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Definition of Irony
Irony is a literary device or event in which how things seem to be is in fact very different from how they actually are. If this seems like a loose definition... read full definition
Irony is a literary device or event in which how things seem to be is in fact very different from how they actually are. If this... read full definition
Irony is a literary device or event in which how things seem to be is in fact very different from how... read full definition
Book 1
Explanation and Analysis—Cloaked in Cloud:
In Book 1, after Aeneas's ships arrive in Libya, Venus screens Aeneas and Achates in a "dense mist." As they approach the city of Carthage, Venus's "cloak of clouds" ensures that no one can see the two men. This brings about dramatic irony, as the reader follows Aeneas and Achates around the city while none of the other characters are aware of their presence.
Thanks to his invisibility, Aeneas is able to roam around Carthage and share honest reactions to what he sees—reactions to which only Achates and the reader are privy. As he watches the busy Tyrian workers, Aeneas expresses envy at the city's success. The reader also witnesses Aeneas's heartfelt response to a temple that is mid-construction and that depicts scenes from the Trojan War. Reflecting back on the war and realizing that it's "now known throughout the world," Aeneas "[comes] to a halt and [weeps]."
Aeneas's reaction to the temple, which comes early in Book 1, shapes the reader's impression of the character. The scene's underlying dramatic irony plays a role in this early characterization, as Virgil gives the impression that the reader encounters Aeneas at his most sincere. Because of his invisibility, the exiled leader can share his deep-seated emotions in the middle of the busy city without fear of how this might impact his standing with its people or leaders. When Aeneas finds his fears calmed by the "strange sight" of the familiar battle scenes, Virgil displays the character's motivations and desires. Broken down by the war and his resulting exile, Aeneas longs for a safe haven and home.
The dramatic irony produced by Aeneas's invisibility also consolidates the reader's impression of his position among his companions and reputation among the Trojans. As Aeneas gazes upon the temple, a number of his men arrive to declare their peaceful intentions to Dido. Virgil builds suspense as the invisible men anticipate what their companions will say to the queen.
Aeneas, Achates,
both were amazed, both struck with joy and fear.
They yearn to grasp their companions’ hands in haste
but both men are unnerved by the mystery of it all.
So, cloaked in folds of mist, they hide their feelings,
waiting, hoping to see what luck their friends have found.
Having thought the men before him had drowned in the storm, Aeneas is uplifted to see them alive and well. At the same time, he doesn't know what they might say to the queen. Without knowing that Aeneas is right there with him, one of the men delivers a speech about their struggles and about their great king: "none more just, none more devoted to duty, none more brave in arms." Once again, the dramatic irony contributes to Aeneas's expositional characterization. Even when they think he's dead, his companions sing his praises. Throughout the poem, Virgil emphasizes Aeneas's piety and devotion. The dramatic irony of this early scene reveals that his friends are devoted to him in return.
Related Themes:
Book 7
Explanation and Analysis—Aeneas's Innocence:
Because the narrator knows more about the events shaping Aeneas's life than Aeneas and his companions do, The Aeneid contains an underlying sense of dramatic irony. This asymmetry creates suspense for the reader, as the main character consistently lacks crucial details about what's happening and what's about to happen. Additionally, the dramatic irony has the effect of characterizing Aeneas as innocent, since he doesn't always know what the effects of his actions are.
Although Aeneas knows more about his personal fate than many mortals, he still lacks information that the narrator, immortal characters, and readers are in on. An example of this can be found at the start of Book 5, when Aeneas looks back on Carthage and innocently asks, "What could light such a conflagration?" After the detailed account of the lead-up to Dido's suicide at the end of Book 4, the reader is well aware of why Carthage is "set aglow" as the Trojans sail away. On the other hand, one could argue that Aeneas does know the answer, and that the question is merely rhetorical, given that the narrator immediately responds with the following reflection: "A mystery—but the Trojans know the pains of a great love defiled, and the lengths a woman driven mad can go, and it leads their hearts down ways of grim foreboding." In either case, Aeneas does not know with certainty what has caused the fire, and he's able to sail on without taking responsibility for his complicity in Dido's tragic death.
When the Trojans first approach King Latinus in Book 7, the reader is presented with another instance featuring dramatic irony:
[...]
now all we ask is a modest resting place
for our fathers’ gods, safe haven on your shores,
water, and fresh air that’s free for all to breathe.
We will never shame your kingdom, nor will your fame
be treated lightly, no, our thanks for your kind work
will never die. Nor will Italy once regret
embracing Troy in her heart.
Although the Trojan delegation that presents itself to King Latinus seems sincere in this message, the reader knows that several of these promises won't be kept. To begin with, the Trojans do not merely seek a "modest resting place"—Aeneas seeks to establish a great new kingdom for his descendants. Moreover, the reader has repeatedly been told that Aeneas, before he establishes his new home in Italy, will fight a brutal war. Contrary to the delegation's promises, the reader has reason to believe that Italy will regret embracing the Trojans. However, as with Dido's death, Aeneas and the Trojans are able to retain their well-meaning sincerity. It's merely a result of dramatic irony that the reader has a sense that the delegations' promises are untenable. Because Aeneas is kept in the dark about certain details of his fate, Virgil ensures that Aeneas's intentions remain innocent—even as his actions spark conflict and disaster.
At the end of Book 8, when Venus presents Aeneas with his new shield, Virgil again underlines the hero's unknowing innocence:
[...] He fills with wonder—
he knows nothing of these events but takes delight
in their likeness, lifting onto his shoulders now
the fame and fates of all his children’s children.
Before this passage, Virgil dedicates over a hundred lines to describing key scenes from Roman history that are depicted on the shield. The shield thus becomes a physical manifestation of the asymmetry between the reader and the main character. While Aeneas has a limited idea of his fate, Virgil ensures that the reader is aware of the greatness he and his descendants will bring.
Related Themes:
Book 8
Explanation and Analysis—Aeneas's Innocence:
Because the narrator knows more about the events shaping Aeneas's life than Aeneas and his companions do, The Aeneid contains an underlying sense of dramatic irony. This asymmetry creates suspense for the reader, as the main character consistently lacks crucial details about what's happening and what's about to happen. Additionally, the dramatic irony has the effect of characterizing Aeneas as innocent, since he doesn't always know what the effects of his actions are.
Although Aeneas knows more about his personal fate than many mortals, he still lacks information that the narrator, immortal characters, and readers are in on. An example of this can be found at the start of Book 5, when Aeneas looks back on Carthage and innocently asks, "What could light such a conflagration?" After the detailed account of the lead-up to Dido's suicide at the end of Book 4, the reader is well aware of why Carthage is "set aglow" as the Trojans sail away. On the other hand, one could argue that Aeneas does know the answer, and that the question is merely rhetorical, given that the narrator immediately responds with the following reflection: "A mystery—but the Trojans know the pains of a great love defiled, and the lengths a woman driven mad can go, and it leads their hearts down ways of grim foreboding." In either case, Aeneas does not know with certainty what has caused the fire, and he's able to sail on without taking responsibility for his complicity in Dido's tragic death.
When the Trojans first approach King Latinus in Book 7, the reader is presented with another instance featuring dramatic irony:
[...]
now all we ask is a modest resting place
for our fathers’ gods, safe haven on your shores,
water, and fresh air that’s free for all to breathe.
We will never shame your kingdom, nor will your fame
be treated lightly, no, our thanks for your kind work
will never die. Nor will Italy once regret
embracing Troy in her heart.
Although the Trojan delegation that presents itself to King Latinus seems sincere in this message, the reader knows that several of these promises won't be kept. To begin with, the Trojans do not merely seek a "modest resting place"—Aeneas seeks to establish a great new kingdom for his descendants. Moreover, the reader has repeatedly been told that Aeneas, before he establishes his new home in Italy, will fight a brutal war. Contrary to the delegation's promises, the reader has reason to believe that Italy will regret embracing the Trojans. However, as with Dido's death, Aeneas and the Trojans are able to retain their well-meaning sincerity. It's merely a result of dramatic irony that the reader has a sense that the delegations' promises are untenable. Because Aeneas is kept in the dark about certain details of his fate, Virgil ensures that Aeneas's intentions remain innocent—even as his actions spark conflict and disaster.
At the end of Book 8, when Venus presents Aeneas with his new shield, Virgil again underlines the hero's unknowing innocence:
[...] He fills with wonder—
he knows nothing of these events but takes delight
in their likeness, lifting onto his shoulders now
the fame and fates of all his children’s children.
Before this passage, Virgil dedicates over a hundred lines to describing key scenes from Roman history that are depicted on the shield. The shield thus becomes a physical manifestation of the asymmetry between the reader and the main character. While Aeneas has a limited idea of his fate, Virgil ensures that the reader is aware of the greatness he and his descendants will bring.
Related Themes:
