Some critics complain that the Aeneid seems as if the theme is less about the deeds of the mortal characters than about the quibble of the gods, who continuously disrupt or manipulate events on Earth. The poet, it seems, gets most this problem by using the God's actions as antipodes to the earth beings. The relationship and respect between and among Anchises, Aeneas and Ascanius is positive and uplifting, while the relationships between and among Jupiter, Saturn and Apollo ar negative. Book I primarily establishes these themes, and in Book II, to a greater extent amplifications of the theme atomic number 18 explored, with the concept of "home" as a place tha
t provides strength. As long as Aeneas and his followers are without a home, they are at the mercy of the gods, the weather, and the inhabitants of the lands they stop at, just as is any(prenominal) wanderer.
Of course, the primary story element of Book II is the Trojan Horse, and we see Aeneas torn between revenge and escape. He wants to plight his father and son with him and flee Troy, but the father won't leave of absence until there is a sign from the Gods. When it comes, and Aeneas escapes, we are left with the riposte of another father-son incident, that of Priam, king of Troy and his son Polites, both of whom are slain by Pyrrhus. Virgil uses the contrast between the young Polites, besides young to resist the cruel Pyrrhus, and the aged Priam, also old to muster the strength he once commanded, in effect, squeeze all of human life. Pyrrhus' cold words "Now endure" (II.737) are considered brilliant by most critics.
When things get too trying with the Goddesses, Aeneas often reflects on his father's spirit and ponders what h
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