Kim Dinh Pham FYSem William Walker

Essay # 3: Virgils Aeneid and the Violent Foundation Of Rome

Many scholars consider the Aeneid by Virgil a magnum opus, yet it is filled with gratuitous acts of violence. Throughout the epic poem, many gruesome and indescribable acts of violence were committed by both the mortals and the immortals, all come together to establish the legitimacy for what was going to emerge as Rome; each act is multivalent, and each is an act of foundation. On the topic of rage and violence in Aeneid, we have to consider Juno; she played a tremendously important role in the foundation of Rome. Junos wrath and vengeances is the key driving force for the foundational events in Aeneid. Through out the story, Virgil depicted the queen of the Gods as a ruthless and vicious goddess determined to sabotage Aeneas' endeavor to establish his fate in Italy. Although the epic of Aeneid started with Aeneass departure from Troy, the root of all tragedies, conflicts and events that happened in the poem originated from a dispute goddess the goddesses: Minerva, Juno, and Venus. Each of the goddess had claimed the Apple of Discord belong to her. Venus bribed prince Paris of Troy with the love of Helen, the finest immortal girl; therefore she was chosen as the "fairest". Juno cursed all Trojans in her wrath of jealousy, as well as vowed to bring Troy to its downfall, fulfilled the prophesy of Paris destiny. The divine pact between Jupiter and Juno sacrificed Trojan culture to appease the

furious goddess, all because of an apple. This violence, done on the Trojan race in the reconciliation of Juno, led directly to the Trojan War and set up the stage for the events that would result in the establishment of Rome. Junos wrath in Aeneid is disproportionate, turbulent and mismanaged. Perhaps Junos character as an antagonistic driving dynamism in Aeneid has shown here: Tell me, Muse, how it all began. Why was Juno outraged? What could wound the Queen of the Gods with all her power? Why did she force a man, so famous for his devotion, To brave such rounds of hardship, bear such trials? Can such rage inflame the immortals hearts? (Aeneid 1.1-7) Virgil started the poem with this rhetorical query that underscores the complexity of the divine. From the narrative strategy, Juno functions as a blocking figure. However, from a theological point of view, Junos violence is incomprehensible. Indeed, she had numerous motivations, ranging from petty revenge against the Trojans or Zeuss affair with Ganymede, to a more political hope of preventing her Carthage from its inevitable destruction by the Rome. However, regardless of all those motivations, Aeneas was clearly punished by Juno for no offense. On the contrary, Aeneas was praised for his pieta, or devotion, toward the gods. Juno is fully aware that she cannot alter the destiny of Aeneas, Rome or Carthage, and foreseeing that her schemes will inevitably come to nothing. Yet she still made our protagonist suffered solely because she could, indulged her desire to unleash the greatest possible vengeance while she still has the chance to do so. Her cruelty is not a means to an end; it has no purpose beyond the exhibition of her resentment at fate. To comprehend Junos rage, one must examine beyond her

character. Juno symbolized the opposition to Rome that emerged from Carthage during Virgils era. This opposition finds expression in myth and the foundation of Rome in Aeneid at the end signified Romes victory over Carthage. Also the reason that Juno functions so well as an antagonist in this epic is that, as a goddess, her action is the personification of the disparaging powers outside human control and understanding. Junos actions are even counterproductive in that they bring about the very outcome she tried to prevent, the establishment of Rome. Junos violence is therefore foundational. Though her brutality and cruelty was tremendous, Junos violence is bloodless. She didnt spill a single drop of blood by her own hand, even after the complete annihilated the city of Troy. The foundation of Rome, however, depends not only on the gods, but also on the mortal ground, where the violence is much more physical and gory. The Roman Empire was said to be founded on bloodshed and the level of violence in the last books of the Aeneid was escalated to the extreme, particularly the last scene, the death of Turnus:

Aeneas' eyes took sure and slow survey of spoils that were the proof and memory of cruel sorrow; then with kindling rage and terrifying look, he cried, Wouldst thou, clad in a prize stripped off my chosen friend, escape this hand? In this thy mortal wound 't is Pallas has a victim; Pallas takes the lawful forfeit of thy guilty blood! He said, and buried deep his furious blade in the opposer's heart. The failing limbs sank cold and helpless; and the vital breath with moan of wrath to darkness fled away. (Aeneid 12.12831295)

Assuming that the foundation the Roman Empire in the Aeneid is fated and right, how can one justify the excessive use of violence to get to that end, particularly in the last passage of the poem? To answer this question, we have to look at all the aspects of this violent incident. Turnuss death is giving rise to countless arguments because people take such different views of its ambivalent nature. Part of the issue of this end is whether this act of violence is sanctioned or not. To make such an evaluation, one has to examine the legal and moral validity of Turnus death. Through out the book, Aeneas was the manifestation of virtue and duty. In the last instant, however, he slayed Turnus in fury and despite Turnuss heart wrenching last bid. This loss of control and act of violence is contradictory to the stoic way Aeneas had been depicted by Virgil and somewhat de-moralized his image. People tend to feel pity for Turnuss last request and forget that the Trojans and the Latins created two peace treaties with each other. The first established in book XII when Latinus agreed that part of the treaty would be for him to meet with Aeneas, in person, and shake his hands, although this never actually happen (My offering and pledge of peace shall be/ to clasp your monarch's hand. Bear back, I pray. - Aeneid 7.266). The second peace agreement was officially ratified with the sacrifice in book 12. Now, Turnus broke the first treaty in book 8. Aeneas response to this was what a penalty you will pay me, Turnus, (Aeneid 8.538). Aeneas obviously hinted that he would punish the treaty-breaker. Turnuss murder of Pallas was a crime, and therefore, Aeneas violent action is therefore morally justified, fitting to Roman standards for taking revenge. An argument has been made that Aeneas then also a treaty-broker, as he shattered the second treaty when he buried his sword in Turnus. However, bear in mind that the disposition of the second treaty changed in this situation. The execution of Turnus is still a penalty, but it is way more personal: 't is Pallas has a victim; Pallas takes the lawful forfeit of

thy guilty blood (Aeneid 12.948-9). Here in Aeneass notion, he didnt executed the enemy leader, bearing the accountability for violate the second treaty, but rather because Turnus killed Pallas. Therefor, Aeneas action is again legally validated. All the acts and instances of in the Aeneid are beyond the moral and legal sphere, they are also bear foundational significance. Junos rage upon the Trojan is the driving force for the establishment of Rome. While Turnus certainly threatens the attempt to create a legal system for peace between the Trojans and Latins, and therefore the violence against him is foundational and legitimate. Junos annihilation of Troy and Turnuss death gave rise to a new order, which will be the Imperium Romanum that would soon be established. The violence is at the same time law making in that it is necessary for the foundation of the new order.

Citation Virgil. The Aeneid. New York: Random House, 1983. Print. "P. VERGILI MARONIS." Commentary on Vergil's Aeneid. Web. 13 Nov. 2012. <http://chlt.org/sandbox/perseus/con.verg.aen1_eng/page.2716.a.php>.