By the end of this lesson, you will be able to identify and analyse key literary techniques in Books 7 & 8, including the second invocation, ekphrasis, catalogue, and aetiology.
Books 7 & 8 mark the transition to the "Iliadic" second half. Virgil signals this with a second invocation to the Muse. The books feature extensive catalogues, elaborate ekphrasis (the Shield), and aetiological storytelling (origins of Roman places and customs).
Book 7 opens with a second invocation to the Muse Erato: "Now I shall tell of greater things" (maior rerum mihi nascitur ordo). This signals the "Iliadic" half—war replacing wandering. The technique marks structural division within the epic.
The invocation claims "greater work" (maius opus). Virgil announces that the war books will match or exceed the first half. This is a bold claim: the Iliad is the war epic. Virgil invites comparison with Homer's battle narrative.
The poet requests Muse inspiration to tell of kings, armies, and deaths. This conventional appeal reminds readers that epic narration requires divine help—the poet channels superhuman knowledge. The fiction of inspiration authorises the narrative.
The invocation previews the second half: Italy in arms, war kindled, kings falling, Etruria and all Hesperia mobilised. This prophetic summary prepares readers for what follows while maintaining suspense about details.
Ekphrasis is detailed description of an artwork within a literary work. The Shield of Aeneas (8.626-731) is the Aeneid's major ekphrasis, describing scenes depicted on the shield Vulcan forges.
The Shield of Achilles (Iliad 18.478-608) is the prototype. Homer's shield shows cosmic scenes: earth, sea, sky, peaceful and warlike cities, harvest, vintage, dance. Virgil transforms this: his shield shows Roman history, not cosmic panorama.
Ekphrasis pauses the narrative for extended description. This creates anticipation (the coming battle is delayed), provides thematic commentary (history illuminates the war's meaning), and displays the poet's virtuosity.
The Shield shows events future to Aeneas but past to Virgil's readers. This creates dramatic irony: readers recognise Actium; Aeneas cannot. The ekphrasis folds together mythic, historical, and contemporary time.
Ekphrasis translates visual art into verbal medium. Virgil creates the illusion of describing pictures while actually narrating stories. The Shield's scenes are not static images but mini-narratives: Apollo "drawing his bow," Cleopatra "fleeing."
The Catalogue of Italian forces (7.641-817) lists warriors and their peoples. This epic convention (cf. Iliad 2) establishes scale and honours participants. Virgil's catalogue treats future-Roman enemies respectfully, complicating simple heroic opposition.
Aetiology explains origins: why things are as they are. Book 8 is rich in aetiology: why the Altar of Hercules exists (Cacus story), why the Salii dance, why the Capitol is sacred. These connect mythic past to contemporary Roman practice.
Juno summoning Allecto (Book 7) exemplifies divine machinery: gods intervening through agents to affect mortal events. This maintains epic convention while allowing psychological complexity—Allecto externalises the furor already latent in Amata and Turnus.
Book 7 (war beginning through divine wrath) contrasts with Book 8 (alliance and divine favour). Allecto's violence versus Evander's hospitality. Turnus's furor versus Aeneas's pietas. The paired books create structural balance.
The Hercules-Cacus story foreshadows Aeneas defeating Turnus: civilising hero destroys chaotic monster. Pallas's introduction foreshadows his death. The Shield foreshadows Rome's triumph. Books 7-8 are dense with future-pointing.