The conflict between Jupiter and Juno in the Aeneid is commonly read as a battle between the forces of order and chaos. The present article argues that this schematization, though morally and aesthetically satisfying, fails to account for most of the data. Virgil's Jupiter is in fact concerned solely with power and adulation, despite persistent attempts by readers—and characters in the poem—to see him as benign. By systematically discussing every appearance of Jupiter in the poem, the article seeks to correct (...) the distorted or incomplete views of the god that arise from selective examination. The first section looks at Jupiter's own speeches to illustrate his motivations. The second section demonstrates how these motivations, though frequently misconstrued by the human characters, are confirmed by the glimpses of Jupiter focalized through the omniscient narrator. The third discusses the implications of this portrait of Jupiter for Virgil's vision of Rome and of human happiness. (shrink)

Commentators since antiquity have seen connections between Virgil's Dido and the philosophy of the Garden, and several recent studies have drawn attention to the echoes of Lucretius in the first and fourth books of the Aeneid. This essay proposes that there is an even richer and more extensive Epicurean presence intertwined with the Dido episode. Although Virgilian quotations of Lucretius provide the most obvious references to Epicureanism, too narrow a focus on the traces of the De Rerum Natura obscures important (...) resonances with Virgil's more obvious models: the Odyssey and Apollonius' Argonautica. Reversion to Homer and Apollonius, however, does not dim the Epicurean aura around Dido. Rather: echoes of Nausikaa and other Phaeacian traditions reinforce Dido's links with the Garden. At play here is a widespread ancient tradition of disparaging Epicurus by calling him "the Phaeacian philosopher." But by evoking this tradition, Virgil is not necessarily engaging in a standard polemic against the Epicureans. Instead of foreclosing any particular reading, the intertextual modes of the Aeneid turn various possibilities of interpretation over to the reader. (shrink)