'what Are The Main Elements Highlighted In The Opening Sequence Of The Aeneid?`

The opening sequence of the Aeneid is a multi-symbolic, symmetrical and programmatic introduction into many of the key themes of the whole poem. Whilst the debate surrounding the delineation of the constituent parts of this 'opening sequence' is varied and complex, for the purposes of analyzing the proleptic thematic exposition of the opening sequence in this case, the 'opening sequence' is being defined as from lines 1-296. This section of text contains the most convincingly complete introduction to the overarching significance of characters, both mortal and divine, themes, motivations and tensions between opposing entities, and ultimately, the tone and subtle literary agenda of the poem's social significance. The recurring tension between mortal experience and divine action in the Aeneid is passionately introduced and aspects of this tension are intricately selected in the opening sequence of Book I. Juno's wrath, the 'ira iunionis' is given as an explanation for Aeneas' sufferings, and is the instigating force which drives forward the action in the opening sequence of events- indeed, the actions of Aeolus, and the reactionary behaviors of Neptune, Venus and Jupiter are all presented in a chronological chain reaction of which Juno's unrestrained wrath is the catalyst. A cinematic narrative presentation which 'flips screens' between divine action and conversation, and the consequences on Aeneas and his Trojans almost present the mortal strand of the Aeneid's plot as a subplot to the superior, more powerful divine plot. This is not unrepresentative of the whole poem- arguably, Aeneas' most significant attribute in a literary sense, is his destiny. In the Aeneid, more than any other epic, the most important mortal character can arguably be defined as a mere pawn for Gods or fate. The disparity between divine action and human consequence is provocative and emotive, and Aeneas' humanity is emphatically contrasted with the divinity that dominates the opening sequence. Aeneas' first appearance in the epic is pathetic- in both the sense that pathos is heavily employed by Virgil to evoke sympathy and pity, and also in that the weakness and downtrodden nature of the hero in whom the responsibility of Rome's destiny resides is so unexpectedly bleak, it almost provokes a comic reaction. The psychological vulnerability of Aeneas is (partially) explored in a way that divine psyche is not, the result of this being that Aeneas' multi dimensional humanity causes the audience to disassociate the vulnerable Aeneas with the passion, power and strength of the Gods. This heightened psychologically sophistication is continued throughout the poem, and the conscious battle between desire and destiny continue to add credibility and dimension to Aeneas' character. Otis discusses the tension between 'furor' and 'pietas', and the ways in which these two opposing concepts manifest themselves in both the opening sequence and throughout the poem. Juno and Jupiter are particularly representative of this tension, with the furor in Juno manifesting itself as unrestrained wrath, immoral character and perversion of established order and hierarchy. Aeolus is compelled by Juno to subvert both nature, and undermine a divine superior, Neptune, and therefore too becomes a literary manifestation of furor. The symmetrically symbolic force to this furor is the pietas which manifests itself, first in Neptune's correction of Aeolus' storm, and then in Jupiter's calm and balancing speech where the futility of Juno's furor is revealed. The calming power of pietas in it's various representations- natural and divine, continues to be one of the most important concept in the Aeneid, and underpins much of the destiny and events of the plot. The symmetrically balanced interaction between these two entities is crucial to the subtle implications of the poem as a whole- pietas is the driving force behind the foundation of Rome, and it is critically important that it not only exists, but triumphs over furor in all its various manifestations. Furor and pietas exist not only as thematic categories, but something of divinely powerful forces of reality. In the case of Juno's anger, furor and the rejection of pietas are both consequence and cause of her behavior. Line 12 'urbs antiqua fuit...' begins deeply significant answer to the fundamental question 'why?' in regards to Juno's anger. This in itself is proleptic, as the full explanation to the ways in which furor and pietas caused the destruction of Dido, Carthage and Juno's wishes is presented in Book IV.The establishment of the rivalry between Rome and Carthage, and the Roman superiority made explicit in Jupiter's speech is, interestingly, proleptic in a way that deliberately transcends the realms of the poem. Once again we see how furor and pietas, Jupiter and Juno, Dido and Aeneas are all synonymously symbolic. This approach of mythologizing historical reality successfully endeavors to add a moral and destined explanation to the historically 'conquerors' compared their symmetrically significant 'conquered', and provides socially aware rhetoric to military successes which utilizes and manipulates Roman religious culture. Multi-symbolism and ambiguity in interpreting themes and characters is a consequence of the success and timelessness of the Aeneid as a work of literature. Rome and it's the importance of its elevated destiny isn't presented in a linear and easily comprehensible way by one character, divine or mortal, but instead by the successes of 'pietas representing' characters combined, and the triumph of pietas in social life, war, nature, heaven over furor in these same sphere. Similarly, underpinning Dido, Carthage, Juno with a fundamentally 'anti-Roman' literary implication creates a comprehensible tension between aspects of behavior which are dangerous to a Roman cultural identity, such as unrestrained anger, or later, in the case of Dido, unrestrained passion and desire. Creating multi-dimensional, credible, comprehensible characters that are representative of a life or ideology, which is polar opposite from the Roman ideal, is an extremely effective literary method, which manipulates an audiences mind to arbitrarily categories aspects of life as 'good' or 'bad'. This subtle psychological manipulation, which in itself is representative of a contemporary social reality in Augustan Rome, underpins the agenda of the Aeneid, and is partially responsible for its sociohistorical significance. A similar tool to mythologizing history, is historicizing myth, or as seen in the opening sequence, historicizing nature. The simile seen at 1.148-56 'ac veluti...secundo' is an interesting way of rationalizing a natural phenomenon, in a way which is perhaps more comprehensible to a Roman audience than abstract descri ptions of nature. It has a dual functionality in terms of its proleptic nature- superficially, scholars argue its representation of the historical year 54BC, with the 'virum' representing the calming influence of Cato compared with Cataline, an episode that again presents itself later in Book 8 on the shield of Aeneas. More convincing, though, is the deeper, cognitive level on which the simile functions. Assimilating Neptune's calming influence with the calming influence of ideal Roman social and political behavior displays how pietas presents itself in the social interaction of Romans, and how an outbreak threatens this order with the manifestation of the sinister impulse, furor. Poschl describes the storm of the opening sequence as 'a wave breaking against Roman destiny'. The proleptic significance of the opening sequence is such that it functions outside the literary realms of the poem, instead penetrating the cultural identity and ideology of Augustan Rome. This, ultimately, is the literary representation of both cosmic tension and Augustan patrimony. Juno, is presented as the 'first wave' against this destiny, Carthage as another, and yet the mere existence of the Aeneid proves the futility of furor when compared with the pietas that underpins the foundation of Rome.