virgil-teacher's guide for vergil's aeneid

Barbara Weiden Boyd

VERGIL’S

AENEID10 & 12

PALLAS & TURNUS

Teacher’s Guide

VERGIL’S

AENEID10 & 12

PALLAS & TURNUS

Teacher’s Guide

Barbara Weiden Boyd

Bolchazy-Carducci Publishers, Inc.Wauconda, Illinois

General EditorLaurie Haight Keenan

Contributing EditorGaby Huebner

TypographyCameron Marshall

Vergil’s Aeneid 10 & 12: Pallus & TurnusTeachers’ Guide

© copyright 2002 Bolchazy-Carducci Publishers, Inc.All rights reserved.

Bolchazy-Carducci Publishers, Inc.1000 Brown Street, Unit 101Wauconda, IL 60084 USAhttp://www.bolchazy.com

Printed in the United States of America2002

ISBN 0-86516-428-2

CONTENTSINTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .v

LITERAL TRANSLATION OF SELECTIONSFROM VERGIL’S AENEID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

QUESTIONS FOR DISCUSSIONAND ANALYSIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

INTRODUCTION

The contents of this supplementary volume are meant to serve as aids toteachers and to students working independently on the Aeneid. The literaltranslation is just that: I have attempted to reflect in English as much as pos-sible the syntax and structure of Vergil’s Latin, and have studiously attempt-ed not to obscure the difficulty of some of Vergil’s language. I have main-tained the tenses of the verbs as they appear in Latin, although this maysound ungainly to the reader not long familiar with this flexible feature ofliterary Latin. When I have found it necessary to supplement the translationwith occasional words or phrases to clarify the sense of a given passage, Ihave put the supplementary material in square brackets; parentheses are usedonly where they appear in the printed Latin text as well.

The list of questions for discussion and analysis is meant to help teach-ers and readers new to the passages covered in the companion volume byencouraging thoughtfulness about the readings and provoking discussion. Irarely consider one and only one answer to be the “right” one; rather, Iencourage all my readers to take these questions as a starting-point for open-ended and, I hope, productive discussion. These questions are not by anymeans the only ones that can be asked about the passages considered here,and I encourage my readers to develop questions of their own to pose. Thetexts under consideration ably demonstrate the inherent wealth of Vergil’screativity, capable of stirring anew emotion and thoughtfulness in each sub-sequent generation. I am delighted to have the opportunity to make thiswealth more accessible to my readers.

Barbara Weiden Boyd Bowdoin College

A LITERAL TRANSLATION OFVergil’s Aeneid

(A Supplement to Pharr’s Aeneid)

Note: Words and phrases in square brackets are generally supplements to (or,in a very few cases, subtractions from) the Latin text, intended in all casesto clarify for the reader Vergil’s meaning. Parentheses are used only wherethey appear in the Latin text (OCT), or where there would otherwise be dou-ble brackets.

AENEID 10.420–509

10.420–38Pallas aims for him [i.e., Halaesus], having prayed thus first: “Father

Tiber, grant now to this weapon, which I am balancing ready to throw, goodluck and a path through the breast of hard Halaesus. Your oak will receivethese arms and spoils of the man.” The god heard those words; whileHalaesus protected Imaon, the doomed man [i.e., Halaesus] offers his breast,unprotected, to the Arcadian weapon.

But Lausus, a great part of the war, does not desert the ranks, terrifiedby the [so] great slaughter of the man; first he slays Abas who opposed him,the knot and stay of battle. Arcadia’s offspring is laid low, laid low are theEtruscans, and you, O Trojans, your bodies [previously] unharmed by theGreeks. The lines of battle clash, their leaders and strength well matched;those in the rear pack the ranks, and the crowding does not allow hands andweapons to move. Pallas presses and pushes on one side, on the other,Lausus [presses] in opposition; nor is there much difference in age [betweenthem], outstanding [as they are] in beauty, but Fortune had denied them areturn to their homeland. The ruler of great Olympus did not permit them,however, to clash with each other; their fates await them presently at thehands of a greater enemy.

10.439–73Meanwhile, his loving sister advises Turnus, who cuts the middle of the

battle line with fleet chariot, to come to Lausus’ aid. As he saw his allies, [hesaid]: “It is time to stop fighting; I am borne alone against Pallas, Pallas isowed to me alone; I wish his father himself were present as spectator.” He

T H E A E N E I D2

spoke, and his allies withdrew from the plain as was ordered. And at thewithdrawal of the Rutulians, the young man [Pallas] looks in amazementupon Turnus, marvelling at his haughty commands, and casts his eyes over[Turnus’] huge body and surveys everything from afar with his fierce gaze.And with the following words he goes against the words of the tyrant: “Ishall be praised either for the supreme spoils that [will] have already beencaptured or for my noble death; my father is equal to either fate. Stop yourthreats.” Having spoken, he proceeds into the middle of the plain; the bloodruns cold into the hearts of the Arcadians. Turnus jumped down from histwo-horsed chariot, and prepares to enter [combat] on foot and hand to hand.And just as a lion flies [i.e., to his prey] when from a lofty lookout he hasseen [sees] a bull standing far off in a field and practicing for battle, not atall different is the appearance of Turnus as he approaches. When he believedthat this man would be in reach of a cast spear, Pallas went forward, if [i.e.,in the hope that] some luck may help one who is daring although he is notof equal strength; and he speaks thus to the great heaven: “By the hospitali-ty and tables of my father [i.e., by the hospitality of my father’s table], whichyou approached as a guest, I pray to you, Alcides, be present for this hugeundertaking. Let him see me take his bloody weapons from him when he ishalf-dead, and let the dying eyes of Turnus behold me as victor.”

Alcides heard the youth, and suppresses a huge groan deep in his heart,and pours forth empty tears. Then the father addresses his son with kindwords: “One’s day is determined for each person, and for all people the spanof life is brief and not to be retraced; but to extend [one’s] fame by deeds,this is the task of courage. Under the lofty walls of Troy so many sons ofgods fell; indeed, Sarpedon, my son, fell with [them]. His own fates are call-ing Turnus, too, and he has reached the turning point of the lifetime allottedto him.” Thus he spoke, and he turned his eyes away from the fields of theRutulians.

10.474–89Then with great strength Pallas sends forth his spear and pulls the shin-

ing sword from its hollow scabbard. Flying, it strikes where the uppermostcoverings of the shoulder rise up; and pushing its way through the rim of theshield, it finally even grazed [part] of the huge body of Turnus. At this point,Turnus, balancing for a while [in his hand] the wooden spear tipped withsharp iron, throws it at Pallas, and speaks in the following way: “Look [andsee] whether my weapon is more able to pierce.” He had spoken; and with avibrating blow the spear-point pierces the middle of the shield, so many lay-ers of iron, so many of bronze, which the encircling hide of a bull surrounds[it] as many times, and it punctures the barrier of his cuirass and his hugechest. That one [i.e., Pallas] pulls the hot weapon from the wound in vain;

3L I T E R A L T R A N S L AT I O N

by one and the same path his blood and his life follow. He falls onto hiswound; his weapons resounded above, and as he dies he seeks the hostileearth with his bloody mouth.

10.490–509Standing close to him, Turnus [spoke] from above: “Arcadians,” he

said, “remembering my words carry them back to Evander: I send backPallas as he deserved him. Whatever the honor of a tomb is, whatever theconsolation of burial is, I bestow it. His hospitality to Aeneas will hardlycost him a little.” And having said such things he pressed the lifeless [Pallas]with his left foot, taking the huge weight of the baldric and the crimeimpressed [upon it]: in one wedding night, the band of youths slaughteredfoully and the bloody bedchambers, which Clonus son of Eurytus hadengraved with much gold. Turnus now gloats at this spoil and rejoices hav-ing acquired it. [How] ignorant of fate and of future luck is the mind of mor-tals, [how ignorant] of how to observe moderation when raised up by favor-able things! There will be a time for Turnus, when he will wish [will havewished] that Pallas had been bought at great price unharmed, and when hewill hate [will have hated] these spoils and the day [itself]. But crowdingtogether, with much groaning and tears, his allies carry back Pallas [havingbeen] placed on a shield. Oh, great grief and glory about to return to yourfather!—this [is the] first day [that] gave you to war, this same day carriesyou off, although you leave behind huge heaps of Rutulians.

T H E A E N E I D4

AENEID 12.791–842

12.791–806Meanwhile, the king of all-powerful Olympus addresses Juno as she

watches the battles from a tawny cloud: “What end will there be now, wife?What, in short, remains? You yourself know and admit that you know thatas a native deity Aeneas is owed to the heavens and is borne by the fates tothe stars. What are you contriving? Or with what hope do you sit fast in thecold clouds? Was it right that a divinity be injured by a mortal’s wound? Orthat the sword that had been taken from Turnus be returned to him (for whatcould Juturna have done without you?), and that strength grow in the onesdefeated? Now stop at last and be influenced by my prayers, lest [so] greatsorrow eat at you in your silence, and lest sad cares come persistently to mefrom your sweet mouth. We have arrived at the final hour. You have beenable to disturb the Trojans on land and at sea, to kindle an unspeakable war,to disfigure a house and to throw a wedding into confusion with grief; I for-bid you to try further.”

12.806–28Thus began Jupiter; thus [spoke] the Saturnian goddess in response, her

face [having been] lowered: “Since that will of yours, great Jupiter, is indeedwell known to me, I have left, though I am unwilling, both Turnus and theearth. Nor would you see me [i.e., otherwise] alone in this lofty dwelling,suffering things [both] deserved [and] undeserved, but surrounded by flamesI would stand at the line of battle itself and would draw the Trojans into hos-tile battles. I persuaded Juturna—I admit it—to give aid to her poor brother,and I recommended that she dare great things on behalf of his life, but notthat she aim the spear, not that she draw tight the bow. I swear [this] by thesource of the Stygian spring that is not to be placated, the one source of awethat is given to the gods above. And now I withdraw indeed, and I abandonthe battles, detesting [them]. That one thing that is controlled by no law offate I beseech you, on behalf of Latium and on behalf of the greatness ofyour descendants: presently when they arrange a peace with auspicious mar-riage-agreements (so let it be), and presently when they join together lawsand treaties, please do not order the native Latins to change their old name,nor to become Trojans and be called Teucri, or the men to change theirspeech or alter their dress. Let Latium exist, let the Alban kings exist throughthe ages, let Roman posterity be powerful thanks to Italian excellence. Troyhas fallen, and allow it to have fallen, along with its name.”

5L I T E R A L T R A N S L AT I O N

12.829–42Smiling at her, the creator of mortals and gods [spoke]: “You are the sis-

ter of Jupiter and the second child of Saturn, so great [are] the waves ofanger you roll beneath your heart. But come now and let go of the wrathundertaken in vain; I grant the thing that you wish, and both overcome [byyou] and willing I hand myself over. The Ausonians will keep their ances-tral language and customs, and their name will be as it is now; the Trojanswill give way, having been mingled [i.e., with the Latins] in body only. Ishall add the custom and rites of worship, and shall make all the Latins ofone language. The group mixed with Ausonian blood that will rise from hereyou will see go beyond mortals and beyond gods in religious devotion; norwill any [other] nation celebrate equally the rituals in your honor.” Juno nod-ded to these words and, rejoicing, changed her mind. Meanwhile, shedeparts from heaven and leaves the cloud.

AENEID 12.887–952

12.887–902Aeneas presses upon [Turnus] in opposition, and brandishes a huge

spear, like a tree; and he speaks thus from his cruel heart: “What, then, isyour delay now? Or why do you pull back now, Turnus? We must do battlenow not at a run but hand to hand, with cruel weapons. Transform yourselfinto all shapes and bring together whatever [i.e., resources] you can, whetherthrough courage or through skill. Choose to chase the steep stars on wingsor to hide yourself shut up in the hollow earth.” Shaking his head, he[replied]: “Your fiery words do not frighten me, fierce man; the gods terrifyme, and Jupiter [my] enemy.” And saying no more, he looks around for [andsees] a huge rock, a huge [and] ancient rock, which by chance lay on theplain, a boundary-stone placed on the farmland so that it might decide a dis-pute with regard to the fields. Hardly could twice six chosen men support iton their neck, such [are the] bodies of men [that] the earth now brings forth;that hero hurled against his enemy [the rock] snatched up with shaking hand,rising up higher and stirred up by running.

12.903–27But he recognizes himself neither as he runs, nor as he goes forth, nor as

he lifts and moves with his hand the huge rock; his knees give way, [and] hisblood, icy from cold, has congealed. Then the man’s stone itself, turningthrough the empty void, neither traversed the entire space nor accomplishedits [intended] blow. And just as in sleep, when sluggish quiet has pressed our

T H E A E N E I D6

eyes with night, we seem to want in vain to extend our eager running, and inthe middle of our attempts, we fall, unwell; the tongue has no strength, and thefamiliar resources in the body are not sufficient, and neither word nor speechfollows—thus the dire goddess denies success to Turnus, wherever with brav-ery he sought a way [or with whatever bravery he sought a way]. Then vari-ous sensations are tossed in his breast: he looks to the Rutulians and the city,and he hesitates with fear, and he begins to dread that death is imminent, nordoes he see where he may escape, nor with what strength he may aim againstthe enemy, nor [does he see] his chariots anywhere or his charioteer sister.

Aeneas, having obtained with his eyes [i.e., having seen] a [good]chance, brandishes his death-bearing missile at Turnus as this one hesitates,and with his entire body [Aeneas] aims from afar. Never do stones hurled bya war-machine aiming against the walls resound so, nor do such great clash-ing noises leap forth from a thunderbolt. The spear flies like a black whirl-wind, bearing dire destruction, and exposes the edges of the cuirass and theoutermost of the circles of the seven-layered shield; hissing, it pierces[through] the middle of his thigh. Struck, huge Turnus falls to the ground, hisknees bent double.

12.928–52The Rutulians rise up with a groan, and the entire mountain resounds

around [them], and the deep groves echo his voice far and wide. That one,brought low, [while] extending his eyes and his beseeching right hand as asuppliant, says, “I deserved this, to be sure, and I do not seek to avoid [you].Take advantage of your lot. If any concern for a wretched parent can touchyou, I beg you (for such was your father Anchises to you), pity Daunus’ oldage and return me, or if you prefer, [return] my body deprived of light [i.e.,the light of life] to my people. You have won, and the Ausonians have seen[me] extend my hands in defeat. Lavinia is your bride; do not go further inhatred.” Aeneas stood fierce in his arms, moving his eyes, and he restrainedhis right hand; and now [Turnus’] speech had begun to bend him as he hesi-tated more and more, when the unlucky baldric appeared high up on[Turnus’] shoulder, and the swordbelt of the youth Pallas with its familiarstuds gleamed, [Pallas] whom Turnus had defeated and laid low with awound, and [whose] enemy insignia [Turnus] now bore on his shoulders.After he drank in with his eyes the reminder of his savage grief, [Pallas’]spoils, inflamed by rage and dreadful in his wrath, that one [said]: “Are younow to be taken from me here, clothed [as you are] in the spoils of my peo-ple? Pallas offers you up with this wound, Pallas, and exacts his penalty fromyour defiled blood.” Saying this, the fiery [Aeneas] buries his sword underthe breast opposite him; then [Turnus’] limbs are loosened with cold, andwith a groan his life flees beneath the shades, despising [its fate].

QUESTIONS FOR DISCUSSION AND ANALYSIS

I have assembled below a series of questions on the Latin passages inthe accompanying textbook. My purpose has been twofold: to provide teach-ers with a point of departure for class lectures and discussions; and to helpstudents prepare to be tested in essay format on their comprehension andinterpretation of the texts under consideration. It should be obvious to allwho consult this list that I have by no means exhausted the store of possiblequestions that could be raised; my goal has been far more modest, i.e., toalert readers of Vergil to the sorts of issues and questions that can help allreaders begin to understand his complex poem.

To make consultation of this list of questions as convenient as possible,I have keyed each question to the relevant section of Latin text as subdivid-ed in the accompanying textbook. In some cases, I have included questionswhich not only look to the selections in this textbook, but also use otherepisodes in the Aeneid as part of their frame of reference. When teachers andstudents are not acquainted with these other episodes, I urge them torephrase the question to make it usable for their purposes; but I also hopehereby to remind my readers that the selections treated here are only part ofa much greater poem, and that familiarity with the events, themes, and char-acters of the poem as a whole is fundamental to an informed comprehensionof its parts.

T H E A E N E I D8

QUESTIONS ON AENEID 10.420–509

a. 10.420–38

1. In lines 420–4, Pallas prays to Father Thybris (Tiber) for success in bat-tle. Why does he pray to this god in particular?

2. In lines 426–30 (At . . . Teucri), Vergil describes the success of Lausus andhis men in the battle. Identify at least three figures of speech used in this pas-sage, and explain their effect on the reader.

3. In lines 433–8 (Hinc . . . hoste), Vergil foreshadows the deaths of bothPallas and Lausus. What expressions and images in this passage help to con-vey this foreshadowing?

4. How does Vergil indicate in this passage as a whole for which side in thebattle he sympathizes? or does he?

b. 10.439–73

5. How does Turnus’ speech in lines 441–3 (“Tempus . . . adesset”) con-tribute to his characterization?

6. Explain the nature of Turnus’ wish in line 443. Why does he wish this?

7. In lines 445–7 (At . . . visu), Vergil describes Pallas’ reaction to the sightof Turnus. Why does he have this reaction? Is this reaction consistent withwhat you already know about Pallas?

8. Why does Pallas refer to his father in his response to Turnus (450)?

9. In lines 454–6 (utque . . . imago), Vergil uses a simile to describe the rela-tionship between Turnus and Pallas in battle. Explain the terms of the com-parison. What does this simile contribute to Vergil’s depiction of the twoheroes’ confrontation?

10. In lines 460–3 (“Per . . . Turni”), Pallas makes a second prayer. Towhom does he pray, and why?

11. Beginning with line 464, the scene suddenly shifts from the battlefield tothe gods above. How is this shift brought about? What is the effect of thisshift in scene on the narrative?

9QU E S T I O N S

12. In lines 467–72 (“Stat . . . aevi”), Jupiter offers a brief philosophicalstatement regarding the nature of heroism. Explain Jupiter’s philosophy byspecifying at least three of its tenets. What experience has Jupiter himselfhad that has helped him achieve his wisdom?

13. Throughout this passage (439–73), Vergil emphasizes the relationshipbetween fathers and sons. Identify at least three different sets of fathers andsons mentioned or alluded to in this passage, and explain what Vergil’semphasis contributes to the characterization of these men.

c. 10.474–89

14. In lines 476–8 and 482–5, Vergil depicts the spears of Pallas and Turnuseach striking their opponent. How are the two descriptions similar? How dothey differ? What figures of speech and other literary devices does Vergil useto characterize the effectiveness of each weapon?

15. In line 489, the earth upon which Pallas falls is described as hostilis.Why does Vergil use this epithet?

d. 10.490–509

16. In lines 491–4 (“Arcades . . . largior”), Turnus makes an offer. What isit? Does his gesture of generosity here cause us to side with Turnus?

17. Identify the scene depicted on Pallas’ baldric and described in lines497–8 (una . . . cruenti). Why does Vergil characterize this scene as nefas(497)? And why is Pallas wearing it?

18. In lines 501–5 (Nescia . . . oderit), Vergil comments on the ironies offate, particularly as they are to be experienced shortly by Turnus. Identifythree things that, according to Vergil, Turnus will soon come to regret.

19. Vergil closes his description of Pallas’ death with a three-line apostrophe(507–9). To whom or to what is this apostrophe addressed? What is the emo-tional and rhetorical effect on the reader of this conclusion to the scene? Canyou compare another instance of Vergil’s use of apostrophe with this one?

T H E A E N E I D10


a. 12.791–806

1. Throughout his speech (793–806), Jupiter emphasizes the relentlessnessof Juno’s quest for vengeance against the Trojans. We discover subsequent-ly from Juno’s response that Jupiter’s speech has been effective. What qual-ities make it a successful speech? Be sure to look particularly at the struc-ture of the argument and at the rhetorical devices Jupiter uses.

2. To what does Jupiter refer with the words “Ventum ad supremum est” (803)?

3. At the end of his speech (lines 803–5: “Terris . . . hymenaeos”), Jupiterlists a number of Juno’s destructive acts against the Trojans. Identify specif-ically three of the acts to which Jupiter refers here, with reference to eventsin the earlier books of the Aeneid.

b. 12.806–28

4. Look carefully at the structure and rhetorical artfulness of Juno’s responseto Jupiter (808–28). How convincing is her speech? How can we be reason-ably confident that she means what she says?

5. At line 816, Juno swears an oath by the river Styx. What is the signifi-cance of this reference to one of the rivers of the underworld?

6. In lines 821–8 (“cum . . . Troia”), Juno briefly summarizes the future his-tory of Rome. What are three specific features of this summary? And to whatevents recorded elsewhere in Roman historical sources do they correspond?

c. 12.829–42

7. Jupiter begins his speech (lines 830–1, “Es . . . fluctus”) by emphasizingthe fact that he and Juno are siblings. Why? How does his description of herin line 831 reflect upon himself?

11QU E S T I O N S

8. In his speech (830–40), Jupiter gives in to the demands just expressed byJuno (see the previous passage, especially lines 821–9). Compare the twospeeches, and discuss how closely his concessions meet her demands. Whyis he so willing to go along with her?

9. Jupiter closes his speech (lines 838–40, “Hinc . . . honores”) by men-tioning the positive results to be produced by Juno’s reconciliation to thesurvival of the Trojans in Italy. Looking closely at these lines, explain tworeasons for Juno’s satisfaction as foreseen by Jupiter.

T H E A E N E I D12


a. 12.887–902

1. In this passage, Vergil uses the word ingens three times; in the firstinstance (line 888), it is used to describe Aeneas’ spear. What is the effect ofthis word in this description? And what is the effect of its repetition later inthe same passage? Can you find any other instances of this word in theremainder of the selection from Book 12? If so, comment on its significancein its new context.

2. In lines 891–3 (“Verte . . . terra”), Aeneas challenges Turnus to escapehim by changing his form. Identify two of the possible different formsAeneas suggests that Turnus take. What mythological character not other-wise appearing in the Aeneid do these transformations suggest?

3. In lines 894–5 (“Non . . . hostis”), Turnus responds by saying he does notfear Aeneas; he is terrified only by the gods and Jupiter. Why does Turnussingle out Jupiter? And why is Jupiter Turnus’ enemy?

4. In describing the rock which Turnus picks up to use as a weapon againstAeneas (lines 896–900, Nec . . . tellus), Vergil mentions that nowadays noteven twelve strong men would find it easy to lift this rock. It is clear that thisdetail is at least in part intended to emphasize the sheer size of the rock; butwhat other effects does this detail have upon our understanding of the duelbetween Turnus and Aeneas?

5. Why does Vergil place the word heros so emphatically at the end of line902?

b. 12.903–27

6. Identify the figures of speech and rhetorical devices used by Vergil in hisdescription of Turnus’ state (lines 903–5, Sed . . . sanguis). How do they con-tribute to the creation of a vivid, and ominous, description?

7. In lines 908–14, Vergil uses a simile to describe the strange physical andemotional symptoms which Turnus experiences in his attempt to escapeAeneas (Ac . . . negat). What makes this a successful device for helping usto “see” Turnus’ condition? And how does the simile contribute to ourunderstanding of the other actions described in this scene?

13QU E S T I O N S

8. In lines 914–8 (Tum . . . sororem), Vergil describes Turnus’ confusion bylisting his different reactions to what is happening around him. List four ofthese reactions (sensus) mentioned by Vergil.

9. In lines 921–3 (Murali . . . crepitus), Vergil uses another simile, this timeto describe Aeneas’ assault upon Turnus. To what two things is the force ofAeneas’ blow compared? Can you suggest any possible reasons why Vergilhas chosen these two items as particularly appropriate for this simile?

c. 12.928–52

10. Lines 928–9 (Consurgunt . . . remittunt) capture the immediate responseof his surroundings to Turnus’ fall. What three details in particular doesVergil offer us to paint the scene? Can you identify the literary devices, otherthan alliteration or assonance, that make this description memorable andeffective?

11. In his plea for mercy from Aeneas, Turnus mentions Aeneas’ dead father,Anchises (line 934). Why?

12. Turnus’ basic request in his final speech is that Aeneas return him to hisfamily and people. In lines 935–6 (“et me . . . meis”), Turnus mentions twopossible conditions in which Aeneas may choose to return him: what arethey?

13. In line 945, to what do the words saevi monimenta doloris refer?

14. As Aeneas prepares to kill Turnus, he not only mentions Pallas as the rea-son for his action but even makes Pallas the subject of the verbs immolat andsumit (line 949). Why does reference to Pallas play such a prominent role inthis closing scene? Does it help us to see Aeneas’ action as a just solution?

15. At the close of the poem, Turnus’ soul is said to descend to the under-world indignata (952). Why? What does this mean? And can you identifyone other character in the Aeneid whose death is described in identicalterms?

Bolchazy-Carducci Publishers, Inc.www.BOLCHAZY.com

*AP is a registered trademark of the College Entrance Examination Board, which was not involved in the production of,

and does not endorse, this product.

Vergil’s Aeneid: Books I–VI Clyde Pharr

Both paperback and clothbound now contain an “Annotated Bibliogra-

phy on Vergil, to Supplement Pharr’s Aeneid,” by Alexander McKay, a

bibliography of articles and books in English, for use in college and high

school Vergil courses, for students and their teachers.

Illus., xvii + 518 pp. + fold-out (1964, Reprint 1998)

Paperback, ISBN 086516-421-5 • Hardbound, ISBN 086516-433-9

A Vergil Workbook Katherine Bradley & Barbara Weiden Boyd

Th e Latin text of Vergil’s Aeneid that is required reading for the AP* Lat-

in Literature Exam is contained in this workbook (including AP* selec-

tions from books X & XII). Th e exercises in the workbook give students

practice with all aspects of the AP* Vergil syllabus: content, translation,

meter, grammar, syntax, vocabulary, fi gures of speech, and literary

analysis. In addition, the format of the exercises accustoms the students

to all the kinds of questions found on the AP* Vergil Examination. Th e

Teacher’s Guide will provide answers and grading guidelines.

Student Text: x + 262 pp. (2006) 8½” x 11” Paperback, ISBN 0-86516-614-5

Rome and ItalySelections from Books 8 & 11 of Vergil’s Aeneid Barbara Weiden Boyd

Latin text of 395 lines of the Aeneid with same-page vocabulary and notes.

• Book VIII, 608.731: Shield of Aeneas

• Book XI, Introduction Introduction to Camilla

• Book XI, 664.835: Camilla’s heroicism and Defeat)

Th ese passages introduce episodes that can only enrich and deepen appreciation for and under-

standing of Vergil’s poetic project.

Vergil’s description of the scenes on shield presented to the uncomprehending Aeneas, and of the

heroism and defeat, through trickery and misplaced desire, of Camilla (deemed “Italy’s ormanment,”

by Turnus), when considered side by side, invite readers to scrutinize the relationship, both strained

and intimate, between Italy and Rome, and to shed light on Vergil’s complex understanding of that

relationship.

Th is edition also includes a glossary of rhetorical terms and fi gures of speech mentioned in the

passages, a selected bibliography, and a full vocabulary.

Student Text: (2006), Paperback, ISBN 0-86516-580-7

Teacher’s Guide: (2006), Paperback, ISBN 0-86516-581-5


Vergil’s AeneidSelections from Books 1, 2, 4, 6, 10,

and 12, 2nd edition Barbara Weiden Boyd

Th is edition is designed for high school Advanced

Placement* and college level courses: a newly updated

and revised version of selected passages from Vergil’s

Aeneid, Books I–VI, by Clyde Pharr. Passages included

are: 1.1–519; 2.1–56; 199–297, 469–566, 735–804; 4.1–

448, 642–705; 6.1–211, 450–476, 847–901; 10.420–509;

12.791–842, 887–952.

Boyd expertly guides the reader in translating

diffi cult passages, often suggesting two ways

to take a given construction. Her interpretive

comments are quite helpful in understanding

the intricacies of the poem and in providing

inspiration for discussion and research projects

. . . Boyd’s textbook will likely attract a loyal

following . . .

– Daniel N. Erickson, Th e Classical OutlookStudent Text: (2004, 2nd edition)

Paperback, ISBN 0-86516-584-X • Hardbound, ISBN 0-86516-583-1

Teacher’s Guide: (2002) Paperback, ISBN 0-86516-481-9



Vergil’s AeneidBooks I & II Waldo E. Sweet

Th is unique book features a paraphrase in easy Latin

facing the original to help students understand the plain

meaning of the author. Instead of a typical Latin-English

vocabulary, there are selected notes from Servius and

others in Latin, explaining the words and phrases of the

original. As a result, this excellent text has been said to

off er the student total immersion in Latin.

163 pp. (1960, Reprint 1983) Paperback, ISBN 086516-023-6


Servius’ Commentaryon Book Four of Virgil’s AeneidAn Annotated TranslationChristopher M. McDonough, Richard E. Prior,

and Mark Stansbury

Servius’ Commentary is important not only as a source of informa-

tion on Virgil’s poem but also for its countless gems about Roman

life and literature. Its value has remained unquestioned.

Features: • Frontispiece: Facsimile page from the 1536 edition of

Servius’ commentary on Book 4 • Introduction on the life of Servius

and the textual tradition • Latin text of Virgil’s Aeneid, Book 4, with

Servius’ Commentary below • Facing-page English translation of

both Virgil and Servius • Endnotes • Guide to further reading

xviii + 170 pp. (2004) 6” x 9” Paperback, ISBN 0-86516-514-9

Poet & ArtistImaging the AeneidHenry V. Bender and David Califf

Book/CD combination that juxtaposes images with the AP* text of

Vergil and thought-provoking questions. Encourages students to ex-

amine the text more closely and refl ect more critically upon it.

Features: • Complete text of all lines on the Vergil AP* syllabus •

All of Ogilby’s plates on CD rom • Questions in English that require

the students to compare and contrast Vergil’s Latin text with the

illustrations on the CD

xvi + 88 pp. (2004) 8 ½” x 11” Paperback + CD-ROM, ISBN 0-86516-585-8

Vergil: A LEGAMUS Transitional ReaderTh omas J. Sienkewicz and LeaAnn A. Osburn

11 selections (about 200 lines) from Vergil’s Aeneid, Books I, II, and

IV, designed for students moving from elementary or intermediate

Latin into reading authentic Vergilian Latin. Many reading aids, in-

troductory materials, illustrations, and a grammatical appendix.

Features: • Pre- and post-materials help students understand un-

derlying cultural/literary concepts and Vergil’s style • Short expla-

nations of grammar/syntax, with exercises • 1st version of Latin text

has • gapped words in parentheses • diffi cult noun-adjective pairings

highlighted • complete vocabulary/grammatical notes on facing

page • 2nd version of Latin text in its unchanged form has literary notes on facing page • 3 concluding

Latin passages with facing-page notes on grammar, vocabulary, and literary analysis, but without

transitional aids • Pull-out end vocabulary for unglossed items

xxiv + 136 pp. (2004) 8 ½” x 11” Paperback, ISBN 0-86516-578-5




Vergil’s AeneidHero • War • HumanityTranslated by G. B. Cobbold

At last the pillar of Western literary tradition is available as a

reader-friendly novel that retains the poetic vividness of the

original. Vergil’s Aeneid: Hero • War • Humanity resonates

with the challenges of today’s world.

Th is vibrant edition of the Aeneid includes sidebar sum-

maries, engaging in-text illustrations, and fi ve indices.

xviii + 366 pp., 91 Illustrations: 12 b&w full-page + 79 b&w in-text; 1 map

(2005) 5” x 7 ¾” Paperback, ISBN 0-86516-596-3

The Art of the Aeneid2nd editionWilliam S. Anderson

Anderson’s text captures both the toughness and the ten-

derness of the greatest work of Latin literature. Includes

examinations of each book of the Aeneid, extensive notes,

suggestions for further reading, and a Vergil chronology.

Th e classic book for English readers of Th e Aeneid.–American Journal of Philology

viii + 121 (1969, 2nd edition 2005) Paperback, ISBN 0-86516-598-X

Why Vergil? A Collection of InterpretationsStephanie Quinn, ed.

43 selections by 38 authors including: • W. H. Auden • C. Day

Lewis • D. C. Feeney • Robert Frost • Erich S. Gruen • Derek

Walcott • Bernard M. W. Knox • Brooks Otis • Michael C.

J. Putnam • Meyer Reinhold • Charles Segal • Marilyn B.

Skinner

Stephanie Quinn’s collection should benefi t anyone in-

terested in the study and understanding of Vergil, re-

gardless of one’s level of expertise in the Vergilian text.

–Sophia Papaioannou, Texas Classics in Action(2000) Paperback, ISBN 0-86516-418-5

Hardbound, ISBN 0-86516-435-5




Parsed VergilCompletely Scanned-Parsed

Vergil’s Aeneid Book IWith Interlinear and Marginal Translations

Archibald A. Maclardy

An irreplaceable, primary resource for educators teach-

ing or reading Book I of the Aeneid. Th e complete text, an interlinear translation, complete metrical scansion,

and an accompanying, more polished translation are

just part of this goldmine. At the bottom of each page

below the text, each Latin word is completely parsed. Th e commentary includes

useful references to the revised grammars of Bennett, Gildersleeve, Allen and Gre-

enough, and Harkness and delves into word derivations and word frequencies.

. . . teachers, scholars, and non-experts can be confi dent that they are using

the most thoroughly and reliably parsed text of Vergil in existence.

– Ward W. Briggs, Jr.

iv + 348 pp. (2005, reprint of 1899, 1901 edition) 6” x 9” Paperback, ISBN 0-86516-630-7

Vergil Vocabulary Cardsfor AP* SelectionsDennis De Young

A Complete Vocabulary, Grammar, and Poetry Reference for AP* and College Vergil Classes

Four invaluable study aids! Th is set includes: • 587

vocabulary fl ashcards, divided into three groups

(by frequency of occurrence), on perforated card-

stock; full Latin vocabulary entry on one side (with

macrons, accents, and complete principal parts for

verbs and nominative and genitive forms for nouns), English meanings plus se-

lect derivatives/cognates on the other side • full AP* selections vocabulary list •

grammatical form summaries, reproduced from Graphic Latin Grammar • ad-

ditional quick-reference guide on Meter, Rhetorical Terms, Figures of Speech,

and Rhetorical Devices

250 pp., Perforated cardstock (2005) 8½ “ x 11” Paperback, ISBN 0-86516-610-2

Bolchazy-Carducci Publishers, Inc.1000 Brown St., Unit 101Wauconda, IL 60084Phone: (847) 526-4344; Fax: (847) 526-2867 www.bolchazy.com

Latin, Classical, Vergil

Three striking passages bring the concluding half of theAeneid to readers long familiar only with the first half of thepoem:

✦ Young Pallas, entrusted by his father to Aeneas’ care, iskilled in battle by the enemy Turnus, who is defending hishomeland and betrothal from Trojan invaders(Aeneid 10.420–510)

✦ The king and queen of the gods, Jupiter and Juno, farfrom the struggles of the humans below, negotiate a truceconcerning the fate of the Trojans(Aeneid 12.791–842)

✦ The hero Aeneas—after losing his wife, his homeland, hisfather; after enduring long wanderings and leaving a newlove; after resigning himself to fate; after long battle inwhich his young charge is killed—hesitates briefly but final-ly decides to kill Turnus in revenge for the death of Pallas(Aeneid 12.887–852)

With this scene, the Aeneid reaches itscontroversial conclusion

This teachers’ guide features✦ Literal translation of selections✦ Questions for discussion and analysis

virgil-teacher's guide for vergil's aeneid

Documents

structure of vergils

printed latin text

reader vergils

list of questions

vergils language

readers new

square brackets parentheses

words whilehalaesus