By the end of this lesson, you will understand how Virgil portrays different ethnic groups in the Aeneid, recognise the ideological implications of these portrayals, and analyse how ethnic identity relates to Roman identity.
The Specification Requirement
The OCR specification requires understanding of "portrayal of different nations." The Aeneid features Trojans, Italians (Latins, Rutulians, Volscians, Etruscans), Greeks, and Carthaginians. Their characterisation carries political significance for Augustan Rome.
The Trojans are refugees from Asia Minor, driven by fate to Italy. They are portrayed as civilised, pious, and destined for greatnessâbut also exhausted by suffering and occasionally wavering. Their Eastern origin was sometimes used by Rome's enemies to mock them as "Phrygians" (effeminate Asians).
Defending Trojan Honour
Virgil counters the "effeminate Phrygian" stereotype. Aeneas is a warrior of the highest calibre. The Trojans fight bravely. Their pietas (not softness) distinguishes them. When the Italian Numanus mocks them as "twice-conquered Phrygians" in Book 9, young Ascanius kills himâTrojans fight back.
Becoming Roman
The prophecy in Book 12 specifies that Trojans will merge with Italians: "subside into Latins" (subsident Teucri). Trojan identity will disappear into a greater Roman identity. The Aeneid tells the story of Trojans becoming Romansânot remaining separate.
Trojan Values
Key Trojan values: pietas (duty to gods, family, fatherland), fatum (acceptance of destiny), labor (endurance of suffering). These become Roman values. The Trojans model what Romans should be.
The Italian Peoples
Latins
King Latinus represents peaceful, prosperous Italy. He welcomes the Trojans and recognises the prophecy. But he is weakâunable to control his wife Amata or resist the war party. Latin civilisation is ripe but needs Trojan renewal.
Rutulians and Turnus
Turnus embodies Italian martial virtueâbrave, magnificent, fierce. But his anger drives him to furor. He is tragic rather than villainous: defending his country and his betrothed against invaders. Roman readers might sympathise with his cause while recognising its futility.
Volscians and Camilla
Camilla, the virgin warrior, represents Italian wildnessâraised in forests, dedicated to Diana, faster than wind. Her death in Book 11 is mourned. She shows that Italian virtue, though ultimately defeated, deserves honour.
Etruscans
The Etruscans (Tuscans) join Aeneas against their exiled tyrant Mezentius. This aligns them with Trojan virtue. Historical Etruria heavily influenced early Rome; the Aeneid acknowledges this debt.
The Italian Paradox
Italians are the "enemy" but also ancestors of Romans. The Catalogue of Book 7 treats them with honour. Their defeat is not destruction but incorporation. The war is civil war between future countrymenâhence its tragedy.
Greeks and Others
Greeks: Complex Portrait
Greeks destroyed Troy through treachery (the wooden horse). Sinon lied; the Greek kings were cruel. Yet Evander is Greek and virtuous. Greek culture is admired even as Greek treachery is condemned. Anchises says others (Greeks) will excel in artâRomans in empire.
Carthaginians
Carthage is Juno's favourite city, doomed to fight Rome in the Punic Wars. Dido's curse (Book 4) predicts Hannibal. Yet Dido herself is portrayed sympatheticallyâa great queen destroyed by divine manipulation. Carthage represents the road not taken.
Egyptians on the Shield
At Actium (on the shield), Antony leads "Egyptian" forces with "monstrous" animal-headed gods. The East represents chaos opposing Roman order. This reflects Augustan propaganda: Actium as civilisation vs. barbarism.
Ethnic Complexity
The Aeneid doesn't divide the world simply into good and evil nations. Trojans (Eastern) are heroes; Greeks (civilised) are often villains; Italians (the enemy) are honourable. The poem validates Roman cosmopolitanism: Rome absorbs and transcends ethnic differences. What matters is pietas vs. furor, not national origin.