I sing of arms and a man, who first from the shores of Troy came to Italy a fugitive (exiled) by fate and came to the Lavinian shores

Vergil Class – “Literal” Translations

Book IV, p. 16

AP Syllabus: Book 4: lines 1-449, 642-705

(Line 1) But the queen, wounded for some time now with/by a heavy/serious care/love, nourishes a wound in her veins and is consumed by a hidden fire. The great virtue of the hero/man and the great honor of his family/race recurs to/in her mind: His face and his words cling fastened in her heart, nor does her concern/love grant peaceful rest to her body/limbs. The following Aurora/dawn was traversing the lands with the Phoebean light/torch, and she had removed the dewy shadow from the sky, when scarcely sane/not at all sane, she addresses her like-minded/sympathetic sister thus: “Anna, sister, what nightmares/dreams frighten me in my agitated state! What a/Who (is) this new/marvelous guest (who) has come to our house, who carrying himself in such a great appearance, with how brave a heart and weapons! Indeed I believe, nor is it a vain/groundless belief, that his race is of the gods. Fear proves/reveals cowardly/low-born spirits. Alas, by what fates/misfortunes has that (famous) man been tossed about! What wars/battles, having been borne/undergone/drawn out, was he singing about! If it were not sitting/settled, fixed and unmovable in my mind, that I not wish to unite myself to anyone in a marriage bond, after my first love cheated me, (having been) deceived, in/by death; if I had not been completely weary of the marriage chamber and wedding torch, perhaps I could have been able to yield to/in this one sin/weakness/fault.

(Line 20) Anna, indeed I will admit after the death of wretched/poor Sychaeus, my husband, and (after) the household gods (had been) sprinkled/splattered by my brother’s murder, this hero (Aeneas) has alone turned/swayed my feelings and compelled/driven my teetering/wavering mind. I recognize the traces of the old flame. But let me sooner wish either that the lowest parts of the earth (may) open up for me or (let me wish) that the all powerful father (may) drive me with his lightning bolt to the shades, (namely) the pale shades in Erebus and the deepest night/darkness, before I violate you, Shame or I loosen/relax your oaths/laws. That onewho first joined me to himself is the first one who took away my ability to love/emotions for love. Let him (Sychaeus) have/possess my love with himself and let him keep/preserve my love in his tomb.” Having spoken/speaking thus, she filled her bosom with rising tears.

(Line 31) Anna replies, “O you more beloved to your sister than (the) light/day, will you be consumed grieving alone in/with ongoing/perpetual youth, and will you not know the sweet sons of Venus or the rewards of Venus? Do you think/believe that (his) ashes or the buried souls (of the dead) care about it? Let it be then/So be it: Once no suitors (have) moved you (because you were) sick, not here in Libya, not earlier in Tyre; Iarbus was scorned/rejected and the other leaders, whom this land of Africa, rich in triumphs, nourishes; will you also fight against this pleasing love? Does it not enter your mind in whose fields you have settled? Here/on this side are the cities of Gaetulaeians, a race that is unconquerable in respect to war, and the unbridled Numidaen cities gird/surround and the wild/inhospitable Syrtis, here/on the other side, a region deserted because of drought and the ravaging wildly Barcaens. Why should I mention the raging wars in Tyre and the threats of your brother?

(Line 45) Indeed/Truly I think, with the gods as protectors and Juno being favorable, that the Trojan keels hither held this course (here/hither) by (means of) the wind. What a city, sister, will you see this (one) rising up here; what a kingdom you will see rising, with such a marriage/union! With the accompanying weapons/arms of Teucer, to what great things/affairs Carthaginian glory will raise itself! Only (you) ask the gods for favor, and with the sacrifices made (favorably) indulge in your welcome/hospitality and weave/scheme/plan causes for delay,

while winter rages (furiously) on the sea and rainy/watery Orion (rages on the sea), and boats are/have been shaken/shattered, while the sky is not favorable/able to be used for navigation.

(Line 54) With these words, she kindled/enflamed the spirit/mind with a vast love, and gave hope to a wavering/vacillating mind, and loosened her sense of shame/modesty. At first, they go to the temples and ask/pray for peace at/by the altars; they sacrifice according to custom chosen/select 2 year-old sheep to law-bringing Ceres and (to) Phoebus (Apollo) and to father Lyaeus and to Juno above all, to whom the bonds of marriage are a concern. (Line 60) Most/Very beautiful Dido herself holding the libation bowl in/with her right hand pours it in the middle between the horns of a shining white cow, and before the faces of the gods she strides/processes to the rich/fat altars, and she renews/refreshes (her) day with sacrifices/gifts, and with the breast (bones) of the sheep opened up she, gaping/with her mouth open, consults/examines the quivering entrails/guts. (Line 65) Alas the ignorant minds of prophets! What/how do prayers help someone raging, how do shrines help?! A flame eats her tender marrow(s); and meanwhile a silent wound lives in/beneath her heart. Unfortunate Dido is burning/being consumed and she wanders raging in the whole city, just like a doe (wanders) with an arrow pierced, whom, unaware/incautious, a shepherd pierced/shot with his arrows from far away, (while) driving (his flocks) among the sacred groves of Crete, and not knowing/unwittingly left the swift iron: she, in her flight, wanders through the woods and the glades/groves of Mount Dicte; the lethal arrow (shaft) clings to her side. Now she leads Aeneas with/by herself about/through the middle of the walls, and shows (him) the Sydonian wealth and the readied/completed (part of the) city; she begins to speak but she stops in the middle of her words/speaking. Now, with the day slipping (by), she asks/seeks the same feast/banquet, and, crazy, she demands to hear again the Trojan sufferings, and again/oncemore she hangs on/from the words/face of the narrator.

(Line 80) Afterwards, when they (have) parted, and the gloomy moon in turn presses its light and the falling stars persuade/urge on sleep, she mourns/pines alone in her empty house/palace and (she) reclines upon the abandoned/left behind couches. She, (although) apart, hears and sees him absent, or/and she, seized/captivated by the image (in her mind) of his father, holds Ascanius in her lap, () if she can deceive/beguile her unspeakable love. The towers, (although) begun, do not rise up, and the youth are not exercising/practicing their weapons or they are not preparing their ports or (getting/preparing) their ramparts (to be) safe for war. The works hang, interrupted, and the large threatening walls parts of the walls are interrupted and the machine leveled/equal(ed) to the sky hangs interrupted.

(Line 90) And as soon as the dear wife of Jupiter (Juno) perceived that her being held with such a sickness, nor that her reputation was resisting her madness (Furor!), Saturnia approached Venus with such words (as follow): “Truly indeed, both you and your son are carrying off great praise and booty/spoils (great and remarkable/memorable is your power /authority), if one woman has been conquered by the trickery of two gods. Nor does it thus escape my notice that you, fearing/having feared, have held/considered my/our walls suspect, (that you have held/considered) the houses of lofty Carthage suspect. But what end/limit will there be? Or how far now (are we to go) with such a rivalry/competing/strife? Why do we not rather engage in/practice everlasting peace and bargained/arranged wedding songs? You have what you have sought with your whole mind. Dido, (now) loving/as a lover, burns and she has dragged/pulled her madness through her bones. Therefore let us rule this people together and with equal power(s); let it be permitted (for Dido) to serve a Trojan husband, and to allow the Tyrians to serve as a dowry to your right hand.”

(Line 105) To her (she realized/sensed that she had spoken with a counterfeit/pretended/fabricated mind, so that she might turn aside the kingdom of Italy to Libyan shores), Venus proceeded in reply thus: “Who/What insane (person) can/could/would refuse/reject such things, or would prefer to strive/compete with you in war? If only fortune may/might follow the deed which you are mentioning/relating! But I am carried/borne by/because of the fates, uncertain, whether/if Jupiter wishes/should wish there to be one city for the Tyrians and for those having set out from Troy, or (if) he approves (of) the people being mixed together or (of) alliances/treaties being joined. You (are) his wife, it is right for you to tempt/try his mind/will by begging/entreating. Proceed/Carry on, I will follow.” Then queen/royal Juno took up/rejoined as follows: “That work/business of yours will be with me/mine. Now (heed/pay attention) I will tell you in few (words) by what reason/how that which is pressing can be done/accomplished. Aeneas and very wretched Dido together are preparing to go in(to) the sacred woods to hunt, when tomorrow’s Titan brings out its/his first risings and covers the world with rays. I, from above, will pour down upon them a dark storm cloud with hail mixed in, while the beaters/wing men quiver and they surround the forest/glades with their netting/circle of nets, and I will arouse/stir up the whole sky with thunder. Their companions will scatter and will be covered in/by black night/darkness: Dido and the Trojan leader will come down/arrive at the same cave. I will be present and, if your wish/will is fixed/sure for me, I will join (them) in a stable/lasting marriage and I will proclaim her his own. This will be the wedding (song).” Not being opposed to her requesting this, Cytherea assented/nodded in approval and, with the tricks/strategems (having been) discovered, she laughed.

(Line 129) Meanwhile Aurora, rising, left the ocean behind. The selected youth go out of the gates with the sunshine having risen, scattered nets, snares, and hunting spear with a wide iron are hurried/rushed forth and the Massyli horsemen and the keen-scented pack/power of hounds/dogs rush out . The first/leaders of the Phoenicians wait for the queen lingering in her bed chamber at the threshold/door(way), and a prancing steed stands, splendid with purple and gold, and fierce(ly) chews/champs on its foaming bits/bridals. Finally she walks forth with her great bands following her, and having put on the Phoenician cloak with its dyed border, whose quiver is made of gold and whose hair is knotted onto a golden (clasp), a golden brooch fastens her purple clothing.

(140) Likewise both the Trojan comrades and happy Iulus go (proudly). Aeneas himself, most handsome before all others, carries/presents himself as an ally and joins his columns/company. Just like Apollo when he leaves his wintry Lycia and the streams of the (River) Xanthus and visits/goes to see his maternal Delos, and he starts up his dancing troops/choruses, and mixed around the altars, Cretans and Dryopes and the tattooed Agathyrsi roar/shout: he (Apollo) himself strides/walks on the mountain ridges of Mount Cynthus and presses his flowing hair fashioning it with soft (laurel) foliage/garland and he entwines it with gold, his weapons resound/clink on his shoulders: not at all more sluggish than he, Aeneas was going/moving, so much/as much glory shines on his remarkable/noble face. After they came into/onto/among the tall mountains and trackless marshes/bogs, behold (!) wild she-goats, dislodged from the summit of the rock/mountain, ran down the mountain ridges; from the other side/direction deer/stags cross/shoot across the open fields in their running/course and gather together their dusty herds from/in their flight and quit/leave the mountains. But the boy, Ascanius, in the middle of the valley(s) rejoices on/because of his spirited horse, and now he surpasses these in his racing/galloping, now/next he surpasses those, and he desires that a foaming boar be given to his prayers among the sluggish flocks or that a tawny/golden lion come down from the mountain.

(line 160) Meanwhile the sky begins to be stirred up/mixed with a great rumbling, there follows a storm cloud with hail mixed in, and the Tyrian allies everywhere/here and there/all about and the Trojan youth and the Dardanian grandson of Venus because of fear sought different roofs/shelters throughout the fields; rivers rush down from the mountains. Dido and the Trojan leader arrive at/come down to the same cave. And first Mother Earth and Juno, as matron of honor, give the sign; fires/lightning flashed and the upper air (is/act as) a witness for/to the wedding, and the nymphs shrieked from the highest peak. That day was the first (cause) of ruin and was the first cause of troubles/misfortunes; and indeed Dido is neither moved/influenced by appearance or reputation, nor does she consider/meditate (it) a secret love: she calls it a “marriage;” with this name she cloaks/screens her guilt/offense/fault.

(173) Immediately Rumor goes through(out) the great cities of Libya, Rumor, (there is) not any other evil [that is] faster than whom/she; she thrives/flourishes by motion/activity and gains strength by going, at first small out of fear, she soon raises herself into the air/breezes and strides/stalks on the ground, and hides/rears/buries her head among the clouds. Mother Earth, provoked/enraged by the anger at the gods, produced her last, as/so they say, as a sister to Coeus and Enceladus, and swift with respect to her feet and with swift wings, a hideous monster, huge, to whom there are as many feathers on her body as watchful eyes beneath (a wondrous thing to say), as many tongues, the same number of mouths that resound, she raises/pricks up as many ears. At night she flies in the middle of the sky and through the shade/shadow of the earth, rustling/buzzing/whirring/hissing, nor does she turn down her lights in sweet sleep. By day(light), she sits as a spy/“en guarde,” either on the peak of a lofty building or upon lofty towers, and continuously terrifies great cities, as tenacious a messenger of falsehood and error/wrong as of the truth. At that moment she, (while) rejoicing, was/kept filling people with gossip of all types, and she was/kept singing/chanting equally actual deeds and false deeds: that Aeneas, born from Trojan blood, had arrived, to whom as/for a husband the beautiful Dido deemed (it) worthy to join herself; (that) they now, were cherishing/caressing each other in luxurious excess for the winter, however long (it may last), unmindful/forgetful of their kingdoms, and (had been) seized by a shameful passion. The foul goddess scatters these things everywhere into the mouths of men. Immediately she twists her course to the King Iarbus and inflames his mind with words and increases/heaps up his anger.

(Line 298) This one/He, sewn/begotten from the nymph Garamantis (after she had been) ravished by Jupiter Ammon, set up 100 huge temples to Jupiter in his wide kingdom(s), 100 altars and had consecrated a watchful/sleepless fire, (as) eternal watchfires of the gods, and (he had consecrated) the ground rich/fat with the blood of flock animals, and (had consecrated) the thresholds (of the doors) blooming with various garlands. And he, (being) crazy in his mind and inflamed by the bitter gossip, is said to have humbly prayedto Jupiter for many things with his hands upturned in front of the altars among the middle of the divine presences/statues of the gods: “All powerful Jupiter, to whom now the Moorish people feasting on dyed couches pours a Lenaean offering, do you see these things? Or father, when you hurl your lightning bolts, do we quake at you in vain? And do blind/hidden/useless fires in the clouds frighten our souls/minds and do useless rumblings disturb our souls/minds? A woman, who, wandering in our territory, has set up a small city for a price, to whom we gave a shore to be plowed and to whom we gave the laws of the region, (she) has rejected our marriage and has taken Aeneas into her kingdom as her master. And now that Paris with his half-manly/effeminate entourage, (who has) tied a Lydian cap under his chin and (under) his dripping hair, possesses the booty/prey ; truly we bring gift offerings to your temples and we cherish a useless/vain fame.”

(line 219) The all powerful one heard him praying with such words and holding/grasping the altar, and he turned/twisted his eyes to the royal walls, and (to) the lovers, forgetful of their better fame/reputation. Then thus he addresses Mercury and commands such things (as follows): “Come on, son, go call/summon the west winds and glide on your wings, and address the Trojan leader, who now is lingering/loitering in Tyrian Carthage and does not regard the cities given/allotted (to him) by the fates, and report/carry down my words (to him) through the swift breezes. His most beautiful mother did/has not promise(d) to us that he should be such (a man) as this/like this and therefore/for this reason (she) rescues him twice from the arms of the Greeks; but (she has promised) that he would be the one who would/was to rule Italy pregnant/bursting with (future) power/empire and roaring/raging in war, (who) would/was to advance the race from the lofty blood of Teucer, and who would/was to submit/send the whole world under his laws. If no (thought of) glory of such great/important things kindles (him), nor does he himself undertake his labor for/about/concerning his own glory/fame, does he, as a father, begrudge Roman cities for Ascanius? Why/What is he building/planning? Or with what hope/expectation is he delaying/staying among an unfriendly people, and not regarding his Ausonian offspring/race and the Lavinian fields? Let him sail! This is of the utmost importance, let this be my/our message.”

[239] He had spoken. He prepared/got ready to obey the command of his great father: and first he binds the golden sandals to his feet which bear/carry him aloft/on high on wings, whether above seas or above land, equal (in speed) with the rapid wind. Then he takes his wand/caduceus: with this he calls forth/summons the pale ghosts/spirits from Orcus, sends others under gloomy Tartarus, gives and takes away sleep/dreams, and closes the eyes in death. Relying on it he directs the winds and skims along/floats through the stormy clouds. And now flying he sees the top and lofty sides of rugged/hard Atlas, who props up the sky on his summit; of Atlas whose pine-bearing head, constantly encircled in dark clouds, is beaten both by the wind and rain; snow having spread over covers his shoulders, then rivers roll down (from) the chin of the old man, and his rough beard stiffens with ice. Here Mercury/Cyllenius poising/resting upon equal wings first alighted/stopped; from here he shoots/sends himself headfirst with his whole body toward the waves, similar to a bird who flies low near the surface of the sea around the shores, around fish-teeming rocks. Not at all otherwise/Just so between the earth and sky the Cyllenian son/offspring, coming from his maternal grandfather, was flying towards the sandy shore of Lybia, and was slicing/cutting the winds. As soon as he touched/reached the huts with his winged feet/soles, he catches sight of Aeneas building/founding towers and making new buildings/houses. And his short sword was gemmed with yellow jasper, and a robe/cloak flowing down from his shoulders was glowing with Tyrian purple, presents which wealthy Dido had made (him), and she had interwoven the web with fine gold. Immediately he attacks/addresses him: “Are you now laying/placing the foundations of lofty Carthage and, wife-ruled/subject to a wife, are building up/raising the beautiful city? Alas! Forgetful/having forgotten of your kingdom and your own affairs/mission! The ruler of the gods himself, who turns the heaven and earth with his authority, sends me down to you from bright Olympus: he himself orders me to bear/report (to you) these commands through the swift breezes: ‘What are you planning/building? Or with what hope/expectation are you wasting away your leisure/idleness in the Libyan lands? If no (thought of) glory for such great/important things moves you [nor are you yourself carrying out the work/effort for your own praise/glory], regard the rising Ascanius and the hopes of your heir, Iulus, to whom the kingdom of Italy and Roman land are due/owed.” Cyllenius having spoken with such a word/speech/discourse, abandoned his mortal sight/appearances in the middle of his speech and far away he vanished from his eyes into thin air.

[line 279] But indeed Aeneas, mad/confounded at the sight/vision, stood speechless, and his hair stood erect/upright because of the terror and his voice clung to/stuck in his throat. He is eager/burns to go away by flight and to abandon/leave behind the sweet lands, thunderstruck by so great a warning and command of the gods. Alas! What should/can he do? With what speech/form of address should/can he dare to conciliate/get around the furious queen? What beginnings (of speech) should/can he take first? And he divides his swift mind now in this way, now in that way and he takes (his mind) into various/different directions and he keeps turning (his mind) through all things/options.

(Line 287)This idea/notion/thought seemed preferable/better to him (as he was) vacillating/fluctuating: he calls/summons Mnestheus and Sergestus, and brave Serestus, (in order that) they may silently equip/make ready the fleet, and collect the comrades at the shore, prepare arms, and pretend/lie as to what may be the cause of them starting/altering affairs/circumstances; meanwhile, since most excellent Dido is not aware and is not expecting that her so great love is being broken (off), that he himself will try approaches (for conversation) and what should/can be the gentlest time/opportunities for speaking, what manner/method would be favorable for the circumstances. All happily obey the command very swiftly and carry out his commands.

(Line 296) But the queen (has) perceived/presensed the deceits (Who can deceive/trick a lover?) and she early on caught on/realized their future movements, fearing that everything was not safe/secure. The same wicked Rumor reported to her, raging, that the fleet was being equipped and their course was being prepared. She rages, lacking/destitute of her mind, and (having been) burned/inflamed, she raves/runs wildly through the whole city, just as a Bacchante excited/roused by the stirred sacrifices when they rouse/start the triennial orgies with the name Bacchus heard, and nocturnal Cithaeron calls them with a shout. Dido calls out/accosts Aeneas (by name) voluntarily/spontaneously with these words:

“Traitor, did you even hope that you could/were able to conceal so great a crime/wickedness and silently depart from my land? Does not our love hold/keep you, nor the right hand (that was) once given (hold/keep you), nor does Dido, about to die in/by a cruel death (hold/keep you),? But why you are even preparing your fleet under a wintry star and you are rushing to go through the deep sea in the middle of the North winds, o cruel one? Why? If you were not seeking foreign fields and unknown homes, and (if) ancient Troy (might) still remain(ed), would Troy be sought through (this) sea full of waves? Are you running away from me? I beg you by these tears and by your right hand, (since now I myself have nothing else remaining/left to me, wretched), by our marriage, by our marrige songs just begun,… if I deserved anything well/rightly from you, or if any (quality) of mine has been sweet/pleasing for you, have pity on a falling house and, if there is still any place/room/opportunity for prayers, get rid of that intention of yours. Because of you the Libyan peoples and kings of the Numidians hate/despise me, and the Tyrians are hostile to me, because of the same you, my shame/honor is put out/snuffed out/destroyed and my earlier reputation (is put out/snuffed out/destroyed) with which (fame) alone I approached the stars. For whom are you deserting/abandoning me, about to die, -O my guest (since only this name is left from the name of husband? What do I wait for? Until my brother Pygmalion should destroy my walls or the Gaetulian Iarbas should seize me and lead me, having been captured, away? If at least some offspring had been born to me from you before your flight, if a very small/tiny Aeneas might be playing in my palace, who could/might still represent/recall you with respect to your face, indeed I would/should not seem completely/utterly bereft/captured and abandoned.”

She had spoken. He, because of the warnings of Jupiter, held his eyes unmoved, and struggling, suppressed his love under/in his heart. Finally he replies a few things: “O queen, I will never deny that you have deserved very many things/favors (from me) which you are able to list by speaking nor will it displease/irk me to remember Dido, while I mindful of myself, while/so long as breath controls these limbs. In defense of my purpose let me say a few things: I neither expected to conceal/hide this flight by stealth/as a trick, [do not pretend (I did)], nor did I ever hold before/out the torches of marriage, nor did I enter into these bonds/pacts. If the fates were allowing me to lead my life under my own authority and to quiet/settle my anxieties/concerns by my own inclination/wishing, I first would honor/cherish the Trojan city, and the dear remnants of my people, the lofty buildings of Priam should remain, and with this hand I would have set up/placed a revived Troy for my conquered people. But now, Grynaean Apollo has commanded me to try to occupy/take great Italy, the Lycian fates have commanded me to try to occupy Italy; this is my love, this is my country. If the towers/citadel of Carthage and the sight of this Lybian/North African city keeps you, Phoenician woman, here, you, (then) why finally is the settling the Trojans in Ausonian land a source of jealousy? It is right for us also to seek a kingdom elsewhere. As often as night covers the earth in moist/dewy shadows, as often as the burning/bright stars rise, the agitated image/ghost of my father Anchises warns me and frightens me in my dreams; my boy Ascanius [moves] me and the injury/harm to his dear head, whom I am cheating out of the kingdom of Italy and his destined fields. Now also/even the messenger of the gods, sent by Jupiter himself (I swear by your head and mine) has brought down/reported to me his commands through the swift breezes. I saw this god myself in the clear light entering your walls and I drank in/received his voice/speech with these/my ears. Stop inciting/inflaming both me and yourself with your complaints; I am pursuing Italy not willingly.”

(Line 362) Having turned to the side, for a long time (now) she has been watching him speaking such words and (she) rolling her eyes this way and that, she surveys him completely with her silent eyes, and thus enraged, she speaks out as follows: “You have neither a divine mother, nor is Dardanus the founder of your race, o treacherous one, but the rugged/shuddering Caucasus bore you on its hard cliffs and Hyrcanian tigresses offered you their breasts! For what/why am I pretending or for what greater things am I saving myself? Did he groan/make a sound at my weeping? Did he bend his eyes? Did he shed tears, having been conquered/ won over, or did he pity his lover? What things should I prefer to which things? Now, now, neither greatest Juno nor the Saturnian father observes/looks at these things with fair/equal eyes. Nowhere is a pledge safe. I welcomed him in need/destitute, thrown out upon the shore, and I in my madness placed him in part of my kingdom. I restored (to him) his lost fleet and the comrades from death (alas I, angered, am being carried away by my madness): now the prophet/seer Apollo, now the Lycian fates, now even the messenger/agent of the gods, sent by Jupiter himself, bears/brings these awful commands through the breezes. Of course/Obviously this work belongs to the gods; this concern agitates the calm gods. I am neither keeping you nor am I refuting/contradicting your words: Go, follow/chase Italy by means of the winds, seek the kingdom(s) over the waves. Indeed, I hope, if the righteous gods are able (to do) anything, that you will drink in your punishment on the middle of rocks and that you will often call (out) “Dido” by name. Though absent, I will follow (you) with black fires and, when chilly death separates my limbs from my life breath/soul/spirit, I will be present in all places as a ghost. O wicked one, you will pay the penalty. I will hear (of it) and this tale/report will come to me under/beneath the lowest parts of Hades.” With these words she breaks off her speech in the middle and, sick, flees the outer breezes and she turns herself and removes herself from his eyes, leaving him hesitating out of fear/because of fear to say many things and preparing to say many things. The maid servants catch her and they carry back her fainted/collapsed limbs into the marble bedchamber and lay her down on couches.

(Line 393) But loyal Aeneas, although he desires to soothe/calm her grieving by means of consoling her and (desires) to turn aside/distract her cares with words, groaning much and shaken in his mind by his great love, nevertheless carries out the commands of the gods and revisits/returns to his fleet. But then the Trojans are eager and are launching their lofty ships from the shore. There swims a smeared keel, and, in their eagerness to flee, they bear/carry leafy oars and (logs of) oak unworked from the forests. You could/would see them departing and rushing out of the whole city. And just like ants when they plunder a huge mound of spelt/corn/grain, remembering the winter and put/store it into their house/cell; a black troop/column moves in the fields and they carry their booty through the grass in a narrow path, some pushing with their shoulders push/shove the heavy grains of corn, others compel/collect the troops and punish/chastise the delays/loiterings; the whole path stirs/boils with the work.

(Line 408) O Dido, what emotion/feeling then (was) to you beholding such things, or what groans did you make/utter when you were looking out from the highest point of the city at the shores bustling/ boiling widely, and (when) you saw the whole sea being mixed up before your eyes with such loud shouts? Wicked Love, what do you force mortal hearts not to do! Again she is forced to go into tears, again (she is forced) to try by praying and as a suppliant to submit/lower/subject her emotions to love, lest she, about to die in vain, leave anything untried behind.

(Line 416) “Anna, you see them hurrying around (on) the entire shore: they have come together from all sides, now the sail is calling the breezes, and the sailors happily have put garlands on the ships. If only I was able to expect/anticipate this grief/pain, …and sister, I will be able to bear/endure these things. Anna, nevertheless, carry out the this one thing/duty for wretched me; since that traitor cultivated you alone, also he entrusted to you his secret feelings, you alone knew the soft ways and the (best/suitable) times of this man; go, sister, and humbly address the arrogant enemy: I did not swear an oath with the Greeks at Aulis to destroy the Trojan race nor did I send a fleet to Troy, nor did I tear up the ashes or shades of your father, Anchises: why does he refuse to receive/send down my words into his stubborn/hard/unbending ears? Whither is he rushing? May he give/Let him give this final present to his wretched lover: Let him/May he wait/hope for both an easy flight and favorable/carrying winds. No longer do I ask/beg/pray for our old marriage, which he has betrayed, nor (do I pray) that he lack/go without his beautiful Latium and that he abandon his kingdom: I ask for/seek an empty time/free occasion, a rest and a space for my rage, until my fortune/luck instructs me, conquered, how to grieve. I pray for this final favor (pity your sister), which when he gives it to me, I will send it back/return it heaped up with my death.”

With such words she prayed, and her most miserable sister bears/endures and bears again/reports such laments (to Aeneas). But he is moved by no laments/tearful appeals, (n)or complying/manageable does he hear any words; the fates oppose/stand in the way and the god blocks the tranquil ears of the man. And just as when the Alpine north winds are striving/competing among themselves to uproot with their blasts the oak, mighty with its aged strength, now from this direction, now from that direction; the (loud) noise goes forth, and with the trunk (having been) shaken the tall leaves scatter onto the ground; the tree itself clings to the rocks and stretches as much at its top towards the ethereal breezes as (it stretches) at its roots into Tartarus: hardly otherwise is our hero is beaten/assailed from this side and that side by constant words, and he feels the cares deep in/throughout his great heart; his mind remains unmoved, vain/useless tears roll.

[450-470: Terrified by omens and disturbed by dreams, Dido determines to die. (Pharr)]

[474-503: Concealing her plans from her sister, Dido builds a great funeral pyre in the palace court, pretending that she is preparing a magic rite which will bring Aeneas back or else free her or her love for him. (Pharr)]

[504-521: Dido offers prayers and sacrifices to the gods of the lower world. (Pharr)]

[522-553: Dido bewails her fate and strengthens her resolve to die. (Pharr)]

[554-583: Again urged by Mercury to hasten his departure, Aeneas arouses his sleeping comrades and hurriedly sails away by night. (Pharr)]

[584-629: Dido’s frenzy increases as from her palace window she sees the Trojan fleet depart. She again calls down curses on Aeneas and his followers and prays that some avenger may rise from her ashes to punish such disloyalty. (Pharr)]

[630-705: That nothing may interrupt her plan Dido sends away her husband’s old nurse Barce and kills herself with Aeneas’ sword on top of the pyre. (Pharr)]

Translation: 642 to 705:

(Line 642) But Dido, trembling and wild/frenzied because of her ghastly/huge/monstrous undertakings, rolling a bloodshot eye, and having filled her trembling cheeks with splotches, and pale at/because of her coming death, she breaks through the interior doorways/thresholds of the palace, and raving, climbs the lofty steps (of the pyre) and unsheathes the Dardanian/Trojan knife, a gift not asked for these uses/purposes. Here, after she viewed/caught sight of the Trojan clothes and the well known couch, delaying slightly/a little with tears and her plan/in her mind, she reclined upon the couch and spoke her last words: “O sweet spoils/mementos, (sweet) while the fates and the god permitted, receive this life/soul/lifebreath of mine and loosen/release me from these cares. I have lived and I have finished the course which fortune had given me, and now the great image/likeness of me will go under the earth. I have founded/set up a very renowned/famous city, I have seen my walls, having avenged my husband I have taken/exacted punishment on my hostile brother; (I was) lucky, alas I (would have been) too/extremely lucky, if only the Trojan keels had never touched our shores.” She spoke and having pressed her mouth/face to the couch, she said “Shall I die unavenged? But let me die.” Thus, thus it is pleasing (to me) to go under the shades. “Let the cruel Trojan drink in this fire with his eyes from the deep! Let him bear with him the omens/signs of my death!” She had spoken; and her attendants/companions see her (having) fallen on her sword among the middle of such things/words, and (her attendants behold) the knife foaming with blood and her bespattered hands. A shout/outcry goes towards the lofty halls: Rumor rages throughout the shaken/agitated city. The houses roar with laments, groans and the shrieks of women; the upper air resounds with great/loud wailings, not otherwise than if all of Carthage or ancient Tyre should be falling down, with the enemy (having been) let in, and (not otherwise than if) the flames raging should be rolling through/over the peaks (of the buildings) of men and (temples) of the gods. Her sister heard (them), breathless, and extremely frightened in her trembling running/haste, disfiguring/defiling her face with her fingernails and her breast with (blows of) her fists, she rushes through the middle of everyone, and she shouts out her dying sister by name:

(Line 675) “Sister, was this that thing (you were planning)? Were you, through deceit/in a lie, asking (for) me (to perform this task)? That pyre (of yours), the fires and the altars were preparing this me for me? What should I, abandoned/forsaken, complain about first? Have you rejected your sister as a companion (by) dying? I wish that/If only you had summoned me to the same fates: I wish that/If only the same grief and the same hour had carried us both (off) by the sword. With these hands I also built (your pyre) and summoned the ancestral/country gods with my voice, so that I might be separated from you, O cruel (sister), with you thus placed (on it). Sister, you have extinguished/snuffed out yourself and me, and your people, your Sidonian/Phoenissian senators, and your city. Give/Allow...let me wash (off) her wounds with water and, if any final/last breath wanders/lingers above, let me catch/gather it with my mouth.

(Line 685) Having spoken thus she had mounted from the lofty steps (of the funeral pyre), and embracing/having embraced her half-dead sister with her bosom she cherished/fondled her with a groan, and dried the black blood with her dress/cloak/robe. She, trying/having tried to raise her heavy eyes, again faints; her wound, pierced beneath her breast, hissed/gurgled. Three times raising herself and leaning on her elbow/arm she lifted herself, three times she rolled back upon the couch and with wandering eyes sought the light in lofty heaven, and groaned with it having been found.

(Line 693) Then all powerful Juno, pitying/having pitied her long pain and her difficult death/ruin, sent Iris down from Olympus who was to/might release her struggling life-breath/spirit and her bound limbs. For since she was not perishing/dying by fate nor by a merited death, but the wretched woman, before he day, and was suddenly set on fire by sudden madness, not yet had Proserpina removed a blond strand from the top of her head, nor had she condemned/destined/doomed her head to the lower world. Therefore dewy Iris flies down through the sky on/by saffron/yellow wings trailing a thousand changing/different/various colors with the facing sun, and she alighted/stopped over her head.

“I, as ordered, bear this (lock of hair) as an offering to Pluto and I free you from that body of yours.” Thus she speaks and cuts a (lock of) hair with her right hand: her whole warmth/heat having slipped away and at the same time her life departed into the winds.

FINIS

� Book 3 ends with: “Thus father Aeneas alone with everyone gazing recounted the fates of the gods and told of his courses/runnings. Finally he fell silent and with an end here/at this point (of his tale) having been made he rested.” Note how the language here picks up the language at the beginning of Book 2. This is called “ring composition.”

� regina = Dido

� Cura will be a buzz word for Book 4, meaning “care, anxiety, concern”, but also “love” or the passion of love.

� We will see a lot of hunting imagery in Book 4. Dido has been wounded by Love’s arrows.

� Fire is another important motif or theme to Book 4. It will recur again, especially at the end of the book.

� Animo is dative of direction or ablative of place where.

� Aurora is metonymy for dawn, since she is the Goddess of the Dawn

� Phoebea is metonymy for sun light: Phoebus Apollo is the God of the Sun (replacing Helios)

� litotes

� quem, which is exclamatory like the quis in line 10, is attracted into the accusative case to agree with sese. = “how (great/noble)” [This is similar to our expression “Wow! What a day this is!” with the implications being positive amazement = “What a wonderful/beautiful day this is!”]

� Quam is exclamatory = “how”. Also, note the nice tricolon of quis!...quem!...quam!

� Forti is ablative (of quality) to agree with pectore

� Dido is saying what Aeneas is not, because he is a proven hero.

� Arguit could be present tense (proves/reveals) or perfect tense (has proven/revealed).

� Remember that degener was the word used to describe Pyrrhus in Book 2, about to kill Priam.

� the “ne” clause is the subject of sederet: that I not wish to unite myself to anyone in a marriage bond, [after my first love cheated me, (having been) deceived, by death.] How can such a long clause be the subject of a verb? Well, we do this in English: “The fact that the Eagles did not make the playoffs this year really bothers me.” What is the subject of “bothers”? Answer: “The fact that the Eagles did not make the playoffs this year...”

� mihi: dative of the person whose body part it is = “my”

� Dido has taken an oath to remain faithful to her husband, Sychaeus, even as his widow. Roman widows often took a similar oath and were called “univira”: literally a “one-man woman”

� cui = alicui. Remember the phrase, “after si, nisi, num and ne, all the ali’s drop away.”

� [literally: if there had not been a wearing (down) of me of the bridal chamber and the bridal torch]

� Taeda is a torch associated with marriage and therefore metonymy for marriage. Keep a mental note and real notes on allusions to weddings and marriage throughout Book 4. Also, note the subtle play on words with the sounds of pertaesum and taedae. Why did Vergil write pertaesum and not pertaedet?

� Technically, potui should be subjunctive (possem or potuissem). The indicative potui makes it more actual, and a little less contrary to fact.

� fata = death (we saw this also with the fata of Priam in Book 2)

� i.e., Dido remembers what is means to love. She has become the austere leader of her people in their exile, and must learn how to love again, with all the implications of beccming less severe and vulnerable (hunting imagery). See also resolve in line 27.

� prius = sooner

� Erebus is a section of Hades.

� Ante…quam = antequam: before. Frequently, words like antequam, priusquam, postquam are cut or separated. This is called tmesis.

� Pudor: both personification & an apostrophe

� Sychaeus

� i.e., in marriage

� Ablative of comparison

� carpēre = carpēris, the future passive. A common poetic form is the ending –re, for –ris. Also, note that this is an important word for Book 4.

� Noris is a syncope for noveris. The future perfect indicative.

� Venus: metonymy for love

� Id represents the oaths that Dido made to Pudor.

� Esto is sarcastic.

� Agram means sick in grief or in mourning

� i.e., a love that you finally found pleasing.

� i.e., on the other side or in the other direction.

� Siti in an i-stem ablative. Here, ablative of cause.

� Synecdoche for “ships”

� Note the asyndeton and the polyptoton.

� The ablative absolute sacris litatis: sacris is the noun = “the sacrifices” and litatis is the Perfect Passive Participle = “(having been) sacrificed/done favorably or properly”

� This use of weaving to mean planning either comes from the idea of working the loom and designing a pattern, or from a spider weaving a web. The latter seems more sinister, but was a characterization in ancient Greek tragedy. For example, Clytemnestra wove a trap for Agamemnon for when he returned home.

� i.e., for stalling Aeneas’ departure.

� Remember lines 54-55 as a turning point in the story of Dido, thanks to the persuasive words of Anna. But, didn’t Anna tell Dido what she wanted to hear?

� Irony, if the reader considers the future Punic Wars.

� De more means “customarily” “according to custom”, in other words they did everything properly (remember sacris litatis in line 50).

� Lyaeus = Bacchus. Bacchus has many names.

� ellipsis

� Double Dative construction: cui (Dative of reference) and curae (Dative of purpose). Also, note that cura is a buzzword for Book 4.

� Right hand should be more favorable or luckier.

� Supply “wine.” See the note in Pharr.

� Aut sometimes, as here, is closer to “and” then “or”

� I.e., the statues of the gods.

� Pharr suggest pinguis means the altars are “rich” with sacrifices or offerings. They could also be rich with the fat of sacrificed animals, the parts that you burn to the gods. Do you know the myth of Prometheus tricking Zeus?

� This act of divination is called hepatoscopy – examining the guts, especially the liver, of a sacrificed animal to divine the future. The Romans performed this ritual before battles.

� Infelix means the gods do not favor you.

� Mt. Dicte is in Crete

� Harundo is the shaft or reed of the the arrow.

� Moenia could be synecdoche for the city.

� Narrantis: literally “him telling the story”

� See book 2, line 9.

� I.e., the couches that had been left by Aeneas

� In his notes, Pharr indicates that the si clause is an indirect question, so before it, supply “in the hope that” or “to see if”

� The best explanation for this line comes from T.E. Page (1894): “The boy (Ascanius) is the ‘image of his father’ and so Dido tries to cheat (not-to-be-uttered) love by petting him as a substitute for Aeneas.” Another commentator suggests this translation for the sī clause: (in the hope that) she could find solace (for) a love beyond words.” He is interpreting fallere (literally, “deceive”) as to find comfort. Perhaps Vergil is suggesting that that she is trying to hold back her passion for Aeneas. Dido, obviously, cannot make the first move.

� bello: dative of purpose

� pendet: means “hang” but here with the idea of “are suspended.” In English, suspend means both to hang and to be interrupted or stopped. O, the suspense!

� Hendiadys: threatening (parts) of the walls = threatening walls

� Quam is a connecting relative pronoun and serves as a connective (“And”) + a pronoun, here fem. acc. sing., so “her”

� A roundabout way of saying “Juno”

� See note on Quam, line 90.

� Another way to translate from persensit: “(Juno) realized that she (Dido) was being held...” This is indirect discourse.

� Saturnia = Juno; we saw this in book I.

� Juno is pouring on the sarcasm.

�femina = Dido

� Adeo can mean thus, up to this point, or extent

� The whole phrase: nec...fallit is a type of litotes or understatement.

� Veritam agrees with te (Venus)

� Hymenaeos is metonymy for a wedding.

� petisti is syncopated for petivisti

� See not in Pharr on auspiciis.

� quo = ut. This is called a quo-purpose clause or a type of relative clause of purpose. Literally, it is ex quo = “out of/by which reason,” but translate it as “so that” or “in order that/to”

� Sequatur is an optative subjunctive, i.e., subjunctive used in wishes. See Pharr’s appendix.

� or: for those who have set out from Troy. You can usually turn a participial phrase into a relative clause, except if it is an ablative absolute which can’t relate to anything grammatically in the sentence.

� The ablative of the gerund is almost always an abl. of means.

� I.e., the business of love, typically the domain of Venus.

� Venatum is a supine of purpose with a verb of motion (ire). (Refer to servitum in Book 2, line 786) For what purpose are they going into the sacred groves? Answer: to go hunting. Notice also that venatume is put first in the sentence for emphasis.

� Titan = metonymy for the sun

� Commixta agrees with grandine, but you may want to transfer that epithet: cloud mixed with hail. But, you would have to indicate that in your translation to your AP examiner.

� due to the thunder

� Not literally: “if your will is surely mine” i.e., if we are on the same page.

� Cytherea = Venus

� Aurora is the goddess of the dawn = metonymy for Dawn

� relinquit is present; reliquit is perfect. What’s the diff.?

� Iuventus is a singular noun in Latin, so its verb (it) is singular.

� Pharr takes 5 subjects with ruunt, and since the meaning of ruunt changes, he identifies this as a zeugma. So, ruunt with the first three subjects in line 131 means “are hurried/rushed forth.” But, ruunt with the two subjects in line 132 (equites & vis) must mean “rush out”. Yet, the verb (it), or rather eunt, could go with the three nominatives in line 131.

� You may want to transfer the epithet “keen-scented” to the word dogs; but as always, indicate that to the AP examiner.

� Vis means “force”, but can mean a band or group, or in this case, a pack of dogs.

� Cui is a dative of possession.

� Note the juxtapositioning of all the words for gold.

� Line 139 is an example of a so-called “golden line” – which consists of two nouns + two adjectives and a verb placed in the middle.

� Vergil is using language of dancing whereby dancers partner up: Aeneas is the socius (partner) to Dido, and the two peoples (Carthaginians and Trojans) join each other. This is reinforced by the simile, specifically, the choruses in the simile. Perhaps the strange names of the tribes from different regions is to be compared to the quite different regions from which the Carthaginians and the Trojans have come.

� Qualis = “of the sort/type as”

� See Pharr’s note on the wintry quarters

� Delos is feminine

� The laurel (tree) is associated with Apollo.

� tela = arrows, here, not spears, since Apollo was the archer god.

� illo refers to Apollo

� ventum: supply est. Ventum est is an “impersonal passive” meaning most literally: “there was a coming”. But we must supply a subject in English & turn this into an active in English = “they came”

� foaming at the mouth. I.e., an especially fierce or mad wild boar.

� Votis could also be an ablative of means: “He desires through prayers that a wild boar be given (to him)”

� This line is similar to line 124 in Book 1, when Neptune realized that a storm had stirred up the sea. This is a storm motif. What are the metaphorical implications of storms?

� nepos Veneris = Ascanius

� ignes is metonymy for lightning.

� Archaic perfect

� Syncopated perfect for ululaverunt. The –ve- drops out.

� I.e., her public appearance.

� Furtivum could be used predicatively: “she does not consider it a secret love,” Or “she does not consider the love as a secret”.

� Remember the use of culpa in Book 4, line 19.

� Fama personified or deified.

� quā is an ablative of comparison and refers back to Fama.

� eundō is the gerund of eō, īre (“to go”); the ablative of the gerund is almost always means

� parens = mater

� Deorum is an objective genitive; i.e., anger “towards” the gods.

� We have a list of correlatives, which demand a special translation: quot...tot = as many...as. To give you an idea of what this monster Rumor looks like: the (great) number of feathers = the number of eyes = the number of tongues = the number of mouths = the number of ears. (In line 188, there is another correlative: tam...quam = as...as)

� What does strident mean in English?

� lumina is a common metonymy for the eyes

� Note that the verb is territat, not terret. The “-ito/-itare” sound means repeated action, again and again. (this is called a frequentative form of a verb)

� Another correlative construction: tam...quam = as...as

� haec = Fama

� Facta et infecta: literally: things which had been done and things which had not been done.

� virō is in apposition to dative cui

� Dignetur is subjunctive. Why? The verb in a relative clause inside indirect statement becomes subjunctive.

� sit is ellipsed: quam longa sit, referring to the winter.

� Iarban is a Greek accusative singular; just like Aenean.

� Iarbas

� Perhaps we are supposed to think of the eternal fire in the Temple of Vesta in the Roman Forum, which was not supposed to die out.

� orāsse- syncopated perfect active infinitive for orāvisse .

� numina is metonymy for statues

� Lenaean offering = metonymy for wine

� pretio is abl. of price.

� Sarcasm. Iarbas is comparing Aeneas to the woman stealer, Paris

� See Pharr’s note.

� Rapto = Dido. Note the hunting imagery

� Fama is definitely a buzzword for Book 4: both reputation and rumor.

� A syncope.

� Torsit. The more common meaning of torqueo, torquere.

� adloquere in 226.

� fore = futurum esse

� Pharr takes super as an adjective governing the ablative sua laude. Super could also be an aderb: “moreover, in addition”

� Ausonia is another word for Italy

� nostri is probably the royal “we”, thus “my”

� Mercury

� Flamen has religious overtones, especially in regard to the marriage ceremony.

� Hac => virga “wand” or “caduceus”

� You can take the genitive Atlantis with umeros in line 250

� See Pharr’s note on Cyllenius, a locative metonym.

� As soon as = ut primum

� illī is dat. of possession

� Remember this ensis (short sword)

� See note on line 264, which gives the meaning of discerno (discreverat). Also, do NOT confuse tela, telae F. = web, textile, loom; with tēlum, tēlī N = dart, arrow, javelin, weapon. (tēlum is from the same Greek word that means “far (off)” and gives us words like telephone, television, telekinesis, telepathic, etc.)

� Mercury

� uxorius can have the same pejorative sense of being hen-pecked in Latin as uxorious has in English.

� Oblite is vocative case. Oblite is also a perfect participle of a deponent verb. Lastly, verbs of remembering and forgetting take a genitive object.

� Cyllenius is an epithet of Mercury.

� Partes often means directions.

� The following phrases are purpose clauses with “ut” ellipsed: aptent, cogant, parent, dissimulent.

� Decter: favorable. Things on the right (side) are lucky, favorable.

� Verbs that end in –esso or have the sound –esso, -essere mean to do something eagerly or earnestly.

� Motus is an interesting an loaded word: it can mean (1) movements; (2) emotions, (3) revolution

� This is a fear clause with timens, so you need to supply a negative word in English.

� There is a great Greek Tragedy by Euripides, The Bacchae, about the rites of Dionysus. I also recommend the recent novel A Secret History by Donna Tartt, wherein students at a rural college in New England re-enact the rites of Dionysus with devasting consequences.

� Note that the first word of the speech is dissimulare

� sperāstī( syncopated perfect active for sperāvistī

� i.e., in pledge of faith of marriage in the cave

� Dido is also questioning why he needs to leave so suddenly, especially at this time of year when sailing is unsafe.

� See the note in Pharr which explains that even if Troy were still standing, you would not sail even to Troy in this weather.

� The verb of begging/pleading is not until line 319: oro.

� Note all the uses of per which means “by/through” with verbs of swearing and begging.

� dextram: i.e. pledge of marriage

� miserere is the singular imperative (command) of the deponent verb

� Mentem: i.e., to leave.

� Odere = oderunt (archaic perfect). But this verb is defective, i.e., it only exists in the perfect system. So, even though odere is perfect, take it as a present in translation.

� Why are her own people hostile to Dido?

� Pudor is a very important word for book 4. Remember Dido addressed Pudor earlier in Book 4?

� Omninous language. Moror is close to morior. And we just had morabundus!

� Mihi is dative of possession

� Ille = Aeneas

� promeritam: supply esse. Promeritam is accusative in idirect statement after negabo with te understood.

� As suggested by Pharr.

� fando-gerund/ablative of means: “by speaking” or “in speaking”

� Elissa is just another name for Dido.

� Relliquias: the survivors. We saw this expression in Book 1.

� Lycian fates: i.e., the oracle of Apollo

� Note the anaphora of Italiam.

� Referring to Italy.

� Ausonian land = Italy

� Another option for Line 349: “why is it a source of jealousy for you for the Trojans to settle in the Ausonian land?

� Also = et

� Agitated = turbida

� Quem refers to Ascanius.

� Two options: (1) I swear by your head and mine, or (2) I call to witness each divinity

� probably not with her back turned to Aeneas because of tuētur

� Tuetur is a present tense verb, but with iamdudum, perhaps a perfect tense translation is preferable.

� Note that diva is feminine.

� Note all the mentioning of mountains throughout this book: Cyllene, Cithairon, Atlas, Caucasus

� Admorunt is syncopated form for admoverunt.

� Note the recurrence of this verb dissimulo

� She is speaking about Aeneas as if he were not there.

� anteferam-deliberative subjunctive

� See Pharr’s note.

� Saturnian father = Jupiter

� est is ellipsed.

� These lines pick up lines 345, 356.

� Scilicet is almost always used to convey sarcasm.

� Note the play on the sounds of words scilicet and sollicitat. Remember teris and terris in line 271

� Quid, after si, = aliquid “anything”

� Black fires is foreshadowing of her death by funeral pyre.

� I.e., to haunt you.

� Poenas dare is an expression in Latin = to pay the penalty.

� Note the hysteron proteron.

� dative of direction.

� Gemens is nominative and refers to Aeneas.

� Animum is an accusative of respect. This is also called a Greek accusative.

� Fugae is a dative of purpose.

� Cernas is a potential subjunctive, so you have some flexibilty in translating it: would/might/may/could. The point is, if you were there, “you could/would/might see…”

� The grain

� Obnixae = pushing (deponent)

� Or: “O Dido, what emotion/feeling then did you have beholding such things”

� Amor = cupid

� Quid = aliquid after ne.

� See Pharr’s note.

� personification

� See Pharr’s note on coronas.

� Dido is lying. See Pharr’s note.

� Historical infinitive, as is credere.

� noras = noraveras (syncopated pluperfect): “you had learned” or “you knew”

� i.e., for approaching him. Interesting how Dido and and Aeneas are so concerned about catching them at the most suitable or appropriate times. Why?

� The -re ending is the singular command form of deponent verbs.

� Note the sarcasm.

� Regnum = Italy.

� Often supply the word “how” in english after the verb doceo + an infinitive. Pater me docet cervos venari = Father is teaching me how to hunt deer.

� Dederit is future perfect, not perfect subjunctive. Dido is talking about the future, and the future perfect is used to stress the comnpletion of the action before the next future action: remittam.

� “it” refers to the favor (veniam)

� Pharr suggests that morte could be abl. of means (“with/by means of my death”) or abl. of time when (“at the time of my death”)

� See Pharr’s note.

� Jupiter

� Ipsa: trees are typically feminine.

� Haud secus is an example of litotes, just like haud aliter.

� Take interfusa as a middle: so, translate it actively and ta may have a direct object (genas)

� novsissimus/a/um = last

� The prae- on praeclarus can have an intensive force: thus, “very”

� Supply fuissem.

� synecdoche for ships

� Take impressa as a middle.

� material synecdoche

� Plangores can mean a wails or beating(s) of the breasts

� See Pharr’s note.

� hoc: your death/suicide

� illud: “that” (which you were planning)

� My own suggestion: “to perform this task”

� Deliberative subjunctive

� vocāssēs is syncopated for vocāvissēs. Pharr suggests taking it as an optative without the usual “utinam”: If only/I wish that...

� vocāssēs is syncopated for vocāvissēs. Pharr suggests taking it as an optative without the usual “utinam”: If only/I wish that...

� Pharr suggests taking tulisset as an optative without the usual “utinam”: If only/I wish that...

� ambās: “both” with an understood nos (Didonem et Annam)

� halitus: halitosis is a derivative

� See Pharr’s note on ore legam.

� repertā agrees with luce in an ablative absolute: “with the light having been found”

� resolveret: relative clause showing purpose. We are in secondary sequence, so use the “might” translation.

� I.e., the sun was shining on her.

� iussa: the perfect passive participle from iubeo; agrees with understood nominative “Iris”

� This is implied by the context and by crinem in line 704. Why a lock of hair?