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The Aeneid IV (296-303)

By Virgil

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At regina dolos—-quis fallere possit amantem?
praesensit, motusque excepit prima futuros,
omnia tuta timens. Eadem impia Fama furenti
detulit armari classem cursumque parari.
Saevit inops animi, totamque incensa per urbem
bacchatur, qualis commotis excita sacris
Thyias, ubi audito stimulant trieterica Baccho
orgia, nocturnusque vocat clamore Cithaeron.

But the queen - for who can deceive a lover - detected in advance the tricks
fearing where there was nothing to fear first caught wind
of the movements that were to come; that same infamous rumour
carried down to the frenzied one that the fleet was being equipped and that the course was being prepared.
She rages out of her wits and aflame and raves through the whole city
like a Bacchunt stirred by the shaking of the sacred emblems
when the biennal rites goad her having heard the cry of Bacchus
the nighttime mount Cithaeron calls her with the shouting

Summary of analyses

quis fallere possit amantem

Rhetorical Question:

The interjection of this rhetorical question shows Dido's paranoia, and also separates the tricks ('dolos') from the detection ('praesensit')

praesensit motusque

Spondees:

High frequency of spondees foreshadows future speed of events

Fama furenti

Alliteration:

Rumour ('Fama') is connected to Dido, the frenzied one ('furenti'), illustrating Dido's craze.

armari classem cursumque parari

Chiasmus:

Sudden balanced phrase shows the efficiency and calm of Aeneas, in contrast to Dido's furor

saeuit

Promoted Verb:

Emphasises the immediacy of the raging ('saeuit') of Dido

totamque incensa per urbem

Enclosing Word Order:

Represents Dido's rage throughout the city - her flames are spreading from within the whole ('totamque') city ('urbem')

sacris \ Thyias

Enjambement:

Dido's actions are so chaotic that they spill onto the next line.

vocat clamore Cithaeron

Assonance:

The 'c' sound reflects the sound of the call for Dido to join the festival for Bacchus

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