FREE ESSAY ON AN OBSERVATION OF THE AENEID

AN OBSERVATION OF THE AENEID

The Romans, unlike the Greeks were not gifted in abstract thought. They constructed no
original system of philosophy, invented no major literary forms, and made no scientific
discoveries. Yet, they excelled in the art of government and empire building, they
created a workable world-state and developed skills in administration, law, and practical
affairs. In the Punic Wars, the Roman republic defeated the Carthaginians in North Africa
and Rome inherited the Pergamene Kingdom from the last of the Attalids in 133 B.C. Rome
became heir to the legacy of the Hellenistic world of the Greeks. The Hellenistic period
which lasted 300 years in is noted by the death of Alexander in 323 B.C. It is marked by
its rich, sophisticated and diverse culture.
Many Romans were eager to merge with this Greek culture in order to exhibit the dominance
of their rule over conquered societies. This exhibition of dominance was the primary
motivation of the Roman desire to possess fine works of Greek Art. Whereas, other Romans,
were convinced that the pursuit of the assimilation of foreign cultures would only harm
the republic. During this time, much social disintegration and unhindered individualism
threatened political stability. However, the adoption of Greek art for Roman needs was
very popular.
An educated Roman was well versed in the history of Greek Art and was socially compelled
to collect Greek art for personal embellishment.
The modernization of the old Sanctuary of Fortuna Primigenia is an example of the new
Roman attitude toward art and architecture as Greek artists migrated in vast numbers to
the new capital of the world. Roman generals and their quest to establish Rome as the new
unchallenged capital of the world justified the expense of replanning the old sanctuary.
This accomplishment would bring them personal glory and uplift the majestic status of
Roman people. Roman architecture benefited as the city's wealth grew as other leaders
contributed to the expansion of new monuments.
Lucias Cornelius Sculla, (82-78 B.C.) led the Romans is Social War and later became
dictator and master of the city of Rome. He brought Corinthian columns form the temple of
Olympian Zeus in Athens to renew the shrine of the Roman Jupiter in the capital. This act
symbolized the transferal of spiritual power from the aristocracy of the Senate to
autocratic leaders, and art began to be shaped by their preferences. This satisfied the
Roman desire for grandiose architecture by being the model of Hellenistic majestic ornate
style. 
The first leader to resolve the conflict of this desire for magnificence beyond anything
the world had ever seen and the moralistic fear that Greek art was corrupting Roman
virtues was Augustus Caesar. He used art as imperialistic treasures with his building
program. Some examples of his architecture are; the Forum, Council House and Temple of
Apollo on the Palatine. These examples illustrate effectively the might and grandeur of
the Roman Empire. The reign of Augustus brought forth the mindfulness of other art forms,
such as literature.
Virgil (70-19 B.C.), was a Roman poet, who wrote the great epic poem, the Aeneid (30-19
B.C.) during the last ten years his life. This masterpiece contained 12 books, and was
written in dedication and praise to the glories of Augustus and his empire. It celebrated
the Roman imperial values in the role of its Trojan hero Aeneas, who is destined to found
a new city in Italy. Virgil was patronized by Maecenas on behalf of Octavian (later the
emperor Augustus). He composed in the traditional Homeric meter of hexameters. In
contrast to the Iliad and the Odyssey, the Aeneid, is considered the first great literary
epic, while Homer's epics are deemed works of oral poetry. Virgil constructed this epic
at the request of Augustus, to glorify Rome whereas, Homer chose to create based on
societal morals. 
The late art of the Roman republic is synonomous to the last stage of the Hellenistic art
period of Greece. Most masterpieces of Roman art are Greek. Imitations were common at
that time, due to the Roman admiration of Hellenistic artistry. Roman art greatly
resembled Hellenistic art in both style and convention. As illustrated by the famous
antique sculpture, Laocoon and His Sons. This group was discovered in Rome in 1506. It is
believed to be an original carving of the second century B.C. and it was thought to have
been based on an Hellenistic masterpiece depicting Laocoon and only one son. It was found
in the remains of the palace of the emperor Titus. Other fragments of Hellenistic
groupings were found in a grotto that served as a summer banquet hall of the emperor's
seaside villa at Sperlonga.
The legend of Laocoon is told by Virgil's Aeneid, in the voice of the long dead defeated
Trojans, describing Laocoon as the priest of Neptune of Troy. Moreover, during the last
year of the Trojan War it appeared as though the Greeks had given up and broke encampment
leaving a wooden horse as an offering to the goddess Athena. However, in fact the horse
was hollow and was filled with armed men. Cassandra daughter of King Priam of Troy, was
bestowed with the gift of prophecy from Apollo, who loved her. Nevertheless, she was also
cursed by Apollo as a lunatic when she refused to return his love. No one believed her
predictions of the Trojans deception. Laocoon warned the Trojans I fear the Greeks even
when they come bearing gifts. Laocoon warnings only enraged Poseidon who was angry with
Troy. Poseidon the god of sea (Neptune) unleashed two sea serpents out of the sea to the
land towards Laocoon, who was standing with his sons. Poseidon sought revenge on Athens
since losing a wager with Athena. The serpents attacked Laocoon's sons first and Laocoon
struggled fiercely to save them but both he and his sons were strangled to death. All at
once the Trojans were convinced to ignore Lacunas advice and eagerly pulling the horse
into the city and were subsequently destroyed. 
Bibliography
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