Vergil, Aeneid 4.529-32, 642-652
at nōn infēlix animī Phoenissa, neque umquam
soluitur in somnōs oculīsue aut pectore noctem
accipit: ingeminant cūrae rursusque resurgēns
saeuit amor magnōque īrarum fluctuat aestū.
[Dido realizes in the next 100 lines that Aeneas has sailed away. This knowledge does not please her.]
at trepida et coeptīs immānibus effera Dīdō
sanguineam uoluēns aciem, maculīsque trementīs
interfūsa genās et pallida morte futūrā,
interiōra domūs inrumpit līmina et altōs 645
conscendit furibunda rogōs ēnsemque reclūdit
Dardanium, nōn hōs quaesītum mūnus in ūsūs.
hīc, postquam Īliacās uestīs nōtumque cubīle
cōnspexit, paulum lacrimīs et mente morāta
incubuitque tōrō dīxitque nouissima uerba: 650
'dulcēs exuuiae, dum fāta deusque sinēbat,
accipite hanc animam meque hīs exsoluite cūris."
Operatives, in the past you have seen positive indirect commands. These use the conjunction ut. Look at the following example:
Centuriō mīlitibus imperāvit ut Recentiōs comprehenderent.
The centurion ordered the soldiers that they should the Recentii.
Or, in more fluid English:
The centurion ordered the soldiers to arrest the Recentii.
To make a negative indirect command, simply use the conjunction nē instead of ut.
Centuriō mīlitibus imperāvit nē Recentiōs comprehenderent.
The centurion ordered the soldiers that they should not arrest the Recentii.
Or, in better English:
The centurion ordered the soldiers not to arrest the Recentii.
| admīrātor, admīrātōris - m | admirer | noun |
| admīror, admīrārī, admīrātus sum | to admire, wonder at | verb |
| convīvium, convīviī - n | banquet, dinner, guest at a banquet | noun |
| crēber, crēbra, crēbrum | thick, crowded, close together, frequent | adjective |
| dērigō, dērigere, dērēxī, dērēctus | to arrange, to guide, to direct, to set before | verb |
| dubitō, dubitāre, dubitāvī, dubitātus | to doubt, question | verb |
| fallō, fallere, fefellī, falsus | to deceive, cheap, trick | verb |
| fessus, fessa, fessum | tired | adjective |
| fīnis, fīnis - f | boundary, border, end | noun |
| hospes, hospitis - m | guest | noun |
| inclīnō, inclīnāre, inclīnāvī, inclīnātus | to turn, divert, transfer | verb |
| interrogātiō, interrogātiōnis - f | a question, examination | noun |
| lacrimō, lacrimāre, lacrimāvī, lacrimātus | to weep, to cry | verb |
| mollis, molle | soft, gentle, weak, pliable | adjective |
| perficiō, perficere, perfēcī, perfectus | to accomplish | verb |
| probabiliter | probably, credibly, plausibly | adverb |
| singultō, singultāre, singultāvī, singultātus | to hiccup, sob | verb |
| sonus, sonī | sound, noise | noun |
| umerus, umerī - m | shoulder | noun |
| urgeō, urgēre, ursī, - | to press, push | verb |
| valeō, valēre, valuī, valitus | to be well | verb |
Operative, the story of Dido is one of the most famous aspects of the Aeneid. To reply effectively to this immersion, you'll have to understand her myth, and how she relates to Cleopatra.
It may be worthwhile to read the end of book 4 of the Aeneid and see how Vergil describes Dido's death. You can read a version at this link.
CULTURALIA Comprehension Questions
Directions: Using the CULTURALIA section of your CODEX as a guide, answer the following questions:
1. Briefly summarize the relationship between Dido and Aeneas in Vergil's Aeneid.
2. In the Parry chapter of Why Vergil?, on pages 161-162, what does the author propose about Vergil's inspiration for the character of Dido? What conditions have recently existed to make this a credible claim?
3. What intriguing proposal does the author have about the inspiration for the character of Aeneas? Why does the author make this claim?
4. At the end of book 4 of the Aeneid, what is the reason Dido claims to be constructing the giant pyre? What is her true intention?
5. Does Dido succeed in her task or does she require additionl intervention? Why is this significant?