How satisfactory is the ending of Aeneid XII?
Despite the climactic ending of Aeneid XII, concluding with the much-awaited death of
Turnus, many critics believe that this is not the ending Virgil intended his poem to have; it
lacks closure regarding Juno’s anger or the future race of the Romans. Thus, it is debatable
whether the death of Turnus alone is enough to create a satisfactory ending to the book, or
if the other aspects given less attention should additionally be resolved.
‘Satisfying’ here means an ending which provides the desired results for the reader. In
the proem of Aeneid I, Virgil describes Aeneas as the man to found Rome, establishing this
as a ktistic poem, yet regarding the ending of Aeneid XII, this founding is never actually
shown, disappointing the reader and thereby becoming unsatisfactory. Although the nature
of the future race is briefly discussed within the divine ending, as Juno withdraws from
battle – ‘do not order the native Latins to change their ancient name’ – the reader is never
able to see this come into being. In this way, the ending is highly unsatisfactory, giving no
conclusion as to the future race. Jupiter’s speech leading to Juno’s withdrawal also only
resolves one reason for her anger, her hatred of the Trojans, as Jupiter agrees to ‘allow
(Troy) to remain fallen along with its name’. However, there is no solution to her anger
about Carthage, further incited by Dido’s death in Aeneid IV, which has been increasing
throughout Book XII. Consequently, there is a possibility of Juno returning spitefully,
implying this divine ending is actually not an ending at all.
However, this divine withdrawal from the mortal conflict does bring some satisfaction, as
it ends the theme of delay which has been shown throughout the second half of the poem.
Virgil portrays this theme as Jupiter is shown using weighing scales to determine fate:
‘Jupiter himself lifted up a pair of scales with the tongue centred and put the lives of the two
men in them to decide… with whose weight death would descend’. At this moment, there is
a great sense of anticipation through the ambiguous nature as it is not revealed ‘whose
death would descend’. Therefore, this aids the satisfaction of the ending, as after so much
delay and tension, the reader is given a final, certain result in Turnus’ death.
This delay has also been demonstrated previously through the help of the gods,
especially that of Juturna, resulting in a satisfying ending once this anticipation is abruptly
ended. Virgil describes her as appearing to Turnus ‘in the guise of Camers’ in order to
persuade the Latins to break the treaty they have made with Aeneas and his people,
agreeing that the war would be concluded with single combat between the two leaders.
Without this appearance, after which she ‘did even more and showed a sign high in the sky,
the most powerful portent that ever confused and misled men of Italy’, Turnus would have
died in this duel, far earlier than he actually does in the poem. This would cause tension to
be lost, removing the satisfaction of his eventual death. On the other hand, due to the
consistent level of postponement throughout the poem, at this moment in Book XII the
readers may be uninterested and simply want the poem to end. As such, it may have been
more satisfactory to some readers if Aeneid XII were to end immediately as a result of this
treaty, rather than prolonged owing to Juturna’s intervention.
Another key scene which leads to the ending being satisfactory is the direct combat
between Turnus and Aeneas in the few scenes preceding his death. In this climactic
moment, despite Virgil’s earlier attempts to present the two heroes as equals, such as in his
similes describing them as ‘bulls butting heads’, Aeneas is clearly superior and the reader
can assume his impending victory as ‘Aeneas brandished his deadly spear at the delaying
man’. This advantage and dominance is also demonstrated as, whilst Turnus’ attempt to
Despite the climactic ending of Aeneid XII, concluding with the much-awaited death of
Turnus, many critics believe that this is not the ending Virgil intended his poem to have; it
lacks closure regarding Juno’s anger or the future race of the Romans. Thus, it is debatable
whether the death of Turnus alone is enough to create a satisfactory ending to the book, or
if the other aspects given less attention should additionally be resolved.
‘Satisfying’ here means an ending which provides the desired results for the reader. In
the proem of Aeneid I, Virgil describes Aeneas as the man to found Rome, establishing this
as a ktistic poem, yet regarding the ending of Aeneid XII, this founding is never actually
shown, disappointing the reader and thereby becoming unsatisfactory. Although the nature
of the future race is briefly discussed within the divine ending, as Juno withdraws from
battle – ‘do not order the native Latins to change their ancient name’ – the reader is never
able to see this come into being. In this way, the ending is highly unsatisfactory, giving no
conclusion as to the future race. Jupiter’s speech leading to Juno’s withdrawal also only
resolves one reason for her anger, her hatred of the Trojans, as Jupiter agrees to ‘allow
(Troy) to remain fallen along with its name’. However, there is no solution to her anger
about Carthage, further incited by Dido’s death in Aeneid IV, which has been increasing
throughout Book XII. Consequently, there is a possibility of Juno returning spitefully,
implying this divine ending is actually not an ending at all.
However, this divine withdrawal from the mortal conflict does bring some satisfaction, as
it ends the theme of delay which has been shown throughout the second half of the poem.
Virgil portrays this theme as Jupiter is shown using weighing scales to determine fate:
‘Jupiter himself lifted up a pair of scales with the tongue centred and put the lives of the two
men in them to decide… with whose weight death would descend’. At this moment, there is
a great sense of anticipation through the ambiguous nature as it is not revealed ‘whose
death would descend’. Therefore, this aids the satisfaction of the ending, as after so much
delay and tension, the reader is given a final, certain result in Turnus’ death.
This delay has also been demonstrated previously through the help of the gods,
especially that of Juturna, resulting in a satisfying ending once this anticipation is abruptly
ended. Virgil describes her as appearing to Turnus ‘in the guise of Camers’ in order to
persuade the Latins to break the treaty they have made with Aeneas and his people,
agreeing that the war would be concluded with single combat between the two leaders.
Without this appearance, after which she ‘did even more and showed a sign high in the sky,
the most powerful portent that ever confused and misled men of Italy’, Turnus would have
died in this duel, far earlier than he actually does in the poem. This would cause tension to
be lost, removing the satisfaction of his eventual death. On the other hand, due to the
consistent level of postponement throughout the poem, at this moment in Book XII the
readers may be uninterested and simply want the poem to end. As such, it may have been
more satisfactory to some readers if Aeneid XII were to end immediately as a result of this
treaty, rather than prolonged owing to Juturna’s intervention.
Another key scene which leads to the ending being satisfactory is the direct combat
between Turnus and Aeneas in the few scenes preceding his death. In this climactic
moment, despite Virgil’s earlier attempts to present the two heroes as equals, such as in his
similes describing them as ‘bulls butting heads’, Aeneas is clearly superior and the reader
can assume his impending victory as ‘Aeneas brandished his deadly spear at the delaying
man’. This advantage and dominance is also demonstrated as, whilst Turnus’ attempt to
