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Bacchae might actually have some truth in the Aeneid: the Theban king claims that they are acting only on the “pretext [they are] bacchantes worshipping” (πρόφασιν µὲν ὡς δὴ µαινάδας θυοσκόους, 224). If simulato is read to mean that Amata is not actually experiencing Bacchanal madness, then she is guilty of what Pentheus claimed in Euripides’s tragedy. In the Bacchae, Dionysus wreaks terrible destruction, but destruction is not his only art. He is capable of terrible things, but he is also the god of wine, known to be the one who banishes grief and brings joy. Allecto, however, is one of the Furies and described as one “to whose heart there are sad wars and insidious anger and harmful judgments” (cui tristia bella / iraeque insidiaeque et crimina noxia cordi, 7.325-6). Her name comes from the Greek “ἄλληκτος” and means “unceasing anger.” 5 When Juno releases Allecto, she specifically mentions her ability to cause interfamilial strife (7.335-37). Thus, Amata is not driven by Bacchus, or even by another regular god: rather, she is poisoned by the Fury Allecto with her “one thousand arts for causing harm” (mille nocendi artes, 7.337), a figure particularly suited for igniting the war that fills the latter books of the Aeneid. 5 Liddell & Scott's Greek-English Lexicon, 7th ed., s.v. “ἄλληκτος.” 46
As a result, Allecto’s involvement promises to result in consequences beyond those seen in the Bacchae. Where Euripides had Dionysus concentrate his wrath for the most part on the individuals who had provoked him, Vergil instead has Juno give Allecto free reign to inflame war between the Trojans and Italians. What was a family conflict in the Bacchae becomes a war reminiscent of civil war in the Aeneid. With this understanding, the line “with the divine will of Bacchus simulated” (simulato numine Bacchi 7.385) and the line immediately after it, “approaching a greater crime and beginning a greater fury” (maius adorta nefas maioremque orsa furorem, 7.386), make sense. Amata’s wicked deed is greater and foreshadows worse things because of the different gods involved and their different goals. Dionysus seeks something that he can certainly achieve in a matter of time: penalty for maligning Semele’s name and acknowledgement for himself as a god. Allecto, however, only causes destruction; Juno, who released her, is prevented by fate from achieving her desire and instead settles for prolonging warfare. There is no end immediately in sight, and Allecto and Juno do not even limit their wrath to the Trojans alone. 47
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PARNASSUS _________________________
Page 4 and 5: Cover art by Allessandra Arduini iv
Page 6 and 7: By Debbie Chu, 2012 ● Folklore an
Page 8 and 9: Editor-in-Chief viii
Page 10 and 11: S.O.V. Michael Dunbar, 2015 _______
Page 12 and 13: A View of Law in Ancient Babylon: A
Page 14 and 15: the rule of law. The indecipherable
Page 16 and 17: exemplify the complex nature of Bab
Page 18 and 19: Bibliography Baikley, Nels M., and
Page 20 and 21: Plato’s Legacy: Whether the Repub
Page 22 and 23: as it not only comes after the Repu
Page 24 and 25: The first is that these dialogues a
Page 26 and 27: presented in “one session of a fe
Page 28 and 29: have labored to see if there is som
Page 30 and 31: theory. In this new metaphysical do
Page 32 and 33: conclusion on the questions raised,
Page 34 and 35: Socratics as well as contemporaries
Page 36 and 37: at hand. In the case at hand the tw
Page 38: Bibliography Brann, Eva. The Music
Page 41 and 42: Euripides’s Bacchae in Aeneid Boo
Page 43 and 44: Pentheus into going out alone to sp
Page 45 and 46: with the “traditionally Dionysiac
Page 47 and 48: covered spears” (pampineas… has
Page 49 and 50: the queen herself, after all, is th
Page 51 and 52: city like a “follower of Bacchus
Page 53: appear and call on him. Juno does n
Page 57 and 58: Aeneid: Vergil himself called the s
Page 59 and 60: Transference of Rage from Juno to A
Page 61 and 62: to pillage her most cherished city,
Page 63 and 64: fury. He is “exiled by fate” (f
Page 65 and 66: Aeneas takes an active role in the
Page 67 and 68: cannot tolerate the idea of the two
Page 69 and 70: establish a city in Latium. Nothing
Page 71 and 72: attlefield, fighting on behalf of T
Page 73 and 74: of Aeneas’ final question, eripia
Page 75 and 76: perflant…ruunt creberque procelli
Page 77 and 78: Bibliography Feeney, D.C. “The Re
Page 79 and 80: Folklore and Superstition in Petron
Page 81 and 82: crossing over the threshold, “one
Page 83 and 84: evident to even the most imprudent
Page 85 and 86: particular laughs “to the point o
Page 87 and 88: crowded city of Rome. Furthermore,
Page 89 and 90: concludes that “others can see wh
Page 91 and 92: she punishes him with either a spel
Page 93 and 94: fire, water was poured under the ta
Page 96 and 97: Bibliography Leverett, R.P. Lexicon
Page 98 and 99: The Complexities of Surviving Under
Page 100 and 101: connotations of the word in a parti
Page 102 and 103: denoting Republican values, it beco
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etween the different uses of virtus
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great states, ignorance of what is
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Likewise, Tacitus uses the word vir
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Tacitus does not use the word virtu
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(Pater illi Iulius Graecinus senato
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ultimately of more help to the stat
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of Rome, and even in Rome itself, i
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Continued reflection on Tacitus’s
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Disordering Freedom: The Relation b
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decline of eloquence, but also of f
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(37.6), by the lack of which both e
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freedom of speech because, it seems
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e moderating his point. His recent
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y pairs, with ensuing comparison of
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mentioned disloyalty and to become
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whatever “new things” (Ann. I.5
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Bibliography Daitz, Stephen. “Tac
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constructed by previous writers and
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the coast of Sicily. Silius makes i
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whereas Silius achieves a similar e
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oth poets whom Rome naturally subsu
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Greece and Rome on the French Stage
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establishes a human’s moral fault
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from the protagonist’s flaws. Suc
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The will of the divine and personal
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Andromaque Racine’s Andromaque, p
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Christian audience than with an anc
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Racine’s, is the relationship bet
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comes from St. Augustine. 12 All of
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leave, what furious looks he gave m
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moment of mercifulness toward Agrip
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duty, I want you to know that, to d
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against both their inclinations”
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of the most important influences on
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Suetonius. Life of Titus. Translate
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