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Like the Aenied, and all epic poems, 1984 begins in the middle of things. Winston's character is modeled off of an historic leader (Winston Churchill). He has experience great hardships and losses. His actions seem out of his control.
Thursday, March 5, 2009
Piety of 1984: Virgil and Orwell
It has just crossed my mind, that perhaps Orwell drew or grew from a prior writing, the Aenied, in the same way Virgil expanded from Homer's epic poems.
Like the Aenied, and all epic poems, 1984 begins in the middle of things. Winston's character is modeled off of an historic leader (Winston Churchill). He has experience great hardships and losses. His actions seem out of his control.
Like the Aenied, and all epic poems, 1984 begins in the middle of things. Winston's character is modeled off of an historic leader (Winston Churchill). He has experience great hardships and losses. His actions seem out of his control.
Augustus Ceasar
"In extreme danger, fear feels no pity."
It's clear that Virgil modeled Aeneas, in many aspects, off of the Roman leader Augustus, who transformed a crumbling republic into the powerful empire. So, in order to have a better understanding of Virgil's text, I've begun some research on this Roman emperor. Here are some of the more interesting or helpful sites I've encountered thus far:
De Imperatoribus Romanis
This site is great! It includes both a brief summary of Augustus, his life and role, and an indepth biography.
Kids Net- Augustus Ceasar
Why is it that children's websites are the most interactive and engaging? that it is assumed adults no longer need colors and graphics to maintain interest?
The Bust of Augustus Ceasar
Uhhh...I'm only posting this because someone might find it funny. I don't really get it. It's short video, supposedly about Augustus Ceasar.
In the Middle
Interesting blog by a child about Augustus Ceasar- also kind of wierd and scary.
Augustus Quotes
and finally some Augustus Quotes. Some enlightening, others, not so much.
Wednesday, March 4, 2009
Dido in the Underworld
Throughout the Aeneid, depictions of women can easily be interpreted as sexist and degrading, but in the final scene with Dido, she is endowed with an amount of honor and dignity that no other charater, leastly Aeneas, has yet to display.
Although much of the descriptions of the underworld are horrific and disgusting (mutlilated limbs, wailing infants), the scene of Dido is fairly placid. She is wandering, drifting like a fog, not suffering or wailing. Her appearance is compared to that of a raising moon. In this sense the tone associated with her is calm, and new. Moon is also a symbol of femininity, and while it was the control of her heart and emotions by a man that lead to her suicide, the moon could be symbolic of her independence from men and passions. This seems to enforce the idea that she has achieved redemption in death.
While Aeneas is crying, throwing a tangent, utterly unstoic in her presence, she maintains her control. Her 'fiery glance' is doubtfully due to an angry grudge, but disappointment in his new appearance. Compared to the Aeneas that arrived on her shores, so full of purpose, and stole her heart, this blubbering child-like mound of pity must be a disgrace, and insult to the dignity she still retains. Forests are traditionally places of mystic freedom, the uncontrolled. The fact that Dido returns to the forest, as stoic as marble, enforces the idea that in the underworld she has achieved freedom at last. She is not doomed to infinite suffering, but subjected to a final place of peace.
Although much of the descriptions of the underworld are horrific and disgusting (mutlilated limbs, wailing infants), the scene of Dido is fairly placid. She is wandering, drifting like a fog, not suffering or wailing. Her appearance is compared to that of a raising moon. In this sense the tone associated with her is calm, and new. Moon is also a symbol of femininity, and while it was the control of her heart and emotions by a man that lead to her suicide, the moon could be symbolic of her independence from men and passions. This seems to enforce the idea that she has achieved redemption in death.
While Aeneas is crying, throwing a tangent, utterly unstoic in her presence, she maintains her control. Her 'fiery glance' is doubtfully due to an angry grudge, but disappointment in his new appearance. Compared to the Aeneas that arrived on her shores, so full of purpose, and stole her heart, this blubbering child-like mound of pity must be a disgrace, and insult to the dignity she still retains. Forests are traditionally places of mystic freedom, the uncontrolled. The fact that Dido returns to the forest, as stoic as marble, enforces the idea that in the underworld she has achieved freedom at last. She is not doomed to infinite suffering, but subjected to a final place of peace.
Tuesday, March 3, 2009
Funeral Games for Anchises
The most prominent feature of this chapter is of course, the competitions and Aeneas' awards. What stands out about these awards is how generous Aeneas is with them. In the end, everyone seems to be a winner. Even in the boat competition, the captain of the losing vessel is given a beautiful slave girl! This is extremely ironic, because has been shown through the history and hardships of the Trojans, in the end, the all are losers, they all will die, and they all will suffer. Actually, I find it freaking hillarious. For a moment they are all comforted and then...THEIR BOATS GET LIT ON FIRE!---by their WIVES!! HAHAHA. It seems this situation speaks to the pattern of this book. Happiness is just the preparation for suffering.
Also, while this chapter fulfills its purpose of giving Roman citizens an anniversary, a tradition, a right to celebrate, it also, again, mocks all human purpose. The games seem miniature reenactments of what has happened (boat race) and what is to become (other competitions). All their achievements are nothing but a game. And as is proven in even single game that takes place, it matters not how hard you work, or how certain your success may seem, anything can tip at any given moment, and you have no power over your own success.
I really don't think Virgil bought into the whole 'destiny of Rome'. Also, he was probably a pessimist.
Also, while this chapter fulfills its purpose of giving Roman citizens an anniversary, a tradition, a right to celebrate, it also, again, mocks all human purpose. The games seem miniature reenactments of what has happened (boat race) and what is to become (other competitions). All their achievements are nothing but a game. And as is proven in even single game that takes place, it matters not how hard you work, or how certain your success may seem, anything can tip at any given moment, and you have no power over your own success.
I really don't think Virgil bought into the whole 'destiny of Rome'. Also, he was probably a pessimist.
The Tragic Queen of Carthage
Something that this Chapter has made clear for me, and that I find quite interesting, is that Virgil writes from the perspective of the Gods. It makes sense that if this book is to become the history of Rome, readers should be endowed with a sense of god-like authority in the text.
From the point of view of the narrator, Gods are given credit for all that takes place on earth. Humans are but the pawns that gods utilize in their affairs.
So, on the surface, Dido's love for Aeneas is created entirely from cupids arrow, at least that's how the narrators tells it. But if one looks deeper, and has any faith in human souls and self-control, it seems Dido fell for Aeneas before Cupid ever entered the scene. Having experienced hardships herself, hearing Aeneas' tale of suffering evokes compassion towards him. Although hesitant to pursue him, it is because she does not want to attach herself to him and lose dedication to her duty as queen. What seems to differ Dido from Aeneas is that she perceives her duty to be self-determined, to have some control over her own fate. Aeneas on the other hand, can feel free of obligation and responsibility because all of his actions he feels are 'dictated by the gods'. He has the mind-set that control belongs only to the gods, and accepts whatever fate they may bestow on him.
After the two become unofficially married, and Dido becomes deeply attached, Aeneas is able to console himself in leaving by saying, he has a fate predetermined by the Gods. This makes Dido's story far more tragic. In her final attempt to control her fate and be free from the twisted, tortuous games of the gods, she throws herself into death. Of course, this fits exactly into the plans of Venus, and proves that she has no control.
What are the gods anyway? This chapter seems to represent them as nothing but an array of emotions. Any human being overcome with any emotion, has been employed by a god for some purpose. Is freedom, to have absolute control of ones emotions? Is this even possible? If Dido had accepted her fate, controlled her emotions, and thus destroyed Venus' plan, would she have been at all free? It certainly would not have made a better story if she had.
*I hope this made sense...
From the point of view of the narrator, Gods are given credit for all that takes place on earth. Humans are but the pawns that gods utilize in their affairs.
So, on the surface, Dido's love for Aeneas is created entirely from cupids arrow, at least that's how the narrators tells it. But if one looks deeper, and has any faith in human souls and self-control, it seems Dido fell for Aeneas before Cupid ever entered the scene. Having experienced hardships herself, hearing Aeneas' tale of suffering evokes compassion towards him. Although hesitant to pursue him, it is because she does not want to attach herself to him and lose dedication to her duty as queen. What seems to differ Dido from Aeneas is that she perceives her duty to be self-determined, to have some control over her own fate. Aeneas on the other hand, can feel free of obligation and responsibility because all of his actions he feels are 'dictated by the gods'. He has the mind-set that control belongs only to the gods, and accepts whatever fate they may bestow on him.
After the two become unofficially married, and Dido becomes deeply attached, Aeneas is able to console himself in leaving by saying, he has a fate predetermined by the Gods. This makes Dido's story far more tragic. In her final attempt to control her fate and be free from the twisted, tortuous games of the gods, she throws herself into death. Of course, this fits exactly into the plans of Venus, and proves that she has no control.
What are the gods anyway? This chapter seems to represent them as nothing but an array of emotions. Any human being overcome with any emotion, has been employed by a god for some purpose. Is freedom, to have absolute control of ones emotions? Is this even possible? If Dido had accepted her fate, controlled her emotions, and thus destroyed Venus' plan, would she have been at all free? It certainly would not have made a better story if she had.
*I hope this made sense...
Landfalls, Ports of Call
While the Aenied was ordered to be written for a singular purpose (to provide the roman empire with divine right through literature), it seems Virgil wrote with another intent.
On the surface, the Aenied is achieving its goal by seemingly giving the Romans a sense of purpose, a dignified and tragic history, especially in book 3. Here, the Trojans suffer greatly. Any roman would swell with pride knowing the obstacles overcome, the hardships faced, the suffering experienced. Also, this books makes the path for Italy very rigid. Every location the trojans land, rejects them. Thus, the idea of Italy being the one spot to rebuild is reenforced. For Romans inhabiting italy, this chapter is effective in proving why Italy must be the homeland, why it is their divine right to inhabit it.
However, on a deeper level, this Chapter begins a process of mocking divinity, purpose, fortune, and fate. While the hero, Aeneas seems to be battling bravely on, if one looks at the chapter deeply, what is happening? He is being tossed around like a worthless toy! No god fully protects the Trojans, every god in some way abandons them. After the loss of his father, Aeneas has simply gone mad with avengance. While often referred to proudly as 'stoic', its clear that Aeneas is led by nothing but emotions and prayers.
Jove, observing the plight of Aeneas and the Trojans.
On the surface, the Aenied is achieving its goal by seemingly giving the Romans a sense of purpose, a dignified and tragic history, especially in book 3. Here, the Trojans suffer greatly. Any roman would swell with pride knowing the obstacles overcome, the hardships faced, the suffering experienced. Also, this books makes the path for Italy very rigid. Every location the trojans land, rejects them. Thus, the idea of Italy being the one spot to rebuild is reenforced. For Romans inhabiting italy, this chapter is effective in proving why Italy must be the homeland, why it is their divine right to inhabit it.
However, on a deeper level, this Chapter begins a process of mocking divinity, purpose, fortune, and fate. While the hero, Aeneas seems to be battling bravely on, if one looks at the chapter deeply, what is happening? He is being tossed around like a worthless toy! No god fully protects the Trojans, every god in some way abandons them. After the loss of his father, Aeneas has simply gone mad with avengance. While often referred to proudly as 'stoic', its clear that Aeneas is led by nothing but emotions and prayers.
Jove, observing the plight of Aeneas and the Trojans.
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