IMAGINARY IDENTITY: AENEAS’ SEARCH FOR A HOME IN AENEID 3 By GENEROSA A. SANGCO-JACKSON A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2006 Copyright 2006 by Generosa A. Sangco-Jackson ACKNOWLEDGMENTS I would like to express my gratitude to the professors of my committee, Dr. Jennifer Rea, Dr. Timothy Johnson, and Dr. Victoria Pagán. I am appreciative of their time and insight. I would like especially to thank Dr. Rea for putting her faith in me and for giving me opportunities to further my career. I am grateful to all those who had the patience to read my thesis in its preliminary stages. Also, I am indebted to those generous friends who spent late, overly-caffeinated nights with me. Finally, I would like to thank my family for supporting me in the past and for their continued support in the future. iii TABLE OF CONTENTS page ACKNOWLEDGMENTS.................................................................................................iii ABSTRACT.........................................................................................................................v CHAPTER 1 INTRODUCTION........................................................................................................1 2 THE THEORETICAL APPROACH TO AENEID BOOK 3.......................................3 3 REPETITION COMPULSION AND AENEAS’ OTHERNESS..............................14 4 DARDANUS: AENEAS’ FUTURE PAST...............................................................29 5 CONCLUSION...........................................................................................................42 LIST OF REFERENCES...................................................................................................45 BIOGRAPHICAL SKETCH.............................................................................................48 iv Abstract of Thesis Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Master of Arts IMAGINARY IDENTITY: AENEAS’ SEARCH FOR A HOME IN AENEID 3 By Generosa A. Sangco-Jackson May 2006 Chair: Jennifer A. Rea Major Department: Classics This thesis examines Aeneas’ changing sense of cultural identity in Book 3 of the Aeneid. Although he begins his journey as a Trojan intending to re-found Troy, Aeneas must give up his identity and his desire to recreate Troy so that he can eventually found Rome. This thesis will take a literary psychoanalytic approach to the topic of Aeneas’ shifting sense of cultural identity, by applying the theories of Freud and Lacan to scenes in Book 3 where Aeneas is forced to confront the loss of Troy. In the first chapter, I will explain my critical methodology and lay the theoretical foundation for my analysis of Book 3. This chapter will introduce Freud’s theory of repetition compulsion as it applies to Aeneas’ repeated attempts to re-found Troy in Book 3. Aeneas’ Trojan identity is constructed by his desire to rebuild Troy, thereby rescuing the city and mastering the past. Since all his Trojan cities fail, Aeneas ceases from trying to re-establish Troy. By no longer trying to rescue Troy, Aeneas forfeits his Trojan identity, thus excluding him from other Trojans who still intend to recreate Troy. Aeneas’ exclusion makes him an Other as defined by Lacanian and post-colonial theory, v which considers the “Other” to be defined by a point of reference that is opposite or outside of the “Self.” This work is a departure from prior psychoanalytic readings of the Aeneid because it treats Aeneas as an excluded person who is the Other, rather than treating him as the Self. The second chapter of this thesis will examine both how in Book 3 Aeneas compulsively repeats the past as well as how he is made aware of his Otherness. Aeneas’ initial attempts to re-found Troy or Troy-like settlements are his way of rescuing his fallen city. After the Penates order Aeneas to sail to Italy, Aeneas becomes disassociated from the recent Trojan past, thus breaking his cycle of repetition compulsion. His disassociation from the fall of Troy separates Aeneas from other Trojans, particularly Helenus and Andromache. Aeneas’ encounter with these two Trojans in Buthrotum, which is an exact replica of Troy, forces him to recognize his own Otherness as well as the futility of rebuilding Troy. The third chapter will examine how Aeneas reconstructs his identity in terms of Dardanus’ story as it is presented within the Aeneid. Vergil highlights corresponding details in the stories of Aeneas and Dardanus. By identifying himself with Dardanus, Aeneas creates a new identity and legitimacy for his arrival in Italy. This new identity is one that is based upon his kinship with a legendary ancestor, rather than immediate culture. Through his descent, Aeneas will link Greeks, Trojans, and Italians into a single, interrelated community that is perceived in the collective imagination of the entire group. vi CHAPTER 1 INTRODUCTION This thesis will evaluate the way in which Aeneas copes with the loss of his homeland. At first, Aeneas only wishes to re-found Troy, but his intention is stymied by a greater plan, to begin the foundation of Rome. Aeneas hears many prophecies that he does not understand, but he follows them despite his desire to return to the Troad. Aeneas tries repeatedly to construct simulated Trojan cities, but to imitate Troy is to imitate its fall. What allows him to persevere is the necessity of his journey; he cannot return to Troy, nor can he rebuild it, since to do so would condemn him to compulsively repeat the past. Thus, all Aeneas’ attempts to re-found in Book 3 fail. Eventually, each of Aeneas’ failures forces him to turn away from his compulsive intention to rebuild Troy. Aeneas’ long physical journey from Asia Minor to Italy is paralleled by an equally arduous psychological one. Aeneas must exist outside of his own culture, becoming an Other, who is displaced and excluded from the Trojan community. Through his Otherness that Aeneas, be able to integrate himself into the Italian community, thus completing his journey. If he were not excluded from the Trojan diaspora, his only aspiration would be to remain with Trojans and to re-found Troy.Aeneas is given the directive to journey to Italy. Upon his arrival in Italy, Aeneas collects his allies by tracing his genealogy through Dardanus to both Greeks and Italians alike. Ultimately, Aeneas will mix his own group of Trojans with the different peoples present in Italy, creating a mixed race, one whose 1 2 viability Jupiter ensures. By affiliating himself with his ancestor Dardanus, Aeneas then embarks upon a new method of reconstructing a community, one based on imagined genealogies which will connect formerly incompatible groups, such as Greeks, Trojans, and Italians. These imagined genealogies, which are created from traditions and stories about the mythic past, are propagated and revitalized by foundation stories. By sharing in the same foundation stories, disparate communities can consolidate themselves and re- evaluate their own self-identities. Aeneas’ own story will serve as a touchstone for the Romans to consolidate their own identity. In the first century BCE, a time of civil wars and imperial expansion, Rome was forced to manage the integration of many different cultures under a single identity. The Aeneid, a new version developed from many different traditional foundation stories, will aid in the incorporation of these new peoples by reinventing more inclusive genealogies. Aeneas’ reinvention of his identity in accordance with Dardanus’ story will provide an exemplar for the way in which the Romans should reconsider their own collective identity. This thesis analyizes the above issues in the follwing way. The first chapter will be devoted to an explanaiton of Freud’s theory of repetitive compulision and Lacan’s theory of the Other, both as applied to the Aeneid. The second chapter of this thesis will evaluate two things: Aeneas’ changing identity in terms of the Other, which will be defined subsequently, and his compulsive resistance to his destiny. The third chapter of this thesis will then show how Aeneas reconstructs his identity by turning toward his own culture’s foundation story, the story of Dardanus. CHAPTER 2 THE THEORETICAL APPROACH TO AENEID BOOK 3 Book 3 of the Aeneid has interested scholars for its portrayal of city-founding, for its references to locations of historical significance for Vergil’s contemporaries, for Aeneas’ subordinate relationship to Anchises, and for the further development of Aeneas’ pietas.1 This book constitutes one-half of Aeneas’ narrative to Dido, which itself is an extended allusion to the wanderings of Odysseus.2 Furthermore, this book has intrigued many scholars because of its unfinished state and its structural relationship to the Aeneid as a whole.3 This thesis, however, will be a departure from these traditional methods of approaching Book 3. Here, the approach taken will be a psychological assessment of Aeneas’ identity as his relationships to both his culture and his past change. This chapter will set the theoretical ground work upon which the evaluation of Aeneas’ identity will be based, which I will explore thoroughly in the second and third chapters. While the theories explained in this chapter seem unrelated, they share a common thread by being important to identity formation. In order to evaluate Aeneas’ identity as 1 For the theme of city foundation, see Morwood (1991), “Aeneas, Augustus, and the Theme of the City.” For allusions to places of historical significances, see Stahl (1998), “Political Stop-Overs on a Mythological Travel Route: From Battling Harpies to the Battle of Actium: Aeneid 3.268-93” and Cairns (1989), Virgil’s Augustan Epic. For Anchises as the leading figure of Book 3 see Lloyd (1957b), “Aeneid III: A New Approach.” For an interpretation of how Aeneas’ pietas is manifested see Mackie (1988), The Characterization of Aeneas, Nethercut (1968), “Invasion in the ‘Aeneid’,” and Otis (1964), A Study in Civilized Poetry. 2 For the relationship of Book 3 to Odysseus’ narrative to the Phaecians, see Knauer (1990) “Vergil’s Aeneid and Homer” and Anderson (2005) The Art of the Aeneid. 3 For a structural analysis of Book 3 as related to the overarching structure of the Aeneid see Lloyd (1957b) “Aeneid III: A New Approach” and Hershkowitz (1991) “The Aeneid in Aeneid 3.” For the unfinished state of Book 3 see Heinze (1993) Virgil’s Epic Technique and Otis (1964) Virgil: A Study in Civilized Poetry. 3 4 it shifts from the beginning of Book 3 to his visit to Buthrotum, I will employ two concepts from literary psychoanalysis: the “Other,” and “repetition compulsion.” Aeneas will lose his Trojan identity and become the “Other” in order to avoid compulsively repeating the past. After his loss of identity, Aeneas will overcome his compulsion by reforming his identity in relation to the foundation story of Dardanus. This foundation story’s effect is twofold; from it, Aeneas will receive a sense of purpose and eventually it will help him reintegrate himself into a community. These ideas of reintegration and re-evaluation of traditional foundation stories become important to Vergil’s contemporary Romans, who after long periods of upheaval must restore a sense of national unity. First of all, the term “Other,” in its various permutations, requires some definition, since it is used by many schools of thought to mean different things.4 One use of the term, that of J. Lacan, applies specifically to identity formation. The Lacanian usage of Other, as explained by D. Macey, indicates the thing that is desired by the Self, also known as the “subject” or one’s sense of personal identity.5 The Self articulates its own identity through the desire for and the recognition of the Other. This then presumes both that the Self and the Other are separate entities, and that the space between them is irreconcilable. A later development of Lacan’s idea helps to define the Other as the opposite, or the thing which the subject is not, as it is used in the scope of this thesis.6 The post-colonial theorist H. Bhabha uses Lacan’s ideas to discuss the use of visual 4 The term itself can be rendered in the following ways: other, “other,” Other, and “Other” based on stylistic preference. I give preference to Other because it denotes a concept and because I use the common, adjectival other. 5 Macey (2000b) 368. 6 Macey (2000a) 286: The Other refers to things which “are quite alien to and inassimilable by the subjct.”