As an extract from book 10, in the passage we see Aeneas embark on his aristea after hearing of
Turnus’ murder of the innocent, young Pallas. Aeneas is consumed by a rage of ‘furor’ and ‘ira’,
displaying a complete lack of traditional Roman behaviour that makes the passage so powerful and
compelling. Firstly, Virgil uses language of chaos and craze writing of the “calamity” that came “flying
to Aeneas”; not only does this convey the spend and power of rumour, but also it reflects Aeneas’
utter lack of stoicism, intense furor and madness that he is engulfed by throughout the passage.
Moreover, Virgil describes Aeneas’ men on the ‘very edge of destruction’, successfully capturing
Aeneas’ primary concern that puts him in such a state of madness and bloodthirst. Virgil follows this
up with a short, bold statement “the Trojans were in retreat; now was the time to help them”
accentuating Aeneas’ motivation to avenge Pallas and support his men, in a very powerful, poignant
tone.
On top of this the poet uses a range of emotive verbs such as “he harvested with the sword” to
convey the motion in which Aeneas cut a “broad swathe through the enemy ranks”, a very striking
and gruesome image for the audience. Other examples include “burning with rage”, a clear
demonstration of the protagonists furor in comparison with Turnus who is “flushed with slaughter”.
Virgil then captures Aeneas’ inflamed state of mind with great success, writing of his fractured
thoughts in a long list; “before his eyes he could see Pallas, Evander, everything … the right hands of
friendship”. Following this, the passage then shifts to a much darker, sinister tone as the protagonist
captures alive “four warrior sons of Sulmo” and “four reared by Ulfens” “to sacrifice them as
offerings and pour their captive blood on the flames”. While these gruesome descriptions alone
make the passage so powerful, Virgil runs a semantic field of pain and fire throughout the narrative.
For instance, he uses words including “blood”, “flames”, “deadly spear” to capture to suffering that
comes with war and the speed and pace of the battle.
Arguably most poignant of all, is the fear Virgil illustrates in Magus as he pleads Aeneas to spare him.
The poet very successfully indicates Magus’ longing for sympathy and clemency as he pleads “I beg
you” to escape death. Virgil also makes the passage very powerful and poignant with Magus’
mention of “by the shade of your own father” as well as “Iulus” to strike at Aeneas’ emotions as he
fights for his own life. Virgil cleverly mirrors this language of emotion as Magus pleads to spare his
own life “for the sake of my son and my father”, as a means to build sympathy. On top of this, the
poet uses structure to make the passage so powerful, he uses long sentences packed with detail to
recall Magus’ backstory with his home of “a high-built palace” and “engraved silver and great
weights of gold”. These elaborate lengthy descriptions, and sematic field of wealth, using words such
as “palace”, “silver” and “gold” juxtapose with the abruptness of Magus’ death at the end of the
passage; powerfully signifying the brevity of human life.
Finally, Aeneas’ replies bluntly in contrast with Magus’ longer speech, reflecting on the “moment he
[Turnus] killed Pallas”; that prompts him to act out of vengeance. Virgil makes the scene immensely
powerful as he describes Magus’ “still begging for mercy” as Aeneas “took Magus’ helmet … bending
his neck back”. This very uncomfortable moment with his neck “bending” is then ceased with the
powerful, long-lasting image of Aeneas driving “the sword home to the hilt”. The final of sentence of
the passage is so bold and touching with the power and force of Aeneas’ sword being driven into the
victim’s neck up to its “hilt”, while he is still pleading for his life. Not only does it create a painful,
enduring image to the audience, but it also demonstrates a new side to Aeneas’ that even makes us
question our admiration of his character, acting completely uncharacteristic of a Roman hero;
making the passage all the more powerful.
Turnus’ murder of the innocent, young Pallas. Aeneas is consumed by a rage of ‘furor’ and ‘ira’,
displaying a complete lack of traditional Roman behaviour that makes the passage so powerful and
compelling. Firstly, Virgil uses language of chaos and craze writing of the “calamity” that came “flying
to Aeneas”; not only does this convey the spend and power of rumour, but also it reflects Aeneas’
utter lack of stoicism, intense furor and madness that he is engulfed by throughout the passage.
Moreover, Virgil describes Aeneas’ men on the ‘very edge of destruction’, successfully capturing
Aeneas’ primary concern that puts him in such a state of madness and bloodthirst. Virgil follows this
up with a short, bold statement “the Trojans were in retreat; now was the time to help them”
accentuating Aeneas’ motivation to avenge Pallas and support his men, in a very powerful, poignant
tone.
On top of this the poet uses a range of emotive verbs such as “he harvested with the sword” to
convey the motion in which Aeneas cut a “broad swathe through the enemy ranks”, a very striking
and gruesome image for the audience. Other examples include “burning with rage”, a clear
demonstration of the protagonists furor in comparison with Turnus who is “flushed with slaughter”.
Virgil then captures Aeneas’ inflamed state of mind with great success, writing of his fractured
thoughts in a long list; “before his eyes he could see Pallas, Evander, everything … the right hands of
friendship”. Following this, the passage then shifts to a much darker, sinister tone as the protagonist
captures alive “four warrior sons of Sulmo” and “four reared by Ulfens” “to sacrifice them as
offerings and pour their captive blood on the flames”. While these gruesome descriptions alone
make the passage so powerful, Virgil runs a semantic field of pain and fire throughout the narrative.
For instance, he uses words including “blood”, “flames”, “deadly spear” to capture to suffering that
comes with war and the speed and pace of the battle.
Arguably most poignant of all, is the fear Virgil illustrates in Magus as he pleads Aeneas to spare him.
The poet very successfully indicates Magus’ longing for sympathy and clemency as he pleads “I beg
you” to escape death. Virgil also makes the passage very powerful and poignant with Magus’
mention of “by the shade of your own father” as well as “Iulus” to strike at Aeneas’ emotions as he
fights for his own life. Virgil cleverly mirrors this language of emotion as Magus pleads to spare his
own life “for the sake of my son and my father”, as a means to build sympathy. On top of this, the
poet uses structure to make the passage so powerful, he uses long sentences packed with detail to
recall Magus’ backstory with his home of “a high-built palace” and “engraved silver and great
weights of gold”. These elaborate lengthy descriptions, and sematic field of wealth, using words such
as “palace”, “silver” and “gold” juxtapose with the abruptness of Magus’ death at the end of the
passage; powerfully signifying the brevity of human life.
Finally, Aeneas’ replies bluntly in contrast with Magus’ longer speech, reflecting on the “moment he
[Turnus] killed Pallas”; that prompts him to act out of vengeance. Virgil makes the scene immensely
powerful as he describes Magus’ “still begging for mercy” as Aeneas “took Magus’ helmet … bending
his neck back”. This very uncomfortable moment with his neck “bending” is then ceased with the
powerful, long-lasting image of Aeneas driving “the sword home to the hilt”. The final of sentence of
the passage is so bold and touching with the power and force of Aeneas’ sword being driven into the
victim’s neck up to its “hilt”, while he is still pleading for his life. Not only does it create a painful,
enduring image to the audience, but it also demonstrates a new side to Aeneas’ that even makes us
question our admiration of his character, acting completely uncharacteristic of a Roman hero;
making the passage all the more powerful.
