3—
Scenes
Virgil knew from experience that a scene presented dramatically has a stronger
effect than a scene narrated in epic style. He therefore tries to come as near as
possible to composing the separate parts of his narrative as dramatic scenes . I select
for my first example the treaty and its violation in Book 12, a scene which I have
already analysed from a different viewpoint (p. 176f.). As before, we can learn much
by comparing it with Homer. In Homer we watch the whole course of the action
unroll all of a piece. Paris retreats before Menelaus, Hector upbraids him; Paris
himself then suggests the duel; Hector restrains the Trojans from entering the fight,
Agamemnon realizes why and does the same with the Greeks; Hector speaks and
Menelaus answers; the duel is decided upon. Heralds are sent to Ilium and to the
Greek camp. Meanwhile, Helen, driven by Iris, goes onto the ramparts and points
out the Greek heroes to Priam; the herald finds Priam there and the latter goes to the
duelling-place. There oaths are sworn, sacrifices made, Priam returns; preparations
and duel. Aphrodite carries Paris off to Troy, there is a long scene there between her
and Helen, who finally returns to Paris. Meanwhile Menelaus is looking for him on
the battlefield in vain. There follows a long scene on Olympus, resulting in the
abduction of Pandarus by Athena. Menelaus is wounded, there is a long conversa-
tion between him and Agamemnon; the herald enters the camp, delivers his message
to Machaon, returns with him, Menelaus is tended; meanwhile the Trojans are
already advancing to fight, Agamemnon is raising his men's spirits individually. In
Virgil the arrangements have been made the day before; the action begins as day
dawns, as so often in drama. The scene is the plain in front of the city (116); we only
leave this arena once briefly during a break in the action, in order to be present
during Juno's conversation with Juturna (134-60). The characters enter one after
another, so that the audience has time to get to know them; first servants, who erect
turf altars; then the armoured soldiers from both sides; the leaders, clothed in purple
and adorned with gold, rush about; at a given signal, positions are taken up, weapons
are laid down; on the walls and roofs of the city can be seen women, old men and
other non-combatant spectators: everything awaits the main characters. This is
where the above-mentioned break comes. Now, when everything is ready, Latinus
and Turnus, Aeneas and Ascanius enter; with them are the priests; in the case of
these main characters their outward appearance is described, giving a vivid picture
of the scene. There follows the detailed description of the oaths and sacrifices.
Meanwhile, among the Rutulians a feeling of opposition to the duel has already
sprung up; it grows as Turnus approaches the altar praying and showing visible
signs of excitement: here, Juturna intervenes in the shape of Camers; things develop
rapidly until the spear is thrown by Tolumnius and there is turmoil around the altar;
Latinus flees back to the city, Aeneas wants to stay but is wounded and has to be led
back to the camp: now Turnus shouts for chariot and arms, and the regular battle
develops. One could regard the whole narrative as an exact portrayal of a scene as it
would have been acted out in the contemporary Roman theatre, which liked specta-
cular productions: on the stage the one short conversation between Juno and Juturna
would be omitted. A second, very clear example is Aeneas' first meeting with Dido.
The scene is set in Juno's temple in Carthage. Aeneas and Achates enter; they talk
while looking at the pictures. Soon the queen arrives with a splendid retinue; Aeneas
and Achates hide so as to watch the situation unobserved for a time. Dido, sur-
rounded by her guard, takes her place on the throne in the centre of the temple and
delivers commands and judgements. Noise and commotion are heard from outside;
the excited group of Trojan leaders crowds in, surrounded by crowds of Carthagi-
nians; Ilioneus steps forward and speaks with Dido. Scarcely has she expressed her
desire to see Aeneas himself before her when he appears to everyone,, resplendent in
a halo of light. First he addresses the queen with enthusiastic gratitude, then he gives
warm greetings to the companions he had believed lost. Dido recovers from her
323 great amazement and welcomes him and invites him to be her guest; exeunt all in a
merry festive throng (631). All through the Aeneid , at nearly all the high-points of
the action, there are scenes like this which are conceived from the viewpoint of a
dramatist. They are presented using all the means of epic technique, but they retain
as much dramatic effect as possible. I need merely mention the scene by the wooden
horse; the scene at Priam's altar (2.512); the scene before Aeneas leaves Troy
(2.634); the scene at Hector's tumulus (3.304); or at the ara [altar] of Hercules;
Aeneas' arrival at Evander's shore (8.102). Lesser scenes are the meeting of Aeneas
and the Sybil (6.59), the Achaemenides episode (3.588), Aeneas' return to his men
(10.215-75). Finally, I remind you of Virgil's ability to bring the spectators of an
action into the same picture as the protagonists wherever appropriate. We have
discussed this above in connection with the Sinon scene, the boat-race, and the final
duel.