Line 2 Themes profugus * ** *** The theme of exile figures in Eclogues 1 and 9, the two poems dealing with Octavian's policy of land expropriation. Jarring in the tranquil world of pastoral, the theme's presence in the opening of the Aeneid is more easily explained. The motif of wandering has precedent in the Odyssey and in the Aeneas myths. Exile, however, is a more particularized motif and here retains the disturbing associations it gathers in the Eclogues. Critics who accept the notion of a prominent authorial persona in this proem may also read the word profugus as a gesture to Vergil's early work, and a signal that Vergil is continuing to treat familiar themes. xxxxx Line 8 Themes memora * ** *** Memory and poetry are a particularly important pair of themes in the Eclogues. This is especially so in the ninth poem, where herdsmen-poets try to remember their old songs while under the threat of exile from the country. xxxxx Line 10 Themes labores * labor is a major theme of the Aeneid. Like many other themes of the poem, it had already occupied Vergil's attention throughout his earlier career. The Eclogues profess to be a work about pastoral leisure (otium) and in the Georgics the poet applies his leisure time to writing about agricultural work (labor). Now in the Aeneid labor will take on new meaning when used to describe Aeneas' heroic toils. ** *** As in the case of profugus (1.2), labor (10) can be better appreciated through consideration of its connotations elsewhere in Vergil . xxxxx Line 71 Sources praestanti corpore nymphae * ** *** The phrase praestanti corpore appears on four other occasions in Vergil, always in the same metrical sedes. Cf. Georgics 4.538 and 550, describing bulls to be chosen for sacrifice by Aristaeus:

quattuor eximios praestanti corpore tauros

Aeneid 7.785, of Turnus at the end of the catalogue of Italian heroes:

Ipse inter primos praestanti corpore Turnus

and finally Aeneid 8.207, of the bulls Cacus steals from Hercules:

quattuor a stabulis praestanti corpore tauros

The associations that the phrase acquires through repetition color the tone of each passage. If the reader is familiar with the Georgics passage, the epithet has accumulated some significance as a manner in which to describe rich offerings and sacrificial animals in particular; Juno's use of it to describe her bribe to Aeolus could borrow some of that meaning. The imminent death of Turnus at the close of the Aeneid makes the borrowed epithet appropriate and ominous. The final occurrence of the phrase reinforces its original associations with beasts. For the reader who seeks significance in the more subtle examples of Vergilian intertextuality, such a progression displays Vergil's skill in evoking meaningful connections. xxxxx Line 80 Sources tempestatumque potentem * ** *** The phrase tempestatumque potens is repeated from Georgics 1.27, where it refers to Octavian:

te maximus orbis
auctorem frugum tempestatumque potentem
accipiat

and to the gods (in Aeneas' words) at Aeneid 3.528:

di maris et terrae tempestatumque potentes

Having first used the epithet to describe Octavian, Vergil applies it to gods alone in the Aeneid. xxxxx Line 94 Themes talia * ** *** Aeneas' despair here recalls that of Aristaeus in Georgics 4.317 ff. The hero of the Georgics wishes his land to be destroyed because he could not his hive of bees; his mother gives him instructions on how to create a new one. Although this episode is followed by the story of Orpheus and Eurydice, it reinforces the prevalent theme of death and rebirth and, according to many critics, gives an optimistic tone to the end of the poem. In this correspondence, then, might lie the suggestion that Aeneas will be able to save his people, if at great cost. xxxxx Line 105 Sources insequitur cumulos * ** *** Cf. a similar half-line Georgics 1.105:

quid dicam iacto qui semine comminus arva
insequitur cumulosque ruit male pinguis harenae

The Georgics passage describes a farmer sowing and watering his fields in hopes of a good crop in spite of poor soil and scorching heat. The rather violent description of agricultural activity there is borrowed for the description of the storm in Aeneid 1. The transferral of an image from one genre to another in Vergil raises questions about similes and their primary contexts.

Another feature of this particular repetition, which is also related to the issue of genre, is the fact that both occurrences of the phrase come at line 105 in the first book of each poem. This is the sort of event that interests scholars concerned with Alexandrian features of Vergil's epic. The phenomenon can be compared to the appearance of the word Euphrates in the sixth to the last line of Callimachus' Hymn to Apollo, Georgics 1 and 4, and Aeneid 8 (Scodel and Thomas). Alexandrian poets delighted in such subtle games, and Vergil seems to many critics to have followed their example even in his epic poem. xxxxx Line 127 Sources caput * ** *** Cf. a similar image in Tityrus' awed description of Rome at Eclogues 1.24,

verum haec tantum alias caput extulit urbes

the story of the appearance of the human species at Georgics 2.341,

virumque
terrea progenies duris caput extulit arvis

and the nymph Arethusa's emergence from the sea at Georgics 4.352:

ante alias Arethusa sorores
prospiciens summa flavum caput extulit unda

where the line differs from the Aeneid line by only one word, flavum.

As in all cases of repetition, it is worth noting the associations that the phrase accumulates through repetitionin various contexts in the Vergilian corpus. Curiously, in this case the first instance refers to a metaphorical "head", while the rest are literal. If the reader retains the memory of the first, metaphorical usage, perhaps the later scenes seem more grand. xxxxx Line 161 Sources inque * ** *** Cf. the description of this retreat to Georgics 4.420:blockquote> est specus ingens
exesi latere in montis, quo plurima vento
cogitur inque sinus scindit sese unda reductosVergil has borrowed from his own description of Proteus' cave in the Georgics to paint the landscape that Aeneas and the Trojans now enter. The next line in the Georgics passage is

deprensis olim statio tutissima nautis

perhaps hinting at what is to come in Aeneid 1

In considering Vergil's "re-use" of a landscape developed earlier, we may wonder whether the poet kept particular images in his mind to draw on as blueprints for scenes; a comparable instance is in the descriptions of temples at Georgics 3.13-39 and Aeneid 1.446-493. Vergil seems to borrow from his own similes, descriptions of characters, and pieces of narrative; the issue of imagined landscapes ought to be considered along with these more common phenomena. xxxxx Line 200 Themes Scyllaeam * ** *** Cf. other appearances of Scylla at Eclogues 6.74, Georgics 1.405. xxxxx Line 259 Themes ad sidera * ** *** Cf. similar expressions, with the phrase ad sidera in the same metrical sedes at Eclogues 5.43, on Daphnis:

Daphnis ego in silvis, hinc usque ad sidera notus

Eclogues 9.29, Menalcas' song to Varus:

Vare, tuum nomen, superet modo Mantua nobis,
Mantua vae miserae nimium vicina Cremonae,
cantantes sublime ferent ad sidera cycni

and Georgics 4.58, on the emergence of a new swarm of bees:
hinc ubi iam emissum caveis ad sidera caeli
nare per aestatem liquidam suspexeris agmen
Three of the four usages, then, describe the fame of men; all can be seen as alluding to immortality (Vergil calls the bees' community a genus immortale, Georgics 4.208 because of its constant regeneration). Since the Daphnis of the Eclogues is commonly associated with Julius Caesar, the first and last instances of ad sidera provide a nice frame, drawing a strong connection between Caesar and Aeneas. The reference to the stars is especially significant, as the appearance of a comet after Julius Caesar's death in 44 B.C. was thought to signal his apotheosis. The uses of the phrase in the Eclogues and Georgics could be seen as Vergil's practice for its grand and prophetic use in Jove's speech here. xxxxx Line 286 Themes Caesar * ** *** Although the identity of the Caesar referred to here is disputed, the passage resembles praises of Octavian in the Georgics. The Georgics do compliment Octavian on his Eastern conquests (see 2.171, 4.560, and the proem to Book 3).
The picture of Rome's glorious future painted by Jupiter combines praises of Caesar familiar from the Georgics with negative images of the violence he subdues. In the earlier poem Caesar's civilizing virtues are emphasized (1.42, 3.27, 3.47, 4.562) in contrast to the furor of war. A.J. Boyle (Chaonian Dove 86-89.) considers this contrast part of Vergil's illustration of Augustan ideology. xxxxx Line 337 Themes coturno * ** *** Venus wears hunting boots of the sort referred to in Eclogues 7.32, where Corydon promises a statue to Diana if he should win the singing contest:
                levi de marmore tota
puniceo stabis suras evincta coturno.
Interestingly, in the Eclogues, Diana's boots will be punicei the color of the boots recalls the Punic girls (like the disguised Venus in the Aeneid) who wear them. xxxxx Line 354 modis pallida miris Sources * ** *** Vergil favors the phrase pallida or pallentia modis miris in descriptions of the dead and dying: cf. Georgics 1.477 (on the spirits that appeared at the time around Julius Caesar's death) and Aeneid 10.822 (on the dying Pallas).
The expression is borrowed from Lucretius, who gives the phrase pallentia modis moris its associations with ghosts (De Rerum Natura 1.123. The phrase modis miris on its own also appears frequently in both Lucretius and Vergil. Vergil's fondness of the phrase raises questions about his views on Lucretius' work, as Lucretius' describes mystical phenomena with skepticism. Has Vergil appropriated this element of the description to give his own images a mystical quality, ignoring Lucretius' warnings that such images are not real, or does Lucretius' use of the phrase influence Vergil's descriptions? xxxxx Line 372 Sources prima repetens ab origine * ** *** Cf the same phrase at Georgics 4.286, introducing the story of the bougonia, the miraculous rebirth of bees from a dead bullock:
                         altius omnen
expediam prima repetens ab origine famam.
The fact that Vergil puts in Aeneas' mouth the sort of preamble used by the narrator of the Georgics calls attention to Aeneas' role here as a sort of bard. This role will be formally given him in Books 2 and 3 as he tells the story of his adventures to Dido's court. xxxxx Line 407 Sources crudelis tu quoque * ** *** In portraying Aeneas' frustration that his mother has concealed her identity from him, Vergil has him utter a phrase from Eclogues 8.47-50:
saevus Amor docuit natorum sangine matrem
commaculare manus; crudelis tu quoque, mater:
crudelis mater magis, an puer improbus ille?
improbus ille puer; crudelis tu quoque, mater.
The Aeneid phrase is borrowed from a passage in which the identity of the mater is not entirely clear; Servius understood the phrase to refer to Medea, the mother who killed her children, but commentators since then have been tempted to see it as referring to Venus, the mother of saevus Amor. Now that Vergil has borrowed the phrase, does he make clear who its original addressee was? The ambiguity of the mother's identity in the Eclogues is lessened, one might conclude, by Aeneas' use of the phrase to address Venus.
Aeneas' speech does not require the conjunction quoque but includes it nevertheless, drawing additional attention to the allusion as a real "quotation." Interestingly, Aeneas does leaves out the subsequent word from the Eclogues passage, mater, despite the fact that he is addressing his mother. xxxxx Lines 430 Sources apes * ** *** Cf. Georgics 4.162-9 on the hive of bees:            aliae spem gentis adultos
educunt fetus; aliae purissima mella
stipant et liquido distendunt nectare cellas.
Sunt, quibus ad portas cecidit custodia sorti
inque vicem speculantur aquas et nubila caeli,
aut onera accipiunt venientum, aut agmine facto
ignavum fucos pecus a praesepibus arcent:
fervit opus redolentque thymo fraglantia mella
.The Aeneid passage is the lengthiest repetition in the Vergilian corpus. Critics recognize that the ideal community of the bees described in the Georgics is now realized in human society at Carthage.
Briggs (Narrative and Simile evaluates the significance of passages from the Georgics that appear as similes in the Aeneid. On the bee-simile Briggs writes "As significant as what [Vergil] repeats is what he does not repeat" (73). He notes that while in Georgics 4 the bees' method of child-rearing, their repulsion of outsiders, and their eschewing of venus are all elements of their ideal society, these aspects of the bee-community are not brought into the comparison with the Carthaginians. Briggs concludes that the differences between the bee-community and the Carthaginians foreshadows Dido's doom; her acceptance of the Trojans and her affair with Aeneas lead to a lapse in construction of the city and, of course, the extinction of her line with her death. xxxxx Line 439 Sources mirabile dictu * ** *** The expression mirabile dictu is used parenthetically by Vergil on a number of occasions, referring usually to supernatural events but also to natural phenomena. Cf. Georgics 2.30, 3.275, Aeneid 2.174, 4.182, 7.64, 8.252. [Link to Repetition in Vergil] xxxxx Line 455 Sources operumque laborem * ** *** Cf. the same line ending at Georgics 2.155, on the wonders of Italy:
adde tot egregias urbes operumque laborem
and also later in Aeneid 1 on Dido's administration of Carthage, 507:
iura dabat legesque viris, operumque laborem
partibus aequabat iustis aut sorte trahebat
It is interesting that Vergil transfers the language from his praises of Italy's civilization onto the passage describing the city that became Rome's enemy. Many more specifically Roman elements can be found in the physical description of Carthage. A. J. Boyle (Chaonian Dove 111-113) adds the language and tone of the description of Carthage to his catalogue of pessimistic elements in Vergil; in his view the works and art of empire are shown to be produced at too great a cost. xxxxx Line 609 Sources * ** *** Cf. Eclogues 5.78, where Menalcas sings the same Line to proclaim the immortality of Daphnis. xxxxx Lines 701-706 Sources * ** *** Cf. Georgics 4.376-8, on the preparation of a banquet for Aristaeus:
manibus liquidos dant ordine fontis
germanae, tonsisque ferunt mantelia villis
pars epulis onerant mensas et plena reponunt
pocula, Pancheis adolescunt ignibus arae.
In both scenes a banquet is prepared for a visitor as a prelude to a speech or song. In the Georgics passage, Cyrene delivers to her son the instructions on how to create a new hive of bees, while in the Aeneid , Iopas and then Aeneas entertain the banqueters in a more formal way. xxxxx Line 742 Sources canit * ** *** Cf. Georgics 2.475-82:
Me vero primum dulces ante omnia Musae,
quarum sacra fero ingenti percussus amore,
accipiunt caelique vias et sidera monstrent,
defectus solis varios lunaeque labores;
unde tremor terris, qua vi maria alta tumescant
obicibus ruptis rursusque in se ipsa residant,
quid tantum Oceano properent se tingere soles
hiberni, vel quae tardis mora noctibus obstet.
Iopas in the Aeneid is the didactic poet whom Vergil imagines in the Georgics, both passages display a brief juxtaposition of genres. In the Georgics passage, Vergil expresses a wish to understand and sing of natural philosophy and cosmology, and in Aeneid 1 he seems to create a character who fulfills that wish to some extent. The performance of Iopas, however, may represent once again the acknowledgment by Vergil that he himself cannot perform in that genre. Is Vergil's relegation of Iopas' song into a brief summary in indirect discourse a discreet form of recusatio? After the song of Iopas is heard, characters and readers focus their attention on Aeneas' story, which occupies the next two books. Didactic scientific poetry serves as the prelude to martial epic. Perhaps there is a play between genres, even a reference to the Georgics and the Aeneid themselves, in this passage. The reader could entertain at least these two possibilities: Iopas' song should be seen as a necessary starting point for Aeneas, or as insignificant in comparison to the narrative of Books 2 and 3.