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her final imprecation that Carthage and Rome will be forever enemies (Aeneid 4.622-
629; Pun. 1.114-119). 99
The task is made easier because Hannibal already hates the Romans. Hamilcar Barca
imbued in his son with hatred for Rome from the moment Hannibal began to speak
(Pun. 1.78). Silius Italicus has no qualms about pre-empting his own text as the vow
dictated to Hannibal by his father is intentionally ahistorical 100 and outlines the salient
features of the first part of the Second Punic War: breaking the Ebro treaty, crossing the
Alps and marching on Rome (Pun. 1.114-119). Later, Hannibal continues the family
tradition in Punica 3 when he echoes Hamilcar‟s words to instruct his wife, Imilce, 101 to
ensure that their infant son swears the same oath at the same altar as Hannibal when he
reaches 9-years of age, should Hannibal be unsuccessful (Pun. 1.61-157; Pun. 3.81-3).
Silius Italicus was free to choose his epic location as Dido‟s shrine. 102 It is
unnecessary and impossible to match the story to local topography, irrespective of the
destruction of Punic Carthage by Scipio Aemilianus in 146. Most traditions are vague
not only about „where‟ but also „to which god‟ Hannibal reputedly swore his oath;
although Hannibal‟s theophoric name is a derivative of Baal this does not necessarily
mean that his oath was sworn at an altar to Baal. Livy does not locate the anecdote in
relation to any particular god, altar or temple in Carthage; Polybius uses the word
Διí�which is usually translated in reference to the Greek god, Zeus, although in this case
it may represent a Greek translation of the Carthaginian god, Baal. 103 Cornelius Nepos
places the scene at an altar to karthagine Iovi optimo maximo which may represent a
99 See Ahl, Davis and Pomeroy, 1986, 2495-7 also n6 speculates that a lacuna in Aeneid 2.567-588 may
have cast Aeneas in a bad light; 2499 for comparison of the relationship between Aeneas and Dido in the
Aeneid 4.338-9 and in the Punica. Feeney, 1982 argues that Dido‟s curse commits the two nations to war.
Also Keith, 2000, 92.
100 Spaltenstein, 1986, 24.
101 Only Silius Italicus gives Hannibal‟s wife a name, divine origins and an infant son (Pun. 1.97; 3.97).
She is sent to Carthage for her own safety; more pragmatically it ensures the loyalty of her father‟s tribe.
Spaltenstein, 1986, 185, and Hoyos, 2008, 31 speculate that both her name and the infant are Silius‟
inventions. Spaltenstein compares the farewell scene between Imilce and Hannibal to that between Hector
and Andromache with their son (Homer, Il. 6.392). Also Bruère, 1952, 219, n1 that Imilce is a created
name (but does not prove that Silius created it); Bruère argues that Silius Italicus models the separation
scene on Curtius‟ account of the siege of Tyre while acknowledging the influence of Lucan‟s scene of
Cornelia‟s departure which, in turn, is derived from Ovid‟s presentation of Ceyx‟ departure from Alcyone
(Met. 11.483). Cf. Fears, 1976, 216.
102 Ahl, Davis and Pomeroy, 1986, 2496 note the parallels between Pun. 1.81-122 and Aen. 1.441-493
which locates Aeneas in Juno‟s Temple in the centre of Carthage.
103 Liddell & Scott, 1994, 185; also Hoyos, 2008, 26. Ahl, Davis and Pomeroy, 1986, 2495 read Polybius
3.12 and Livy 2.1 locating the scene in a Temple of Jupiter.
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