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The Principals: The Amended as Augustan Propaganda The ascension of Augustus to supreme power in 31 BC signaled a distinctive break in Roman political history, from republic to monarchy, albeit veiled in apparent conservatism. The creation of an official Julia mythology served to legitimate Augustus and his dynasty; on the insistence of Augustus, Virgil wrote the Amended to demonstrate the mythological foundations of the Julia line, and how the future of Rome, and consequently the reign of Augustus, were predestined by the gods.
This propaganda program, prevalent in the Amended, became manifest in Augustan architecture, illustrating the Index’s importance as a medium of propaganda. The character of Names, distinguished by pietas, the description of Names’ shield, his divine origin, and the parade of heroes all serve as examples of Augustan propaganda, and highlight Augustus’ use of Roman tradition in his political program; with the acceptance of his title in 27 BC, Augustus had altered Roman government, but had done so through restoration, rather than revolution, and in order to succeed, he relied on the incorporation of the moms moratorium into his own cult mythology.
Names, sign pietas virus, served as an ancient “Augustus”, an exemplar of morality and duty to the state and gods. Augustus had fought the civil wars to avenge the death of his beloved Caesar, his adopted stepfather, which in itself showed further devotion to dives Illus. In this way, AUgUStUS acted as a new Names who saved his father and consequently, the Roman state. L In this light, Augustus saves Rome in the same way Names saved Machines, lulus, and the pennants from the burning citadel of Troy.
The appearance of piety and morality was important to Augustus; his program of a restored republic relied upon the religious devotion of Roman menservants, and further promoted his reign as divinely inspired, descended from holy Venus Generate. The values of noble heroism, moral elevation, and Roman nationalism, enshrined in Names, would connect to the image of Augustus. 2 Augustus, marked by the same pietas as the poem’s hero, becomes a second Names, handpicked by the heavens as Romeos chosen leader and Names’ heir . Names, upon his encounter with Dido in Book 1, is introduced as a Pious rexes, written “rexes errata Names knobs, quo usurious alter neck pietas fit; in this way, Virgil is promoted the image of Augustus, linking him wrought their genealogy, and imparting the virtue of piety onto the empower. 4 The piety of Names also alludes to his military power. An aspect of pietas is duty to the state and family, so during Names’ flight from Troy, he wears a lion’s skin, reminiscent of Hercules, the great warrior. In this way, his pietas brings him courage to defend his family and leave Troy. This example of pietas, a common theme in the Amended, when linked with Augustus, demonstrates an element of propaganda in the poem; Augustus, the pious Impersonator, fights to defend Rome and her traditions and gods, displaying his etas, which stresses his role as a second Names. The characteristic pietas of Names designates his role as leader and eventual founder of Rome, and this depiction in the Amended emerges as another example of propaganda.
Names is destined to rule Ultimatum and “re-found” Troy, and within the poem, there is a prophecy of Augustan power; Lines 278-279, in Book 1, “his ego neck metals rerun neck tempore upon: emporium sine fine EDI” compounded with lines 286-287, “Nascence pulsar Traitorous origins Caesar, emporium Ocean”, would resonate with a Roman audience, filling their mind’s with images of lordlier Augustus, the Roman savior, destined by the heavens. In this way, the Battle of Actinium in 31 BC which solidified Augustan rule, it was a struggle for Roman institutions and moms, “to save the Roman world from a frontal assault on its gods, its ideals, its moral fabric”. 7 This singular event, so important to the Roman audience, is illustrated by Virgil in Book 8, as a symbolic vision inscribed upon Names’ shield, forged by Vulcan. Augustus is explicitly mentioned in the description, on the bow of his ship leading the senate and people of Rome to battle; “hint Augustus agene Italics in profile
Caesar UCM patriots populous”. 8 Virgil then describes Augustus with the pennants, referencing Names and his duty to the gods, while further promoting the traditions of Rome, which were central in the emperors “restored” republic. He is also shown with the sides above his head, connecting Augustus to his divine father, who was thought to have entered heaven as the sides Illus. Augustus, through Virgin’s illustration, is seen as the savior of Rome, akin to the role of Names as savior of the last Trojan and founder of their new land, Ultimatum.
The shield also describes the battle, with Eric gods joining into the fray; Mars, Abalone, Discord, and the Furies cause destruction and havoc on the battlefield-9 This parallels the prophecy Of Jupiter in Book 1 , functioning to portray Augustus as bringer of peace, and institute the Fax Roman. Virgil wrote, “Spear Tums posits enticements causal bellies”. L O The line distinctively implies the victory at Actinium, which was seen as a battle of East versus West, of debauchery and civility; “You, no longer anxious, will receive him one day in heaven, burdened with Eastern spoils”. 1 The prophecy goes on to explain the closing of the doors of Janis, which Augustus shut in 29 BC, thereby signaling peace throughout the empire on land and sea. Virgil illustrates “dirge offer et compassing artists calculated Belle portal”. 12 These images, upon Names’ shield, serve as propagandistic messages to the Roman audience; Romeos ancient founder, whose descendents begat Romulus, enters battle with the images of his illustrious family, Romeos greatest, and invokes his own role as Trojan savior in the metaphor Of Augustus.
Virgil recorded, ‘Italian per clipped Volcanic, Dona parents, Miramar rummage iguanas imagine gauged telltales mummer female et fat nepotism”. 3 The continuous mention of Names’ divine origin in the Amended further stresses the divine connections of Augustus, and work as another element of propaganda in the epic. Venus is the mother of Names, as well as the Julia clan, and Rhea Silvia, a descendent of Names, is raped by Mars, and bears the twins Romulus and Reams. This association with Romulus, reinforced by Augustus’ heritage with Venus, further promoted the emperor’s image, and increased his public perception of morality and piety. 4 Augustus’ reverence for the divine also functions within the Amended as an element of propaganda. Augustus dedicated a new temple to Apollo as n offering after the victory at Actinium in 28 BC. In the Amended, Book 6, Names performs a similar action when he builds a temple to the Sibyl at Cumae in order to fulfill a vow; “Tums Phoebe et Trivial solid De marmoreal temple institute festoon’s dies De nominee Phoebe. Tee queue magna anent reigns penetrable nostril”. 1 5 This demonstrates how the message in the Amended, which was meant to represent Augustus, transferred into the physical, urban environment of Rome itself.
This propaganda conveyance occurs In an agate ring stone from the late thirties BC; it depicts Augustus as Neptune, riding the eaves over his enemy’s head. 16 This image is metaphorically reflected as propaganda in the Amended, after Neptune calms the storm thrashing Names and his fleet. In this way, Augustus is the god Neptune, bringing calm to a Roman state shattered by civil war-1 7 Another important transference from the Index’s propaganda is found in the exceed on the Temple of Mars Ulterior.
Using the characters and themes found in the Amended, Augustus filled the north-western extra with Names, the Albany Kings, and the Julia, the south- eastern with Romulus and summit virgin. The statue of Names illustrated his light from Troy, with ancient Machines, gripping the pennants, seated on his shoulder, while leading Causing from the burning city; juxtaposed with Romulus as triumphal, the figures represented the glory of traditional Rome, and together exemplified Augustus as paragon Of both their virtues. 8 This image of Pious Names, coupled with the son of Mars, is propaganda, in that the epic promoted the values of both figures, while connecting them to Augustus; Virgin’s propaganda then affected the Augustan building program, depicting the ideal figures with their Amended characteristics, which reflected the values Augustus purported himself. The AR paces, another propagandistic construction meant to glorify the Julia and Augustan peace, depicts a scene from the Amended, further demonstrating this conveyance from text to reality, from Virgin’s message into a tangible sign.