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The Aeneid von Vergil
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The Aeneid (2021. Auflage)

von Vergil (Autor), Sarah Ruden (Übersetzer), Susanna Braund (Einführung)

MitgliederRezensionenBeliebtheitDurchschnittliche BewertungDiskussionen / Diskussionen
19,384177174 (3.9)4 / 569
This classical epic poem tells of the Trojan warrior Aeneas. Departing from Troy after its fall, Aeneas makes a perilous journey towards modern-day Italy. In Italy, he plays a major part in the founding of Rome. As he endures the military and social challenges related to the founding of this great city, Aeneas fights not for himself, but rather for the selfless cause of founding an enduring and influential metropolis.… (mehr)
Titel:The Aeneid
Autoren:Vergil (Autor)
Weitere Autoren:Sarah Ruden (Übersetzer), Susanna Braund (Einführung)
Info:Yale University Press (2021), Edition: Revised and Expanded, 392 pages
Sammlungen:Deine Bibliothek


Aeneis von Virgil

  1. 280
    Die Ilias von Homer (inge87, HollyMS)
  2. 270
    Die Odyssee von Homer (inge87, caflores)
  3. 180
    Die Göttliche Komödie von Dante Alighieri (lisanicholas)
    lisanicholas: Dante, whose poetical muse was Virgil, makes himself the "hero" of this epic journey through not only Hell, but also Purgatory and Heaven -- a journey modeled to a certain extent on Aeneas's visit to the Underworld in the Aeneid. Dante's poem gives an imaginative depiction of the afterlife, which has both similarities and significant contrasts to Virgil's depiction of the pagan conception of what happens to the soul after death, and how that is related to the life that has been lived.… (mehr)
  4. 140
    Die Fahrt der Argonauten. von Apollonius of Rhodes (andejons)
    andejons: Both epics connects to the Iliad and the Odyssey, even if the Argonautica is a prequel of sorts and the Aeneid is a sequel. Also, both Jason and Aeneas as well as Medea and Dido shows similar traits.
  5. 80
    Lavinia von Ursula K. Le Guin (rarm)
  6. 21
    Der Tod des Vergil von Hermann Broch (chrisharpe)
  7. 10
    Voyages and Discoveries: Principal Navigations, Voyages, Traffiques & Discoveries of the English Nation von Richard Hakluyt (KayCliff)
  8. 00
    Black Ships von Jo Graham (sturlington)
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"..Is it that the Gods inspire,
..this fever of the breast?
Or make we gods of but a wild desire?"

So i read the Taylor translation except for a few chapters on audio from Librivox which was the Dryden version. I also looked in every so often on the PoetryinTranslation version because they use classical paintings as illustrations which is pretty cool.
The Taylor translation came with a full set of annotations which were very useful.

The poem overall is a bit awkward, some of that might be the translation but most of it is because Virgil likes to use these elaborate little stories for metaphors and by the time he's finished i often had no idea what point he was trying to make :lol.
Large portions of the story are also fairly redundant and there are various asides to stroke the roman ego. There are also a lot of characters but you never really get to know any of them very well. Most of them being introduced only a few lines before they die ;) .

On the upside many of the battle scenes are good, it really shows the fog of war and costs. Dido, Juno and everyone really, gets a chance to show their side of the issues, its a surprisingly evenhanded tale.
I also like that Aeneas is so average, he's not particularly brave or cowardly, smart or stupid, good or bad he's just in charge because people know his mom, like a slightly less effective Sterling Archer :) .

Anyway not my favourite epic some boredom, some parts of interest. ( )
  wreade1872 | Nov 28, 2021 |
The Aentid comprises 12 large sections, referred to as “books.” In book 1, we meet the Trojan leader Aeneas, son of Prince Anchises and the goddess Venus. Having escaped the final slaughter in Troy, Aeneas and his seafaring band encounter a storm stirred up by the queen of the gods, Juno, to prevent them from reaching Italy. Worried about Aeneas, Venus confronts Jupiter, king of the gods, who reassures her by revealing the future glory of Aeneas’s descendants, the Romans. Venus nonetheless comes to Aeneas’s aid. He and his Trojan companions land near the newfound city of Carthage on the northern coast of Africa. In disguise, Venus advises Aeneas to seek help from Carthage’s queen, Dido. With the help of Venus’s son, Cupid, who also appears in disguise, Dido falls in love with Aeneas. The book ends on a loverstruck Dido asking Aeneas to speak of his travels. ( )
  Marcos_Augusto | Nov 4, 2021 |
Of the Odyssey, Iliad, and Aeneid, The Aeneid is my favorite. It's amazing the difference that a few centuries can make in terms of character and plot development and literary conventions like, you know, not having the gods spoil the plot right before it happens.

Ruden's introduction provides the basic info about how and why Vergil shaped the Aeneid to sort out the founding myths of Rome, praise its (relatively) new Emperor Augustus, and tout the benefits of an empire after the fall of the Roman Republic. In an explanation that gave me flashbacks to my first-semester class on the New Testament, way back in 2008, she explained that Vergil, like many ancient poets, found legitimacy by calling back to respected older works--in this case, the first part of the Aeneid reflects the beats and themes of the Odyssey, while the second part reflects the Iliad. Ruden also prepared me for the incredibly abrupt ending by explaining that Vergil died before he had a chance to finish the Aeneid, and that Augustus saved the unfinished work from the fate requested by the author: burning.

Ruden's translation also has some key elements that I would have sorely liked to see in Wilson's Odyssey and Alexander's Iliad: footnotes! They provided mythological and, sometimes, historical context (I would have liked more of the latter) to some of the many name-dropped families and mythological figures that would have been otherwise just been, well, ancient Greek or Latin to me. I'm a huge fan of footnotes. Gimme gimmie.

Finally, the language. Alexander's Iliad felt very functional, Wilson's Odyssey flowed with the beat of iambic pentameter, but Ruden's Aeneid, to me, seemed to find the best balance between clarity and poetry.

Alas, to my shame I was epic poetry-d out and took a pretty long break in the middle. That loss of momentum has kind of fizzled my enthusiasm for writing a long review. On top of that, I've discovered that some of my past reviews on Goodreads have disappeared. I can't be sure since I didn't receive any warnings or notice from Goodreads, but I suspect that my Quote Roundups--despite my efforts to only quote portions insignificant in comparison to the books as a whole--may have had something to do with it. So I did keep notes, and I'll include them, but again, not feeling particularly inspired to do anything long and involved.

Quote/Thought Round-up

2:310) So apparently Paris died after the Iliad. Why the heck didn't the Trojans just give Helen up and call it a day after that?

2:402) "No one should trust the gods against their will."
No kidding, considering what they get up to.

In general, I find it amusing that Paris got so much flak for being the pretty son of Aphrodite/Venus when Aeneas never gets teased about it.

Chapter 4
Dang, Dido. Dang, Venus.

5:333) Nice to know austere ancient Greeks and Romans liked slapstick and scatalogical humor. Aiyah...

Chapter 6
Aeneas's journey to the underworld was awesome.

7:340-542) "Allecto, steeped in Gorgon poisons, rushed / and lurked there, at the threshold of Amata [Latinus's queen] / ... Dark snakes made up the Fury's hair: she tossed one / to glide - maddening, hellish - through the dress / into the heart, and rattled all the house. / Beneath her clothes it coiled, around her smooth breasts. / She couldn't feel it as it breathed its poison - / her frenzy.
The language of the fury Allecto's spreading poison of hate and war is so well done, not just here but as it spreads to first to other Latins and then to the Trojans. Props to Vergil and to Ruden.

8:314) "The native fauns and nymphs once shared this forest / with many a tribe born out of flinty oak trunks."
Kind of odd to read a once-upon-a-time line in a narrative that still includes nymphs and gods as key characters who interact with mortals.

9:178) Nisus and Euryalus--oh la la.

10:650) "You sailed here seeking land: I'll lay you on it."
The Romans have some killer lines. I mean, they tend to die after saying them, no matter how awesome they supposedly were up to that point in their lives, but still...epic last words even if they'd be better off in the mouths of the person who lives.

11:498-830) They may not have the best, most contemporary feminist storylines, but dang Dido and Camilla are awesome. Camilla's here, riding into war for the Latins. Too bad she was yet another woman warrior virgin sworn to Diana or Turnus might have been happier with her than with Lavinia.

11:891-895) "The very mothers on the walls, who'd witnessed / Camilla's love of country, tried to match her. / In their alarm, they hurled down posts of oak wood / and stakes singed hard in place of iron weapons. / They longed to die first in the town's defense."
I would, too, considering all they said they'd do to conquered cities, both in Latium and in Troy. ( )
  books-n-pickles | Oct 29, 2021 |
The selling point of this translation by Shadi Bartsch is its fidelity to the Latin, so I can't fault it too much for its awkward line-breaks and tendency to stiltedness. Bartsch's halting iambs come alive in lines like "while Turnus dealt relentless death across the plain", but this kind of fluency is never sustained for long. Having said that, it's nice to read a translation where you feel like you know where you are. "Planted" in the text, as Bartsch might say!

As for the poem, this read confirmed me in my Greek vs. Roman affinities. Virgil tries on the epic mantle of the Odyssey (first six books) and Iliad (second six). But he wears it awkwardly due to his desire to write a national epic and the resultant unyielding Romanness. Homer on the other hand is elemental, enjoyably alien. Here, the constant wild animal similes and X-killed-Y-and-was-then-killed-by-Z verses somehow grate in a way they don't in the Iliad. The contradictions between divine intervention and predestination are annoying here, acceptable in the Odyssey.

A matter of taste. But there's no denying that Aeneas is a total dick and impossible to root for. He completely botches the Dido situation resulting in Carthage opposing Rome for all eternity. He's not a complex character, just a blowhard and bully with a taste for human sacrifice, and his bloodthirsty dispatch of Turnus ends the story on an especially distasteful note. It doesn't help that his English epithet "pious" produces a jaunty rhyme that grows ridiculous with repetition. ( )
  yarb | Oct 21, 2021 |
This one, I found, only okay. I came into it hoping to get a bit more depth on the end of the Trojan War, having finished both The Iliad and The Odyssey.

But this just seemed to meander. Lots of fighting, lots of blood and entrails and brain matter. Lots of somewhat hysterical women and angry men. But it felt, at times very much a retread of Homer's Odyssey.

And Aeneas? I'm sorry, but dude's just a bitch. He lost two fights during the Trojan War, and both times, gods saved his ass by whisking him away. Here, he gets new armour and weapons from the gods, and once again, the gods interfere to make him the big prophesied hero he supposedly was destined to be.

In the meantime, he also has a big romantic love affair with Dido, but leaves her, and she basically goes bunny-boiler and piles up his stuff, sets it on fire, then throws herself on top and kills herself.

...okay, maybe he was better off to leave her, on second thought.

And the end just seemed to drag on and on and on, to the point where I literally pulled out my phone to check and see how much time was left on the audio book.

Anyway. That Virgil...he's no Homer, let me tell you. ( )
  TobinElliott | Sep 3, 2021 |
hinzugefügt von AngelsAngladaLibrary | bearbeiten9 País, juny 1978, Maria Àngels Anglada

» Andere Autoren hinzufügen (318 möglich)

AutorennameRolleArt des AutorsWerk?Status
VirgilHauptautoralle Ausgabenbestätigt
Ahl, FrederickÜbersetzerCo-Autoreinige Ausgabenbestätigt
Albini, GiuseppeÜbersetzerCo-Autoreinige Ausgabenbestätigt
Allinson, Anne C. E.HerausgeberCo-Autoreinige Ausgabenbestätigt
Allinson, Francis GreenleafHerausgeberCo-Autoreinige Ausgabenbestätigt
Arnold, EdwinÜbersetzerCo-Autoreinige Ausgabenbestätigt
Aulicino, RobertUmschlaggestalterCo-Autoreinige Ausgabenbestätigt
Ģiezens, AugustsÜbersetzerCo-Autoreinige Ausgabenbestätigt
Bartsch, ShadiÜbersetzerCo-Autoreinige Ausgabenbestätigt
Beck, MarcoCo-Autoreinige Ausgabenbestätigt
Bellès i Sallent, JoanÜbersetzerCo-Autoreinige Ausgabenbestätigt
Bellessort, AndréÜbersetzerCo-Autoreinige Ausgabenbestätigt
Calzecchi Onesti, RosaÜbersetzerCo-Autoreinige Ausgabenbestätigt
Canali, LucaÜbersetzerCo-Autoreinige Ausgabenbestätigt
Cleyn, FrancisIllustratorCo-Autoreinige Ausgabenbestätigt
Conington, JohnÜbersetzerCo-Autoreinige Ausgabenbestätigt
Copley, Frank O.ÜbersetzerCo-Autoreinige Ausgabenbestätigt
Cranch, Christopher PearseÜbersetzerCo-Autoreinige Ausgabenbestätigt
Dickinson, PatricÜbersetzerCo-Autoreinige Ausgabenbestätigt
Dryden, JohnÜbersetzerCo-Autoreinige Ausgabenbestätigt
Durand, René L.F.ÜbersetzerCo-Autoreinige Ausgabenbestätigt
Elers, GunvaldisIllustratorCo-Autoreinige Ausgabenbestätigt
Eliot, Charles WilliamHerausgeberCo-Autoreinige Ausgabenbestätigt
Espinosa Pólit, AurelioÜbersetzerCo-Autoreinige Ausgabenbestätigt
Fagles, RobertÜbersetzerCo-Autoreinige Ausgabenbestätigt
Feldhūns, ĀbramsVorwortCo-Autoreinige Ausgabenbestätigt
Fitzgerald, RobertÜbersetzerCo-Autoreinige Ausgabenbestätigt
Fo, AlessandroÜbersetzerCo-Autoreinige Ausgabenbestätigt
Giannotti, FilomenaMitwirkenderCo-Autoreinige Ausgabenbestätigt
Goelzer, HenriHerausgeberCo-Autoreinige Ausgabenbestätigt
Green, MandyEinführungCo-Autoreinige Ausgabenbestätigt
Hane-Scheltema, M. d'ÜbersetzerCo-Autoreinige Ausgabenbestätigt
Humphries, RolfeÜbersetzerCo-Autoreinige Ausgabenbestätigt
Knight, W. F. JacksonÜbersetzerCo-Autoreinige Ausgabenbestätigt
Knox, BernardEinführungCo-Autoreinige Ausgabenbestätigt
Levi, PeterEinführungCo-Autoreinige Ausgabenbestätigt
Lewis, C. DayÜbersetzerCo-Autoreinige Ausgabenbestätigt
Mandelbaum, AllenÜbersetzerCo-Autoreinige Ausgabenbestätigt
Marzari Chiesa, FrancescoHerausgeberCo-Autoreinige Ausgabenbestätigt
Mussini, CesareHerausgeberCo-Autoreinige Ausgabenbestätigt
Neuffer, LudwigÜbersetzerCo-Autoreinige Ausgabenbestätigt
Oakley, Michael J.ÜbersetzerCo-Autoreinige Ausgabenbestätigt
Oksala, PäivöÜbersetzerCo-Autoreinige Ausgabenbestätigt
Oksala, TeivasÜbersetzerCo-Autoreinige Ausgabenbestätigt
Page, T. E.HerausgeberCo-Autoreinige Ausgabenbestätigt
Palmer, E. H.ÜbersetzerCo-Autoreinige Ausgabenbestätigt
Paratore, E.HerausgeberCo-Autoreinige Ausgabenbestätigt
Pattist, M.J.ÜbersetzerCo-Autoreinige Ausgabenbestätigt
Petrina, CarlottaIllustratorCo-Autoreinige Ausgabenbestätigt
Plankl, WilhelmÜbersetzerCo-Autoreinige Ausgabenbestätigt
Radice, BettyHerausgeberCo-Autoreinige Ausgabenbestätigt
Ravenscroft, ChristopherErzählerCo-Autoreinige Ausgabenbestätigt
Rijser, DavidNachwortCo-Autoreinige Ausgabenbestätigt
Ruden, Dr. SarahÜbersetzerCo-Autoreinige Ausgabenbestätigt
Ruden, SarahÜbersetzerCo-Autoreinige Ausgabenbestätigt
Sabbadini, RemigioHerausgeberCo-Autoreinige Ausgabenbestätigt
Schoonhoven, HenkÜbersetzerCo-Autoreinige Ausgabenbestätigt
Schwartz, M.A.ÜbersetzerCo-Autoreinige Ausgabenbestätigt
Sermonti, VittorioÜbersetzerCo-Autoreinige Ausgabenbestätigt
Sisson, C. H.ÜbersetzerCo-Autoreinige Ausgabenbestätigt
Ungaretti, GiuseppeVorwortCo-Autoreinige Ausgabenbestätigt
Vaňorný, OtmarÜbersetzerCo-Autoreinige Ausgabenbestätigt
Vivaldi, CesareÜbersetzerCo-Autoreinige Ausgabenbestätigt
Vondel, J. van denÜbersetzerCo-Autoreinige Ausgabenbestätigt
Vretska, KarlÜbersetzerCo-Autoreinige Ausgabenbestätigt
Warren, Henry ClarkeÜbersetzerCo-Autoreinige Ausgabenbestätigt
West, DavidÜbersetzerCo-Autoreinige Ausgabenbestätigt

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Wars and man I sing—an exile driven on by Fate, he was the first to flee the coast of Troy, destined to reach Lavinian shores and Italian soil, yet many blows he took on land and sea from the gods above—thanks to cruel Juno's relentless rage—and many losses he bore in battle too, beofe he could found a city, bring his gods to Latium, source of the Latin race, the Alban lords and the high walls of Rome.
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The Aeneid in translation.
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This classical epic poem tells of the Trojan warrior Aeneas. Departing from Troy after its fall, Aeneas makes a perilous journey towards modern-day Italy. In Italy, he plays a major part in the founding of Rome. As he endures the military and social challenges related to the founding of this great city, Aeneas fights not for himself, but rather for the selfless cause of founding an enduring and influential metropolis.

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