Iulus, on the other hand, represents continuity. The continuity of the Trojan race, the continuity of his father's bloodline, and the continuity of the mission to establish the Roman race in Italy.
Amulius and Numitor
The brothers Numitor and Amulius, descendants of Aeneas and Iulus, continue the establishment of the Roman race. Numitor, the King of Alba Longa, is overthrown by his brother Amulius overthrew him and took the throne. The story revisits the Aenean theme of familial piety. Amulius violates the code of piety by throwing out his brother and King Numitor. However, familial piety is restored when Numitor's grandsons Romulus and Remus reinstating their grandfather Numitor as king of Alba Longa after killing the offender Amulius.
The story of Numitor and Amulius is also marked by the themes of integration and disintegration. Amulius represents the theme of disintegration . First, he partitioned the brothers' inheritance into two parts, the treasure and the city, disintegrating the legacy left by their father. His usurpation of the throne of Alba Longa from his King Numitor disintegrates political order and harmony in Alba Longa. Also his banishment of Numitor. He also disintegrates the family unit, by banishing his brother from Alba Longa, murdering his niece, and casting his grand-nephews to the wolves.
Numitor represents the theme of integration. When asked to choose which part of the partitioned inheritance to possess, Numitor chose the city instead of the more useful treasures. He valued his home and the continuity of his ancestors' legacy more than the raw power that treasure could provide.
Romulus and Remus
The story of the brothers Romulus and Remus is the last chapter in the founding of Rome saga. It also revisits the Aenean theme of familial piety. In addition to their rescue of their grandfather Numitor, Romulus and Remus also demonstrate familial piety to each other. Romulus rescues Remus when he is taken prisoner by Aumulius' shepherds. Later, Romulus' murder of Remus is a transgression of the theme of familial piety. However, Romulus eventually restores familial piety when he appeases the angry ghost of his brother Remus by...
Remus represents disintegration through his dissent from the will of his brother Romulus. First, he disagrees with Romulus, his savior, about the site of their new city. Then, he disputes the superiority of Romulus' augury contrary to convention. Finally, he interferes with Romulus' construction of his city's defining wall and violates its boundary as an insult to his brother.
Home is an important symbol of integration and Remus is less tied to home than Romulus. Amulius' shepherds were able to kidnap Remus because he was out walking with companions while Romulus was at home performing sacrifices to the Gods. Later, Remus appears as a ghost, which is an indication that he is not whole, another instance of disintegration.
Romulus represents the theme of integration. His penchant for integration is revealed in the rape of the Sabine women, which served to integrate the Romans and Sabines. It also served to provide wives for the many wifeless refugees settling in his fledgling city. Before that, his rescue of Remus marked the reintegration of their family unit.
Of the two brothers, Romulus is the more loyal, nurturing, and, ultimately, successful of the two. Also, his fondness for sacrifice was evidence of his piety and obedient nature. In contrast to the obedient Romulus, Remus is rebellious and disputatious. Remus is typically the one to create or point out problems, while Romulus is the one to propose solutions. Problems disintegrate while solutions reintegrate it.
The three chapters of Rome's foundation myth were hugely important, not only from a cultural standpoint but from a political standpoint. With it, Emperor Augustus, through Virgil's pen, provided the Romans a noble legacy to match its hegemonic power. However, even though the myths were constructed with such explicit political aims in mind, the myths could not help but be exhibit the universal themes of integration and disintegration.
Plutarch, Life of Romulus.
"Alas!" said one, "what oceans yet remain For us to sail! what labors to sustain" (Book IV). Playing on their already frustrated emotions, they are quick to succumb when "the goddess, great in mischief, views their pains" (Virgil Book V). Stirred-up by the goddess, the women set fire to the ships, only to have them put out by the Trojans with some assistance from the gods. Thus, this is just another example in
Aeneid - the Duty-Bound Aeneas Aeneas was a Trojan prince who fled from the ruins of Troy to look for Italy as his new fatherland. In his voyage, Aeneas shatters the heart of Dido - the Carthaginian queen, pays a visit to the Underworld, and finds Lavinium, a city on the coast of Italy. His mother is the goddess Venus, and he is a descendant of mighty Jove. According to the
" Finally, Lantinus seals Aeneas's fate as a future Latin by commenting on how the Trojan will bring peace. The king states, "peace is made when I behold him here." Aeneas's being welcomed with genuine warmth into Latinus's home and homeland signal a tremendous transformation in the title character of the poem. Aeneas is no longer just a Trojan, and he is no longer a Trojan without a homeland. Now
Juno does everything in her power to destroy Aeneas; yet he survives. The Homeric heroes had the luxury of divine help to complete their heroic missions. Another important factor is Aeneas' family. Aeneas' first loyalty was to his family. Despite all the odds against their survival, Aeneas makes nothing short of a heroic effort to save his family from the violence of the conflict they face. He succeeds in saving
After an unfortunate set of events which leaves Aeneas with only seven ships from his initial fleet, the Trojans find themselves on the shores of Carthage. Here, there are welcomed by the Phoenician princess, Dido, the founder of the city. The fact that the people of Carthage partially share the same fate as the Trojans makes it easier for them to interact and form bonds. Gradually, a connection forms between Dido
Rhyming also conveys emotion in the Aeneid. The first four lines of the epic read: "Arms, and the man I sing, who, forc'd by fate, / and haughty Juno's unrelenting hate, / Expell'd and exil'd, left the Trojan shore. / Long labors, both by sea and land, he bore." This opening passages also show how regular the meter is in the Aeneid, as each line has ten "feet." The