations. The storey, interwoven with numerous diachronic and unreal elements, highlights his semi policy-making and moral concerns regarding the new empire, his blurring of boundaries, amongst past and present, and myth and reality, bookmarking this exploration. As these universe of discourses collide and blend throughout the narrative, our reading of Aeneas journey is expanded this epic metrical unit myth can be read as Virgil questioning the new empire, how it would affect the Roman identity and its traditional values, whether capital of Italy was truly free from the forcefulness and corruption of the Civil Wars, and his hope for quietude under Augustus rule. By an alysing the text we may infer the extent to which he integrates myth and history in his political commentary.This interweaving of reality and fiction for such effect is seen instantly in Jupiters prophecy in Book 1 where the very real take c are of Augustus is connect to the mythological figure of Aeneas. This link, as mapped out by Jupiter, passes from Aeneas, the first founder of Rome, through the legendary twins Romulus and Remus, central characters in Romes moreovert legend, and onto a Trojan Caesar(1.287), Augustus own uncle and adopted start out, Julius Caesar. Comm only when seen in Julian propaganda of the 1st century BC, this connective highlights the link between the gens Iulia and the eponymous figure of Iulus-Ascanius1, Aeneas son, and explicitly places Augustus in the line of noble stock the rulers of the reality (1.282-286) originated from. Decreed to be a direct descendent of these two legendary characters by the find of the gods, Augustus is instantly cemente d as the rightful ruler and depicted as the next piece in Romes foundation myth that he also is a legendary figure. Furthermore, these characters themselves embody the blurring between myth and reality. For example each is of both divine and mortal descent Aeneas is the son of Venus and Anchises, Romulus the son of damage and Ilia the priestess queen and Augustus too, according to Jupiters prophecy, can trace his lineage to both these legendary figures, and a Caesar, Romes first imperial figure. This not only gives Augustus further gravitas and legitimacy as a ruler, but also suggests that he is re-establishing the Rome as it was prophesised, and the Roman identity as it should be. Also it suggests that Romes foundations are equally legendary, born from the combination of myth and reality, and equally endorsed by the gods. period Aeneas overall journey in The Aeneid also sees this close family relationship between myth and reality, we may also see it as mirroring Romes own growt h as a nation.2 For example, Aeneas metre in Carthage, between Books 1 and 4, represents the Punic Wars, a series of wars fought between Rome and Carthage between 264 BC and 146 BC which saw more than a century of booking, thousands of deaths, and Rome win Carthage as the most powerful state in the Western Mediterranean. This section is steeped in historical allegory Didos suicide and Carthage seemingly burning with the flames of light Didos pyre (5.3-4) represents Carthages own defeat at the hands of Rome, and its decline as Romes power grew. Following this Aeneas progress encapsulates the narrative and in Books 5 to 8 we see him get gradually closer to Italy. This part of his journey however also sees many allusions to the Odysseus myth and is littered with Homeric motifs as Aeneas encounters a number of supernatural creatures, such as journeying to the Underworld, contact with the Harpies and Cyclops, close encounters with the sea monsters Scylla and Charybdis and with the l ands of the Sirens and Circe. By translating a Homeric and mythological world onto the well-charted, and well-traversed, Mediterranean, Virgil continues to interweave reality and fiction, and, in doing so, blurs what is true and what is false. This also creates tension between the two as contemporary indorsers, recognising the places Aeneas tours and passes, sees these familiar lands as the homes of legendary creatures. While on one hand this section can be seen as portraying Aeneas as an equal hero to Odysseus, it can also be seen as reflecting Romes journey and growth, from Trojan foundations to an identity of its own. Virgil continues this tension in Books 9 to 12 as Aeneas battles with the Latins closely reflect the recent Civil Wars, and Aeneas and Turnus one-to-one fleck represents the Battle of Actium where Augustus defeated his last rival, Mark Antony. While gradually reflecting Romes past with Aeneas journey, Virgil strives to remind Rome of the destruction it has faced, externally such as in Carthage, and internally such as during the civilised wars, and in doing so he attempts to show Romans that they must learn from their past. Like many other historical epics, both Greek and Roman, The Aeneid is used to define a national identity in opposition to an other, as evidenced by the vast historical skeleton the narrative is built upon.As J. D. Reed suggests, it aims to present Rome as distinct to all other nations from the Trojans with whom it originated, the Greeks whom the Trojans had fought and who the Romans were to conquer by distancing Aeneas from the Homeric and Greek world the Carthaginians who threaten Roman ascendancy with the death of Dido and the Italian peoples among whom Rome arose with Aeneas war with the Latins.3Virgil continues to merge the past and present in Book 8 and, in Aeneas visit to Pallanteum, images of Virgils contemporary Rome bleed into the descriptions of Evanders archaic settlement. For example, as Evander guides Aeneas , we see cattle lowing in the Roman forum, and the Capitol, now all opulent now bristling with rough scrub (8.349-362). Also, throughout the description, many landmarks recognisable to Virgils contemporary readers, such the Alter of Carmentis and the Carmental Gate (8.338) are seen. These images appear to transcend time itself, and by warping the familiar with the historical, Virgils narrative continues to run on underlying tension. However these images are also accompanied by those of a verdant paradise the site is described as the haunt of native fauns and nymphs and Saturns first Golden Age (8.315-325). Hence, with this blurring of past and present, and by translating images of contemporary Rome onto those of country peace, Virgil is linking Aeneas coming, and therefore Augustus, with Saturns he hopes that Augustus is bringing the second Golden Age of peace and serenity (8.326). However, Evanders account is also greatly pessimistic, detailing a worser age of base material as t he time of peace disintegrated and the madness of war and the lust for possessions (8.327-328) consumed all. While this is clearly representing the recent civil wars that tore unconnected Rome, it also reveals Virgils own hopelessness for the future of Rome like Evander he views the Golden Age, and the empire, as only an intermission from continuous fighting and invasions.4 This hopelessness for the future appears to stem from Virgils own cynical view of human constitution, as can be seen in the myth of Hercules and Cacus. In essence a tale of a hero and a monster, and of archetypal good and bad, Virgils description casts an unnerving similarity between the two as both are described as incredibly violent and rabid with furor. This, therefore, causes us to question whether Virgil truly endorses Aeneas, who is also seen as incredibly violent in battle, and the new emperor moth he represents. Supporting this is the description of Aeneas and Mezentius battle in Book 10 where the tale of Hercules and Cacus is literally mirrored as Mezentius rode around Aeneas triad times (10.886), recalling Hercules three trips around Mount Aventine in anger (8.231-232). This similarity disturbingly places Aeneas, our supposed hero, in the place of the monster Cacus and contradicts the many positive descriptions of Aeneas, causing us to see that Virgil had mixed opinions about Augustus and the new empire this use of myth shows he had hopes for the peace one ruler could bring, yet was cynical of the destruction human nature could cause.Book 8 also sees the pinnacle of Virgils use of myth and history in the description of Aeneas resplendent screen. Crafted by the fire god Vulcan it is a clear echo of Achilles own shield from The Iliad and another allusion to Homer. However, on one hand, while Homer chooses to depict the entire world, including the earth, oceans, heavens, stars, and human life Hephaestus engraves Achilles shield with the pleasures of peace as Homer strives to re mind his hero of what he is fighting for. Virgil, on the other hand, chooses to engrave Aeneas shield with a memorialization of Romes military victory, and her success in conflict as well as peace, as he prophesises Romes history.5 This is due to the context of The Aeneid. Written soon later on the Battle of Actium where Augustus put an end to the strife of civil war in Rome, becoming the first emperor, The Aeneid reflects this recent shift in power the description of Aeneas shield in particular. Primarily, Virgils language choice, namely in characterisation, is important in establishing this Homeric relation and political undercurrent. For example, his description of Augustus sees the new emperors association with the divine increasingly wildnessed the gods themselves are listed in the description of his followers, indicating that he has the divine right to rule, and his recent success at Actium as determined by the gods. Also, Augustus is physically elevated in this image, and is therefore physically closer to Olympus. Similarly he is described as wearing a double flame and his fathers star (8.682). On one hand this associates him with Ascanius who, in Book 2, is blessed by the gods with a halo of holy fire, this portent followed by a second a star sent by the gods. This similarity, while supporting Jupiters prophecy in Book 1 that Ascanius will establish the seeds of a power that, eventually, will become Rome, further emphasises Augustus right to rule. Also, the inclusion of his fathers star alludes to his adoption of Julius Caesars name, and emphasises his legitimacy. Essentially, the description of Augustus is steeped in social and political context with the intention of establishing his sovereignty, suggesting that there was possible unrest in his early years of power. This description, notably Augustus relationship to the gods, sees Virgils focussing on highlighting Augustus power, and the legitimacy of that power.Similarly, Virgils description of An tony informs us of the social and political background of The Aeneid. Introduced as in triumph from the shores of the Red Sea (8.688-689), Antony is portrayed positively, which, as Augustus rival, is peculiar. Also, he describes their conflict as mountains were colliding with mountains (8.694), associating both with the seemingly-immortal strength of Homeric heroes, and indicating that they are equals in power. Also, contextually, there was no honour in fighting a fellow Roman, and Virgil avoids this in his aura of Augustus by undermining Antonys involvement. Virgil achieves this by using active verbs to describe Cleopatra, and while she is described as summoning her warships and calling for winds (8.698-708), her role in the battle eclipses Antonys. This has the effect of large Rome a common enemy the woman and the orthogonaler. This in itself associates Cleopatra with Dido, also a foreign queen, who, throughout her relationship with Aeneas, is portrayed as deterring his progres s, and therefore, deterring the progress of Rome. Furthermore, Cleopatras description echoes that of Dido. Called his Egyptian wife or the queen (8.689-698), she is denied a name, and the autonomy of self, just as Dido, who is defined by her relationship with Aeneas so much so as to take her own life when he leaves. By giving the Romans a common enemy, the civil war is instead turned into that with a foreign power, and creates a sense of Roman unity, unity that perhaps was not as assured in reality, and notably, unity brought by Augustus success. The gods too are purposely characterised for effect. While on one hand, the Roman gods are named and recognisable, the Egyptian gods are described as monstrous, Virgil even highlights the dog-iron form of Anubis who barked at Neptune and Venus (8.699-700). This emphasis on the animalistic qualities of the Egyptian gods serves the purpose of establishing a divine hierarchy the Roman gods, as human in shape, naturally come before the dog god , an animal typically obedient to man. This hierarchy serves to assert Roman superiority, culturally and spiritually, as well as militarily.Virgils description of the shield in itself is important too throughout the passage, there is fluidity between narrative and object. This is achieved by the subtle blurring of the mythical world, as depicted on the shield, and the real Aeneas story. For example, as the passage flows through the narrative, certain words and phrases alluding to the material of the shield, how its made and the maker, such as the God of Fire who had fashioned the Nile with every fold of mantelpiece beckoning (8.709-714), disrupt the flow and pull the reader sharply to reality. Also, there is a prevalent dichotomy of senses we are told that Anubis barked while the Roman gods swooped and strode (8.699-703). This sense of motion and dense brings a still image and object alive, and reflects the power of well-crafted art just as Aeneas shield seems to come to life in h is hands, the poem does in the readers mind.Ultimately, through his integration of myth and history, Virgil is able to blur truth and fiction, transforming The Aeneid into accepted fact. This not only establishes his account into the foundation myth of the Roman identity, but also establishes Augustus into the pantheon of Romes mythological founders. On a deeper level though it also allows him to explore complex issues such as the effect the civil wars had on the Roman identity, his hopes for Augustus rule, and his fears that human nature, greed and violence will plague the new empire. Essentially, through the merging of the two worlds, whether this be between the mythological and realistic, chaste allusion and historical context, or narrative and material object, he achieves the ultimate contrast between a piece of literature, and a political message.BibliographyBell, K. K. 2008. Translatio and the Constructs of a Roman rural area in Virgils Aeneid, Rocky Mountain Review 62 11-24 .J. D. Reed, Vergils Roman, in J. Farrell and M. C. J. Putnam (ed.), A Companion to Vergils Aeneid and its Tradition. Oxford 2010 66-79.J. E. G. Zetzel, Rome and its Traditions, in C. Martindale (ed.), The Cambridge Companion to Virgil. Cambridge 1997 188-203.Johnson, W. R. 2005. launch, in S. Lombardo (Trans.), Aeneid, Indianapolis. lxi-lxxi.R. D. 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