Aeneid

The Aeneid (/ɪˈniːɪd/ ih-NEE-id; Latin: Aeneis [ae̯ˈneːɪs]) is a Latin epic poem that tells the legendary story of Aeneas, a Trojan who fled the fall of Troy and travelled to Italy, where he became the ancestor of the Romans. Written by the Roman poet Virgil between 29 and 19 BC, the Aeneid comprises 9,896 lines in dactylic hexameter. The first six of its twelve books tell the story of Aeneas' wanderings from Troy to Italy, and the latter six tell of the Trojans' ultimately victorious war upon the Latins, under whose name Aeneas and his Trojan followers are destined to be subsumed.

The hero Aeneas was already known to Graeco-Roman legend and myth, having been a character in the Iliad. Virgil took the disconnected tales of Aeneas' wanderings, his vague association with the foundation of Rome, and his description as a personage of no fixed characteristics other than a scrupulous pietas, and fashioned the Aeneid into a compelling founding myth or national epic that tied Rome to the legends of Troy, explained the Punic Wars, glorified traditional Roman virtues, and legitimised the Julio-Claudian dynasty as descendants of the founders, heroes, and gods of Rome and Troy.

The Aeneid is widely regarded as Virgil's masterpiece and one of the greatest works of Latin literature.

Although the definitive story of Aeneas escaping the fallen Troy and finding a new home in Italy, thus eventually becoming the ancestor of the Romans, was codified by Virgil, the myth of Aeneas' post-Troy adventures predates him by centuries. As Greek settlements began to expand starting in the sixth century BC, Greek colonists would often try to connect their new homes, and the native people they found there, to their pre-existing mythology; the Odyssey containing Odysseus's travels in many far away lands already provided such a link. Aeneas's story reflects not just Roman, but rather a combination of various Greek, Etruscan, Latin and Roman elements. Troy provided for a very suitable narrative for the Greek colonists in Magna Graecia and Sicily who wished to link their new homelands with themselves, and the Etruscans, who would have adopted the story of Aeneas in Italy first, and quickly became associated with him.

Greek vases as early as the sixth century BC provide evidence for these early Greek mythological accounts of Aeneas founding a new home in Etruria predating Virgil by a wide margin, and he was known to have been worshipped in Lavinium, the city he founded. The discovery of thirteen large altars in Lavinium indicates early Greek influence, dating to the sixth through fourth century BC. In the following centuries, the Romans would come in contact with Greek colonies, conquer them and subsume the legend of Aeneas into their own mythological narratives. It is most likely that they fully became interested in Greek myths—and their incorporation into their own foundation legends concerning Rome and the Roman people—following the war against King Pyrrhus of Epirus in 280 BC, as Troy offered a way to insert Rome into Greek historical tradition as good as the one it had in the past for Greeks to link themselves to their new lands.

Literary evidence of a pre-Virgil attestation of Aeneas' journey can also be found. A fragment usually attributed to the fifth-century BC logographer Hellanicus of Lesbos' lost History of the Priestesses of Argos states that Rome was founded by Aeneas with the help of Odysseus and named after Rhome, a Trojan woman Aeneas was acquainted with. The attribution of this passage to Hellanicus has been met with some doubt and rejection, but other scholars are less dismissive. Around the fourth century BC, an otherwise unknown Alcimus apparently made Aeneas the father of Romulus by Thyrrenia. Romulus' then grandson Rhomus (Remus) went on to found Rome.

The Aeneid can be divided into halves based on the disparate subject matter of Books 1–6 (Aeneas' journey to Latium in Italy), commonly associated with Homer's Odyssey, and Books 7–12 (the war in Latium), mirroring the Iliad. These two halves are commonly regarded as reflecting Virgil's ambition to rival Homer by treating both the Odyssey's wandering theme and the Iliad's warfare themes. This is, however, a rough correspondence.

Virgil begins his poem with a statement of his theme (Arma virumque cano ..., "Of arms and the man I sing ...") and an invocation to the Muse, falling some seven lines after the poem's inception (Musa, mihi causas memora ..., "O Muse, recount to me the causes ..."). He then explains the reason for the principal conflict in the story: the resentment held by the goddess Juno against the Trojan people. This is consistent with her role throughout the Homeric epics.