P. Vergilius Maro, Aeneid 4.173–197

The personification of Fama is one of the most celebrated extended descriptions in the Aeneid. Vergil draws on Hesiodic and Homeric precedents to construct a monstrous figure whose physical attributes embody the nature of rumor itself. The passage marks the mechanism by which Dido's private affair becomes public catastrophe.

 

Tier 1

Fāma it per magnās urbēs. nihil est celerius quam Fāma. Fāma celeris est. Fāma fortis fit dum it.

 

prīmō Fāma est parva. mox Fāma magna fit. caput Fāmae est in caelō, sed pedēs sunt in terrā.

 

Terra parēns erat īrāta. Terra peperit Fāmam. Fāma est soror Coeī et Enceladī. Fāma est mōnstrum ingēns. Fāma habet celerēs pedēs et ālās. Fāma in corpore habet multās plūmās et multōs oculōs et multās linguās et multa ōra et multās aurēs.

 

nocte, Fāma volat per caelum et per terram. Fāma numquam dormit. lūce, Fāma sedet in summīs tēctīs ut custōs. Fāma terret magnās urbēs. Fāma falsa narrat, sed etiam vēra narrat.

 

Fāma gaudet. Fāma multās fābulās populīs narrat. populī Fāmae crēdunt. Fāma dīcit: "Aenēās Trōiānus vēnit. Dīdō pulchra nunc est uxor Aenēae. Dīdō et Aenēās in spēluncā manent. ambō nōn cōgitant dē rēgnīs suīs. ambō capiuntur amōre."

 

Fāma haec verba dat omnibus virīs. tum Fāma it ad rēgem Iarbān. Fāma incendit animum Iarbae verbīs. Iarbās est īrātus.

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