1. How does Aeneas’s piety and sense of duty change as the poem unfolds?
Aeneas was a Trojan who travelled to Italy and became the ancestor of the Romans. He was deeply pious, “you bear no more than what the gods ordain” (Virgil, 19). He followed the instructions of gods to set off on a journey to Italy as quoted from book 1 “he came to Italy by destiny” (Virgil, 24). Aeneas’s sense of duty keeps changing as the poem unfolds. The first six of the twelve books making up the poem describe how Aeneas wandered from his native Troy to Italy while the rest of the poem describes the how Aeneas led the Trojans to victories in wars against the Latin.
Aeneas is described as exceptionally pious who took it upon himself to liberate the Trojans and establish the Roman Empire. To start with, Aeneas escaped from the burning city with the hearth gods that represent their fallen city. He was obedient to the gods who assured him that a glorious future awaited him in Italy (Virgil). During the journey, Aeneas meets Dido with whom they become lovers and live together for a sometime. The gods remind Aeneas of his duty to establish a city for his people. He leaves Dido behind and proceeds with the journey to Italy to fulfil the wish of the gods.
Aeneas’s however, tries to incorporate his own ideas and actions into the destiny decided by the gods. The period he stayed with Dido in Carthage is one such case where he defies piety. An appeal from the god (Jupiter) calls Aeneas to attend to his son Ascanius whom he dearly loves. In books, IV and VI Aeneas’s reverence for the gods is evident. He chooses commitment to duty (leading his people to Rome) rather than indulging in genuine romantic love with Dido.
Aeneas piety and commitment to duty is also evident as he prays to Jupiter to quench fires consuming boats to derail the Trojans’ journey to Rome (Virgil). The gods respond to Aeneas’s prayers by sending a torrential rainstorm. Aeneas engagement in wars battles with Turnus momentarily diverts his focus and sense of duty to lead his people to Italy. He also gets lost in the sea but the gods redirect him and he continues with his journey to Italy. At some point, Aeneas descends to the underworld to communicate with his late father’s spirit. The gods offer him a prophetic vision of the city of Rome into which Aeneas is to lead his people and fulfill his ultimate duty.
2. To what extent is the Aeneid a political poem? Is it propaganda?
The main purpose of the Aeneid was to create a myth that consolidates the historical and cultural identity of Rome. The laying of the foundations of any civilized society has to have a structured governance structure. Virgil exemplified this in the poem by constantly mentioning Emperor Augustus ho was the political leader of the Roman Empire. The search for the origins of Rome is a political endeavor that seeks to justify the existence of the Roman Empire as well as glorify it. Several political instances stand out from the poem.
First the poem constsntly refers to Emperor Augustus- in Anchises’s presentation on the future of Rome. Virgil (the poet) language points to honest and sincere appreciation of the emperor’s greatness. Other than being emperor, August us was also Virgil’s patron. It was therefore, impossible for Virgil to openly criticize the emperor in his works rather he “had” to subtly or even blatantly appreciate him. It is credible to argue that Virgil appreciation of Emperor Augustus’s greatness was not genuine, and, he wanted to subtly and satirically voice his discontent with the ideologies and policies of the Emperor.
The poem “The Aeneid” is uniquely artistic and one of the greatest ever written in History. It can therefore, not be brushed aside as mere political propaganda (Quinn, 12). Several other themes such as conflict, religion, love, civilization among others issues take centre stage while politics is just but a small scion of this exquisite masterpiece.
Works cited
Virgil. The Aeneid. USA: Filiquarian Publishing, 2007. Print.
Quinn, Kenneth. Virgil's Aeneid: A Critical Description, London, 1968. Print.
