EBook PDF, Bytes, This text-based PDF or EBook was created from the Virgil's epic poem, the Aeneid, has been of continuing importance to Western. 14MB Size Report. DOWNLOAD PDF Virgil: The Aeneid (Landmarks of World Literature) Virgil: Aeneid Book VIII (Cambridge Greek and Latin Classics ). Virgil: The Aeneid . BkI Dido Asks for Aeneas's Story .. . BkII BkII Aeneas is Visited by his Mother Venus.
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The Georgics by Virgil, translated with an introduction and notes by L. P. . And in the Aeneid, Virgil's poem about the origins of Rome, though his hero, Aeneas, . Free kindle book and epub digitized and proofread by Project Gutenberg. FIGURE 1 VIRGIL READING THE AENEID TO AUGUSTUS AND OCTAVIA, 1 Octavia faints as Virgil reads a portion of Book VI describing the young and tragic .
For then the Romans were in as much danger from the Carthaginian commonwealth as the Grecians were from the Assyrian or Median monarchy. Calboli, ed. Giannantoni and M. These pictures are presented as fragmentary and temporally suspended — in spite of ex ordine there is no evidence of a linear narrative7 — and in The Cambridge companion to the Roman historians, ed. Upon the whole matter, a poet must first be certain that the word he would introduce is beautiful in the Latin, and is to consider, in the next place, whether it will agree with the English idiom.
But this is not the proper place to decide that question, if they make it one. I shall say perhaps as much of other nations and their poets, excepting only Tasso; and hope to make my assertion good, which is but doing justice to my country, part of which honor will reflect on your Lordship, whose thoughts are always just; your numbers harmonious, your words chosen, your expressions strong and manly, your verse flowing, and your turns as happy as they are easy.
If you would set us more copies, your example would make all precepts needless. In short, my Lord, I would not translate him, because I would bring you somewhat of my own His notes and observations on every book are of the same excellency; and, for the same reason, I omit the greater part. Homer, who had chosen another moral, makes both Agamemnon and Achilles vicious; for his design was to instruct in virtue by shewing the deformity of vice. I avoid repetition of that I have said above.
What follows is translated literally from Segrais:. That quality, which signifies no more than an intrepid courage, may be separated from many others which are good, and accompanied with many which are ill. A man may be very valiant, and yet impious and vicious.
But the same cannot be said of piety, which excludes all ill qualities, and comprehends even valor itself, with all other qualities which are good. To a man who should abandon his father, or desert his king in his last necessity?
Thus far Segrais, in giving the preference to piety before valor. But Virgil whom Segrais forgot to cite makes Diomede give him a higher character for strength and courage.
His testimony is this, in the Eleventh Book:. The French translator thus proceeds: And Ariosto, the two Tassos Bernardo and Torquato , even our own Spenser, in a word, all modern poets, have copied Homer as well as Virgil: It seems he was no warluck, as the Scots commonly call such men, who, they say, are iron-free, or lead-free. I need say no more; for Virgil defends himself without needing my assistance, and proves his hero truly to deserve that name. He was not then a second-rate champion, as they would have him who think fortitude the first virtue in a hero.
But, being beaten Edition: Briseis was taken away by force from the Grecian; Creusa was lost for ever to her husband. And here your Lordship may observe the address of Virgil; it was not for nothing that this passage was related with all these tender circumstances. That he had been so affectionate a husband was no ill argument to the coming dowager that he might prove as kind to her. He deplores the lamentable end of his pilot Palinurus, the untimely death of young Pallas his confederate, and the rest, which I omit.
Yet, even for these tears, his wretched critics dare condemn him. Swithen hero, always raining. One of these censors is bold enough to argue him of cowardice, when, in the beginning of the First Book, he not only weeps, but trembles at an approaching storm:.
And who can give a sovereign a better commendation, or recommend a hero more to the affection of the reader? Moyle, a young gentleman whom I can never sufficiently commend, that the ancients accounted drowning an accursed death; so that, if we grant him to have been afraid, he had just occasion for that fear, both in relation to himself and to his subjects.
I think our adversaries can carry this argument no farther, unless they tell us that he ought to have had more confidence in the promise of the gods. For that she herself was doubtful of his fortune is apparent by the address she made to Jupiter on his behalf; to which the god makes answer in these words:. For it was a moot point in heaven, whether he could alter fate, or not. For in the latter end of the Tenth Book he introduces Juno begging for the life of Turnus, and flattering her husband with the power of changing destiny— Tua, qui potes, orsa reflectas!
To which he graciously answers:. For, when I cited Virgil as favoring the contrary opinion in that verse,. Yet, if I can bring him off with flying colors, they may learn experience at her cost, and, for her sake, avoid a cave, as the worst shelter they can Edition: They give him two contrary characters; but Virgil makes him of a piece, always grateful, always tender-hearted. You may please at least to hear the adverse party.
Segrais pleads for Virgil, that no less than an absolute command from Jupiter could excuse this insensibility of the hero, and this abrupt departure, which looks so like extreme ingratitude. Could a pious man dispense with the commands of Jupiter, to satisfy his passion, or take it in the strongest sense to comply with the obligations of his gratitude? I confess Dido was a very infidel in this point; for she would not believe, as Virgil makes her say, that ever Jupiter would send Mercury on such an immoral errand.
But this needs no answer, at least no more than Virgil gives it:.
This notwithstanding, as Segrais confesses, he might have shewn a little more sensibility when he left her; for that had been according to his character. But let Virgil answer for himself. O, how convenient is a machine sometimes in a heroic poem! And the fair sex, however, if they had the deserter in their power, would certainly have shewn him no more mercy than the Bacchanals did Orpheus: Love was the theme of his Fourth Book: See here the whole process of that passion, to which nothing can be added.
I dare go no farther, lest I should lose the connection of my discourse. To love our native country, and to study its benefit and its glory, to be interested in its concerns, is natural to all men, and is indeed our common duty. But all the three poets are manifestly partial to their heroes, in favor of their country; for Dares Phrygius reports of Hector that he was slain cowardly: He might be a champion of the Church; but we know not that he was so much as present at the siege.
He knew he could not please the Romans better, or oblige them more to patronize his poem, than by disgracing the foundress of that city. This was the original, says he, of the immortal hatred betwixt the two rival nations. They were content to see their founder false to love, for still he had the advantage of the amour: Virgil does well to put those words into the mouth of Mercury.
If a god had not spoken them, neither durst he have written them, nor I translated them. The poet had likewise before hinted that her people were naturally perfidious; for he gives their character in their queen, and makes a proverb of Punica fides, many ages before it was invented. Thus I hope, my Lord, that I have made good my promise, and justified the poet, whatever becomes of the false knight. The god soon found that he was not able to defend his favorite by reason, for the case was clear: But, that this special act of grace might never be drawn into Edition: His great judgment made the laws of poetry; but he never made himself a slave to them: Yet the credit of Virgil was so great that he made this fable of his own invention pass for an authentic history, or at least as credible as anything in Homer.
I think I may be judge of this, because I have translated both. The famous author of the Art of Love has nothing of his own; he borrows all from a greater master in his own profession and, which is worse, improves nothing which he finds. This passes indeed with his soft admirers, and gives him the preference to Virgil in their esteem. But let them like for themselves, and not prescribe to others; for our author needs not their admiration.
Shall we dare, continues Segrais, to condemn Virgil for having made a fiction against the order of time, when we commend Ovid and other poets who have made many of their fictions against the order of nature? For what else are the splendid miracles of the Metamorphoses? On the other side, the pains and diligence of ill poets is but thrown away when they want the genius to invent and feign agreeably. I shall say more of this in the next article of their charge against him, which is want of invention.
He was in banishment when he wrote those verses, which I cite from his letter to Augustus: May I be so bold to ask your Majesty, is it a greater fault to teach the art of unlawful love, than to shew it in the action? That the ceremonies were short, we may believe; for Dido was not only amorous, but a widow. For to leave one wife, and take another, was but a matter of gallantry at that time of day among the Romans.
If I took my pleasure, had not you your share of it? Be as kind a hostess as you have been to me, and you can never fail of another husband. If the poet argued not aright, we must pardon him for a poor blind heathen, who knew no better morals. I hinted it before. They lay no less than want of invention to his charge—a capital crime, I must acknowledge; for a poet is a maker, as the word signifies; and who cannot make, that is, invent, hath his name for nothing.
But in the first place, if invention is to be taken in so strict a sense, that the matter of a poem must be wholly new, and that in all its parts, then Scaliger hath made out, saith Segrais, that the history of Troy was no more the invention of Homer than of Virgil. There was not an old woman, or almost a child, but had it in their mouths, before the Greek poet or his friends digested it into this admirable order in which we read it.
At this rate, as Solomon hath told us, there is nothing new beneath the sun. Is Versailles the less a new building, because the architect of that palace hath imitated others which were built before it?
Walls, doors and windows, apartments, offices, rooms of convenience and magnificence, are in all great houses. Quid prohibetis aquas? Usus communis aquarum est. But the argument of the work, that is to say, its principal action, the economy and disposltion of it; these are the things which distinguish copies from originals. But from hence can we infer that the two poets write the same history? The disposition of so many various matters, is not that his own?
He had indeed the story from common fame, as Homer had his from the Egyptian priestess. Neither the invention nor the conduct of this great action were owing to Homer or any other poet. The copier is that servile imitator, to whom Horace gives no better a name than that of animal; he will not so much as allow him to be a man.
They translate him, as I do Virgil; and fall as short of him, as I of Virgil. But the designs of the two poets were as different as the courses of their heroes; one went home, and the other sought a home.
To return to my first similitude: Cities had been burnt before either of them were in being. This, I think, is a just comparison betwixt the two poets, in the conduct of their several designs. Virgil cannot be said to copy Homer; the Grecian had only the advantage of writing first. For what are the tears of Calypso for being left, to the fury and death of Dido? If this be to copy, let the critics shew us the same disposition, features, or coloring, in their original.
But to what end did Ulysses make that journey? Anchises was likewise to instruct him how to manage the Italian war, and how to conclude it with his honor; that is, in other words, to lay the foundations of that empire which Augustus was to govern. In the last place, I may safely grant that, by reading Homer, Virgil was taught to imitate his invention; that is, to imitate like him; which is no more than if a painter studied Raphael, that he might learn to design after his manner. And thus I might imitate Virgil, if I were capable of writing an heroic poem, and yet the invention be my own; but I should endeavor to avoid a servile copying.
I would not give the same story under other names, with the same characters, in the same order, and with the same sequel; for every common reader to find me out at the first sight for a plagiary, and cry: Virgil, in the heat of action—suppose, for example, in describing the fury of his hero in a battle, when he is endeavoring to raise our concernments to the highest pitch—turns short on the sudden into some similitude, which diverts, Edition: He pours cold water into the caldron, when his business is to make it boil.
This accusation is general against all who would be thought heroic poets; but I think it touches Virgil less than any.
He is too great a master of his art, to make a blot which may so easily be hit. Similitudes, as I have said, are not for tragedy, which is all violent, and where the passions are in a perpetual ferment; for there they deaden where they should animate; they are not of the nature of dialogue, unless in comedy: Not but I confess that similitudes and descriptions, when drawn into an unreasonable length, must needs nauseate the reader.
Once, I remember, and but once, Virgil makes a similitude of fourteen lines; and his description of Fame is about the same number. This is the first similitude which Virgil makes in this poem, and one of the longest in the whole; for which reason I the rather cite it. If he could have illustrated, it had been an ambitious ornament out of season, and would have diverted our concernment: What follows next is no objection; for that implies a fault: At least Aristotle has set no precise limits to it.
And we have known campaigns that have begun sooner and have ended later. Ronsard, and the rest whom Segrais names, who are of opinion that the action of this poem takes up almost a year and half, ground their calculations thus. Anchises died in Sicily at the end of winter, or beginning of the spring. He is driven by this storm on the coasts of Afric; he stays at Carthage all that summer, and almost all the winter following, sets sail again for Italy just before the beginning of the spring, meets with contrary winds, and makes Sicily the second time.
This part of the action completes the year. He allows the time of year when Anchises died to be in the latter end of winter, or the beginning of the spring: To which Segrais answers, that the obsequies of his father, according to the rites of the Greeks and Romans, would detain him for many days; that a longer time must be taken up in the refitting of his ships after so tedious a voyage, and in refreshing his weather-beaten soldiers on a friendly coast.
These indeed are but suppositions on both sides; yet those of Segrais seem better grounded. By some passages in the Pastorals, but more particularly in the Georgics, our poet is found to be an exact astronomer, according to the knowledge of that age.
Now Ilioneus whom Virgil twice employs in embassies, as the best speaker of the Trojans attributes that tempest to Orion, in his speech to Dido:. He must mean either the heliacal or achronical rising of that sign. The heliacal rising of a constellation is when it comes from under the rays of the sun and begins to appear before daylight. The heliacal rising of Orion is at present computed to be about the sixth of July; and about that time it is that he either causes or presages tempests on the seas.
If therefore Ilioneus, according to our supposition, understand the heliacal rising of Orion, Anna must mean the achronical, which the different epithets given to that constellation seem to manifest.
Ilioneus calls him nimbosus; Anna, aquosus. He is tempestuous in the summer, when he rises heliacally, and rainy in the winter, when he rises achronically. Your Lordship will pardon me for the frequent repetition of these cant words, which I could not avoid in this abbreviation of Segrais, who, I think, deserves no little commendation in this new criticism.
He has imitated those of Homer, but not copied them. Each of those gods had his proper office, and the chief of them their particular attendants.
It was not for Virgil then to create new ministers; he must take what he found in his religion. What more frequent than a storm at sea, upon the rising of Orion? Might not Palinurus, without Edition: But machines sometimes are specious things, to amuse the reader and give a color of probability to things otherwise incredible.
We, who are better taught by our religion, yet own every wonderful accident which befalls us for the best, to be brought to pass by some special providence of Almighty God, and by the care of guardian angels; and from hence I might infer that no heroic poem can be writ on the Epicurean principles; which I could easily demonstrate, if there were need to prove it, or I had leisure. The most crude machine which Virgil uses is in the episode of Camilla, where Opis, by the command of her mistress, kills Aruns.
After all, that his machine might not seem too violent, we see the hero limping after Turnus. And how came the cuisses to be worse Edition: As for the death of Aruns, who was shot by a goddess, the machine was not altogether so outrageous as the wounding Mars and Venus by the sword of Diomede.
In answer to which, I say that this machine is one of those which the poet uses only for ornament, and not out of necessity. For I have taken these words, quem damnet labor, in the sense which Virgil gives them in another place— damnabis tu quoque votis —to signify a prosperous event. Yet I dare not condemn so great a genius as Milton: This is digression; and I return to my subject. I said above that these two machines of the balance and the Dira were only ornamental, and that the success of the duel had been the same without them.
Juno herself had plainly told the nymph beforehand that her brother was to fight. I doubt not but the adverb solum is to be understood: Besides, the chief errand of the Dira was to warn Juturna from the field, for she could have brought the chariot again, when she saw her brother worsted in the duel.
I have dwelt so long on this subject, that I must contract what I have to say in reference to my translation, unless I would swell my preface into a volume, and make it formidable to your Lordship, when you see so many pages yet behind. And indeed what I have already written, either in Edition: According to this model, Horace writ his Odes and Epodes: But Virgil, who never attempted the lyric verse, is everywhere elegant, sweet, and flowing in his hexameters.
His words are not only chosen, but the places in which he ranks them for the sound, he who removes them from the station wherein their master sets them, spoils the harmony.
Such difference there is in tongues, that the same figure which roughens one, gives majesty to another; and that was it which Virgil studied in his verses. Ovid uses it but rarely; and hence it is that his versification cannot so properly be Edition: Their metal is so soft that it will not coin without alloy to harden it. He must also know the nature of the vowels—which are more sonorous, and which more soft and sweet—and so dispose them as his present occasions require: Yet I will neither plead my age nor sickness, in excuse of the faults which I have made: The greatest latitude I take is in the letter Y, when it concludes a word and the first syllable of the next begins with a vowel.
Virgil thinks it sometimes a beauty to imitate the license of the Greeks, and leave two vowels opening on each other, as in that verse of the Third Pastoral: But, nobis non licet esse tam disertis, at least if we study to refine our numbers.
I have long had by me the materials of an English prosodia, containing all the mechanical rules of versification, wherein I have treated with some exactness of the feet, the quantities, and the pauses. As for the pauses, Malherbe first brought them into France, within this last century; and we see how they adorn their Alexandrins. And there are yet fewer who can find the reason of that sweetness. In the mean time, that I may arrogate nothing to myself, I must acknowledge that Virgil in Latin, and Spenser in English, have been my masters.
That indeed has given it somewhat of the run and measure of a trimeter; but it runs with more activity than strength: It has the nimbleness of a greyhound, but not the bulk and body of a mastiff.
Our men and our verses overbear them by their weight; and pondere, non numero, is the British motto. The French have set up purity for the standard of their language; and a masculine vigor is that of ours. Like their tongue is the genius of their poets, light and trifling in comparison of the English; more proper for sonnets, madrigals, and elegies, than heroic poetry.
The turn on thoughts and words is their chief talent, but the epic poem is too stately to receive those little ornaments. That turn is beautiful indeed; but he employs it in the story of Orpheus and Eurydice, not in his great poem. I Edition: The poet found it before his critics, but it was a darling sin, which he would not be persuaded to reform.
If rewards could make good poets, their great master has not been wanting on his part in his bountiful encouragements; for he is wise enough to imitate Augustus, if he had a Maro.
The triumvir and proscriber had descended to us in a more hideous form than they now appear, if the emperor had not taken care to make friends of him and Horace. I confess the banishment of Ovid was a blot in his escutcheon: But heroic poetry is not of the growth of France, as it might be of England, if it were cultivated. Spenser wanted only to have read the rules of Bossu; for no man was ever born with a greater genius, or had more knowledge to support it.
But the performance of the French is not equal to their skill; and hitherto we have wanted skill to perform better. He is a footpoet, he lackeys by the side of Virgil at the best, but never mounts behind him. Pallas says it to Turnus, just before they fight. But how could he imagine that it was the same thing to Evander, if his son were slain, or if he overcame? The second is not long after it, and both before the duel is begun.
They are the words of Jupiter, who comforts Hercules for the death of Pallas, which was Edition: Jupiter, after he had said this, immediately turns his eyes to the Rutulian fields, and beholds the duel. Some of our countrymen have translated episodes and other parts of Virgil with great success; as particularly your Lordship, whose version of Orpheus and Eurydice is eminently good.
Amongst the dead authors, the Silenus of my Lord Roscommon cannot be too much commended. I say nothing of Sir John Denham, Mr. Waller, and Mr. Long before I undertook this work. I was no stranger to the original. For, as I have said in a former dissertation, the words are in poetry what the colors are in painting If the design be good, and the draught be true, the coloring is the first beauty that strikes the eye.
Modell, drawing on recent developments in both psychoanalytic theory and neuro- science, argues for the importance of this model, which Freud subsequently discarded in favour of instinct theory. For a psychoanalytic perspective on the debate about false and recovered memories see M. Billig, Freudian repression. Conversation creating the unconscious Cambridge Polleichtner, Emotional questions.
Hardie, 4 vols. Ekphrasis in the Aeneid New Haven and London I am also indebted to E. Bellamy, Translations of power.
Politics and generic form from Virgil to Milton Princeton on repetition in the Aeneid. Squire, The Iliad in a nutshell. Visualizing epic on the Tabulae Iliacae Oxford and n. At least two important general features of the episode must be mentioned.
Secondly, because of this structural lack of integrity and linearity, these images are snapshots which are not so much frozen, as suspended in time. The lack, or at least the weakness, of the linear links connecting these images to each other not only creates a space for alternative and competing interpretations, but also for a coexistence of past, present, and even future in the perception of the viewer.
Aeneas and the narrator promote a moving, indeed consolatory interpretation: Aeneas eschews any such conclusion from the images through a careful balancing act: But note how the compressed ambobus at line Atridas Priamumque et saevum ambobus Achillem comes close to offering a programmatic indication of the rather open-ended reading Aeneas promotes.
Even the supplication scene, where the Trojan women approach the temple of Pallas, is shot through with disconcerting undertones, for the hostility of the goddess, both non aequa 8 M. Bergstein, Mirrors of memory.
Freud, photography and the history of art Ithaca and London Prominent throughout is Greek brutality, rather than Trojan heroism. A related issue is whether we should assume that Aeneas is aware that the temple is dedicated to Juno. Yet, even on this point, the text is less explicit than we might expect.
The question we must inevitably face, even after a cursory look at part of the ekphrasis, is a different one: It is quite likely that, as in the tradition of vase painting and other visual artefacts, individual figures in the temple pictures were identifiable through captions. Indeed, one of the peculiar motives of interest in this scene resides in the fact that we see at work, as if on a stage, not just how the act of interpretation works, but also the way memory acts.
Ancient and modern theorists alike, from Aristotle onwards, have assigned a central role in the shaping of memory to traces, but most scholars now reject a notion of memory-as-storage with its concurrent metaphoric baggage. They opt instead for an interactive model in which traces are involved in the act of recollection, while great importance is assigned to the context in which recollection occurs. That Aeneas, at this juncture, might well be ready for reassessing his past in a less static and more creative manner is not hard to understand.
His arrival at Carthage marks not just the beginning of the Aeneid, but a new beginning for Aeneas himself. This is the first time, as the narrator emphasizes with his repetition of primum at and , that he allows himself to hope for a better future, even if 1.
The storm, in its totalizing cosmological reach, echoes the impact of flood narratives such as the one Ovid will describe at the beginning of the Metamorphoses.
Not a standard tempest, but the unleashing of divine powers which ignore their allocated spheres of influence and provoke a perturbing mixing up of air, water, and earth. These plots chart a journey from entrapment to freedom via redemption and liberation, thus revolving around the metamorphosis of fear, or even anguish, into hope.
The beginning of Aeneid 1 insisted on memory as supposedly unproblematic preservation of the past, both through the narrative and within it.
Robinson and J. Robinson Huddersfield , with reference to C. Booker, The seven basic plots: In Books 2 and 3 Aeneas offers — literally — a re-narration15 of his previous plight, a re-enactment, based on memory meminisse, 2. Recent work on re-enactment16 as an artistic form suggests that it may prove helpful to replace this opposition with a more nuanced set of motivations and narrative catalysts.
Re-enactment is empowering precisely insofar as it enables performers to impose a fresh interpretation on historical events. The emancipatory role of re-enactment is at the same time personal and social. Individuals as well as communities can re-enact and rewrite their own plots and put forth a different version — and a fortiori a different interpretation — of the events they have experienced, not necessarily with full awareness of the potential falsehood of the re-enactment itself.
In the temple at Carthage, Aeneas exploits the images as passive props for an active re-enactment which precipitates his estrangement from his previous self and promotes a version of events that provides the foundation of his own new self-perception and self-narrative.
Lucretius argues in Book 3. He concludes, famously, that even if the very same aggregation of atoms occurred again in the infinity of time and space to recreate the same individual, that individual would not actually be the same, because his memory of himself has been forever interrupted at death. It enables him to create a fresh narrative of the war, freeing him from the constraints of his previous self, much as 15M.
John Wojtowicz retells the story of the bank robbery in which he was involved years earlier and which was pictured in the Sidney Lumet film Dog Day Afternoon. See R. Giannantoni and M. Gigante Napoli The productive opposition posited here clearly is not the one between remembering and forgetting, but between a passive and an active form of memory, one which represents a form of mastery over events which would otherwise be passively experienced.
The act of seeing entails the absorption of atoms carrying over from the object into the eyes of the beholder, a process partly analogous to the absorption of food.
Unlike food, however, images are insubstantial, and it would be foolish to assume that they can satisfy emotional hunger in the same way food actually counteracts the lack of food. As Lucretius points out at 4. This indeterminacy carries with itself two tangible implications. As it happens, however, the one trace with which Homer can scarcely be credited is the story of Troilus himself, about whom the Iliad offers nothing more than a fleeting mention.
Thrice had Achilles dragged Hector round the walls of Troy and was selling the lifeless body for gold. Then indeed from the bottom of his heart he heaves a deep groan, as the spoils, as the chariot, as the very corpse of his friend met his gaze, and Priam outstretching weapon-less hands.
This time it appears clearly, if indirectly, that he is following the Homeric plot Different focalizations only go so far towards explaining the discrepancy.
But memory of this Iliadic scene is also active as an implicit moral template at the very end of the Aeneid Memory of events, even crucial ones, is adaptable to different factual and emotional contexts, not fixed forever. The same set of actions can be remembered, and used as a model, in markedly different ways.
There is one further, but not yet final, layer of complication to the stratification of memory and emotions in the temple scene. Dido shares with Aeneas her own personal recollection memini, of Trojan events From that time on the fall of the Trojan city has been known to me; known, too, your name and the Pelasgian kings.
Not surprisingly, the hard evidence we can glean from this report is very limited. We find out only later, in Book 4, that this is indeed the case. At first Dido attributes to insania her change of attitude towards the Trojans, which is now openly aggressive, yet she quickly realizes that she should have known better from the start.
Here a different set of memories emerges — not that of pious Aeneas, but of the villain who has sold out to the Greeks and sees himself permixtum Achivis 1. Tum, at that time, as Dido puts it, a positive emotional attitude towards Aeneas blinded her from understanding, or even recollecting, factual information which was already in her possession and which could have alerted her to the dangers involved in welcoming the Trojan exile.
In this light the detail auro corpus vendebat Achilles 1. While the latter learn from the first line of the scene that he is actually meeting his own mater , Aeneas does not recognize her in her disguise as a Diana-like huntress.