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198–218: In Dad I Tru$t

198–202: The five lines provide a brief introduction to Iarbas (hic), his lineage, and his extraordinary devotion to Jupiter. The flashback (cf. the perfect posuit and the pluperfect sacraverat) serves as explanatory foil for his outrage at the news about Dido that Fama brings his way. 198: Hic Hammone satus rapta Garamantide nympha: born, i.e. […]

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173–197: The News Goes Viral

173–77: Introduction to Fama (5 lines) 178–83: Parentage and appearance (6 lines) 184–88: Generic description of her movements (5 lines) 189–95: The rumours she spreads of Aeneas and Dido (7 lines) 196–97: Pinpointing a specific target: Iarbas (2 lines) The term fama has already made an oblique appearance at 170 (neque enim specie famaue mouetur, […]

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129–172: The Hunting Party

[1] After the divine interlude the action switches back to the human plane. The basic structure of the section is as follows: 129: Indication of time 130–50: Preparation for the hunt and departure 130–35: Nameless attendants from Carthage 130–32: The youth and Massylian horsemen 133–35: Punic princes 136–39: Queen Dido 140–41a: Aeneas’ companions, above all […]

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90–128:  Love and Marriage, or: A Match Made in Heaven

After a day-by-day, even hour-by-hour unfolding of events in Books 1–4.53, narrative time has started to drift a little after Anna’s speech. The conversation between the two sisters took place ‘the morning after’ Aeneas’ arrival and first narration of his adventures during the welcome festivities. But from then on, it is difficult to keep track […]

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54–89: ‘Crazy Little Thing Called Love’ (Queen)

This section can be divided into five parts of 2, 12, 6, 12, and 4 lines respectively: (a) Introduction 54–55: Effect of Anna’s discourse on Dido (b) Efforts to Ensure Divine Support 56–64: Dido and Anna endeavour to win the favour of the gods 65–67: Dismissal of ‘civic’ religion (c) The Pathology of Love Illustrated […]

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31–53: Sister Act II: Anna’s Reply

Dido has put her sister in an impossible situation. It does not require much intuition on Anna’s part to divine that what Dido really yearns for is to yield to her fatal attraction to the Trojan hero. At the same time, Dido has done her very best to close down this option. Her self-imprecation linked […]

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Lines 9–30: Sister Act I: Dido’s Address to Anna

Not having slept during the night, Dido seeks out her sister Anna the following morning and tries to articulate her thoughts and feelings. Despite her emotional turmoil, her speech is well structured, in two different ways: (a)        It comprises 21 lines in all, which fall into two halves of near-equal length (11/10), marked by two […]

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Lines 1–8: Sleepless in Carthage

1–2: At regina graui iamdudum saucia cura/ uulnus alit uenis et caeco carpitur igni: the ‘at’ at the beginning startles. Rather than announcing a fresh start, the adversative force of the particle sets up a contrast to what immediately came before.[1] To appreciate its full force, it is therefore necessary to recall how Book 3 […]

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Avant Propos: The Set Text and the Aeneid

For the most part, Aeneid 1–4, a third part of the epic overall, is set in Carthage. In the larger scheme of things, this detour via Africa appears to be an accident. After the extended proem (1.1–33), Virgil begins his narrative proper medias in res with Aeneas and his crew on their way from Sicily […]

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296–299 (and beyond): Hell Hath no Fury Like a Woman Scorned

196.     Discuss the implications of Virgil’s use of the word dolos (296) as an authorial comment on Aeneas’ speech to his men. 197.     Explain the subjunctive possit (296). 198.     Why is it Dido who ‘first’ (297: prima) divines what Aeneas and his men are up to? 199.     Discuss the syntax of omnia tuta timens (298). […]

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Source: http://aeneid4.theclassicslibrary.com/blog/page/2/