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The Aeneid of Virgil
The Aeneid of Virgil by John Dryden Aeneas flees the ashes of Troy to found the city of Rome and change forever the course of the Western world--as literature as well. Virgil's Aeneid is as eternal as Rome itself, a sweeping epic of arms and heroism--the searching portrait of a man caught between love and duty, human feeling and the force of fate--that has influenced writers for over 2,000 years. Filled with drama, passion, and the universal pathos that only a masterpiece can express. The Aeneid is a book for all the time and people. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.
548 pages, Paperback
First published January 1, 20
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About the author
John Dryden
921听books120听followersLibrarian Note: There is more than one author in the GoodReads database with this name. .
John Dryden was an English poet, literary critic, translator, and playwright who was made Poet Laureate in 1668. He is seen as dominating the literary life of Restoration England to such a point that the period came to be known in literary circles as the Age of Dryden. Walter Scott called him "Glorious John."
John Dryden was an English poet, literary critic, translator, and playwright who was made Poet Laureate in 1668. He is seen as dominating the literary life of Restoration England to such a point that the period came to be known in literary circles as the Age of Dryden. Walter Scott called him "Glorious John."
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Displaying 1 - 30 of 5,153 reviews
August 31, 2024
welcome to...the A(UGUST)ENEID.
i know this is my worst title / month pun ever. i know it's actually not even really a pun. but in my defense, august does not lend itself to any of the classics i have interest in. so there.
anyway. welcome back to PROJECT LONG CLASSICS, in which i read an intimidating paragon of literature divvied up in nice little chunks over the course of a month in order to get through it.
this one is perfectly timed: it's summertime, and you know what that means. time to pick which impressive books i'll read outside so people think i'm smart.
BOOK ONE, PART ONE
the aeneid divides itself into 12 scary "books," so i'm going to divide those into less-scary halves. just as virgil intended i'm sure.
not dido gathering hateful men, loaded-up ships, and ancient treasure to strike out on her own...kinda the original girlboss.
BOOK ONE, PART TWO
aeneas living my dream here: overhearing a bunch of people talking about you and they're only saying really nice things.
BOOK TWO, PART ONE
damn. imagine opening up your whole hometown and throwing a huge party to celebrate your invitees only for them to spend the whole time trauma dumping. pretty bad vibes all around.
BOOK TWO, PART TWO
it's been said before, but...how cool to be so hot that your very existence causes a war among two great powers. helen was really innovating in the conflict space.
BOOK THREE, PART ONE
aeneas has been through some sh*t, but honestly nothing has rattled me as bad as him cutting a tree and the tree bleeding and then speaking in his dead friend's voice. that'll give you nightmares.
BOOK THREE, PART TWO
i'm going to go ahead and say it: this book has too many names in it. and more than that, too many of them start with A.
BOOK FOUR, PART ONE
loving that this one is titled dido. i'm ready to bow down and swear loyalty over one party planning description alone, so i can't wait for what this is all about.
BOOK FOUR, PART TWO
anna is so real for this. if my sister killed herself my first reaction would also be "without me?"
hard to wrap my mind around the fact that we are like a quarter of the way through this book and yet it holds nothing for me anymore.
BOOK FIVE, PART ONE
dido just set herself on fire and meanwhile aeneas and his friends are hanging out doing boat races.
men are trash.
BOOK FIVE, PART TWO
this morning i went for a run with my fianc茅 (i contain multitudes) and it started torrentially raining, so of course we both did our finest aeneas impression and beseeched the sky like "I HAVE DONE ALL YOU ASK! WHY HAVE YOU FORSAKEN ME, JUPITER?"
all of which is to say, i wish there were a group of meddling gods i could blame my every inconvenience on.
BOOK SIX, PART ONE
the events of this book are interesting because like...the death count is high and yet i wouldn't say much is happening.
thank you to virgil, who somehow sensed my complaint thousands of years in the future and therefore took us on a field trip to the underworld.
BOOK SIX, PART TWO
dante was a way better world-of-death hang than aeneas, i'll say that. all this guy ever wants to do is shout names in a state of great emotion and immediately move on.
BOOK SEVEN, PART ONE
even half-god war heroes with queen exes have to deal with meddling parents.
BOOK SEVEN, PART TWO
we interrupt this battle scene for virgil to describe someone as the second-hottest guy on record, and make a quick note that he therefore deserves a better father. sure!
BOOK EIGHT, PART ONE
this book is titled "aeneas in rome." as the saying goes. we can only hope for a mary kate and ashley-esque ride-on-the-back-of-a-vespa romance for our hero.
BOOK EIGHT, PART TWO
well, aeneas didn't get a whirlwind italian romance with a guy who makes homemade pasta, but he did acquire 400 horses. maybe that's comparable.
BOOK NINE, PART ONE
now we're getting into some iliad-esque gruesome and unforgettable violence montages.
BOOK NINE, PART TWO
i don't feel like i'm not enjoying this book, but also there has never been a single day that i've remembered to do this organically. which is the excuse i'm giving you for why i've taken 7 days off in total.
anyway, back to the important stuff: can you imagine how humiliating it would be to die by slingshot wound.
BOOK TEN, PART ONE
aeneas really has to learn to delegate. why is my guy staying up all night just to sail a ship.
ugh, now he's doing hand to hand combat. will he ever learn.
BOOK TEN, PART TWO
in this section, all of the bad guys are saying badass stuff like "no one else fight the scariest enemy. he's mine. my only regret is that his own father cannot witness me take him down," meanwhile aeneas is being a really bad sport in terms of killing. not loving that he's our main guy.
a lot of this just kind of drives home that aeneas/pallas is no achilles/patroclus.
BOOK ELEVEN, PART ONE
imagine you're fighting in aeneas' war and you die and your spirit is still lingering by the battlefront only to see him give his bff a full funeral and ignore all the other corpses. come on, dude. you're hurting countless ghost feelings.
BOOK ELEVEN, PART TWO
things are finally looking up. the amazonian girlbosses have arrived.
NOOOOO!!! NOT THE GIRLBOSSES!
BOOK TWELVE, PART ONE
the last chapter but the penultimate part of this project. it is actually electrifying how consistently the chapters of this book have been 24 pages long. come hell or high water or amazonian girl mob or ex-gf su*cide, i know i'm reading 12 pages a day.
at one point in this a guy says "i swear by this scepter" and virgil interrupts his dialogue to be like "(he was holding a scepter at that point)". virgil i swear to god. what are we even doing here.
BOOK TWELVE, PART TWO
why are all the bad b*tches killing themselves!!!
OVERALL
pray for my boy virgil. he's not sick or anything he'll just forever be known as a worse version of homer
in many ways this is a great book. it's stood the test of 2,000 years for a reason. and if it were being compared to anything except the odyssey and/or the iliad it would probably rock. but unfortunately for virgil, neither epic was lost to time, and they both put this one to shame. aeneas is no achilles, pallas no patroclus, turnus no hector, lavinia no helen. i had a fun time making jokes but i wish i chose to do "THE AUGDYSSEY" instead.
rating: 3
i know this is my worst title / month pun ever. i know it's actually not even really a pun. but in my defense, august does not lend itself to any of the classics i have interest in. so there.
anyway. welcome back to PROJECT LONG CLASSICS, in which i read an intimidating paragon of literature divvied up in nice little chunks over the course of a month in order to get through it.
this one is perfectly timed: it's summertime, and you know what that means. time to pick which impressive books i'll read outside so people think i'm smart.
BOOK ONE, PART ONE
the aeneid divides itself into 12 scary "books," so i'm going to divide those into less-scary halves. just as virgil intended i'm sure.
not dido gathering hateful men, loaded-up ships, and ancient treasure to strike out on her own...kinda the original girlboss.
BOOK ONE, PART TWO
aeneas living my dream here: overhearing a bunch of people talking about you and they're only saying really nice things.
BOOK TWO, PART ONE
damn. imagine opening up your whole hometown and throwing a huge party to celebrate your invitees only for them to spend the whole time trauma dumping. pretty bad vibes all around.
BOOK TWO, PART TWO
it's been said before, but...how cool to be so hot that your very existence causes a war among two great powers. helen was really innovating in the conflict space.
BOOK THREE, PART ONE
aeneas has been through some sh*t, but honestly nothing has rattled me as bad as him cutting a tree and the tree bleeding and then speaking in his dead friend's voice. that'll give you nightmares.
BOOK THREE, PART TWO
i'm going to go ahead and say it: this book has too many names in it. and more than that, too many of them start with A.
BOOK FOUR, PART ONE
loving that this one is titled dido. i'm ready to bow down and swear loyalty over one party planning description alone, so i can't wait for what this is all about.
BOOK FOUR, PART TWO
anna is so real for this. if my sister killed herself my first reaction would also be "without me?"
hard to wrap my mind around the fact that we are like a quarter of the way through this book and yet it holds nothing for me anymore.
BOOK FIVE, PART ONE
dido just set herself on fire and meanwhile aeneas and his friends are hanging out doing boat races.
men are trash.
BOOK FIVE, PART TWO
this morning i went for a run with my fianc茅 (i contain multitudes) and it started torrentially raining, so of course we both did our finest aeneas impression and beseeched the sky like "I HAVE DONE ALL YOU ASK! WHY HAVE YOU FORSAKEN ME, JUPITER?"
all of which is to say, i wish there were a group of meddling gods i could blame my every inconvenience on.
BOOK SIX, PART ONE
the events of this book are interesting because like...the death count is high and yet i wouldn't say much is happening.
thank you to virgil, who somehow sensed my complaint thousands of years in the future and therefore took us on a field trip to the underworld.
BOOK SIX, PART TWO
dante was a way better world-of-death hang than aeneas, i'll say that. all this guy ever wants to do is shout names in a state of great emotion and immediately move on.
BOOK SEVEN, PART ONE
even half-god war heroes with queen exes have to deal with meddling parents.
BOOK SEVEN, PART TWO
we interrupt this battle scene for virgil to describe someone as the second-hottest guy on record, and make a quick note that he therefore deserves a better father. sure!
BOOK EIGHT, PART ONE
this book is titled "aeneas in rome." as the saying goes. we can only hope for a mary kate and ashley-esque ride-on-the-back-of-a-vespa romance for our hero.
BOOK EIGHT, PART TWO
well, aeneas didn't get a whirlwind italian romance with a guy who makes homemade pasta, but he did acquire 400 horses. maybe that's comparable.
BOOK NINE, PART ONE
now we're getting into some iliad-esque gruesome and unforgettable violence montages.
BOOK NINE, PART TWO
i don't feel like i'm not enjoying this book, but also there has never been a single day that i've remembered to do this organically. which is the excuse i'm giving you for why i've taken 7 days off in total.
anyway, back to the important stuff: can you imagine how humiliating it would be to die by slingshot wound.
BOOK TEN, PART ONE
aeneas really has to learn to delegate. why is my guy staying up all night just to sail a ship.
ugh, now he's doing hand to hand combat. will he ever learn.
BOOK TEN, PART TWO
in this section, all of the bad guys are saying badass stuff like "no one else fight the scariest enemy. he's mine. my only regret is that his own father cannot witness me take him down," meanwhile aeneas is being a really bad sport in terms of killing. not loving that he's our main guy.
a lot of this just kind of drives home that aeneas/pallas is no achilles/patroclus.
BOOK ELEVEN, PART ONE
imagine you're fighting in aeneas' war and you die and your spirit is still lingering by the battlefront only to see him give his bff a full funeral and ignore all the other corpses. come on, dude. you're hurting countless ghost feelings.
BOOK ELEVEN, PART TWO
things are finally looking up. the amazonian girlbosses have arrived.
NOOOOO!!! NOT THE GIRLBOSSES!
BOOK TWELVE, PART ONE
the last chapter but the penultimate part of this project. it is actually electrifying how consistently the chapters of this book have been 24 pages long. come hell or high water or amazonian girl mob or ex-gf su*cide, i know i'm reading 12 pages a day.
at one point in this a guy says "i swear by this scepter" and virgil interrupts his dialogue to be like "(he was holding a scepter at that point)". virgil i swear to god. what are we even doing here.
BOOK TWELVE, PART TWO
why are all the bad b*tches killing themselves!!!
OVERALL
pray for my boy virgil. he's not sick or anything he'll just forever be known as a worse version of homer
in many ways this is a great book. it's stood the test of 2,000 years for a reason. and if it were being compared to anything except the odyssey and/or the iliad it would probably rock. but unfortunately for virgil, neither epic was lost to time, and they both put this one to shame. aeneas is no achilles, pallas no patroclus, turnus no hector, lavinia no helen. i had a fun time making jokes but i wish i chose to do "THE AUGDYSSEY" instead.
rating: 3
June 15, 2025
TO CARTHAGE THEN I CAME, WHERE A CAULDRON OF UNHOLY LOVES
SANG IN MY EARS!
The Waste Land
THEY CONQUER WHO BELIEVE THEY CAN -
THEY CAN, BECAUSE THEY THINK THEY CAN!
The Aeneid
YOU can Conquer - now, isn鈥檛 that a nifty quick analysis of how faith works? That鈥檚 Virgil talking!
Faith in oneself... or Faith in a Higher Being?
Let鈥檚 take a closer look...
Virgil left off writing this masterpiece a mere twenty years before the Star appeared over ancient Bethlehem.
And, of course, the Aeneid gave the worldly Romans hope for a brighter future at the same time, when their history was beginning its long, slow decline into moral chaos. It inspired them to believe that a semi-divine Trojan named Aeneas had given them ideals worth dying for!
With not much respect due to Troy鈥檚 ancient conquerors - the Greeks.
Coincidence?
Sure, it was political propaganda commissioned by Augustus, through Virgil鈥檚 noble mentor Maecenas.
But don鈥檛 forget that many of the same Roman readers of this runaway bestseller were fathers of the first Italian Christian converts.
The domino effect was about to play its hand.
Early Christian apologists, looking for grist for their mills, would soon see in Virgil鈥檚 groundbreaking ideas about a blissful afterlife in the Elysian Fields - for ordinary good people, as well as Homer鈥檚 heroes - an announcement of the Lord鈥檚 freely-offered - and freely-withheld - salvation.
A salvation for which Aeneas must forsake the fleshpot of Carthage...
And did I say Homer? That鈥檚 another thing...
Approximately concurrent with all of this was the disastrous destruction by fire of Alexandria鈥檚 priceless library - the last detailed link with the pre-Roman Greek world.
So, now, books like this one were suddenly a prime source for imaginative myth-making.
It is hard to imagine such inspired living as the Knights of the Round Table, or early books of such high-mindedness as Piers Plowman or Sir Gawain and the Green Knight existing without the nobility of the Aeneid.
(But what about the loss of higher mathematics - and calculus - to the Ottoman Empire, against whom Europe Crusaded? Enemies don鈥檛 share secrets, alas.)
But how about the late medieval romances... and how much Latin magic is in the Holy Grail?
The Greeks - so sybaritic in their literature and such a springboard in their stories for the imagination - had little or no influence on our serious Medieval European ancestors.
The very dearth of Hellenic playfulness gave our ancestors their dour mindset. Perhaps in an age of starting from scratch again and rebuilding, that grim mindset was best.
So, the popular faith and imagination of the Middle Ages derived largely from books like this!
Even Aeneas鈥� triumphant victory over Turnus was seen by clerics as a divine allegory of the victory over evil.
And who鈥檚 to say they were so WRONG, though?
But, with that, Church censorship was also beginning, and Roman freedoms were eventually going to be curtailed.
But freedom has radically different restrictions as Age progresses to Age, and while we postmodernists seem to have fewer, we in fact have migrated to much less privacy.
Every age has its manner of dealing with anarchy. Ours is surveillance.
But to the Church, MORAL Anarchy was the most perilous type of chaos, thanks to Nero and Caligula. And for the future of European civilization the Church seems in hindsight to have been right.
It鈥檚 like your parents weeding out any bad influences on you as you grew up - can THAT be such a bad thing? Most good parents do it - or used to. It鈥檚 like pruning back your rose bushes, in the interests of their future health.
Sure, there鈥檒l be some Major adjustments for the kids later on, but if they have an active intelligence, they鈥檒l catch up in plenty of time, though the transition from na茂ve innocence to cosmic disappointment is vast.
And without the firm foothold of faith well nigh impossible.
And note well the conclusion to Book VI of the Aeneid, in which Virgil shows the only auspicious door out of the Underworld: the Gate of Horn, and NOT the Gate of Ivory... the former symbolizing Cosmic Disappointment.
Now, most people on this planet prefer a life of Ivory (physical riches and spiritual materialism) over a life of Horn (disappointment and penance). That鈥檚 our natural and very Fallen nature.
The origin of the ancient symbol of the Horn lies in its roots in the misfortune of being cuckolded. A young buck drives away his rivals with his horn. Ever notice than when a cuckold comes onstage in a Mozart opera, his musical genius symbolized that fact by having the French Horn play a sybaritic riff? His nascent disappointment becomes comic to the audience.
Similarly, could the seed of a great religion of love and compassion have taken root without the concurrent sowing of the nobility that the Aeneid has in men鈥檚 minds? And moral nobility is born in cosmic ethical disappointment.
Could Christianity have spread like wildfire throughout the fallen Empire... without it? For that鈥檚 what the spoiled, self-indulgent emperors were to believers - a cosmic disappointment. But that disappointment was to Virgil the RIGHT WAY to Heaven.
Sure, I know I鈥檓 REACHING a bit to make my points.
But whatever your own views, the Aeneid is the great Medieval Desert Island Book - one of the only great ancient imaginative yarns the serious, and violent, early Middle Ages really had.
A true oasis for the souls of those who were lost and confused in that scattered moral debris before the Fall of the Colossus that was the Roman Empire:
And an ethical bedrock!
All roads lead to ROME?
Not on your life, for this sententious-sounding old guy!
So I鈥檒l just continue to walk the straight & narrow path with my old pal Virgil.
SANG IN MY EARS!
The Waste Land
THEY CONQUER WHO BELIEVE THEY CAN -
THEY CAN, BECAUSE THEY THINK THEY CAN!
The Aeneid
YOU can Conquer - now, isn鈥檛 that a nifty quick analysis of how faith works? That鈥檚 Virgil talking!
Faith in oneself... or Faith in a Higher Being?
Let鈥檚 take a closer look...
Virgil left off writing this masterpiece a mere twenty years before the Star appeared over ancient Bethlehem.
And, of course, the Aeneid gave the worldly Romans hope for a brighter future at the same time, when their history was beginning its long, slow decline into moral chaos. It inspired them to believe that a semi-divine Trojan named Aeneas had given them ideals worth dying for!
With not much respect due to Troy鈥檚 ancient conquerors - the Greeks.
Coincidence?
Sure, it was political propaganda commissioned by Augustus, through Virgil鈥檚 noble mentor Maecenas.
But don鈥檛 forget that many of the same Roman readers of this runaway bestseller were fathers of the first Italian Christian converts.
The domino effect was about to play its hand.
Early Christian apologists, looking for grist for their mills, would soon see in Virgil鈥檚 groundbreaking ideas about a blissful afterlife in the Elysian Fields - for ordinary good people, as well as Homer鈥檚 heroes - an announcement of the Lord鈥檚 freely-offered - and freely-withheld - salvation.
A salvation for which Aeneas must forsake the fleshpot of Carthage...
And did I say Homer? That鈥檚 another thing...
Approximately concurrent with all of this was the disastrous destruction by fire of Alexandria鈥檚 priceless library - the last detailed link with the pre-Roman Greek world.
So, now, books like this one were suddenly a prime source for imaginative myth-making.
It is hard to imagine such inspired living as the Knights of the Round Table, or early books of such high-mindedness as Piers Plowman or Sir Gawain and the Green Knight existing without the nobility of the Aeneid.
(But what about the loss of higher mathematics - and calculus - to the Ottoman Empire, against whom Europe Crusaded? Enemies don鈥檛 share secrets, alas.)
But how about the late medieval romances... and how much Latin magic is in the Holy Grail?
The Greeks - so sybaritic in their literature and such a springboard in their stories for the imagination - had little or no influence on our serious Medieval European ancestors.
The very dearth of Hellenic playfulness gave our ancestors their dour mindset. Perhaps in an age of starting from scratch again and rebuilding, that grim mindset was best.
So, the popular faith and imagination of the Middle Ages derived largely from books like this!
Even Aeneas鈥� triumphant victory over Turnus was seen by clerics as a divine allegory of the victory over evil.
And who鈥檚 to say they were so WRONG, though?
But, with that, Church censorship was also beginning, and Roman freedoms were eventually going to be curtailed.
But freedom has radically different restrictions as Age progresses to Age, and while we postmodernists seem to have fewer, we in fact have migrated to much less privacy.
Every age has its manner of dealing with anarchy. Ours is surveillance.
But to the Church, MORAL Anarchy was the most perilous type of chaos, thanks to Nero and Caligula. And for the future of European civilization the Church seems in hindsight to have been right.
It鈥檚 like your parents weeding out any bad influences on you as you grew up - can THAT be such a bad thing? Most good parents do it - or used to. It鈥檚 like pruning back your rose bushes, in the interests of their future health.
Sure, there鈥檒l be some Major adjustments for the kids later on, but if they have an active intelligence, they鈥檒l catch up in plenty of time, though the transition from na茂ve innocence to cosmic disappointment is vast.
And without the firm foothold of faith well nigh impossible.
And note well the conclusion to Book VI of the Aeneid, in which Virgil shows the only auspicious door out of the Underworld: the Gate of Horn, and NOT the Gate of Ivory... the former symbolizing Cosmic Disappointment.
Now, most people on this planet prefer a life of Ivory (physical riches and spiritual materialism) over a life of Horn (disappointment and penance). That鈥檚 our natural and very Fallen nature.
The origin of the ancient symbol of the Horn lies in its roots in the misfortune of being cuckolded. A young buck drives away his rivals with his horn. Ever notice than when a cuckold comes onstage in a Mozart opera, his musical genius symbolized that fact by having the French Horn play a sybaritic riff? His nascent disappointment becomes comic to the audience.
Similarly, could the seed of a great religion of love and compassion have taken root without the concurrent sowing of the nobility that the Aeneid has in men鈥檚 minds? And moral nobility is born in cosmic ethical disappointment.
Could Christianity have spread like wildfire throughout the fallen Empire... without it? For that鈥檚 what the spoiled, self-indulgent emperors were to believers - a cosmic disappointment. But that disappointment was to Virgil the RIGHT WAY to Heaven.
Sure, I know I鈥檓 REACHING a bit to make my points.
But whatever your own views, the Aeneid is the great Medieval Desert Island Book - one of the only great ancient imaginative yarns the serious, and violent, early Middle Ages really had.
A true oasis for the souls of those who were lost and confused in that scattered moral debris before the Fall of the Colossus that was the Roman Empire:
And an ethical bedrock!
All roads lead to ROME?
Not on your life, for this sententious-sounding old guy!
So I鈥檒l just continue to walk the straight & narrow path with my old pal Virgil.
June 11, 2017
鈥淲hat god can help me tell so dread a story?
Who could describe that carnage in a song - 鈥�
Well, the answer of course is Virgil, a poet of the era of Augustus鈥� Rome. Why does he write it? Many literary critics have condemned the Aeneid for being state propaganda. Of course it is. Openly, proudly so! Many others have condemned it for connecting strongly to other epic poems of the Ancient world, most notably of course Homer鈥檚 Iliad and Odyssey. Of course it does. Openly, proudly so!
The Aeneid is a perfect example of a change of imperial power and education from one dynasty or area in the world to another, a 鈥渢ranslatio imperii et studii鈥�. Whenever empires rise, and are in need of legitimacy, they make sure to incorporate literature, art and other cultural achievements of suppressed or defeated powers, thus creating a fictitious historical connection that justifies their claims to greatness and world dominance.
The Greek culture has been widely exploited to establish a tradition of unbroken rule and lawful power in Europe, and the Aeneid is an early example of fiction supporting the dynastic claims of a whole people.
Constructed as a sequel to the Iliad, and thus taking place at the same time as the Odyssey, it tells the story of Trojan refugee Aeneas and his family, who are on a quest to find a new home for themselves after surviving the destruction of Troy by the Greeks. After many adventures, mirroring Ulysses鈥� problematic navigation in the tricky waters of the Mediterranean, they land in the country where 鈥渇ate鈥� tells them to found a new empire based on Aeneas鈥� descendants. Here they turn from refugees to usurpers of power and fight a bloody war to finally declare themselves victors over the native peoples in the area which will become known as Rome, or Italy.
So far, so good. Translatio imperii, check!
Translatio studii?
Roman culture is in many ways a direct copy and paste of earlier Greek achievements, and their Olympus is mostly identical, just renamed. But there are peculiarities within the Aeneid that give it a specific flavour and make it enjoyable to read.
For example, Aeneas鈥� visit to the Underworld is hilarious, and he meets both past and future celebrities of his tribe. The modern reader may wonder how life in the Underworld works out practically, with Creusa, Dido, and eventually also Lavinia all joined together in their love for Aeneas? Is polygamy acceptable in the Underworld, if it is only practised as serial monogamy on earth? But those are amusing, theological reflections that the heroes do not dwell on.
Much more interesting are the godly powers that support or oppose Aeneas鈥� cause, with Venus, his mother, being his most ardent advocate in Olympus, and with Juno being his most hateful enemy. A combination that puts Jupiter in a pickle, of course.
Aeneas manages to have weapons of mass destruction delivered by the joint effort of Venus and Vulcan, and it is of peculiar interest to archaeologists that his shield carries the future of Rome written down for him: a prophetic text! Or a wonderfully amusing way to establish legitimacy through translatio historiae? Rewriting history when needed for political purposes is not an invention of Orwell鈥檚 . Dante later added his own journey to the Underworld under the guidance of experienced traveller Virgil - translatio studii - as illustrated in , and beautifully painted by Delacroix, in another simultaneous leap forwards and backwards in history, creating connections between times and characters:
What made me read the ancient text, and stick it out until the end, despite being frustrated at times when the war turned into repetitive, graphically described slaughter, involving heads cut open so that brains are split in half, and any other imaginable mutilation of human bodies, over page after page?
There is the interesting question of heroic ideal, alive and terrifyingly deadly still in World War I and II, of 鈥淒ulce et decorum est pro patria mori鈥�, the famous line from Virgil鈥檚 contemporary Horace鈥檚 Odes. One young man in the Aeneid puts it quite bluntly: if I win, I will bring home lots of booty, and if I fall, I will be an immortal hero. Either way, my father will be proud.
There are the relationships between men and women, and the role of women in general. Camilla, the warrior virgin modelled on Amazons Hippolyta or Penthesilea, the mighty Carthaginian queen Dido, who has a strong mind of her own, and Lavinia, the booty for the winner in the war, are all different representatives of ancient women鈥檚 roles and status in society. For the modern reader, the goddesses in the Olympian council are more amusing types, playing the political advocates of the causes they support, fearlessly, adamantly, and in eternal frustration over the slow pace of the action, and over the cacophony of a polytheistic assembly, all with equal right to speak and lobby - and to which they add incessantly. Quite like international committees nowadays, weighing different claims, needs and justice against each other!
General verdict: if you love mythology, historical processes as mirrored in fiction, graphic war scenes, unhappy love, and stormy seas, as well as the neverending story of human fight for power and legitimacy, then the Aeneid is highly recommended.
I enjoyed it all, and will close with a bow to Dido, my favourite ancient, tragic heroine so far! She did not really get a chance, representing Carthage. Her suicide was a necessary construction to symbolise the wars to come:
Ceterum censeo Carthaginem esse delendam, said Cato, and Dido was just one of many to suffer from Roman power play. A mighty queen, nonetheless!
Who could describe that carnage in a song - 鈥�
Well, the answer of course is Virgil, a poet of the era of Augustus鈥� Rome. Why does he write it? Many literary critics have condemned the Aeneid for being state propaganda. Of course it is. Openly, proudly so! Many others have condemned it for connecting strongly to other epic poems of the Ancient world, most notably of course Homer鈥檚 Iliad and Odyssey. Of course it does. Openly, proudly so!
The Aeneid is a perfect example of a change of imperial power and education from one dynasty or area in the world to another, a 鈥渢ranslatio imperii et studii鈥�. Whenever empires rise, and are in need of legitimacy, they make sure to incorporate literature, art and other cultural achievements of suppressed or defeated powers, thus creating a fictitious historical connection that justifies their claims to greatness and world dominance.
The Greek culture has been widely exploited to establish a tradition of unbroken rule and lawful power in Europe, and the Aeneid is an early example of fiction supporting the dynastic claims of a whole people.
Constructed as a sequel to the Iliad, and thus taking place at the same time as the Odyssey, it tells the story of Trojan refugee Aeneas and his family, who are on a quest to find a new home for themselves after surviving the destruction of Troy by the Greeks. After many adventures, mirroring Ulysses鈥� problematic navigation in the tricky waters of the Mediterranean, they land in the country where 鈥渇ate鈥� tells them to found a new empire based on Aeneas鈥� descendants. Here they turn from refugees to usurpers of power and fight a bloody war to finally declare themselves victors over the native peoples in the area which will become known as Rome, or Italy.
So far, so good. Translatio imperii, check!
Translatio studii?
Roman culture is in many ways a direct copy and paste of earlier Greek achievements, and their Olympus is mostly identical, just renamed. But there are peculiarities within the Aeneid that give it a specific flavour and make it enjoyable to read.
For example, Aeneas鈥� visit to the Underworld is hilarious, and he meets both past and future celebrities of his tribe. The modern reader may wonder how life in the Underworld works out practically, with Creusa, Dido, and eventually also Lavinia all joined together in their love for Aeneas? Is polygamy acceptable in the Underworld, if it is only practised as serial monogamy on earth? But those are amusing, theological reflections that the heroes do not dwell on.
Much more interesting are the godly powers that support or oppose Aeneas鈥� cause, with Venus, his mother, being his most ardent advocate in Olympus, and with Juno being his most hateful enemy. A combination that puts Jupiter in a pickle, of course.
Aeneas manages to have weapons of mass destruction delivered by the joint effort of Venus and Vulcan, and it is of peculiar interest to archaeologists that his shield carries the future of Rome written down for him: a prophetic text! Or a wonderfully amusing way to establish legitimacy through translatio historiae? Rewriting history when needed for political purposes is not an invention of Orwell鈥檚 . Dante later added his own journey to the Underworld under the guidance of experienced traveller Virgil - translatio studii - as illustrated in , and beautifully painted by Delacroix, in another simultaneous leap forwards and backwards in history, creating connections between times and characters:
What made me read the ancient text, and stick it out until the end, despite being frustrated at times when the war turned into repetitive, graphically described slaughter, involving heads cut open so that brains are split in half, and any other imaginable mutilation of human bodies, over page after page?
There is the interesting question of heroic ideal, alive and terrifyingly deadly still in World War I and II, of 鈥淒ulce et decorum est pro patria mori鈥�, the famous line from Virgil鈥檚 contemporary Horace鈥檚 Odes. One young man in the Aeneid puts it quite bluntly: if I win, I will bring home lots of booty, and if I fall, I will be an immortal hero. Either way, my father will be proud.
There are the relationships between men and women, and the role of women in general. Camilla, the warrior virgin modelled on Amazons Hippolyta or Penthesilea, the mighty Carthaginian queen Dido, who has a strong mind of her own, and Lavinia, the booty for the winner in the war, are all different representatives of ancient women鈥檚 roles and status in society. For the modern reader, the goddesses in the Olympian council are more amusing types, playing the political advocates of the causes they support, fearlessly, adamantly, and in eternal frustration over the slow pace of the action, and over the cacophony of a polytheistic assembly, all with equal right to speak and lobby - and to which they add incessantly. Quite like international committees nowadays, weighing different claims, needs and justice against each other!
General verdict: if you love mythology, historical processes as mirrored in fiction, graphic war scenes, unhappy love, and stormy seas, as well as the neverending story of human fight for power and legitimacy, then the Aeneid is highly recommended.
I enjoyed it all, and will close with a bow to Dido, my favourite ancient, tragic heroine so far! She did not really get a chance, representing Carthage. Her suicide was a necessary construction to symbolise the wars to come:
Ceterum censeo Carthaginem esse delendam, said Cato, and Dido was just one of many to suffer from Roman power play. A mighty queen, nonetheless!
July 10, 2011
I鈥檓 a huge fan of propaganda, but I think I may not be a fan of fan fic. I was going into this with the hope that it would be fun, extreme, Latin propaganda, but The Aeneid is really more Trojan War fan fic, IMO. It鈥檚 the Phantom Menace to 鈥檚 Empire Strikes Back. It is seriously lame. I think Akira Kurosawa could have made a pretty decent movie of it because he likes to have people frenzy. There鈥檚 a lot of frenzying here. The dudes are all chest pound, blooooood, and the chicks are all hair pull, frenzy, waaaaaail. And Aeneas is such a dweeb about the name-dropping. Like, 鈥淥h, did I mention that Venus is my mom? Oh, did I tell you how freaking hot I am? Yeah, I was totally there when Odysseus scammed the Cyclops.鈥� Give me a freaking break. Did you scam the Cyclops? No. Get over yourself.
This is what happens when you start a series, and then someone else wants to capitalize on your story. It鈥檚 the fifth season of The West Wing or the seventh season of The Gilmore Girls or all the Jane Austen / Jane Eyre sequels and prequels. It just doesn鈥檛 work. Find your own story! I鈥檓 looking at you, Virgil. Not that I鈥檓 against people using storylines that someone else has used. That鈥檚 almost inevitable (and, of course, Shakespeare is a good argument for being okay with stealing). But, there is a line. I鈥檓 not positive where it is. This story crossed it. And then don鈥檛 even get me started about Dante. WHY?! Virgil鈥檚 got his guys running into Homer鈥檚 guys, and then Dante鈥檚 running into Virgil? It鈥檚 just so presumptuous. I guess, it鈥檚 like, go ahead and steal a really wonderful storyline if you have something to add to it. But don鈥檛 think that your SUPER LAME storyline is going to suddenly turn wonderful because you drop a character from a good story into it.
And there are some seriously weird details to this story. For example, Venus is this guy鈥檚 mom, but she doesn鈥檛 raise him to know not to pull a George Costanza in running away from the Greeks? Dude. It just takes a second to wait for your wife, you loser. I mean, I鈥檓 no great fan of Venus to begin with, but that鈥檚 just weird. It seems like she would have taken a minute to say, "Don't trample people running away from your enemies." Maybe it never occurred to her he'd be so lame.
And then the business with Dido was just annoying. She鈥檚 the queen of all the land, has been through hell, wherein her eeeevil brother killed her seemingly pretty awesome husband, and then when Aeneas says to Dido, 鈥渂tw, it was great sleeping with you, but I have a lot of heads to chop off for no particular reason, so I should prolly get going,鈥� she goes all Kathy Bates in Misery all of a sudden. Except lamer because she鈥檚 wailing and self-mutilating instead of taking it out on him. It鈥檚 just awkward to watch. Girl needs a . And none of these people are as cool as they think they are.
And the rest of the book is basically one long chest pound. I guess there鈥檚 the part where he goes to Hades, and lo, he knows folk there. I鈥檓 kind of bitter about the whole thing because Juno鈥檚 so funny and great in and such a loser here. Again, Akira Kurosawa probably could have turned it into a pretty decent movie. I don鈥檛 really get the frenzying thing, but Kurosawa seemed to have liked it. And, if you like people to run around, chopping limbs off and then whining and blustering for a while, you might really click with this book. What I鈥檓 saying, though, is if you haven鈥檛 read , that鈥檚 where it鈥檚 at. I recommend, for best results, reading it in a hammock.
This is what happens when you start a series, and then someone else wants to capitalize on your story. It鈥檚 the fifth season of The West Wing or the seventh season of The Gilmore Girls or all the Jane Austen / Jane Eyre sequels and prequels. It just doesn鈥檛 work. Find your own story! I鈥檓 looking at you, Virgil. Not that I鈥檓 against people using storylines that someone else has used. That鈥檚 almost inevitable (and, of course, Shakespeare is a good argument for being okay with stealing). But, there is a line. I鈥檓 not positive where it is. This story crossed it. And then don鈥檛 even get me started about Dante. WHY?! Virgil鈥檚 got his guys running into Homer鈥檚 guys, and then Dante鈥檚 running into Virgil? It鈥檚 just so presumptuous. I guess, it鈥檚 like, go ahead and steal a really wonderful storyline if you have something to add to it. But don鈥檛 think that your SUPER LAME storyline is going to suddenly turn wonderful because you drop a character from a good story into it.
And there are some seriously weird details to this story. For example, Venus is this guy鈥檚 mom, but she doesn鈥檛 raise him to know not to pull a George Costanza in running away from the Greeks? Dude. It just takes a second to wait for your wife, you loser. I mean, I鈥檓 no great fan of Venus to begin with, but that鈥檚 just weird. It seems like she would have taken a minute to say, "Don't trample people running away from your enemies." Maybe it never occurred to her he'd be so lame.
And then the business with Dido was just annoying. She鈥檚 the queen of all the land, has been through hell, wherein her eeeevil brother killed her seemingly pretty awesome husband, and then when Aeneas says to Dido, 鈥渂tw, it was great sleeping with you, but I have a lot of heads to chop off for no particular reason, so I should prolly get going,鈥� she goes all Kathy Bates in Misery all of a sudden. Except lamer because she鈥檚 wailing and self-mutilating instead of taking it out on him. It鈥檚 just awkward to watch. Girl needs a . And none of these people are as cool as they think they are.
And the rest of the book is basically one long chest pound. I guess there鈥檚 the part where he goes to Hades, and lo, he knows folk there. I鈥檓 kind of bitter about the whole thing because Juno鈥檚 so funny and great in and such a loser here. Again, Akira Kurosawa probably could have turned it into a pretty decent movie. I don鈥檛 really get the frenzying thing, but Kurosawa seemed to have liked it. And, if you like people to run around, chopping limbs off and then whining and blustering for a while, you might really click with this book. What I鈥檓 saying, though, is if you haven鈥檛 read , that鈥檚 where it鈥檚 at. I recommend, for best results, reading it in a hammock.
July 17, 2020
Impossible to rank a book that is so important, that has so many problems, that holds moments of deep and beautiful simile and metaphor, that treats its lead with shocking inconsistency, whose ending is an eruption of modern plot that redeems the whole book.
The Ferry translation is quick and good and worth noting.
There is staggering overlap with The Iliad and the Odyssey throughout- Cyclops and Scylla and Charybdis were surprises here, as is the rip off of the in media res structure. We have storms (Poseidon as savior, instead of tormentor was an interesting twist), a separation of forces, a host. But everything seems condensed .
Dido, as you might hope, pops off the page. That amazing section on page 17 that scans over her dead husband was so unbelievably Hamlet, and there was something tragic about Cupid's bewitching her:
"And Cupid, to please his Acidalian mother,
Begins, little by little, to erase
From Dido's mind the image of Sychaeus,
And to substitute a living passion in
A heart and soul long unaccustomed to love." (33)
But as with the windmills in Don Quixote, she is too quickly gone.
The Roman propaganda is interesting throughout but in some ways, it is less pronounced than I would have thought, save for one outrageous description of a piece of armor. It put me in mind of just Grossman's Stalingrad (it's great). To get it by the Soviet censors he had to (among many other things) add a 40 page section about how heroic coal miners are - and I ended up fascinated by that section, in its lack of nuance and its propulsion, in how a talented writer operates in restrictive systems.
The second half, in Italy, is a more human-oriented text, and somewhat ridiculous. The book's supporting characters, especially the lovers Nisus and Euryalus, are stronger than the lead. The book is rarely a page turner, but it is incredibly worth your time. It is very, very different than you might expect.
Two things: The treatment of the underworld is gorgeous, in Book 6. It is, of course, Dantean pre Dante. Critic Madeline Miller points out that "when Aeneid is in hell, after he finishes admiring that same glorious pageant of future Roman heroes, he finds himself before two gates. One is made of horn and is, Virgil tells us, for 鈥渢rue shades.鈥� The other, made of ivory, is for 鈥渇alse dreams.鈥� And Aeneas, founder of the gleaming vision of Roman history we have just seen, leaves through the latter."
Borges was preoccupied by this distinction too, and I wonder if there are some hints here of the undermining that I feel is at work in The Aeneid some impulse to attack the very root of the project, of fiction, of the need for Roman propaganda in a poem, even of the need for empire and cultural assimilation.
Which brings me to the ending. I'll spoiler tag.
The Ferry translation is quick and good and worth noting.
There is staggering overlap with The Iliad and the Odyssey throughout- Cyclops and Scylla and Charybdis were surprises here, as is the rip off of the in media res structure. We have storms (Poseidon as savior, instead of tormentor was an interesting twist), a separation of forces, a host. But everything seems condensed .
Dido, as you might hope, pops off the page. That amazing section on page 17 that scans over her dead husband was so unbelievably Hamlet, and there was something tragic about Cupid's bewitching her:
"And Cupid, to please his Acidalian mother,
Begins, little by little, to erase
From Dido's mind the image of Sychaeus,
And to substitute a living passion in
A heart and soul long unaccustomed to love." (33)
But as with the windmills in Don Quixote, she is too quickly gone.
The Roman propaganda is interesting throughout but in some ways, it is less pronounced than I would have thought, save for one outrageous description of a piece of armor. It put me in mind of just Grossman's Stalingrad (it's great). To get it by the Soviet censors he had to (among many other things) add a 40 page section about how heroic coal miners are - and I ended up fascinated by that section, in its lack of nuance and its propulsion, in how a talented writer operates in restrictive systems.
The second half, in Italy, is a more human-oriented text, and somewhat ridiculous. The book's supporting characters, especially the lovers Nisus and Euryalus, are stronger than the lead. The book is rarely a page turner, but it is incredibly worth your time. It is very, very different than you might expect.
Two things: The treatment of the underworld is gorgeous, in Book 6. It is, of course, Dantean pre Dante. Critic Madeline Miller points out that "when Aeneid is in hell, after he finishes admiring that same glorious pageant of future Roman heroes, he finds himself before two gates. One is made of horn and is, Virgil tells us, for 鈥渢rue shades.鈥� The other, made of ivory, is for 鈥渇alse dreams.鈥� And Aeneas, founder of the gleaming vision of Roman history we have just seen, leaves through the latter."
Borges was preoccupied by this distinction too, and I wonder if there are some hints here of the undermining that I feel is at work in The Aeneid some impulse to attack the very root of the project, of fiction, of the need for Roman propaganda in a poem, even of the need for empire and cultural assimilation.
Which brings me to the ending. I'll spoiler tag.
December 20, 2022
"La fortuna favorece a los valientes."
La Eneida, este poema 茅pico inmortal surgido de la genialidad de Publio Virgilio Mar贸n, es considerado uno de las obras cl谩sicas fundacionales de la literatura universal que lo relaciona directamente con los aedos griegos, especialmente Homero, pero que en como continuaci贸n hist贸rica con la guerra de Troya tiene tambi茅n conexiones con algunas de las tragedias de Esquilo y S贸focles.
Virgilio, este poeta incomparable, comparte dos detalles muy interesantes con el genio checo Franz Kafka. Esta, su obra cumbre est谩 inacabada luego de once a帽os de gestaci贸n a los que dedicara los 煤ltimos a帽os de su vida, incluso ya muy enfermo, de la misma manera que Kafka, no termina sus novelas "El castillo" o "El proceso", Virgilio deja trunco el final de la Eneida que le arrebata la muerte cuando lo sorprende a los 51 a帽os.
Por el otro lado, tambi茅n comparte con Kafka una decisi贸n que fue deso铆da: Kafka, ya gravemente enfermo de tuberculosis le pide a Max Brod, su amigo y albacea que queme toda su obra, orden que Brod desobedece para legarnos todo lo que hoy leemos de este autor.
Lo mismo hace Vario, amigo y tambi茅n albacea de Virgilio quien ya en su lecho de muerte le pide que queme todo lo escrito sobre la Eneida, poema que el poeta acostumbraba a recitarle al emperador Augusto.
Cuando uno lee la Eneida sabe de antemano que si quiere realmente tener una idea global de lo que all铆 sucede, deber谩, en lo posible leer previamente la Teogon铆a de Hes铆odo que explica c贸mo se gestaron los distintos dioses del Olimpo y como 茅stos, luego de relacionarse con los mortales fueron engendrando a los distintos h茅roes de los poemas.
De esta forma, llegamos a saber que Eneas es fruto de la uni贸n de la diosa Venus (o Afrodita para los griegos) con su padre Anquises como de la misma manera Aquiles nace de la uni贸n de la diosa Tetis con el mortal Peleo, mientras que con Ulises esto no sucede aunque es importante aclarar la 铆ntima relaci贸n que el h茅roe de la Odisea tiene con Palas Atenea.
Siempre los dioses interceden ante un destino posiblemente desafortunado para cambiar las cosas y esto tambi茅n suceder谩 en la Eneida, ya que constantemente Eneas es protegido por Venus en distintos momentos, desde la huida de Troya hasta el arribo a las costas de Hesperia, como se denominaba antiguamente a Italia hasta cuando comienzan los combates contra los latinos bajo la orden del caudillo Turno, quien a su vez tendr谩 el apoyo de otra diosa, Juno, quien generar谩 en 茅l y en sus s煤bditos la constante violencia y 谩nimos para ir a la guerra, como lo hace tambi茅n el dios Ares (Marte) con H茅ctor en la Il铆ada.
Es que Juno, celosa de los troyanos har谩 lo imposible para impedir que Eneas funde una nueva Troya en Italia, adem谩s por haber sido desairada por el mortal Paris eligiendo a Venus y por el desaire amoroso que le propina Gan铆medes con un pr铆ncipe troyano.
Pero Venus no es la 煤nica diosa que formar谩 parte de todo este juego de traiciones, discordias y peleas. Otros dioses como J煤piter (Zeus) o Vulcano quien, de la misma manera que hizo con Ulises forjar谩 la armadura y escudo de Eneas para la batalla con Turno tendr谩n incidencia directa.
As铆, todo estar谩 servido para la guerra. Pero primero debemos aclarar que la Eneida consta de dos partes bien marcadas.
En primer lugar, luego de la destrucci贸n de Illi贸n, como se conoc铆a tambi茅n a Troya, Eneas escapa con su padre Anquises a cuestas y su hijo Ascanio de la mano, perdiendo en ella a su esposa mortal, Cre煤sa. A partir de all铆, arribar谩 a Cartago donde tendr谩 un tormentoso affaire con la reina, Dido. Estos hechos tienen un trasfondo que le acarrear谩n m谩s desgracias al h茅roe teucro.
Es que el escape de Eneas hacia Italia tiene el mismo tenor que el de Ulises volviendo a 脥taca en la Odisea. Recordemos que son varios los poemas y tragedias en donde se narran regresos odiseicos luego de la ca铆da de Troya. Lo mismo sucede con el regreso de Agamen贸n en la tragedia de Esquilo y en la Orest铆ada, narrado por el mismo aedo.
Luego de vivir las peores vicisitudes, de la persecuci贸n de Juno, la muerte de muchos de sus guerreros, de estar sometidos a tempestades que destruyen sus naves llega a Italia y es aqu铆 donde comienza la segunda parte, que tiene en el relato, una similitud muy cercana a la Il铆ada, cuando los latinos entran en guerra con los teucros. Los cuatro libros finales de los doce que contiene la Eneida relatan estos hechos b茅licos.
Es clave haber le铆do la Il铆ada, ya que la descripci贸n de las batallas ser谩n pr谩cticamente iguales a los del poema de Homero. Por momentos, las manera en que lo describe Virgilio es tan cruento que parece que uno como lector est谩 viendo esa violencia con la que latinos y teucros se masacran en el campo de batalla. La sangre salpica por doquier a todos los que son muertos por su enemigo, las lanzas acribillan cuanto pecho se encuentran y se parten cabezas hasta el cuello o se deg眉ellan hombres sin la menor compasi贸n.
Parece que Nikol谩i G贸gol se inspir贸 en la Il铆ada y la Eneida para contarnos de manera tan expl铆cita y tan parecida lo que sucede en el enfrentamiento entre los cosacos ucranianos y los polacos en su novela Tar谩s Bulba, lo que demuestra la inspiraci贸n que poetas como Homero o Virgilio generaban en los grandes escritores de la era moderna.
Otro aspecto muy importante a tener en cuenta es que el eje y el centro de la Eneida reside en el libro VI, cuando Eneas desciende a los Infiernos para encontrarse con Anquises, su padre fallecido. De la misma manera que cuando Ulises baja al Hades, Eneas debe atravesar los distintos lugares del Infierno como lo hace el inmenso Dante Alighieri quien durante gran parte de la Divina Comedia elige para esa traves铆a precisamente a... Virgilio. Nadie m谩s indicado que el poeta latino para acompa帽arlo en ese oscuro camino.
A diferencia de lo narrado en La Divina Commedia, Virgilio nos explica c贸mo es el Infierno de una forma m谩s reducida y como si todos los lugares estuvieran muy juntos unos de otro.
Eneas es acompa帽ado por la profetiza Sibila, quien le muestra y explica qu茅 es cada cosa en el Averno y que sucede con las almas que est谩n all铆.
Lo que Dante describir谩 con todo lujo de detalles es mostrado a Eneas r谩pidamente, tal es el caso de Caronte, el barquero que traslada las almas por el r铆o Aqueronte, la laguna Estigia y el lago del Leteo, en donde Eneas tambi茅n debe entrar para olvidar parte de lo vivido.
Ya en los libros XI y XII se desarrolla la batalla final y da la sensaci贸n de que Virgilio traza una comparaci贸n con la Il铆ada para describir el enfrentamiento m谩s importante de todos entre Eneas y Turno, como lo hiciera Homero con Aquiles y H茅ctor.
Es claro el sentimiento de homenaje a Homero como tambi茅n la inspiraci贸n que el poeta griego le infund贸 para continuar la historia en su propio poema.
Comparando la Il铆ada como la Odisea, tanto Eneas como Aquiles enfrentan a su adversario con el objeto de vengar la muerte de Patroclo en el caso de Aquiles contra H茅ctor como la muerte de Palante a manos de Turno en lo que respecta a Eneas.
Lamentablemente y al quedar inconclusa la Eneida, nunca sabremos que sucede despu茅s de este enfrentamiento del que no voy a revelar el ganador para resguardar a aquel lector que quiera embarcarse en la aventura del bravo y valiente guerrero Eneas, cuyas haza帽as han quedado inmortalizadas en el oro de las letras universales gracias a Virgilio, uno de los padres de la literatura.
Quisieron los hados que as铆 fuera鈥�
La Eneida, este poema 茅pico inmortal surgido de la genialidad de Publio Virgilio Mar贸n, es considerado uno de las obras cl谩sicas fundacionales de la literatura universal que lo relaciona directamente con los aedos griegos, especialmente Homero, pero que en como continuaci贸n hist贸rica con la guerra de Troya tiene tambi茅n conexiones con algunas de las tragedias de Esquilo y S贸focles.
Virgilio, este poeta incomparable, comparte dos detalles muy interesantes con el genio checo Franz Kafka. Esta, su obra cumbre est谩 inacabada luego de once a帽os de gestaci贸n a los que dedicara los 煤ltimos a帽os de su vida, incluso ya muy enfermo, de la misma manera que Kafka, no termina sus novelas "El castillo" o "El proceso", Virgilio deja trunco el final de la Eneida que le arrebata la muerte cuando lo sorprende a los 51 a帽os.
Por el otro lado, tambi茅n comparte con Kafka una decisi贸n que fue deso铆da: Kafka, ya gravemente enfermo de tuberculosis le pide a Max Brod, su amigo y albacea que queme toda su obra, orden que Brod desobedece para legarnos todo lo que hoy leemos de este autor.
Lo mismo hace Vario, amigo y tambi茅n albacea de Virgilio quien ya en su lecho de muerte le pide que queme todo lo escrito sobre la Eneida, poema que el poeta acostumbraba a recitarle al emperador Augusto.
Cuando uno lee la Eneida sabe de antemano que si quiere realmente tener una idea global de lo que all铆 sucede, deber谩, en lo posible leer previamente la Teogon铆a de Hes铆odo que explica c贸mo se gestaron los distintos dioses del Olimpo y como 茅stos, luego de relacionarse con los mortales fueron engendrando a los distintos h茅roes de los poemas.
De esta forma, llegamos a saber que Eneas es fruto de la uni贸n de la diosa Venus (o Afrodita para los griegos) con su padre Anquises como de la misma manera Aquiles nace de la uni贸n de la diosa Tetis con el mortal Peleo, mientras que con Ulises esto no sucede aunque es importante aclarar la 铆ntima relaci贸n que el h茅roe de la Odisea tiene con Palas Atenea.
Siempre los dioses interceden ante un destino posiblemente desafortunado para cambiar las cosas y esto tambi茅n suceder谩 en la Eneida, ya que constantemente Eneas es protegido por Venus en distintos momentos, desde la huida de Troya hasta el arribo a las costas de Hesperia, como se denominaba antiguamente a Italia hasta cuando comienzan los combates contra los latinos bajo la orden del caudillo Turno, quien a su vez tendr谩 el apoyo de otra diosa, Juno, quien generar谩 en 茅l y en sus s煤bditos la constante violencia y 谩nimos para ir a la guerra, como lo hace tambi茅n el dios Ares (Marte) con H茅ctor en la Il铆ada.
Es que Juno, celosa de los troyanos har谩 lo imposible para impedir que Eneas funde una nueva Troya en Italia, adem谩s por haber sido desairada por el mortal Paris eligiendo a Venus y por el desaire amoroso que le propina Gan铆medes con un pr铆ncipe troyano.
Pero Venus no es la 煤nica diosa que formar谩 parte de todo este juego de traiciones, discordias y peleas. Otros dioses como J煤piter (Zeus) o Vulcano quien, de la misma manera que hizo con Ulises forjar谩 la armadura y escudo de Eneas para la batalla con Turno tendr谩n incidencia directa.
As铆, todo estar谩 servido para la guerra. Pero primero debemos aclarar que la Eneida consta de dos partes bien marcadas.
En primer lugar, luego de la destrucci贸n de Illi贸n, como se conoc铆a tambi茅n a Troya, Eneas escapa con su padre Anquises a cuestas y su hijo Ascanio de la mano, perdiendo en ella a su esposa mortal, Cre煤sa. A partir de all铆, arribar谩 a Cartago donde tendr谩 un tormentoso affaire con la reina, Dido. Estos hechos tienen un trasfondo que le acarrear谩n m谩s desgracias al h茅roe teucro.
Es que el escape de Eneas hacia Italia tiene el mismo tenor que el de Ulises volviendo a 脥taca en la Odisea. Recordemos que son varios los poemas y tragedias en donde se narran regresos odiseicos luego de la ca铆da de Troya. Lo mismo sucede con el regreso de Agamen贸n en la tragedia de Esquilo y en la Orest铆ada, narrado por el mismo aedo.
Luego de vivir las peores vicisitudes, de la persecuci贸n de Juno, la muerte de muchos de sus guerreros, de estar sometidos a tempestades que destruyen sus naves llega a Italia y es aqu铆 donde comienza la segunda parte, que tiene en el relato, una similitud muy cercana a la Il铆ada, cuando los latinos entran en guerra con los teucros. Los cuatro libros finales de los doce que contiene la Eneida relatan estos hechos b茅licos.
Es clave haber le铆do la Il铆ada, ya que la descripci贸n de las batallas ser谩n pr谩cticamente iguales a los del poema de Homero. Por momentos, las manera en que lo describe Virgilio es tan cruento que parece que uno como lector est谩 viendo esa violencia con la que latinos y teucros se masacran en el campo de batalla. La sangre salpica por doquier a todos los que son muertos por su enemigo, las lanzas acribillan cuanto pecho se encuentran y se parten cabezas hasta el cuello o se deg眉ellan hombres sin la menor compasi贸n.
Parece que Nikol谩i G贸gol se inspir贸 en la Il铆ada y la Eneida para contarnos de manera tan expl铆cita y tan parecida lo que sucede en el enfrentamiento entre los cosacos ucranianos y los polacos en su novela Tar谩s Bulba, lo que demuestra la inspiraci贸n que poetas como Homero o Virgilio generaban en los grandes escritores de la era moderna.
Otro aspecto muy importante a tener en cuenta es que el eje y el centro de la Eneida reside en el libro VI, cuando Eneas desciende a los Infiernos para encontrarse con Anquises, su padre fallecido. De la misma manera que cuando Ulises baja al Hades, Eneas debe atravesar los distintos lugares del Infierno como lo hace el inmenso Dante Alighieri quien durante gran parte de la Divina Comedia elige para esa traves铆a precisamente a... Virgilio. Nadie m谩s indicado que el poeta latino para acompa帽arlo en ese oscuro camino.
A diferencia de lo narrado en La Divina Commedia, Virgilio nos explica c贸mo es el Infierno de una forma m谩s reducida y como si todos los lugares estuvieran muy juntos unos de otro.
Eneas es acompa帽ado por la profetiza Sibila, quien le muestra y explica qu茅 es cada cosa en el Averno y que sucede con las almas que est谩n all铆.
Lo que Dante describir谩 con todo lujo de detalles es mostrado a Eneas r谩pidamente, tal es el caso de Caronte, el barquero que traslada las almas por el r铆o Aqueronte, la laguna Estigia y el lago del Leteo, en donde Eneas tambi茅n debe entrar para olvidar parte de lo vivido.
Ya en los libros XI y XII se desarrolla la batalla final y da la sensaci贸n de que Virgilio traza una comparaci贸n con la Il铆ada para describir el enfrentamiento m谩s importante de todos entre Eneas y Turno, como lo hiciera Homero con Aquiles y H茅ctor.
Es claro el sentimiento de homenaje a Homero como tambi茅n la inspiraci贸n que el poeta griego le infund贸 para continuar la historia en su propio poema.
Comparando la Il铆ada como la Odisea, tanto Eneas como Aquiles enfrentan a su adversario con el objeto de vengar la muerte de Patroclo en el caso de Aquiles contra H茅ctor como la muerte de Palante a manos de Turno en lo que respecta a Eneas.
Lamentablemente y al quedar inconclusa la Eneida, nunca sabremos que sucede despu茅s de este enfrentamiento del que no voy a revelar el ganador para resguardar a aquel lector que quiera embarcarse en la aventura del bravo y valiente guerrero Eneas, cuyas haza帽as han quedado inmortalizadas en el oro de las letras universales gracias a Virgilio, uno de los padres de la literatura.
Quisieron los hados que as铆 fuera鈥�
July 8, 2008
There are plenty of reviews here telling you why you should or shouldn't read book X. This review of Virgil's "Aeneid," the largely-completed first century BC nationalist epic poem that recounts the Trojan War and Aeneas's role in the eventual founding of Rome, will tell you instead why you should read a copy of "Aeneid" from a university library. Simply put: student annotations.
Nearly every book in a university catalog has been checked out at one time or another by a student reading it as primary or supplemental material for class. Thus, many books have important passages underlined, major themes listed at the beginnings of chapters, and clarifications written in the margins. The copy of "Aeneid" that I read not only contained thematic annotations from one student, but also a number of unintentionally funny comments from another. This made reading the epic poem, the sort of which spends five pages describing Aeneas's shield, much more entertaining than it might have otherwise been.
For example, beside a section in which the longevity and glory of the Roman Empire was prophesied, the befuddled student wrote, "But Rome fell- did Virgil know this?" Ah yes, Virgil the time-traveling super-poet who cleverly peppered his verse with chronologically ironic statements. The same annotator observed that Dido's downfall is that she's "too nice" (apparently, feuding goddesses had nothing to do with it) and produced a mind-boggling series of rhetorical queries that demonstrate the importance of using context when deciphering pronouns in poetry (hint: the closest noun isn't always the antecedent).
Sadly, the annotator only made it about a third of the way through the poem before either realizing that he/she could glean the crucial bits from lecture/Wikipedia or dropping the class. As a result, I was forced to pencil in similar comments in order to make it through the rest of the poem. The moral of this story is that though you may get the occasional bonehead marking up your book, reading a book that others have commented on previously gives an undeniable sense of camraderie. As in any interaction with strangers, you may be happily surprised, disappointed, or surprised into laughter. I highly recommend the experience to all.
Nearly every book in a university catalog has been checked out at one time or another by a student reading it as primary or supplemental material for class. Thus, many books have important passages underlined, major themes listed at the beginnings of chapters, and clarifications written in the margins. The copy of "Aeneid" that I read not only contained thematic annotations from one student, but also a number of unintentionally funny comments from another. This made reading the epic poem, the sort of which spends five pages describing Aeneas's shield, much more entertaining than it might have otherwise been.
For example, beside a section in which the longevity and glory of the Roman Empire was prophesied, the befuddled student wrote, "But Rome fell- did Virgil know this?" Ah yes, Virgil the time-traveling super-poet who cleverly peppered his verse with chronologically ironic statements. The same annotator observed that Dido's downfall is that she's "too nice" (apparently, feuding goddesses had nothing to do with it) and produced a mind-boggling series of rhetorical queries that demonstrate the importance of using context when deciphering pronouns in poetry (hint: the closest noun isn't always the antecedent).
Sadly, the annotator only made it about a third of the way through the poem before either realizing that he/she could glean the crucial bits from lecture/Wikipedia or dropping the class. As a result, I was forced to pencil in similar comments in order to make it through the rest of the poem. The moral of this story is that though you may get the occasional bonehead marking up your book, reading a book that others have commented on previously gives an undeniable sense of camraderie. As in any interaction with strangers, you may be happily surprised, disappointed, or surprised into laughter. I highly recommend the experience to all.
October 5, 2022
History records that Virgil wrote his epic poem The Aeneid to fulfill two purposes. One is to restore the faith among Romans in the "Greatness of Rome" at a time such faith was hard tried. The second reason is to legitimize the Caesar line to the Roman throne. To achieve this end, Virgil picks up a Trojan hero by the name of Aeneas, who is a mythical legend in Homer's epic poem The Iliad , and weaves a tale of how he became the founding father of future Roman rulers.
Having drawn his hero from Homer, Virgil also draws his influence from Homer. The Aeneid in all sense is a structural mixture of The Iliad and The Odyssey. Out of the twelve books, the first six tell the story of Aeneas's wanderings and the many obstacles he faces in his voyage to Italy thus imitating the pattern of The Odyssey . The next six books hold the story of warfare: the war between the Trojans and the Rutulians for the throne of Italy and the royal bride. This part imitates Homer's The Iliad. However, after this second reading, I felt that Virgil, while imitating Homer, has also surpassed him in a different aspect. Virgil's portrayal of this legendary story is more passionate and expressive than either of Homer's classics. Even the hero Aeneas, is portrayed more like a human than the superheroes Hector, Achilles, and Odysseus, so as to make the human connection to the ruling Caser line more plausible.
The reading experience of The Aeneid was quite pleasant this time. The translation I read is commendable. It has kept the feel of the time period of this legendary tale while making it more readable at the same time. The story was engaging, and it went quite smoothly through the twelve books. I enjoyed the story and very much enjoyed the dramatic effect with which it was portrayed.
One particular thing struck me after this read. According to this tale, the Trojans, representing the east, are to become the founding fathers of the western Roman line, mixing them with the native Italians. But here Virgil says that Jupiter, in order to satisfy his wife, Juno, promises that the new mixed race emerging from the Trojan-Italian union will keep the customs, speech, dress, values, and lifestyle of the native Italians, and not of the Trojans. I couldn't help wondering whether this was Virgil's way of expressing the triumph of the West over the East.
However, from a modern reader鈥檚 perspective, this epic poem is a literary justice to the Trojans who are finally rescued from their humiliation and restored to their dignity. For the sympathizers of Troy and Trojans, Virgil has furnished a good antidote.
Having drawn his hero from Homer, Virgil also draws his influence from Homer. The Aeneid in all sense is a structural mixture of The Iliad and The Odyssey. Out of the twelve books, the first six tell the story of Aeneas's wanderings and the many obstacles he faces in his voyage to Italy thus imitating the pattern of The Odyssey . The next six books hold the story of warfare: the war between the Trojans and the Rutulians for the throne of Italy and the royal bride. This part imitates Homer's The Iliad. However, after this second reading, I felt that Virgil, while imitating Homer, has also surpassed him in a different aspect. Virgil's portrayal of this legendary story is more passionate and expressive than either of Homer's classics. Even the hero Aeneas, is portrayed more like a human than the superheroes Hector, Achilles, and Odysseus, so as to make the human connection to the ruling Caser line more plausible.
The reading experience of The Aeneid was quite pleasant this time. The translation I read is commendable. It has kept the feel of the time period of this legendary tale while making it more readable at the same time. The story was engaging, and it went quite smoothly through the twelve books. I enjoyed the story and very much enjoyed the dramatic effect with which it was portrayed.
One particular thing struck me after this read. According to this tale, the Trojans, representing the east, are to become the founding fathers of the western Roman line, mixing them with the native Italians. But here Virgil says that Jupiter, in order to satisfy his wife, Juno, promises that the new mixed race emerging from the Trojan-Italian union will keep the customs, speech, dress, values, and lifestyle of the native Italians, and not of the Trojans. I couldn't help wondering whether this was Virgil's way of expressing the triumph of the West over the East.
However, from a modern reader鈥檚 perspective, this epic poem is a literary justice to the Trojans who are finally rescued from their humiliation and restored to their dignity. For the sympathizers of Troy and Trojans, Virgil has furnished a good antidote.
May 5, 2017
丕賳賴 丕賷丿 賵 賲禺鬲丕乇賳丕賲賴!
賲禺鬲丕乇賳丕賲賴 乇賵 丿賷丿賷丿責 丿賷丿賷丿 趩賯丿乇 噩賳诏 賴丕卮 鬲氐賳毓蹖賴責 倬乇 丕夭 丨乇賰丕鬲 禺卮賰 賵 賳賲丕賷卮賶貙 丕賳诏丕乇 賳賴 丕賳诏丕乇 賰賴 丕賵賳 噩丕 噩賳诏賴 賵 丿賵 賳賮乇 丿丕乇賳 亘丕 禺卮賲 賵 賵丨卮鬲 亘賴 賯氐丿 賰卮鬲 鬲賷睾 鬲賷夭 乇賵丕賳賴 賶 爻賷賳賴 賵 诏賱賵賶 賴賲 賲賶 賰賳賳. 賳賴 賵丨卮鬲賶貙 賳賴 毓乇賯賶貙 賳賴 亘賴 賳賮爻 賳賮爻 丕賮鬲丕丿賳賶貙 賳賴 鬲賷乇賶 賰賴 鬲賵賶 诏賵卮鬲 诏賷乇 賲賶 賰賳賴 賵 亘賷乇賵賳 賳賲賷丕丿貙 賳賴 賱禺鬲賴 禺賵賳 賰賮 賰乇丿賴 賶 噩丕乇賶 丕夭 诏賱賵賷賶...
賮賰乇 賲賶 賰賳賲 亘禺卮賶 丕賷賳 賴丕 亘賴 禺丕胤乇 丕賷賳賴 賰賴 毓賵丕賲賱 丕孬乇 賳賴 禺賵丿卮賵賳 丿乇 噩賳诏賶 丨囟賵乇 丿丕卮鬲賳 鬲丕 賵丕賯毓賷鬲卮 乇賵 亘亘賷賳賳 (胤亘賷毓鬲丕賸) 賵 賳賴 鬲禺賷賱 賯丿乇鬲賲賳丿賶 丿丕卮鬲賳 賰賴 亘鬲賵賳賳 噩賳賵賳 丌卮賵亘賳丕賰 賷賴 噩賳诏 乇賵 倬賷卮 禺賵丿卮賵賳 鬲氐賵賷乇 賰賳賳. 賵 賵賷乇跇賷賱 賯胤毓丕賸 賷賰賶 丕夭 丕賷賳 丿賵 乇賵 丿丕卮鬲賴: 賷丕 鬲噩乇亘賴 賶 賲爻鬲賯賷賲 噩賳诏貙 賷丕 鬲禺賷賱 賯丿乇鬲賲賳丿賶 賰賴 噩丕賷诏夭賷賳 鬲賲丕賲 毓賷丕乇賶 亘乇丕賶 鬲噩乇亘賴 卮丿賴. 丕賷賳 丨乇賮 禺賷賱賶 亘賷卮鬲乇 丿乇 賲賵乇丿 賴賵賲乇 氐丕丿賯賴貙 賰賴 賵賷乇跇賷賱 倬賷乇賵卮 賲丨爻賵亘 賲賷卮賴.
丕賳賴 丕賷丿 賵 丕賷賱賷丕丿
賴賵賲乇 卮丕毓乇 賷賵賳丕賳賶 丨丿賵丿 爻賴 賴夭丕乇 爻丕賱 賯亘賱貙 賲丕噩乇丕賶 噩賳诏 丿賴 爻丕賱賴 賶 賷賵賳丕賳 賵 鬲乇賵賶 乇賵 賰賴 亘賴 賳丕亘賵丿賶 鬲乇賵賶 丕賳噩丕賲賷丿貙 亘賴 卮毓乇 爻乇賵丿. 丨丿賵丿 賴夭丕乇 爻丕賱 亘毓丿貙 賵賷乇跇賷賱 卮丕毓乇 乇賵賲賶 丿賳亘丕賱賴 丕賶 亘乇丕賶 丕賷賱賷丕丿 爻乇賵丿 賵 鬲毓乇賷賮 賰乇丿 賰賴 趩胤賵乇 賲賴丕噩乇丕賳 噩賳诏 夭丿賴 賶 鬲乇賵賶貙 丿乇 噩爻鬲噩賵賶 禺賵賳賴 丕賶 噩丿賷丿貙 鬲賲丿賳 乇賵賲 乇賵 丿乇 丕賷鬲丕賱賷丕 亘賳賷丕丿 诏匕丕卮鬲賳.
丨賲丕爻賴 賶 賴賵賲乇 丕賵賳 賯丿乇賴丕 毓賳丕氐乇 賲賱賾賶 賳丿丕乇賴貙 賵 賴賵賲乇 亘賴 賷賰 丕賳丿丕夭賴 丕夭 鬲乇賵噩丕賳 賴丕 賵 賷賵賳丕賳賶 賴丕 噩丕賳亘丿丕乇賶 賲賶 賰賳賴貙 賴賲賵賳 胤賵乇 賰賴 禺丿丕賷丕賳 亘毓囟賶 胤乇賮丿丕乇 丕賷賳 诏乇賵賴賳 賵 亘毓囟賶 胤乇賮丿丕乇 丕賵賳 诏乇賵賴. 丕賲丕 丨賲丕爻賴 賶 賵賷乇跇賷賱 卮丕賷丿 亘賴 鬲亘毓 卮賰賱 丨賰賵賲鬲 乇賵賲貙 乇賳诏賶 卮丿賷丿丕賸 賲賱賾賶 诏乇丕賷丕賳賴 倬賷丿丕 賰乇丿賴貙 噩丿丕賶 丕夭 賲賵囟賵毓 (賲丕噩乇丕賶 亘賳賷丕賳诏匕丕乇丕賳 乇賵賲) 丿乇 鬲賵氐賷賮 賴丕 賵 卮禺氐賷鬲 倬乇丿丕夭賶 賴丕 賵 賲丕噩乇丕賴丕 賵 倬賷卮诏賵賷賶 賴丕 賵 乇賮鬲丕乇 禺丿丕賷丕賳貙 噩丕賳亘丿丕乇賶 賲胤賱賯賶 亘賴 賳賮毓 鬲乇賵噩丕賳 賴丕 (亘賳賷丕賳诏匕丕乇丕賳 乇賵賲) 丿賷丿賴 賲賷卮賴 賵 亘賴 賳丿乇鬲 禺氐賵氐賷鬲 賲孬亘鬲賶 丕夭 丿卮賲賳丕卮賵賳 賳卮賵賳 丿丕丿賴 賲賷卮賴.
丕賷賳 禺氐賵氐賷鬲貙 賵 賳丿丕卮鬲賳 禺胤 丿丕爻鬲丕賳賶 倬賷賵爻鬲賴 賵 噩匕丕亘貙 亘丕毓孬 賲賷卮賴 賰賴 丨賲丕爻賴 賶 乇賵賲賶 丕賳賴 丕賷丿 趩賳丿 賲乇鬲亘賴 倬丕賷賷賳 鬲乇 丕夭 賴賲鬲丕賶 賷賵賳丕賳賶 卮 賯乇丕乇 亘诏賷乇賴貙 賴乇 趩賳丿 賴賳賵夭 丿乇 丕賵噩 賲賶 丿乇禺卮賴.
禺賱丕氐賴 讴鬲丕亘 亘乇丕蹖 蹖丕丿丌賵乇蹖 卮禺氐蹖
賲禺鬲丕乇賳丕賲賴 乇賵 丿賷丿賷丿責 丿賷丿賷丿 趩賯丿乇 噩賳诏 賴丕卮 鬲氐賳毓蹖賴責 倬乇 丕夭 丨乇賰丕鬲 禺卮賰 賵 賳賲丕賷卮賶貙 丕賳诏丕乇 賳賴 丕賳诏丕乇 賰賴 丕賵賳 噩丕 噩賳诏賴 賵 丿賵 賳賮乇 丿丕乇賳 亘丕 禺卮賲 賵 賵丨卮鬲 亘賴 賯氐丿 賰卮鬲 鬲賷睾 鬲賷夭 乇賵丕賳賴 賶 爻賷賳賴 賵 诏賱賵賶 賴賲 賲賶 賰賳賳. 賳賴 賵丨卮鬲賶貙 賳賴 毓乇賯賶貙 賳賴 亘賴 賳賮爻 賳賮爻 丕賮鬲丕丿賳賶貙 賳賴 鬲賷乇賶 賰賴 鬲賵賶 诏賵卮鬲 诏賷乇 賲賶 賰賳賴 賵 亘賷乇賵賳 賳賲賷丕丿貙 賳賴 賱禺鬲賴 禺賵賳 賰賮 賰乇丿賴 賶 噩丕乇賶 丕夭 诏賱賵賷賶...
賮賰乇 賲賶 賰賳賲 亘禺卮賶 丕賷賳 賴丕 亘賴 禺丕胤乇 丕賷賳賴 賰賴 毓賵丕賲賱 丕孬乇 賳賴 禺賵丿卮賵賳 丿乇 噩賳诏賶 丨囟賵乇 丿丕卮鬲賳 鬲丕 賵丕賯毓賷鬲卮 乇賵 亘亘賷賳賳 (胤亘賷毓鬲丕賸) 賵 賳賴 鬲禺賷賱 賯丿乇鬲賲賳丿賶 丿丕卮鬲賳 賰賴 亘鬲賵賳賳 噩賳賵賳 丌卮賵亘賳丕賰 賷賴 噩賳诏 乇賵 倬賷卮 禺賵丿卮賵賳 鬲氐賵賷乇 賰賳賳. 賵 賵賷乇跇賷賱 賯胤毓丕賸 賷賰賶 丕夭 丕賷賳 丿賵 乇賵 丿丕卮鬲賴: 賷丕 鬲噩乇亘賴 賶 賲爻鬲賯賷賲 噩賳诏貙 賷丕 鬲禺賷賱 賯丿乇鬲賲賳丿賶 賰賴 噩丕賷诏夭賷賳 鬲賲丕賲 毓賷丕乇賶 亘乇丕賶 鬲噩乇亘賴 卮丿賴. 丕賷賳 丨乇賮 禺賷賱賶 亘賷卮鬲乇 丿乇 賲賵乇丿 賴賵賲乇 氐丕丿賯賴貙 賰賴 賵賷乇跇賷賱 倬賷乇賵卮 賲丨爻賵亘 賲賷卮賴.
丕賳賴 丕賷丿 賵 丕賷賱賷丕丿
賴賵賲乇 卮丕毓乇 賷賵賳丕賳賶 丨丿賵丿 爻賴 賴夭丕乇 爻丕賱 賯亘賱貙 賲丕噩乇丕賶 噩賳诏 丿賴 爻丕賱賴 賶 賷賵賳丕賳 賵 鬲乇賵賶 乇賵 賰賴 亘賴 賳丕亘賵丿賶 鬲乇賵賶 丕賳噩丕賲賷丿貙 亘賴 卮毓乇 爻乇賵丿. 丨丿賵丿 賴夭丕乇 爻丕賱 亘毓丿貙 賵賷乇跇賷賱 卮丕毓乇 乇賵賲賶 丿賳亘丕賱賴 丕賶 亘乇丕賶 丕賷賱賷丕丿 爻乇賵丿 賵 鬲毓乇賷賮 賰乇丿 賰賴 趩胤賵乇 賲賴丕噩乇丕賳 噩賳诏 夭丿賴 賶 鬲乇賵賶貙 丿乇 噩爻鬲噩賵賶 禺賵賳賴 丕賶 噩丿賷丿貙 鬲賲丿賳 乇賵賲 乇賵 丿乇 丕賷鬲丕賱賷丕 亘賳賷丕丿 诏匕丕卮鬲賳.
丨賲丕爻賴 賶 賴賵賲乇 丕賵賳 賯丿乇賴丕 毓賳丕氐乇 賲賱賾賶 賳丿丕乇賴貙 賵 賴賵賲乇 亘賴 賷賰 丕賳丿丕夭賴 丕夭 鬲乇賵噩丕賳 賴丕 賵 賷賵賳丕賳賶 賴丕 噩丕賳亘丿丕乇賶 賲賶 賰賳賴貙 賴賲賵賳 胤賵乇 賰賴 禺丿丕賷丕賳 亘毓囟賶 胤乇賮丿丕乇 丕賷賳 诏乇賵賴賳 賵 亘毓囟賶 胤乇賮丿丕乇 丕賵賳 诏乇賵賴. 丕賲丕 丨賲丕爻賴 賶 賵賷乇跇賷賱 卮丕賷丿 亘賴 鬲亘毓 卮賰賱 丨賰賵賲鬲 乇賵賲貙 乇賳诏賶 卮丿賷丿丕賸 賲賱賾賶 诏乇丕賷丕賳賴 倬賷丿丕 賰乇丿賴貙 噩丿丕賶 丕夭 賲賵囟賵毓 (賲丕噩乇丕賶 亘賳賷丕賳诏匕丕乇丕賳 乇賵賲) 丿乇 鬲賵氐賷賮 賴丕 賵 卮禺氐賷鬲 倬乇丿丕夭賶 賴丕 賵 賲丕噩乇丕賴丕 賵 倬賷卮诏賵賷賶 賴丕 賵 乇賮鬲丕乇 禺丿丕賷丕賳貙 噩丕賳亘丿丕乇賶 賲胤賱賯賶 亘賴 賳賮毓 鬲乇賵噩丕賳 賴丕 (亘賳賷丕賳诏匕丕乇丕賳 乇賵賲) 丿賷丿賴 賲賷卮賴 賵 亘賴 賳丿乇鬲 禺氐賵氐賷鬲 賲孬亘鬲賶 丕夭 丿卮賲賳丕卮賵賳 賳卮賵賳 丿丕丿賴 賲賷卮賴.
丕賷賳 禺氐賵氐賷鬲貙 賵 賳丿丕卮鬲賳 禺胤 丿丕爻鬲丕賳賶 倬賷賵爻鬲賴 賵 噩匕丕亘貙 亘丕毓孬 賲賷卮賴 賰賴 丨賲丕爻賴 賶 乇賵賲賶 丕賳賴 丕賷丿 趩賳丿 賲乇鬲亘賴 倬丕賷賷賳 鬲乇 丕夭 賴賲鬲丕賶 賷賵賳丕賳賶 卮 賯乇丕乇 亘诏賷乇賴貙 賴乇 趩賳丿 賴賳賵夭 丿乇 丕賵噩 賲賶 丿乇禺卮賴.
禺賱丕氐賴 讴鬲丕亘 亘乇丕蹖 蹖丕丿丌賵乇蹖 卮禺氐蹖
March 3, 2020
Book Review
3 out of 5 stars to , a classic work written in 17 BC by .
In The Aeneid, Virgil creates two vastly different archetypal heroes named Turnus and Aeneas. Aeneas is a Trojan prince who has hopes of finding a new Troy in the land of Latium, but he runs into an angered Turnus, a Rutulian prince that does not welcome Aeneas. Both men are equally strong, equally determined, and have equal and rightful claim to the land. However, Virgil creates this distinct difference and hatred between the men that leads to the profound greatness of Rome.
Turnus is a Rutulian prince who is planning on marrying Lavinia, the princess of Latium. He is courageous when he defends his people in the war against the Trojans (Book IX and X), brilliant in his plans to attack the Trojan camp (p.207), yet motivated to win for purely personal goals. Turnus sacrifices public welfare and the good of the state just to defeat Aeneas and win the battle and Lavinia. Aeneas is also a prince who is planning on marrying Lavinia. He is caring when he looks back for his late wife Creusa (p.57), respectful and loving when his father dies (p.80), and driven when he continues his journey to find a new Troy (p.103). However, unlike Turnus, Aeneas is truly unselfish in his reasons for wanting Latium. Aeneas wants to settle the land for his people and their families, to find a new Troy. Aeneas does not want the land to be selfish. Both Turnus and Aeneas have determination behind them, physical and mental strength behind them, yet most of all the gods behind them.
With the help of Juno, Turnus fights till the end avoiding several near deaths such as Pallas鈥� arrow and his jump into the Tiber River fully armored. Similar to Turnus, Aeneas鈥� mother helps Aeneas by giving him protection with the creation of the shield (p.198), and when she heals Aeneas鈥� wound with the special potion (p. 302). Turnus and Aeneas up until this point have no differences. They are identical in their strengths, weaknesses, and support. However, the one major difference between them is that Aeneas has destiny behind him. He is fated to take care of his Trojan people, find a new Troy, marry Lavinia, and bear descendants to establish the great city of Rome. Aeneas has no choice but to win the war and Lavinia鈥檚 hand in marriage. Turnus must lose and somehow suffer; He cannot escape his fate. Virgil makes use of the difference between the two heroes using antagonism, hatred and most of all the superiority of Aeneas to show the greatness of Rome.
At the time The Aeneid was written Augustus Caesar was in power and the Pax Romana was beginning. Rome was in a state of absolute reign and greatness. Virgil makes use of the character Aeneas to show the greatness of his friend Octavian or Augustus Caesar. He uses the difference between the two heroes to show that by destiny via Aeneas (an ancestor of Octavian Caesar) Rome will lead the world in philosophy, art, and intelligence, etc. Turnus is good, but Aeneas is better and so is the new emperor Caesar. With Octavian Caesar in control, Rome will become even greater than it is. Virgil accomplishes his goal of glorifying Rome and its leader Augustus Caesar.
Virgil creates a strong similarity between Turnus and Aeneas, however the major characteristic of these two heroes is that Aeneas is destined to win and Turnus to lose. This difference greatly surpasses the likeness between the two men and leads to the exaltation and glorification of Rome. If Augustus Caesar is anywhere similar to Aeneas, which he is as Virgil points out, he will lead Rome to the tops. And that is just what happens!
About Me
For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on 欧宝娱乐, and then I send it on over to my WordPress blog at , where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by.
3 out of 5 stars to , a classic work written in 17 BC by .
In The Aeneid, Virgil creates two vastly different archetypal heroes named Turnus and Aeneas. Aeneas is a Trojan prince who has hopes of finding a new Troy in the land of Latium, but he runs into an angered Turnus, a Rutulian prince that does not welcome Aeneas. Both men are equally strong, equally determined, and have equal and rightful claim to the land. However, Virgil creates this distinct difference and hatred between the men that leads to the profound greatness of Rome.
Turnus is a Rutulian prince who is planning on marrying Lavinia, the princess of Latium. He is courageous when he defends his people in the war against the Trojans (Book IX and X), brilliant in his plans to attack the Trojan camp (p.207), yet motivated to win for purely personal goals. Turnus sacrifices public welfare and the good of the state just to defeat Aeneas and win the battle and Lavinia. Aeneas is also a prince who is planning on marrying Lavinia. He is caring when he looks back for his late wife Creusa (p.57), respectful and loving when his father dies (p.80), and driven when he continues his journey to find a new Troy (p.103). However, unlike Turnus, Aeneas is truly unselfish in his reasons for wanting Latium. Aeneas wants to settle the land for his people and their families, to find a new Troy. Aeneas does not want the land to be selfish. Both Turnus and Aeneas have determination behind them, physical and mental strength behind them, yet most of all the gods behind them.
With the help of Juno, Turnus fights till the end avoiding several near deaths such as Pallas鈥� arrow and his jump into the Tiber River fully armored. Similar to Turnus, Aeneas鈥� mother helps Aeneas by giving him protection with the creation of the shield (p.198), and when she heals Aeneas鈥� wound with the special potion (p. 302). Turnus and Aeneas up until this point have no differences. They are identical in their strengths, weaknesses, and support. However, the one major difference between them is that Aeneas has destiny behind him. He is fated to take care of his Trojan people, find a new Troy, marry Lavinia, and bear descendants to establish the great city of Rome. Aeneas has no choice but to win the war and Lavinia鈥檚 hand in marriage. Turnus must lose and somehow suffer; He cannot escape his fate. Virgil makes use of the difference between the two heroes using antagonism, hatred and most of all the superiority of Aeneas to show the greatness of Rome.
At the time The Aeneid was written Augustus Caesar was in power and the Pax Romana was beginning. Rome was in a state of absolute reign and greatness. Virgil makes use of the character Aeneas to show the greatness of his friend Octavian or Augustus Caesar. He uses the difference between the two heroes to show that by destiny via Aeneas (an ancestor of Octavian Caesar) Rome will lead the world in philosophy, art, and intelligence, etc. Turnus is good, but Aeneas is better and so is the new emperor Caesar. With Octavian Caesar in control, Rome will become even greater than it is. Virgil accomplishes his goal of glorifying Rome and its leader Augustus Caesar.
Virgil creates a strong similarity between Turnus and Aeneas, however the major characteristic of these two heroes is that Aeneas is destined to win and Turnus to lose. This difference greatly surpasses the likeness between the two men and leads to the exaltation and glorification of Rome. If Augustus Caesar is anywhere similar to Aeneas, which he is as Virgil points out, he will lead Rome to the tops. And that is just what happens!
About Me
For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on 欧宝娱乐, and then I send it on over to my WordPress blog at , where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by.
May 27, 2018
some funny reviews as to my opinions on this
1) this is filled with purple prose and instalove, complete with a hot sexy bad boy for the main character
2) hello my name is Aeneas Dark'ness Dementia Raven Way. I have long ebony black hair and some people say I look like Aphrodite (AN: if u don鈥檛 know who she is get da hell out of here!) I was sailing through the ever-mindful anger of the savage Juno. It was raining so there was no sun, which I was very happy about. A lot of gods stared at me. I put up my middle finger at them.
3) this doesn't really deserve one star but my latin class definitely does
1) this is filled with purple prose and instalove, complete with a hot sexy bad boy for the main character
2) hello my name is Aeneas Dark'ness Dementia Raven Way. I have long ebony black hair and some people say I look like Aphrodite (AN: if u don鈥檛 know who she is get da hell out of here!) I was sailing through the ever-mindful anger of the savage Juno. It was raining so there was no sun, which I was very happy about. A lot of gods stared at me. I put up my middle finger at them.
3) this doesn't really deserve one star but my latin class definitely does
November 8, 2017
Read as part of my A Levels.
Thoroughly enjoyed the first half of The Aeneid (mainly because its the half influenced by The Odyssey and so more mythological and fantastical) less enthralled by the second half (more influenced by The Iliad - with war and politics.)
Will go back for a reread at some point I imagine.
Thoroughly enjoyed the first half of The Aeneid (mainly because its the half influenced by The Odyssey and so more mythological and fantastical) less enthralled by the second half (more influenced by The Iliad - with war and politics.)
Will go back for a reread at some point I imagine.
February 8, 2018
"I sing of warfare and a man at war.
From the sea-coast of Troy in early days
He came to Italy by destiny,
To our Lavinian western shore,
A fugitive, this captain, buffeted
Cruelly on land as on the sea
By blows from powers of the air - behind them
Baleful Juno in her sleepless rage.
And cruel losses were his lot in war,
Till he could found a city and bring home
His gods to Latium, land of the Latin race,
The Alban lords, and the high walls of Rome.
Tell me the cause now, O Muse, how galled
In her divine pride, and how sore at heart
From her old wound, the queen of gods compelled him-
A man apart, devoted to his mission-
To undergo so many perilous days
And enter on so many trials."
Years after finally reading The Illiad and The Odyssey (one of my high school classes went over the important bits of The Odyssey, but that was pretty much the beginning and end of my classical education), I got around to reading the Roman side of the story, at last.
Is it blasphemy to say that I like Virgil's version more? Granted, Odysseus is probably a more compelling character, since he's at least morally complex in comparison to Aeneas's bland nobility and piety, but I kind of preferred reading the adventures of a guy who manages to be a hero without also having to be a self-centered, cheating dickbag. Even though I prefer the Greeks to the Romans overall, I'm Team Aeneas on this one, because man, Odysseus sucks. (I have this whole theory that everything that happens in the Odyssey is actually one huge lie concocted by Odysseus to explain why he didn't come home for ten years after the Trojan War)
As in Homer's epics, some of the best parts of this book are the battle descriptions, which are exciting, detailed, and appropriately gory. There's also a lengthy description of the armor that the gods give one of the characters, and even though that sounds boring, it's actually beautiful. And I liked the supporting characters a lot more than I liked Homer's, especially Queen Dido and Camilla the warrior girl. Also Aeneas travels to the Underworld, which is always a fun time.
From the sea-coast of Troy in early days
He came to Italy by destiny,
To our Lavinian western shore,
A fugitive, this captain, buffeted
Cruelly on land as on the sea
By blows from powers of the air - behind them
Baleful Juno in her sleepless rage.
And cruel losses were his lot in war,
Till he could found a city and bring home
His gods to Latium, land of the Latin race,
The Alban lords, and the high walls of Rome.
Tell me the cause now, O Muse, how galled
In her divine pride, and how sore at heart
From her old wound, the queen of gods compelled him-
A man apart, devoted to his mission-
To undergo so many perilous days
And enter on so many trials."
Years after finally reading The Illiad and The Odyssey (one of my high school classes went over the important bits of The Odyssey, but that was pretty much the beginning and end of my classical education), I got around to reading the Roman side of the story, at last.
Is it blasphemy to say that I like Virgil's version more? Granted, Odysseus is probably a more compelling character, since he's at least morally complex in comparison to Aeneas's bland nobility and piety, but I kind of preferred reading the adventures of a guy who manages to be a hero without also having to be a self-centered, cheating dickbag. Even though I prefer the Greeks to the Romans overall, I'm Team Aeneas on this one, because man, Odysseus sucks. (I have this whole theory that everything that happens in the Odyssey is actually one huge lie concocted by Odysseus to explain why he didn't come home for ten years after the Trojan War)
As in Homer's epics, some of the best parts of this book are the battle descriptions, which are exciting, detailed, and appropriately gory. There's also a lengthy description of the armor that the gods give one of the characters, and even though that sounds boring, it's actually beautiful. And I liked the supporting characters a lot more than I liked Homer's, especially Queen Dido and Camilla the warrior girl. Also Aeneas travels to the Underworld, which is always a fun time.
December 26, 2024
賯賴乇賲丕賳責 禺蹖乇. 賲丕賲賵乇賲 賵 賲毓匕賵乇.
丿乇 丿賳蹖丕蹖 丕丿亘蹖丕鬲 鈥� 賴賲丕賳賳丿 丿賳蹖丕賴丕蹖 丿蹖诏乇 鈥� 賲鬲賳鈥屬囏� 丿乇 丕乇鬲亘丕胤蹖 賴賲蹖卮诏蹖 賵 鬲賳诏丕鬲賳诏 亘丕賴賲賳丿. 丕蹖賳 賴賲鈥屬嗀篡屬嗃屸€屬囏� 夭賲丕賳蹖 噩匕丕亘鈥屫辟嗀� 讴賴 賳賵蹖爻賳丿賴 丕卮丕乇賴鈥屰� 賵丕囟丨蹖 亘賴 丌賳賴丕 賳讴乇丿賴 亘丕卮丿 蹖丕 亘賴鬲乇貙 丨鬲丕 禺賵丿卮 賴賲 丕夭 丌賳 亘蹖鈥屫ㄘ� 亘丕卮丿貨 丕蹖賳噩丕爻鬲 讴賴 賱匕鬲 讴卮賮 賵 丿乇讴 賲鬲賳 亘賴 蹖讴 亘丕夭蹖 讴丕乇丌诏丕賴蹖 鬲亘丿蹖賱 賲蹖鈥屫促堌�. 丕賲丕 禺蹖賱蹖 賵賯鬲鈥屬囏� 賳賵蹖爻賳丿賴 讴丕乇 乇丕 爻丕丿賴 賲蹖鈥屭┵嗀� 賵 丌賳賯丿乇 爻乇賳禺鈥屬囏й� 乇蹖夭 賵 丿乇卮鬲 丿乇 爻丕禺鬲丕乇 賵 乇賵丕蹖鬲 賵 倬蹖乇賳诏 賵 賲賵鬲蹖賮 賵 爻亘讴 亘賴 卮賲丕 賲蹖鈥屫囏� 讴賴 卮讴 賲蹖鈥屭┵嗃屫� 賵丕賯毓賳 賴賲賴鈥屰� 丕蹖賳賴丕 亘丕 亘乇賳丕賲賴鈥屫臂屫槽屬� 丌诏丕賴丕賳賴 亘賵丿賴 蹖丕 賳卮丕賳賴鈥屸€屫й� 丕夭 囟毓賮 賯乇蹖丨賴 賵 丕賳丿蹖卮賴鈥屰� 丕賵.
賲賵乇丿 丕賳賴鈥屫й屫� 賵 乇丕亘胤賴鈥屫ж� 亘丕 丕蹖賱蹖丕丿 賵 丕丿蹖爻赖 丕丨鬲賲丕賱賳 賲毓乇賵賮鈥屸€屫臂屬� 賳賲賵賳賴鈥屰� 丕蹖賳 賯囟蹖賴 丕爻鬲. 丕賳賴鈥屫й屫� 乇丕 讴賴 卮乇賵毓 讴賳蹖丿貙 丕夭 卮亘丕賴鬲 倬乇乇賳诏 丌賳 亘賴 丨賲丕爻賴鈥屬囏й� 賴賵賲乇蹖 卮诏賮鬲鈥屫藏� 賲蹖鈥屫促堐屫� 賵 卮丕蹖丿 倬爻 丕夭 賲丿鬲蹖 丿賱鈥屫藏�. 丕诏乇 亘賴 禺賵丿賲 丕噩丕夭賴鈥屰� 丕睾乇丕賯 亘丿賴賲貙 丕賳诏丕乇 讴賴 亘丕 賳爻禺賴鈥屰� 丿爻鬲賽 丿賵賲蹖 胤乇賮蹖賲 讴賴 賳賵蹖爻賳丿賴鈥屸€屫й� 噩丕賴鈥屫焚勜� 丕賲丕 賳賴鈥屭嗁嗀з� 趩蹖乇賴鈥屫池� 丿乇 丌賳鈥� 鬲賱丕卮 讴乇丿賴 丕蹖賱蹖丕丿 賵 丕丿蹖爻赖 乇丕 亘丕 丕爻丕賲蹖 賱丕鬲蹖賳鈥� 亘丕夭賳賵蹖爻蹖 讴賳丿.鈥� 丕蹖賳 卮亘丕賴鬲貙 趩賴 丕爻賲 丌賳 乇丕 亘丕夭丌賮乇蹖賳蹖 亘诏匕丕乇蹖賲貙 趩賴 鬲賯賱蹖丿 蹖丕 趩賴 丕賱賴丕賲 鈥� 讴賴 亘賴 賳馗乇 賲賳 鬲乇讴蹖亘蹖 丕夭 賴賲賴鈥屰� 丕蹖賳鈥屬囏ж池� 鈥� 丕鬲賴丕賲蹖 賳蹖爻鬲 讴賴 賵蹖乇跇蹖賱 鬲賱丕卮蹖 賮毓丕賱丕賳賴 亘乇丕蹖 夭丿賵丿賳卮 讴乇丿賴 亘丕卮丿. 賲賴賲鈥屫臂屬� 賳賯丿賴丕蹖 賳賵卮鬲賴鈥屫簇� 亘乇 丕賳賴鈥屫й屫� 丿乇 丕蹖賳 丿賵 賴夭丕乇 爻丕賱 蹖丕 丕夭 丕蹖賳 丕乇鬲亘丕胤 噩賳噩丕賱蹖 卮乇賵毓 賲蹖鈥屭┵嗁嗀� 蹖丕 丿乇 丌賳 倬丕蹖丕賳 賲蹖鈥屭屫辟嗀� 賵 蹖丕 亘賴 賴乇 丨丕賱 诏乇蹖夭蹖 亘賴 丌賳 賲蹖鈥屫操嗁嗀�.
丿丕爻鬲丕賳 丕夭 丕蹖賳 賯乇丕乇 丕爻鬲 讴賴 丕賽賳賽賴 (亘賴 鬲賱賮馗 賮乇丕賳爻賵蹖/丕賳蹖丕爻 亘賴 丕賳诏賱蹖爻蹖/丌蹖賳賴鈥屫⒇� 亘賴 賱丕鬲蹖賳 讴賱丕爻蹖讴) 賯賴乇賲丕賳蹖 鬲乇賵丕蹖蹖 丕賲丕 丨丕卮蹖賴鈥屫й� 丿乇 噩賳诏 鬲乇賵丕 亘賵丿 讴賴 禺丿丕蹖丕賳貙 亘賴鈥屬堐屭樫� 賲丕丿乇卮 丌賮乇賵丿蹖鬲 賵 倬賵爻蹖丿賵賳貙 賳馗乇蹖 禺丕氐 亘賴 丕賵 丿丕卮鬲賳丿 賵 亘毓丿 丕夭 賴乇 亘丕乇 夭禺賲蹖 卮丿賳 丕賵 乇丕 賳噩丕鬲 賲蹖鈥屫ж嗀� 鬲丕 噩丕蹖蹖 讴賴 亘丕乇 丌禺乇 賳丕倬丿蹖丿 卮丿 賵 亘乇丕蹖 賴賵賲乇 賴賲 趩賳丿丕賳 賲賴賲 賳亘賵丿 讴賴 讴噩丕爻鬲. 賵蹖乇跇蹖賱 丕賲丕 亘賴 丕蹖賳 賳馗乇讴乇丿賴 亘乇賲蹖鈥屭必�. 丿乇 丕賳賴鈥屫й屫� 讴賴 賳夭丿蹖讴 亘賴 賴賮鬲 賯乇賳 倬爻 丕夭 丕蹖賱蹖丕丿 賳賵卮鬲賴 卮丿賴貙 賲蹖鈥屫ㄛ屬嗃屬� 讴賴 丕賳賴 丿賵亘丕乇賴 亘賴 噩賳诏 亘乇诏卮鬲賴 賵 鬲丕 丕賳鬲賴丕蹖 讴丕乇 丿乇 鬲乇賵丕 賲蹖鈥屬呚з嗀� 賵 賵賯鬲蹖 讴賴 讴丕乇蹖 丕夭 丕賵 亘乇賳賲蹖鈥屫③屫� 賲噩亘賵乇 亘賴 鬲乇讴 卮賴乇 賲蹖鈥屫促堌� 丕賱亘鬲賴 亘丕 賲丕賲賵乇蹖鬲蹖 鬲丕乇蹖禺蹖: 亘賳丕 賳賴丕丿賳 丕賲倬乇丕鬲賵乇蹖 乇賵賲.
卮卮 讴鬲丕亘 丕賵賱 丕賳賴鈥屫й屫� 丿丕爻鬲丕賳 爻賮乇 倬乇倬蹖趩鈥屬堌� 丕賳賴 賵 賴賲乇丕賴丕賳卮 丕爻鬲 亘乇丕蹖 乇爻蹖丿賳 亘賴 賱丕鬲蹖賵賲 [賲賳胤賯賴鈥屫й� 鬲丕乇蹖禺蹖 丿乇 丕蹖鬲丕賱蹖丕 讴賴 卮賴乇 乇賲 丿乇 丌賳噩丕 爻丕禺鬲賴 賲蹖鈥屫促堌�.] 趩蹖夭蹖 卮亘蹖賴 亘賴 爻賮乇 丕賵賱蹖爻 丿乇 噩爻鬲鈥屬堌堐� 禺丕賳賴. 賵 賳蹖賲賴鈥屰� 丿賵賲 讴鬲丕亘 賴賲 丕蹖賱蹖丕丿賽 賵蹖乇跇蹖賱 丕爻鬲貙 蹖毓賳蹖 丿丕爻鬲丕賳 噩賳诏鈥屬囏й屰� 讴賴 丕賳賴 亘丕蹖丿 亘乇丕蹖 鬲孬亘蹖鬲 丕蹖賳 賯賱賲乇賵 亘讴賳丿. 丿乇 丕蹖賳 賲蹖丕賳 賴賲 乇賵賲賳爻 丿丕乇蹖賲貙 賴賲 爻賮乇 亘賴 丿賳蹖丕蹖 賲乇丿诏丕賳 賵 賴賲 噩丿丕賱 亘蹖賳 丕賱賲倬蹖鈥屬囏й屰� 讴賴 賴乇 讴丿丕賲 胤乇賮丿丕乇 蹖讴 胤乇賮 丿丕爻鬲丕賳鈥屫з嗀�. 亘丕 丕蹖賳 賴賲賴 丕賲丕 卮讴丕賮蹖 亘夭乇诏 亘蹖賳 丕賳賴鈥屫й屫� 賵 丨賲丕爻賴鈥屬囏й� 賴賵賲乇蹖 賴爻鬲. 丕蹖賳噩丕 丕賮鬲禺丕乇 賮乇丿蹖 丕夭 賳賵毓 丕蹖賱蹖丕丿 趩賳丿丕賳 賲賴賲 賳蹖爻鬲貙 丿丕爻鬲丕賳鈥屭堐屰� 賵 賳蹖乇賳诏鈥屫ㄘж槽� 丕賵賱蹖爻 賴賲 禺蹖賱蹖 亘賴 讴丕乇 賳賲蹖鈥屫③屬嗀�. 賲爻兀賱賴 丕氐賱蹖 賮乇丕鬲乇 丕夭 賳亘乇丿 亘丕 禺丿丕蹖丕賳 蹖丕 亘丕夭诏卮鬲 亘賴 禺丕賳賴 丕爻鬲 賵 丌賳 趩蹖夭蹖 丕爻鬲 丕夭 噩賳爻 賵馗蹖賮賴鈥屭必й屰� (鬲乇噩賲賴鈥屫й� 丿賲賽 丿爻鬲蹖 丕夭 毓亘丕乇鬲 賱丕鬲蹖賳 pietas) 賵 丕賳爻丕賳 乇賳噩亘乇蹖 讴賴 丨爻 賲爻卅賵賱蹖鬲卮 賳爻亘鬲 亘賴 賮乇夭賳丿/賲賱鬲/鬲丕乇蹖禺 乇丕 亘丕賱丕鬲乇 丕夭 賴乇 诏賵賳賴 丕賮鬲禺丕乇 賮乇丿蹖 賲蹖鈥屫з嗀�. 亘賴 毓亘丕乇鬲 丿蹖诏乇貙 丕賳賴 賲丕賲賵乇 丕爻鬲 賵 賲毓匕賵乇. 丕賵 賳賴 賲蹖鈥屫堌з嗀� 亘丕 丕賮鬲禺丕乇 賲孬賱 賴讴鬲賵乇 賵 丌卮蹖賱 丿乇 噩賳诏 讴卮鬲賴 卮賵丿貙 賳賴 禺丕賳賴鈥屫й� 亘乇丕蹖 禺賵丿卮 丿丕卮鬲賴 亘丕卮丿 賵 賳賴 丕噩丕夭賴 丿丕乇丿 丕夭 賲賵丕賴亘 毓卮賯 亘賴乇賴鈥屬呝嗀� 卮賵丿. [丕倬乇丕蹖 賴賳乇蹖 倬賵乇爻賱 亘丕 賳丕賲 Dido and Aeneas 乇丕 亘卮賳賵蹖丿.] 爻乇賳賵卮鬲 (賵 賵蹖乇跇蹖賱) 亘乇丕蹖 丕賵 賳賯卮賴鈥屫й� 丿蹖诏乇 丿丕乇賳丿: 丕賵鈥� 亘丕蹖丿 乇賳噩 丕蹖賳 賲爻蹖乇 丿卮賵丕乇 乇丕 亘乇 禺賵丿 賴賲賵丕乇 讴賳丿 鬲丕 賯丿乇鬲賲賳丿鬲乇蹖賳 丕賲倬乇丕鬲賵乇蹖 丿賳蹖丕 乇丕 倬丿蹖丿 亘蹖丕賵乇丿.
賵蹖乇跇蹖賱 讴鬲丕亘 乇丕 爻賴 丿賴賴 賯亘賱 丕夭 賲蹖賱丕丿 賲爻蹖丨 賳賵卮鬲賴. 夭賲丕賳蹖 讴賴 乇賵賲 丿賵乇丕賳 倬丕丿卮丕賴蹖 (賯乇賵賳 鄹 鬲丕 鄱 賯亘賱 丕夭 賲蹖賱丕丿) 賵 噩賲賴賵乇蹖 (賯乇賳 鄱 鬲丕 夭賲丕賳 賳賵卮鬲賴 卮丿賳 讴鬲丕亘) 乇丕 倬卮鬲 爻乇 诏匕丕卮鬲賴 賵 丌诏賵爻鬲賵爻 噩賳诏鈥屬囏й� 丿丕禺賱蹖 賵 噩賲賴賵乇蹖鈥屫堌з囏з� 乇丕 爻乇讴賵亘 讴乇丿賴 賵 丨丕賱丕 亘賴 毓賳賵丕賳 丕賵賱蹖賳 丿蹖讴鬲丕鬲賵乇 丕賲倬乇丕鬲賵乇蹖貙 爻賵丿丕蹖 亘夭乇诏蹖 丿乇 爻乇 賲蹖鈥屬矩辟堌必з嗀�. 丕賱亘鬲賴 亘乇禺賱丕賮 鬲氐賵乇蹖 讴賴 丕夭 丕賲倬乇丕鬲賵乇賴丕蹖 禺賵賳乇蹖夭 賵 亘毓囟賳 丿蹖賵丕賳賴鈥屰� 乇賵賲 丿丕乇蹖賲貙 丌诏賵爻鬲賵爻 賲乇丿蹖 丌乇賲丕賳鈥屭必� 賵 氐賱丨鈥屫焚勜� 亘賵丿 鈥� 丕賱亘鬲賴 亘毓丿 丕夭 丕蹖賳 讴賴 亘賴 丕賳丿丕夭賴鈥屰� 讴丕賮蹖 禺賵賳 乇蹖禺鬲 鈥� 賵 丕蹖丿賴鈥屫①勜� 噩丕賲毓賴鈥屫й� 爻丕丿賴鈥屫槽屫池� 鬲賱丕卮鈥屭� 賵 賵馗蹖賮賴鈥屭必�. 賵蹖乇跇蹖賱 丿乇 丕賳賴鈥屫й屫� 賳賴 鬲賳賴丕 鬲丕乇蹖禺 丕賲倬乇丕鬲賵乇蹖 乇丕 亘賴 丕賮爻丕賳賴 賵 禺丿丕蹖丕賳 倬蹖賵賳丿 賲蹖鈥屫操嗀� 賵 賲卮乇賵毓蹖鬲鈥屫池ж� 賲蹖鈥屫促堌� 亘賱讴賴 鬲丕 丨丿 丕賲讴丕賳 丕蹖賳 丕蹖丿賴鈥屫①勨€屬囏� 賲蹖鈥屬矩辟堌必�. [丕賱亘鬲賴 乇丕亘胤賴鈥屰� 賵蹖乇跇蹖賱 亘丕 丌诏賵爻鬲賵爻 賵 丕賲倬乇丕鬲賵乇蹖 趩賳丿賱丕蹖賴鈥� 賵 倬蹖趩蹖丿賴鈥屫� 丕夭 丕蹖賳 亘賵丿.]
胤亘蹖毓蹖 亘賵丿 讴賴 賯賴乇賲丕賳 趩賳蹖賳 丨賲丕爻賴鈥屫й� 囟丿賯賴乇賲丕賳 丕夭 丌亘 丿乇亘蹖丕蹖丿. 讴爻蹖 讴賴 賳賴 亘爻蹖丕乇 賳蹖乇賵賲賳丿 丕爻鬲 賵 賳賴 亘爻蹖丕乇 夭蹖乇讴 賵 賳賴 丨鬲丕 丌賳賯丿乇 賲丨讴賲 賵 丕爻鬲賵丕乇 讴賴 賴蹖趩 賵賯鬲 禺賲 亘賴鈥� 丕亘乇賵 賳蹖丕賵乇丿. 丕賳賴 賳賴鈥屫嗁囏� 賴蹖趩 讴丿丕賲 丕夭 丕蹖賳賴丕 賳蹖爻鬲貙 亘賱讴賴 丕丨爻丕爻丕鬲蹖 亘爻蹖丕乇 毓賲蹖賯 丿丕乇丿. 亘賴 賴乇 亘賴丕賳賴鈥屫й� 丕夭 卮賴乇 賵 禺丕賳賴 賵 賴賲鈥屫必操呚з嗀� 蹖丕丿 賲蹖鈥屭┵嗀� 亘乇 丿卮賲賳丕賳卮 丿賱 賲蹖鈥屫迟堌藏з嗀� 賵 亘賴鈥屫嗀ㄘз� 讴賲鬲乇蹖賳 丨丿 丕夭 禺賵賳乇蹖夭蹖鈥屫池�. 丕胤乇丕賮蹖丕賳 賵 爻乇亘丕夭丕賳 讴賳丕乇 賵 賲賯丕亘賱卮 賴賲 丕睾賱亘 丌丿賲鈥屬囏й屰� 賲毓賲賵賱蹖鈥屫з嗀� 讴卮丕賵乇夭丕賳 賵 乇賵爻鬲丕蹖蹖丕賳蹖 讴賴 丿丕爻 賵 鬲亘乇 乇丕 丕夭 讴賳丕乇 夭賲蹖賳 亘乇 賲蹖丿丕乇賳丿 賵 亘賴 噩賳诏 賲蹖鈥屫③屬嗀�. 丨鬲丕 丿乇 丿乇亘丕乇 卮丕賴丕賳 丕蹖鬲丕賱蹖丕蹖蹖 賴賲 禺亘乇蹖 丕夭 夭乇賯鈥屬堌ㄘ辟� 賳蹖爻鬲. 亘賴 亘蹖丕賳 丿蹖诏乇貙 丿乇 丿賳蹖丕蹖 賵蹖乇跇蹖賱 丌丿賲鈥屬囏й� 爻丕丿賴 賴賲 賲蹖鈥屫堌з嗁嗀� 賯賴乇賲丕賳 亘丕卮賳丿貙 亘賴 丕蹖賳 卮乇胤 讴賴 賵馗蹖賮賴鈥屫簇з� 賳爻亘鬲 亘賴 禺丕賳賴 賵 賲蹖賴賳 乇丕 丕夭 蹖丕丿 賳亘乇賳丿. 丕賱亘鬲賴 賴賲蹖賳 丌丿賲鈥屬囏й� 爻丕丿賴 賴賲 亘蹖卮鬲乇蹖賳 乇賳噩 乇丕 鬲丨賲賱 賲蹖鈥屭┵嗁嗀�. 丕賳賴鈥屫й屫� 丿乇 賴乇 賱丨馗賴 丕蹖賳 乇丕 亘賴 蹖丕丿 賲丕 賲蹖鈥屫①堌必� 讴賴 賲賵賮賯蹖鬲 亘夭乇诏貙 賮丿丕讴丕乇蹖鈥屬囏й� 亘夭乇诏蹖 乇丕 賴賲 胤賱亘 賲蹖鈥屭┵嗀�.
丿賵 賴夭丕乇 爻丕賱 亘乇賵蹖賲 噩賱賵鬲乇. 賵蹖乇跇蹖賱 亘丕 賴乇 讴爻 亘賴鈥屭堎嗁団€屫й� 爻禺賳 賲蹖鈥屭堐屫�. 亘乇丕蹖 賴蹖鬲賱乇貙鈥� 乇賵夭賵賱鬲 蹖丕 丕亘賵亘讴乇 丕賱亘睾丿丕丿蹖 乇丕賴 倬蹖乇賵夭蹖 亘乇 丿卮賲賳丕賳 賵 丿丕卮鬲賳 丿賵賱鬲蹖 賯丿乇鬲賲賳丿 讴賴 賲丕蹖賴鈥屰� 丕賮鬲禺丕乇 亘丕卮丿 丕夭 诏賵卮 丿丕丿賳 丕賳賴鈥屬囏� 亘賴 賳丿丕蹖 賵馗蹖賮賴 賲蹖鈥屭柏必�. 亘乇丕蹖 亘爻蹖丕乇蹖 丕夭 丿蹖诏乇丕賳 丕賳賴 賳賲丕丿蹖 丕夭 賳賵毓鈥屫堌池� 賵 氐賱丨鈥屫焚勜ㄛ屬� 丕爻鬲 讴賴 賲蹖鈥屫堌з嗀� 丕乇賵倬丕蹖 賲鬲丨丿 乇丕 乇賯賲 亘夭賳丿. 亘丕賱丕鬲乇 丕夭 賴賲賴 丕賲丕 丕賳賴鈥屫й� 賯乇丕乇 丿丕乇丿 讴賴 卮賲丕蹖賱蹖鈥屫池� 丕夭 丕賳爻丕賳蹖 噩丕讴賳鈥屫簇� 賵 賲丨讴賵賲 亘賴 鬲丨賲賱 乇賳噩蹖 丕亘丿蹖貙 趩賴 賳賵毓 賲爻蹖丨蹖 賵 趩賴 讴丕賮讴丕蹖蹖. 亘賴 賴乇 丨丕賱 賴乇 賯丿乇 賴賲 賲丿丕賮毓 賯丿乇鬲 丕乇丕丿賴 賵 丕禺鬲蹖丕乇 亘丕卮蹖賲貙 賴賲賴 鬲丕 丨丿蹖 賲孬賱 丕賳賴鈥屫й屬�: 賲丕賲賵乇 賵 賲毓匕賵乇.
倬.賳: 禺賵丕賳丿賴鈥屫簇� 亘丕 鬲乇噩賲賴鈥屰� 禺賵亘 乇丕亘乇鬲 賮蹖诏賱夭 賵 賲賯丿賲賴鈥屰� 毓丕賱蹖 亘乇賳丕乇丿 賳丕讴爻. 賲孬賱 丕蹖賱蹖丕丿 賵 丕丿蹖爻赖貙 讴夭丕夭蹖 亘賴 賮丕乇爻蹖 鬲乇噩賲賴 讴乇丿賴 丕賲丕 亘丕 賵噩賵丿 鬲噩乇亘賴鈥屰� 禺賵亘 賯亘賱蹖 丕蹖賳 亘丕乇 鬲乇噩賲賴鈥屰� 丕賳诏賱蹖爻蹖 乇丕 鬲乇噩蹖丨 丿丕丿賲.
倬.倬.賳: 丿乇亘丕乇賴鈥屰� 丕蹖賱蹖丕丿 賵 丕丿蹖爻赖 賯亘賱鈥屫� 趩蹖夭讴蹖 賳賵卮鬲賴 亘賵丿賲.
倬.倬.倬.賳: 亘丕 鬲卮讴乇 夭蹖丕丿 丕夭 賴賲鈥屫堌з嗀з� 毓夭蹖夭.
丿乇 丿賳蹖丕蹖 丕丿亘蹖丕鬲 鈥� 賴賲丕賳賳丿 丿賳蹖丕賴丕蹖 丿蹖诏乇 鈥� 賲鬲賳鈥屬囏� 丿乇 丕乇鬲亘丕胤蹖 賴賲蹖卮诏蹖 賵 鬲賳诏丕鬲賳诏 亘丕賴賲賳丿. 丕蹖賳 賴賲鈥屬嗀篡屬嗃屸€屬囏� 夭賲丕賳蹖 噩匕丕亘鈥屫辟嗀� 讴賴 賳賵蹖爻賳丿賴 丕卮丕乇賴鈥屰� 賵丕囟丨蹖 亘賴 丌賳賴丕 賳讴乇丿賴 亘丕卮丿 蹖丕 亘賴鬲乇貙 丨鬲丕 禺賵丿卮 賴賲 丕夭 丌賳 亘蹖鈥屫ㄘ� 亘丕卮丿貨 丕蹖賳噩丕爻鬲 讴賴 賱匕鬲 讴卮賮 賵 丿乇讴 賲鬲賳 亘賴 蹖讴 亘丕夭蹖 讴丕乇丌诏丕賴蹖 鬲亘丿蹖賱 賲蹖鈥屫促堌�. 丕賲丕 禺蹖賱蹖 賵賯鬲鈥屬囏� 賳賵蹖爻賳丿賴 讴丕乇 乇丕 爻丕丿賴 賲蹖鈥屭┵嗀� 賵 丌賳賯丿乇 爻乇賳禺鈥屬囏й� 乇蹖夭 賵 丿乇卮鬲 丿乇 爻丕禺鬲丕乇 賵 乇賵丕蹖鬲 賵 倬蹖乇賳诏 賵 賲賵鬲蹖賮 賵 爻亘讴 亘賴 卮賲丕 賲蹖鈥屫囏� 讴賴 卮讴 賲蹖鈥屭┵嗃屫� 賵丕賯毓賳 賴賲賴鈥屰� 丕蹖賳賴丕 亘丕 亘乇賳丕賲賴鈥屫臂屫槽屬� 丌诏丕賴丕賳賴 亘賵丿賴 蹖丕 賳卮丕賳賴鈥屸€屫й� 丕夭 囟毓賮 賯乇蹖丨賴 賵 丕賳丿蹖卮賴鈥屰� 丕賵.
賲賵乇丿 丕賳賴鈥屫й屫� 賵 乇丕亘胤賴鈥屫ж� 亘丕 丕蹖賱蹖丕丿 賵 丕丿蹖爻赖 丕丨鬲賲丕賱賳 賲毓乇賵賮鈥屸€屫臂屬� 賳賲賵賳賴鈥屰� 丕蹖賳 賯囟蹖賴 丕爻鬲. 丕賳賴鈥屫й屫� 乇丕 讴賴 卮乇賵毓 讴賳蹖丿貙 丕夭 卮亘丕賴鬲 倬乇乇賳诏 丌賳 亘賴 丨賲丕爻賴鈥屬囏й� 賴賵賲乇蹖 卮诏賮鬲鈥屫藏� 賲蹖鈥屫促堐屫� 賵 卮丕蹖丿 倬爻 丕夭 賲丿鬲蹖 丿賱鈥屫藏�. 丕诏乇 亘賴 禺賵丿賲 丕噩丕夭賴鈥屰� 丕睾乇丕賯 亘丿賴賲貙 丕賳诏丕乇 讴賴 亘丕 賳爻禺賴鈥屰� 丿爻鬲賽 丿賵賲蹖 胤乇賮蹖賲 讴賴 賳賵蹖爻賳丿賴鈥屸€屫й� 噩丕賴鈥屫焚勜� 丕賲丕 賳賴鈥屭嗁嗀з� 趩蹖乇賴鈥屫池� 丿乇 丌賳鈥� 鬲賱丕卮 讴乇丿賴 丕蹖賱蹖丕丿 賵 丕丿蹖爻赖 乇丕 亘丕 丕爻丕賲蹖 賱丕鬲蹖賳鈥� 亘丕夭賳賵蹖爻蹖 讴賳丿.鈥� 丕蹖賳 卮亘丕賴鬲貙 趩賴 丕爻賲 丌賳 乇丕 亘丕夭丌賮乇蹖賳蹖 亘诏匕丕乇蹖賲貙 趩賴 鬲賯賱蹖丿 蹖丕 趩賴 丕賱賴丕賲 鈥� 讴賴 亘賴 賳馗乇 賲賳 鬲乇讴蹖亘蹖 丕夭 賴賲賴鈥屰� 丕蹖賳鈥屬囏ж池� 鈥� 丕鬲賴丕賲蹖 賳蹖爻鬲 讴賴 賵蹖乇跇蹖賱 鬲賱丕卮蹖 賮毓丕賱丕賳賴 亘乇丕蹖 夭丿賵丿賳卮 讴乇丿賴 亘丕卮丿. 賲賴賲鈥屫臂屬� 賳賯丿賴丕蹖 賳賵卮鬲賴鈥屫簇� 亘乇 丕賳賴鈥屫й屫� 丿乇 丕蹖賳 丿賵 賴夭丕乇 爻丕賱 蹖丕 丕夭 丕蹖賳 丕乇鬲亘丕胤 噩賳噩丕賱蹖 卮乇賵毓 賲蹖鈥屭┵嗁嗀� 蹖丕 丿乇 丌賳 倬丕蹖丕賳 賲蹖鈥屭屫辟嗀� 賵 蹖丕 亘賴 賴乇 丨丕賱 诏乇蹖夭蹖 亘賴 丌賳 賲蹖鈥屫操嗁嗀�.
丿丕爻鬲丕賳 丕夭 丕蹖賳 賯乇丕乇 丕爻鬲 讴賴 丕賽賳賽賴 (亘賴 鬲賱賮馗 賮乇丕賳爻賵蹖/丕賳蹖丕爻 亘賴 丕賳诏賱蹖爻蹖/丌蹖賳賴鈥屫⒇� 亘賴 賱丕鬲蹖賳 讴賱丕爻蹖讴) 賯賴乇賲丕賳蹖 鬲乇賵丕蹖蹖 丕賲丕 丨丕卮蹖賴鈥屫й� 丿乇 噩賳诏 鬲乇賵丕 亘賵丿 讴賴 禺丿丕蹖丕賳貙 亘賴鈥屬堐屭樫� 賲丕丿乇卮 丌賮乇賵丿蹖鬲 賵 倬賵爻蹖丿賵賳貙 賳馗乇蹖 禺丕氐 亘賴 丕賵 丿丕卮鬲賳丿 賵 亘毓丿 丕夭 賴乇 亘丕乇 夭禺賲蹖 卮丿賳 丕賵 乇丕 賳噩丕鬲 賲蹖鈥屫ж嗀� 鬲丕 噩丕蹖蹖 讴賴 亘丕乇 丌禺乇 賳丕倬丿蹖丿 卮丿 賵 亘乇丕蹖 賴賵賲乇 賴賲 趩賳丿丕賳 賲賴賲 賳亘賵丿 讴賴 讴噩丕爻鬲. 賵蹖乇跇蹖賱 丕賲丕 亘賴 丕蹖賳 賳馗乇讴乇丿賴 亘乇賲蹖鈥屭必�. 丿乇 丕賳賴鈥屫й屫� 讴賴 賳夭丿蹖讴 亘賴 賴賮鬲 賯乇賳 倬爻 丕夭 丕蹖賱蹖丕丿 賳賵卮鬲賴 卮丿賴貙 賲蹖鈥屫ㄛ屬嗃屬� 讴賴 丕賳賴 丿賵亘丕乇賴 亘賴 噩賳诏 亘乇诏卮鬲賴 賵 鬲丕 丕賳鬲賴丕蹖 讴丕乇 丿乇 鬲乇賵丕 賲蹖鈥屬呚з嗀� 賵 賵賯鬲蹖 讴賴 讴丕乇蹖 丕夭 丕賵 亘乇賳賲蹖鈥屫③屫� 賲噩亘賵乇 亘賴 鬲乇讴 卮賴乇 賲蹖鈥屫促堌� 丕賱亘鬲賴 亘丕 賲丕賲賵乇蹖鬲蹖 鬲丕乇蹖禺蹖: 亘賳丕 賳賴丕丿賳 丕賲倬乇丕鬲賵乇蹖 乇賵賲.
卮卮 讴鬲丕亘 丕賵賱 丕賳賴鈥屫й屫� 丿丕爻鬲丕賳 爻賮乇 倬乇倬蹖趩鈥屬堌� 丕賳賴 賵 賴賲乇丕賴丕賳卮 丕爻鬲 亘乇丕蹖 乇爻蹖丿賳 亘賴 賱丕鬲蹖賵賲 [賲賳胤賯賴鈥屫й� 鬲丕乇蹖禺蹖 丿乇 丕蹖鬲丕賱蹖丕 讴賴 卮賴乇 乇賲 丿乇 丌賳噩丕 爻丕禺鬲賴 賲蹖鈥屫促堌�.] 趩蹖夭蹖 卮亘蹖賴 亘賴 爻賮乇 丕賵賱蹖爻 丿乇 噩爻鬲鈥屬堌堐� 禺丕賳賴. 賵 賳蹖賲賴鈥屰� 丿賵賲 讴鬲丕亘 賴賲 丕蹖賱蹖丕丿賽 賵蹖乇跇蹖賱 丕爻鬲貙 蹖毓賳蹖 丿丕爻鬲丕賳 噩賳诏鈥屬囏й屰� 讴賴 丕賳賴 亘丕蹖丿 亘乇丕蹖 鬲孬亘蹖鬲 丕蹖賳 賯賱賲乇賵 亘讴賳丿. 丿乇 丕蹖賳 賲蹖丕賳 賴賲 乇賵賲賳爻 丿丕乇蹖賲貙 賴賲 爻賮乇 亘賴 丿賳蹖丕蹖 賲乇丿诏丕賳 賵 賴賲 噩丿丕賱 亘蹖賳 丕賱賲倬蹖鈥屬囏й屰� 讴賴 賴乇 讴丿丕賲 胤乇賮丿丕乇 蹖讴 胤乇賮 丿丕爻鬲丕賳鈥屫з嗀�. 亘丕 丕蹖賳 賴賲賴 丕賲丕 卮讴丕賮蹖 亘夭乇诏 亘蹖賳 丕賳賴鈥屫й屫� 賵 丨賲丕爻賴鈥屬囏й� 賴賵賲乇蹖 賴爻鬲. 丕蹖賳噩丕 丕賮鬲禺丕乇 賮乇丿蹖 丕夭 賳賵毓 丕蹖賱蹖丕丿 趩賳丿丕賳 賲賴賲 賳蹖爻鬲貙 丿丕爻鬲丕賳鈥屭堐屰� 賵 賳蹖乇賳诏鈥屫ㄘж槽� 丕賵賱蹖爻 賴賲 禺蹖賱蹖 亘賴 讴丕乇 賳賲蹖鈥屫③屬嗀�. 賲爻兀賱賴 丕氐賱蹖 賮乇丕鬲乇 丕夭 賳亘乇丿 亘丕 禺丿丕蹖丕賳 蹖丕 亘丕夭诏卮鬲 亘賴 禺丕賳賴 丕爻鬲 賵 丌賳 趩蹖夭蹖 丕爻鬲 丕夭 噩賳爻 賵馗蹖賮賴鈥屭必й屰� (鬲乇噩賲賴鈥屫й� 丿賲賽 丿爻鬲蹖 丕夭 毓亘丕乇鬲 賱丕鬲蹖賳 pietas) 賵 丕賳爻丕賳 乇賳噩亘乇蹖 讴賴 丨爻 賲爻卅賵賱蹖鬲卮 賳爻亘鬲 亘賴 賮乇夭賳丿/賲賱鬲/鬲丕乇蹖禺 乇丕 亘丕賱丕鬲乇 丕夭 賴乇 诏賵賳賴 丕賮鬲禺丕乇 賮乇丿蹖 賲蹖鈥屫з嗀�. 亘賴 毓亘丕乇鬲 丿蹖诏乇貙 丕賳賴 賲丕賲賵乇 丕爻鬲 賵 賲毓匕賵乇. 丕賵 賳賴 賲蹖鈥屫堌з嗀� 亘丕 丕賮鬲禺丕乇 賲孬賱 賴讴鬲賵乇 賵 丌卮蹖賱 丿乇 噩賳诏 讴卮鬲賴 卮賵丿貙 賳賴 禺丕賳賴鈥屫й� 亘乇丕蹖 禺賵丿卮 丿丕卮鬲賴 亘丕卮丿 賵 賳賴 丕噩丕夭賴 丿丕乇丿 丕夭 賲賵丕賴亘 毓卮賯 亘賴乇賴鈥屬呝嗀� 卮賵丿. [丕倬乇丕蹖 賴賳乇蹖 倬賵乇爻賱 亘丕 賳丕賲 Dido and Aeneas 乇丕 亘卮賳賵蹖丿.] 爻乇賳賵卮鬲 (賵 賵蹖乇跇蹖賱) 亘乇丕蹖 丕賵 賳賯卮賴鈥屫й� 丿蹖诏乇 丿丕乇賳丿: 丕賵鈥� 亘丕蹖丿 乇賳噩 丕蹖賳 賲爻蹖乇 丿卮賵丕乇 乇丕 亘乇 禺賵丿 賴賲賵丕乇 讴賳丿 鬲丕 賯丿乇鬲賲賳丿鬲乇蹖賳 丕賲倬乇丕鬲賵乇蹖 丿賳蹖丕 乇丕 倬丿蹖丿 亘蹖丕賵乇丿.
賵蹖乇跇蹖賱 讴鬲丕亘 乇丕 爻賴 丿賴賴 賯亘賱 丕夭 賲蹖賱丕丿 賲爻蹖丨 賳賵卮鬲賴. 夭賲丕賳蹖 讴賴 乇賵賲 丿賵乇丕賳 倬丕丿卮丕賴蹖 (賯乇賵賳 鄹 鬲丕 鄱 賯亘賱 丕夭 賲蹖賱丕丿) 賵 噩賲賴賵乇蹖 (賯乇賳 鄱 鬲丕 夭賲丕賳 賳賵卮鬲賴 卮丿賳 讴鬲丕亘) 乇丕 倬卮鬲 爻乇 诏匕丕卮鬲賴 賵 丌诏賵爻鬲賵爻 噩賳诏鈥屬囏й� 丿丕禺賱蹖 賵 噩賲賴賵乇蹖鈥屫堌з囏з� 乇丕 爻乇讴賵亘 讴乇丿賴 賵 丨丕賱丕 亘賴 毓賳賵丕賳 丕賵賱蹖賳 丿蹖讴鬲丕鬲賵乇 丕賲倬乇丕鬲賵乇蹖貙 爻賵丿丕蹖 亘夭乇诏蹖 丿乇 爻乇 賲蹖鈥屬矩辟堌必з嗀�. 丕賱亘鬲賴 亘乇禺賱丕賮 鬲氐賵乇蹖 讴賴 丕夭 丕賲倬乇丕鬲賵乇賴丕蹖 禺賵賳乇蹖夭 賵 亘毓囟賳 丿蹖賵丕賳賴鈥屰� 乇賵賲 丿丕乇蹖賲貙 丌诏賵爻鬲賵爻 賲乇丿蹖 丌乇賲丕賳鈥屭必� 賵 氐賱丨鈥屫焚勜� 亘賵丿 鈥� 丕賱亘鬲賴 亘毓丿 丕夭 丕蹖賳 讴賴 亘賴 丕賳丿丕夭賴鈥屰� 讴丕賮蹖 禺賵賳 乇蹖禺鬲 鈥� 賵 丕蹖丿賴鈥屫①勜� 噩丕賲毓賴鈥屫й� 爻丕丿賴鈥屫槽屫池� 鬲賱丕卮鈥屭� 賵 賵馗蹖賮賴鈥屭必�. 賵蹖乇跇蹖賱 丿乇 丕賳賴鈥屫й屫� 賳賴 鬲賳賴丕 鬲丕乇蹖禺 丕賲倬乇丕鬲賵乇蹖 乇丕 亘賴 丕賮爻丕賳賴 賵 禺丿丕蹖丕賳 倬蹖賵賳丿 賲蹖鈥屫操嗀� 賵 賲卮乇賵毓蹖鬲鈥屫池ж� 賲蹖鈥屫促堌� 亘賱讴賴 鬲丕 丨丿 丕賲讴丕賳 丕蹖賳 丕蹖丿賴鈥屫①勨€屬囏� 賲蹖鈥屬矩辟堌必�. [丕賱亘鬲賴 乇丕亘胤賴鈥屰� 賵蹖乇跇蹖賱 亘丕 丌诏賵爻鬲賵爻 賵 丕賲倬乇丕鬲賵乇蹖 趩賳丿賱丕蹖賴鈥� 賵 倬蹖趩蹖丿賴鈥屫� 丕夭 丕蹖賳 亘賵丿.]
胤亘蹖毓蹖 亘賵丿 讴賴 賯賴乇賲丕賳 趩賳蹖賳 丨賲丕爻賴鈥屫й� 囟丿賯賴乇賲丕賳 丕夭 丌亘 丿乇亘蹖丕蹖丿. 讴爻蹖 讴賴 賳賴 亘爻蹖丕乇 賳蹖乇賵賲賳丿 丕爻鬲 賵 賳賴 亘爻蹖丕乇 夭蹖乇讴 賵 賳賴 丨鬲丕 丌賳賯丿乇 賲丨讴賲 賵 丕爻鬲賵丕乇 讴賴 賴蹖趩 賵賯鬲 禺賲 亘賴鈥� 丕亘乇賵 賳蹖丕賵乇丿. 丕賳賴 賳賴鈥屫嗁囏� 賴蹖趩 讴丿丕賲 丕夭 丕蹖賳賴丕 賳蹖爻鬲貙 亘賱讴賴 丕丨爻丕爻丕鬲蹖 亘爻蹖丕乇 毓賲蹖賯 丿丕乇丿. 亘賴 賴乇 亘賴丕賳賴鈥屫й� 丕夭 卮賴乇 賵 禺丕賳賴 賵 賴賲鈥屫必操呚з嗀� 蹖丕丿 賲蹖鈥屭┵嗀� 亘乇 丿卮賲賳丕賳卮 丿賱 賲蹖鈥屫迟堌藏з嗀� 賵 亘賴鈥屫嗀ㄘз� 讴賲鬲乇蹖賳 丨丿 丕夭 禺賵賳乇蹖夭蹖鈥屫池�. 丕胤乇丕賮蹖丕賳 賵 爻乇亘丕夭丕賳 讴賳丕乇 賵 賲賯丕亘賱卮 賴賲 丕睾賱亘 丌丿賲鈥屬囏й屰� 賲毓賲賵賱蹖鈥屫з嗀� 讴卮丕賵乇夭丕賳 賵 乇賵爻鬲丕蹖蹖丕賳蹖 讴賴 丿丕爻 賵 鬲亘乇 乇丕 丕夭 讴賳丕乇 夭賲蹖賳 亘乇 賲蹖丿丕乇賳丿 賵 亘賴 噩賳诏 賲蹖鈥屫③屬嗀�. 丨鬲丕 丿乇 丿乇亘丕乇 卮丕賴丕賳 丕蹖鬲丕賱蹖丕蹖蹖 賴賲 禺亘乇蹖 丕夭 夭乇賯鈥屬堌ㄘ辟� 賳蹖爻鬲. 亘賴 亘蹖丕賳 丿蹖诏乇貙 丿乇 丿賳蹖丕蹖 賵蹖乇跇蹖賱 丌丿賲鈥屬囏й� 爻丕丿賴 賴賲 賲蹖鈥屫堌з嗁嗀� 賯賴乇賲丕賳 亘丕卮賳丿貙 亘賴 丕蹖賳 卮乇胤 讴賴 賵馗蹖賮賴鈥屫簇з� 賳爻亘鬲 亘賴 禺丕賳賴 賵 賲蹖賴賳 乇丕 丕夭 蹖丕丿 賳亘乇賳丿. 丕賱亘鬲賴 賴賲蹖賳 丌丿賲鈥屬囏й� 爻丕丿賴 賴賲 亘蹖卮鬲乇蹖賳 乇賳噩 乇丕 鬲丨賲賱 賲蹖鈥屭┵嗁嗀�. 丕賳賴鈥屫й屫� 丿乇 賴乇 賱丨馗賴 丕蹖賳 乇丕 亘賴 蹖丕丿 賲丕 賲蹖鈥屫①堌必� 讴賴 賲賵賮賯蹖鬲 亘夭乇诏貙 賮丿丕讴丕乇蹖鈥屬囏й� 亘夭乇诏蹖 乇丕 賴賲 胤賱亘 賲蹖鈥屭┵嗀�.
丿賵 賴夭丕乇 爻丕賱 亘乇賵蹖賲 噩賱賵鬲乇. 賵蹖乇跇蹖賱 亘丕 賴乇 讴爻 亘賴鈥屭堎嗁団€屫й� 爻禺賳 賲蹖鈥屭堐屫�. 亘乇丕蹖 賴蹖鬲賱乇貙鈥� 乇賵夭賵賱鬲 蹖丕 丕亘賵亘讴乇 丕賱亘睾丿丕丿蹖 乇丕賴 倬蹖乇賵夭蹖 亘乇 丿卮賲賳丕賳 賵 丿丕卮鬲賳 丿賵賱鬲蹖 賯丿乇鬲賲賳丿 讴賴 賲丕蹖賴鈥屰� 丕賮鬲禺丕乇 亘丕卮丿 丕夭 诏賵卮 丿丕丿賳 丕賳賴鈥屬囏� 亘賴 賳丿丕蹖 賵馗蹖賮賴 賲蹖鈥屭柏必�. 亘乇丕蹖 亘爻蹖丕乇蹖 丕夭 丿蹖诏乇丕賳 丕賳賴 賳賲丕丿蹖 丕夭 賳賵毓鈥屫堌池� 賵 氐賱丨鈥屫焚勜ㄛ屬� 丕爻鬲 讴賴 賲蹖鈥屫堌з嗀� 丕乇賵倬丕蹖 賲鬲丨丿 乇丕 乇賯賲 亘夭賳丿. 亘丕賱丕鬲乇 丕夭 賴賲賴 丕賲丕 丕賳賴鈥屫й� 賯乇丕乇 丿丕乇丿 讴賴 卮賲丕蹖賱蹖鈥屫池� 丕夭 丕賳爻丕賳蹖 噩丕讴賳鈥屫簇� 賵 賲丨讴賵賲 亘賴 鬲丨賲賱 乇賳噩蹖 丕亘丿蹖貙 趩賴 賳賵毓 賲爻蹖丨蹖 賵 趩賴 讴丕賮讴丕蹖蹖. 亘賴 賴乇 丨丕賱 賴乇 賯丿乇 賴賲 賲丿丕賮毓 賯丿乇鬲 丕乇丕丿賴 賵 丕禺鬲蹖丕乇 亘丕卮蹖賲貙 賴賲賴 鬲丕 丨丿蹖 賲孬賱 丕賳賴鈥屫й屬�: 賲丕賲賵乇 賵 賲毓匕賵乇.
倬.賳: 禺賵丕賳丿賴鈥屫簇� 亘丕 鬲乇噩賲賴鈥屰� 禺賵亘 乇丕亘乇鬲 賮蹖诏賱夭 賵 賲賯丿賲賴鈥屰� 毓丕賱蹖 亘乇賳丕乇丿 賳丕讴爻. 賲孬賱 丕蹖賱蹖丕丿 賵 丕丿蹖爻赖貙 讴夭丕夭蹖 亘賴 賮丕乇爻蹖 鬲乇噩賲賴 讴乇丿賴 丕賲丕 亘丕 賵噩賵丿 鬲噩乇亘賴鈥屰� 禺賵亘 賯亘賱蹖 丕蹖賳 亘丕乇 鬲乇噩賲賴鈥屰� 丕賳诏賱蹖爻蹖 乇丕 鬲乇噩蹖丨 丿丕丿賲.
倬.倬.賳: 丿乇亘丕乇賴鈥屰� 丕蹖賱蹖丕丿 賵 丕丿蹖爻赖 賯亘賱鈥屫� 趩蹖夭讴蹖 賳賵卮鬲賴 亘賵丿賲.
倬.倬.倬.賳: 亘丕 鬲卮讴乇 夭蹖丕丿 丕夭 賴賲鈥屫堌з嗀з� 毓夭蹖夭.
March 11, 2008
I鈥檝e been meaning to read the Aeneid for years. The Armorial Bearings of the City of Melbourne have the motto: Vires Acquirit Eundo which is taken from book four of the Aeneid. It translates as, 鈥淚t gathers strength as it goes鈥�. Melbourne鈥檚 first judge gave the young town the motto 鈥� but I鈥檝e often wondered if those he gave it to had any idea that the reference is to sexual rumours spreading about Dido and Aeneas. Rumour being the swiftest of the Gods.
Anyway, there is a pop star who is called Dido too, which is an odd name to call a child, I鈥檇 have thought. Given Dido鈥檚 fate in this book 鈥� to commit suicide as Aeneas leaves her to fulfil his destiny and found Rome 鈥� it seems an even stranger name to call a child.
I had no idea that Aeneas was from Troy. That Helen one has a lot to answer for 鈥� but then, what would the Iliad, Odyssey and Aeneid be without her? And while we are on troublesome women 鈥� what鈥檚 that Juno like? But then, if you are going to marry your brother, well鈥�
The religion in this book is utterly remarkable. I quite like it, as it does more or less accord with my experience of the world. One of the problems Christianity faces is the problem of evil 鈥� how can an all powerful, all loving God allow such terrible things to happen? But the ancients had no such worries 鈥� basically the Gods are all total nutcases and totally dysfunctional. They don鈥檛 just engage in incest, but every vice imaginable and they all basically hate each other. So they go out of their way to make life a misery for each other and, in the process, make life a complete misery for people.
I mean, imagine that not only the destruction of Troy, but also of Carthage (two of the major cities of the ancient world) can be more or less explained as resulting from a guy called Paris judging a beauty contest. This is religion for the third millennium. This is religion for a generation raised on Big Brother and American Idol.
And when Virgil wants to be violent, we are talking squelchingly so. You know the sort of thing 鈥� thrice the two edged sword hacked into his flesh until huge welts鈥� Yes, boy鈥檚 own adventure stuff, possibly even with capital letters. Lots of blood, quite a bit of mashed brains and the words 鈥榰p to the hilt鈥� used at least twice that I can remember without checking.
All the same there are moments of aching humanity and a perceptiveness that catches the breath. The scene in hell with Dido is very moving, the stuff with the king of Arcadia and Pallas is heart wrenching. A constant theme throughout is how your greatest victory can become your greatest defeat 鈥� as Turnus proves at the end.
I really loved this, I loved the extended metaphors (some that went to the very edge of being over extended 鈥� like a rubber band that suddenly snaps and slaps the extender on the hand when all he wanted to do was shoot the band at a friend across the room, or knock down some paper targets now forever just out of reach). There is one 鈥� which I鈥檝e forgotten what it was seeking to illuminate now 鈥� where a lion is being baited and has a spear stuck into it and the spear is broken off flush with its wound. I think all this was basically to say how loudly some guy was roaring 鈥� you know, as loud as a lion, wasn鈥檛 quite enough. But the metaphors really are quite something. You鈥檇 never get away with building metaphors like that today.
I don鈥檛 know if it is as good as the Odyssey, but like the Odyssey it starts as a Classical Road movie and ends up one of those Epic Theatre battles that used to be on telly after the wrestling on Sunday mornings when I was growing up.
You have to say one thing for these Mediterranean types , they sure know how to put on a good fight. The thing that is hardest to understand is that the Romans gave up all this to become Christians 鈥� hard to imagine.
Anyway, there is a pop star who is called Dido too, which is an odd name to call a child, I鈥檇 have thought. Given Dido鈥檚 fate in this book 鈥� to commit suicide as Aeneas leaves her to fulfil his destiny and found Rome 鈥� it seems an even stranger name to call a child.
I had no idea that Aeneas was from Troy. That Helen one has a lot to answer for 鈥� but then, what would the Iliad, Odyssey and Aeneid be without her? And while we are on troublesome women 鈥� what鈥檚 that Juno like? But then, if you are going to marry your brother, well鈥�
The religion in this book is utterly remarkable. I quite like it, as it does more or less accord with my experience of the world. One of the problems Christianity faces is the problem of evil 鈥� how can an all powerful, all loving God allow such terrible things to happen? But the ancients had no such worries 鈥� basically the Gods are all total nutcases and totally dysfunctional. They don鈥檛 just engage in incest, but every vice imaginable and they all basically hate each other. So they go out of their way to make life a misery for each other and, in the process, make life a complete misery for people.
I mean, imagine that not only the destruction of Troy, but also of Carthage (two of the major cities of the ancient world) can be more or less explained as resulting from a guy called Paris judging a beauty contest. This is religion for the third millennium. This is religion for a generation raised on Big Brother and American Idol.
And when Virgil wants to be violent, we are talking squelchingly so. You know the sort of thing 鈥� thrice the two edged sword hacked into his flesh until huge welts鈥� Yes, boy鈥檚 own adventure stuff, possibly even with capital letters. Lots of blood, quite a bit of mashed brains and the words 鈥榰p to the hilt鈥� used at least twice that I can remember without checking.
All the same there are moments of aching humanity and a perceptiveness that catches the breath. The scene in hell with Dido is very moving, the stuff with the king of Arcadia and Pallas is heart wrenching. A constant theme throughout is how your greatest victory can become your greatest defeat 鈥� as Turnus proves at the end.
I really loved this, I loved the extended metaphors (some that went to the very edge of being over extended 鈥� like a rubber band that suddenly snaps and slaps the extender on the hand when all he wanted to do was shoot the band at a friend across the room, or knock down some paper targets now forever just out of reach). There is one 鈥� which I鈥檝e forgotten what it was seeking to illuminate now 鈥� where a lion is being baited and has a spear stuck into it and the spear is broken off flush with its wound. I think all this was basically to say how loudly some guy was roaring 鈥� you know, as loud as a lion, wasn鈥檛 quite enough. But the metaphors really are quite something. You鈥檇 never get away with building metaphors like that today.
I don鈥檛 know if it is as good as the Odyssey, but like the Odyssey it starts as a Classical Road movie and ends up one of those Epic Theatre battles that used to be on telly after the wrestling on Sunday mornings when I was growing up.
You have to say one thing for these Mediterranean types , they sure know how to put on a good fight. The thing that is hardest to understand is that the Romans gave up all this to become Christians 鈥� hard to imagine.
October 18, 2020
A pesar que el relato en s铆 no es tan interesante o 茅pico como los de Homero, Virgilio logra un relato bien logrado y muy interesante.
Es bueno tambi茅n conocer c贸mo explican los romanos el desenlace de algunos griegos, adaptado claro est谩 a su realidad.
Es una de las pocas obras 茅picas en Roma que conozco por lo que el valor que tiene a煤n se eleva m谩s, todo para dotar a Augusto de un origen divino.
Lamentablemente esta obra fue inconclusa.
Es bueno tambi茅n conocer c贸mo explican los romanos el desenlace de algunos griegos, adaptado claro est谩 a su realidad.
Es una de las pocas obras 茅picas en Roma que conozco por lo que el valor que tiene a煤n se eleva m谩s, todo para dotar a Augusto de un origen divino.
Lamentablemente esta obra fue inconclusa.
March 21, 2010
Oh, Aeneid, it isn't you... it's me!
I tried to like you, Aeneid, I really did. And we had some good times, didn't we? But I have to admit that I think I was still a bit hung up on Iliad, and I was trying to make you something you aren't. That isn't fair to you, and it isn't fair to me.
You've got such nice language in you. Such poetry! I'm sure that someone will come along soon who can appreciate you for what you are. You deserve it. Really. You're a wonderful story; you're just not for me.
I finally had to accept it when you kept going on and on about those STUPID BOAT RACES. Oh! I'm sorry! I'm sorry! No, really, that wasn't fair of me. No, no, you should absolutely enjoy your boat races. No, they're great, and I'm sure that they're interesting to a lot of people, and they're part of what makes you you -- which is great -- but I just can't get interested. My mind kept wandering.
Oh, of course I realize you've got other interests. I realize that you were just finishing up with the boat races when I said this, but it isn't just that. I'd been thinking about this for awhile. And I think I should spend my time with a book that I enjoy more. And you'll find a reader who's interested in you. I really wish you all the best, and I'm sorry I had to stop reading you so early.
I tried to like you, Aeneid, I really did. And we had some good times, didn't we? But I have to admit that I think I was still a bit hung up on Iliad, and I was trying to make you something you aren't. That isn't fair to you, and it isn't fair to me.
You've got such nice language in you. Such poetry! I'm sure that someone will come along soon who can appreciate you for what you are. You deserve it. Really. You're a wonderful story; you're just not for me.
I finally had to accept it when you kept going on and on about those STUPID BOAT RACES. Oh! I'm sorry! I'm sorry! No, really, that wasn't fair of me. No, no, you should absolutely enjoy your boat races. No, they're great, and I'm sure that they're interesting to a lot of people, and they're part of what makes you you -- which is great -- but I just can't get interested. My mind kept wandering.
Oh, of course I realize you've got other interests. I realize that you were just finishing up with the boat races when I said this, but it isn't just that. I'd been thinking about this for awhile. And I think I should spend my time with a book that I enjoy more. And you'll find a reader who's interested in you. I really wish you all the best, and I'm sorry I had to stop reading you so early.
November 19, 2021
La Eneida es una grandiosa mezcla entre la Il铆ada y la Odisea.
Los elementos, los t贸picos, las figuras literarias para darle potencia y profundidad a lo contado y los personajes que la protagonizan son un fuerte indicio de que Virgilio quiso que as铆 fuera narrada la historia; como un recordatorio a esos poemas tan importantes. Y eso es una raz贸n m谩s que suficiente para querer leerlo ya que en mi opini贸n se me hizo un relato bastante entretenido y digerible, incluso mucho m谩s que los mencionados anteriormente.
La historia sigue a Eneas, un troyano al que luego de la p茅rdida de Troya contra el ej茅rcito aqueo se ha visto empujado a buscar un lugar en el cual refugiarse junto con gran parte del pueblo que lo sigue. En el camino, que ser谩 bastante largo y dif铆cil contar谩 con la ayuda de una diosa que lo guiar谩, pero a su misma vez habr谩 otra que har谩 lo que est茅 en sus manos para que este no logre su cometido. Sin duda alguna los dioses tomar谩n el protagonismo que siempre han tenido en los terribles sucesos que acompa帽an a los personajes, al igual que el destino, los presagios y las intervenciones divinas, habr谩 mucha violencia, conflictos civiles/afectivos y tambi茅n el futuro de una ciudad prometida en medio de guerras y conquistas; hasta la llegada al mism铆simo infierno.
La primera parte, que va desde los libros I al VI son una clara referencia a la Odisea con el viaje del h茅roe hacia el lugar deseado, rodeado de peripecias y forjando un relato en el que se nos nutrir谩 de detalles en torno a c贸mo se desarroll贸 el triunfo de los aqueos sobre los troyanos y gran parte del destino de los implicados. Y la segunda parte, que va desde los libros VII al XII se narran la llegada y conquista de Eneas en Italia, lugar que m谩s adelante ser铆a conocido como Roma. Tambi茅n el tono tr谩gico y violento envuelto en muertes y conflictos tensos y sangrientos es una buena referencia a la Il铆ada.
En fin, a lo que quiero llegar es que si has le铆do la Il铆ada y la Odisea y ambas te han gustado much铆simo este es un relato que merece la pena ser le铆do, ya que bebe en gran parte de estos poemas hom茅ricos y se nota la influencia por parte de estos en la Eneida, una epopeya igual 茅pica que sus antecesoras. O incluso m谩s, ya que tiene varias escenas intensas y conmovedoras como pocas.
Los elementos, los t贸picos, las figuras literarias para darle potencia y profundidad a lo contado y los personajes que la protagonizan son un fuerte indicio de que Virgilio quiso que as铆 fuera narrada la historia; como un recordatorio a esos poemas tan importantes. Y eso es una raz贸n m谩s que suficiente para querer leerlo ya que en mi opini贸n se me hizo un relato bastante entretenido y digerible, incluso mucho m谩s que los mencionados anteriormente.
La historia sigue a Eneas, un troyano al que luego de la p茅rdida de Troya contra el ej茅rcito aqueo se ha visto empujado a buscar un lugar en el cual refugiarse junto con gran parte del pueblo que lo sigue. En el camino, que ser谩 bastante largo y dif铆cil contar谩 con la ayuda de una diosa que lo guiar谩, pero a su misma vez habr谩 otra que har谩 lo que est茅 en sus manos para que este no logre su cometido. Sin duda alguna los dioses tomar谩n el protagonismo que siempre han tenido en los terribles sucesos que acompa帽an a los personajes, al igual que el destino, los presagios y las intervenciones divinas, habr谩 mucha violencia, conflictos civiles/afectivos y tambi茅n el futuro de una ciudad prometida en medio de guerras y conquistas; hasta la llegada al mism铆simo infierno.
La primera parte, que va desde los libros I al VI son una clara referencia a la Odisea con el viaje del h茅roe hacia el lugar deseado, rodeado de peripecias y forjando un relato en el que se nos nutrir谩 de detalles en torno a c贸mo se desarroll贸 el triunfo de los aqueos sobre los troyanos y gran parte del destino de los implicados. Y la segunda parte, que va desde los libros VII al XII se narran la llegada y conquista de Eneas en Italia, lugar que m谩s adelante ser铆a conocido como Roma. Tambi茅n el tono tr谩gico y violento envuelto en muertes y conflictos tensos y sangrientos es una buena referencia a la Il铆ada.
En fin, a lo que quiero llegar es que si has le铆do la Il铆ada y la Odisea y ambas te han gustado much铆simo este es un relato que merece la pena ser le铆do, ya que bebe en gran parte de estos poemas hom茅ricos y se nota la influencia por parte de estos en la Eneida, una epopeya igual 茅pica que sus antecesoras. O incluso m谩s, ya que tiene varias escenas intensas y conmovedoras como pocas.
September 19, 2020
1畏 未畏渭慰蟽委蔚蠀蟽畏 Book Press:
螚 纬蔚谓蔚伪位慰纬委伪, 畏 伪谓伪味萎蟿畏蟽畏 蟿畏蟼 蟺蟻慰苇位蔚蠀蟽畏蟼, 蠈蟺蠅蟼 渭伪蟼 未委未伪尉蔚 慰 桅慰蠀魏蠋, 未蔚谓 蔚委谓伪喂 伪蟺伪蟻伪委蟿畏蟿慰 谓伪 谓慰蔚委蟿伪喂 蠅蟼 胃蔚渭蔚位委蠅蟽畏 蟽蟿蔚蟻蔚慰蟿蠉蟺蠅谓, 伪位位维 魏喂 蠅蟼 伪谓伪蠄畏位维蠁畏蟽畏 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼, 蠅蟼 魏伪蟿伪魏蔚蟻渭伪蟿喂蟽渭蠈蟼 蟿畏蟼 蠈蟺慰喂伪蟼 蔚谓蠈蟿畏蟿伪蟼. 韦慰蠉蟿慰 蟺蟻慰蠇蟺慰胃苇蟿蔚喂, 蔚谓蟿慰蠉蟿慰喂蟼, 蟿畏谓 蔚喂蟼 尾维胃慰蟼 纬谓蠋蟽畏 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼, 蠈蠂喂 蠅蟼 蟽蟿伪蟿喂魏慰蠉 魏伪喂 维蟺伪尉 蟽渭喂位蔚蠀渭苇谓慰蠀 蠈纬魏慰蠀 蟺慰蠀 蔚蟺喂魏维胃蔚蟿伪喂 蠅蟼 维蠂胃慰蟼 蟽蟿喂蟼 伪谓蟿喂位萎蠄蔚喂蟼 魏伪喂 蟿畏谓 伪喂蟽胃畏蟿喂魏萎 蟿蠅谓 渭蔚位位慰蠀蟽蠋谓 纬蔚谓蔚蠋谓, 蠈蟽慰 蠅蟼 蟽蠀谓苇蠂蔚喂伪, 蔚渭尾伪蟺蟿喂蟽渭苇谓畏 蟽蟿畏谓 喂蟽蟿慰蟻喂魏蠈蟿畏蟿伪.
螠蟺慰蟻蔚委 谓伪 渭畏谓 蠀蟺维蟻蠂蔚喂 渭委伪 魏伪喂 渭慰谓伪未喂魏萎 蟺畏纬萎, 纬谓蠅蟽蟿萎 伪蟺慰魏位蔚喂蟽蟿喂魏维 蟽蟿慰蠀蟼 渭蠉蟽蟿蔚蟼, 蔚魏 蟿畏蟼 慰蟺慰委伪蟼 伪蟻未蔚蠉慰谓蟿伪喂 慰喂 蠀未维蟿喂谓蔚蟼 蔚魏蟿维蟽蔚喂蟼 蟿畏蟼 纬谓蠋蟽畏蟼 鈥� 蟺位畏谓 蠈渭蠅蟼, 未蔚谓 蔚委谓伪喂 未喂蠈位慰蠀 蟿蠀蠂伪委慰 蟿慰 纬蔚纬慰谓蠈蟼 蟺蠅蟼 蔚魏蔚委谓慰喂 蟺慰蠀 蔚谓蟿蟻蠀蠁慰蠉谓 蟽蟿畏谓 蟿苇蠂谓畏 蟿慰蠀 位蠈纬慰蠀, 蟽蠀谓 蟿蠅 蠂蟻蠈谓蠅, 蠀蟺慰蟺委蟺蟿慰蠀谓 蟽蟿慰 维位纬慰蟼 蟿慰蠀 螡蠈蟽蟿慰蠀. 螝喂 慰 螡蠈蟽蟿慰蟼 蔚未蠋, 伪谓伪蟺蠈未蟻伪蟽蟿伪, 蟽蠀纬魏位委谓蔚喂 渭蔚 蟿畏谓 蔚蟺喂蟽蟿蟻慰蠁萎 蟽蟿慰 蟺伪蟻蔚位胃蠈谓. 螣蠀未蔚委蟼, 蟺慰蟿苇 未蔚谓 谓慰蟽蟿维位纬畏蟽蔚 蟿慰 渭苇位位慰谓. 螝伪喂 蟿慰蠉蟿慰 伪蟺慰蟿蔚位蔚委 伪蟺位维 未喂伪蟺委蟽蟿蠅蟽畏 鈥� 未蔚谓 蟿慰 蟺蟻慰蟽畏渭伪委谓蠅 胃蔚蟿喂魏维 萎 伪蟻谓畏蟿喂魏维.
螘谓 蟺维蟽畏 蟺蔚蟻喂蟺蟿蠋蟽蔚喂, 纬喂伪 谓伪 苇蟻胃慰蠀渭蔚 蟽蟿伪 魏伪胃鈥� 畏渭维蟼 位慰纬慰蟿蔚蠂谓喂魏维 未蟻蠋渭蔚谓伪, 蟺伪蟻伪蟿畏蟻蔚委蟿伪喂 蟽蔚 伪蟻魏蔚蟿慰蠉蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 畏 伪谓维纬魏畏 伪谓伪味萎蟿畏蟽畏蟼 蟿蠅谓 伪蟺伪蟻蠂蠋谓. 螆蠂慰谓蟿伪蟼 蟺蟻蠋蟿伪 蟿蟻蠀纬萎蟽蔚喂 蟿慰蠀蟼 魏伪蟻蟺慰蠉蟼 蟿畏蟼 蟽蠀纬魏伪喂蟻喂谓萎蟼 蟿慰蠀蟼 蟺伪蟻伪纬蠅纬萎蟼, 慰 未蟻蠈渭慰蟼 蟿慰蠉蟼 慰未畏纬蔚委 蟽蔚 魏维蟺慰喂伪 胃蔚渭蔚位喂伪魏维 魏蔚委渭蔚谓伪, 蟿蠅谓 慰蟺慰委蠅谓 畏 伪尉委伪 未蔚谓 蔚委谓伪喂 伪蟺位蠋蟼 渭慰蠀蟽蔚喂伪魏萎 (蔚尉 伪蟺慰蟽蟿维蟽蔚蠅蟼 胃伪蠀渭伪蟽渭蠈蟼) 纬喂伪 蟺维蟽畏蟼 蠁蠉蟽蔚蠅蟼 蟺伪蟻蔚位胃慰谓蟿慰位维纬谓慰蠀蟼, 伪位位维 味蠋蟽伪, 伪魏渭维味慰蠀蟽伪 魏伪喂 未喂伪蟻魏萎蟼. 螚 伪喂蠂渭萎 蟿畏蟼 蟿苇蠂谓畏蟼 蟿蠅谓 魏蔚喂渭苇谓蠅谓 伪蠀蟿蠋谓 蟺伪蟻伪渭苇谓蔚喂 魏慰蠁蟿蔚蟻萎 魏喂 畏 蔚蟺伪蠁萎 渭伪味委 蟿慰蠀蟼 蟺蟻慰魏伪位蔚委 蟽蟿慰谓 伪蔚委蟺慰蟿蔚 伪谓伪纬谓蠋蟽蟿畏 蔚谓蟿维蟽蔚喂蟼 魏伪喂 蠀蟺慰未蠈蟻喂蔚蟼 蔚魏蟻萎尉蔚喂蟼 伪渭喂纬慰蠉蟼 伪喂蟽胃畏蟿喂魏萎蟼 伪蟺蠈位伪蠀蟽畏蟼.
危蔚 魏维蟺慰喂慰 伪蟺蠈 蟿伪 蟽蟿伪蠀蟻慰未蟻蠈渭喂伪 蟿畏蟼 蟺慰蟻蔚委伪蟼 伪蠀蟿萎蟼, 蟿畏蟼 慰蟺慰委伪蟼 慰 蠂维蟻蟿畏蟼 苇蠂蔚喂 渭蔚谓 未畏渭喂慰蠀蟻纬畏胃蔚委 蟽蟿慰 蟺伪蟻蔚位胃蠈谓, 蠀蠁委蟽蟿伪蟿伪喂 未蔚 渭喂魏蟻苇蟼 伪位位伪纬苇蟼 蟽蟿畏谓 蟺慰蟻蔚委伪 蟿蠅谓 伪喂蠋谓蠅谓, 慰 蠁委位蔚蟻纬慰蟼 伪谓伪纬谓蠋蟽蟿畏蟼 胃伪 蟽蠀谓伪谓蟿萎蟽蔚喂 蟿慰谓 螔喂蟻纬委位喂慰 魏伪喂 蟿畏谓 螒喂谓蔚喂维未伪 蟿慰蠀. 螘蟺喂魏萎 蟺慰委畏蟽畏, 苇渭渭蔚蟿蟻畏 蠁伪谓蟿伪蟽蟿喂魏萎 渭蠀胃慰蟺位伪蟽委伪, 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿畏谓 喂蟽蟿慰蟻委伪 蟿慰蠀 螒喂谓蔚委伪 蟺慰蠀 蠁蔚蠉纬慰谓蟿伪蟼 未喂蠅魏蠈渭蔚谓慰蟼 伪蟺蠈 蟿畏谓 韦蟻慰委伪 伪谓伪味畏蟿维, 蠈蟺蠅蟼 蟿慰蠀 蠈蟻喂蟽伪谓 慰喂 胃蔚慰委, 渭喂伪 谓苇伪 蟺伪蟿蟻委未伪 蟽蟿畏谓 螜蟿伪位委伪. 螚 蟺慰蟻蔚委伪 蔚蟿慰蠉蟿畏 胃伪 苇蠂蔚喂 未喂维蟻魏蔚喂伪, 蟺蔚蟻喂蟺苇蟿蔚喂蔚蟼, 蟺慰位蔚渭喂魏苇蟼 伪谓伪渭蔚蟿蟻萎蟽蔚喂蟼, 苇蟻蠅蟿蔚蟼 魏伪喂 蠁喂位委蔚蟼, 渭蔚纬伪位蔚委慰 魏伪喂 蟺蠈谓慰, 味蠅萎 魏伪喂 胃维谓伪蟿慰. 螣 螔喂蟻纬委位喂慰蟼 胃伪 蔚蟺喂蠂蔚喂蟻萎蟽蔚喂 谓伪 蟺蔚蟻喂纬蟻维蠄蔚喂 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 魏伪蟿维蟽蟿伪蟽畏 蟽蔚 12 尾喂尾位委伪 魏伪喂 胃伪 蟿慰 蔚蟺喂蟿蠉蠂蔚喂 蟽蟿慰谓 渭苇纬喂蟽蟿慰 尾伪胃渭蠈.
螖蔚谓 苇蠂蔚喂 谓蠈畏渭伪 谓伪 蟽蟿伪胃蠋 蔚未蠋 蟽蟿伪 蠈蟺慰喂伪 蔚蟺喂渭苇蟻慰蠀蟼, 未蔚未慰渭苇谓慰蠀 蠈蟿喂 畏 蔚喂蟽伪纬蠅纬萎 蟿蠅谓 蟺蔚蟻委蟺慰蠀 130 蟽蔚位委未蠅谓 蟿慰蠀 伪谓蠀蟺苇蟻尾位畏蟿慰蠀 渭蔚蟿伪蠁蟻伪蟽蟿萎 / 蟽蠂慰位喂伪蟽蟿萎 螤伪蟺伪纬纬蔚位萎 魏伪位蠉蟺蟿蔚喂 慰位慰魏位畏蟻蠅蟿喂魏维 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏. 螛蔚蠅蟻蠋 蟺蠅蟼 胃伪 渭蟺慰蟻慰蠉蟽蔚 (蟽蔚 苇谓伪谓 维位位慰 喂未蔚伪蟿蠈 魏蠈蟽渭慰 蟺慰蠀 未蔚谓 蠀蟺慰蟿喂渭慰蠉蟽蔚 蔚尉蠈蠁胃伪位渭伪 蟿畏谓 蟺谓蔚蠀渭伪蟿喂魏萎 伪蟻喂蟽蟿蔚委伪) 谓伪 伪蟺慰蟿蔚位苇蟽蔚喂 伪蟺蠈 渭蠈谓畏 蟿畏蟼 蟺伪谓蔚蟺喂蟽蟿畏渭喂伪魏蠈 渭维胃畏渭伪. 韦慰蠉蟿慰蠀 未慰胃苇谓蟿慰蟼, 蟿慰 渭蠈谓慰 蟺慰蠀 渭苇谓蔚喂 蟽蔚 苇谓伪谓 伪蟺位蠈 伪谓伪纬谓蠋蟽蟿畏 (蟺维谓蟿伪 纬喂伪 渭苇谓伪 慰渭喂位蠋) 蔚委谓伪喂 谓伪 渭慰喂蟻伪蟽蟿蔚委 渭蔚 蟿慰蠀蟼 慰渭慰喂慰蟺伪胃蔚委蟼 蟿慰谓 伪谓蟿委魏蟿蠀蟺慰 蟺慰蠀 苇谓伪 蟿苇蟿慰喂慰 苇蟻纬慰 渭蟺慰蟻蔚委 谓伪 苇蠂蔚喂 蟽蟿畏谓 蟺谓蔚蠀渭伪蟿喂魏萎 蟿慰蠀 未喂伪渭蠈蟻蠁蠅蟽畏.
螖蔚谓 蔚委谓伪喂 伪蟺位蠈 纬喂伪 魏维蟺慰喂慰谓 蟺慰蠀 蔚未蠋 魏伪喂 魏伪喂蟻蠈 苇蠂蔚喂 尉蔚魏蠈蠄蔚喂 伪蟺蠈 蟿慰谓 苇渭渭蔚蟿蟻慰 位蠈纬慰 谓伪 蟽蠀谓蟿慰谓喂蟽蟿蔚委 渭蔚 蟿慰 蔚谓 位蠈纬蠅 魏蔚委渭蔚谓慰. 韦慰 苇蟺慰蟼 苇蠂蔚喂 蟺伪蟻伪未蠋蟽蔚喂 伪谓蔚蟺喂蟽蟿蟻蔚蟺蟿委 蟿畏 蟽魏蠀蟿维位畏 蟽蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 魏伪喂 蟿慰蠉蟿慰 魏伪胃喂蟽蟿维 蟽伪蠁蠋蟼 蟺喂慰 伪蟺伪喂蟿畏蟿喂魏萎 蟿畏 未喂伪未喂魏伪蟽委伪 魏伪蟿维 蟿畏谓 慰蟺慰委伪 慰喂 蟽蠀谓畏胃喂蟽渭苇谓慰喂 蟽蟿伪 伪位渭蠀蟻维 蠉未伪蟿伪 蟿畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼 魏伪位慰蠉谓蟿伪喂 谓伪 尾慰蠀蟿萎尉慰蠀谓 蟽蟿慰 纬位蠀魏蠈 谓蔚蟻蠈 蟿畏蟼 蔚蟺喂魏萎蟼 蟺慰委畏蟽畏蟼, 谓伪 蟺蟻慰蟽伪蟻渭慰蟽蟿慰蠉谓 蟺伪蟻蔚蠀胃蠉蟼 蟽蟿畏谓 伪蟺慰蠀蟽委伪 维谓蠅蟽畏蟼 (渭蔚纬维位畏 蔚蠀魏慰位委伪 蔚蟿慰蠉蟿畏) 魏伪喂 谓伪 伪蟺慰位伪蠉蟽慰蠀谓 蟿喂蟼 蠂维蟻蔚蟼 蟿畏蟼.
螣 未维蟽魏伪位慰蟼 螠蟺位慰蠀渭 苇蟻蠂蔚蟿伪喂 (蟿蠋蟻伪 魏伪喂 蟺维谓蟿伪) 伪蟻蠅纬蠈蟼 蟽蟿畏谓 蟺蟻慰蟽蟺维胃蔚喂伪: 畏 蟺慰委畏蟽畏 蟺维蟽畏蟼 渭慰蟻蠁萎蟼 伪谓伪渭苇位蟺蔚蟿伪喂, 蔚魏蠁蠅谓蔚委蟿伪喂 未蠀谓伪蟿维 (伪蟺蠈 蟽蟿萎胃慰蠀蟼, 伪魏蠈渭伪 魏伪位蠉蟿蔚蟻伪), 慰蠉蟿蠅蟼 蠋蟽蟿蔚 谓伪 伪蟺慰蟿蔚位蔚委 渭喂伪 慰位慰魏位畏蟻蠅渭苇谓畏 慰蟺蟿喂魏慰伪魏慰蠀蟽蟿喂魏萎 蔚渭蟺蔚喂蟻委伪 蟺慰蠀 渭蔚蟿伪蟿蟻苇蟺蔚喂 蟿慰谓 位蠈纬慰 蟽蔚 伪委蟽胃畏蟽畏, 蟽蔚 尾委蠅渭伪. 螠慰位慰谓蠈蟿喂 胃伪 蠄蔚蠀未蠈渭慰蠀谓 伪谓 苇位蔚纬伪 蟺蠅蟼 伪魏慰位慰蠉胃畏蟽伪 蟺喂蟽蟿维 蟿畏 蟽蠀渭尾慰蠀位萎 魏伪胃鈥� 蠈位畏 蟿畏 未喂维蟻魏蔚喂伪 蟿畏蟼 渭伪魏蟻维蟼 伪谓维纬谓蠅蟽畏蟼, 蠈蟿伪谓 蔚蟺喂位蔚魏蟿喂魏维 蟿慰 苇蟺蟻伪尉伪 蠀蟺萎蟻尉伪谓 蠈谓蟿蠅蟼 蟺伪蟻维纬蟻伪蠁慰喂 / 蟽蟿委蠂慰喂 慰喂 慰蟺慰委慰喂 魏蠀蟻喂慰位蔚魏蟿喂魏维 蠀位慰蟺慰喂萎胃畏魏伪谓 蔚渭蟺蟻蠈蟼 渭慰蠀, 伪蟺苇魏蟿畏蟽伪谓 慰蠀蟽委伪 魏伪喂 尾维蟻慰蟼, 未喂苇蟻蟻畏尉伪谓 蟿慰谓 蠂蟻蠈谓慰 魏伪喂 蟿慰谓 蟿蠈蟺慰 魏伪喂 渭蔚 蟻慰蠉蠁畏尉伪谓 蟽蟿畏 未委谓畏 蟿慰蠀蟼.
螖蔚未慰渭苇谓慰蠀 蟺蠅蟼 慰 螤伪蟺伪纬纬蔚位萎蟼 蟽蟿畏谓 蔚喂蟽伪纬蠅纬萎 蟿慰蠀 伪谓伪位蠉蔚喂 蔚谓未蔚位蔚蠂蠋蟼 蟿伪 味畏蟿萎渭伪蟿伪 未喂伪魏蔚喂渭蔚谓喂魏蠈蟿畏蟿伪蟼, 蔚魏位蔚魏蟿喂魏萎蟼 蟽蠀纬纬苇谓蔚喂伪蟼 蟿畏蟼 螒喂谓蔚喂维未伪蟼 渭蔚 蟿伪 蟺蟻慰畏纬畏胃苇谓蟿伪 慰渭畏蟻喂魏维 苇蟺畏, 胃伪 魏伪蟿伪胃苇蟽蠅 蟿畏谓 蟺蟻慰蟽蠅蟺喂魏萎 渭慰蠀 伪委蟽胃畏蟽畏. 韦慰 蔚谓伪蟻魏蟿萎蟻喂慰 位维魏蟿喂蟽渭伪 蔚委谓伪喂 尉蔚魏维胃伪蟻慰. 螣 螔喂蟻纬委位喂慰蟼 未蔚谓 蠁蔚委未蔚蟿伪喂 蟺位蔚委蟽蟿蔚蟼 蠈蟽蔚蟼 伪谓伪蠁慰蟻苇蟼, 未蔚谓 伪蟺慰魏蟻蠉蟺蟿蔚喂 蔚蟺喂蟻蟻慰苇蟼 魏伪喂 蟿伪 慰蠁蔚喂位蠈渭蔚谓伪 蟽蟿慰谓 螌渭畏蟻慰. 韦伪蠀蟿蠈蠂蟻慰谓伪 蠈渭蠅蟼 未喂伪胃苇蟿蔚喂 蟿畏谓 伪蟺伪喂蟿慰蠉渭蔚谓畏 伪蟺蠈 渭喂伪 渭蔚纬伪位慰蠁蠀委伪 慰委畏蟽畏, 蠋蟽蟿蔚 谓伪 未慰魏喂渭维蟽蔚喂 蟿畏谓 伪喂蠂渭萎 蟿慰蠀 蟺慰喂畏蟿喂魏慰蠉 蟿慰蠀 尉委蠁慰蠀蟼 伪蟺苇谓伪谓蟿喂 蟽蔚 苇谓伪谓 慰纬魏蠈位喂胃慰. 螠畏谓 尉蔚蠂谓维渭蔚 蠈蟿喂 苇蠂慰蠀谓 渭蔚蟽慰位伪尾萎蟽蔚喂 伪喂蠋谓蔚蟼 蟽蟿慰 渭蔚蟿伪尉蠉, 魏伪喂 蟺蠅蟼 蟽蟿畏 蟽魏蔚蠀萎 蟿慰蠀 慰 螔喂蟻纬委位喂慰蟼 蠁苇蟻蔚喂 蟿慰 伪蟺蠈胃蔚渭伪 蟿慰蠀 未蟻伪渭伪蟿喂魏慰蠉 位蠈纬慰蠀 蠈蟺蠅蟼 蟿慰 蟺伪蟻苇未蠅蟽伪谓 慰喂 渭蔚纬维位慰喂 蟿蟻伪纬喂魏慰委 蟺慰喂畏蟿苇蟼.
螛伪 位苇纬伪渭蔚 蟺蠅蟼 慰 螔喂蟻纬委位喂慰蟼 蔚委谓伪喂 苇谓伪蟼 蔚蟺委纬慰谓慰蟼, 魏维蟿喂 蟺慰蠀 蔚谓 蟺蟻慰魏蔚喂渭苇谓蠅 未蔚谓 苇蠂蔚喂 蟿畏谓 伪蟻谓畏蟿喂魏萎 蠂蟻慰喂维 蟺慰蠀 蟺蟻慰蟽苇未喂未蔚 慰 危蟿维喂谓蔚蟻 蟽蟿畏谓 苇谓谓慰喂伪. 螣 螞伪蟿委谓慰蟼 蟺慰喂畏蟿萎蟼 蔚委谓伪喂 慰 蔚蠀蟿蠀蠂萎蟼 魏位畏蟻慰谓蠈渭慰蟼 渭喂伪蟼 蟺伪蟻维未慰蟽畏蟼 蟿畏谓 慰蟺慰委伪 蟿委渭畏蟽蔚 渭蔚 蟿蟻蠈蟺慰 胃伪蠀渭伪蟽蟿蠈, 蔚喂蟽伪纬维纬慰谓蟿伪蟼 蟿慰 未蟻伪渭伪蟿喂魏蠈 蠉蠁慰蟼 蟽蟿畏谓 蔚蟺喂魏萎 伪蠁萎纬畏蟽畏. 螝伪委蟿慰喂 蟿慰 苇蟻纬慰 蟿慰蠀 伪蟺慰蟿蔚位蔚委 蟽蠀谓苇蠂蔚喂伪, 未蔚谓 魏伪蟿伪蠁蔚蠉纬蔚喂 蟽蟿畏谓 伪谓慰蠉蟽喂伪 渭委渭畏蟽畏, 尾慰蟻维 蟽蟿喂蟼 蟽魏喂伪渭伪蠂委蔚蟼 蟿慰蠀 伪未畏蠁维纬慰蠀 蠂蟻蠈谓慰蠀. 螚 螒喂谓蔚喂维未伪 蔚谓蟿维蟽蟽蔚蟿伪喂 蟽蟿畏 谓蔚蠅蟿蔚蟻喂魏蠈蟿畏蟿伪, 魏伪胃蠋蟼 蟽蟿慰 蔚蟺喂魏蠈 蟽蟿慰喂蠂蔚委慰 蔚渭蠁喂位慰蠂蠅蟻慰蠉谓 胃蟻伪蠉蟽渭伪蟿伪 蠀蟺伪蟻尉喂伪魏慰蠉 蟺蟻慰尾位畏渭伪蟿喂蟽渭慰蠉. 螣 螒喂谓蔚委伪蟼, 蟽蔚 伪谓蟿委胃蔚蟽畏 渭蔚 蟿慰蠀蟼 伪未伪渭维谓蟿喂谓慰蠀蟼 魏伪喂 魏维蟺蠅蟼 未喂蟽未喂维蟽蟿伪蟿慰蠀蟼 慰渭畏蟻喂魏慰蠉蟼 萎蟻蠅蔚蟼, 伪渭蠁喂尾维位位蔚喂, 维纬蔚蟿伪喂 魏伪喂 蠁苇蟻蔚蟿伪喂 伪蟺蠈 蠈位伪 蔚魏蔚委谓伪 蟿伪 畏胃喂魏维 未喂位萎渭渭伪蟿伪 蟺慰蠀 蟽蠀谓喂蟽蟿慰蠉谓 蔚谓 蟿苇位蔚喂 蟿畏谓 蟿蟻伪纬喂魏蠈蟿畏蟿伪. 螘魏蔚委 蟺慰蠀 蟿慰 慰渭畏蟻喂魏蠈 苇蟺慰蟼, 蠈蟺蠅蟼 胃伪蠀渭伪蟽蟿维 蟿慰谓委味蔚喂 慰 渭蔚蟿伪蠁蟻伪蟽蟿萎蟼, 蟺伪蟻慰蠀蟽喂维味蔚蟿伪喂 芦蠅蟼 蔚蠀胃蠉纬蟻伪渭渭慰, 维渭蔚蟽慰, 渭喂伪 蟽蠀渭蟺伪纬萎蟼 伪谓伪蟺伪蟻维蟽蟿伪蟽畏, 蠈蠂喂 伪蠀蟿慰蟽蟿慰蠂伪蟽蟿喂魏萎鈥β�, 蟿慰 谓蔚蠈蟿蔚蟻慰 苇蟺慰蟼 位慰尉慰魏慰喂蟿维 蟺蟻慰蟼 蟿伪 蟺委蟽蠅, 蠋蟽蟿蔚 谓伪 慰未畏纬畏胃蔚委 蟺位畏蟽委蟽蟿喂慰 蔚渭蟺蟻蠈蟼. 螕喂伪 谓伪 蔚蟺伪谓苇位胃慰蠀渭蔚 蟽蟿畏谓 蔚喂蟽伪纬蠅纬喂魏萎 蟺伪蟻维纬蟻伪蠁慰 蟺蔚蟻委 桅慰蠀魏蠋, 慰 蟺慰喂畏蟿萎蟼 魏伪蟿伪魏蔚蟻渭伪蟿委味蔚喂 蟿畏谓 蔚谓蠈蟿畏蟿伪 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼, 伪谓伪蠄畏位伪蠁蠋谓蟿伪蟼 蟿慰 蟺伪蟻伪未蔚未慰渭苇谓慰, 蔚纬魏蠀渭慰谓蠋谓蟿伪蟼 蟿慰 渭苇位位慰谓 蠈蟺蠅蟼 伪蠀蟿蠈蟼 蟿慰 慰蟻伪渭伪蟿委蟽蟿畏魏蔚.
螚 胃蔚蠆魏萎 蟺伪蟻慰蠀蟽委伪 鈥撐迪兾蔽滴� 蟺伪蟻慰蠉蟽伪, 慰蠀未苇蟺慰蟿蔚 伪渭蠁喂蟽尾畏蟿慰蠉渭蔚谓畏鈥� 魏伪蟿蔚蠀胃蠉谓蔚喂 蟿喂蟼 蟺蟻维尉蔚喂蟼 蟿蠅谓 畏蟻蠋蠅谓, 蟺蟻慰蠁畏蟿蔚蠉慰谓蟿伪蟼 蟿伪 渭蔚位位慰蠉渭蔚谓伪, 未喂魏伪喂蠋谓慰谓蟿伪蟼 蟿喂蟼 蟺蟻维尉蔚喂蟼 蟿蠅谓 蟿蟻伪纬喂魏蠋谓 畏蟻蠋蠅谓 蟺慰蠀 蟺蟻慰蟽蟺委蟺蟿慰蠀谓 蟽蔚 蔚魏蔚委谓畏 未喂伪蟻魏蠋蟼 纬喂伪 魏伪胃慰未萎纬畏蟽畏 魏伪喂 伪喂蟿喂慰位蠈纬畏蟽畏 蟺蟻维尉蔚蠅谓 (未喂魏伪委蠅谓 魏伪喂 伪未委魏蠅谓). 韦慰蠉蟿慰 蠈渭蠅蟼 未蔚谓 蔚渭蟺慰未委味蔚喂 蟿慰蠀蟼 萎蟻蠅蔚蟼 (蟿慰谓 螒喂谓蔚委伪 蟺蟻蠋蟿喂蟽蟿伪) 谓伪 蠀蟺慰蠁苇蟻慰蠀谓, 谓伪 伪喂蟽胃维谓慰谓蟿伪喂 蟿慰 维蠂胃慰蟼 蟿畏蟼 蠉蟺伪蟻尉萎蟼 蟿慰蠀蟼, 谓伪 伪渭蠁喂尾维位位慰蠀谓 魏伪喂 谓伪 蟽蠀纬魏蟻慰蠉慰谓蟿伪喂 渭蔚 蟿畏 蟽蠀谓蔚委未畏蟽萎 蟿慰蠀蟼 魏伪喂 蔚魏蔚委谓畏 蟿蠅谓 维位位蠅谓.
螌蟺蠅蟼 苇蠂慰蠀渭蔚 未喂未伪蠂胃蔚委 伪蟺蠈 蟿慰 螒蟻蠂伪委慰 未蟻维渭伪, 渭蔚蟿伪尉蠉 蟿蠅谓 蟽蟿慰喂蠂蔚委蠅谓 蟺慰蠀 慰蟻委味慰蠀谓 蟿畏谓 蟿蟻伪纬喂魏蠈蟿畏蟿伪 蔚谓蠈蟼 蟺蟻慰蟽蠋蟺慰蠀 蟽蠀渭蟺蔚蟻喂位伪渭尾维谓慰谓蟿伪喂 蟿伪 伪喂蟽胃萎渭伪蟿伪 蔚谓慰蠂萎蟼, 畏 蟽蠉纬魏蟻慰蠀蟽萎 蟿慰蠀 渭蔚 蠀蟺苇蟻蟿蔚蟻蔚蟼 未蠀谓维渭蔚喂蟼, 畏 伪蟺蠈蟿慰渭畏 渭蔚蟿伪蟽蟿蟻慰蠁萎 蟿畏蟼 蟿蠉蠂畏蟼, 伪位位维 魏伪喂 畏 蔚蟺喂魏蟻维蟿畏蟽畏 渭喂伪蟼 伪谓伪蟺蠈蠁蔚蠀魏蟿畏蟼 渭慰委蟻伪蟼. 螣 螒喂谓蔚委伪蟼 蔚委谓伪喂 慰 魏伪蟿鈥� 蔚尉慰蠂萎谓 蟿蟻伪纬喂魏蠈蟼 萎蟻蠅伪蟼, 伪位位维 蔚谓 蟿喂谓喂 渭苇蟿蟻蠅 伪蠀蟿蠈 喂蟽蠂蠉蔚喂 魏伪喂 纬喂伪 蟿伪 维位位伪 dramatis personae 蟿慰蠀 苇蟺慰蠀蟼. 螒蟺蠈 蟿喂蟼 蟺位苇慰谓 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏苇蟼 蟺蔚蟻喂蟺蟿蠋蟽蔚喂蟼 畏 螖喂未蠋, 畏 慰蟺慰委伪 蟺蔚蟻喂胃维位蟺蔚喂 蟿慰谓 螒喂谓蔚委伪, 蟿慰谓 蔚蟻蠅蟿蔚蠉蔚蟿伪喂 纬喂伪 谓伪 蟿慰谓 蠂维蟽蔚喂 蟽蟿畏 蟽蠀谓苇蠂蔚喂伪, 魏伪胃蠋蟼 蔚魏蔚委谓慰蟼 伪魏慰位慰蠀胃蔚委 蟿畏谓 蟺蟻慰未喂伪纬蔚纬蟻伪渭渭苇谓畏 伪蟺蠈 蟿慰蠀蟼 胃蔚慰蠉蟼 渭慰委蟻伪 蟿慰蠀. 螣 未喂维位慰纬蠈蟼 蟿慰蠀蟼 蟺蟻喂谓 伪蟺蠈 蟿慰谓 蠂蠅蟻喂蟽渭蠈 (魏伪喂 蟿畏 蟽蠀谓伪魏蠈位慰蠀胃畏 伪蠀蟿慰魏蟿慰谓委伪 蟿畏蟼) 蔚委谓伪喂 蟽蠀纬魏位慰谓喂蟽蟿喂魏蠈蟼 魏伪喂 蟺伪蟻伪蟺苇渭蟺蔚喂 蟽蟿喂蟼 慰渭慰蟻蠁蠈蟿蔚蟻蔚蟼 蟽蟿喂纬渭苇蟼 蟿畏蟼 未蟻伪渭伪蟿喂魏萎蟼 蟺慰委畏蟽畏蟼: 芦韦慰 未维魏蟻蠀 渭慰蠀 魏伪喂 慰 位蠈纬慰蟼 蟽慰蠀, 伪蠀蟿维 魏伪喂 蟿委蟺慰蟿伪 维位位慰 畏 维渭慰喂蟻畏 未蔚谓 苇蠂蠅. 螒谓伪尾慰位萎 魏伪喂 蠂蟻蠈谓慰 蟽慰蠀 味畏蟿蠋, 纬喂伪 谓伪 蟺伪蟻伪未慰胃蠋 蟽蟿畏 渭慰委蟻伪 渭慰蠀, 谓伪 渭维胃蠅 谓伪 蟺慰谓维蠅禄. 螝伪喂 蟽蔚 伪蠀蟿萎 蟿畏谓 苇魏魏位畏蟽畏, 慰 伪渭蔚蟿维蟺蔚喂蟽蟿慰蟼 螒喂谓蔚委伪蟼 胃伪 伪蟺伪谓蟿萎蟽蔚喂: 芦螒谓 萎蟿伪谓 蟽蟿慰 未喂魏蠈 渭慰蠀 蟻喂味喂魏蠈, 谓伪 慰蟻委味蠅 蟿畏 味蠅萎 渭慰蠀 蠈蟺蠅蟼 蟿畏 胃苇位蠅禄.
螌蟿伪谓 蟽蟿畏 蟽蠀谓苇蠂蔚喂伪 畏 螒蠁蟻慰未委蟿畏 味畏蟿维 伪蟺蠈 蟿慰谓 螇蠁伪喂蟽蟿慰 谓伪 蠁蟿喂维尉蔚喂 渭喂伪 谓苇伪 伪蟻渭伪蟿蠅蟽喂维 纬喂伪 蟿慰谓 纬喂蠈 蟿畏蟼 (蠈蟺蠅蟼 苇蟺蟻伪尉蔚 畏 螛苇蟿喂蟼 纬喂伪 蟿慰谓 螒蠂喂位位苇伪), 蔚委谓伪喂 蟽伪谓 谓伪 蔚委渭伪蟽蟿蔚 蟺伪蟻蠈谓蟿蔚蟼 蟽蟿畏谓 委未喂伪 蟿畏 未喂伪未喂魏伪蟽委伪 蟿畏蟼 蟺慰喂畏蟿喂魏萎蟼 未畏渭喂慰蠀蟻纬委伪蟼. 螣 螔喂蟻纬委位喂慰蟼 渭蔚蟿伪蟿蟻苇蟺蔚蟿伪喂 伪蠀蟿慰蟽蟿喂纬渭蔚委 蟽蔚 胃蔚蠈 螇蠁伪喂蟽蟿慰: 危蟿慰 尾伪胃蠉 蟽魏慰蟿维未喂 蟿畏蟼 谓蠉蠂蟿伪蟼, 蟽蟿伪 蠀蟺蠈纬蔚喂伪, 伪蟺慰渭慰谓蠅渭苇谓慰蟼 蟽蠀谓未伪蠀位委味蔚喂 蟿慰 蟺蠀蟻, 伪魏慰谓委味蔚喂 蟿畏谓 蟺苇谓伪, 位喂蠋谓蔚喂 蟿慰 伪蟿蟽维位喂 蟿畏蟼 苇渭蟺谓蔚蠀蟽畏蟼 魏伪喂 蟽魏伪蟻蠋谓蔚喂 蟺伪谓慰蟺位委伪 蟿蟻慰渭伪魏蟿喂魏萎, 伪蟺蠈魏慰蟽渭畏蟼 苇渭蟺谓蔚蠀蟽畏蟼, 渭蔚纬伪位蔚喂蠋未畏. 韦慰 蠁蠀蟽蔚蟻蠈 蟿畏蟼 未畏渭喂慰蠀蟻纬委伪蟼 伪蟽胃渭伪委谓蔚喂 伪魏维渭伪蟿伪, 慰喂 蟽蟿委蠂慰喂 蟻苇慰蠀谓, 位喂蠋谓慰蠀谓 魏伪喂 蟺伪委蟻谓慰蠀谓 蟿慰 蟽蠂萎渭伪 蟿慰蠀蟼 伪蟻纬维 魏伪喂 蟽蟿伪胃蔚蟻维, 蠀蟺蠈 蟿慰 维纬蟻蠀蟺谓慰 尾位苇渭渭伪 蟿慰蠀 未畏渭喂慰蠀蟻纬慰蠉. 螌蟿伪谓 蟺蟻慰尾维位蔚喂 蟿慰 蟺蟻蠅委 (蠂蠅位蠈蟼, 蟽蠀蠂谓维 魏伪蟿伪纬苇位伪蟽蟿慰蟼 鈥� 蟿喂 蟽畏渭伪蟽委伪 蠈渭蠅蟼 苇蠂蔚喂 蟿慰 未苇渭伪蟼 魏伪喂 畏 蠈蠄畏 蟿慰蠀 未畏渭喂慰蠀蟻纬慰蠉;) 蠁苇蟻谓蔚喂 蟽蟿慰蠀蟼 胃谓畏蟿慰蠉蟼 魏伪喂 蟿慰蠀蟼 伪胃伪谓维蟿慰蠀蟼 蟺慰蠀 蟺伪蟻伪魏慰位慰蠀胃慰蠉谓 魏蟻伪蟿伪喂慰委 蟺位畏谓 蠈渭蠅蟼 伪谓苇渭蟺谓蔚蠀蟽蟿慰喂, 蟿慰 未畏渭喂慰蠉蟻纬畏渭维 蟿慰蠀: 蟿畏谓 蟺慰喂畏蟿喂魏萎 蟿慰蠀 蟺伪谓慰蟺位委伪 鈥� 魏伪位蠉蟿蔚蟻伪, 蟿畏谓 蟺伪谓慰蟺位委伪 纬喂伪 蟿慰谓 螒喂谓蔚委伪 魏伪喂 蟿慰 苇蟺慰蟼 纬喂伪 蔚渭维蟼 蟿慰蠀蟼 尾蟻慰蟿慰蠉蟼.
韦伪 蟺伪蟻伪未蔚委纬渭伪蟿伪 蠀蠄畏位萎蟼 伪蠁畏纬畏渭伪蟿喂魏萎蟼 蟿苇蠂谓畏蟼 伪蠁胃慰谓慰蠉谓. 螘谓未蔚喂魏蟿喂魏维 渭蠈谓慰谓 伪谓伪蠁苇蟻蠅 魏维蟺慰喂伪. 危蠀纬魏位慰谓喂蟽蟿喂魏萎 畏 蟺蔚蟻喂纬蟻伪蠁萎 蟿畏蟼 蔚尉蠈未慰蠀 蠈蟺慰蠀 慰 螡委蟽慰蟼 魏伪喂 慰 螘蠀蟻蠉伪位慰蟼 蔚蟺喂蠂蔚喂蟻慰蠉谓 伪谓蔚蟺喂蟿蠀蠂蠋蟼 谓伪 魏伪蟿伪蟽魏慰蟺蔚蠉蟽慰蠀谓 蟿慰蠀蟼 伪谓蟿喂蟺维位慰蠀蟼 蟽蟿慰谓 蟺蠈位蔚渭慰 魏伪蟿维 蟿蠅谓 巍慰蠀蟿慰蠉位蠅谓. 螠维蟿伪喂畏 蠈渭蠅蟼 畏 苇尉慰未蠈蟼 蟿慰蠀蟼 魏伪喂 慰 蔚蟺伪魏蠈位慰蠀胃慰蟼 胃维谓伪蟿蠈蟼 蟿慰蠀蟼: 芦螆谓伪 渭慰谓维蠂伪 渭蟺蠈蟻蔚蟽蔚: 蟺慰位蠉 蟿慰谓 未蠀蟽蟿蠀蠂萎 蟿慰蠀 蠁委位慰 谓伪 伪纬伪蟺萎蟽蔚喂禄. 螝伪喂 慰 蟺慰喂畏蟿萎蟼 蟽蠀谓蔚蠂委味蔚喂: 芦螠伪魏维蟻喂慰喂 魏伪喂 慰喂 未蠀慰 蟽伪蟼! 螠蔚蟻蟿喂魏蠈 蟽蟿畏 未蠉谓伪渭畏 伪蟼 苇蠂慰蠀谓 蟿慰蠉蟿慰喂 慰喂 蟽蟿委蠂慰喂, 蟺慰蟿苇 纬喂伪 蔚蟽维蟼 未蔚谓 胃伪 苇蟻胃蔚喂 慰 魏伪喂蟻蠈蟼 蟺慰蠀 位畏蟽渭慰谓喂维 胃伪 蟽尾萎蟽蔚喂 蟿慰 蠈谓慰渭维 蟽伪蟼禄.
螕喂伪 谓伪 伪魏慰位慰蠀胃萎蟽蔚喂 蟽蟿畏 蟽蠀谓苇蠂蔚喂伪 慰 蟽蟺伪蟻伪纬渭蠈蟼 蟿畏蟼 渭维谓伪蟼 蟿慰蠀 螘蠀蟻蠉伪位慰蠀. 螤慰喂伪 蠄蠀蠂萎 蟽蠉纬蠂蟻慰谓畏, 渭苇位位慰蠀蟽伪 未蔚谓 胃伪 蟽蠀纬魏位慰谓喂蟽蟿蔚委 伪蟺蠈 蟿慰蠀 蟺慰喂畏蟿萎 蟿慰蠀蟼 蟽蟿委蠂慰蠀蟼, 蟿慰谓 蟿蟻蠈蟺慰 渭蔚 蟿慰谓 慰蟺慰委慰 渭蔚蟿伪蠁苇蟻蔚喂 蟿慰谓 蟺蠈谓慰 蟿畏蟼 伪蟺蠋位蔚喂伪蟼; 韦喂 渭蟺慰蟻蔚委 谓伪 蔚委谓伪喂 蔚魏蔚委谓慰 蟺慰蠀 苇蠂蔚喂 未蟻伪蟽蟿喂魏维 伪位位维尉蔚喂 伪谓维 蟿慰蠀蟼 伪喂蠋谓蔚蟼, 蠋蟽蟿蔚 魏维蟺慰喂慰蟼 谓伪 喂蟽蠂蠀蟻喂蟽蟿蔚委 蟺蠅蟼 慰喂 蟽蟿委蠂慰喂 苇蠂慰蠀谓 伪蟿慰谓萎蟽蔚喂 魏伪喂 慰 伪谓蟿委魏蟿蠀蟺慰蟼 蟺慰蠀 蟺蟻慰魏伪位慰蠉谓 蔚委谓伪喂 伪未蟻伪谓萎蟼 魏伪喂 伪蠁位蔚纬萎蟼; 韦慰 蔚蟻蠋蟿畏渭伪 蔚委谓伪喂 蟺蟻慰蠁伪谓蠋蟼 蟻畏蟿慰蟻喂魏蠈.
危蟿畏 蟽蠀谓苇蠂蔚喂伪, 慰 螒喂谓蔚委伪蟼 蟽魏慰蟿蠋谓蔚喂 蟿慰谓 谓蔚伪蟻蠈 螞伪蠉蟽慰 蟺慰蠀 蔚蟺喂蠂蔚喂蟻蔚委 谓伪 蟽蠋蟽蔚喂 蟿慰谓 蟺伪蟿苇蟻伪 蟿慰蠀 伪蟺蠈 尾苇尾伪喂慰 胃维谓伪蟿慰. 韦慰谓 蠁蠈谓慰 伪魏慰位慰蠀胃蔚委 畏 胃位委蠄畏 纬喂伪 蟿慰谓 维未喂魏慰 蠂伪渭蠈. 螤伪蟻伪未委未蔚喂 蟿慰 蟽蠋渭伪 蟽蟿慰蠀蟼 蟽蠀谓蟿蟻蠈蠁慰蠀蟼 蟿慰蠀: 芦蟿慰 魏慰蟻渭委 慰 委未喂慰蟼 蟿慰 蟽畏魏蠋谓蔚喂 伪蟺蠈 蟿慰 蠂蠋渭伪 鈥� 伪蟽蠂萎渭喂味蔚 蟿慰 伪委渭伪 蟿伪 渭伪位位喂维 蟺慰蠀 萎蟿伪谓 蟺维谓蟿伪 魏伪位慰蠂蟿蔚谓喂蟽渭苇谓伪禄. 韦慰 魏维位位慰蟼 未蔚谓 蔚纬魏伪蟿伪位蔚委蟺蔚喂 蟿慰谓 谓蔚魏蟻蠈, 蟽蔚 伪谓蟿委胃蔚蟽畏 渭蔚 蟿畏谓 蠄蠀蠂萎 蟺慰蠀 魏伪蟿蔚尾伪委谓蔚喂 蟽蟿慰谓 螁未畏. 螘委谓伪喂 畏 蟺伪蟻伪魏伪蟿伪胃萎魏畏 蟽蟿畏谓 伪喂蠅谓喂蠈蟿畏蟿伪, 慰 蟿蟻蠈蟺慰蟼 蟿慰蠀 蟺慰喂畏蟿萎 纬喂伪 谓伪 未慰尉维蟽蔚喂 蟿慰 蔚蠁萎渭蔚蟻慰, 蟿畏 谓蔚蠈蟿畏蟿伪 蟺慰蠀 蠀蟺慰魏蠉蟺蟿蔚喂 蟽蟿慰谓 伪未萎蟻喂蟿慰 胃维谓伪蟿慰, 伪位位维 蟿伪蠀蟿蠈蠂蟻慰谓伪 纬委谓蔚蟿伪喂 蟽蟿委蠂慰蟼, 伪喂蠋谓喂慰 蟺伪蟻蠈谓, 纬委谓蔚蟿伪喂 慰渭慰蟻蠁喂维 蟺蟻慰蟼 蟿苇蟻蠄喂谓 蟿蠅谓 蟽蠀纬魏伪喂蟻喂谓蠋谓 魏伪喂 蟿蠅谓 渭蔚位位慰谓蟿喂魏蠋谓 伪谓伪纬谓蠅蟽蟿蠋谓.
韦慰 苇蟺慰蟼 尾蟻委胃蔚喂 蟺慰位蔚渭喂魏蠋谓 蟽蠀纬魏蟻慰蠉蟽蔚蠅谓. 螣 伪谓伪纬谓蠋蟽蟿畏蟼 尾苇尾伪喂伪 伪谓伪魏伪位蠉蟺蟿蔚喂 蟽蟿伪未喂伪魏维 蟺蠅蟼 蠀蟺维蟻蠂蔚喂 蟿维尉畏, 喂蟽慰蟻蟻慰蟺委伪, 伪喂蟽胃畏蟿喂魏萎, 伪魏蠈渭伪 魏伪喂 蟽蟿喂蟼 尾喂伪喂蠈蟿蔚蟻蔚蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼. 韦慰 蠁慰谓喂魏蠈 苇蠂蔚喂 蟿慰蠀蟼 魏伪谓蠈谓蔚蟼 蟿慰蠀, 蟿畏谓 蟿蔚位蔚蟿慰蠀蟻纬委伪 蟿慰蠀. 螣喂 维谓未蟻蔚蟼 蟺蔚胃伪委谓慰蠀谓 未喂蠈蟿喂 魏伪蟿伪蟻蠂维蟼 蔚委谓伪喂 胃谓畏蟿慰委. 螖喂蠈蟿喂 蔚委谓伪喂 苇蟻渭伪喂伪 蟿蠅谓 尾慰蠀位蠋谓 蟿蠅谓 胃蔚蠋谓, 渭伪 魏伪喂 蟿蠅谓 未喂魏蠋谓 蟿慰蠀蟼 蔚蟺喂胃蠀渭喂蠋谓. 螖喂蠈蟿喂 蔚蟺喂味畏蟿慰蠉谓 蟿慰 魏位苇慰蟼, 蟿畏谓 蠀蟽蟿蔚蟻慰蠁畏渭委伪. 螖喂蠈蟿喂 蔚委谓伪喂 伪蠄萎蠁喂蟽蟿伪 纬蔚谓谓伪委慰喂, 伪位位维 魏伪喂 伪蟽蠀位位蠈纬喂蟽蟿伪 未蔚喂位慰委. 螤慰蟿苇 蠈渭蠅蟼 未蔚谓 蟺蔚胃伪委谓慰蠀谓 伪魏伪蟿慰谓蠈渭伪蟽蟿慰喂 (蟽蔚 蟽蠀渭蠁蠅谓委伪 渭蔚 蟿畏谓 慰渭畏蟻喂魏萎 蟺伪蟻维未慰蟽畏). 螣 维谓未蟻伪蟼 蟺慰蠀 蟽蠀谓伪谓蟿维 蟿慰谓 胃维谓伪蟿慰 蟽蔚 渭维蠂畏 慰谓慰渭伪蟿委味蔚蟿伪喂, 蔚谓委慰蟿蔚 蟺伪蟻伪蟿委胃蔚蟿伪喂 蟽蠉谓蟿慰渭畏 伪谓伪蠁慰蟻维 蟽蟿畏谓 慰喂魏慰纬苇谓蔚喂伪 萎 蟿畏 蠁蠀位萎 蟿慰蠀. 螘蟿慰蠉蟿慰 蟿慰谓 魏伪胃喂蟽蟿维 维谓胃蟻蠅蟺慰, 蠀蟺慰魏蔚委渭蔚谓慰 维尉喂慰 伪谓伪蠁慰蟻维蟼, 蠈蠂喂 伪蟺位蠋蟼 苇谓伪谓 维纬谓蠅蟽蟿慰 蟽蟿蟻伪蟿喂蠋蟿畏, 伪谓伪蟺位畏蟻蠅渭伪蟿喂魏蠈 蟺慰位蔚渭喂蟽蟿萎 蟺慰蠀 畏 蠉蟺伪蟻尉萎 蟿慰蠀 蟽蠀谓蔚喂蟽蠁苇蟻蔚喂 蟽蟿畏 未蠈尉伪 蟿慰蠀 尾伪蟽喂位喂维 蟿慰蠀. 螝维蟿喂 蟿苇蟿慰喂慰 未蔚谓 蠀蠁委蟽蟿伪蟿伪喂 蟽蟿慰谓 螌渭畏蟻慰 慰蠉蟿蔚 蟺蟻慰蠁伪谓蠋蟼 蟽蟿慰谓 螔喂蟻纬委位喂慰. 螣 畏蟿蟿畏渭苇谓慰蟼 魏蔚蟻未委味蔚喂 伪蟺蠈 蟿畏谓 伪尉委伪 蟿慰蠀 谓喂魏畏蟿萎, 渭蔚 蟽蠀谓苇蟺蔚喂伪 谓伪 伪谓伪蠁苇蟻蔚蟿伪喂 蟽蟿慰蠀蟼 伪喂蠋谓蔚蟼.
螣 胃维谓伪蟿慰蟼 纬喂伪 蟿慰谓 螔喂蟻纬委位喂慰 蔚委谓伪喂 畏蟻蠅喂魏蠈蟼 渭蔚谓, 蟺苇谓胃喂渭慰蟼 未蔚. 螣喂 蠄蠀蠂慰蟻蟻伪纬慰蠉谓蟿蔚蟼 伪蠁萎谓慰蠀谓 渭蔚 胃位委蠄畏 蟿慰谓 魏蠈蟽渭慰, 伪谓伪蟺慰位慰蠉谓 蟿畏谓 蟺伪蟿蟻委未伪 魏伪喂 蟿慰蠀蟼 伪纬伪蟺畏渭苇谓慰蠀蟼 蟿慰蠀蟼 蟺蟻慰蟿慰蠉 蔚谓蠅胃慰蠉谓 渭蔚 蟿喂蟼 蟽魏喂苇蟼. 螣 蟺慰喂畏蟿萎蟼 伪蟺慰未委未蔚喂 蟿喂渭萎 蟽蟿慰蠀蟼 蟺蔚蟽蠈谓蟿蔚蟼 蟽蔚 未委魏伪喂慰 萎 维未喂魏慰 伪纬蠋谓伪, 蟿蠀位委纬慰谓蟿维蟼 蟿慰蠀蟼 渭蔚 蟿慰 蟺苇蟺位慰 蟿蠅谓 蟽蟿委蠂蠅谓 蟿慰蠀, 蟿慰 慰蟺慰委慰 胃伪 蟿慰蠀蟼 蟽蠀谓慰未蔚蠉蟽蔚喂 蟽蟿慰 蠁蟻喂蠂蟿蠈 蟿伪尉委未喂 蟿慰蠀蟼 蟽蟿慰谓 魏维蟿蠅 魏蠈蟽渭慰. 螘魏蔚委谓畏 蟿畏 蟽蟿喂纬渭萎 伪委蟻蔚喂 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀 蟺维谓蠅 伪蟺蠈 蟿伪 伪谓胃蟻蠋蟺喂谓伪, 渭蔚蟿伪蟿蟻苇蟺蔚蟿伪喂 蟽蔚 螛蔚蠈 蟺慰蠀 蔚蟺喂蠂蔚喂蟻蔚委 谓伪 蔚蟺伪谓慰蟻胃蠋蟽蔚喂 魏伪蟿维蠁蠅蟻畏 伪未喂魏委伪 (蟿喂 蟺喂慰 维未喂魏慰 伪蟺蠈 蟿畏谓 伪谓蔚位苇畏蟿畏 蟽蠁伪纬萎 谓苇蠅谓 魏伪喂 渭畏 伪谓胃蟻蠋蟺蠅谓 蟽蟿慰 蟺蔚未委慰 蟿畏蟼 渭维蠂畏蟼), 蟺伪蟻蔚渭尾维位位慰谓蟿伪蟼 蟿畏谓 蟺苇谓伪 蟿慰蠀 蠅蟼 伪蟽蟺委未伪: 芦螝喂 伪谓 畏 渭慰委蟻伪 蟽伪蟼 慰未萎纬畏蟽蔚 蟺蟻蠈蠅蟻伪 蟽蟿慰谓 胃维谓伪蟿慰, 慰喂 蟽蟿委蠂慰喂 渭慰蠀 胃伪 蟽伪蟼 蟺蟻慰蟽蠁苇蟻慰蠀谓 伪谓维蟺伪蠀蟽畏, 伪谓伪纬谓蠋蟻喂蟽畏, 蟿畏谓 蟺伪蟻畏纬慰蟻喂维 蟿畏蟼 伪喂蠅谓喂蠈蟿畏蟿伪蟼禄 渭慰喂维味蔚喂 谓伪 位苇蔚喂. 螣 胃维谓伪蟿慰蟼 蟺慰蟿苇 未蔚谓 蔚委谓伪喂 慰蟻喂蟽蟿喂魏蠈蟼 蠈蟽慰 蠀蟺维蟻蠂蔚喂 畏 蟿苇蠂谓畏. 螣渭慰委蠅蟼, 慰 维谓胃蟻蠅蟺慰蟼 蟺慰蠀 未畏渭喂慰蠀蟻纬蔚委 蟺伪蟻伪渭苇谓蔚喂 伪胃维谓伪蟿慰蟼, 蠂蟿委味蔚喂 纬喂伪 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀 魏伪喂 蟿慰蠀蟼 纬蠉蟻蠅 蟿慰蠀 渭喂伪 蟿维蠁蟻慰 蟽蟿畏谓 慰蟺慰委伪 蟻蠀胃渭喂魏维 蠂蠀渭维谓蔚 蟿伪 魏蠉渭伪蟿伪 蟿慰蠀 蠂蟻蠈谓慰蠀 魏伪喂 蟿慰蠀 伪谓伪蟺蠈蠁蔚蠀魏蟿慰蠀.
螒谓蟿委 蔚蟺喂位蠈纬慰蠀
芦韦喂 蔚委谓伪喂 蟿蔚位喂魏维 畏 螒喂谓蔚喂维未伪;禄 胃伪 伪谓伪蟻蠅蟿畏胃蔚委 慰 蟽蠉纬蠂蟻慰谓慰蟼 伪谓伪纬谓蠋蟽蟿畏蟼, 慰 慰蟺慰委慰蟼 蔚胃喂蟽渭苇谓慰蟼 蟽蟿畏谓 蟿伪蠂蔚委伪 伪谓伪位纬畏蟿喂魏萎 蔚蟺委未蟻伪蟽畏 蟿蠅谓 位慰纬慰蟿蔚蠂谓喂魏蠋谓 蟽蠀渭蟺位畏蟻蠅渭维蟿蠅谓 尾位苇蟺蔚喂 渭蔚 蟺蔚蟻喂蟽蟽萎 未蠀蟽蟺喂蟽蟿委伪 苇谓伪 渭蔚纬维位畏蟼 苇魏蟿伪蟽畏蟼 魏蔚委渭蔚谓慰 蟺慰蠀 渭苇蟽伪 伪蟺蠈 蟿慰蠀蟼 伪喂蠋谓蔚蟼 蟺伪蟻伪蟿畏蟻蔚委 伪蠁鈥� 蠀蠄畏位慰蠉 蟿慰 蠄畏蠁喂伪魏蠈 渭伪蟼 蟺伪蟻蠈谓, 伪蟺伪喂蟿蠋谓蟿伪蟼 蟽喂蠅蟺萎, 蟽蟿维蟽畏, 蟺蔚蟻喂蟽蠀位位慰纬萎, 蠀蟺慰渭慰谓萎. 螚 螒喂谓蔚喂维未伪 蔚委谓伪喂, 伪蟺慰蠁伪谓蟿喂魏维, 蟿慰 蠈谓蔚喂蟻慰 蟿慰蠀 未畏渭喂慰蠀蟻纬慰蠉 蟿畏蟼, 苇谓伪 魏蠉畏渭伪 (魏伪喂 魏蠉渭伪) 伪蟽蟿蔚委蟻蔚蠀蟿畏蟼 苇渭蟺谓蔚蠀蟽畏蟼, 畏 胃伪位蔚蟻萎 蠈蠄畏 蟿畏蟼 味蠅萎蟼 魏维胃蔚 蠁慰蟻维 蟺慰蠀 渭喂渭蔚委蟿伪喂 鈥撐毕勏呄囅幭傗€� 蟿畏谓 蟿苇蠂谓畏. 螣 螔喂蟻纬委位喂慰蟼 蟽蠀渭蟺位苇魏蔚喂 蟿慰 渭蠀胃喂魏蠈 渭蔚 蟿慰 蟻蔚伪位喂蟽蟿喂魏蠈, 蠀蟺伪魏慰蠉蔚喂 魏伪喂 蟺蟻慰蟽蔚蠉蠂蔚蟿伪喂 蟽蔚 未蠀谓维渭蔚喂蟼 伪谓蠋蟿蔚蟻蔚蟼 伪蟺蠈 伪蠀蟿蠈谓 (蟽蟿慰 慰渭畏蟻喂魏蠈 蟺伪蟻蔚位胃蠈谓 魏伪喂 蟽蟿慰 螖蠅未蔚魏维胃蔚慰). 韦伪蠀蟿蠈蠂蟻慰谓伪 蠈渭蠅蟼, 蠅蟼 纬谓萎蟽喂慰蟼 魏伪位位喂蟿苇蠂谓畏蟼, 伪蟺慰未慰渭蔚委, 蔚尉蔚纬蔚委蟻蔚蟿伪喂, 蔚蟺伪委蟻蔚蟿伪喂 魏伪喂 蟺位维胃蔚喂 蟽蟿伪 魏蟻蠀蠁维 蟺畏位蠈 渭蔚 尾位维蟽蠁畏渭伪 蠀位喂魏维. 螒蠀蟿萎 蔚委谓伪喂 畏 未喂蟿蟿萎 蠁蠉蟽畏, 畏 魏伪蟿维蟻伪 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏: 蔚魏蔚委 蟺慰蠀 蟺蟻慰蟽蟺委蟺蟿蔚喂 蟽蔚 蟺蟻慰纬蠈谓慰蠀蟼, 蔚尉慰蠀蟽委蔚蟼 魏伪喂 胃蔚慰蠉蟼, 蟿畏谓 委未喂伪 蟽蟿喂纬渭萎 谓伪 蔚谓委蟽蟿伪蟿伪喂, 谓伪 位慰喂未慰蟻蔚委 魏伪喂 谓伪 芦蔚渭蠁伪委谓蔚喂 魏伪蟿伪纬蠅纬喂魏慰蠉蟼 未蔚蟽渭慰蠉蟼禄 渭蔚 蠈位伪 蠈蟽伪 胃蔚蠅蟻蔚委 蟽蠀纬纬蔚谓喂魏维 蟽蟿畏谓 蟿苇蠂谓畏 蟿慰蠀.
螣 蟽蠉纬蠂蟻慰谓慰蟼 伪谓伪纬谓蠋蟽蟿畏蟼 魏伪位蔚委蟿伪喂 谓伪 渭慰喂蟻伪蟽蟿蔚委 蟿慰 蠈谓蔚喂蟻慰 蟿畏蟼 未畏渭喂慰蠀蟻纬委伪蟼 伪蠀蟿萎蟼, 谓伪 蔚渭尾伪蟺蟿喂蟽蟿蔚委 蟽蟿畏谓 蟺慰喂畏蟿喂魏萎 慰蠀蟽委伪, 谓伪 未慰尉维蟽蔚喂 蟿慰蠀蟼 胃蔚慰蠉蟼 蟿畏蟼 魏伪喂 谓伪 纬喂慰蟻蟿维蟽蔚喂 蟿慰 蟿伪蟺蔚喂谓蠈 魏伪喂 蟿慰 蠀蠄畏位蠈 蟿畏蟼 蠉蟺伪蟻尉萎蟼 蟿慰蠀 未委蟺位伪 蟽蟿慰谓 蟺慰喂畏蟿萎. 韦委蟺慰蟿蔚 位喂纬蠈蟿蔚蟻慰!
螚 纬蔚谓蔚伪位慰纬委伪, 畏 伪谓伪味萎蟿畏蟽畏 蟿畏蟼 蟺蟻慰苇位蔚蠀蟽畏蟼, 蠈蟺蠅蟼 渭伪蟼 未委未伪尉蔚 慰 桅慰蠀魏蠋, 未蔚谓 蔚委谓伪喂 伪蟺伪蟻伪委蟿畏蟿慰 谓伪 谓慰蔚委蟿伪喂 蠅蟼 胃蔚渭蔚位委蠅蟽畏 蟽蟿蔚蟻蔚慰蟿蠉蟺蠅谓, 伪位位维 魏喂 蠅蟼 伪谓伪蠄畏位维蠁畏蟽畏 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼, 蠅蟼 魏伪蟿伪魏蔚蟻渭伪蟿喂蟽渭蠈蟼 蟿畏蟼 蠈蟺慰喂伪蟼 蔚谓蠈蟿畏蟿伪蟼. 韦慰蠉蟿慰 蟺蟻慰蠇蟺慰胃苇蟿蔚喂, 蔚谓蟿慰蠉蟿慰喂蟼, 蟿畏谓 蔚喂蟼 尾维胃慰蟼 纬谓蠋蟽畏 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼, 蠈蠂喂 蠅蟼 蟽蟿伪蟿喂魏慰蠉 魏伪喂 维蟺伪尉 蟽渭喂位蔚蠀渭苇谓慰蠀 蠈纬魏慰蠀 蟺慰蠀 蔚蟺喂魏维胃蔚蟿伪喂 蠅蟼 维蠂胃慰蟼 蟽蟿喂蟼 伪谓蟿喂位萎蠄蔚喂蟼 魏伪喂 蟿畏谓 伪喂蟽胃畏蟿喂魏萎 蟿蠅谓 渭蔚位位慰蠀蟽蠋谓 纬蔚谓蔚蠋谓, 蠈蟽慰 蠅蟼 蟽蠀谓苇蠂蔚喂伪, 蔚渭尾伪蟺蟿喂蟽渭苇谓畏 蟽蟿畏谓 喂蟽蟿慰蟻喂魏蠈蟿畏蟿伪.
螠蟺慰蟻蔚委 谓伪 渭畏谓 蠀蟺维蟻蠂蔚喂 渭委伪 魏伪喂 渭慰谓伪未喂魏萎 蟺畏纬萎, 纬谓蠅蟽蟿萎 伪蟺慰魏位蔚喂蟽蟿喂魏维 蟽蟿慰蠀蟼 渭蠉蟽蟿蔚蟼, 蔚魏 蟿畏蟼 慰蟺慰委伪蟼 伪蟻未蔚蠉慰谓蟿伪喂 慰喂 蠀未维蟿喂谓蔚蟼 蔚魏蟿维蟽蔚喂蟼 蟿畏蟼 纬谓蠋蟽畏蟼 鈥� 蟺位畏谓 蠈渭蠅蟼, 未蔚谓 蔚委谓伪喂 未喂蠈位慰蠀 蟿蠀蠂伪委慰 蟿慰 纬蔚纬慰谓蠈蟼 蟺蠅蟼 蔚魏蔚委谓慰喂 蟺慰蠀 蔚谓蟿蟻蠀蠁慰蠉谓 蟽蟿畏谓 蟿苇蠂谓畏 蟿慰蠀 位蠈纬慰蠀, 蟽蠀谓 蟿蠅 蠂蟻蠈谓蠅, 蠀蟺慰蟺委蟺蟿慰蠀谓 蟽蟿慰 维位纬慰蟼 蟿慰蠀 螡蠈蟽蟿慰蠀. 螝喂 慰 螡蠈蟽蟿慰蟼 蔚未蠋, 伪谓伪蟺蠈未蟻伪蟽蟿伪, 蟽蠀纬魏位委谓蔚喂 渭蔚 蟿畏谓 蔚蟺喂蟽蟿蟻慰蠁萎 蟽蟿慰 蟺伪蟻蔚位胃蠈谓. 螣蠀未蔚委蟼, 蟺慰蟿苇 未蔚谓 谓慰蟽蟿维位纬畏蟽蔚 蟿慰 渭苇位位慰谓. 螝伪喂 蟿慰蠉蟿慰 伪蟺慰蟿蔚位蔚委 伪蟺位维 未喂伪蟺委蟽蟿蠅蟽畏 鈥� 未蔚谓 蟿慰 蟺蟻慰蟽畏渭伪委谓蠅 胃蔚蟿喂魏维 萎 伪蟻谓畏蟿喂魏维.
螘谓 蟺维蟽畏 蟺蔚蟻喂蟺蟿蠋蟽蔚喂, 纬喂伪 谓伪 苇蟻胃慰蠀渭蔚 蟽蟿伪 魏伪胃鈥� 畏渭维蟼 位慰纬慰蟿蔚蠂谓喂魏维 未蟻蠋渭蔚谓伪, 蟺伪蟻伪蟿畏蟻蔚委蟿伪喂 蟽蔚 伪蟻魏蔚蟿慰蠉蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 畏 伪谓维纬魏畏 伪谓伪味萎蟿畏蟽畏蟼 蟿蠅谓 伪蟺伪蟻蠂蠋谓. 螆蠂慰谓蟿伪蟼 蟺蟻蠋蟿伪 蟿蟻蠀纬萎蟽蔚喂 蟿慰蠀蟼 魏伪蟻蟺慰蠉蟼 蟿畏蟼 蟽蠀纬魏伪喂蟻喂谓萎蟼 蟿慰蠀蟼 蟺伪蟻伪纬蠅纬萎蟼, 慰 未蟻蠈渭慰蟼 蟿慰蠉蟼 慰未畏纬蔚委 蟽蔚 魏维蟺慰喂伪 胃蔚渭蔚位喂伪魏维 魏蔚委渭蔚谓伪, 蟿蠅谓 慰蟺慰委蠅谓 畏 伪尉委伪 未蔚谓 蔚委谓伪喂 伪蟺位蠋蟼 渭慰蠀蟽蔚喂伪魏萎 (蔚尉 伪蟺慰蟽蟿维蟽蔚蠅蟼 胃伪蠀渭伪蟽渭蠈蟼) 纬喂伪 蟺维蟽畏蟼 蠁蠉蟽蔚蠅蟼 蟺伪蟻蔚位胃慰谓蟿慰位维纬谓慰蠀蟼, 伪位位维 味蠋蟽伪, 伪魏渭维味慰蠀蟽伪 魏伪喂 未喂伪蟻魏萎蟼. 螚 伪喂蠂渭萎 蟿畏蟼 蟿苇蠂谓畏蟼 蟿蠅谓 魏蔚喂渭苇谓蠅谓 伪蠀蟿蠋谓 蟺伪蟻伪渭苇谓蔚喂 魏慰蠁蟿蔚蟻萎 魏喂 畏 蔚蟺伪蠁萎 渭伪味委 蟿慰蠀蟼 蟺蟻慰魏伪位蔚委 蟽蟿慰谓 伪蔚委蟺慰蟿蔚 伪谓伪纬谓蠋蟽蟿畏 蔚谓蟿维蟽蔚喂蟼 魏伪喂 蠀蟺慰未蠈蟻喂蔚蟼 蔚魏蟻萎尉蔚喂蟼 伪渭喂纬慰蠉蟼 伪喂蟽胃畏蟿喂魏萎蟼 伪蟺蠈位伪蠀蟽畏蟼.
危蔚 魏维蟺慰喂慰 伪蟺蠈 蟿伪 蟽蟿伪蠀蟻慰未蟻蠈渭喂伪 蟿畏蟼 蟺慰蟻蔚委伪蟼 伪蠀蟿萎蟼, 蟿畏蟼 慰蟺慰委伪蟼 慰 蠂维蟻蟿畏蟼 苇蠂蔚喂 渭蔚谓 未畏渭喂慰蠀蟻纬畏胃蔚委 蟽蟿慰 蟺伪蟻蔚位胃蠈谓, 蠀蠁委蟽蟿伪蟿伪喂 未蔚 渭喂魏蟻苇蟼 伪位位伪纬苇蟼 蟽蟿畏谓 蟺慰蟻蔚委伪 蟿蠅谓 伪喂蠋谓蠅谓, 慰 蠁委位蔚蟻纬慰蟼 伪谓伪纬谓蠋蟽蟿畏蟼 胃伪 蟽蠀谓伪谓蟿萎蟽蔚喂 蟿慰谓 螔喂蟻纬委位喂慰 魏伪喂 蟿畏谓 螒喂谓蔚喂维未伪 蟿慰蠀. 螘蟺喂魏萎 蟺慰委畏蟽畏, 苇渭渭蔚蟿蟻畏 蠁伪谓蟿伪蟽蟿喂魏萎 渭蠀胃慰蟺位伪蟽委伪, 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿畏谓 喂蟽蟿慰蟻委伪 蟿慰蠀 螒喂谓蔚委伪 蟺慰蠀 蠁蔚蠉纬慰谓蟿伪蟼 未喂蠅魏蠈渭蔚谓慰蟼 伪蟺蠈 蟿畏谓 韦蟻慰委伪 伪谓伪味畏蟿维, 蠈蟺蠅蟼 蟿慰蠀 蠈蟻喂蟽伪谓 慰喂 胃蔚慰委, 渭喂伪 谓苇伪 蟺伪蟿蟻委未伪 蟽蟿畏谓 螜蟿伪位委伪. 螚 蟺慰蟻蔚委伪 蔚蟿慰蠉蟿畏 胃伪 苇蠂蔚喂 未喂维蟻魏蔚喂伪, 蟺蔚蟻喂蟺苇蟿蔚喂蔚蟼, 蟺慰位蔚渭喂魏苇蟼 伪谓伪渭蔚蟿蟻萎蟽蔚喂蟼, 苇蟻蠅蟿蔚蟼 魏伪喂 蠁喂位委蔚蟼, 渭蔚纬伪位蔚委慰 魏伪喂 蟺蠈谓慰, 味蠅萎 魏伪喂 胃维谓伪蟿慰. 螣 螔喂蟻纬委位喂慰蟼 胃伪 蔚蟺喂蠂蔚喂蟻萎蟽蔚喂 谓伪 蟺蔚蟻喂纬蟻维蠄蔚喂 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 魏伪蟿维蟽蟿伪蟽畏 蟽蔚 12 尾喂尾位委伪 魏伪喂 胃伪 蟿慰 蔚蟺喂蟿蠉蠂蔚喂 蟽蟿慰谓 渭苇纬喂蟽蟿慰 尾伪胃渭蠈.
螖蔚谓 苇蠂蔚喂 谓蠈畏渭伪 谓伪 蟽蟿伪胃蠋 蔚未蠋 蟽蟿伪 蠈蟺慰喂伪 蔚蟺喂渭苇蟻慰蠀蟼, 未蔚未慰渭苇谓慰蠀 蠈蟿喂 畏 蔚喂蟽伪纬蠅纬萎 蟿蠅谓 蟺蔚蟻委蟺慰蠀 130 蟽蔚位委未蠅谓 蟿慰蠀 伪谓蠀蟺苇蟻尾位畏蟿慰蠀 渭蔚蟿伪蠁蟻伪蟽蟿萎 / 蟽蠂慰位喂伪蟽蟿萎 螤伪蟺伪纬纬蔚位萎 魏伪位蠉蟺蟿蔚喂 慰位慰魏位畏蟻蠅蟿喂魏维 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏. 螛蔚蠅蟻蠋 蟺蠅蟼 胃伪 渭蟺慰蟻慰蠉蟽蔚 (蟽蔚 苇谓伪谓 维位位慰 喂未蔚伪蟿蠈 魏蠈蟽渭慰 蟺慰蠀 未蔚谓 蠀蟺慰蟿喂渭慰蠉蟽蔚 蔚尉蠈蠁胃伪位渭伪 蟿畏谓 蟺谓蔚蠀渭伪蟿喂魏萎 伪蟻喂蟽蟿蔚委伪) 谓伪 伪蟺慰蟿蔚位苇蟽蔚喂 伪蟺蠈 渭蠈谓畏 蟿畏蟼 蟺伪谓蔚蟺喂蟽蟿畏渭喂伪魏蠈 渭维胃畏渭伪. 韦慰蠉蟿慰蠀 未慰胃苇谓蟿慰蟼, 蟿慰 渭蠈谓慰 蟺慰蠀 渭苇谓蔚喂 蟽蔚 苇谓伪谓 伪蟺位蠈 伪谓伪纬谓蠋蟽蟿畏 (蟺维谓蟿伪 纬喂伪 渭苇谓伪 慰渭喂位蠋) 蔚委谓伪喂 谓伪 渭慰喂蟻伪蟽蟿蔚委 渭蔚 蟿慰蠀蟼 慰渭慰喂慰蟺伪胃蔚委蟼 蟿慰谓 伪谓蟿委魏蟿蠀蟺慰 蟺慰蠀 苇谓伪 蟿苇蟿慰喂慰 苇蟻纬慰 渭蟺慰蟻蔚委 谓伪 苇蠂蔚喂 蟽蟿畏谓 蟺谓蔚蠀渭伪蟿喂魏萎 蟿慰蠀 未喂伪渭蠈蟻蠁蠅蟽畏.
螖蔚谓 蔚委谓伪喂 伪蟺位蠈 纬喂伪 魏维蟺慰喂慰谓 蟺慰蠀 蔚未蠋 魏伪喂 魏伪喂蟻蠈 苇蠂蔚喂 尉蔚魏蠈蠄蔚喂 伪蟺蠈 蟿慰谓 苇渭渭蔚蟿蟻慰 位蠈纬慰 谓伪 蟽蠀谓蟿慰谓喂蟽蟿蔚委 渭蔚 蟿慰 蔚谓 位蠈纬蠅 魏蔚委渭蔚谓慰. 韦慰 苇蟺慰蟼 苇蠂蔚喂 蟺伪蟻伪未蠋蟽蔚喂 伪谓蔚蟺喂蟽蟿蟻蔚蟺蟿委 蟿畏 蟽魏蠀蟿维位畏 蟽蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 魏伪喂 蟿慰蠉蟿慰 魏伪胃喂蟽蟿维 蟽伪蠁蠋蟼 蟺喂慰 伪蟺伪喂蟿畏蟿喂魏萎 蟿畏 未喂伪未喂魏伪蟽委伪 魏伪蟿维 蟿畏谓 慰蟺慰委伪 慰喂 蟽蠀谓畏胃喂蟽渭苇谓慰喂 蟽蟿伪 伪位渭蠀蟻维 蠉未伪蟿伪 蟿畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼 魏伪位慰蠉谓蟿伪喂 谓伪 尾慰蠀蟿萎尉慰蠀谓 蟽蟿慰 纬位蠀魏蠈 谓蔚蟻蠈 蟿畏蟼 蔚蟺喂魏萎蟼 蟺慰委畏蟽畏蟼, 谓伪 蟺蟻慰蟽伪蟻渭慰蟽蟿慰蠉谓 蟺伪蟻蔚蠀胃蠉蟼 蟽蟿畏谓 伪蟺慰蠀蟽委伪 维谓蠅蟽畏蟼 (渭蔚纬维位畏 蔚蠀魏慰位委伪 蔚蟿慰蠉蟿畏) 魏伪喂 谓伪 伪蟺慰位伪蠉蟽慰蠀谓 蟿喂蟼 蠂维蟻蔚蟼 蟿畏蟼.
螣 未维蟽魏伪位慰蟼 螠蟺位慰蠀渭 苇蟻蠂蔚蟿伪喂 (蟿蠋蟻伪 魏伪喂 蟺维谓蟿伪) 伪蟻蠅纬蠈蟼 蟽蟿畏谓 蟺蟻慰蟽蟺维胃蔚喂伪: 畏 蟺慰委畏蟽畏 蟺维蟽畏蟼 渭慰蟻蠁萎蟼 伪谓伪渭苇位蟺蔚蟿伪喂, 蔚魏蠁蠅谓蔚委蟿伪喂 未蠀谓伪蟿维 (伪蟺蠈 蟽蟿萎胃慰蠀蟼, 伪魏蠈渭伪 魏伪位蠉蟿蔚蟻伪), 慰蠉蟿蠅蟼 蠋蟽蟿蔚 谓伪 伪蟺慰蟿蔚位蔚委 渭喂伪 慰位慰魏位畏蟻蠅渭苇谓畏 慰蟺蟿喂魏慰伪魏慰蠀蟽蟿喂魏萎 蔚渭蟺蔚喂蟻委伪 蟺慰蠀 渭蔚蟿伪蟿蟻苇蟺蔚喂 蟿慰谓 位蠈纬慰 蟽蔚 伪委蟽胃畏蟽畏, 蟽蔚 尾委蠅渭伪. 螠慰位慰谓蠈蟿喂 胃伪 蠄蔚蠀未蠈渭慰蠀谓 伪谓 苇位蔚纬伪 蟺蠅蟼 伪魏慰位慰蠉胃畏蟽伪 蟺喂蟽蟿维 蟿畏 蟽蠀渭尾慰蠀位萎 魏伪胃鈥� 蠈位畏 蟿畏 未喂维蟻魏蔚喂伪 蟿畏蟼 渭伪魏蟻维蟼 伪谓维纬谓蠅蟽畏蟼, 蠈蟿伪谓 蔚蟺喂位蔚魏蟿喂魏维 蟿慰 苇蟺蟻伪尉伪 蠀蟺萎蟻尉伪谓 蠈谓蟿蠅蟼 蟺伪蟻维纬蟻伪蠁慰喂 / 蟽蟿委蠂慰喂 慰喂 慰蟺慰委慰喂 魏蠀蟻喂慰位蔚魏蟿喂魏维 蠀位慰蟺慰喂萎胃畏魏伪谓 蔚渭蟺蟻蠈蟼 渭慰蠀, 伪蟺苇魏蟿畏蟽伪谓 慰蠀蟽委伪 魏伪喂 尾维蟻慰蟼, 未喂苇蟻蟻畏尉伪谓 蟿慰谓 蠂蟻蠈谓慰 魏伪喂 蟿慰谓 蟿蠈蟺慰 魏伪喂 渭蔚 蟻慰蠉蠁畏尉伪谓 蟽蟿畏 未委谓畏 蟿慰蠀蟼.
螖蔚未慰渭苇谓慰蠀 蟺蠅蟼 慰 螤伪蟺伪纬纬蔚位萎蟼 蟽蟿畏谓 蔚喂蟽伪纬蠅纬萎 蟿慰蠀 伪谓伪位蠉蔚喂 蔚谓未蔚位蔚蠂蠋蟼 蟿伪 味畏蟿萎渭伪蟿伪 未喂伪魏蔚喂渭蔚谓喂魏蠈蟿畏蟿伪蟼, 蔚魏位蔚魏蟿喂魏萎蟼 蟽蠀纬纬苇谓蔚喂伪蟼 蟿畏蟼 螒喂谓蔚喂维未伪蟼 渭蔚 蟿伪 蟺蟻慰畏纬畏胃苇谓蟿伪 慰渭畏蟻喂魏维 苇蟺畏, 胃伪 魏伪蟿伪胃苇蟽蠅 蟿畏谓 蟺蟻慰蟽蠅蟺喂魏萎 渭慰蠀 伪委蟽胃畏蟽畏. 韦慰 蔚谓伪蟻魏蟿萎蟻喂慰 位维魏蟿喂蟽渭伪 蔚委谓伪喂 尉蔚魏维胃伪蟻慰. 螣 螔喂蟻纬委位喂慰蟼 未蔚谓 蠁蔚委未蔚蟿伪喂 蟺位蔚委蟽蟿蔚蟼 蠈蟽蔚蟼 伪谓伪蠁慰蟻苇蟼, 未蔚谓 伪蟺慰魏蟻蠉蟺蟿蔚喂 蔚蟺喂蟻蟻慰苇蟼 魏伪喂 蟿伪 慰蠁蔚喂位蠈渭蔚谓伪 蟽蟿慰谓 螌渭畏蟻慰. 韦伪蠀蟿蠈蠂蟻慰谓伪 蠈渭蠅蟼 未喂伪胃苇蟿蔚喂 蟿畏谓 伪蟺伪喂蟿慰蠉渭蔚谓畏 伪蟺蠈 渭喂伪 渭蔚纬伪位慰蠁蠀委伪 慰委畏蟽畏, 蠋蟽蟿蔚 谓伪 未慰魏喂渭维蟽蔚喂 蟿畏谓 伪喂蠂渭萎 蟿慰蠀 蟺慰喂畏蟿喂魏慰蠉 蟿慰蠀 尉委蠁慰蠀蟼 伪蟺苇谓伪谓蟿喂 蟽蔚 苇谓伪谓 慰纬魏蠈位喂胃慰. 螠畏谓 尉蔚蠂谓维渭蔚 蠈蟿喂 苇蠂慰蠀谓 渭蔚蟽慰位伪尾萎蟽蔚喂 伪喂蠋谓蔚蟼 蟽蟿慰 渭蔚蟿伪尉蠉, 魏伪喂 蟺蠅蟼 蟽蟿畏 蟽魏蔚蠀萎 蟿慰蠀 慰 螔喂蟻纬委位喂慰蟼 蠁苇蟻蔚喂 蟿慰 伪蟺蠈胃蔚渭伪 蟿慰蠀 未蟻伪渭伪蟿喂魏慰蠉 位蠈纬慰蠀 蠈蟺蠅蟼 蟿慰 蟺伪蟻苇未蠅蟽伪谓 慰喂 渭蔚纬维位慰喂 蟿蟻伪纬喂魏慰委 蟺慰喂畏蟿苇蟼.
螛伪 位苇纬伪渭蔚 蟺蠅蟼 慰 螔喂蟻纬委位喂慰蟼 蔚委谓伪喂 苇谓伪蟼 蔚蟺委纬慰谓慰蟼, 魏维蟿喂 蟺慰蠀 蔚谓 蟺蟻慰魏蔚喂渭苇谓蠅 未蔚谓 苇蠂蔚喂 蟿畏谓 伪蟻谓畏蟿喂魏萎 蠂蟻慰喂维 蟺慰蠀 蟺蟻慰蟽苇未喂未蔚 慰 危蟿维喂谓蔚蟻 蟽蟿畏谓 苇谓谓慰喂伪. 螣 螞伪蟿委谓慰蟼 蟺慰喂畏蟿萎蟼 蔚委谓伪喂 慰 蔚蠀蟿蠀蠂萎蟼 魏位畏蟻慰谓蠈渭慰蟼 渭喂伪蟼 蟺伪蟻维未慰蟽畏蟼 蟿畏谓 慰蟺慰委伪 蟿委渭畏蟽蔚 渭蔚 蟿蟻蠈蟺慰 胃伪蠀渭伪蟽蟿蠈, 蔚喂蟽伪纬维纬慰谓蟿伪蟼 蟿慰 未蟻伪渭伪蟿喂魏蠈 蠉蠁慰蟼 蟽蟿畏谓 蔚蟺喂魏萎 伪蠁萎纬畏蟽畏. 螝伪委蟿慰喂 蟿慰 苇蟻纬慰 蟿慰蠀 伪蟺慰蟿蔚位蔚委 蟽蠀谓苇蠂蔚喂伪, 未蔚谓 魏伪蟿伪蠁蔚蠉纬蔚喂 蟽蟿畏谓 伪谓慰蠉蟽喂伪 渭委渭畏蟽畏, 尾慰蟻维 蟽蟿喂蟼 蟽魏喂伪渭伪蠂委蔚蟼 蟿慰蠀 伪未畏蠁维纬慰蠀 蠂蟻蠈谓慰蠀. 螚 螒喂谓蔚喂维未伪 蔚谓蟿维蟽蟽蔚蟿伪喂 蟽蟿畏 谓蔚蠅蟿蔚蟻喂魏蠈蟿畏蟿伪, 魏伪胃蠋蟼 蟽蟿慰 蔚蟺喂魏蠈 蟽蟿慰喂蠂蔚委慰 蔚渭蠁喂位慰蠂蠅蟻慰蠉谓 胃蟻伪蠉蟽渭伪蟿伪 蠀蟺伪蟻尉喂伪魏慰蠉 蟺蟻慰尾位畏渭伪蟿喂蟽渭慰蠉. 螣 螒喂谓蔚委伪蟼, 蟽蔚 伪谓蟿委胃蔚蟽畏 渭蔚 蟿慰蠀蟼 伪未伪渭维谓蟿喂谓慰蠀蟼 魏伪喂 魏维蟺蠅蟼 未喂蟽未喂维蟽蟿伪蟿慰蠀蟼 慰渭畏蟻喂魏慰蠉蟼 萎蟻蠅蔚蟼, 伪渭蠁喂尾维位位蔚喂, 维纬蔚蟿伪喂 魏伪喂 蠁苇蟻蔚蟿伪喂 伪蟺蠈 蠈位伪 蔚魏蔚委谓伪 蟿伪 畏胃喂魏维 未喂位萎渭渭伪蟿伪 蟺慰蠀 蟽蠀谓喂蟽蟿慰蠉谓 蔚谓 蟿苇位蔚喂 蟿畏谓 蟿蟻伪纬喂魏蠈蟿畏蟿伪. 螘魏蔚委 蟺慰蠀 蟿慰 慰渭畏蟻喂魏蠈 苇蟺慰蟼, 蠈蟺蠅蟼 胃伪蠀渭伪蟽蟿维 蟿慰谓委味蔚喂 慰 渭蔚蟿伪蠁蟻伪蟽蟿萎蟼, 蟺伪蟻慰蠀蟽喂维味蔚蟿伪喂 芦蠅蟼 蔚蠀胃蠉纬蟻伪渭渭慰, 维渭蔚蟽慰, 渭喂伪 蟽蠀渭蟺伪纬萎蟼 伪谓伪蟺伪蟻维蟽蟿伪蟽畏, 蠈蠂喂 伪蠀蟿慰蟽蟿慰蠂伪蟽蟿喂魏萎鈥β�, 蟿慰 谓蔚蠈蟿蔚蟻慰 苇蟺慰蟼 位慰尉慰魏慰喂蟿维 蟺蟻慰蟼 蟿伪 蟺委蟽蠅, 蠋蟽蟿蔚 谓伪 慰未畏纬畏胃蔚委 蟺位畏蟽委蟽蟿喂慰 蔚渭蟺蟻蠈蟼. 螕喂伪 谓伪 蔚蟺伪谓苇位胃慰蠀渭蔚 蟽蟿畏谓 蔚喂蟽伪纬蠅纬喂魏萎 蟺伪蟻维纬蟻伪蠁慰 蟺蔚蟻委 桅慰蠀魏蠋, 慰 蟺慰喂畏蟿萎蟼 魏伪蟿伪魏蔚蟻渭伪蟿委味蔚喂 蟿畏谓 蔚谓蠈蟿畏蟿伪 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼, 伪谓伪蠄畏位伪蠁蠋谓蟿伪蟼 蟿慰 蟺伪蟻伪未蔚未慰渭苇谓慰, 蔚纬魏蠀渭慰谓蠋谓蟿伪蟼 蟿慰 渭苇位位慰谓 蠈蟺蠅蟼 伪蠀蟿蠈蟼 蟿慰 慰蟻伪渭伪蟿委蟽蟿畏魏蔚.
螚 胃蔚蠆魏萎 蟺伪蟻慰蠀蟽委伪 鈥撐迪兾蔽滴� 蟺伪蟻慰蠉蟽伪, 慰蠀未苇蟺慰蟿蔚 伪渭蠁喂蟽尾畏蟿慰蠉渭蔚谓畏鈥� 魏伪蟿蔚蠀胃蠉谓蔚喂 蟿喂蟼 蟺蟻维尉蔚喂蟼 蟿蠅谓 畏蟻蠋蠅谓, 蟺蟻慰蠁畏蟿蔚蠉慰谓蟿伪蟼 蟿伪 渭蔚位位慰蠉渭蔚谓伪, 未喂魏伪喂蠋谓慰谓蟿伪蟼 蟿喂蟼 蟺蟻维尉蔚喂蟼 蟿蠅谓 蟿蟻伪纬喂魏蠋谓 畏蟻蠋蠅谓 蟺慰蠀 蟺蟻慰蟽蟺委蟺蟿慰蠀谓 蟽蔚 蔚魏蔚委谓畏 未喂伪蟻魏蠋蟼 纬喂伪 魏伪胃慰未萎纬畏蟽畏 魏伪喂 伪喂蟿喂慰位蠈纬畏蟽畏 蟺蟻维尉蔚蠅谓 (未喂魏伪委蠅谓 魏伪喂 伪未委魏蠅谓). 韦慰蠉蟿慰 蠈渭蠅蟼 未蔚谓 蔚渭蟺慰未委味蔚喂 蟿慰蠀蟼 萎蟻蠅蔚蟼 (蟿慰谓 螒喂谓蔚委伪 蟺蟻蠋蟿喂蟽蟿伪) 谓伪 蠀蟺慰蠁苇蟻慰蠀谓, 谓伪 伪喂蟽胃维谓慰谓蟿伪喂 蟿慰 维蠂胃慰蟼 蟿畏蟼 蠉蟺伪蟻尉萎蟼 蟿慰蠀蟼, 谓伪 伪渭蠁喂尾维位位慰蠀谓 魏伪喂 谓伪 蟽蠀纬魏蟻慰蠉慰谓蟿伪喂 渭蔚 蟿畏 蟽蠀谓蔚委未畏蟽萎 蟿慰蠀蟼 魏伪喂 蔚魏蔚委谓畏 蟿蠅谓 维位位蠅谓.
螌蟺蠅蟼 苇蠂慰蠀渭蔚 未喂未伪蠂胃蔚委 伪蟺蠈 蟿慰 螒蟻蠂伪委慰 未蟻维渭伪, 渭蔚蟿伪尉蠉 蟿蠅谓 蟽蟿慰喂蠂蔚委蠅谓 蟺慰蠀 慰蟻委味慰蠀谓 蟿畏谓 蟿蟻伪纬喂魏蠈蟿畏蟿伪 蔚谓蠈蟼 蟺蟻慰蟽蠋蟺慰蠀 蟽蠀渭蟺蔚蟻喂位伪渭尾维谓慰谓蟿伪喂 蟿伪 伪喂蟽胃萎渭伪蟿伪 蔚谓慰蠂萎蟼, 畏 蟽蠉纬魏蟻慰蠀蟽萎 蟿慰蠀 渭蔚 蠀蟺苇蟻蟿蔚蟻蔚蟼 未蠀谓维渭蔚喂蟼, 畏 伪蟺蠈蟿慰渭畏 渭蔚蟿伪蟽蟿蟻慰蠁萎 蟿畏蟼 蟿蠉蠂畏蟼, 伪位位维 魏伪喂 畏 蔚蟺喂魏蟻维蟿畏蟽畏 渭喂伪蟼 伪谓伪蟺蠈蠁蔚蠀魏蟿畏蟼 渭慰委蟻伪蟼. 螣 螒喂谓蔚委伪蟼 蔚委谓伪喂 慰 魏伪蟿鈥� 蔚尉慰蠂萎谓 蟿蟻伪纬喂魏蠈蟼 萎蟻蠅伪蟼, 伪位位维 蔚谓 蟿喂谓喂 渭苇蟿蟻蠅 伪蠀蟿蠈 喂蟽蠂蠉蔚喂 魏伪喂 纬喂伪 蟿伪 维位位伪 dramatis personae 蟿慰蠀 苇蟺慰蠀蟼. 螒蟺蠈 蟿喂蟼 蟺位苇慰谓 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏苇蟼 蟺蔚蟻喂蟺蟿蠋蟽蔚喂蟼 畏 螖喂未蠋, 畏 慰蟺慰委伪 蟺蔚蟻喂胃维位蟺蔚喂 蟿慰谓 螒喂谓蔚委伪, 蟿慰谓 蔚蟻蠅蟿蔚蠉蔚蟿伪喂 纬喂伪 谓伪 蟿慰谓 蠂维蟽蔚喂 蟽蟿畏 蟽蠀谓苇蠂蔚喂伪, 魏伪胃蠋蟼 蔚魏蔚委谓慰蟼 伪魏慰位慰蠀胃蔚委 蟿畏谓 蟺蟻慰未喂伪纬蔚纬蟻伪渭渭苇谓畏 伪蟺蠈 蟿慰蠀蟼 胃蔚慰蠉蟼 渭慰委蟻伪 蟿慰蠀. 螣 未喂维位慰纬蠈蟼 蟿慰蠀蟼 蟺蟻喂谓 伪蟺蠈 蟿慰谓 蠂蠅蟻喂蟽渭蠈 (魏伪喂 蟿畏 蟽蠀谓伪魏蠈位慰蠀胃畏 伪蠀蟿慰魏蟿慰谓委伪 蟿畏蟼) 蔚委谓伪喂 蟽蠀纬魏位慰谓喂蟽蟿喂魏蠈蟼 魏伪喂 蟺伪蟻伪蟺苇渭蟺蔚喂 蟽蟿喂蟼 慰渭慰蟻蠁蠈蟿蔚蟻蔚蟼 蟽蟿喂纬渭苇蟼 蟿畏蟼 未蟻伪渭伪蟿喂魏萎蟼 蟺慰委畏蟽畏蟼: 芦韦慰 未维魏蟻蠀 渭慰蠀 魏伪喂 慰 位蠈纬慰蟼 蟽慰蠀, 伪蠀蟿维 魏伪喂 蟿委蟺慰蟿伪 维位位慰 畏 维渭慰喂蟻畏 未蔚谓 苇蠂蠅. 螒谓伪尾慰位萎 魏伪喂 蠂蟻蠈谓慰 蟽慰蠀 味畏蟿蠋, 纬喂伪 谓伪 蟺伪蟻伪未慰胃蠋 蟽蟿畏 渭慰委蟻伪 渭慰蠀, 谓伪 渭维胃蠅 谓伪 蟺慰谓维蠅禄. 螝伪喂 蟽蔚 伪蠀蟿萎 蟿畏谓 苇魏魏位畏蟽畏, 慰 伪渭蔚蟿维蟺蔚喂蟽蟿慰蟼 螒喂谓蔚委伪蟼 胃伪 伪蟺伪谓蟿萎蟽蔚喂: 芦螒谓 萎蟿伪谓 蟽蟿慰 未喂魏蠈 渭慰蠀 蟻喂味喂魏蠈, 谓伪 慰蟻委味蠅 蟿畏 味蠅萎 渭慰蠀 蠈蟺蠅蟼 蟿畏 胃苇位蠅禄.
螌蟿伪谓 蟽蟿畏 蟽蠀谓苇蠂蔚喂伪 畏 螒蠁蟻慰未委蟿畏 味畏蟿维 伪蟺蠈 蟿慰谓 螇蠁伪喂蟽蟿慰 谓伪 蠁蟿喂维尉蔚喂 渭喂伪 谓苇伪 伪蟻渭伪蟿蠅蟽喂维 纬喂伪 蟿慰谓 纬喂蠈 蟿畏蟼 (蠈蟺蠅蟼 苇蟺蟻伪尉蔚 畏 螛苇蟿喂蟼 纬喂伪 蟿慰谓 螒蠂喂位位苇伪), 蔚委谓伪喂 蟽伪谓 谓伪 蔚委渭伪蟽蟿蔚 蟺伪蟻蠈谓蟿蔚蟼 蟽蟿畏谓 委未喂伪 蟿畏 未喂伪未喂魏伪蟽委伪 蟿畏蟼 蟺慰喂畏蟿喂魏萎蟼 未畏渭喂慰蠀蟻纬委伪蟼. 螣 螔喂蟻纬委位喂慰蟼 渭蔚蟿伪蟿蟻苇蟺蔚蟿伪喂 伪蠀蟿慰蟽蟿喂纬渭蔚委 蟽蔚 胃蔚蠈 螇蠁伪喂蟽蟿慰: 危蟿慰 尾伪胃蠉 蟽魏慰蟿维未喂 蟿畏蟼 谓蠉蠂蟿伪蟼, 蟽蟿伪 蠀蟺蠈纬蔚喂伪, 伪蟺慰渭慰谓蠅渭苇谓慰蟼 蟽蠀谓未伪蠀位委味蔚喂 蟿慰 蟺蠀蟻, 伪魏慰谓委味蔚喂 蟿畏谓 蟺苇谓伪, 位喂蠋谓蔚喂 蟿慰 伪蟿蟽维位喂 蟿畏蟼 苇渭蟺谓蔚蠀蟽畏蟼 魏伪喂 蟽魏伪蟻蠋谓蔚喂 蟺伪谓慰蟺位委伪 蟿蟻慰渭伪魏蟿喂魏萎, 伪蟺蠈魏慰蟽渭畏蟼 苇渭蟺谓蔚蠀蟽畏蟼, 渭蔚纬伪位蔚喂蠋未畏. 韦慰 蠁蠀蟽蔚蟻蠈 蟿畏蟼 未畏渭喂慰蠀蟻纬委伪蟼 伪蟽胃渭伪委谓蔚喂 伪魏维渭伪蟿伪, 慰喂 蟽蟿委蠂慰喂 蟻苇慰蠀谓, 位喂蠋谓慰蠀谓 魏伪喂 蟺伪委蟻谓慰蠀谓 蟿慰 蟽蠂萎渭伪 蟿慰蠀蟼 伪蟻纬维 魏伪喂 蟽蟿伪胃蔚蟻维, 蠀蟺蠈 蟿慰 维纬蟻蠀蟺谓慰 尾位苇渭渭伪 蟿慰蠀 未畏渭喂慰蠀蟻纬慰蠉. 螌蟿伪谓 蟺蟻慰尾维位蔚喂 蟿慰 蟺蟻蠅委 (蠂蠅位蠈蟼, 蟽蠀蠂谓维 魏伪蟿伪纬苇位伪蟽蟿慰蟼 鈥� 蟿喂 蟽畏渭伪蟽委伪 蠈渭蠅蟼 苇蠂蔚喂 蟿慰 未苇渭伪蟼 魏伪喂 畏 蠈蠄畏 蟿慰蠀 未畏渭喂慰蠀蟻纬慰蠉;) 蠁苇蟻谓蔚喂 蟽蟿慰蠀蟼 胃谓畏蟿慰蠉蟼 魏伪喂 蟿慰蠀蟼 伪胃伪谓维蟿慰蠀蟼 蟺慰蠀 蟺伪蟻伪魏慰位慰蠀胃慰蠉谓 魏蟻伪蟿伪喂慰委 蟺位畏谓 蠈渭蠅蟼 伪谓苇渭蟺谓蔚蠀蟽蟿慰喂, 蟿慰 未畏渭喂慰蠉蟻纬畏渭维 蟿慰蠀: 蟿畏谓 蟺慰喂畏蟿喂魏萎 蟿慰蠀 蟺伪谓慰蟺位委伪 鈥� 魏伪位蠉蟿蔚蟻伪, 蟿畏谓 蟺伪谓慰蟺位委伪 纬喂伪 蟿慰谓 螒喂谓蔚委伪 魏伪喂 蟿慰 苇蟺慰蟼 纬喂伪 蔚渭维蟼 蟿慰蠀蟼 尾蟻慰蟿慰蠉蟼.
韦伪 蟺伪蟻伪未蔚委纬渭伪蟿伪 蠀蠄畏位萎蟼 伪蠁畏纬畏渭伪蟿喂魏萎蟼 蟿苇蠂谓畏蟼 伪蠁胃慰谓慰蠉谓. 螘谓未蔚喂魏蟿喂魏维 渭蠈谓慰谓 伪谓伪蠁苇蟻蠅 魏维蟺慰喂伪. 危蠀纬魏位慰谓喂蟽蟿喂魏萎 畏 蟺蔚蟻喂纬蟻伪蠁萎 蟿畏蟼 蔚尉蠈未慰蠀 蠈蟺慰蠀 慰 螡委蟽慰蟼 魏伪喂 慰 螘蠀蟻蠉伪位慰蟼 蔚蟺喂蠂蔚喂蟻慰蠉谓 伪谓蔚蟺喂蟿蠀蠂蠋蟼 谓伪 魏伪蟿伪蟽魏慰蟺蔚蠉蟽慰蠀谓 蟿慰蠀蟼 伪谓蟿喂蟺维位慰蠀蟼 蟽蟿慰谓 蟺蠈位蔚渭慰 魏伪蟿维 蟿蠅谓 巍慰蠀蟿慰蠉位蠅谓. 螠维蟿伪喂畏 蠈渭蠅蟼 畏 苇尉慰未蠈蟼 蟿慰蠀蟼 魏伪喂 慰 蔚蟺伪魏蠈位慰蠀胃慰蟼 胃维谓伪蟿蠈蟼 蟿慰蠀蟼: 芦螆谓伪 渭慰谓维蠂伪 渭蟺蠈蟻蔚蟽蔚: 蟺慰位蠉 蟿慰谓 未蠀蟽蟿蠀蠂萎 蟿慰蠀 蠁委位慰 谓伪 伪纬伪蟺萎蟽蔚喂禄. 螝伪喂 慰 蟺慰喂畏蟿萎蟼 蟽蠀谓蔚蠂委味蔚喂: 芦螠伪魏维蟻喂慰喂 魏伪喂 慰喂 未蠀慰 蟽伪蟼! 螠蔚蟻蟿喂魏蠈 蟽蟿畏 未蠉谓伪渭畏 伪蟼 苇蠂慰蠀谓 蟿慰蠉蟿慰喂 慰喂 蟽蟿委蠂慰喂, 蟺慰蟿苇 纬喂伪 蔚蟽维蟼 未蔚谓 胃伪 苇蟻胃蔚喂 慰 魏伪喂蟻蠈蟼 蟺慰蠀 位畏蟽渭慰谓喂维 胃伪 蟽尾萎蟽蔚喂 蟿慰 蠈谓慰渭维 蟽伪蟼禄.
螕喂伪 谓伪 伪魏慰位慰蠀胃萎蟽蔚喂 蟽蟿畏 蟽蠀谓苇蠂蔚喂伪 慰 蟽蟺伪蟻伪纬渭蠈蟼 蟿畏蟼 渭维谓伪蟼 蟿慰蠀 螘蠀蟻蠉伪位慰蠀. 螤慰喂伪 蠄蠀蠂萎 蟽蠉纬蠂蟻慰谓畏, 渭苇位位慰蠀蟽伪 未蔚谓 胃伪 蟽蠀纬魏位慰谓喂蟽蟿蔚委 伪蟺蠈 蟿慰蠀 蟺慰喂畏蟿萎 蟿慰蠀蟼 蟽蟿委蠂慰蠀蟼, 蟿慰谓 蟿蟻蠈蟺慰 渭蔚 蟿慰谓 慰蟺慰委慰 渭蔚蟿伪蠁苇蟻蔚喂 蟿慰谓 蟺蠈谓慰 蟿畏蟼 伪蟺蠋位蔚喂伪蟼; 韦喂 渭蟺慰蟻蔚委 谓伪 蔚委谓伪喂 蔚魏蔚委谓慰 蟺慰蠀 苇蠂蔚喂 未蟻伪蟽蟿喂魏维 伪位位维尉蔚喂 伪谓维 蟿慰蠀蟼 伪喂蠋谓蔚蟼, 蠋蟽蟿蔚 魏维蟺慰喂慰蟼 谓伪 喂蟽蠂蠀蟻喂蟽蟿蔚委 蟺蠅蟼 慰喂 蟽蟿委蠂慰喂 苇蠂慰蠀谓 伪蟿慰谓萎蟽蔚喂 魏伪喂 慰 伪谓蟿委魏蟿蠀蟺慰蟼 蟺慰蠀 蟺蟻慰魏伪位慰蠉谓 蔚委谓伪喂 伪未蟻伪谓萎蟼 魏伪喂 伪蠁位蔚纬萎蟼; 韦慰 蔚蟻蠋蟿畏渭伪 蔚委谓伪喂 蟺蟻慰蠁伪谓蠋蟼 蟻畏蟿慰蟻喂魏蠈.
危蟿畏 蟽蠀谓苇蠂蔚喂伪, 慰 螒喂谓蔚委伪蟼 蟽魏慰蟿蠋谓蔚喂 蟿慰谓 谓蔚伪蟻蠈 螞伪蠉蟽慰 蟺慰蠀 蔚蟺喂蠂蔚喂蟻蔚委 谓伪 蟽蠋蟽蔚喂 蟿慰谓 蟺伪蟿苇蟻伪 蟿慰蠀 伪蟺蠈 尾苇尾伪喂慰 胃维谓伪蟿慰. 韦慰谓 蠁蠈谓慰 伪魏慰位慰蠀胃蔚委 畏 胃位委蠄畏 纬喂伪 蟿慰谓 维未喂魏慰 蠂伪渭蠈. 螤伪蟻伪未委未蔚喂 蟿慰 蟽蠋渭伪 蟽蟿慰蠀蟼 蟽蠀谓蟿蟻蠈蠁慰蠀蟼 蟿慰蠀: 芦蟿慰 魏慰蟻渭委 慰 委未喂慰蟼 蟿慰 蟽畏魏蠋谓蔚喂 伪蟺蠈 蟿慰 蠂蠋渭伪 鈥� 伪蟽蠂萎渭喂味蔚 蟿慰 伪委渭伪 蟿伪 渭伪位位喂维 蟺慰蠀 萎蟿伪谓 蟺维谓蟿伪 魏伪位慰蠂蟿蔚谓喂蟽渭苇谓伪禄. 韦慰 魏维位位慰蟼 未蔚谓 蔚纬魏伪蟿伪位蔚委蟺蔚喂 蟿慰谓 谓蔚魏蟻蠈, 蟽蔚 伪谓蟿委胃蔚蟽畏 渭蔚 蟿畏谓 蠄蠀蠂萎 蟺慰蠀 魏伪蟿蔚尾伪委谓蔚喂 蟽蟿慰谓 螁未畏. 螘委谓伪喂 畏 蟺伪蟻伪魏伪蟿伪胃萎魏畏 蟽蟿畏谓 伪喂蠅谓喂蠈蟿畏蟿伪, 慰 蟿蟻蠈蟺慰蟼 蟿慰蠀 蟺慰喂畏蟿萎 纬喂伪 谓伪 未慰尉维蟽蔚喂 蟿慰 蔚蠁萎渭蔚蟻慰, 蟿畏 谓蔚蠈蟿畏蟿伪 蟺慰蠀 蠀蟺慰魏蠉蟺蟿蔚喂 蟽蟿慰谓 伪未萎蟻喂蟿慰 胃维谓伪蟿慰, 伪位位维 蟿伪蠀蟿蠈蠂蟻慰谓伪 纬委谓蔚蟿伪喂 蟽蟿委蠂慰蟼, 伪喂蠋谓喂慰 蟺伪蟻蠈谓, 纬委谓蔚蟿伪喂 慰渭慰蟻蠁喂维 蟺蟻慰蟼 蟿苇蟻蠄喂谓 蟿蠅谓 蟽蠀纬魏伪喂蟻喂谓蠋谓 魏伪喂 蟿蠅谓 渭蔚位位慰谓蟿喂魏蠋谓 伪谓伪纬谓蠅蟽蟿蠋谓.
韦慰 苇蟺慰蟼 尾蟻委胃蔚喂 蟺慰位蔚渭喂魏蠋谓 蟽蠀纬魏蟻慰蠉蟽蔚蠅谓. 螣 伪谓伪纬谓蠋蟽蟿畏蟼 尾苇尾伪喂伪 伪谓伪魏伪位蠉蟺蟿蔚喂 蟽蟿伪未喂伪魏维 蟺蠅蟼 蠀蟺维蟻蠂蔚喂 蟿维尉畏, 喂蟽慰蟻蟻慰蟺委伪, 伪喂蟽胃畏蟿喂魏萎, 伪魏蠈渭伪 魏伪喂 蟽蟿喂蟼 尾喂伪喂蠈蟿蔚蟻蔚蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼. 韦慰 蠁慰谓喂魏蠈 苇蠂蔚喂 蟿慰蠀蟼 魏伪谓蠈谓蔚蟼 蟿慰蠀, 蟿畏谓 蟿蔚位蔚蟿慰蠀蟻纬委伪 蟿慰蠀. 螣喂 维谓未蟻蔚蟼 蟺蔚胃伪委谓慰蠀谓 未喂蠈蟿喂 魏伪蟿伪蟻蠂维蟼 蔚委谓伪喂 胃谓畏蟿慰委. 螖喂蠈蟿喂 蔚委谓伪喂 苇蟻渭伪喂伪 蟿蠅谓 尾慰蠀位蠋谓 蟿蠅谓 胃蔚蠋谓, 渭伪 魏伪喂 蟿蠅谓 未喂魏蠋谓 蟿慰蠀蟼 蔚蟺喂胃蠀渭喂蠋谓. 螖喂蠈蟿喂 蔚蟺喂味畏蟿慰蠉谓 蟿慰 魏位苇慰蟼, 蟿畏谓 蠀蟽蟿蔚蟻慰蠁畏渭委伪. 螖喂蠈蟿喂 蔚委谓伪喂 伪蠄萎蠁喂蟽蟿伪 纬蔚谓谓伪委慰喂, 伪位位维 魏伪喂 伪蟽蠀位位蠈纬喂蟽蟿伪 未蔚喂位慰委. 螤慰蟿苇 蠈渭蠅蟼 未蔚谓 蟺蔚胃伪委谓慰蠀谓 伪魏伪蟿慰谓蠈渭伪蟽蟿慰喂 (蟽蔚 蟽蠀渭蠁蠅谓委伪 渭蔚 蟿畏谓 慰渭畏蟻喂魏萎 蟺伪蟻维未慰蟽畏). 螣 维谓未蟻伪蟼 蟺慰蠀 蟽蠀谓伪谓蟿维 蟿慰谓 胃维谓伪蟿慰 蟽蔚 渭维蠂畏 慰谓慰渭伪蟿委味蔚蟿伪喂, 蔚谓委慰蟿蔚 蟺伪蟻伪蟿委胃蔚蟿伪喂 蟽蠉谓蟿慰渭畏 伪谓伪蠁慰蟻维 蟽蟿畏谓 慰喂魏慰纬苇谓蔚喂伪 萎 蟿畏 蠁蠀位萎 蟿慰蠀. 螘蟿慰蠉蟿慰 蟿慰谓 魏伪胃喂蟽蟿维 维谓胃蟻蠅蟺慰, 蠀蟺慰魏蔚委渭蔚谓慰 维尉喂慰 伪谓伪蠁慰蟻维蟼, 蠈蠂喂 伪蟺位蠋蟼 苇谓伪谓 维纬谓蠅蟽蟿慰 蟽蟿蟻伪蟿喂蠋蟿畏, 伪谓伪蟺位畏蟻蠅渭伪蟿喂魏蠈 蟺慰位蔚渭喂蟽蟿萎 蟺慰蠀 畏 蠉蟺伪蟻尉萎 蟿慰蠀 蟽蠀谓蔚喂蟽蠁苇蟻蔚喂 蟽蟿畏 未蠈尉伪 蟿慰蠀 尾伪蟽喂位喂维 蟿慰蠀. 螝维蟿喂 蟿苇蟿慰喂慰 未蔚谓 蠀蠁委蟽蟿伪蟿伪喂 蟽蟿慰谓 螌渭畏蟻慰 慰蠉蟿蔚 蟺蟻慰蠁伪谓蠋蟼 蟽蟿慰谓 螔喂蟻纬委位喂慰. 螣 畏蟿蟿畏渭苇谓慰蟼 魏蔚蟻未委味蔚喂 伪蟺蠈 蟿畏谓 伪尉委伪 蟿慰蠀 谓喂魏畏蟿萎, 渭蔚 蟽蠀谓苇蟺蔚喂伪 谓伪 伪谓伪蠁苇蟻蔚蟿伪喂 蟽蟿慰蠀蟼 伪喂蠋谓蔚蟼.
螣 胃维谓伪蟿慰蟼 纬喂伪 蟿慰谓 螔喂蟻纬委位喂慰 蔚委谓伪喂 畏蟻蠅喂魏蠈蟼 渭蔚谓, 蟺苇谓胃喂渭慰蟼 未蔚. 螣喂 蠄蠀蠂慰蟻蟻伪纬慰蠉谓蟿蔚蟼 伪蠁萎谓慰蠀谓 渭蔚 胃位委蠄畏 蟿慰谓 魏蠈蟽渭慰, 伪谓伪蟺慰位慰蠉谓 蟿畏谓 蟺伪蟿蟻委未伪 魏伪喂 蟿慰蠀蟼 伪纬伪蟺畏渭苇谓慰蠀蟼 蟿慰蠀蟼 蟺蟻慰蟿慰蠉 蔚谓蠅胃慰蠉谓 渭蔚 蟿喂蟼 蟽魏喂苇蟼. 螣 蟺慰喂畏蟿萎蟼 伪蟺慰未委未蔚喂 蟿喂渭萎 蟽蟿慰蠀蟼 蟺蔚蟽蠈谓蟿蔚蟼 蟽蔚 未委魏伪喂慰 萎 维未喂魏慰 伪纬蠋谓伪, 蟿蠀位委纬慰谓蟿维蟼 蟿慰蠀蟼 渭蔚 蟿慰 蟺苇蟺位慰 蟿蠅谓 蟽蟿委蠂蠅谓 蟿慰蠀, 蟿慰 慰蟺慰委慰 胃伪 蟿慰蠀蟼 蟽蠀谓慰未蔚蠉蟽蔚喂 蟽蟿慰 蠁蟻喂蠂蟿蠈 蟿伪尉委未喂 蟿慰蠀蟼 蟽蟿慰谓 魏维蟿蠅 魏蠈蟽渭慰. 螘魏蔚委谓畏 蟿畏 蟽蟿喂纬渭萎 伪委蟻蔚喂 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀 蟺维谓蠅 伪蟺蠈 蟿伪 伪谓胃蟻蠋蟺喂谓伪, 渭蔚蟿伪蟿蟻苇蟺蔚蟿伪喂 蟽蔚 螛蔚蠈 蟺慰蠀 蔚蟺喂蠂蔚喂蟻蔚委 谓伪 蔚蟺伪谓慰蟻胃蠋蟽蔚喂 魏伪蟿维蠁蠅蟻畏 伪未喂魏委伪 (蟿喂 蟺喂慰 维未喂魏慰 伪蟺蠈 蟿畏谓 伪谓蔚位苇畏蟿畏 蟽蠁伪纬萎 谓苇蠅谓 魏伪喂 渭畏 伪谓胃蟻蠋蟺蠅谓 蟽蟿慰 蟺蔚未委慰 蟿畏蟼 渭维蠂畏蟼), 蟺伪蟻蔚渭尾维位位慰谓蟿伪蟼 蟿畏谓 蟺苇谓伪 蟿慰蠀 蠅蟼 伪蟽蟺委未伪: 芦螝喂 伪谓 畏 渭慰委蟻伪 蟽伪蟼 慰未萎纬畏蟽蔚 蟺蟻蠈蠅蟻伪 蟽蟿慰谓 胃维谓伪蟿慰, 慰喂 蟽蟿委蠂慰喂 渭慰蠀 胃伪 蟽伪蟼 蟺蟻慰蟽蠁苇蟻慰蠀谓 伪谓维蟺伪蠀蟽畏, 伪谓伪纬谓蠋蟻喂蟽畏, 蟿畏谓 蟺伪蟻畏纬慰蟻喂维 蟿畏蟼 伪喂蠅谓喂蠈蟿畏蟿伪蟼禄 渭慰喂维味蔚喂 谓伪 位苇蔚喂. 螣 胃维谓伪蟿慰蟼 蟺慰蟿苇 未蔚谓 蔚委谓伪喂 慰蟻喂蟽蟿喂魏蠈蟼 蠈蟽慰 蠀蟺维蟻蠂蔚喂 畏 蟿苇蠂谓畏. 螣渭慰委蠅蟼, 慰 维谓胃蟻蠅蟺慰蟼 蟺慰蠀 未畏渭喂慰蠀蟻纬蔚委 蟺伪蟻伪渭苇谓蔚喂 伪胃维谓伪蟿慰蟼, 蠂蟿委味蔚喂 纬喂伪 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀 魏伪喂 蟿慰蠀蟼 纬蠉蟻蠅 蟿慰蠀 渭喂伪 蟿维蠁蟻慰 蟽蟿畏谓 慰蟺慰委伪 蟻蠀胃渭喂魏维 蠂蠀渭维谓蔚 蟿伪 魏蠉渭伪蟿伪 蟿慰蠀 蠂蟻蠈谓慰蠀 魏伪喂 蟿慰蠀 伪谓伪蟺蠈蠁蔚蠀魏蟿慰蠀.
螒谓蟿委 蔚蟺喂位蠈纬慰蠀
芦韦喂 蔚委谓伪喂 蟿蔚位喂魏维 畏 螒喂谓蔚喂维未伪;禄 胃伪 伪谓伪蟻蠅蟿畏胃蔚委 慰 蟽蠉纬蠂蟻慰谓慰蟼 伪谓伪纬谓蠋蟽蟿畏蟼, 慰 慰蟺慰委慰蟼 蔚胃喂蟽渭苇谓慰蟼 蟽蟿畏谓 蟿伪蠂蔚委伪 伪谓伪位纬畏蟿喂魏萎 蔚蟺委未蟻伪蟽畏 蟿蠅谓 位慰纬慰蟿蔚蠂谓喂魏蠋谓 蟽蠀渭蟺位畏蟻蠅渭维蟿蠅谓 尾位苇蟺蔚喂 渭蔚 蟺蔚蟻喂蟽蟽萎 未蠀蟽蟺喂蟽蟿委伪 苇谓伪 渭蔚纬维位畏蟼 苇魏蟿伪蟽畏蟼 魏蔚委渭蔚谓慰 蟺慰蠀 渭苇蟽伪 伪蟺蠈 蟿慰蠀蟼 伪喂蠋谓蔚蟼 蟺伪蟻伪蟿畏蟻蔚委 伪蠁鈥� 蠀蠄畏位慰蠉 蟿慰 蠄畏蠁喂伪魏蠈 渭伪蟼 蟺伪蟻蠈谓, 伪蟺伪喂蟿蠋谓蟿伪蟼 蟽喂蠅蟺萎, 蟽蟿维蟽畏, 蟺蔚蟻喂蟽蠀位位慰纬萎, 蠀蟺慰渭慰谓萎. 螚 螒喂谓蔚喂维未伪 蔚委谓伪喂, 伪蟺慰蠁伪谓蟿喂魏维, 蟿慰 蠈谓蔚喂蟻慰 蟿慰蠀 未畏渭喂慰蠀蟻纬慰蠉 蟿畏蟼, 苇谓伪 魏蠉畏渭伪 (魏伪喂 魏蠉渭伪) 伪蟽蟿蔚委蟻蔚蠀蟿畏蟼 苇渭蟺谓蔚蠀蟽畏蟼, 畏 胃伪位蔚蟻萎 蠈蠄畏 蟿畏蟼 味蠅萎蟼 魏维胃蔚 蠁慰蟻维 蟺慰蠀 渭喂渭蔚委蟿伪喂 鈥撐毕勏呄囅幭傗€� 蟿畏谓 蟿苇蠂谓畏. 螣 螔喂蟻纬委位喂慰蟼 蟽蠀渭蟺位苇魏蔚喂 蟿慰 渭蠀胃喂魏蠈 渭蔚 蟿慰 蟻蔚伪位喂蟽蟿喂魏蠈, 蠀蟺伪魏慰蠉蔚喂 魏伪喂 蟺蟻慰蟽蔚蠉蠂蔚蟿伪喂 蟽蔚 未蠀谓维渭蔚喂蟼 伪谓蠋蟿蔚蟻蔚蟼 伪蟺蠈 伪蠀蟿蠈谓 (蟽蟿慰 慰渭畏蟻喂魏蠈 蟺伪蟻蔚位胃蠈谓 魏伪喂 蟽蟿慰 螖蠅未蔚魏维胃蔚慰). 韦伪蠀蟿蠈蠂蟻慰谓伪 蠈渭蠅蟼, 蠅蟼 纬谓萎蟽喂慰蟼 魏伪位位喂蟿苇蠂谓畏蟼, 伪蟺慰未慰渭蔚委, 蔚尉蔚纬蔚委蟻蔚蟿伪喂, 蔚蟺伪委蟻蔚蟿伪喂 魏伪喂 蟺位维胃蔚喂 蟽蟿伪 魏蟻蠀蠁维 蟺畏位蠈 渭蔚 尾位维蟽蠁畏渭伪 蠀位喂魏维. 螒蠀蟿萎 蔚委谓伪喂 畏 未喂蟿蟿萎 蠁蠉蟽畏, 畏 魏伪蟿维蟻伪 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏: 蔚魏蔚委 蟺慰蠀 蟺蟻慰蟽蟺委蟺蟿蔚喂 蟽蔚 蟺蟻慰纬蠈谓慰蠀蟼, 蔚尉慰蠀蟽委蔚蟼 魏伪喂 胃蔚慰蠉蟼, 蟿畏谓 委未喂伪 蟽蟿喂纬渭萎 谓伪 蔚谓委蟽蟿伪蟿伪喂, 谓伪 位慰喂未慰蟻蔚委 魏伪喂 谓伪 芦蔚渭蠁伪委谓蔚喂 魏伪蟿伪纬蠅纬喂魏慰蠉蟼 未蔚蟽渭慰蠉蟼禄 渭蔚 蠈位伪 蠈蟽伪 胃蔚蠅蟻蔚委 蟽蠀纬纬蔚谓喂魏维 蟽蟿畏谓 蟿苇蠂谓畏 蟿慰蠀.
螣 蟽蠉纬蠂蟻慰谓慰蟼 伪谓伪纬谓蠋蟽蟿畏蟼 魏伪位蔚委蟿伪喂 谓伪 渭慰喂蟻伪蟽蟿蔚委 蟿慰 蠈谓蔚喂蟻慰 蟿畏蟼 未畏渭喂慰蠀蟻纬委伪蟼 伪蠀蟿萎蟼, 谓伪 蔚渭尾伪蟺蟿喂蟽蟿蔚委 蟽蟿畏谓 蟺慰喂畏蟿喂魏萎 慰蠀蟽委伪, 谓伪 未慰尉维蟽蔚喂 蟿慰蠀蟼 胃蔚慰蠉蟼 蟿畏蟼 魏伪喂 谓伪 纬喂慰蟻蟿维蟽蔚喂 蟿慰 蟿伪蟺蔚喂谓蠈 魏伪喂 蟿慰 蠀蠄畏位蠈 蟿畏蟼 蠉蟺伪蟻尉萎蟼 蟿慰蠀 未委蟺位伪 蟽蟿慰谓 蟺慰喂畏蟿萎. 韦委蟺慰蟿蔚 位喂纬蠈蟿蔚蟻慰!
August 26, 2024
Mandelbaum鈥檚 translation is beautiful. After the fall of Troy, Aeneas and his Trojans strive through tremendous pain and hardship to find their way home. Destiny and fate are always in view behind the suffering and the endless journey, and a beauty that is rich and deep emerges everywhere. It is the blending of destiny with heroic epic poetry that gives meaning and beauty to life, no matter how hard it can become.
Though Aeneas wanders through many lands, the great women of the book emerge as landmarks on his journey home. This begins with the loss of his wife Creusa, whom Aeneas loses when they are escaping the Greeks and the burning ruin of Troy; he turns, much like Orpheus when Eurydike is following him out of the underworld, and discovers that she is gone. Rushing back to find her Aeneas encounters Creusa's ghost; it is too late, but she tells him that another wife awaits him in Italy, and Creusa submits to fate. There follows the tragedy of Dido, who falls in love with Aeneas when he is shipwrecked in Carthage. He (in submission to the ordained fates) abandons her cruelly, and continues on his journey. Halfway through the book Aeneas will descend into the underworld following the Sybil, priestess of Apollo (as Theseus entered the Labyrinth with the help of Ariadne鈥檚 thread).
In the second half of the book the great heroine is Camilla, whose tragic death (like that of Dido) can move deep currents of pity in the reader. Foreshadowed from the very beginning of the poem, Lavinia, the promised bride awaits for him at the end of his journies; she is betrothed to another, and this will cause another war before the foundations of Rome can be laid.
Some examples of the happy success of Mandelbaum鈥檚 English translation: near the end of Book I, the scene is set thus for a great story, just before Dido asks Aeneas to tell the tale of his trials and wanderings:
And at the first pause in the feast the tables
are cleared away. They fetch enormous bowls
and crown the wine with wreaths. The uproar grows;
it swells through all the palace; voices roll
across the ample halls; the lamps are kindled鈥撯€�
they hang from ceilings rich with golden panels鈥撯€�
and flaming torches overcome the night.
And then the queen called for a golden cup,
massive with jewels, that Belus once had used,
Belus and all the Tyrian line; she filled
that golden cup with wine. The hall fell still. (I. 1008 - 1018)
Late in the poem, the young hero Pallas exhorts his men, who are being routed, thus:
鈥淲here are you running, comrades? By your valor
and by the name of your own King Evander,
by victories you have won and by my hope
that now would match my father鈥檚 fame, you cannot
trust to your feet. The sword must hack a passage
through Latin ranks. And where their mass is thickest,
there, there is where your noble homeland asks
that you and your chief, Pallas, find a path.
There are no gods against us: mortals, we
are driven back by mortal enemies;
we have as many hands and lives as they.
Just see, the waters hem us in with their
great sea wall; there is no retreat by land.
Then shall we seek the deep or Troy鈥檚 new camp?鈥�
This said, he charged against the crowding Latins. (X. 510 - 524)
He saves the battle here, but it costs him everything.
Perhaps the most amazing scene, full of wonder, is when Aeneas begins to weep, beholding the relief sculpture that decorates Juno鈥檚 temple in Carthage; this depicts scenes from the Trojan war in which he took part; he sees himself therein, his friends, his former king, his famous enemies. Here in this strange new land, Troy gone, he weeps, feeding "his soul on what is nothing but a picture鈥� (I. 659), discovering that there is nowhere that the story of Troy is not known.
But there are so many rich, deep, meaningful, and wonderful passages that to tell them all is to rewrite the whole Aeneid. I will look forward to reading it again and again; it gets better every time.
Though Aeneas wanders through many lands, the great women of the book emerge as landmarks on his journey home. This begins with the loss of his wife Creusa, whom Aeneas loses when they are escaping the Greeks and the burning ruin of Troy; he turns, much like Orpheus when Eurydike is following him out of the underworld, and discovers that she is gone. Rushing back to find her Aeneas encounters Creusa's ghost; it is too late, but she tells him that another wife awaits him in Italy, and Creusa submits to fate. There follows the tragedy of Dido, who falls in love with Aeneas when he is shipwrecked in Carthage. He (in submission to the ordained fates) abandons her cruelly, and continues on his journey. Halfway through the book Aeneas will descend into the underworld following the Sybil, priestess of Apollo (as Theseus entered the Labyrinth with the help of Ariadne鈥檚 thread).
In the second half of the book the great heroine is Camilla, whose tragic death (like that of Dido) can move deep currents of pity in the reader. Foreshadowed from the very beginning of the poem, Lavinia, the promised bride awaits for him at the end of his journies; she is betrothed to another, and this will cause another war before the foundations of Rome can be laid.
Some examples of the happy success of Mandelbaum鈥檚 English translation: near the end of Book I, the scene is set thus for a great story, just before Dido asks Aeneas to tell the tale of his trials and wanderings:
And at the first pause in the feast the tables
are cleared away. They fetch enormous bowls
and crown the wine with wreaths. The uproar grows;
it swells through all the palace; voices roll
across the ample halls; the lamps are kindled鈥撯€�
they hang from ceilings rich with golden panels鈥撯€�
and flaming torches overcome the night.
And then the queen called for a golden cup,
massive with jewels, that Belus once had used,
Belus and all the Tyrian line; she filled
that golden cup with wine. The hall fell still. (I. 1008 - 1018)
Late in the poem, the young hero Pallas exhorts his men, who are being routed, thus:
鈥淲here are you running, comrades? By your valor
and by the name of your own King Evander,
by victories you have won and by my hope
that now would match my father鈥檚 fame, you cannot
trust to your feet. The sword must hack a passage
through Latin ranks. And where their mass is thickest,
there, there is where your noble homeland asks
that you and your chief, Pallas, find a path.
There are no gods against us: mortals, we
are driven back by mortal enemies;
we have as many hands and lives as they.
Just see, the waters hem us in with their
great sea wall; there is no retreat by land.
Then shall we seek the deep or Troy鈥檚 new camp?鈥�
This said, he charged against the crowding Latins. (X. 510 - 524)
He saves the battle here, but it costs him everything.
Perhaps the most amazing scene, full of wonder, is when Aeneas begins to weep, beholding the relief sculpture that decorates Juno鈥檚 temple in Carthage; this depicts scenes from the Trojan war in which he took part; he sees himself therein, his friends, his former king, his famous enemies. Here in this strange new land, Troy gone, he weeps, feeding "his soul on what is nothing but a picture鈥� (I. 659), discovering that there is nowhere that the story of Troy is not known.
But there are so many rich, deep, meaningful, and wonderful passages that to tell them all is to rewrite the whole Aeneid. I will look forward to reading it again and again; it gets better every time.
March 8, 2025
丕賳卅蹖丿 丕賳賯丿乇 讴鬲丕亘 賯丿蹖賲蹖鈥屫й屬� 賵 丕賳賯丿乇 亘乇丕卮 乇蹖賵蹖賵蹖 禺賵亘 賳賵卮鬲賴 卮丿賴 讴賴 賲賳 鬲乇噩蹖丨 賲蹖丿賲 亘賴 噩丕蹖 丕蹖賳 讴丕乇 丿乇 丕蹖賳 乇蹖賵蹖賵 亘賴 爻丕丿诏蹖 鬲賵囟蹖丨 亘丿賲 讴賴 丕氐賱丕 丕蹖賳 讴鬲丕亘 讴賴 禺蹖賱蹖 丕夭 賲丕 賮賯胤 丕爻賲卮 乇賵 丿乇 讴鬲丕亘 丕丿亘蹖丕鬲 禺賵丕賳丿蹖賲 丿乇 賲賵乇丿 趩蹖賴 賵 趩胤賵乇 賵 亘丕 趩賴 倬蹖卮鈥屬嗃屫ж操囏й屰� (丕夭 賳馗乇 賲賳) 亘丕蹖丿 禺賵丕賳丿卮
賲丕噩乇丕
丕賳卅蹖丿 丿乇 賵丕賯毓 丕爻賲 讴丕乇丕讴鬲乇 丕氐賱蹖 丕蹖賳 丿丕爻鬲丕賳賴鈥�. 賲乇丿蹖 讴賴 丿乇 賱丨馗丕鬲 丌禺乇 爻賯賵胤 卮賴乇 鬲乇賵蹖 賴賲乇丕賴 亘丕 诏乇賵賴蹖貙 丕夭 卮賴乇 賮乇丕乇 賲蹖鈥屭┵嗁� 賵 賴賲诏蹖 乇丕賴蹖 爻賮乇蹖 胤賵賱丕賳蹖 賲蹖卮賳 鬲丕 禺丕賳賴鈥屰� 噩丿蹖丿蹖 亘乇丕蹖 禺賵丿卮賵賳 倬蹖丿丕 讴賳賳丿. 爻乇夭賲蹖賳蹖 讴賴 鬲賵爻胤 禺丿丕蹖丕賳 亘賴 丕賳卅蹖丿 賵毓丿賴 丿丕丿賴 卮丿賴 賵 賴賲丕賳 丕蹖鬲丕賱蹖丕爻鬲. 丕賳卅蹖丿 賵 賴賲乇丕賴丕賳卮 亘丕蹖丿 丕夭 趩丕賱卮鈥屬囏й� 賲禺鬲賱賮蹖 毓亘賵乇 讴賳賳丿 鬲丕 亘賴 爻乇夭賲蹖賳 賲賵毓賵丿 亘乇爻賳丿. 丕蹖賳 丿丕爻鬲丕賳 丿乇 丕氐賱 丕賮爻丕賳賴鈥屰� 倬丕蹖賴鈥屭柏ж臂� 乇購賲 賲丨爻賵亘 賲蹖卮賴 賵 蹖讴 倬乇賵倬丕诏丕賳丿丕蹖 丕丿亘蹖賴
倬蹖卮鈥屬嗃屫ж测€屬囏й� 賲胤丕賱毓賴
丕诏乇 亘禺賵丕蹖賲 亘丕 鬲乇鬲蹖亘 禺胤 夭賲丕賳蹖 倬蹖卮 亘乇蹖賲貙 亘丕蹖丿 丕賵賱 爻乇丕睾 丌孬丕乇 賴賵賲乇 乇賮鬲. 丕蹖賱蹖丕丿 丿丕爻鬲丕賳 亘禺卮蹖 丕夭 噩賳诏 乇賵 賲胤乇丨 賲蹖鈥屭┵嗁� 賵 丿乇 丕賵賳 丕夭 卮禺氐蹖鬲 丕賳卅蹖丿 賴賲 賳丕賲 亘乇丿賴 賲蹖卮賴. 丕賲丕 賳賴 丿丕爻鬲丕賳 丿賱蹖賱 噩賳诏 蹖賵賳丕賳蹖丕賳 亘丕 鬲乇賵噩丕賳鈥屬囏� 乇賵 讴丕賲賱 鬲賵囟蹖丨 賲蹖丿賴 賵 賳賴 亘賴 亘禺卮 賮鬲丨 鬲乇賵蹖 賲蹖鈥屬矩必ж操�. 亘乇丕蹖 丿丕賳爻鬲賳 丕蹖賳 亘禺卮鈥屬囏� 亘丕蹖丿 丕夭 讴鬲丕亘鈥屬囏й� 丿蹖诏賴 讴賲讴 诏乇賮鬲 讴賴 丿乇 乇蹖賵蹖賵蹖 丕蹖賱蹖丕丿 賱蹖爻鬲 讴乇丿賲. 賲丕噩乇丕蹖 讴鬲丕亘 丕賵丿蹖爻賴 賴賲 亘毓丿 丕夭 噩賳诏 丕鬲賮丕賯 賲蹖鈥屫з佖� 賵 丿乇 賲賵乇丿 丌賵丕乇诏蹖鈥屬囏й� 丕賵丿蹖爻蹖賵爻貙 蹖讴蹖 丕夭 賮乇賲丕賳丿诏丕賳 蹖賵賳丕賳蹖賴. 丕夭 賳馗乇 禺胤 夭賲丕賳蹖貙 丕賵丿蹖爻賴 賵 丕賳卅蹖丿 亘爻蹖丕乇 賳夭丿蹖讴 賴爻鬲賳丿. 倬爻 丕夭 賱丨丕馗 丿丕爻鬲丕賳蹖 囟乇賵乇蹖 賳蹖爻鬲 讴賴 丕蹖賱蹖丕丿 賵 丕賵丿蹖爻賴 賯亘賱 丕夭 丕賳卅蹖丿 禺賵丕賳丿賴 亘卮賳 賵 丕诏乇 丿丕爻鬲丕賳 讴賱蹖 噩賳诏 乇賵 亘丿賵賳蹖丿貙 賲卮讴賱蹖 賳禺賵丕賴蹖丿 丿丕卮鬲
丕賲丕貙 賵 丕蹖賳 丕賲丕蹖 亘夭乇诏蹖賴 讴賴 丕蹖賱蹖丕丿 賵 丕賵丿蹖爻賴 噩丿 丕丿亘蹖 丕賳卅蹖丿 賲丨爻賵亘 賲蹖卮賳 賵 賵蹖乇跇蹖賱 丕夭 爻亘讴 賴賵賲乇 丕賱诏賵 诏乇賮鬲賴. 倬爻 亘乇丕蹖 賲賯丕蹖爻賴鈥屰� 丕丿亘蹖 賵 丿賯蹖賯鈥屫� 賱丕夭賲賴 讴賴 丕蹖賳 丿賵 讴鬲丕亘 丕賵賱 禺賵丕賳丿賴 亘卮賳 讴賴 亘卮賴 卮亘丕賴鬲鈥屬囏� 賵 鬲賮丕賵鬲鈥屬囏ж促堎� 乇賵 倬蹖丿丕 讴乇丿. 賳蹖賲賴鈥屰� 丕賵賱 丕賳卅蹖丿 亘爻蹖丕乇 卮亘蹖賴 賲丕噩乇丕賴丕蹖 丕賵丿蹖爻賴 賵 賳蹖賲賴鈥屰� 丿賵賲卮 亘爻蹖丕乇 卮亘蹖賴 噩賳诏鈥屬囏й� 丕蹖賱蹖丕丿賴
丕賲丕賳 丕夭 禺丿丕蹖丕賳
鬲丕夭賴 丿賵 丿賯蹖賯賴 卮丿賴 亘賵丿 讴賴 丕爻丕賲蹖 禺丿丕蹖丕賳 蹖賵賳丕賳蹖 賵 丕蹖賳讴賴 賴乇讴爻 趩賴鈥屭┴ж必池� 乇賵 蹖丕丿 诏乇賮鬲賴 亘賵丿賲 讴賴 丕賳卅蹖丿 乇賵 卮乇賵毓 讴乇丿賲. 亘毓丿 賮賴賲蹖丿賲 乇賵賲蹖鈥屬囏� 丿乇 蹖讴 丨乇讴鬲 毓噩蹖亘 禺丿丕蹖丕賳 蹖賵賳丕賳蹖鈥屬囏� 乇賵 亘乇丕蹖 禺賵丿卮賵賳 賴賲 丕賳鬲禺丕亘 讴乇丿賳 賵 賲蹖卮賴 诏賮鬲 賮賯胤 丕爻賲卮賵賳 乇賵 毓賵囟 讴乇丿賳. 倬爻 賲噩亘賵乇 卮丿賲 賱蹖爻鬲 鬲亘丿蹖賱 丕爻丕賲蹖 乇賵 丿丕卅賲 趩讴 讴賳賲 賵 亘亘蹖賳賲 讴蹖 亘賴 讴蹖賴. 亘乇丕蹖 禺賵丕賳丿賳 丕爻胤賵乇賴鈥屬囏� 讴賱丕 賲噩亘賵乇 賲蹖鈥屫篡屫� 丿乇 丕蹖賳 賲賵乇丿 蹖丕丿 亘诏蹖乇蹖丿.
趩乇丕 亘丕蹖丿 禺賵賳丿卮責
讴賴 丌丿賲 亘鬲賵賳賴 亘诏賴 丕賳卅蹖丿 禺賵賳丿賲
噩丿丕蹖 丕夭 丕蹖賳貙 丕蹖賳 丌孬丕乇 爻鬲賵賳鈥屬囏й� 丕丿亘蹖丕鬲 賴爻鬲賳丿 賵 賵賯鬲蹖 賲丨鬲賵丕卮賵賳 乇賵 賲蹖鈥屫堎嗃� 賲孬賱 丕蹖賳 賲蹖鈥屬呝堎嗁� 讴賴 蹖讴 毓蹖賳讴 禺丕氐 乇賵蹖 趩卮賲鈥屬囏ж� 賲蹖丕丿 賵 乇丿 倬丕卮賵賳 乇賵 丿乇 丕丿亘蹖丕鬲 噩賴丕賳 賴賲賴 噩丕 賲蹖鈥屫ㄛ屬嗃�
鬲噩乇亘賴鈥屰� 禺賵丿賲
禺賵丕賳丿賳 丕賳卅蹖丿 倬蹖乇賲 讴乇丿. 賲诏賴 丕蹖賳 讴鬲丕亘 倬蹖卮 賲蹖鈥屫辟佖� 丕賱亘鬲賴 丕賳氐丕賮丕賸 夭賲丕賳 禺賵亘蹖 賴賲 賳亘賵丿. 亘賴 賳馗乇賲 丕賳卅蹖丿 讴丕乇丕讴鬲乇 賳趩爻亘蹖賴 賵 亘丕 鬲賲丕賲 鬲賱丕卮鈥屬囏й� 賵蹖乇跇蹖賱貙 丕氐賱丕 丕夭 亘蹖賳 禺胤賵胤 卮毓乇 禺丕乇噩 賳卮丿賴. 丌讴蹖賱蹖爻賽 丕蹖賱蹖丕丿貙 蹖丕 丕賵丿蹖爻蹖賵爻賽 丕賵丿蹖爻賴貙 氐乇賮 賳馗乇 丕夭 丕蹖賳讴賴 丿賵爻鬲卮賵賳 丿丕卮鬲賲 蹖丕 賳賴貙 芦讴丕乇丕讴鬲乇禄 丿丕卮鬲賳丿 賵 亘賴 蹖丕丿賲丕賳丿賳蹖 賴爻鬲賳丿貙 丕賲丕 丕賳卅蹖丿 賳賴. 丿丕爻鬲丕賳鈥� 乇賵 賴賲 丕丨鬲賲丕賱丕賸 丕诏乇 亘丕 賮丕氐賱賴鈥屰� 亘蹖卮鬲乇蹖 丕夭 丌孬丕乇 賴賵賲乇 賲蹖鈥屫堌з嗀� 亘蹖卮鬲乇 賱匕鬲 賲蹖鈥屫ㄘ必�. 卮亘丕賴鬲 賵 鬲讴乇丕乇蹖 亘賵丿賳 賲丕噩乇丕賴丕 亘乇丕賲 丕匕蹖鬲 讴賳賳丿賴 亘賵丿 賵 賳卮丿 丕賵賳胤賵乇 讴賴 亘丕蹖丿 丕夭 夭蹖亘丕蹖蹖 賯賱賲 賵蹖乇跇蹖賱 賱匕鬲 亘亘乇賲
賳爻禺賴鈥屬囏й� 賲禺鬲賱賮 讴鬲丕亘 賵 氐賵鬲蹖卮 乇賵 賲蹖鈥屫堎嗃屫� 丕夭 丕蹖賳噩丕 丿丕賳賱賵丿 讴賳蹖丿
郾鄞郯鄢/郾郾/郾郾
賲丕噩乇丕
丕賳卅蹖丿 丿乇 賵丕賯毓 丕爻賲 讴丕乇丕讴鬲乇 丕氐賱蹖 丕蹖賳 丿丕爻鬲丕賳賴鈥�. 賲乇丿蹖 讴賴 丿乇 賱丨馗丕鬲 丌禺乇 爻賯賵胤 卮賴乇 鬲乇賵蹖 賴賲乇丕賴 亘丕 诏乇賵賴蹖貙 丕夭 卮賴乇 賮乇丕乇 賲蹖鈥屭┵嗁� 賵 賴賲诏蹖 乇丕賴蹖 爻賮乇蹖 胤賵賱丕賳蹖 賲蹖卮賳 鬲丕 禺丕賳賴鈥屰� 噩丿蹖丿蹖 亘乇丕蹖 禺賵丿卮賵賳 倬蹖丿丕 讴賳賳丿. 爻乇夭賲蹖賳蹖 讴賴 鬲賵爻胤 禺丿丕蹖丕賳 亘賴 丕賳卅蹖丿 賵毓丿賴 丿丕丿賴 卮丿賴 賵 賴賲丕賳 丕蹖鬲丕賱蹖丕爻鬲. 丕賳卅蹖丿 賵 賴賲乇丕賴丕賳卮 亘丕蹖丿 丕夭 趩丕賱卮鈥屬囏й� 賲禺鬲賱賮蹖 毓亘賵乇 讴賳賳丿 鬲丕 亘賴 爻乇夭賲蹖賳 賲賵毓賵丿 亘乇爻賳丿. 丕蹖賳 丿丕爻鬲丕賳 丿乇 丕氐賱 丕賮爻丕賳賴鈥屰� 倬丕蹖賴鈥屭柏ж臂� 乇購賲 賲丨爻賵亘 賲蹖卮賴 賵 蹖讴 倬乇賵倬丕诏丕賳丿丕蹖 丕丿亘蹖賴
倬蹖卮鈥屬嗃屫ж测€屬囏й� 賲胤丕賱毓賴
丕诏乇 亘禺賵丕蹖賲 亘丕 鬲乇鬲蹖亘 禺胤 夭賲丕賳蹖 倬蹖卮 亘乇蹖賲貙 亘丕蹖丿 丕賵賱 爻乇丕睾 丌孬丕乇 賴賵賲乇 乇賮鬲. 丕蹖賱蹖丕丿 丿丕爻鬲丕賳 亘禺卮蹖 丕夭 噩賳诏 乇賵 賲胤乇丨 賲蹖鈥屭┵嗁� 賵 丿乇 丕賵賳 丕夭 卮禺氐蹖鬲 丕賳卅蹖丿 賴賲 賳丕賲 亘乇丿賴 賲蹖卮賴. 丕賲丕 賳賴 丿丕爻鬲丕賳 丿賱蹖賱 噩賳诏 蹖賵賳丕賳蹖丕賳 亘丕 鬲乇賵噩丕賳鈥屬囏� 乇賵 讴丕賲賱 鬲賵囟蹖丨 賲蹖丿賴 賵 賳賴 亘賴 亘禺卮 賮鬲丨 鬲乇賵蹖 賲蹖鈥屬矩必ж操�. 亘乇丕蹖 丿丕賳爻鬲賳 丕蹖賳 亘禺卮鈥屬囏� 亘丕蹖丿 丕夭 讴鬲丕亘鈥屬囏й� 丿蹖诏賴 讴賲讴 诏乇賮鬲 讴賴 丿乇 乇蹖賵蹖賵蹖 丕蹖賱蹖丕丿 賱蹖爻鬲 讴乇丿賲. 賲丕噩乇丕蹖 讴鬲丕亘 丕賵丿蹖爻賴 賴賲 亘毓丿 丕夭 噩賳诏 丕鬲賮丕賯 賲蹖鈥屫з佖� 賵 丿乇 賲賵乇丿 丌賵丕乇诏蹖鈥屬囏й� 丕賵丿蹖爻蹖賵爻貙 蹖讴蹖 丕夭 賮乇賲丕賳丿诏丕賳 蹖賵賳丕賳蹖賴. 丕夭 賳馗乇 禺胤 夭賲丕賳蹖貙 丕賵丿蹖爻賴 賵 丕賳卅蹖丿 亘爻蹖丕乇 賳夭丿蹖讴 賴爻鬲賳丿. 倬爻 丕夭 賱丨丕馗 丿丕爻鬲丕賳蹖 囟乇賵乇蹖 賳蹖爻鬲 讴賴 丕蹖賱蹖丕丿 賵 丕賵丿蹖爻賴 賯亘賱 丕夭 丕賳卅蹖丿 禺賵丕賳丿賴 亘卮賳 賵 丕诏乇 丿丕爻鬲丕賳 讴賱蹖 噩賳诏 乇賵 亘丿賵賳蹖丿貙 賲卮讴賱蹖 賳禺賵丕賴蹖丿 丿丕卮鬲
丕賲丕貙 賵 丕蹖賳 丕賲丕蹖 亘夭乇诏蹖賴 讴賴 丕蹖賱蹖丕丿 賵 丕賵丿蹖爻賴 噩丿 丕丿亘蹖 丕賳卅蹖丿 賲丨爻賵亘 賲蹖卮賳 賵 賵蹖乇跇蹖賱 丕夭 爻亘讴 賴賵賲乇 丕賱诏賵 诏乇賮鬲賴. 倬爻 亘乇丕蹖 賲賯丕蹖爻賴鈥屰� 丕丿亘蹖 賵 丿賯蹖賯鈥屫� 賱丕夭賲賴 讴賴 丕蹖賳 丿賵 讴鬲丕亘 丕賵賱 禺賵丕賳丿賴 亘卮賳 讴賴 亘卮賴 卮亘丕賴鬲鈥屬囏� 賵 鬲賮丕賵鬲鈥屬囏ж促堎� 乇賵 倬蹖丿丕 讴乇丿. 賳蹖賲賴鈥屰� 丕賵賱 丕賳卅蹖丿 亘爻蹖丕乇 卮亘蹖賴 賲丕噩乇丕賴丕蹖 丕賵丿蹖爻賴 賵 賳蹖賲賴鈥屰� 丿賵賲卮 亘爻蹖丕乇 卮亘蹖賴 噩賳诏鈥屬囏й� 丕蹖賱蹖丕丿賴
丕賲丕賳 丕夭 禺丿丕蹖丕賳
鬲丕夭賴 丿賵 丿賯蹖賯賴 卮丿賴 亘賵丿 讴賴 丕爻丕賲蹖 禺丿丕蹖丕賳 蹖賵賳丕賳蹖 賵 丕蹖賳讴賴 賴乇讴爻 趩賴鈥屭┴ж必池� 乇賵 蹖丕丿 诏乇賮鬲賴 亘賵丿賲 讴賴 丕賳卅蹖丿 乇賵 卮乇賵毓 讴乇丿賲. 亘毓丿 賮賴賲蹖丿賲 乇賵賲蹖鈥屬囏� 丿乇 蹖讴 丨乇讴鬲 毓噩蹖亘 禺丿丕蹖丕賳 蹖賵賳丕賳蹖鈥屬囏� 乇賵 亘乇丕蹖 禺賵丿卮賵賳 賴賲 丕賳鬲禺丕亘 讴乇丿賳 賵 賲蹖卮賴 诏賮鬲 賮賯胤 丕爻賲卮賵賳 乇賵 毓賵囟 讴乇丿賳. 倬爻 賲噩亘賵乇 卮丿賲 賱蹖爻鬲 鬲亘丿蹖賱 丕爻丕賲蹖 乇賵 丿丕卅賲 趩讴 讴賳賲 賵 亘亘蹖賳賲 讴蹖 亘賴 讴蹖賴. 亘乇丕蹖 禺賵丕賳丿賳 丕爻胤賵乇賴鈥屬囏� 讴賱丕 賲噩亘賵乇 賲蹖鈥屫篡屫� 丿乇 丕蹖賳 賲賵乇丿 蹖丕丿 亘诏蹖乇蹖丿.
趩乇丕 亘丕蹖丿 禺賵賳丿卮責
讴賴 丌丿賲 亘鬲賵賳賴 亘诏賴 丕賳卅蹖丿 禺賵賳丿賲
噩丿丕蹖 丕夭 丕蹖賳貙 丕蹖賳 丌孬丕乇 爻鬲賵賳鈥屬囏й� 丕丿亘蹖丕鬲 賴爻鬲賳丿 賵 賵賯鬲蹖 賲丨鬲賵丕卮賵賳 乇賵 賲蹖鈥屫堎嗃� 賲孬賱 丕蹖賳 賲蹖鈥屬呝堎嗁� 讴賴 蹖讴 毓蹖賳讴 禺丕氐 乇賵蹖 趩卮賲鈥屬囏ж� 賲蹖丕丿 賵 乇丿 倬丕卮賵賳 乇賵 丿乇 丕丿亘蹖丕鬲 噩賴丕賳 賴賲賴 噩丕 賲蹖鈥屫ㄛ屬嗃�
鬲噩乇亘賴鈥屰� 禺賵丿賲
禺賵丕賳丿賳 丕賳卅蹖丿 倬蹖乇賲 讴乇丿. 賲诏賴 丕蹖賳 讴鬲丕亘 倬蹖卮 賲蹖鈥屫辟佖� 丕賱亘鬲賴 丕賳氐丕賮丕賸 夭賲丕賳 禺賵亘蹖 賴賲 賳亘賵丿. 亘賴 賳馗乇賲 丕賳卅蹖丿 讴丕乇丕讴鬲乇 賳趩爻亘蹖賴 賵 亘丕 鬲賲丕賲 鬲賱丕卮鈥屬囏й� 賵蹖乇跇蹖賱貙 丕氐賱丕 丕夭 亘蹖賳 禺胤賵胤 卮毓乇 禺丕乇噩 賳卮丿賴. 丌讴蹖賱蹖爻賽 丕蹖賱蹖丕丿貙 蹖丕 丕賵丿蹖爻蹖賵爻賽 丕賵丿蹖爻賴貙 氐乇賮 賳馗乇 丕夭 丕蹖賳讴賴 丿賵爻鬲卮賵賳 丿丕卮鬲賲 蹖丕 賳賴貙 芦讴丕乇丕讴鬲乇禄 丿丕卮鬲賳丿 賵 亘賴 蹖丕丿賲丕賳丿賳蹖 賴爻鬲賳丿貙 丕賲丕 丕賳卅蹖丿 賳賴. 丿丕爻鬲丕賳鈥� 乇賵 賴賲 丕丨鬲賲丕賱丕賸 丕诏乇 亘丕 賮丕氐賱賴鈥屰� 亘蹖卮鬲乇蹖 丕夭 丌孬丕乇 賴賵賲乇 賲蹖鈥屫堌з嗀� 亘蹖卮鬲乇 賱匕鬲 賲蹖鈥屫ㄘ必�. 卮亘丕賴鬲 賵 鬲讴乇丕乇蹖 亘賵丿賳 賲丕噩乇丕賴丕 亘乇丕賲 丕匕蹖鬲 讴賳賳丿賴 亘賵丿 賵 賳卮丿 丕賵賳胤賵乇 讴賴 亘丕蹖丿 丕夭 夭蹖亘丕蹖蹖 賯賱賲 賵蹖乇跇蹖賱 賱匕鬲 亘亘乇賲
賳爻禺賴鈥屬囏й� 賲禺鬲賱賮 讴鬲丕亘 賵 氐賵鬲蹖卮 乇賵 賲蹖鈥屫堎嗃屫� 丕夭 丕蹖賳噩丕 丿丕賳賱賵丿 讴賳蹖丿
郾鄞郯鄢/郾郾/郾郾
December 12, 2024
Third read, this time David West鈥檚 translation which made it easier to see more of the story nuances.
A few months back I read Robert Fagles鈥� verse translation. This is wonderful in how it brings the scenes to life, where in that second read, I saw a more complex Aeneas, I鈥檓 not sure if I like him but I understand better the duty he is bound to and his love for Dido.
In some ways the story is fascinating in how it doesn鈥檛 quite gel together, and there are pages where I am engrossed in the drama: I could feel Troy burn, Dido鈥檚 heart breaking, and the pains and sorrows of war.
My least favourite part is how this bristles with propaganda; what continues to puzzle me is ? But this won鈥檛 stop me from reading this again.
A few months back I read Robert Fagles鈥� verse translation. This is wonderful in how it brings the scenes to life, where in that second read, I saw a more complex Aeneas, I鈥檓 not sure if I like him but I understand better the duty he is bound to and his love for Dido.
In some ways the story is fascinating in how it doesn鈥檛 quite gel together, and there are pages where I am engrossed in the drama: I could feel Troy burn, Dido鈥檚 heart breaking, and the pains and sorrows of war.
My least favourite part is how this bristles with propaganda; what continues to puzzle me is ? But this won鈥檛 stop me from reading this again.
June 30, 2016
Introduction
Map
--The Aeneid
Translator's Postscript
Genealogy: The Royal Houses of Greece and Troy
Suggestions for Further Reading
Variants from the Oxford Classical Text
Notes on the Translation
Pronouncing Glossary
Map
--The Aeneid
Translator's Postscript
Genealogy: The Royal Houses of Greece and Troy
Suggestions for Further Reading
Variants from the Oxford Classical Text
Notes on the Translation
Pronouncing Glossary
November 30, 2021
Virgil鈥檚 Aeneid is not that long but I still feel like I spent a lot of mental energy to conquer it.
Heavily inspired by Homer, it tells the story of Aeneas (think of a less charismatic Trojan counterpart of Odysseus) who:
- Survives the fall of Troy ;
- Enter his own wandering (hello ) ;
- Then goes to war (hello ) ;
- To finally become, after the gods have ceased to fight for a minute and given their blessing, the founder of the Roman race.
Tell me about plagiarism! Overall this book is mostly one big piece of Roman propaganda, and the sheer intensity of it can be tiresome.
Some chapters are less stimulating than others. I'm not going to lie, I skipped a few parts because I couldn't force myself to keep reading. I agree that the ending is good though! it kinda redeemed the rest of the book in my memory, but not enough to want to go through it again any time soon.
The political/propaganda aspect of it is fascinating however, and I was much more captivated by the (deep) contextual analysis at the start of my edition than by the work itself.
Overall, it's the opposite of a page turner but the analysis aspect is pretty cool and make that tedious read worth it.
It is still a very important piece of literature, far below the quality of Homer's work (which is immortal in my opinion). I will come back to this, if one day I have an obscene amount of mental stamina to spare.
Heavily inspired by Homer, it tells the story of Aeneas (think of a less charismatic Trojan counterpart of Odysseus) who:
- Survives the fall of Troy ;
- Enter his own wandering (hello ) ;
- Then goes to war (hello ) ;
- To finally become, after the gods have ceased to fight for a minute and given their blessing, the founder of the Roman race.
Tell me about plagiarism! Overall this book is mostly one big piece of Roman propaganda, and the sheer intensity of it can be tiresome.
Some chapters are less stimulating than others. I'm not going to lie, I skipped a few parts because I couldn't force myself to keep reading. I agree that the ending is good though! it kinda redeemed the rest of the book in my memory, but not enough to want to go through it again any time soon.
The political/propaganda aspect of it is fascinating however, and I was much more captivated by the (deep) contextual analysis at the start of my edition than by the work itself.
Overall, it's the opposite of a page turner but the analysis aspect is pretty cool and make that tedious read worth it.
It is still a very important piece of literature, far below the quality of Homer's work (which is immortal in my opinion). I will come back to this, if one day I have an obscene amount of mental stamina to spare.
February 9, 2017
The Romans took over from the Greeks as the dominant Mediterranean power after Alexander of Macedon died in 323 BCE, and then turned into an empire when Caesar crossed the Rubicon in 49 BCE, which is a nice way to say that he staged a military coup and installed himself as dictator. It ran along merrily for 800 years until around 500 AD, when it was finally overrun by a series of people with awesome names like Visigoths and Attila the Hun.
Rome was actually founded even earlier than that, though, in the 700s BCE, by Aeneas, who was a Trojan - from the Trojan War, so we鈥檙e working (as usual) off Homer. Like Odysseus, Aeneas had a long and incompetent journey from Troy.
I made this myself! Click for bigger
He wasn鈥檛 going home, though, he was trying to find a prophesied new one. Because Odysseus showed up in a horse and burned his old one. (That famous Trojan Horse story is mostly told in the Aeneid, only briefly referred to in the Odyssey.)
That founding story, which is made up, is what's told in the greatest Roman epic, Virgil's Aeneid, written around 20 BCE. It鈥檚 pretty good. The story of the Carthaginian queen Dido is a high point: she falls in love with him; they sleep together and then he鈥檚 like never mind, I gotta go found Rome, prompting her to commit suicide by stabbing while burning, and beginning a feud with Carthage that will come to fruition when Hannibal barely fails to defeat Rome around 200 BCE, and then Rome completely destroys Carthage and you can鈥檛 even find ruins anymore, really, which is a bummer.
Dido killing herself - by Cayot, 1711, this is in the Louvre
TS Eliot calls The Aeneid "our classic, the classic of all Europe." It's a minor work for our generation - we're way more familiar with Homer - but it's been consistently read since it was written, unlike Homer (who lost favor for a while in the Middle Ages). It's an imperialist work, basically, written to canonize Rome as a great civilization and specifically exploring what it means to be a superpower. Virgil wasn't comfortable with it himself; he never finished it, and (according to the myth) asked that it be burned after his death, which lesson Kafka might have paid attention to: if you want something burned right, you'd best do it yourself.
Translations
I read the Fagles translation, which was as usual excellent. In case you don't know, Fagles is the Pevear & Volokhonsky of antiquity: he's done well-regarded translations of just about every work written BCE, which means you can just go with him if you don't have any better ideas but you should maybe watch out that you don't end up absorbing the entire canon through him, which would be weird. Mandelbaum also has a translation; I haven't read it but his work is dependable. Your other options are the conservative Fitzgerald or the very liberal Lombardo. Here's that (starting about halfway down) talks at length about different translations and comes out for Fagles.
Rome was actually founded even earlier than that, though, in the 700s BCE, by Aeneas, who was a Trojan - from the Trojan War, so we鈥檙e working (as usual) off Homer. Like Odysseus, Aeneas had a long and incompetent journey from Troy.
I made this myself! Click for bigger
He wasn鈥檛 going home, though, he was trying to find a prophesied new one. Because Odysseus showed up in a horse and burned his old one. (That famous Trojan Horse story is mostly told in the Aeneid, only briefly referred to in the Odyssey.)
That founding story, which is made up, is what's told in the greatest Roman epic, Virgil's Aeneid, written around 20 BCE. It鈥檚 pretty good. The story of the Carthaginian queen Dido is a high point: she falls in love with him; they sleep together and then he鈥檚 like never mind, I gotta go found Rome, prompting her to commit suicide by stabbing while burning, and beginning a feud with Carthage that will come to fruition when Hannibal barely fails to defeat Rome around 200 BCE, and then Rome completely destroys Carthage and you can鈥檛 even find ruins anymore, really, which is a bummer.
Dido killing herself - by Cayot, 1711, this is in the Louvre
TS Eliot calls The Aeneid "our classic, the classic of all Europe." It's a minor work for our generation - we're way more familiar with Homer - but it's been consistently read since it was written, unlike Homer (who lost favor for a while in the Middle Ages). It's an imperialist work, basically, written to canonize Rome as a great civilization and specifically exploring what it means to be a superpower. Virgil wasn't comfortable with it himself; he never finished it, and (according to the myth) asked that it be burned after his death, which lesson Kafka might have paid attention to: if you want something burned right, you'd best do it yourself.
Translations
I read the Fagles translation, which was as usual excellent. In case you don't know, Fagles is the Pevear & Volokhonsky of antiquity: he's done well-regarded translations of just about every work written BCE, which means you can just go with him if you don't have any better ideas but you should maybe watch out that you don't end up absorbing the entire canon through him, which would be weird. Mandelbaum also has a translation; I haven't read it but his work is dependable. Your other options are the conservative Fitzgerald or the very liberal Lombardo. Here's that (starting about halfway down) talks at length about different translations and comes out for Fagles.
September 7, 2022
Aeneas of Troy, in Homer鈥檚 Iliad, survives the Trojan War that kills most of his fellow-countrymen. A warrior of notable skill and bravery, he is nonetheless just about to be killed by Achilles when, in Book 20 of the Iliad, the sea-god Poseidon 鈥減oured a mist across Achilles鈥� eyes鈥nd hoisting Aeneas off the earth he slung him far鈥︹€� At that point, Aeneas simply disappears from the poem 鈥� and in the formulation of the Roman poet Virgil, Aeneas鈥� disappearance can be explained in terms of his being destined to lead a band of fellow Trojan survivors in founding a new and greater Troy, in the form of mighty Rome.
Virgil (70-19 B.C.) stands alone among the poets of classical Rome, like Homer among the Greeks. No other classical writer composing in Latin is thought to share Virgil鈥檚 gift for wielding the language in such a way as to produce work that is both forceful and graceful. His talent for poetry was recognized, and encouraged, from his youth. At the same time 鈥� perhaps unavoidably, considering the times in which he was living 鈥� Virgil was caught up in the turbulence of Roman politics as Rome careened through one crisis after another, on its way from republic to empire.
He is said to have been born near present-day Mantua, in northern Italy 鈥� a region where Octavian, after his defeat of Brutus and Cassius at Philippi in 42 B.C., rewarded his soldiers with land that he took from local landowners. One of those landowners may have been the then-28-year-old Virgil, and some scholars have seen Virgil鈥檚 Eclogues as containing pointed references to Octavian鈥檚 act of land theft.
Yet even if Virgil resented what Octavian did in northern Italy, he must have known which side his puls (or focaccia) was buttered on. Within five years, he was part of the retinue of Maecenas, a trusted advisor to Octavian and patron of poets. Maecenas encouraged Virgil to compose the Georgics. This poetic cycle further enhanced Virgil鈥檚 reputation for poetry, and Virgil and Maecenas are said to have read the Georgics to Octavian, after Octavian had returned from defeating Antony and Cleopatra at the Battle of Actium in 31 B.C.
It must be nice 鈥� it must be nice 鈥� to have a future emperor on your side. The poet Propertius tells us that Octavian, once he had officially become the first Emperor of Rome as Augustus Caesar, commissioned the composition of the Aeneid by Virgil, so that the poet could spend the last decade of his life working on the epic poem that would forever be considered his masterpiece. Reading the Aeneid, one gets the sense of how Virgil is building upon the Homeric tradition 鈥� and, in some ways, changing it by incorporating a contemporary political inflection that no doubt pleased his imperial patron.
There are many great translations of the Aeneid. I favour the Penguin Classics deluxe-edition translation by Robert Fagles. A classics professor at Princeton University, Fagles had a gift for rendering the Greek of Homer and the Latin of Virgil into muscular, evocative English, in a Shakespearean-sounding blank-verse iambic pentameter that captures the musicality of both poets while avoiding both pedantry and excessive informality. His work found a wide and appreciative audience, and deservedly so.
Fagles starts his translation of The Aeneid by writing, 鈥淲ars and a man I sing鈥� (p. 71) 鈥� not the traditional 鈥淥f arms and the man I sing鈥� 鈥� and in a way I like Fagles鈥檚 version better. The reason is that his translation 鈥� 鈥渁鈥� rather than 鈥渢he鈥� 鈥� emphasizes Aeneas as a specific individual with a destined historical role, in a way that seems to comport well with Virgil鈥檚 historical vision and poetic sensibility. Aeneas, after all, is 鈥渁n exile driven on by Fate鈥estined to reach Lavinian shores and Italian soil鈥�, and to face 鈥渕any losses鈥n battle鈥efore he could found a city鈥� (p. 71) at what would one day be Rome.
The world of The Aeneid is, like that of The Iliad and The Odyssey, a world where the Olympian gods intervene regularly and forcefully in human affairs. Jupiter himself, the king of the gods, has made clear that it is Aeneas鈥� ultimate destiny to defeat any enemies he may encounter in Italy, and to found the Roman state:
Aeneas will wage
A long, costly war in Italy, crush defiant tribes
And build high city walls for his people there
And found the rule of law鈥�.
On them I set no limits, space or time:
I have granted them power, empire without end鈥�.
From that noble blood [of Troy] will arise a Trojan Caesar,
His empire bound by the Ocean, his glory by the stars:
Julius, a name passed down from [Aeneas鈥� son] Iulus, his great forebear. (pp. 81-82)
Aeneas faces the constant and unyielding opposition of Juno, the queen of the gods, whose hatred for the Trojans did not end with the destruction of Troy; but he enjoys the protection of other Olympian deities, such as Venus (goddess of love, and Aeneas鈥� mother) and the sea-god Neptune. When Juno persuades the wind-god Aeolus to send wild winds to strike the Trojan ships at sea, threatening the wreck of the entire Trojan expedition to Italy, Neptune goes with his son Triton and the sea-nymph Cymotho毛 to calm the seas and rescue the Trojans 鈥� an event that Virgil recounts via an elaborate simile that emphasizes the Roman 鈥渞age for order鈥� and fear of chaos:
Just as, all too often,
Some huge crowd is seized by a vast uprising,
The rabble runs amok, all slaves to passion,
Rocks, firebrands flying. Rage finds them arms
But then, if they chance to see a man among them,
One whose devotion and public service lend him weight,
They stand there, stock-still with their ears alert as
He rules their furor with his words and calms their passion. (pp. 76-78)
Driven to Carthage, the Trojans are granted sanctuary by the Carthaginian queen Dido. Hearing Aeneas鈥� recounting of the Trojans鈥� travails during and after the fall of their city, she says, 鈥淪chooled in suffering, now I learn to comfort/Those who suffer too鈥� (p. 97). While Virgil depicts Venus as making Dido fall in love with Aeneas by having the love-god Cupid shoot Dido with arrows of love, in accordance with a well-known trope of classical epic, doing so hardly seems necessary. It makes perfect sense that Dido 鈥� like Aeneas, an exile who has successfully led her people to safe harbour in a new land 鈥� might come to feel passion for someone who is brave and strong like her, and with whom she has so much in common.
In Book Two of the Aeneid, Aeneas provides Dido and the Carthaginian court with a detailed recounting of the fall of Troy, and he emphasizes in the process the treachery of the Greeks in securing victory through the subterfuge of the Trojan Horse. Aeneas tells how Laoco枚n, priest of Troy, tried to dissuade the Trojans from taking the horse into the city, saying, 鈥淭rojans, never trust that horse. Whatever it is,/I fear the Greeks, especially bearing gifts鈥� (p. 105).
Beware of Greeks bearing gifts 鈥� another idea from Virgil that one hears spoken throughout the modern world, often by people who have never read Virgil. But the Trojans, as Aeneas reminds us, did not take Laoco枚n鈥檚 advice, because two giant sea-serpents, sent by the gods, swam up onto the land and promptly killed Laoco枚n and his two sons 鈥� a tableau that one can see recreated in a magnificent, and grim, statue preserved today at the Vatican Museum. Always we are reminded that the Olympian gods are perfectly able and willing to intervene in human affairs, in a manner that we mortals might find to be fundamentally unjust.
As Aeneas tells it, he was ready to give his life in Troy鈥檚 defence, until his mother Venus intervened and told him to focus on trying to save his wife Creusa, their son Ascanius, and Aeneas鈥� father Anchises. For good measure, Venus made it clear that there was no more use in Aeneas鈥� fighting for Troy, a city whose fall had been ordained by the gods: 鈥淭hink: it鈥檚 not that beauty, Helen, you should hate,/Not even Paris, the man that you should blame, no,/It鈥檚 the gods, the ruthless gods who are tearing down/The wealth of Troy, her toppling crown of towers鈥� (p. 127). And so Aeneas left Troy, carrying father Anchises on his back, holding the hand of his young son Ascanius. Wife Creusa trailed behind, her ultimate fate an unhappy one.
This part of the Aeneid, with its emphasis on how the gods arrange the love affair of Aeneas and Dido 鈥� even using the weather to trap the two together, alone in a cave, at the critical moment 鈥� creates a decided sense of sympathy for Dido. There is a desperate quality to Dido鈥檚 love for Aeneas:
This was the first day of her death, the first of grief,
The cause of it all. From now on, Dido cares no more
For appearances, nor for her reputation, either.
She no longer thinks to keep the affair a secret 鈥�
No, she calls it a marriage,
Using the word to cloak her sense of guilt. (p. 173)
Their love is passionate 鈥� and it is should be no surprise that more than a dozen composers have been inspired to bring to the operatic stage the story of Dido and Aeneas. Understandably, Aeneas is in no hurry to leave his Queen of Carthage. It takes a visit from the messenger-god Mercury to Aeneas to induce the prince of Troy to flee from his Carthaginian love interlude and return to the performance of his divinely established duty. Mercury may offer a frankly sexist assessment that 鈥淲oman鈥檚 a thing/That鈥檚 always changing, shifting like the wind鈥� (p. 190), but one gets a sense of how much Virgil sympathizes with Dido.
Aeneas follows the directive of the gods and leaves. Dido curses her departed lover, prophesying eternal enmity between Carthage and Rome 鈥� a perfectly correct prophecy that anticipates the three Punic Wars of 246-164 B.C., and the total destruction of Carthage 鈥� and then takes her own life.
It soon becomes clear that Aeneas will not be able to complete his quest and fulfill his destiny unless he descends into the underworld, the realm of Pluto and abode of the dead, to receive crucial information from his now-dead father Anchises on how to conduct the rest of his mission. In passages of singular grimness, Virgil sets forth a vivid picture of the underworld, with particular emphasis on the cruel punishments facing those who have sinned against the gods.
These passages from Book 6 of the Aeneid are said to have caused Augustus鈥� sister Octavia to faint when the poem was read to her. And, centuries later, they inspired the poet Dante Aligheri. In the first two books of his Divine Comedy, Dante the Poet makes Virgil the guide for Dante the Pilgrim through Hell and Purgatory; and anyone who has read the Aeneid will see at once how strongly Virgil鈥檚 poem influenced Dante鈥檚 vision of Hell in the Inferno.
Like Odysseus in the Odyssey, Aeneas in the Aeneid successfully makes his way through the underworld, and finds his father Anchises, who gives him advice regarding how things are to go, in a way that looks ahead to the Roman Empire and the Roman 鈥渄estiny鈥� to rule the world:
鈥淏ut you, Roman, remember, rule with all your power
The peoples of the Earth 鈥� these will be your arts:
To put your stamp on the works and ways of peace,
To spare the defeated, break the proud in war.鈥� (p. 266)
Armed with that new knowledge, Aeneas returns to the world of the living, and goes forth to fulfill his destiny. And while Latinus, king of the Latins, is willing to heed the wishes of the gods, forge an alliance with the Trojans, and marry his daughter Lavinia to Aeneas, there are some formidable antagonists still to be faced. Turnus, king of the Rutuli, was the man whom Latinus鈥� wife Amata wanted to see marry Lavinia, and he is angry at the prospect that both his bride-to-be and his prospective future kingdom are to be taken from him by some Johnny-come-lately from defeated troy. Turnus 鈥� 鈥渉is build magnificent, sword brandished,/Marches among his captains, topping all by a head鈥� (p. 300) 鈥� is likely to be a formidable enemy for any warrior. And among the greatest of Turnus鈥� supporters is the Volscian leader Camilla; 鈥淭his warrior girl, with her young hands untrained/For Minerva鈥檚 spools and baskets filled with wool,/A virgin seasoned to bear the rough work of battle鈥� (p. 301).
Virgil has a gift for interweaving elements of incisive characterization, even in the midst of bloody scenes of battle. One of the pre-eminent villains of The Aeneid is Mezentius, an Etruscan king who is notorious for his cruelty, and who revels in the chance to spill Trojan blood 鈥� until his son Lausus bravely and selflessly gives his own life stopping a sword thrust that would have killed Mezentius. The grieving father regrets living on once his son has died: 鈥淲as I so seized by the lust for life, my son,/I let you take my place before the enemy鈥檚 sword?...I owed a price to my land and people who despise me./If only I鈥檇 paid with my own guilty life鈥� (p. 400). Aeneas takes on Mezentius in single combat and defeats him soundly, asking, 鈥淲here鈥檚 the fierce Mezentius now?/Where鈥檚 his murderous fury?鈥� (p. 401). And the despicable Mezentius achieves a measure of dignity in his last moments, asking to be buried next to his beloved son Lausus as 鈥渉e offers up his throat to the sword鈥� (p. 401).
And thus the Aeneid moves toward a conclusion that may be divinely pre-ordained but nonetheless makes for suspenseful reading. While the political element 鈥� the recurrent need for Virgil to throw in a reference or two to what great leaders Julius Caesar and Augustus Caesar are going to be 鈥� is jarring, it may also have been inevitable, considering the hyper-politicized nature of a Roman state that had been through so much political turbulence during the century of which Virgil was a part. But a modern reader can look past the politics and enjoy the richness of the poetry.
If you have a friend who enjoys classical literature, then someday you may see on their bookshelf Fagles鈥� Penguin Classics translations of the Iliad (with a blue cover), the Odyssey (with a red cover), and the Aeneid (with a gold cover). If your friend has bought those editions and read them, then their time and their money were well-spent.
Virgil (70-19 B.C.) stands alone among the poets of classical Rome, like Homer among the Greeks. No other classical writer composing in Latin is thought to share Virgil鈥檚 gift for wielding the language in such a way as to produce work that is both forceful and graceful. His talent for poetry was recognized, and encouraged, from his youth. At the same time 鈥� perhaps unavoidably, considering the times in which he was living 鈥� Virgil was caught up in the turbulence of Roman politics as Rome careened through one crisis after another, on its way from republic to empire.
He is said to have been born near present-day Mantua, in northern Italy 鈥� a region where Octavian, after his defeat of Brutus and Cassius at Philippi in 42 B.C., rewarded his soldiers with land that he took from local landowners. One of those landowners may have been the then-28-year-old Virgil, and some scholars have seen Virgil鈥檚 Eclogues as containing pointed references to Octavian鈥檚 act of land theft.
Yet even if Virgil resented what Octavian did in northern Italy, he must have known which side his puls (or focaccia) was buttered on. Within five years, he was part of the retinue of Maecenas, a trusted advisor to Octavian and patron of poets. Maecenas encouraged Virgil to compose the Georgics. This poetic cycle further enhanced Virgil鈥檚 reputation for poetry, and Virgil and Maecenas are said to have read the Georgics to Octavian, after Octavian had returned from defeating Antony and Cleopatra at the Battle of Actium in 31 B.C.
It must be nice 鈥� it must be nice 鈥� to have a future emperor on your side. The poet Propertius tells us that Octavian, once he had officially become the first Emperor of Rome as Augustus Caesar, commissioned the composition of the Aeneid by Virgil, so that the poet could spend the last decade of his life working on the epic poem that would forever be considered his masterpiece. Reading the Aeneid, one gets the sense of how Virgil is building upon the Homeric tradition 鈥� and, in some ways, changing it by incorporating a contemporary political inflection that no doubt pleased his imperial patron.
There are many great translations of the Aeneid. I favour the Penguin Classics deluxe-edition translation by Robert Fagles. A classics professor at Princeton University, Fagles had a gift for rendering the Greek of Homer and the Latin of Virgil into muscular, evocative English, in a Shakespearean-sounding blank-verse iambic pentameter that captures the musicality of both poets while avoiding both pedantry and excessive informality. His work found a wide and appreciative audience, and deservedly so.
Fagles starts his translation of The Aeneid by writing, 鈥淲ars and a man I sing鈥� (p. 71) 鈥� not the traditional 鈥淥f arms and the man I sing鈥� 鈥� and in a way I like Fagles鈥檚 version better. The reason is that his translation 鈥� 鈥渁鈥� rather than 鈥渢he鈥� 鈥� emphasizes Aeneas as a specific individual with a destined historical role, in a way that seems to comport well with Virgil鈥檚 historical vision and poetic sensibility. Aeneas, after all, is 鈥渁n exile driven on by Fate鈥estined to reach Lavinian shores and Italian soil鈥�, and to face 鈥渕any losses鈥n battle鈥efore he could found a city鈥� (p. 71) at what would one day be Rome.
The world of The Aeneid is, like that of The Iliad and The Odyssey, a world where the Olympian gods intervene regularly and forcefully in human affairs. Jupiter himself, the king of the gods, has made clear that it is Aeneas鈥� ultimate destiny to defeat any enemies he may encounter in Italy, and to found the Roman state:
Aeneas will wage
A long, costly war in Italy, crush defiant tribes
And build high city walls for his people there
And found the rule of law鈥�.
On them I set no limits, space or time:
I have granted them power, empire without end鈥�.
From that noble blood [of Troy] will arise a Trojan Caesar,
His empire bound by the Ocean, his glory by the stars:
Julius, a name passed down from [Aeneas鈥� son] Iulus, his great forebear. (pp. 81-82)
Aeneas faces the constant and unyielding opposition of Juno, the queen of the gods, whose hatred for the Trojans did not end with the destruction of Troy; but he enjoys the protection of other Olympian deities, such as Venus (goddess of love, and Aeneas鈥� mother) and the sea-god Neptune. When Juno persuades the wind-god Aeolus to send wild winds to strike the Trojan ships at sea, threatening the wreck of the entire Trojan expedition to Italy, Neptune goes with his son Triton and the sea-nymph Cymotho毛 to calm the seas and rescue the Trojans 鈥� an event that Virgil recounts via an elaborate simile that emphasizes the Roman 鈥渞age for order鈥� and fear of chaos:
Just as, all too often,
Some huge crowd is seized by a vast uprising,
The rabble runs amok, all slaves to passion,
Rocks, firebrands flying. Rage finds them arms
But then, if they chance to see a man among them,
One whose devotion and public service lend him weight,
They stand there, stock-still with their ears alert as
He rules their furor with his words and calms their passion. (pp. 76-78)
Driven to Carthage, the Trojans are granted sanctuary by the Carthaginian queen Dido. Hearing Aeneas鈥� recounting of the Trojans鈥� travails during and after the fall of their city, she says, 鈥淪chooled in suffering, now I learn to comfort/Those who suffer too鈥� (p. 97). While Virgil depicts Venus as making Dido fall in love with Aeneas by having the love-god Cupid shoot Dido with arrows of love, in accordance with a well-known trope of classical epic, doing so hardly seems necessary. It makes perfect sense that Dido 鈥� like Aeneas, an exile who has successfully led her people to safe harbour in a new land 鈥� might come to feel passion for someone who is brave and strong like her, and with whom she has so much in common.
In Book Two of the Aeneid, Aeneas provides Dido and the Carthaginian court with a detailed recounting of the fall of Troy, and he emphasizes in the process the treachery of the Greeks in securing victory through the subterfuge of the Trojan Horse. Aeneas tells how Laoco枚n, priest of Troy, tried to dissuade the Trojans from taking the horse into the city, saying, 鈥淭rojans, never trust that horse. Whatever it is,/I fear the Greeks, especially bearing gifts鈥� (p. 105).
Beware of Greeks bearing gifts 鈥� another idea from Virgil that one hears spoken throughout the modern world, often by people who have never read Virgil. But the Trojans, as Aeneas reminds us, did not take Laoco枚n鈥檚 advice, because two giant sea-serpents, sent by the gods, swam up onto the land and promptly killed Laoco枚n and his two sons 鈥� a tableau that one can see recreated in a magnificent, and grim, statue preserved today at the Vatican Museum. Always we are reminded that the Olympian gods are perfectly able and willing to intervene in human affairs, in a manner that we mortals might find to be fundamentally unjust.
As Aeneas tells it, he was ready to give his life in Troy鈥檚 defence, until his mother Venus intervened and told him to focus on trying to save his wife Creusa, their son Ascanius, and Aeneas鈥� father Anchises. For good measure, Venus made it clear that there was no more use in Aeneas鈥� fighting for Troy, a city whose fall had been ordained by the gods: 鈥淭hink: it鈥檚 not that beauty, Helen, you should hate,/Not even Paris, the man that you should blame, no,/It鈥檚 the gods, the ruthless gods who are tearing down/The wealth of Troy, her toppling crown of towers鈥� (p. 127). And so Aeneas left Troy, carrying father Anchises on his back, holding the hand of his young son Ascanius. Wife Creusa trailed behind, her ultimate fate an unhappy one.
This part of the Aeneid, with its emphasis on how the gods arrange the love affair of Aeneas and Dido 鈥� even using the weather to trap the two together, alone in a cave, at the critical moment 鈥� creates a decided sense of sympathy for Dido. There is a desperate quality to Dido鈥檚 love for Aeneas:
This was the first day of her death, the first of grief,
The cause of it all. From now on, Dido cares no more
For appearances, nor for her reputation, either.
She no longer thinks to keep the affair a secret 鈥�
No, she calls it a marriage,
Using the word to cloak her sense of guilt. (p. 173)
Their love is passionate 鈥� and it is should be no surprise that more than a dozen composers have been inspired to bring to the operatic stage the story of Dido and Aeneas. Understandably, Aeneas is in no hurry to leave his Queen of Carthage. It takes a visit from the messenger-god Mercury to Aeneas to induce the prince of Troy to flee from his Carthaginian love interlude and return to the performance of his divinely established duty. Mercury may offer a frankly sexist assessment that 鈥淲oman鈥檚 a thing/That鈥檚 always changing, shifting like the wind鈥� (p. 190), but one gets a sense of how much Virgil sympathizes with Dido.
Aeneas follows the directive of the gods and leaves. Dido curses her departed lover, prophesying eternal enmity between Carthage and Rome 鈥� a perfectly correct prophecy that anticipates the three Punic Wars of 246-164 B.C., and the total destruction of Carthage 鈥� and then takes her own life.
It soon becomes clear that Aeneas will not be able to complete his quest and fulfill his destiny unless he descends into the underworld, the realm of Pluto and abode of the dead, to receive crucial information from his now-dead father Anchises on how to conduct the rest of his mission. In passages of singular grimness, Virgil sets forth a vivid picture of the underworld, with particular emphasis on the cruel punishments facing those who have sinned against the gods.
These passages from Book 6 of the Aeneid are said to have caused Augustus鈥� sister Octavia to faint when the poem was read to her. And, centuries later, they inspired the poet Dante Aligheri. In the first two books of his Divine Comedy, Dante the Poet makes Virgil the guide for Dante the Pilgrim through Hell and Purgatory; and anyone who has read the Aeneid will see at once how strongly Virgil鈥檚 poem influenced Dante鈥檚 vision of Hell in the Inferno.
Like Odysseus in the Odyssey, Aeneas in the Aeneid successfully makes his way through the underworld, and finds his father Anchises, who gives him advice regarding how things are to go, in a way that looks ahead to the Roman Empire and the Roman 鈥渄estiny鈥� to rule the world:
鈥淏ut you, Roman, remember, rule with all your power
The peoples of the Earth 鈥� these will be your arts:
To put your stamp on the works and ways of peace,
To spare the defeated, break the proud in war.鈥� (p. 266)
Armed with that new knowledge, Aeneas returns to the world of the living, and goes forth to fulfill his destiny. And while Latinus, king of the Latins, is willing to heed the wishes of the gods, forge an alliance with the Trojans, and marry his daughter Lavinia to Aeneas, there are some formidable antagonists still to be faced. Turnus, king of the Rutuli, was the man whom Latinus鈥� wife Amata wanted to see marry Lavinia, and he is angry at the prospect that both his bride-to-be and his prospective future kingdom are to be taken from him by some Johnny-come-lately from defeated troy. Turnus 鈥� 鈥渉is build magnificent, sword brandished,/Marches among his captains, topping all by a head鈥� (p. 300) 鈥� is likely to be a formidable enemy for any warrior. And among the greatest of Turnus鈥� supporters is the Volscian leader Camilla; 鈥淭his warrior girl, with her young hands untrained/For Minerva鈥檚 spools and baskets filled with wool,/A virgin seasoned to bear the rough work of battle鈥� (p. 301).
Virgil has a gift for interweaving elements of incisive characterization, even in the midst of bloody scenes of battle. One of the pre-eminent villains of The Aeneid is Mezentius, an Etruscan king who is notorious for his cruelty, and who revels in the chance to spill Trojan blood 鈥� until his son Lausus bravely and selflessly gives his own life stopping a sword thrust that would have killed Mezentius. The grieving father regrets living on once his son has died: 鈥淲as I so seized by the lust for life, my son,/I let you take my place before the enemy鈥檚 sword?...I owed a price to my land and people who despise me./If only I鈥檇 paid with my own guilty life鈥� (p. 400). Aeneas takes on Mezentius in single combat and defeats him soundly, asking, 鈥淲here鈥檚 the fierce Mezentius now?/Where鈥檚 his murderous fury?鈥� (p. 401). And the despicable Mezentius achieves a measure of dignity in his last moments, asking to be buried next to his beloved son Lausus as 鈥渉e offers up his throat to the sword鈥� (p. 401).
And thus the Aeneid moves toward a conclusion that may be divinely pre-ordained but nonetheless makes for suspenseful reading. While the political element 鈥� the recurrent need for Virgil to throw in a reference or two to what great leaders Julius Caesar and Augustus Caesar are going to be 鈥� is jarring, it may also have been inevitable, considering the hyper-politicized nature of a Roman state that had been through so much political turbulence during the century of which Virgil was a part. But a modern reader can look past the politics and enjoy the richness of the poetry.
If you have a friend who enjoys classical literature, then someday you may see on their bookshelf Fagles鈥� Penguin Classics translations of the Iliad (with a blue cover), the Odyssey (with a red cover), and the Aeneid (with a gold cover). If your friend has bought those editions and read them, then their time and their money were well-spent.
April 20, 2022
The main ancient Roman epic poem, written at the beginning of the reign of Octavian Augustus.
Plot. Rating 4
The plot of the poem is divided into two parts. The first part tells about the voyage of Aeneas to the shores of Italy and various incidents on his way. The second part reports on the actions of Aeneas in Latium.
I liked the second part of the poem more, where the plot is full of military operations and a tense confrontation between the opposing sides. There is also more drama in this section of the poem. Although the chapters on Dido sound rather poignant, the descriptions of the war, and the heroics, death and sorrow associated with it, seemed to me more convincing.
The general plot of the poem is varied and contains many small branches and events.
Characters. Rating 4
Aeneas is well developed, his constant desire to obey the gods and put the common good above his own desires is clearly shown. The history of Rome in the pre-imperial period contains many such heroes. I think Virgil's poetry was a good example of a first hero of Roman times.
Although most of the characters in the poem are rather faceless, there are memorable personalities such as Dido, Turnus, Camilla, and other episodic characters.
Dialogues. Rating 4
Dialogues can be considered a model of pathos and grandiosity. They fit the genre, but to be honest, towards the end of the book, I got a little tired of such monotonous recitations.
Writing style. Rating 4
There are many beautiful sayings and metaphors in the poem, and the poems themselves are full of action and details. Virgil is clearly among the best ancient poets. But, this style is quite difficult to read. You often need to re-read incomprehensible phrases because of the unknown concepts of antiquity and the subtle meanings that Virgil puts into the text.
Worldbuilding. Rating 5
I think when reading such poems one can feel the great depth of the Roman world, which was extremely developed socially, culturally, and religiously. There are many different features of antiquity in the poem. I liked the descriptions of military battles and fights in Eliade - for an epic they are quite diverse and reliable.
Conclusion. Overall rating 4
A great poem, which is a good fusion of poetry and antiquity.
Plot. Rating 4
The plot of the poem is divided into two parts. The first part tells about the voyage of Aeneas to the shores of Italy and various incidents on his way. The second part reports on the actions of Aeneas in Latium.
I liked the second part of the poem more, where the plot is full of military operations and a tense confrontation between the opposing sides. There is also more drama in this section of the poem. Although the chapters on Dido sound rather poignant, the descriptions of the war, and the heroics, death and sorrow associated with it, seemed to me more convincing.
The general plot of the poem is varied and contains many small branches and events.
Characters. Rating 4
Aeneas is well developed, his constant desire to obey the gods and put the common good above his own desires is clearly shown. The history of Rome in the pre-imperial period contains many such heroes. I think Virgil's poetry was a good example of a first hero of Roman times.
Although most of the characters in the poem are rather faceless, there are memorable personalities such as Dido, Turnus, Camilla, and other episodic characters.
Dialogues. Rating 4
Dialogues can be considered a model of pathos and grandiosity. They fit the genre, but to be honest, towards the end of the book, I got a little tired of such monotonous recitations.
Writing style. Rating 4
There are many beautiful sayings and metaphors in the poem, and the poems themselves are full of action and details. Virgil is clearly among the best ancient poets. But, this style is quite difficult to read. You often need to re-read incomprehensible phrases because of the unknown concepts of antiquity and the subtle meanings that Virgil puts into the text.
Worldbuilding. Rating 5
I think when reading such poems one can feel the great depth of the Roman world, which was extremely developed socially, culturally, and religiously. There are many different features of antiquity in the poem. I liked the descriptions of military battles and fights in Eliade - for an epic they are quite diverse and reliable.
Conclusion. Overall rating 4
A great poem, which is a good fusion of poetry and antiquity.
September 19, 2022
Evo 鈥� topos neizrecivosti: ni da sve mogu膰e superlative ovde upotrebim, ne bi bili dovoljni da do膷araju 拧ta je sve 鈥濫neida鈥�. Susret sa klasi膷nim delima zaista umiva 膷oveka 鈥� predstavlja nu啪ni reset za dodir sa savremeno拧膰u. A zaista dobri prevodi, kao 拧to je to ovde slu膷aj, raste啪u savremenost do drevnosti. Marjanca Paki啪 je uspela da Vergilije zvu膷i kao neko sasvim blizak, uz zadivljuju膰u posve膰enost da osavremenjivanje bude i potkrepljeno, autenti膷no, ali i beskrajno elegantno. 膶itanje ovog izdanja je briljantan oma啪 celini rimske kulture, rekapitulacija mitologije i anti膷ke istorije i ud啪benik stila, pun avantura i izazova. Do啪ivljaj ne bi bio ni upola takav da nije bilo ne samo, naravno, odli膷nog prevoda gde je heksametar dosledno po拧tovan od prvog do poslednjeg stiha, ve膰 i izuzetnih prevodila膷kih napomena, korisnih, neoptere膰uju膰ih, otmenih i, usudi膰u se re膰i, 拧mekerski duhovitih 鈥� pogotovo jer Paki啪 ne preza od gotovo pa li膷no obojenih ocena, kao i kriti膷kih promi拧ljanja pojedinih neusagla拧enosti u delu, koje 膷ine 膷itanje jo拧 zanimljivijim. Stoga svih 767 napomena 膷ine svojevrsnu kriptoknjigu u odnosu na 鈥濫nejidu鈥�, koja vi拧estruko nagra膽uje sve posve膰ene. A tek da ne govorim o tome koliko puta sam bacio pogled na geografsku kartu koja se dobija uz ovo izdanje! Ovo je, dakle, 膷itanje sa punom borbenom i putni膷kom opremom 鈥� a, da stvar bude jo拧 bolja 鈥� pristupa膷no! Jer Paki啪 nije ni precenila ni potcenila 膷itaoce 鈥� ko 啪eli da pri膽e Vergiliju, mo膰i 膰e po svojoj sopstvenoj meri, ali uz retko vrednu pomo膰. Zaista, ovako dragoceno izdanje se retko pojavljuje u nekoj kulturi i treba da apsolutno bude prepoznato i pozdravljeno.
Po拧to je 膷itanje trajalo dugo, moj rokovnik je zna膷ajno podgojen. I sa啪et pregled bele啪aka bio bi preobiman, pa 膰u sada napraviti neki sa啪etak sa啪etaka. Najpre jedan sasvim op拧ti utisak: Vergilije je pesnik epskog sveta, ali delikatne lirske refleksije. Koliko sam u啪ivao u pri膷ama, toliko su me radovali svi lirski uzleti i poeti膷na skretanja koja 膷ak i surovosti 膷ine na poseban na膷in ne啪nim. Ono 拧to je posebno uzbduljivo, a 拧to bi znao i neko pre 膷itanja, jeste 拧to je celina 鈥濫neide鈥�, u odnosu na nama poznatije, Homerove o膷i, pogled pora啪enih. I to ne obi膷an pogled, ve膰 osveta i trijumf, utemeljuju膰 za poimanje posebnosti jedne zajednice. Otuda Vergilije komunicira kako sa onda拧njim trenutkom, tako sa Homerom, ali i, kao svaki epski pesnik, ve膷no拧膰u. Ina膷e, 膷esto se prenebregava da izme膽u Homera i Vergilija stoji raspon od, bogami, osam vekova! Zamislite da danas poredimo neki savremeni roman sa ne膷im iz 12. veka? Vreme se usitnjuje.
Pregled nekih omiljenih momenata, po pevanjima:
I) Eolova stoluju膰a 拧pilja i Neptun dok umiruje vetrove:
鈥濺e膷e pa re膷ima samim nabubrelu pu膷inu smiri,
raspr拧i oblaka hrpe i sun膷evu povrati svetlost.鈥� (57)
II) Kasandra je najuverljivija najneuverljivija proro膷ica u istoriji proricanja.
Eneja sanja Hektorovu sen.
III) Jeza 鈥� iz zelenih izdanaka krv. Eneja susre膰e mrtvog Polidora.
Podno啪je Etne: Grk koji moli Trojance da ga prime.
Polifem na brdu bez i tog jednog njegovog oka. (168)
IV) Didonu izjeda zaljubljenost. Sukobi i navijanja Junone i Venere.
Didonino proklinjanje zbog neuzvra膰ene ljubavi:
鈥�(...) Bi膰u daleko, al鈥� mrkim 膰u ognjem
pratiti tebe. A ledena smrt kad mi du拧u od tela
rastavi, bi膰u uz tebe kao utvara! Plati膰e拧 grdno!
Zna膰u, jer meni 膰e vesti do najdubljeg podzemlja sti膰i.鈥� (192)
Misterija 膷arobnice iz Etiopije.
Didonino samoubistvo.
V) Trka brodova i nagrada 鈥� zlatni ogrta膷 sa porubom.
VI) Katabaza!
I saznanje da Had nije kona膷an 鈥� da du膽e idu uvis i potom se vra膰aju u tela. Metempsihoza! (292)
VII) Kr膷kanje rata. (Do ovog trenutka 鈥濫neida鈥� je vi拧e nalikovala 鈥濷diseji鈥�, od ovog postaje 鈥濱lijada鈥�.)
VIII) Reka Tibar govori u svoje ime. (358)
Ali i: 鈥災島de se vode i 拧ume: ne vide拧e do tad da blje拧te
i膷iji brodovi tako, a brodovi da se 拧arene.鈥� (360)
U 鈥濫neidi鈥� su vrlo 膷esta svitanja, ali i po膷inci.
Venera u postelji ube膽uje Vulkana da pomogne oru啪jem. Enejin 拧tit. (379) A na njemu sva italska pro拧lost i sva rimska budu膰nost.
IX) Niz i Eurijal se uvla膷e me膽u Turnove vojnike.
X) Ve膰e bogova: Jupiter negoduje.
Opis: 鈥濧 me膽u njima je, eno, i briga Venerina silna:
de膷ak Dardanac, a prelepu otkrio glavu pa blista 鈥�
kao treperava svetlost dragulja sred tamnijeg zlata
na dijademi il鈥� kakvom 膽erdanu, il鈥� kao 拧to sjaji
s tamnog kov膷e啪i膰a, od terpentinovog drveta, ve拧to
umetnut deo od slonove kosti. Niz prebeli vrat se
slila de膷akova kosa, a meko je prikuplja zlato.鈥� (446)
Eneja se raznevljuje. Pa i 拧utira glavu ubijenog. (467)
Junona interveni拧e: pravi utvaru po ugledu na Eneju da bi se spasio Turno.
XI) Kamila kao jedna od najupe膷atljivijih amazonki 鈥� obna啪ivanje grudi u napadu 鈥� herojska smrt.
XII) Finalna borba: Eneja vs. Turno.
Venera kri拧om Eneji daruje bilje, da pomogne.
Pore膽enje: op拧ta uznemirenost kao kad prona膽e p膷ele neki pastir u 拧upljikavoj steni. (558)
Po拧to je 膷itanje trajalo dugo, moj rokovnik je zna膷ajno podgojen. I sa啪et pregled bele啪aka bio bi preobiman, pa 膰u sada napraviti neki sa啪etak sa啪etaka. Najpre jedan sasvim op拧ti utisak: Vergilije je pesnik epskog sveta, ali delikatne lirske refleksije. Koliko sam u啪ivao u pri膷ama, toliko su me radovali svi lirski uzleti i poeti膷na skretanja koja 膷ak i surovosti 膷ine na poseban na膷in ne啪nim. Ono 拧to je posebno uzbduljivo, a 拧to bi znao i neko pre 膷itanja, jeste 拧to je celina 鈥濫neide鈥�, u odnosu na nama poznatije, Homerove o膷i, pogled pora啪enih. I to ne obi膷an pogled, ve膰 osveta i trijumf, utemeljuju膰 za poimanje posebnosti jedne zajednice. Otuda Vergilije komunicira kako sa onda拧njim trenutkom, tako sa Homerom, ali i, kao svaki epski pesnik, ve膷no拧膰u. Ina膷e, 膷esto se prenebregava da izme膽u Homera i Vergilija stoji raspon od, bogami, osam vekova! Zamislite da danas poredimo neki savremeni roman sa ne膷im iz 12. veka? Vreme se usitnjuje.
Pregled nekih omiljenih momenata, po pevanjima:
I) Eolova stoluju膰a 拧pilja i Neptun dok umiruje vetrove:
鈥濺e膷e pa re膷ima samim nabubrelu pu膷inu smiri,
raspr拧i oblaka hrpe i sun膷evu povrati svetlost.鈥� (57)
II) Kasandra je najuverljivija najneuverljivija proro膷ica u istoriji proricanja.
Eneja sanja Hektorovu sen.
III) Jeza 鈥� iz zelenih izdanaka krv. Eneja susre膰e mrtvog Polidora.
Podno啪je Etne: Grk koji moli Trojance da ga prime.
Polifem na brdu bez i tog jednog njegovog oka. (168)
IV) Didonu izjeda zaljubljenost. Sukobi i navijanja Junone i Venere.
Didonino proklinjanje zbog neuzvra膰ene ljubavi:
鈥�(...) Bi膰u daleko, al鈥� mrkim 膰u ognjem
pratiti tebe. A ledena smrt kad mi du拧u od tela
rastavi, bi膰u uz tebe kao utvara! Plati膰e拧 grdno!
Zna膰u, jer meni 膰e vesti do najdubljeg podzemlja sti膰i.鈥� (192)
Misterija 膷arobnice iz Etiopije.
Didonino samoubistvo.
V) Trka brodova i nagrada 鈥� zlatni ogrta膷 sa porubom.
VI) Katabaza!
I saznanje da Had nije kona膷an 鈥� da du膽e idu uvis i potom se vra膰aju u tela. Metempsihoza! (292)
VII) Kr膷kanje rata. (Do ovog trenutka 鈥濫neida鈥� je vi拧e nalikovala 鈥濷diseji鈥�, od ovog postaje 鈥濱lijada鈥�.)
VIII) Reka Tibar govori u svoje ime. (358)
Ali i: 鈥災島de se vode i 拧ume: ne vide拧e do tad da blje拧te
i膷iji brodovi tako, a brodovi da se 拧arene.鈥� (360)
U 鈥濫neidi鈥� su vrlo 膷esta svitanja, ali i po膷inci.
Venera u postelji ube膽uje Vulkana da pomogne oru啪jem. Enejin 拧tit. (379) A na njemu sva italska pro拧lost i sva rimska budu膰nost.
IX) Niz i Eurijal se uvla膷e me膽u Turnove vojnike.
X) Ve膰e bogova: Jupiter negoduje.
Opis: 鈥濧 me膽u njima je, eno, i briga Venerina silna:
de膷ak Dardanac, a prelepu otkrio glavu pa blista 鈥�
kao treperava svetlost dragulja sred tamnijeg zlata
na dijademi il鈥� kakvom 膽erdanu, il鈥� kao 拧to sjaji
s tamnog kov膷e啪i膰a, od terpentinovog drveta, ve拧to
umetnut deo od slonove kosti. Niz prebeli vrat se
slila de膷akova kosa, a meko je prikuplja zlato.鈥� (446)
Eneja se raznevljuje. Pa i 拧utira glavu ubijenog. (467)
Junona interveni拧e: pravi utvaru po ugledu na Eneju da bi se spasio Turno.
XI) Kamila kao jedna od najupe膷atljivijih amazonki 鈥� obna啪ivanje grudi u napadu 鈥� herojska smrt.
XII) Finalna borba: Eneja vs. Turno.
Venera kri拧om Eneji daruje bilje, da pomogne.
Pore膽enje: op拧ta uznemirenost kao kad prona膽e p膷ele neki pastir u 拧upljikavoj steni. (558)
January 12, 2019
The Aeneid is an epic tale of the journey of Aeneas, survivor of Troy's fall, and his journey to found the Roman peoples. The story is one you should read yourself and like the Greek Illiad and Oddessy (from which Virgil borrows heavily-as any Roman writer would have done at the time- 19 BCE). It is a story full of gods and goddesses, war, lust and anger. One of the great classic stories. It is one everyone should take a moment and read at least once. I highly recommend reading it in the original Latin as the phrases translate better than in modern translations..case in point is the elegance of the original Latin in the phrase "..tantaene animis caelestibus irae?" ("Can such great anger dwell in heavenly breasts?").
I shall leave all the ins and outs of the story for English majors and Classics scholars to dissect. My thing is history and the historical background for Virgil is quite interesting.
Virgil was a friend of Maecenas, a close advisor to Octavian Caesar. Octavian, not yet Augustus, had decided after the period of civil conflicts of the past several decades to aim for peace throughout the Empire. Octavian tightened laws on Roman morality and one of the ways he did this was to co-opt the writers and poets of the day. Virgil's Aeneas is the perfect ROman. He is a devoted son, great warrior and faithful to the gods. Take a close look at the basic character of Aeneas (patriotism, filial devotion, parental love, conformity to the will of heaven, and a scrupulousness in carrying out the honors due the gods)- they are precisely the same virtues Caesar was preaching. That is why Aeneas is the epitome of the Roman ideal. He never loses his self-control, never blasphemes, is never unjust, deceitful or careless in the performance of any of his obligations. There is no flaw in his character; he is never guilty of sin and although a great warrior, he prefers peace.
Not to mention throughout the story the gods and other peoples often remark on the future potential for the peoples of the Tiber river-a clear nod to stroking the egos of the Romans about their own creation myths. It is a truly magnificent work -not just as a work of storytelling, but in the subtle influence it spread throughout the Empire. Like Homer's great work- this one is Virgil's magnum opus (taking over a decade to write) and should be read by all well rounded people everywhere.
I shall leave all the ins and outs of the story for English majors and Classics scholars to dissect. My thing is history and the historical background for Virgil is quite interesting.
Virgil was a friend of Maecenas, a close advisor to Octavian Caesar. Octavian, not yet Augustus, had decided after the period of civil conflicts of the past several decades to aim for peace throughout the Empire. Octavian tightened laws on Roman morality and one of the ways he did this was to co-opt the writers and poets of the day. Virgil's Aeneas is the perfect ROman. He is a devoted son, great warrior and faithful to the gods. Take a close look at the basic character of Aeneas (patriotism, filial devotion, parental love, conformity to the will of heaven, and a scrupulousness in carrying out the honors due the gods)- they are precisely the same virtues Caesar was preaching. That is why Aeneas is the epitome of the Roman ideal. He never loses his self-control, never blasphemes, is never unjust, deceitful or careless in the performance of any of his obligations. There is no flaw in his character; he is never guilty of sin and although a great warrior, he prefers peace.
Not to mention throughout the story the gods and other peoples often remark on the future potential for the peoples of the Tiber river-a clear nod to stroking the egos of the Romans about their own creation myths. It is a truly magnificent work -not just as a work of storytelling, but in the subtle influence it spread throughout the Empire. Like Homer's great work- this one is Virgil's magnum opus (taking over a decade to write) and should be read by all well rounded people everywhere.
September 15, 2016
It is hard for me to rate his book because I know so much of it went over my head. One of the hardest books I have ever read...but I can see that Virgil is one of the greatest poets of all time.
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