AENEAS THEFLAMEN: DOUBLE TOGAS AND TABOOS IN VIRGIL'S CARTHAGE

This is an investigation of an aspect of Virgil'sAeneid—ultimately, of the ways in which the poet guides his reader's response to Aeneas’ stay in Carthage—and, while it touches on Roman religious practice, clothing codes, late antique Virgilian commentary and Augustan ideology, it hinges on a single word inAeneidBook 4 and its implications for Virgil's depiction of his hero in this book. That word islaena, and it features in one of the most celebrated scenes of the poem, when Mercury descends to earth to find Aeneas busily engaged in founding Carthage (Aen.4.259–64):ut primum alatis tetigit magalia plantis,Aenean fundantem arces ac tecta nouantemconspicit. atque illi stellatus iaspide fuluaensis erat Tyrioque ardebat murice laenademissa ex umeris, diues quae munera Didofecerat, et tenui telas discreuerat auro.As soon as Mercury with winged feet touched the Carthaginian huts, he caught sight of Aeneas founding the citadel and raising new buildings: his sword was studded with stars of yellow jasper, and alaena, hanging from/let down from his shoulders, blazed with Tyrian purple, a gift that Dido with her wealth had made, interweaving in the web a subtle cross-thread of gold.Line 4.262 is the only place in theAeneidwhere this word is used, and I shall be suggesting thatlaenarepresents an unusually evocative piece of clothing to put on Aeneas, even aside from the particular character, its decoration and origin, that Virgil attributes to the example Aeneas is wearing at lines 4.262–4. What I offer is a cumulative argument, as a whole (I believe) persuasive but also necessarily speculative given the limited state of our knowledge in various areas from religion to clothing. My essential claim is that Virgil is encouraging his reader at this point in the poem to associate Aeneas with, and judge his behaviour in comparison to, one of the most important members of the Roman priesthood.