Is the Iliad or the Odyssey more important for the Aeneid?
Both the Iliad and the Odyssey prove themselves to have varying levels of
importance throughout the Aeneid, showing the Homeric influence prevalent in
this poem. This is made clear in a number of aspects such as the
characterisation of protagonists, the presentation of divine intervention, and the
use of key images. However, whilst in the case of the Odyssey this influence
tends to be important for the purpose of literary enjoyment, the impact of the
Iliad has a greater prominence as a whole due to its significance in the extent
that the Aeneid can be considered Augustan propaganda, aiding the positive,
political effect of this poem on its contemporary readers.
The first element in which the Iliad and Odyssey are important for the Aeneid
is their characterisation of protagonists, in the former referring to Achilles, and
the latter to Odysseus. Whilst both epics support the heroic portrayal of Aeneas,
they do so in different ways: whilst the Odyssey allows readers to see that
Aeneas is often able to succeed where Odysseus has previously failed, the Iliad
allows us to compare Aeneas’ moral as well as physical superiorities with those
of Achilles. As such Aeneas, and consequently Augustus, due to Virgil’s work
arguably being a form of imperial propaganda, is able to appear a stronger and
more heroic character in comparison to Achilles, who is consistently presented
by Homer as morally immature and selfish.
Within the epic, Aeneas is shown to follow the same path as Odysseus, which
– similarly to his predecessor, who narrates his own journey to Alcinous in books
9-12 of the Odyssey – he relates to the Carthaginian queen Dido, stating that
‘although my mind recoiled in anguish when you asked and I shudder to
remember, I shall begin (my tale)’, (Aen. 2.11-12). However, where Aeneas loses
no men in his experience with the Cyclops, – ‘he heard us, and whirled around in
the direction of our voices, but he had no chance of laying a hand on us or
keeping up with the current of the Ionian Sea’ (Aen. 3.669-672) – Odysseus is
forced to watch his own men be brutally attacked and consumed as Polyphemus
‘tore them to pieces to make his meal, which he devoured like a mountain lion,
leaving nothing’ (Od. 9.290-292). During this encounter, Aeneas is even able to
recover one of Odysseus’ abandoned men Achaemenides. Though this is likely
made easier by Polyphemus having been blinded in his battle against Odysseus
previously, this nonetheless proves Aeneas’ immediate superiority and greater
success against the same monster as he is not only able to escape, but also to
save a life in the process. Thereby, through these differences in characterisation
he is displayed as a strong, hospitable, and selfless hero, a presentation which
would not be so effective without its parallels to the Odyssey.
Nevertheless, the importance of characterisation is arguably more significant
when comparing Aeneas to the Iliad’s protagonist Achilles. These heroes are
repeatedly presented as foils to one another, firstly done through Aeneas’ clear
demonstrations of loyalty to his city, gods, and family, shown as he physically
carries his father away from the war (Aen. 2.721-729). By contrast, Achilles
abandons his fellow soldiers and country as a whole following an insult to his
pride as Agamemnon steals his ‘well-girdled woman Briseis, whom they had
taken from him against his will’ (Il. 1.429-430). This reaction, an act of betrayal
resulting in the deaths of many of his companions, can be compared to Aeneas’
contrasting lack of complaint after losing two women he has loved: Creusa, who
is left behind during his departure from Troy (Aen. 738-749), and Dido, who ‘fell
upon a sword’ (Aen. 4.664) as a result of Aeneas being forced to leave her by
fate. Despite these brutal removals of domestic peace and happiness, Aeneas
perseveres and continues his journey in order to establish a greater future for
the Trojans. Here, Virgil proves his protagonist’s unconditional selflessness and
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Both the Iliad and the Odyssey prove themselves to have varying levels of
importance throughout the Aeneid, showing the Homeric influence prevalent in
this poem. This is made clear in a number of aspects such as the
characterisation of protagonists, the presentation of divine intervention, and the
use of key images. However, whilst in the case of the Odyssey this influence
tends to be important for the purpose of literary enjoyment, the impact of the
Iliad has a greater prominence as a whole due to its significance in the extent
that the Aeneid can be considered Augustan propaganda, aiding the positive,
political effect of this poem on its contemporary readers.
The first element in which the Iliad and Odyssey are important for the Aeneid
is their characterisation of protagonists, in the former referring to Achilles, and
the latter to Odysseus. Whilst both epics support the heroic portrayal of Aeneas,
they do so in different ways: whilst the Odyssey allows readers to see that
Aeneas is often able to succeed where Odysseus has previously failed, the Iliad
allows us to compare Aeneas’ moral as well as physical superiorities with those
of Achilles. As such Aeneas, and consequently Augustus, due to Virgil’s work
arguably being a form of imperial propaganda, is able to appear a stronger and
more heroic character in comparison to Achilles, who is consistently presented
by Homer as morally immature and selfish.
Within the epic, Aeneas is shown to follow the same path as Odysseus, which
– similarly to his predecessor, who narrates his own journey to Alcinous in books
9-12 of the Odyssey – he relates to the Carthaginian queen Dido, stating that
‘although my mind recoiled in anguish when you asked and I shudder to
remember, I shall begin (my tale)’, (Aen. 2.11-12). However, where Aeneas loses
no men in his experience with the Cyclops, – ‘he heard us, and whirled around in
the direction of our voices, but he had no chance of laying a hand on us or
keeping up with the current of the Ionian Sea’ (Aen. 3.669-672) – Odysseus is
forced to watch his own men be brutally attacked and consumed as Polyphemus
‘tore them to pieces to make his meal, which he devoured like a mountain lion,
leaving nothing’ (Od. 9.290-292). During this encounter, Aeneas is even able to
recover one of Odysseus’ abandoned men Achaemenides. Though this is likely
made easier by Polyphemus having been blinded in his battle against Odysseus
previously, this nonetheless proves Aeneas’ immediate superiority and greater
success against the same monster as he is not only able to escape, but also to
save a life in the process. Thereby, through these differences in characterisation
he is displayed as a strong, hospitable, and selfless hero, a presentation which
would not be so effective without its parallels to the Odyssey.
Nevertheless, the importance of characterisation is arguably more significant
when comparing Aeneas to the Iliad’s protagonist Achilles. These heroes are
repeatedly presented as foils to one another, firstly done through Aeneas’ clear
demonstrations of loyalty to his city, gods, and family, shown as he physically
carries his father away from the war (Aen. 2.721-729). By contrast, Achilles
abandons his fellow soldiers and country as a whole following an insult to his
pride as Agamemnon steals his ‘well-girdled woman Briseis, whom they had
taken from him against his will’ (Il. 1.429-430). This reaction, an act of betrayal
resulting in the deaths of many of his companions, can be compared to Aeneas’
contrasting lack of complaint after losing two women he has loved: Creusa, who
is left behind during his departure from Troy (Aen. 738-749), and Dido, who ‘fell
upon a sword’ (Aen. 4.664) as a result of Aeneas being forced to leave her by
fate. Despite these brutal removals of domestic peace and happiness, Aeneas
perseveres and continues his journey in order to establish a greater future for
the Trojans. Here, Virgil proves his protagonist’s unconditional selflessness and
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