HOW DOES VIRGIL’S AENEID PROVIDE PROPAGANDA FOR AUGUSTUS

HOW DOES VIRGIL’S AENEID PROVIDE PROPAGANDA FOR AUGUSTUS.

In this essay, we will look at how Augustus gained propaganda value from the works of Virgil’s Aeneid. In order to do this, we must firstly discuss, who Virgil and Augustus really where, what their relationship to each other was, what is the Aeneid, and finally how was it useful to Augustus. So firstly we will look at Virgil.

Virgil (who’s real name was Publius Vergilius Maro), was that rare thing, a celebrity in his own time. He was born in Mantua (part of Cisalphine Gaul) in about 70BC. He was educated in Cremona and Rome, but never went to Athens for the then standard Greek philosophy sojourn. Virgil lived in an era of war and civil strife, with Caesar and Pompeii in civil war, riots in Rome, and later the assassination of Julius Caesar (44BC). The later defeat of Brutus and Cassius, the ascendancy of Mark Anthony and Octavian, culminating in the final return of Octavian to Rome in 29BC. By 27BC Octavian became Emperor Augustus. Thus Virgil had lived throughout some 30 years of strife, proscription, famine and forcible expropriation of land.

Virgil probably saw the ascendancy of Augustus as a stabilising influence upon Rome. (Unlike other Roman poets such as Horace who only saw bitterness and despair in the future of Rome), Virgil saw the future of Rome as a glorious progression. With publication of his ‘Eclogues’ and his ‘Georgics’, Virgil soon became an established poet within the Emperors circle. His mentioning of Augustus within the ‘Georgics’ (G.3.44-48), probably under the tutelage of ‘Maecenas’, cemented Virgil’s position as one of favoured poets of choice for Augustus, (Even though it was a ‘Pastoral’ poem).

Virgil himself, was a very patriotic person who believed passionately in Rome and its future as the centre of the known universe. Virgil probably saw the chaotic and shameful period of civil wars were giving place to the enlightened supremacy of one man, divinely chosen, who would restore peace and order to Rome and the world. Thus it was obvious that at some time Virgil would consider an epic poem about the greatness of Augustus. The methods used, however was very skilful in its implementation. Virgil felt he could not just write an epic poem dealing only with the present adventures of Augustus. Virgil felt that the whole poem should begin far back into the mythical era of the Trojan wars, and that the story would move forward into the present, and in doing so would not only praise Augustus, but also the glory of Rome both past and present. It was important that there be a natural progression, with a beginning, middle and an end to the epic poem.

It is important to realise, that poets relied on patronage in order to write, and in Virgil’s case he took some ten years to produce the ‘Aeneid’ (never finally completed), probably living at the expense of the patron throughout. Therefore a friendship between Virgil and Augustus was in fact a mutually beneficial partnership.

Augustus (born 63BC.) was the adopted son of Julius Caesar who faced many a crisis before becoming the ‘Emperor’ with the demise of the ‘Triumvirate’. We will take up his life, after the battle of ‘Actium’ which was the turning event and the means of promotion for OctaviAeneid, This triumph of Augustus secured internal peace and order for the next 100 years. Sellar (1877) says that “The time was right for the establishment of the new empire, with new ideals and goals far removed from those of the previous regimes”. Griffin (1986) points out that “Augustus attached great importance to restoring a healthy moral climate. Also in removing the excesses of the last generation, the scandalous exploitation of the provinces, and the ruthless individualism of private wealth which led Roman generals to march on Rome. Augustus also resisted the spectacular exhibitions of private wealth, the adultery and sexual immorality which seemed to menace the institution of the family”. Despite strong resistance, he persevered with a campaign to make Rome a country with high morals, and did much to make Rome a decent place to live within.

From all of the above, one can assume that Augustus knowing the popularity of the poets of the era, must have realised that poets such as Virgil or Horace could do much to further promote the ideals and works of the Emperor. This begs the question, ‘Who needed who first’. I believe it was a symbiotic relationship born at the right time, in the right place, and for the right reasons.

Glover (1904) says “That Virgil professes himself anxious to write an epic poem in glorification of Augustus’s martial achievements, an object even dearer to Augustus’s heart. Augustus was aware that the Greeks before him often wrote epic poems about their rulers, and he could see no reason why he should be omitted”. In the ‘Georgics’ (G.3.46) Virgil did allude to the wish to do this but changed his mind later on. Griffin (1986) says “That the cleverness of the Aeneid was its setting. Placed a thousand years in the past at the time of the ‘Trojan Wars’. Placing it into the mythical past allowed Virgil to bring Augustus into the poem, both, by explicit passages of prophecy, and also by implicit means-by comparisons and juxtapositions. These would suggest to the audience that the actions and sufferings of ‘Aeneas’ alluded to those of the great leader who now presided over their destinies”. Thus the stage was set for the Aeneid to be written by Virgil as he had planned, and Augustus had hoped for. One feels however that Augustus, although friendly with Virgil, was looking for some kind of gain out of this friendship. The title of the essay suggests the word ‘propaganda’.

Propaganda is defined in this context by Martindale (1997) as “An attempt to convince the subjects, that the ruler is suited to the role, and that to be ruled is for their own good”. Martindale (1997) goes on to say “That what mattered to Augustus was the legitimacy of his rule, and full acceptance by his subjects regardless of order or social strata”. Thus he must have hoped that Virgil, as one of his subjects would in the Aeneid produce an epic poem praising his reign as Emperor.

The religious deification of a ruler was an important foundation stone in Roman history. Therefore any ruler such as Augustus would have to be deified in order to be acceptable to the populace. The imperial and religious ideas of Rome, as embodied in the Aeneid, find their fullest realisation in the position assigned to Augustus. In the Aeneid (6. 801) the Deification of Augustus played a prominent part. Here Augustus was presented to his people as having a beneficial influence over the civilising labours and conquests. The divine energy would diffuse through all living things, and would unite with the human elements in Augustus, as it would in no other man, The Aeneid,4.159 describes the closure of the ‘Gates of Janus’ (Claudentur Belli Portae), which surely portrays an Emperor who has finished with war, and therefore by default heralded a perceived era of peace, a much desired wish amongst the inhabitants of Rome. In the Aeneid,10.112-3. because the Romans where great believers in ‘fate’, and that their future lay in the ‘lap of the gods’. Augustus would need to show this desirable trait. The priestly offices of ‘Pontifex Maximus’ having become inseparably united to the office of the Emperor, is referred to by Virgil many times as the natural fate of Augustus, and refers to this as ‘Fatum’ (or ‘Fata’) The Aeneid,2.695. talks of the ‘Piety’ of ‘Aeneas’ and thus Augustus, who working towards a distant gaol is shown in omens, special revelations, visions, and prophecies. Again it showed the divinity paid to Augustus.

As a leader of a powerful nation, the warrior skills shown by the leader would endear them to their peers. The wish by Augustus to be remembered, as not only a good and just ruler, but also as a great warrior is amply met in the Aeneid. The Aeneid,1.283-5 and Aeneid,6.839-40. tells of the triumphs of Rome over her Greek enemies This is made prominent in the announcement of her future glories. These triumphs set the pace for the natural successors of ‘Aenaes’, which is of course Augustus. In Aeneid,1.289, & Aeneid,1.291-3. The glory announced in the prophecy of Jupiter is that of the establishment by Augustus of a ‘Empire of Peace’, following his warlike triumphs. In Aeneid,8.678. Virgil paints Augustus as a leader of men and a god of Italy against the swarms of the East and her monstrous divinities in (? Seen in the light of the defeat of Anthony and Cleopatra). Earlier in Aeneid,1.287., we see Augustus as “The ruler destined to extend the empire on which ‘the sun never sets’ beyond the Garamantians and Indians,(repeated in Aeneid,6.796.). The Aeneid,8.679 is a reference to the successful battle of ‘Actium’, and obviously paints Augustus as a brave victorious soldier. (Modern classicists however now disagree with this perception of Augustus).

The confidence of the Romans in them selves was intimately connected with their belief in their origin, and that of their Emperor. Martindale (1997) says “That Augustus through the Aeneid might be regarded as the Romulus of the new empire”. In Aeneid,6.793. We see Augustus portrayed as the ‘Restorer of the golden Saturnian age’. Through Aeneid,1.288. we read the best quotation of all, which express Augustus as the natural ruler through a series of legitimate successions, whereby the descendants and the true representative of the mythical author of the Roman states is through the Augustian bloodlines. Sellar (1877) says ”That the connection between ‘Aeneas’ and Augustus is the connection between the means and the end”. And “That the action of ‘Aeneas’ is the first link in a chain of events, which reached from the siege of Troy to the victory of Actium, and the establishment of Emperor Augustus”.

The use of ‘pictorial symbolism’ to describe the honourable exploits of a warrior was a device that portrayed to the populace the power and skill of their Emperor to all others. I personally believe that the greatest use of favourable propaganda useful to Augustus, must be the reference to the ‘Shield of Aenaes’ Of Aeneid,1.291-3. Glover (1904) says “That the glory attributed to Augustus in the ‘Shield of Aenaes’ is that of a great warrior and conqueror. The champion, (unlike his uncle), of the populace against the aristocratic parties of the state, and of the provinces against the ‘Senate’, and against the perceived enemies from the East. He appears as celebrating a great triumph, and dedicating three hundred temples to the gods of Italy in thankful acknowledgement of his victory. The glory announced in the prophecy of Jupiter is that of the establishment by Augustus as an ‘Emperor of Peace”. This is useful propaganda at its very best.

In conclusion, the Aeneid is essentially the epic of ‘national glory’. One must be aware however, that Augustus held immense power within the Roman Empire. Therefore as such would no doubt have survived quite well without any help from Virgil. Classicists seem to rate Augustus as a ‘middleman’, with no original or innovative ideas of his own. Therefore the propaganda value of the ‘Aeneid’ must have been a very valuable asset to Augustus. Another advantage to Augustus of Virgil’s work was that the propaganda would be spread throughout the whole empire. This retelling of the ‘Aeneid’ would propagate to the populace the perceived glories of having Augustus as their Emperor. No doubt Augustus was highly delighted, in fact, upon the death of Virgil, it was Augustus who rescued the ‘Aeneid’ from a possible fiery end.

It is interesting to note that some modern classicists are suggesting that Virgil was really a Republican, or even a pragmatist. Lefevre(1997) argues that Virgil’s ‘Aeneid’ (Book 6.) “Is remarkably full of allusions to a ‘Republican’ point of view”. His chapter ‘Virgil as a Republican’ contains many examples to illustrate his belief. Glover (1904) says “That in the Aeneid, Virgil is really a ‘panegyrist’ of despotism under the delusive disguise of paternal government”.

I feel however that both Virgil and Augustus had a symbiotic relationship. Virgil had not only a ‘patron’ in Augustus, but also the ears of the populace in order to expound his poems. The advantage to Augustus has already been stated beforehand. On a personal note however I cannot see why Virgil (a man of peace, he even refused a gift of land taken in tribute) could really praise a man who throughout his ascendancy was guilty of almost every crime against humanity. I feel he could so easily have kept his ‘Aeneid’ as a fully mythical story, alluding to no one in particular. One must assume that friendship plus paid patronage must have been a stronger draw.

This essay has been very difficult, but having finished it, I can now see the role of the classical poet in ancient times.

REFERENCES.

Glover,T.(1904) Studies in Virgil. (Ed. Arnold,London) P

Griffin,J.(1986) Virgil-Past Master Series.(Oxford Press,London)P

Martindale,C.(1997) Cambridge Comp. To Virgil.(Cambridge Press)P

Sellar,W.(1877) The Roman Poets.(Macmillan,London)P

Stahl,H.(1998) Vergils Aeneid.(Pol. Context)(Duckworth,London) P

Tarrant,R.(1997) Virgils Poetry.(Cambridge Press,Cambridge)P

BIBLIOGRAPHY.

Glover,T. Studies in Virgil. (Ed. Arnold,London,1904.) P

Griffin,J. Virgil-Past Master Series.(Oxford Press,London.1986.)P

Martindale,C. Cambridge Comp. To Virgil.(Cambridge Press.1997.)P

Sellar,W. The Roman Poets.(Macmillan,London.1877.)P

Stahl,H. Vergils Aeneid.(Pol. Context)(Duckworth,London.1998.) P

Tarrant,R. Virgils Poetry.(Cambridge Press,Cambridge.1997.)P