According to the work “Divine Intervention, Supremacy of Fate in The Aeneid,” Virgil is considered the most renowned Latin poet. He is the author of the epic poem The Aeneid, which is a continuation of Homer’s The Iliad. The Aeneid bears many similarities to The Iliad, particularly in the sense that the actions of both mortals and gods drive the events. However, there is a stronger force propelling Aeneas on his journey in The Aeneid. This force is the same power that controls the characters in The Iliad – fate. In The Aeneid, both mortals and gods participate in drawing the battle lines.
Some individuals support Aeneas’ success in his journey to Latium, while others hope for his failure. There are also characters who align themselves with whichever side benefits them. In the perspective of Wildman, the main figure opposing Aeneas is the goddess Juno (26). Despite the interventions by other characters, fate ultimately determines the outcome of the epic (“Divine” 1). This paper aims to explore how Aeneas’ fate consistently defeats Juno’s opposition. Woodworth’s “The Function of the Gods in Virgil’s Aeneid” states that the initial verses of the poem outline the main plot of The Aeneid (114).
The opening lines of Virgil’s Aeneid describe the theme of warfare and a man’s journey. Specifically, it mentions how Aeneas, as the captain, is destined to flee from Troy to the shores of Lavinia (Woodworth 114). Virgil further explains that Juno, driven by her relentless anger, plays a significant role in obstructing Aeneas’ fate of reaching Rome (Aeneid 1; Woodworth 114).
Thus, the quote that follows the opening quote in which the main plot of the epic poem is stated makes it clear that Juno’s hatred towards Aeneas and her opposition to his destiny is evident (Woodworth 114). Coleman explains that Juno, along with the gods she convinces, intervenes in human affairs throughout the epic poem (144). They typically intervene in two different manners. The first manner involves using the world itself to disrupt the Trojans’ journey. An illustration of this is when Aeolus employs a storm to veer the Trojan vessels off course.
The second way in which Juno or the other gods intervene is by manipulating certain human characters to do their bidding. An example of this is when Cupid causes Dido to fall in love with Aeneas. Juno is constantly striving to outwit Fate, as mentioned by Coleman (144). The plot of Juno commences at the beginning of the epic poem, as noted in the work “Divine Intervention, Supremacy of Fate in The Aeneid” (1). According to Coleman, Juno’s intense anger towards Aeneas and the Trojans stems from the judgment of Paris (1). Her hatred is so deep that she will stop at nothing to hinder the Trojans’ journey to establish the city of Rome (“Divine 1”).
In Book One of Virgil’s Aeneid, Juno asks Aeolus, the god of wind, to use his mighty powers to destroy the Trojan vessels. Juno begs Aeolus to create a violent storm that will sink, overwhelm, or break apart the warships (qtd. in “Divine”). This request is granted only after Juno promises Aeolus her most beautiful sea-nymphs in marriage (“Divine 2”). The influence of Fate over Juno’s desires is evident in subsequent events, according to the text “Divine Intervention, Supremacy of Fate in The Aeneid” (2).
Neptune calms down after a storm blows across his ocean without his permission. In Vergil’s Book One of The Aeneid (8), Neptune claims that the power over the sea and the trident were never Aeolus’s destiny, but his own. Juno’s attempt to destroy the Trojan ships fails because controlling the sea is only Neptune’s destiny, not Aeolus’s (“Divine 2”). By calming the storm, Neptune saves the Trojans (“Divine” 1). Later, Jupiter’s words to Venus reinforce the power of Fate (“Divine 2”).
After Juno expresses her anger towards the Trojan ships, Venus, who is Aeneas’ mother, seeks solace from her father Jupiter (“Divine” 2). Jupiter reassures Venus by saying, “Do not be afraid, my lady of Cythera…the destiny of your children remains unchanged, I promise…” and that “I have not set any limits for the Romans, in terms of space or time…I have granted them eternal power and empire” (quoted in “Divine” 2). Hence, the ultimate deity has declared that fate will prevail (“Divine” 2). Woodworth argues that Jupiter symbolizes fate while Juno serves as the antagonist (115). Both Jupiter’s and Fate’s intentions align with each other.
Throughout the epic poem, Jupiter plays a role in ensuring that Aeneas fulfills his destiny (Woodson 115). As stated in “Divine Intervention, Supremacy of Fate in The Aeneid,” Venus, Aeneas’s mother, loves him while Juno despises him (2). Venus works tirelessly to protect Aeneas from Juno’s harm. Additionally, she worries about the Trojans being accepted in Carthage. Prior to Aeneas’s arrival, Venus intervenes by sending Cupid, the god of love, to the city. Cupid is instructed to use his powers to make Dido, the Queen of Carthage, fall deeply in love with Aeneas.
The plan of Juno to delay Aeneas’s journey to Italy is successful. According to Virgil, while Dido and Aeneas are hunting in the forest, Juno creates a storm and they seek shelter in a cave. They sleep together in the cave, which Dido sees as a marriage. Juno’s goal is for Aeneas to stay in Carthage and not fulfill his destiny of founding the city of Latium. However, fate ultimately finds a way to overcome.
Jupiter, by the will of Fate, sends Mercury to remind Aeneas of his destiny, causing him to leave Carthage and Dido behind. Aeneas’s departure results in Dido’s suicide, which the writer describes as an innocent casualty of his quest to found Rome. This sacrifice occurs because Dido stood in the way of Aeneas fulfilling his destiny (“Divine” 2). According to Duckworth, Aeneas’s relationship with Dido exemplifies the power of Fate over Juno’s will (357). However, while in the relationship, Aeneas becomes distracted from his goal.
In order to refocus on his destiny, Jupiter sends Mercury to remind Aeneas of the goal. Aeneas only returns to his destiny when reminded by Mercury. The intervention of Mercury to separate the couple demonstrates the genuine nature of their love. Moreover, the gods’ intervention in restoring fate emphasizes its immense power (Duckworth 358). The writer of “Divine Intervention, Supremacy of Fate in The Aeneid” highlights that Venus and Juno are constantly opposing each other throughout the epic poem (2). It is important to note that they do not act alone but rely on the assistance of other deities.
Juno once again disrupts Aeneas’s voyage during the funeral games for Anchises (“Divine” 2). Juno dispatches Iris to incite the Trojan women to set fire to the Trojan ships. Witnessing this, Aeneas implores the heavens for assistance, and “immediately a fierce torrential rain pours down…until all the fires are extinguished” (quoted in “Divine” 2). Jupiter heeds Aeneas’s call. In response to Juno’s terror, Venus appeals to Neptune. At Venus’s request, Neptune agrees to ensure the Trojan vessels a safe journey to the Tiber River (“Divine 2”).
The writer of “Divine Intervention, Supremacy of Fate in The Aenied” observes that whenever Juno attempts to hinder the destiny of the Trojans, stronger forces intervene to prevent her (2). Jupiter is usually the dominant force who rises above this divine terror and dictates the course of events according to his plan (qtd. in “Divine” 2). Jupiter does not desire interference from himself or others in changing fate (“Divine” 2). As per “Divine Intervention, Supremacy of Fate in The Aeneid”, the fate of the Trojans ultimately leads them to Italy, where the lineage of Aeneas will rule over all parts of the world (qtd. in “Divine” 2). Upon arriving in Italy, the Trojans face off against the local Italians led by Turnus. Numerous battles ensue, resulting in casualties on both sides. Aeneas and Turnus constantly strive to gain the upper hand. The gods, however, do not remain passive spectators and actively interfere with fate. Venus swiftly comes to the aid of her son, persuading Vulcan to forge powerful armor for Aeneas. This armor greatly enhances Aeneas’ strength. Juno also protects her own interests by sending the nymph Juturna to rescue Turnus during battle.
Juno delays the inevitable death of Turnus temporarily. After the battles conclude, Turnus and Aeneas agree to engage in a one-on-one combat. Both Jutuerna and Venus intervene in the fight, while Jupiter and Juno observe from a distance. Juno asks Jupiter if he will allow the Latin culture to persist if she accepts fate. Jupiter agrees to Juno’s conditions (“Divine” 3). Subsequently, Juno finally surrenders her anger towards the Trojans, yielding to the overwhelming force of fate and Jupiter’s adherence to it (qtd. in “Divine” 3). With this agreement in place, Aeneas is able to defeat Turnus. The Aenead concludes with Aeneas killing Turnus (“Divine” 3). The writer in “Divine Intervention, Supremacy of Fate in The Aeneid” remarks that just as the gods possess complete power over humanity, fate holds supreme power over the gods (3). Numerous instances of Juno provoking events are highlighted (“Divine” 3). According to Wildman, Juno’s will impacts each character in the poem (29). Juno’s will helps connect the narrative together.
According to Wildman, Juno is so influential in the poem that Virgil could have started his epic with the words “Sing, O Muse, the wrath of Juno” (29). However, despite Juno’s influence, Aeneas’s destiny remains unchanged as his choices are always guided by fate. The author of “Divine Intervention, Supremacy of Fate in The Aeneid” reinforces this idea by stating “The particular choice to place fate in the foremost position indicates that, though the gods undoubtedly play a pivotal role in The Aeneid, they do not control the actions” (3). In summary, fate holds power over Juno’s will.
