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63 Colloquial and Li.. - Ganino.com

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274 stephen j. harrison<br />

of the hexameter. On the other h<strong>and</strong>, the excited questions of lines 9–10<br />

have colloquial elements: hos . . . hos is a vivid <strong>and</strong> colloquial version of<br />

hos . . . illos (see Hofmann–Ricottilli 340), <strong>and</strong> the unusual <strong>and</strong> colourful<br />

phrases arma sequi <strong>and</strong> ferrum lacessere reflect the speaker’s lively feelings.<br />

Venus’ passionate reply urging Aeneas’ case (18–62) is the longest of the<br />

scene’s speeches. <strong>Li</strong>nes 25–30 show its mixed style:<br />

Aeneas ignarus abest. numquamne levari 25<br />

obsidione sines? muris iterum imminet hostis<br />

nascentis Troiae nec non exercitus alter,<br />

atque iterum in Teucros Aetolis surgit ab Arpis<br />

Tydides. equidem credo, mea vulnera restant<br />

et tua progenies mortalia demoror arma. 30<br />

Aeneas is away <strong>and</strong> unaware. Will you never allow them to be relieved from siege?<br />

Once more an enemy with another army threatens the walls of growing Troy, <strong>and</strong><br />

once more there rises against the Trojans the man from Aetolian Arpi, Diomedes.<br />

Yes, I am sure of it, a wounding for me lies ahead, <strong>and</strong> I, your offspring, am a mere<br />

delay to mortal arms.<br />

The <strong>com</strong>pressed <strong>and</strong> terse Aeneas ignarus abest (Chahoud 3) is succeeded by<br />

the indignant rhetorical question <strong>and</strong> exaggeration (Chahoud 1 <strong>and</strong> 4) of<br />

numquamne...sines; on the other h<strong>and</strong>, nascentis seems to be poetic simplex<br />

pro <strong>com</strong>posito for renascentis, a poetic feature, 12 while the artful collocation<br />

of Teucros Aetolis, juxtaposing the traditional hostile pair of Trojans <strong>and</strong><br />

Greeks, 13 <strong>and</strong> the learned epithet Aetolis for Arpis (pointing to the Greek<br />

foundation of the Italian city) are both further poetic devices. <strong>Li</strong>kewise, in<br />

the last two lines we find balancing lexical features: the colloquial equidem<br />

credo (three times in Plautus) is matched by the poetic <strong>and</strong> archaic progenies<br />

(see Harrison 1991: 66).<br />

Juno’s speech also shows high indignation, especially in its dramatic<br />

opening:<br />

quid me alta silentia cogis<br />

rumpere et obductum verbis vulgare dolorem?<br />

Aenean hominum quisquam divumque subegit 65<br />

bella sequi aut hostem regi se inferre Latino?<br />

Italiam petiit fatis auctoribus (esto)<br />

Cass<strong>and</strong>rae impulsus furiis: num linquere castra<br />

hortati sumus aut vitam <strong>com</strong>mittere ventis?<br />

(10.<strong>63</strong>–9)<br />

12 I missed this feature here at Harrison 1991: 65; forpoeticsimplex pro <strong>com</strong>posito in general see the<br />

references collected at Harrison 1991: 68.<br />

13 See n. 10 above.

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