NISUS AND EURYALUS - FOR THE ACTUAL LAST TIME

The Rutuli, led by Turnus, are at war with the Latini - their King is the Latinus. He is an ally of
Aeneas who is the leader of the Trojans.

1) Nisus was the guardian of the gate; he was very fierce with his weapons.
Nisus erat portae custos, accerimmis armis,
Nisus - emphatic to introduce character; he is a main character. “accerrimus” - very fierce.
Great quadrasyllabic, superlative adjective. This fierceness could also impress Euryalus.
2) And nearby was his comrade Euryalus, and none of the followers of Aeneas was more handsome
than he,
et iuxta comes Euryalus, quo pulchrior alter
“Iuxta” - next to/nearby - shows their togetherness; always together. “pulchrior” - he has a
boyish, youthful beauty.
3) nor did a more handsome man put on Trojan armour.
Non fuit Aeneadum Troiana neque induit arma
“non, neque” - anaphora. Euryalus is a handsome, impressive youth with his weapons.
“Aeneadum” - follwers of Aeneas.
4) They shared a mutual love and used to rush into battles side by side;
his amor unus erat pariterque in bella ruebant
“unus” - one love between these two men - mutual love. “pariter” - side by side; always together.
Dactylic metre. Elision between “pariter”, “que” and “in”;; pronounced “pariterquin” because
two vowels are next to each other. As the syllable disappears, they run off together. There are
many words which mean ‘together’ which show their closeness.
5) on this occasion also they were sharing the sentry duty as they were guarding the gate.
Tum quoque communi portam statione tenebant.
Rhyme between “ruebant” and “tenebant”. Nisus now suggests that he and Euryalus go to tell
Iulus, that they can attack the Rutulians, before going to find Aeneas at the walls of Pallanteum.
Euryalus, being his lover, insists on going with him.
6) Other living throughout all the lands were easing their cares in sleep;
cetera per terras omnes animalia somno
Serene scene in the night time; very peaceful and natural. Assonance of ‘a’ and ‘o’ - lulling
sounds; and ‘m’ and ‘n’ sounds. ‘S’ sounds are soporific; make one sleepy. Spondaic metre;
reflects people sleeping.
7) and their hearts were forgetting their labours.
laxabant curas et corda oblita laborum
Again; serene scene. Again ‘a’ and ‘o’ assonance and lulling ‘l’ sounds, and ‘s’ soporific sounds
(see line 6 also). Enjambement from line 6: “somno laxabant” - sleeping and easing their cares -
forgetting their troubles.
8) The chief leaders of the Trojans, who were a chosen group of young warriors,
ductores Teucrum primi, delecta iuventus,
“ductores” - leaders. The leaders were warriors. Although it says they are young; they could
have been forty-seven and still classed as ‘young’. “ductores” and “iuventus” - balance the
sentence.
9) were holding a council about important matters of state
consilium summis regni de rebus habitabant
“summis” - great - have to think about the matters of war. They didn’t have time for sleeping;
they had to think.
10) as to what they should do and who would now be messenger to Aeneas.
quid faceret quisve Aeneae iam nuntius esset.
“quid” - what, “quis” - who; this line is full of indirect questions.
11) They stood leaning on their long spears and holding their shields
stant longis adnixi hastis et scuta tenentes
“stant” - historic present. Emphatic at the beginning of the sentence. Shows how glorious these
warriors are. \makes scene vivid. “hastis” - spears. “scuta” - shields. At this time, the Trojans
are relaxing. Spondaic metre - very slow; showing them as epic warriors, epic in their serenity,
as though in slow motion - showing them relaxed.
12) in the middle of the camp and the open space. Then, Nisus, together
Castorum et camp medio. tum Nisus et una
“castorum” - camp; “campi” - open space that featured in a Roman camp.
13) with Euryalus, begged in eagerness to be let in immediately;
Euraylus confestim alacres admittier orant;
 “una” - as one, because they are always together. Good enjambement between line 12 and 13 of
“Nisus et una Euryalus”, shows them going along together; e.g. - Nisus, as well as Euryalus.
“orant” - begged. “alacres” - shows their eagerness. Hard ‘c’ sounds. “alacres” shows how keen
they are to get in. “Euryalus” - at the beginning of line 13; emphatic. They are keen to have an
audience with the leader.
14) They said the matter was important and would be worth their while.
Rem magnam pretiumque morae fore. primus Iulus
Business was important. “magnam” - great. “pretium morae” - worth their while. The ‘m’ and
‘n’ sounds of the “rem magnam” - ‘great thing’; show this mightiness of the business.
15) Firstly, Iulus welcomed them in their excitement and ordered Nisus to speak.
Accepit terpidos ac Nisum dicere iussit.
Enjambement of Iulus welcoming Nisus (14-15). “trepidos” - excited; they want to get their
business across. “accipit” and “iussit” are both verbs.
16) Then Nisus, son of Hyrtacus, spoke as follows:
tum sic Hyrtacides: ‘audite, o mentibus aequis,
“Hyrtacides” - Nisus’s patronymic name. Epic style. Also a quardrasyllabic noun.
17) “Listen, O followers of Aeneas, with open minds, and do not judge our suggestions by our age.
Aeneadae, neve haec nostris spectentur ab annis”
Imperative - ‘Listen’. “aequis” - open, at the end of the line is emphatic, “mentibus” - minds,
“audite o” is unusual because it is usually the other way around; “o atdite” would be more
normal. So this is particularly emphatic and gives a sense of importance and urgency.
“Aeneadae” - the followers of Aeneas. Another epic quadrasyllabic noun. Direct speech makes
this more vivid. “audite” is also emphatic at the beginning of the speech. “Neve spectentur” - do
not judge; an imperative. The enjambement of 17-18 of “annis quae ferimus” - ‘suggestions by
our age’. Nisus is younger than the Trojan leaders so he isn’t that old. The Rutulians have been
celebrating the Trojans not attacking them - they can’t because the Trojan leader is asleep.
“somno vinoque” - drunken sleep.
18) The Rutulians, relaxed in a drunken sleep have fallen silent.
quae ferimus. Rutuli somno vinoque soluti
Enjambement from 18-19 - “soluti conticuere” - shows how they have fallen asleep. Sibilance;
“somno vinque soluti” - is soporific; it sounds sleepy. “soluti” - relaxed.
19) We ourselves have caught sight of a place for a surprise attack
conticuere; locum insiditis conspeximus ipsi
“insiditis” - surprise attack. Enjambement from 18-19 to show how they are asleep. “conticuere”
- fall silent. “conspeximus” - “we” - both the boys have seen this.
20) which lies open at a fork in the road from the gate which is nearest to the sea.
qui patet in bivio portae quae proxima ponto.
Nisus is being very precise and explanatory. “patet” - lies open; “bivio” - a fork in the road.
“portae” - relates back to line 5, when both of them were on guard duty. Alliteration of ‘p’;
“portae quae proxima ponto”’ - Nisus has an urgency to look important.
21) The line of fires is broken and black smoke rises to the stars.
interrupti ignes aterque ad sidera fumus
“Interrupti” - broken - quadrasyllabic; showing how the line of fires is broken. This verb is
stronger than ‘frangere’. This metaphor shows their success.
22) If you allow us to make use of this good fortune,
erigitur; si fortuna permittitis uti
“ad sidera fumus erigitur” - enjambement to show how black smoke rises to the stars “aterque
ad” - an elision, so it is prounced “aterquad” - the smoke disappears as the que” disappears.
The black smoke rising to the stars makes the story darker; and black smoke rising is a sign of
inactivity and peace.
23) to go to look for Aeneas and the walls of Pallanteum,
quaesitum Aenean et moenia Pallantea
Aeneas is at the city of King Evander in Pallanteum where Rome will later be.
24) You will soon see us present here with the spoils after we have completed our mighty slaughter.
Mox his cum spoilis ingenti caede peracta
Hard ‘c’ sounds which show their mighty slaughter. “Spoilis” - the spoils; the first introduction
of a theme which is central to Nisus and Euryalus. The monosyllabic words: “mox”, “hic” and
“cum” show a solemn sort of tone, which reflects this murders. “caede” - slaughter. “peracta”
completed.
25) Nor will the way deceive us as we go,
adfore cernetis. Nec nos via fallet eundes;
Enjambement - “peracta adfore cernetis” - indicating that they will be back soon. The metre is
spondaic throughout lines 24 and 25 because there is a sense that the slaughter is very serious.
 Alliteration of ‘c’ and ‘g’ reflect this forthcoming terrible slaughter. ‘I’ sounds - the kind of
assonance which shows terrible slaughter. “fallet” - trick; the way won’t trick them.
26) we have seen the outskirts of the city from down in the dark valleys
vidimus obscuris primam sub vallibus urbem
“Vidimus” - we have seen; emphatic at the beginning. “primam” - outskirts of Pallanteum.
27) in our frequent hunting, and we have got to know the whole river.
Venatu adsiduo et totum cognovimus amnem
Repetition of ‘we’ in “vidimus” and “cognovimus” “adsiduo” - shows that the pair go hunting
often. Nisus’s speech finishes. The two friends have been out hunting in the valleys. They’ve
glimpsed Pallanteum on its hill, whilst they’ve been following the course of the river Tiber.

GENERAL NOTES:

16-27 Nisus presents his proposal in a very skilful fashion. He begins with his appeal to them
“audite o…ferimus”, then describes the opening - they have seen -
18-22 “rutuli erigitur” - then he outlines his plan - 22-25 “si…euntes” He then concludes with
their particular qualification for this mission - “videmus…amnem.”
The two men are knowledgeable; e.g. line 19 - “conspeximus” - we have caught sight of. “patet”
- lies open; very precise. “Vidimus” - we have seen.

28) Armed, they marched off straight away, and as they went, all the leaders of the Trojans,
protinus armati incedunt; quos omnis euntes
Their bold initiative is to go through the camp of the enemy to carry out the slaughter to take
advantage of the enemy’s sleep and take a message to Aeneas. “protinus” - straight away;
emphatic at the beginning of the line - this shows how they are keen to get to Aeneas. “incedunt”
- historic present; ‘they marched off’, we see them marching off. Shows the speed of their
departure.
29) both the young and the old, escorted them with
primorum manus ad portas, iuvenumque senumque,
Anaphora of ‘que’ - both the young and old. In these leaders, there is the epic style of the double
‘que’- another feature of epic poetry.
30) good wishes at the gates. And also Iulus,
prosequitur votis. Nec non pulcher Iulus,
“prosequitur” - escorted (them). “votis” - good wishes, Trojan support. Anaphora of ‘pr’ - used
with emphasis, force and power, a sense of great importance and urgency. “Iulus” at the end of the
line. He is emphatic because he is so beautiful and young.
31) displaying the sprit and responsibility of a man beyond his
years,
Ante annos animumque gerens curamque virilem
Double “que” is epic again. Iulus has had to grow up quickly; emotionally. He is very mature. “ante
annos” - beyond his years. He has to act much older than he actually is (he is about seventeen).
“virilem” and the end of this line; “Iulus” at the end of the previous line. It is emphatic; showing
how Iulus is having to act in a manly way. Assonance of “a” - are mighty, very resounding (only use
this word in emergencies - along with ‘vocalic ring’, as they both mean nothing).
32) gave them orders to be carried off to his father.
multa patri mandata dabat portanda; sed aurae
“patri” - to his father.
33) But the breezes scattered them and gave them as an ineffective gift to the clouds.
omnia discerpunt et nubibus irrita donant.
Enjambement of “sed aurae omnia” to show the breezes scattering the orders everywhere.
“donant” and “discerpunt” - historic present. The breezes - aurae - are personified. Aeneas
won’t hear the orders, as they were scattered. A sign that something bad is going to happen. The
first part here ends on a note of pathos; foreshadowing a disaster. This could be literally - the
wind carrying off the sound waves of the orders.
34) They went out and climbed over the ditches
egressi superant fossas noctisque per umbram
“superant” - we can see the action - “climbed over” - very vivid. Metre of this is spondaic, shows
them slowly climbing over and making their way.
35) and made for the enemy camp through the shadow of the night;
castra inimica petunt, multis tamen ante futuri
“inimica” - of the enemy. (Can either mean “the enemy camp” or “the camp which was going to
be hostile to them”. This is another warning to them in Virgil’s language. “multis” - in its clause
is very emphatic; “many were about to be killed beforehand”. The Rutulians have been
 celebrating and are drunk; don’t expect the Trojans to attack them. The enjambement between
“per umbram castra” - shows them making their way.
36) they were destined to kill many beforehand. They saw bodies sprawled in drunken sleep
everywhere over the grass;
exitio. passim somno vinoque per herbam
Enjambement of “ante futuri exitio” - they were destined to kill many beforehand. “somno
vinque” - a drunken sleep; in sleep and wine literally (also see line 18).
37) Chariots tipped up on the shore, men lying among the reins and wheels,
corpora fusa vident, arrectos litore currus
“fusa” - sprawled out. “passim” - everywhere; or here, there and everywhere. There is a
spondaic metre in line 37. The slow metre shows the Rutulians’ sleepiness and shows how they
sleep. The sibilance in “fusa”, “arrectos” and “currus” is soporific. Enjambement between “per
herbam corpora” to show the bodies sprawled in drunken sleep everywhere over the grass.
“vident” - historic present. “arrectos litore currus” - chariots tipped up on the shore; they are
not needed because the Rutulians do not expect war.
38) and they saw both their armour and wine cups.
inter lora rotasque viros, simul arma iacere
“simul” - anaphora with next line. Everything is chaotic and the other way around; the men are
lying among the reins and wheels; the chariots are tipped up when they should be standing; the
men are lying when they should be standing. So people are normally upright - whereas here they
are not; and chariots are normally extended vertically when they stand - and here they are tipped
over. The Rutulians - lazy; don’t expect any attack. The chiasmus bertween “simul arma; vina
simul” - shows the intermingle of the wine cups and armour. Drunken, sleepy picture - everything
is chaotic.
39) The son of Hyrtacus spoke from his lips as follows:
vina simul. prior Hyrtacides sic ore loculres:
Epic patronymic name of “Hyrtacides” again. Nisus speaks first because he is the leader - he is
more experienced. “Hyrtacides” - quadrasyllabic.
40) “Euryalus, we must show our daring with our right hands, now the occasion itself calls for it.
“Euryale, audendum dextra: nunc ipsa vocat res.
Direct speech makes it more vivid. “audendum” - daring. “d” alliteration is very strong, gives a
strong force to his words. The “d” alliteration and long words also make the metre spondaic,
showing the seriousness of the situation. The end “res” - is monosyllabic; it brings attention to
the situation.
41) Our journey is by this route. You be on guard and look out all around,
hac iter est. tu, ne qua manus se attolere nobis
“hac” - this way. This is deictic - Nisus is pointing to it. Most words here are either monosyllabic
or disyllabic - very short words; to the point. A reflection of military brevity.
42) so that no company of men can mount an attack on us from the rear.
a tergo possit, custodi et consule longe;
Again most words are monosyllabic or disyllabic - to the point. Nisus also gives imperatives;
“custodi” - guard, “consule” - look out. Altogether in lines 41-42 there are nineteen short words.
43) I shall devastate this area and I shall lead you along a broad path.
haec ego vasta dabo et lato te limite ducam.”
“lato limite” - broad path. He’s going to kill many Rutulians for his friend - cut down a path.
This is what he means. The “g” and “c” alliteration makes it sound harsh; their future killing (if
it will happen) will be harsh.
44) Nisus spoke in this way and checked his words, and, at the same time,
sic memorat vocemque premit, simul ense superbum
“memorat” and “premit” - to speak and to check; they are both historic present. “superbum” -
arrogant. Asyndeton between “premit” and “simul” - no sooner had he finished speaking than
he attacked with his sword Rhamnes. This line is dactylic - the long words show the speed as
hasty to attack Rhamnes.
45) he attacked with his sword arrogant Rhamnes, who, by chance was propped-up
Rhamnetem aggreditur, qui forte tapetibus altis
“aggreditur” - showing him being killed; historic present. Makes the poem more epic.
46) on some high pillows, and as he slept, he snored deeply.
exstructus toto proflabat pectore somnum.
Enjambement between “tapetibus altis exstructus” showing how he’s going to fall off the pillows
and die. Sibilance of “exstructus” and “somnum” is soporific because he is sleepy. “p”
alliteration in “proflabat” and “pectore” shows his breathing out. Assonance of “o” contributes
to his long ‘o’s. He is in a deep sleep. Virgil literally writers: “breathing out in sleep from his
whole chest” instead of “snoring” to make the poem sound more fictional; more epic. “tapetibus
 altis exstructus” - propped up on some high pillows. “tota pectore” - whole chest; prettier way of
describing snoring. The act is dramatic but a little satirical because there isn’t a war going on
yet; this isn’t very manly or epic, it is Virgil’s Roman humour. Vivid description of Rhamnes’
situation in these two lines. Rhames has a false sense of security whilst he comfortably is propped
up on some pillows.

GENERAL NOTES ON LINES 28-46

ν Virgil was criticising Nisus and Euryalus, showing how frightening people in wars become,
so bloodthirsty and willing to kill. Both of them show blood lust. Later in the poem (but
not in this extract), Nisus is described as “a lion driven mad with hunger and ravening
through pens full of sheep”.
ν Euryalus, the young one, gets carried away by this older man’s behavior - they are both
feeding on bloodlust like animals in this power of victory - even though it won’t be
victorious.

47) Meanwhile, the cavalry, who had been sent ahead from the city of the Latini,
interea praemissi equites ex urbe Latina
“praemissi” - sent ahead. Latini come from Latium.
48) while the rest of the army, drawn up on the plains, waited,
cetera dum legio campis instructa moratur
“moratur” - historic present used for effect, means “waited”. The main body of the army has
been kept in reserve near the city of Latinus.
49) were making their way and were delivering their replies to King Turnos.
ibant et Turno regi responsa ferebant
“ibant” balances with “ferebant” - both imperfect. The metre is spondaic - epic. They are slowly
making their way. The Rutuli have Turnos as their King. The alliteration of “t” and “r” - they
kept right on going. In lines 47-50, Virgil does not provide a detailed description of what is
happening. This group is bringing replies from the city of King Latinus to Turnos. Turnos is at the
front, attacking the Trojan camp.
50) There were three hundred of them, all were carrying a shield, and Volcens was their commander.
ter centum, scutati omnes, Volcente magistro.
This three hundred is just a segment detached from the main body. “scutati” - with a shield.
Volcens is a cavalry officer. Three phrases, each of two words: “ter centum”, “scutati omnes”,
“Volcente magistro”. They are in orderly - just like the soldiers. To the point - like military
brevity. Asyndeton in the sentence. Also ellipsis of “Volcente magistro”. The metre is spondaic.
They are carrying heavy shields. They march with heavy shields.
51) And now they were approaching the camp and were going up to the walls,
iamque propinquabant castris murosque subibant
The metre is spondaic - epic. “propinquabant” - they were approaching. “subibant” - they were
going up.
52) when, from far off, they saw them, as they were turning off by the left hand path,
cum procul hos laevo flectentes limite cernunt
“cernunt” - they saw - historic present. “flectentes” - turning off. Perhaps they are bending back
towards the river and the track to Pallanteum. The metre is spondaic again - they are slowly
turning left.
53) and the helmet betrayed thoughtless Euryalus in the night’s half-lit shadow.
et galea Euryalum sublustri noctis in umbra
“sublustri” - half-lit. It is the early night. The alliteration of ”l” reflects the moonlight. Perhaps
the “r”alliteration reflects the reflection.
54) And, as it was reflected by the rays of the moonlight, it flashed.
prodidit immemorem radiisque adversa refulsit.
Enjambement of “in umbra prodidit” - was reflected in the night’s half-lit shadow. This is the
helmet taken by Euryalus from the dead Messapus. “immemorem” - thoughtless. Touch of
criticism from Virgil, perhaps. Shows Euryalus bringing himself to his own destruction. The line
is balanced by two verbs: “prodidit” and “refulsit” - betrayed and flashed. The line has a
dactylic metre - shows the speed of the events occurring.
55) It was not seen for nothing. Volcens shouted out from the line:
haud temere est visum. conclamat ab agmine Volcens:
“haud temere est visum” a very short sentence to show how Volcens spotted the helmet. They
don’t need to look twice before reacting. “conclamat - shouted “con” - at the beginning of the
clause.
56) “Halt! You men! What is the reason for your journey? Or who are you in armour?
“state, viri. quae causa viae? quive estis in armis?
“state” - imperative, “stand”. Emphatic at the beginning. The line has a tripping, rare metre. A
hardly seen metre. Alliteration of “t” and “u”. Sibilance to show Volcens’ anger. Demanding,
interrogative tone. Sharp consonants. “ve” added to a word has a blunt, colloquial term. “state”
- two syllables. “viri” - two syllables - nearly every word is monosyllabic or disyllabic. Again a
feature of military brevity.
57) Or where are you making your way?” They made no reply in return,
quove tenetis iter? Nihil illi tendere contra,
A tricolon of questions. Very to the point. Three question words: “quae”, “qui” and “quo”.
Perhaps alliteration of “q”.
58) but hastened their escape into the woods and put their trust into the night.
sed celerare fugam in silvas et fidere nocti”.
“celarare” - to hasten. “fidere” - to trust. “tendere” - to reply. These are historic infinitives. Very
rare. Three historic infinitives convey urgency. “fugam in” an ellision to show how much they
hastened their escape; as they escape, the “m” disappears as they disappear into the woods. They
hoped that the night would conceal them. The hunters have become hunted. They are about to be
attacked by three hundred soldiers. 300 versus 2.
59) The cavalry took up their positions at the well-known crossways
obciunt equites sese ad divortia nota
“obciunt” - emphatic - historic present. “nota” - well known. The crossways are well known, but
not to Nisus or Euryalus.
60) on either side, and encircled every escape route with guards.
hinc atque hinc, omnemque abitum custode coronant.
“nota hinc atque hinc” - well known on either side. “coronant” - a military term for an
encircling force. “omnemque abitum” - an elision. As the syllable disappears, so does the escape
route. In 59 and 60, the hard “c” and “q” sounds - they are harder. Now Nisus and Euryalus are
cut off - caught. Then Nisus and Euryalus flee through the forest but become separated. When
Nisus retraces his steps he sees from a distance that Euryalus has been captured. He launches
two spears from his hiding place and kills two of the enemy.
61) Fierce Volcens was wild with rage; and he neither catch sight anywhere of the person who had
thrown the weapon,
saevit atrox Volcens nec teli conspicit usquam
“saevit” - wild - shows his bad temper. Emphatic, introducing fierce Volcens. “atrox” - warlike.
Anaphora of “nec” - neither, nor.
62) nor where he could charge his temper.
auctorem nec quo se ardens immitere possit.
Enjambement - he is desperately trying to find out who the person is responsible. “ardens” - he is
burning. It is used here metaphorically. He burns with rage. “ardens” links with “saevit”. He is
also confused/exasperated. A lot of sibilance, alliteration of “x”. “possit” and “saevit” (to be in
rage) are both historic present. The line has a spondaic metre. He looks around slowly and
carefully, trying to find the one who threw the spear. Hard “q” and “c” sounds reflect his rage.
63) “Meanwhile, however, you will pay the penalty to me for both of them with your warm blood”,
he said,
“tu tamen interea calido mihi sanguine poenas
Direct speech makes it more vivid. “tu” - deictic - pointing at Euryalus. Volcens as a scathing
tone. Dactylic metre; shows Volcens getting angrier and angrier. Maximum amount of dactyls
you can get in a line. “p” alliteration between “poenas” and “persolves” in the next line.
64) At the same time he drew his sword
persolves amborum”, inquit; simul ense recluso
“amborum” - for the both of them. “p” alliteration from the previous line. Volcens can’t get the
person responsible for throwing the spears; but he will get the next best thing. “poenas
persolves” - you will pay the penalty. Enjambement showing how both Nisus and Euryalus are
going to have to pay the penalty for this. The metre of line 64 is much slower than in 63 as
Volcens makes for Euryalus.
65) and made his way towards Euryalus. Then, indeed Nisus, who was terrified and out of his mind,
ibat in Euryalum. tum vero exterritus, amens,
“ibat” - verb at the beginning; emphatic. “exterritus” - terrified. “amens” - out of his
mind. All these adjectives to describe Nisus. Asyndeton between the adjectives.
66) shouted out that he could no longer hide himself in the darkness,
conclamat Nisus nec se celare tenebris
 “con” - prefix emphasises the verb - again the historic present tense. He could not conceal
himself in the darkness any longer. Spondaic metre. Maximum number of spondis. “celare” - to
conceal. “conclamat” - he shouts out.
67) any longer. Or endure so much anguish;
amplius aut tantum potuit perferre dolorem;
“tenebris amplius” - enjambement showing him being unable to hide himself in the darkness.
“dolorem” - pain. “p” and “t” alliteration in “aut tantem potuit” to show his pain.
68) “Here I am! It is I! I am the one who did it! Turn your swords into me, O Rutulians!
“me, me, adsum qui feci, in me convertite ferrum,
“me, me” - very exclamatory. He is prepared to give his life for Euryalus. Like a mother saving
her child. “convertite” - imperative; turn. Spondaic metre to show how epic, dramatic this is.
“me, adsum” elision. “feci in” elision both show his great emotion.
69) All the fault is mine, Euryalus neither would have done anything nor could he,
O Rutuli! mea fraus omnis, nihil iste nec ausus
“O” - emotional word. “fraus” - fault; there is an ellipsis. Simply “mea fraus omnis” - without
the ‘est’. The ellipsis keeps up the pace and shows Nisus’s desperation. Anaphora of “nec”. He is
willing to sacrifice his own life for Euryalus. This is untrue - Euryalus is not innocent; he has
dared a lot. He has got carried away by killing. Dactylic metre - Nisus panics; he has suddenly
realised what is going on. “mea” - mine. He puts Euryalus before himself - he is altruistic.
70) I call upon and the sky and the stars which know the truth;
nec potuit; caelum hoc et conscia sidera testor
“hoc” - deictic. This sky. The personification of the stars. They are all standing under the night
sky. Sounds of “c” are cutting as Nisus is so desperate.
71) he only loved his unlucky friend too much.
tantum infelicem nimium dilexit amicum
“tantum” - only, “nimium” - too much. “infelicem” - unlucky. Mellow “m” sounds and “n”
sounds - the tone is very sad. The only thing Euryalus did - according to Nisus. But his words are
ineffective, like an ineffective gift to the clouds.
72) Such were the words he spoke, but the sword, driven home with strength,
talia dicta dabat, sed viribus ensis adactus
“adactus” - driven home. At the end of the line; showing the force of the sword. Dactylic metre to
show how quickly the sword is driven home.
73) pierced Euryalus’ ribs and burst his white chest.
transabit costas et candida pectora rumpit
“transabit” - pierced. “rumpit” - burst; very vivid verbs. The two verbs “transabit” and
“rumpit” frame the line. “transabit” - a quadrasyllabic verb. Showing how he is pierced so
forcefully by the slaughter. “candida” - white - represents how young he is, perfect. White is
meant to show purity and innocence. But Euryalus is certainly not pure. He is vulnerable, white
pitiable - helpless. The contrast of colours; “candida” - white, and the red of the blood. Makes us
feel sympathy for Euryalus. Chiasmus between “transabit costas” and “pectora rumpit” to
show how first Euryalus’ ribs are pierced; the his white chest is burst. Shows the fatal wounding.
Reflects the weapons piercing the body. “d” and “c” alliteration in lines 73 and 74 and “t” and
“s” - harsh sounds to show this gradual death. A terrible, fatal wound.
74) Euryalus rolled over in death and the blood spread over his handsome limbs
volvitur Euryalus leto, pulchrosque per artus
“volvitur” - historic present, to make it more vivid. Emphatic at the beginning. “p” alliteration,
as well as “t”, again to show harsh sounds.
75) and his neck fell down and sank onto his shoulders;
it cruor inque umeros cervix collapsa recumbit:
Enjambement between “pulchrosque per artus it cruor” to show how the blood spreads over his
limbs and his neck falls down and sinks onto his shoulders. “collapsa” - fell down. “recumbit” -
sank. “it” - went and “recumbit” - are historic present. Cutting “c”, “q” and “x” sounds show
death. The sound of the weapon as the flesh cuts into it. A tricolon - three pieces of information.
Each part is longer than the last. “Euryalus rolled over in death… the blood spread over his
handsome limbs… his neck fell down and sank onto his shoulders…”
76) It was just as when, a crimson flower has been cut down by a plough and droops as it dies,
purpureus veluti cum flos succisus aratro
“purpureus” - crimson - emphatic at the beginning. Emphasising the importance of the colour of
the flower - how it symbolises his blood and how the red of the blood contrasts with the white
chest. “succisus” - cut down. “flos” - flower; but can also mean the bloom of youth.
77) or poppies with weary necks which have hung their heads down,
languescit moriens, lassove papavera collo
 “languescit” - droops, “moriens” - dying; enjambement from line 76 - to show the flower
drooping gradually. “papavera” - poppies. “The vivid pictoralism of the simile. Alliteration of
“p” in the lines to show the flowers lilting, drooping; sounds. Assonance of “o” and “ur” to show
the gentle, young flowers. “lasso” - tired, “collo” - necks - can all describe people; as well as
flowers. Euryalus is not quite dead; neither is the poppy.
78) when by chance, they are weighed down by the rain.
Demisere caput pluvia cum forte gravantur.
pluvia” - rain. The rain has showered them down. “gravantur” - weighed down. “demisere” - hang
down. “c” and possibly “g” sounds reflect the brutality of the weather has the flowers die.

GENERAL NOTES ON THE SIMILES

ν Catullus died when Virgil was sixteen.

ν The flower similes are homages to the poet.
ν Sympathy is felt; there is a sudden change of atmosphere from epic to solemn, tragic.
ν Personification of the flowers give a graphic picture of Euryalus and his fallen youth; just as
the beautiful flowers have died.
ν The flower is delicate like Euryalus, as well as beautiful and young.
ν This is how Nisus imagines Euryalus.
ν The plough cuts down the flower; Euryalus is cut down by Volcens and his sword. The
flower is weak; Euryalus is weak and inexperienced.
ν The flower has no control over its fate.
ν “flos” meaning flower, can also mean the bloom of youth. With the word “purpureus” -
crimson - it can mean the bright glow of youth.
ν The poppies hang down their necks as Euryalus’ neck droops on his shoulders. Poppies
cannot withstand the superior force of the rain. Euryalus cannot withstand the superior
force of the Rutulians.

79) But Nisus rushed into the middle of the enemy and made for Volcens along through them all,
at Nisus ruit in medios solumque per omnes
The mood changes after the simile - typical of an epic - there was a simile; now Nisus is trying to
avenge the killing of his lover. “ruit” - rushed - historic present. “moratur” - historic present;
died.
80) and he was concerned only with Volcens.
Volcentem petit, in solo Volcente moratur
“in solo” anaphora with “in solum” in the line before. Polyptoton of “Volcentem” and
“Volcente” to emphasise how Nisus wants to fight only Volcens. “petit in” - asyndeton. Lack of et
- shows speed and great urgency. “solum” - contrasts to “omnes” - alone, all. Alliteration of “t”
in “petit in solo Volcente moratur” - shows his urgent determination - the tense “t”’s.
81) The enemy gathered around Euryalus and in close combat
quem circum glomerati hostes hinc comminus atque hinc
“glomerati” - gathered around. “communus” - in close combat. “hinc atque hinc” - on this side
and on that. The metre is spondaic - they slowly surround Euryalus and Nisus. “hinc atque hinc”
- reflects the brutal fighting. Pictorial patterning of “hinc communus atque hinc” - trying to
repel Nisus in close combat, on this side and on that. “t” alliteration could show his
determination. Elision between “glomerati hostes”, to show them repelling around, trying to
block Nisus, “atque hinc” - increases tension.
82) tried to repel Nisus, on this side and on that.
proturbant. instat non setus ac rotat ensem
Enjambement from 81; showing them trying to repel Nisus on either side. “instat” - emphatic at
the beginning of its clause. Juxtaposition of “proturbant instat” - they try to repel Nisus; but he
presses on. “t” alliteration shows Nisus’ anger; persistence.
83) Nevertheless, he kept here and there going and whirled his deadly sword until he plunged it full
in the face of the shouting Rutulian.
fulmineum, donec Rutuli clamatis in ore
Enjambement between “ensem fulmineum” - showing Nisus whirling his sword, about to plunge
it into Volcens’ face. Shows his flashing sword, perhaps, the “fl” sound. “flumineum” - syllabic
adjective. The sword of lighining. A flash of lightning before Volcens goes to the eternal
darkness.
84) and as Nisus was dying, he cut off the life of his enemy.
condidit adverso et moriens animam abstulit hosti.
 Enjambement from 83; how the sword plunged into Volcens’ face. “condidit” - literally,
“buried”. The dactylic metre of this line shows the speed of action. “animam abstulit” -elision
shows how he as stolen the life of his enemy. Robbed his sprit. There is an “m” alliteration which
is melancholy and sombre.
85) Then, pierced through, he hurled himself on top of his lifeless friend,
tum super exanimum sese proiecit amicum
Pictorial patterning to show how he hurls himself on top of his friend. “exanimum” - lifeless.
86) and there at last, he rested in the peace of death.
confossos, placidaque ibi demum morte quievit.
The “m” alliteration is sombre and sad. “confossos” - stabbed, run through - the beginning of line
86 and the end of the clause - it is emphatic. “quievit” - rested. Nisus and Euryalus will be together
in life, together in death. There is much sympathy. Euryalus’ mother is deeply distressed when she
sees the mutilated body of her son.

The Rutuli carry Volcens’ body back to the camp where they discover the general massacre. The
Trtojans from the walls of the camp see the heads of Nisus and Euryalus fixed on spears.

GENERAL NOTES ON THE WHOLE PASSAGE

The episode falls into two parts:

1) The proposal of the plan and the speeches

2) The narrative od the night-raid and its consequences.

The first part is quite slow, whereas the second part moves much more quickly in a series of
camera shots, a strong narrative and ends with passages of great pathos.

The atmosphere os the World of the Greek epic poet Homer can be seen. The account is like
the night-raid of Odysseus and Diomedes in Homer’s Iliad.

An obvious model for the heroic pair of warrior-lovers is Achilles and Patroclus in Homer’s
Iliad.

Just like in Homer, Virgil portrays a more dominant, older man who and his younger, more
passive lover.

From line 17, we know that they are both actually young (“Do not judge our suggestions by our
age”).

Nisus is the one who tries to protect Euryalus from going with him on the raid and who speaks
first at the council of leaders. On the raid, it is the wiser Nisus who lays out the plan and
restrains the rasher Euryalus. Finally, the older warrior goes back in the forest to help his
younger friend and passionately asserts Euryalus’ innocence in lines 68-71.

The idea of youth is clearly one which touched Virgil; and brings out a lot of pathos. Earlier,
Euryalus asked Iulus to take care of his mother should he not survive. So it is all the sadder
when he does die and she suffers; and this intensifies the pathos.

Virgil’s use of Catullus’ flower simile is full of pathos. Euryalus’ mother utters the cry of
someone whose sole comfort has been unexpectedly taken from her and this is also pathos.

Virgil’s narrative is particularly vivid; e.g. the picture at night-time and calm in lines 6-7; Nisus
and Euryalus marching off with the Trojans’ good wishes in lines 28-30; orders being scattered
by the breezes in lines 32-33. Portrayal of the Rutulian camp in the English section on page 18;
Euryalus’ helmet reflecting in the moonlight in lines 53-54; simile of flowers in lines 76-78; the
flash of Nisus’ sword in line 83.

Direct speech makes the story more vivid.

Our sympathies alter as the stories go on; at the start we like Nisus and Euryalus and their
courage; then they are frightening with their bloodlust; then again we pity Euryalus.

Virgil portrays the heroism of the pair, very much in Homeric tradition.