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)

The magnificence of Augustan Rome is the indispensable setting for Ovid the urbane love poet, rusticitas is the one unforgivable sin. Yet in Ovid's perpetuum carmen cities are for the most part invisible, at best incidental backdrops; the countryside, present in many vividly drawn landscapes, constantly thrusts itself on our attention, a place where mysterious powers menace the individual's identity. This neglect of the city makes a striking, and deliberate, contrast with the Aeneid, a ktistic epic whose meaning is governed (...) by constant reference forward to the ‘altae moenia Romae’. Ovid, whose main epic time-scale does include the foundation of Rome, devotes five words to the making of those walls. The one major exception to this indifference to the central theme of Virgilian epic is the Theban episode in Metamorphoses 3.1–4.603. The story of Cadmus and his family forms a self-contained unit within the flux of Ovid's epic of transformation. It tells of a ktisis that goes wrong: Cadmus obeys Apollo's injunction to found a city , but in the end the exile who had founded a new home is driven into a second exile: ‘exit | conditor urbe sua’. (shrink)

The magnificence of Augustan Rome is the indispensable setting for Ovid the urbane love poet,rusticitasis the one unforgivable sin. Yet in Ovid'sperpetuum carmencities are for the most part invisible, at best incidental backdrops; the countryside, present in many vividly drawn landscapes, constantly thrusts itself on our attention, a place where mysterious powers menace the individual's identity. This neglect of the city makes a striking, and deliberate, contrast with theAeneid, a ktistic epic whose meaning is governed by constant reference forward to (...) the ‘altae moenia Romae’. Ovid, whose main epic time-scale does include the foundation of Rome, devotes five words to the making of those walls. The one major exception to this indifference to the central theme of Virgilian epic is the Theban episode inMetamorphoses3.1–4.603. The story of Cadmus and his family forms a self-contained unit within the flux of Ovid's epic of transformation. It tells of aktisisthat goes wrong: Cadmus obeys Apollo's injunction to found a city (3.13 ‘moenia fac condas’), but in the end the exile who had founded a new home is driven into a second exile: ‘exit | conditor urbe sua’ (4.565f.). (shrink)