The Aeneid (Barnes & Noble Classics Series)

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Overview

The Aeneid, by Vergil, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & ...

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The Aeneid (Barnes & Noble Classics Series)

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Overview

The Aeneid, by Vergil, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics:

  • New introductions commissioned from today's top writers and scholars
  • Biographies of the authors
  • Chronologies of contemporary historical, biographical, and cultural events
  • Footnotes and endnotes
  • Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work
  • Comments by other famous authors
  • Study questions to challenge the reader's viewpoints and expectations
  • Bibliographies for further reading
  • Indices & Glossaries, when appropriate
All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works.

Written more than two thousand years ago and one of Western literature’s indisputable masterpieces, the Aeneid is the Roman “answer” to Homer’s epics, the Iliad and the Odyssey. The latter celebrate Greek civilization through the stories of Greek victory in the Trojan War and the exploits of Odysseus. Vergil’s Aeneid sings the triumph of Roman culture, transforming Troy’s tragedy into a step on the path toward the founding of Rome by the descendants of the last Trojan hero, Aeneas.

Fleeing the fallen city with a few followers, Aeneas undergoes a series of adventures, including a passionate love affair with the ravishing Dido, queen of Carthage, a visit to the underworld to meet the spirit of his father, and mortal combat with Turnus, a powerful king. Each episode tests his courage, morality, and humanity, and proves his worthiness to be the ancestor of one of the greatest empires in history.

Sarah Spence is Professor of Classics at the University of Georgia. Founding editor of the journal Literary Imagination, she has published widely on Vergil and medieval vernacular poetry. She is author of two books, Rhetorics of Reason and Desire: Vergil, Augustine, and the Troubadors and Texts and the Self in the Twelfth Century, and has edited two volumes of essays on Vergil. She lives in Athens, Georgia.

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Product Details

  • ISBN-13: 9781593082376
  • Publisher: Barnes & Noble
  • Publication date: 3/1/2007
  • Series: Barnes & Noble Classics Series
  • Edition description: New Edition
  • Pages: 464
  • Sales rank: 111,359
  • Product dimensions: 7.94 (w) x 5.30 (h) x 1.23 (d)

Meet the Author

Sarah Spence is Professor of Classics at the University of Georgia. Founding editor of the journal Literary Imagination, she has published widely on Vergil and medieval vernacular poetry. She is author of two books, Rhetorics of Reason and Desire: Vergil, Augustine, and the Troubadors and Texts and the Self in the Twelfth Century, and has edited two volumes of essays on Vergil. She lives in Athens, Georgia.

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Read an Excerpt

From Sarah Spence’s Introduction to The Aeneid

Written between 26 and 19 b.c., the Aeneid was virtually finished, if somewhat unpolished, at the time of Vergil’s death. Unlike the poem’s major precursors, the Greek epics of Homer, the Aeneid aims to illuminate the historical and cultural complexity of the world that surrounded its first audience. The poem looks back to the prehistory of Rome and forward to the Rome of Vergil’s day, a perspective that has led some to characterize it as nostalgic. Yet the real beauty and strength of the work lies in its ability to provide a glimpse of the underpinnings of the very world its early audience inhabited—both its strengths and its weaknesses. It is, in short, a poem that in taking us back to the origins of the Roman people takes us forward to the world of Vergil and, to a large extent, to the world we live in today. The theme of the poem is not so much a lament over the necessity of sacrifice, as it is sometimes read, but an assertion that loss is embedded in the imperial vision—that the intertwined strands of promise and loss lie at the heart of the imperial enterprise, be it Augustan or contemporary.

Aeneas’ importance derives from two sources. On the one hand, it is fated in the Iliad (20.302) that he will escape Troy and his offspring will rule over fellow Trojans. Vergil connects Aeneas’ rule with Rome, and thus establishes a clear movement of the gods and so of culture from east to west, from Troy to Latium. Alongside this, as we are told in the first book by Jupiter, the king of the gods, and in the sixth book by Anchises, Aeneas’ father, that Aeneas is genealogically linked to Caesar, to whom Jupiter has granted an empire without end. Through Aeneas’ son Ascanius, also known as Iulus, the line of the Caesars will be founded; they will trace their family back to Venus, Aeneas’ mother, and Jupiter, her father.

The poem is often approached through the opposition offered in the opening lines between pietas (the honor man pays god and son pays father) and furor (rage). Aeneas is first characterized as a man marked by piety, while his primary antagonist, the goddess Juno, is marked by her rage. Throughout the poem, the struggles to achieve the goal of reaching Rome play out between these opposing forces. Aeneas’ honor of both his father and the gods—dominated by the figure of Jupiter, the king of the gods—propels him out of Troy and through years on the ocean; it is the reason he leaves the beautiful Dido, whom he encounters in Carthage; it is the mark of his leadership during the games on Sicily and his battles in Italy. Furor, on the other hand, accounts not only for the rage of Juno, Jupiter’s wife and sister (angry because the victory of her Greeks at Troy has not destroyed the Trojans), but also for a series of characters who participate in that anger, including Dido, once spurned by Aeneas, and Turnus, whose land and betrothed are offered by his king to Aeneas. The progress of pius Aeneas from Troy to Latium is impeded by Juno and the characters in whom she inspires furor.

The interaction of pietas and furor plays out against the background of the imperial landscape. As Aeneas travels from Troy to Latium he sketches out the reach of the later empire, and in so doing, he lays his people’s future claim to that path. Key landings that will later become part of the Roman imperial project are noted. Having Aeneas land at Buthrotum, for example, Vergil lays the groundwork for the later development of a Roman colony there. When, at the end of book 5, Aeneas decides to leave some of the older Trojans on Sicily, Vergil not only explains the presence of Trojan archeological finds there; he also justifies the development of Sicily as a Roman province. The stop at Actium, brief though it is, introduces Actium into the imperial language and projects Octavian’s victory there. The lands Aeneas touches become marked for the imperial cause—they are lands that the emperor will later claim as his own. Aeneas will see them only as false Italys; they mean nothing to him except failure, both to obtain his goal and to return home. Yet that very failure offers proof that the imperial project is underway.

The literary past participates in this enterprise. Vergil’s literary models are many. On the one hand, there are the Greek epics of Homer, whose Iliad and Odyssey took four times as many books to relay their story; on the other, there is the newer movement of Alexandrian poetry (including both Apollonius’ Argonautica and the works of Callimachus), whose spare aesthetics argued that less is more, that recondite allusion and sharp delineation were the marks of cleaner, better poetry. Against these Greek traditions lies the Latin project: starting with Ennius, whose epic about the founding of Rome exists only in fragments, the tradition of telling Roman origins in Latin and highlighting the connection of the language to the Roman mission and identity was taken up by Lucretius and continued throughout the republic and into the empire, with the poetry of Catullus, Horace, Propertius, Tibullus, Vergil and Ovid. Every one of these poets aimed to grapple with the inherited Greek past in an effort not only to recast the works into a new language but, more, to show that that new literature was essential to the success and definition of the Roman mission.

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Customer Reviews

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See All Sort by: Showing 1 – 20 of 22 Customer Reviews
  • Posted November 3, 2008

    more from this reviewer

    Something for everyone

    Virgil's Aeneid is an inspiring thriller. It combines action with mythology, romance and drama. <BR/><BR/>Along with being a beautifully written epic, it is also a historic piece that periodically incorporates Roman history into it's pages. <BR/><BR/>A fan of any of the aforementioned genres will be interested in the Aeneid.

    3 out of 3 people found this review helpful.

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  • Anonymous

    Posted May 18, 2007

    A story of success for an individual and a people

    This combines the Iliad and the Odyssey of Greek, yet is different and Roman, and as those epics, it ends well. Every time I read this I learn something new that I missed previously.

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted February 12, 2014

    Excellent tale!

    I was completely absorbed by this epic poem - much more than I thought I was going to be! The ability to skip to the endnotes with my Nook helped immensely with understanding the text - I know that I wouldn't have bothered with reading endnotes had I been reading from a book and would have missed the detail provided by the translator. I am going to reread The Illiad via my Nook for this very reason.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted April 14, 2014

    Great but bad

    Bad

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