...Literature in the Augustan Age is often referred to as the golden age of Latin literature. While many authors contributed works in this time, which ran roughly from 42 BCE to around 17 CE, the most prominent in this time were Virgil, Horace and Livy. The most important historical aspect of the literature at this time was how it served to support Emperor Augustus’ rule and his strong beliefs in traditional Roman values. This paper will focus on the ways in which these authors supported the values and beliefs of Augustus, and to what aspect their literature helped and supported the change in Rome during the transition from Republic to Empire. These authors’ works were intrinsically tied to the era in a very unique and important way. The theme of traditional rural Roman values, and the importance of the countryside to the integrity of Rome were extremely prevalent in their works, as well as in the policies of Emperor Augustus. This signified the extreme importance of Augustus’ focus on restoring traditional Roman values, and when supported by the writings from Virgil, Horace and Livy, has proven to be one of the most significant aspects towards the success of Augustus’ transformation of Rome into the Empire it would become. When we examine the contribution that Virgil, Horace and Livy made to the Augustan rule in the newly formed Roman Empire, we cannot begin without mentioning some of the skepticism that occurred during the initial years of the transformation. This is evidenced...
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...Stephanie Crawford Dr. Philip Phillips European Literature August 10, 2010 The Aeneas Model Pietas, Latin for pious, is a fundamental trait found in Roman history and literature. Virgil’s inclusion of pietas in The Aeneid enables readers to appreciate an essential quality of any admirable Roman. Aeneas, the primary character, struggles with the implications of this central virtue; however, as he walks the paths the gods set for him, he personifies the essence of piety and thus portrays the quintessential Roman. An essential attribute in Roman history and literature, pietas is defined as “personification of a respectful and faithful attachment to gods, country, and relatives, especially parents” (Britannica). Latin for pious, pietas, is better defined as dutiful, “…pietas [in English something like ‘sense of duty, but a considerably more emotional quality for Romans]…” (Virgil 64). Throughout Roman history, this sense of duty can be found, to the extent that its influence is evident today, “The Aeneid would not be the ideal expression of res Romana that it is, if the fulfillment of duty were not fundamental to its hero. The peculiar content of the modern concept of duty is a consequence of Roman morality…” (Interpretations 13). Roman historian Cicero, writing in his Oratio Pro Canoeo Plancio (XII), identifies dutifulness as the basis for which all other merits form: “Pietas fundamentum est omnium virtutum,” which is translated, “The dutifulness of children is...
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...“The Aeneid” and “Confessions” in Dante's Poem Dante in his poem “"The Inferno" talks of his journey to hell and back. He narrates it in the form of an autobiography. The poem does, however, indicate a strong influence from Maro's "The Aeneid" and Augustine's the "Confessions." The influence from the two in the “Inferno” range from the themes, concepts, literature devices and the language styles used. Maro Virgil, the author of the poem “The Aeneid” was a controversial figure in most Christian texts at the time. His influence in the “Inferno” is clear because Dante uses the name for the leader in the poem. Virgil is an influence in the poem rather than just a fiction figure or character. Dante does not borrow directly from the Aeneid, but expresses his own ideas in different twist. A major difference in the texts is that while Dante uses the underworld to denote hell, Virgil extends the physical world, as we know it. Dante feels that the pagan Virgil is contradicting in his ways, and Dante’s hell is an extension of Virgil’s underworld. Virgil influenced the way Dante denotes hell in specific circles or steps. While Virgil had only three; Tartarus, Elysium and Lugentes Campi, Dante had nine; Limbo, Gluttony, Lust, Greed, Anger, Heresy, Violence, Fraud and Treachery. Apparently, it is also clear that the concept of underworld is yet another influence Dante received from Maro’s “The Aeneid” (Maro 930-939). Throughout the “Inferno”, Dante exhibits a sense of redemption and freedom...
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...Homer, Virgil and Milton Homer, Virgil and Milton’s use of allusion in their literature is apparent and most likely educational. They all have clear and recurring parallels between their works. Particularly complex are the allusions to Achilles, which appear in the portrayals of both Aeneas and Turnus. W. S. Anderson, in his influential article1 on Vergil's use of the Iliad, has argued that although Achilles is initially invoked as a model for both Aeneas and Turnus in Aeneid, as the poem progresses Vergil establishes Aeneas as the true heir to Achilles, while Turnus becomes a new Hector or Paris. Book 9 opens with Iris urging Turnus to take advantage of Aeneas' absence by attacking the Trojan camp, a clear reference to Iliad where Iris rouses Achilles to drive the Trojans from the Greek camp. Anderson has argues that “Vergil uses this allusion to support Turnus' own false notion that he is a new Achilles,” a delusion which is gradually dispelled in Book 10 after the reappearance of the real successor to Achilles, Aeneas. The resemblance of the attack of the Latins on the Trojan camp to the attack of Hector and his companions on the Greek camp in Iliad Book 8 and 12 seems to support such a view, placing Turnus in the role of Hector and not Achilles. Later, however, the issue is complicated further as in his slow retreat before the Trojans Turnus is reminiscent of Ajax in Iliad. Finally, just at the end of his retreat, Turnus turns and just jumps into the river, like Achilles'...
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...The Role of Virgil Virgil, the Roman poet, is more than Dante’s guide on this journey through the underworld. His relationship with the character of Dante in the poem is wide-ranging in importance and symbolism. He is a figure of authority, reason, and even a metaphorical father. Having traversed the territory before, Virgil serves as a figure of knowledge and safety to Dante, who is at times uncertain and timid about traversing such a treacherous terrain. In Canto II, Dante hesitates at the Vestibule that marks the entrance to hell. It is only through the reassurance of Virgil’s words that he finds fortitude. Dante feels compassion for Virgil as his master and mentor and states, “Thy words have moved my heart to its first purpose. My guide! My Lord! My Master! Now lead on”. At numerous other points also, Virgil shows his authority by dealing with deterrences that occur during their journey as in Canto III, when the ferryman, Charon, refuses Dante passage since he is a living man. Virgil forces Charon to grant them passage: “Charon, bite back your spleen:/This has been willed where what is willed must be/and is not yours to ask what it may mean.” Virgil’s influence, however, is limited. His power is associated with the power of reason, and this power is limited in Dante’s hell. At the very beginning, Virgil warns Dante of this. He says that at the end of the journey through hell that a worthier spirit shall be sent to guide Dante. Virgil cannot accompany Dante on into...
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...Ancient Literature Essay Ancient literature includes many themes that are relevant today. Many of these stories include a hero, villain, and epic battle or journey that leads to a resolve. Often, you can see similar characteristics among these ancient writings. These ancient peoples were not much different than we are today, and that is depicted by the themes that continue to be relevant in the Common Era. An analysis of the two ancient writings The Aeneid and Agamemnon show many similar themes and blatant differences apparent in each story. By examining these two stories in detail, a greater understanding and appreciation of ancient literature can be acquired. Since man first began engaging in religious practices, stories with religious elements and themes have resulted. These two stories are no exception. Ancient Greek and Roman religious themes are present in both The Aeneid and Agamemnon. Both stories revolve around the philosophy that what we do with our lives is controlled by the Gods and to disrespect and dishonor the Gods is blasphemy, which will automatically lead to punishment. Both stories are similar in that the Gods are the beholders of the ultimate supreme power and the deciders of our hero’s fates. In other words, if it is not written by the Gods, then it is not the will of the Gods, and is therefore not to be done. It is also apparent in both stories that pleasing the Gods is everything to the characters and ultimately a deciding factor in their roles...
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...journeys that are different but in some ways parallel and end with them back with their true love. Both Dante and Odysseus have a woman who waits for them and in their travels must search themselves and make the right choices to get back to them. Odysseus longs to be with his wife Penelope and Dante to be with the woman he wants to marry Beatrice. Both men are very much love the woman in their lives, go to their own hell and back and can think of nothing other than finding their way back to them. Beatrice even after death has a spirit that is very much in love with Dante. She has faith in him, and asks Virgil to guide him through hell to bring him back to her. As written by a professor in psychoanalysis, "Dante the voyager through this arduous voyage, a voyage that initially descends into ever deeper, ever more terrifying levels, is the love of and the love from two people: Virgil (his 'Psyche') and Beatrice (his 'Eros')" (Szajnberg, N. M., 2010). Dante travels through hell with Virgil's guidance to find his Beatrice that is lost on earth after suffering an early death. Dante's Inferno does not tell a lot about Beatrice but does show her deep love for him and that she will do what it takes to be with him again. "For I am Beatrice who sends you on; I come from where I most long to return; Love prompted me, that Love which makes me speak"(Inferno). Penelope is very much in love with Odysseus even if he has been away so long. Many men come wanting to marry Penelope but she waits...
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...his country and its prominence, rather than personal gains, and going off on a journey for the betterment of Rome. The Aeneid is full of prophecies about the future of Rome, the deeds of Augustus, his ancestors, and famous Romans, and the Carthaginian Wars; the shield of Aeneas even depicts Augustus' victory at Actium in 31 BCE. A further focus of study is the character of Aeneas. As the protagonist of the poem, Aeneas seems to constantly waver between his emotions and commitment to his prophetic duty to found Rome. We know from other passages that Aeneas is not a character without compassion, yet if Aeneas feels genuine sympathy for the lover he is about to abandon, he fails to express it well. We can find fault in Aeneas because, while Virgil allows us a view of Aeneas’s emotions of sadness, regret, and reluctance as he leaves Carthage, Aeneas expresses little of these emotions to Dido. If we consider one’s self to reside in one’s will and emotions, Aeneas betrays himself by leaving Dido, and he admits as much, claiming that her words set them “both afire” (IV.498). Both Aeneas and Dido face a conflict between civic responsibility and individual desire. Aeneas sides with his obligations, while Dido submits to her desires, and so their love is tragically impossible. In terms of his patriotic duty, Aeneas acts impeccably, though he may be faulted for staying with Dido in Carthage as long as he does. His abandonment of Dido is necessary his service to Troy, his allies, his son...
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...Readers of literature often see similarities between various works of scholarly authors. In fact, many authors study famous writers before them and replicate their ideas. In the case of Augustine, he was always studying philosophy and popular works that were written before his age. The ancient Greek poet Virgil, author of The Aeneid, was an influential author in Augustine’s own piece, Confessions. Augustine creates a similar story to The Aeneid by recycling many of Virgil’s ideas and forming a role model for Christians around the world in his story, Confessions. Similarities between The Aeneid and Confessions are abounding. Augustine uses a very similar geographical route in his story that Virgil uses in Aeneas’s conquest. In Book III of Confessions, Augustine moves to Carthage, the same city in which Aeneas arrives in The Aeneid. Augustine, like Aeneas, leaves Carthage and goes to Italy. Both characters eventually fulfill their missions in Italy. Aeneas ultimately finds Rome, and Augustine discovers Catholicism and the Lord in Milan. Upon arrival in Carthage, Augustine reminds the reader of Aeneas’s story saying, “I came to Carthage and all around me hissed a cauldron of illicit loves” (Book III, i). In this reference to The Aeneid, Augustine describes the love affair of Dido and Aeneas. Although they profess openly as lovers after their adventure in the caves, they are not technically married. In Augustine’s own life, he has a lover and they are not married. Ultimately...
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...The Beasts and Monsters in Dante's Inferno The Inferno is the first section of Dante's three-part poem, The Divine Comedy. Throughout Dante's epic journey into the depths of Inferno he encounters thirty monsters and five hybrid creatures. The most significant of these monsters are of central importance to his journey and to the narrative, as they not only challenge Dante's presence in Inferno, but are custodians of Hell, keeping in order or guarding the "perduta gente". In this essay I am concentrating on these prominent beasts, namely Minos, Cerberus, Plutus and Geryon, establishing why they feature in Dante's eschatological vision and discussing the sources which influenced his inclusion of these particular creatures. These four monsters all fulfil important functions as well as representing important themes in Inferno, establishing them as symbols which reinforce Dante's allegory. Minos, as the infernal judge and agent of God's justice, represents our own conscience and morality. When the sinners come before him "tutta si confessa", which causes the reader to reflect on their own sins.His terrifying treatment of the souls is significant as after Charon, he is one of the first figures who they encounter on their passage into Hell, and his unique method of demonstrating which area of Hell that the souls should be sent to increases the horror and adds to the alarming atmosphere. His warning to Dante, is similar to several of the infernal custodians, who continually remind...
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...The Divine Comedy represents the mature Dante’s solution to the poet’s task annunciated in The New Life. Its three canticles (the Inferno, the Purgatorio, and the Paradiso) display a nearly limitless wealth of references to historical particulars of the late Middle Ages and to Dante’s life. Even so, its allegorical form allows these to function as symbols. The Pilgrim’s journey through Hell to Heaven thus becomes an emblem of all human experience and a recognition of life’s circularity. The “Comedy” of its title is, therefore, the situation of life and the accumulation of experience that attends it. Correspondingly, however, chronological placement of the narrative from Good Friday through Easter Sunday, 1300, particularizes the experience even as it implies the death and rebirth that attends a critical stage of any person’s life. The poet tells his readers in the first line of the Inferno that he is midway through life, and indeed Dante would have been thirty-five years of age in 1300. Though he maintains present tense throughout the poem, he is, however, actually writing in the years that follow the events that he describes. This extraordinary method allows the Poet to place what amounts to prophetic utterance in the mouth of the Pilgrim. Dante thus maintains and further develops the thesis of The New Life, that the progress of the Pilgrim corresponds directly to the progress of the Poet. The literal journey that the Pilgrim undertakes toward the Beatific Vision succeeds only...
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...The Devil and the Modern Manager The Devil and the Modern Manager Organizational lessons from the Inferno – first part of Dante’s Divine Comedy By Mainak Sankar Maiti (1730 words) Fig 1 – “The Abyss of Hell” by Sandro Botticelli1 Introduction Dante Alighieri wrote the epic poem “Divine Comedy” (Italian: Divina Commedia) in the period 1308 A.D to 1321 A.D. Considered one of the greatest works on World literature, the poem is an allegorical representation of man’s journey towards God. The poem is divided in three parts: Inferno, Purgatorio, and Paradiso. Of all the three parts, Inferno remains the most celebrated and the most influential till date. Numerous artworks and books have been inspired by the Inferno. The works inspired by the Inferno range 1|P age The Devil and the Modern Manager from the Renaissance painter Botticelli’s illustrations of the hell to modern computer games. More than seven hundred years have passed; however, the Inferno continues to enthral readers all around the world. But, does the Inferno have anything in store for a manager seeking to achieve organizational efficiency? Dante’s macabre vision of hell was brought to life by Botticelli in his infamous painting “The Map of Hell” or, “The Abyss of Hell”, which remains one of the most fear-invoking artworks of all time. But, can that work invoke some new thoughts in the mind of a management student and expand his span of thinking, his horizons? Hell – the Model Organization “Organizational...
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...Wright 1 1960 words Julian E. Wright Dr. Sharon Fulton Literature Humanities/Essay 1 27 February 2014 Violence in Dante’s Inferno and Ovid’s Metamorphoses Scenes of great violence, as the prompt says, are often written into dynamic narratives of great literary merit. From Dante Alighieri’s Inferno to Ovid’s Metamorphoses, the inclusion of violence as a literary technique is used to propel the narrative forward, all while adding action, intrigue, and engaging the reader. Despite it’s validity as a literary technique, the inclusion of violent scenes in literature serve much more than the simple purpose of pushing a plot along a set of structured points. Scenes of violence provoke thought in areas ranging from human nature to the nature of sin, thoughts that often can’t be provoked my images of calm, sublime, or tranquility. Extreme violence, juxtaposed with other scenes, provides insight into the amazing nature of human capability and human nature. In Dante Alighieri’s Inferno there is an abundance of violence that is illustrated in varying ways. Despite the copious inclusion of violence scenes throughout the text, violence does not appear throughout the literary work for its own sake. As one reads on through the Inferno, it provides it’s own clarity. As the levels of Hell increase, the severity of violence does so as well. The violence that appears occurs in different fashions, sometimes mentally, sometimes physically and many times both simultaneously. The scenes violence included in Dante’s Inferno contributes...
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...The resemblance regarding the hellish nightmares of tortured souls, desecrated bodies, and the regrets of the dead and living are scattered all over in descriptions regarding the Underworld in Greek and Roman literature; in Homer's Odyssey and of Vergil's Aeneid, both had a noticeable emphasis on their own definition of the, “invisible world,” but while both showed off that particular brand of afterlife rather vividly in their own styles ways and particular reactions to it, many people argue that the Aeneid copied from the Odysseus heavily. However, while the Aeneid did copy verses and the general progression of the story from the Odyssey, the centuries of separation between works and cultures show themselves as the two poems are examined more in-depth. Some of the more prominent reasons that many see that the Aeneid copied...
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...There are certain characteristics that make literature so interesting and entertaining, which are the facts that certain works have the capacity to create a trend or a genre, therefore it gives the piece of work a feeling of transcendetality. Two great authors from the Western civilization that take part of a modern literary culture that is characterized for its epic stories and epic characters that follow along the definition of an epic hero. An epic hero is a brave and noble character in an epic poem, admired for great achievements or affected by grand events. Dante’s Aligheri’s Inferno and Homer’s The Odyssey respectively have two characters that fulfill what is like to be recognized as a brave and noble character. Throughout both poems, we can see how each character has unique qualities that make them outstand and set them up as a leader, but at the same time, they have the flaws of any human being. It is clear when a character overcomes the status of any human being and sets the lead as a hero. An important trait of an epic hero is the fact that starts a journey; it may be of a personal matter, such as Dante, or of societal matter, like Odysseus. In The Odyssey, Odysseus is a war hero travelling home after a period of twenty years. In this epic, Odysseus is brought out as a hero with superhuman courage. In most cases, he has been shown fighting with supernatural forces. One characteristic of this journey that is different from Dante is that the hero in this epic fights...
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