McKenzie Millican Latin 221 Babcock Women in The Aeneid: Books 1 and 2

Throughout The Aeneid, though the epic poem highlights the story of a group of men on their journey, multiple women are featured as significant characters. Vergil uses carefully selected diction to describe and characterize them, giving each woman a specific essence, yet tying them together with common threads in both word choice and portrayal. During his journey in books one and two, Aeneas most significantly is affected by three powerful women: Juno, Venus, and Dido. These three women are presented in very different ways, illustrate through both their speech, epithets, and their physical appearance, with different weight given to different aspect based on the woman in question. Ultimately, the women use their individual tools and resources to further themselves and their own motives during Aeneass journey. Juno is introduced almost immediately in Book 1, and is characterized by the word saevae, meaning fierce or harsh. This is used multiple times to characterize her, along with the idea that she is unforgiving and mindful of past wrongdoings. She commands instant authority, drawing upon her connections to encourage Aeolus to help her destroy the Trojan fleet, manned by Aeneas. Through a monologue to herself, it is revealed that she detests the idea of not being in control or not being allowed to command a situation: she declares herself divom incedo regina, Iovisque et soror et coniunx, or as queen of the gods, and wife and sister of Jove. This implies that she sees her power not only as a natural right, but also reinforced by her relationship with Jupiter. Little text is spent describing her specifically, but her speech works to characterize her immediately. She begins with a tirade over how Aeneas has managed to travel thus far with no

repercussions. Her first lines, Mene incepto desistere victam, nec posse Italia Teucrorum avertere regem? are instantly thick with verbs, which serve to drive her words forward forcefully. She spends little time on flowery language, but instead threads her commands with imperatives and short, harsh rhetorical questions. This serves to create an image of her as a leader and a commander, who is confident in her power as her own birthright: her entire essence is made thus of strength and force. The next female character introduced is also a goddess, but presented in a very different light: Venus. As Aeneass mother, she consists of both a maternal and maidenly essence. She is first introduced when she seeks the aid of her father, Jupiter, as she feels her son Aeneas is being mistreated by fate. She is described as speaking to him Atque illum talis iactantem pectore curas tristior et lacrimis oculos suffusa nitentis. When describing her, Vergil uses much more convoluted language to depict her brimming eyes and saddened heart. Her speech, in addition to this, is not commanding, but rather convincing and plays on his empathy rather than any power she holds. Part of this is surely due to the fact that she is addressing the king of the gods, but part also is based on the crux of her power: as the goddess of love and beauty, she is not expected to reproduce Junos innate authority, but rather uses the traits love and beauty that she represents to her advantage. Later, upon meeting Aeneas, she is described as virginis os habitumque gerens, et virginis arma Spartanae, vel qualis equos Threissa fatigat Harpalyce, volucremque fuga praevertitur Hebrum, or having the face and likeness of a virgin, and the arms of a Spartan virgin. She bears simple weaponry, but it most defined by her flowing locks and bared skin than any form of intimidation or danger. Venus is further depicted as having ambrosiaeque comae divinum vertice odorem, meaning ambrosial hair and a divinely smelling perfume emitting from her. The entire essence of Venus comes from her graceful, dainty

loveliness, which dances around with unpredictable word order and elaborate sentences. This is in direct contrast with fierce Juno, who is defined repeatedly by her power and station in life, and used strong, direct language. Both goddesses similarly draw upon their resources and influence their wealth of power to further their goals, but employ starkly different skill sets and are thus characterized by their vastly different strengths. The third female character introduced is Dido, the female ruler of Carthage. Much like Venus, she is immediately introduced as forma pulcherrima Dido, meaning most beautiful in form. Furthermore, Vergil writes illa pharetram fert umero, or that she bears a quiver on her shoulder, and carries herself like a maiden. However, the most significant contrast with Venus is when she begins to speak: as the female ruler or a great trade city, she bears a natural confidence and leadership that is reminiscent of Junos firm language. She begins her address to the Trojans, although described with downcast eyes, with strong imperatives. Her opening lines, solvite corde metum, Teucri, secludite curas. Res dura et regni novitas me talia cogunt moliri, et late finis custode tueri, are wrought with verbs, giving her emphasis and strength from the very start. Unlike Venus, whose sentences meander around and entwine among themselves, Dido speaks clearly and confidently. Ultimately, Dido contains traits presented by both Venus and Juno to create a new type of female leader. In The Aeneid, Vergil uses brief epithets and slight descriptions to illustrate each woman seen in the poem. However, beyond his explicit accounts, one can also draw on the diction of the women and details of Vergils word choice and order to create an even fuller version of each of them. Juno is harsh and fierce, and uses her own power within her own right to affect the change she wishes, and Vergil reflects that force with verb-heavy lines and straightforward ideas. Venus, on the other hand, both speaks with and is described by twisting, wandering phrases and elegant

word choice, prompting thought of her loveliness and persuasiveness. Dido and Juno are both strong leaders, and use similar speaking styles to command respect from those around them, eliciting themes of power and might. On the other hand, Venus and Dido are detailed with much more visual descriptions, and are associated with youth and beauty. Although these female characters are few and far between, they each serve vital roles, both negative and positive, in Aeneass journey. Vergil ultimately takes great care to characterize them individually and present carefully fashioned, resilient female characters.