The Ambiguity of the Death of Turnus

My year 12 class have recently done an exam on Aeneid XII; to help them learn from the experience I wrote a sample answer to the extended response question I posed them. Any comments are, as always, welcome. I know the ending of the Aeneid has the potential to cause heated debate, so feel free to let me know if you think I've got it completely wrong.


'utere sorte tua. miseri te si qua parentis
tangere cura potest, oro (fuit et tibi talis
Anchises genitor) Dauni miserere senectae
et me, seu corpus spoliatum lumine mavis,                           935
redde meis. vicisti et victum tendere palmas
Ausonii videre; tua est Lavinia coniunx,
ulterius ne tende odiis.' stetit acer in armis
Aeneas volvens oculos dextramque repressit;
et iam iamque magis cunctantem flectere sermo                940
coeperat, infelix umero cum apparuit alto
balteus et notis fulserunt cingula bullis
Pallantis pueri, victum quem vulnere Turnus
straverat atque umeris inimicum insigne gerebat.
ille, oculis postquam saevi monimenta doloris                      945
exuviasque hausit, furiis accensus et ira
terribilis: 'tune hinc spoliis indute meorum
eripiare mihi? Pallas te hoc vulnere, Pallas
immolat et poenam scelerato ex sanguine sumit.'

“A difficult, complex, allusive, challenging end” (Horsefall, p.195)

Analyse how Virgil’s language and characterisation of Aeneas and Turnus contributes to the ambiguity of his poem’s ending.

In the final lines of the Aeneid, we see what appears to be a dramatic role reversal in the characters of Virgil’s two heroes. The out of control Turnus, now seems calm and collected in the face of his impending death, whereas pius Aeneas seems to give in to the feelings of rage and grief which surge within him, showing the same excess of passion and lack of restraint which is condemned in both Dido and Turnus. This apparent reversal contributes to the poem's somewhat ambiguous ending, and forces the reader to carefully consider whether Aeneas’ final act can be justified within the moral framework of the Aeneid.

 

Aeneid XII

 

Aeneid XII, as imagined by my current year 12 class

Dido and Anna, Turnus and Juturna

Some notes from R.D. Williams on Aeneid XII.843f., interspersed with the relevant passages and translations. For more on the links between Dido and Turnus, I quite like this essay: Chaotic Passions; Turnus and Femininity in the Aeneid. It includes a chapter on both Dido and Juturna.

We are powerfully reminded of the scene in Aeneid 4 where Dido, another tragic victim of the events of the poem, visits her dead husband’s grave and is terrified by omens, voices and the hooting of owls by night

XII        postquam acies videt Iliacas atque agmina Turni,

alitis in parvae subitam collecta figuram,

quae quondam in bustis aut culminibus desertis

nocte sedens serum canit importuna per umbras—

hanc versa in faciem Turni se pestis ob ora               865

fertque refertque sonans clipeumque everberat alis.

When she sees the Trojan battle-lines and the troops of Turnus the Fury, changed suddenly into the form of that small bird which, sitting late at night on tombs and deserted buildings, often sings her ill-omened songs through the shadows - changed into this shape the fiend throws herself again and again into the face of Turnus, shrieking and beating upon his shield with her wings. 

 

IV         praeterea fuit in tectis de marmore templum

coniugis antiqui, miro quod honore colebat,

velleribus niveis et festa fronde revinctum:

hinc exaudirivuoces et verba vocantis                       460

visa viri, nox cum terras obscura teneret,

solaque culminibus ferali carmine bubo

saepe queri et longas in fletum ducere voces;

 

And furthermore, there was in her palace a marble chapel, sacred to her first husband, which she venerated with utmost love, keeping it decorated with snowy fleeces and festal greenery. Now from this chapel when night held the world in darkness she thought that she distinctly heard cries, as of her husband calling to her. And often on a rooftop a lonely owl would sound her deathly lamentation, drawing out her notes into a long wail.

 

labor omnia vincit

A bit of a Latin discussion in the paper over the last couple of days, from Column 8. First on Saturday:

''Latin, being the concise language it was (or is), causes much confusion in translation,'' writes obstetrician and gynaecologist Phil Watters, of Fern Tree. ''My favourite story is the opening of a large new maternity unit which had the words 'Primum non nocere' placed over the entrance. This is the exhortation in medicine to 'First do no harm'. Some wags then pointed out it could also mean 'The first time doesn't hurt', or 'Once is OK' etc (you get my drift), so they changed it to 'Labor vincit omnia'.'' It took us a while to work it out, but it translates as ''Labour conquers all''.

Which occasioned this response today:

Beryl Lubov, of Sussex Inlet, insists that the correct version of Saturday's Latin maternity ward sign ''is 'Labor Omnia Vincit' (the verb always comes last in Latin), also the motto of Sydney Girls High School, the alma mater of the NSW Governor, Marie Bashir'', and indeed Beryl herself. ''In the 1940s it was translated as 'Work Conquers All', and to students from other high schools Sydney Girls was known as the 'sweat school'.''

...the verb always comes last in latin? A little knowledge can be a dangerous thing.

urna movet

urna, ae f. a vessel of baked clay, vessel for drawing water, water-pot, water jar, urn: a voting-urn, ballot-box: An urn for lots, vessel for drawing lots.


The recent Latin Extension HSC paper had what I thought was a pretty difficult unseen in it. There was some pretty difficult language and a typo (don't tell the SMH) didn't make things much easier. But I thought the most difficult thing  was to understand what on earth Horace is talking about, with very little context. The end of the extract in particular contained the phrase movet urna, which has a particular, pretty specific meaning. Here's the extract the kids had to translate:

300

This is my 300th post since starting this blog way back in July 2006. The number 300 is one that crops up regularly in classical literature, for example in the 300 Spartans made popular by this movie a couple of years ago. It's often used imprecisely, to simply indicate a big, indefinite number, or often a number with some kind of magical or mysterious significance. Here are a couple of examples from Roman poetry:

Eheu fugaces, Postume, Postume,
labuntur anni nec pietas moram
rugis et instanti senectae
adferet indomitaeque morti,

non, si trecenis quotquot eunt dies,
amice, places inlacrimabilem
Plutona tauris,

Ah, Postumus, Postumes, the fleeting
years slip by and not even your righteousness
can put on hold your wrinkles and inevitable
old-age and unyielding death,

not even if you sacrificed 300 bulls
everyday could you please pitiless
Pluto, my friend.

(Horace II.14)

your favourite author

I've added a poll to my blog to let you vote for your favourite Roman author (you have to scroll down a bit to see it). I've only included the authors I've studied this year with my senior classes: Virgil, Cicero, Catullus, Horace and Ovid. If you vote, leave me a comment explaining who you voted for and why.

I had a similar poll set up ages ago, I don't remember what the figures were, but you can read a brief bio of each author as well as some of the comments here.

mater Euryali et rex Antiochus

Here's a surprising statistic. Latin (with 185 candidates) is the ninth most popular foreign language at the HSC this year. Ninth most popular is not a lot to boast about, but here is a list of courses with fewer candidates than Latin Continuers this year*:

• Vietnamese Continuers (166 candidates)
• Chinese Continuers (131 candidates)
• Modern Greek Continuers (116 candidates)
• Indonesian Continuers (77 candidates)
• Turkish Continuers (56 candidates)

Armenian, Croatian, Dutch, Filipino, Hindi, Hungarian, Macedonian, Maltese, Polish, Portuguese, Serbian, Swedish, Tamil and Ukrainian all had fewer than 50 candidates.

For the record Classical Greek and Classical Hebrew had 11 and 37 candidates respectively. Ancient History was the seventh most popular HSC course over all, with 12 127 candidates. You can find the full list here.

*These figures do not include Background Speakers or Beginners courses, which are in some cases(especially for Chinese) substantial.

Anyway, those 185 Latin Continuers students sat their HSC exam yesterday, and the 11 I spoke to afterwards seemed pretty happy with it. No real surprises, but enough interesting questions to allow them to shine. Here's my translation of the unseen passages, in case anyone is interested:

Aeneid X mind-map

Here's a basic mind-map I've created showing the relationships of the important characters from Aeneid Book X. Have I left anything off?

[Blue is for goodies, purple for baddies]

Talia per Latium

Talia per Latium. quae Laomedontius heros
cuncta videns magno curarum fluctuat aestu,
atque animum nunc huc celerem nunc dividit illuc
in partisque rapit varias perque omnia versat,
sicut aquae tremulum labris ubi lumen aenis
sole repercussum aut radiantis imagine lunae
omnia pervolitat late loca, iamque sub auras
erigitur summique ferit laquaria tecti.
nox erat et terras animalia fessa per omnis
alituum pecudumque genus sopor altus habebat,
cum pater in ripa gelidique sub aetheris axe
Aeneas, tristi turbatus pectora bello,
procubuit seramque dedit per membra quietem.

(Aeneid VIII.18-30)

Identify the tone of this extract and explain how Virgil's language has helped to create this tone.

regna pallida, dis invisa

One of the most exciting and vivid passages in Aeneid VIII comes at the climax of the story of Hercules and Cacus. Hercules has succeeded in tearing the roof from Cacus' cave, and Cacus responds by spewing out great clouds of smoke and fire.

Birthplaces of Roman Authors

Strangely, most of the Latin authors we read today were not actually born in the city of Rome, but moved there from the provinces. This is true of Virgil, Cicero, Livy, Catullus, Ovid, Horace and many more.

This map shows the birthplaces of some of the most famous Roman writers:



View Birthplaces of Roman Authors in a larger map

Related Posts

• Your favourite author

Audax Pallas

Question 3

Ut celsas videre rates atque inter opacum
adlabi nemus et tacitis incumbere remis,
terrentur visu subito cunctique relictis
consurgunt mensis. Audax quos rumpere Pallas
sacra vetat raptoque volat telo obvius ipse
et procul e tumulo: `Iuvenes, quae causa subegit
ignotas temptare vias, quo tenditis?' inquit.
`Qui genus? Unde domo? Pacemne huc fertis an arma?'
Tum pater Aeneas puppi sic fatur ab alta
paciferaeque manu ramum praetendit olivae:
`Troiugenas ac tela vides inimica Latinis,
quos illi bello profugos egere superbo.
Euandrum petimus. Ferte haec et dicite lectos
Dardaniae venisse duces socia arma rogantis.'
Obstipuit tanto percussus nomine Pallas:
`Egredere o quicumque es' ait `coramque parentem
adloquere ac nostris succede Penatibus hospes.'
excepitque manu dextramque amplexus inhaesit.

How has Virgil characterised both Pallas and Aeneas in these lines to display their heroic qualities? (5 marks)

Nymphae, Laurentes Nymphae

Question 2

“nymphae, Laurentes nymphae, genus amnibus unde est,
tuque, o Thybri tuo genitor cum flumine sancto,
accipite Aenean et tandem arcete periclis.
quo te cumque lacus miserantem incommoda nostra
fonte tenet, quocumque solo pulcherrimus exis,
semper honore meo, semper celebrabere donis
corniger Hesperidum fluvius regnator aquarum.
adsis o tantum et propius tua numina firmes.”

How has Virgil infused these lines with a sense of religious awe and reverence? (5 marks)

Belli Signum

I recently gave my year 12 class an assessment task on Aeneid VIII; over the next couple of days I'll post some of the questions, and my own responses. Feel free to criticise my answers, or to add anything to them. Here's the first one:


ut belli signum Laurenti Turnus ab arce
extulit et rauco strepuerunt cornua cantu,
utque acris concussit equos utque impulit arma,
extemplo turbati animi, simul omne tumultu
coniurat trepido Latium saevitque iuventus
effera. Ductores primi Messapus et Ufens
contemptorque deum Mezentius undique cogunt
auxilia et latos vastant cultoribus agros.

How has Virgil used language to convey the dramatic preparations for war in this passage? (4 marks)
Virgil has used a range of language techniques to effectively convey the chaotic preparations for war amongst the Latin peoples. This is obvious from the opening line. Virgil has used a long sentence (from ut belli to iuventus effera), containing multiple subordinate clauses to create the impression of frenzied action. The tricolon in lines 1-3, emphasised by the repetition of ut… utque… utque, give the passage a dramatic build up, before we reach the focus of the sentence in lines 4-5. These lines also contain an abundance of verbs (extulit, strepueunt, concussit, impulit, coniurat, saevit, cogunt, vastant), many of them in the present tense, which convey the dramatic action of the scene, and create a vivid picture in the reader’s mind.

Spelunca Caci

Perhaps the cave of Cacus looked something like this...

This is how Virgil describes it in Aeneid VIII:

iam primum saxis suspensam hanc aspice rupem,
disiectae procul ut moles desertaque montis
stat domus et scopuli ingentem traxere ruinam.
hic spelunca fuit vasto summota recessu,
semihominis Caci facies quam dira tenebat
solis inaccessam radiis; semperque recenti
caede tepebat humus, foribusque adfixa superbis
ora virum tristi pendebant pallida tabo.

Now first of all look at that cliff, all overhung with rocks, and see how the great bulk of the mountain has been scattered far and wide, and how that cave lies deserted and how the crags speak of some great destruction. Here was the cave, sunk deep down into a vast cavern, where the dreadful form of the half-human Cacus used to live, inaccessible to the rays of the sun; the ground was always warm with fresh slaughter, and, fixed to the haughty door frame, hung the faces of men in gloomy decay.

(Aeneid VIII, 190-197)

If you imagine some dismembered heads hanging by the entrance I think it's not a bad match.

liber faciei

Someone very clever has made a mock facebook page for the Aeneid. Check it out.

(Thanks to eternally cool for bringing it to my attention)

Congratulations

Congratulations to my (former) year 12 class (pictured) who sat their Latin Continuers exam the other day. It was (in my opinion) not a bad exam- there were a couple of questions slightly out of left field, but that's not necessarily a bad thing. If you're well prepared and able to think on your feet it gives you a chance to stand out from the other candidates. The unseens were alright too, and the exam committee was very generous with the amount of vocab they supplied.

Here are a couple of the questions, in case anyone is interested:

Ibi oratio habita nequaquam eius pectoris ingeniique quod simulatum ad eam diem fuerat, de vi ac libidine Sex. Tarquini, de stupro infando Lucretiae et miserabili caede, de orbitate Tricipitini cui morte filiae causa mortis indignior ac miserabilior esset. Addita superbia ipsius regis miseriaeque et labores plebis in fossas cloacasque exhauriendas demersae; Romanos homines, victores omnium circa populorum, opifices ac lapicidas pro bellatoribus factos. Indigna Ser. Tulli regis memorata caedes et inuecta corpori patris nefando vehiculo filia, invocatique ultores parentum di.

(Livy I.59, 8-10)

(i) Explain the connection implied in this extract between the fate of Lucretia and the current condition of the Roman people. (3 marks)

(ii) Explain how Livy uses language in this extract to make the speech moving and persuasive. (5 marks)

Iam res Romana adeo erat ualida ut cuilibet finitimarum civitatum bello par esset; sed penuria mulierum hominis aetatem duratura magnitudo erat, quippe quibus nec domi spes prolis nec cum finitimis conubia essent. Tum ex consilio patrum Romulus legatos circa vicinas gentes misit qui societatem conubiumque novo populo peterent: urbes quoque, ut cetera, ex infimo nasci; dein, quas sua virtus ac di iuvent, magnas opes sibi magnumque nomen facere; satis scire, origini Romanae et deos adfuisse et non defuturam virtutem; proinde ne gravarentur homines cum hominibus sanguinem ac genus miscere. Nusquam benigne legatio audita est:

(Livy I.9, 1-5)

(i) Analyse how Livy presents Romulus as a moral exemplar. Support your answer with specific examples from this extract. (7 marks)

haud procul inde citae Mettum in diversa quadrigae
distulerant (at tu dictis, Albane, maneres!),
raptabatque viri mendacis viscera Tullus
per silvam, et sparsi rorabant sanguine vepres.
nec non Tarquinium eiectum Porsenna iubebat
accipere ingentique urbem obsidione premebat;
Aeneadae in ferrum pro libertate ruebant.
illum indignanti similem similemque minanti
aspiceres, pontem auderet quia vellere Cocles
et fluvium vinclis innaret Cloelia ruptis.
in summo custos Tarpeiae Manlius arcis
stabat pro templo et Capitolia celsa tenebat,
Romuleoque recens horrebat regia culmo.

(Virgil, Aeneid VIII.642-54)

(i) Describe the narrative technique Virgil has used to include the events mentioned in this extract in his story of Aeneas. (2 marks)

(ii) What is Virgil's purpose in including the individuals mentioned in this extract? (7 marks)

What to do when your head's on fire

You might not think it particularly likely that your head will spontaneously catch fire, but it happens more often than you might think- at least in Latin literature. Just look at the following passages:

cum subitum dictuque oritur mirabile monstrum.
namque manus inter maestorumque ora parentum
ecce levis summo de vertice visus Iuli
fundere lumen apex, tactuque innoxia mollis
lambere flamma comas et circum tempora pasci.
nos pavidi trepidare metu crinemque flagrantem
excutere et sanctos restinguere fontibus ignis.


Suddenly there was a great miracle. At the very moment when we were both holding Iulus and he was there between our sorrowing faces, look, a light began to stream from the top of the pointed cap he was wearing and the flame seemed to lick his soft hair and feed round his temples without harming him. We took fright and rushed to beat out his flaming hair and quench the holy fire with water.

Aeneid II.680-686

praeterea, castis adolet dum altaria taedis,

et iuxta genitorem astat Lauinia virgo,

visa (nefas) longis comprendere crinibus ignem

atque omnem ornatum flamma crepitante cremari,

regalisque accensa comas, accensa coronam

insignem gemmis; tum fumida lumine fulvo

involui ac totis Volcanum spargere tectis.

What's more, when Lavinia was standing by her father's side tending the altar with her chaste torches, another fearful sight was seen. Her long hair caught fire and all its adornment was crackling in the flames. The princess's hair was blazing, her crown with all its lovely jewels was blazing, and soon she was wrapped in smoke and yellow glare, and scattering fire all over the palace.

Aeneid VII.71-77

Eo tempore in regia prodigium visu euentuque mirabile fuit. Puero dormienti, cui Servio Tullio fuit nomen, caput arsisse ferunt multorum in conspectu; plurimo igitur clamore inde ad tantae rei miraculum orto excitos reges, et cum quidam familiarium aquam ad restinguendum ferret, ab regina retentum, sedatoque eam tumultu moveri vetuisse puerum donec sua sponte experrectus esset; mox cum somno et flammam abisse.

In the palace about that time there occurred a very odd thing, which was to have remarkable consequences. A little boy named Servius Tullius was lying asleep, when his head burst into flames. Many people saw it happen. The noise and excitement caused by such an extraordinary event came to the ears of the king and queen, and brought them hurrying to the spot. A servant ran for water and was about to throw it on the flames, when the queen stopped him, declaring, as soon as she could make herself heard, that the boy must on no account be disturbed, but allowed to sleep till he awoke of his own accord. A few minutes later he opened his eyes, and the fire went out.

Livy I.39

In fact, having your head catch fire is not so bad (Michael Jackson aside). For Iulus, Lavinia and Servius Tullius it was actually a sign of the gods' favour towards them. Through the sign of fire they confirm Iulus' destiny to grow up to be a great king of Italy, Lavinia's destiny to marry the foreign hero Aeneas and Servius Tullius' destiny to become king of Rome.

Juno

I saw the film Juno the other day, and really enjoyed it. In one part of the movie Juno explains how she got her name:

Juno: My dad had this weird obsession with Roman or Greek mythology or something and he decided to name me after Zeus' wife.

Mark: Zeus' wife?

Juno: Yeah and I mean Zeus had tons of lays but I'm pretty sure Juno was his only wife. And apparently she was supposed to be super beautiful but really mean, like Diana Ross.

The name fits Juno's character well, I think; she's beautiful, but has the potential to be pretty cruel. That's not the only way in which it's an appropriate name though- Juno (Hera in Greek) was also the Roman goddess responsible for childbirth.

In the Aeneid the goddess Juno plays the role of Aeneas' tormentor, opposing him at every turn. Her jealousy is based on her hatred of the Trojans, stemming from Paris' rejection of her in favour of Venus (Aphrodite). At the very beginning of the poem she is described in this way:

cum Iuno, aeternum servans sub pectore vulnus,
haec secum: 'Mene incepto desistere victam,
nec posse Italia Teucrorum avertere regem?
Quippe vetor fatis...
Ast ego, quae divum incedo regina, Iovisque
et soror et coniunx, una cum gente
tot annos bella gero!'

Juno brooded, still nursing the eternal wound deep in her breast: 'Am I to admit defeat and give up my attempt to keep the king of the Trojans away from Italy? So what if the fates do not approve... Here am I, the queen of the gods, the sister of Jupiter and his wife, and I have waged war all these years against a whole race of men!'

At the end of the Aeneid Juno has somewhat of a change of heart. Jupiter convinces her that it is Aeneas' fate to defeat his enemy Turnus and to establish a city whose descendents will one day rule the world, and that not even the gods can change these things. Juno gives in, but asks for a few conditions of her own:

'et nunc cedo equidem pugnasque exosa relinquo.
illud te... obtestor...
ne vetus indigenas nomen mutare Latinos
neu Troas fieri iubeas Teucrosque vocari...
sit Latium, sint Albani per saecula reges,
sit Romana potens Itala virtute propago:
occidit, occideritque sinas cum nomine Troia.'

'And now I give in, and withdraw from these battles which I hate so much. But I entreat you... do not command the Latins to change their ancient name in their own land, to become Trojans and be called Teucrians... Let Latium live on, let there be Alban kings throughout the ages, let the Roman stock be powerful with Italian courage: Troy has died, let its name stay buried.'

And she gets her way; Jupiter replies:

'es germana Iovis Saturnique altera proles, irarum
tantos volvis sub pectore fluctus.
verum age et inceptum frustra summitte furorem:
do quod vis, et me victusque volensque remitto.
sermonem Ausonii patrium moresque tenebunt...
faciamque omnis uno ore Latinos....
nec gens ulla tuos aeque celebrabit honores.'

'You are the sister of Jupiter and the second child of Saturn, such waves of anger do you set rolling deep in your heart. But come now, lay aside this fury that arose in vain. I grant what you wish. I yield. I relent of my own free will. The people of Ausonia will keep the speech of their fathers and their ancient ways... I will make them all Latins, speaking one tongue... and no other race will be their equals in paying you honor.'

Related posts:

• Which Roman goddess are you?
• By Jove