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46 pages 1 hour read

Lavinia

Fiction | Novel | Adult | Published in 2008

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Pages 9-53Chapter Summaries & Analyses

Pages 9-17 Summary

Content Warning: This section contains mentions of enslavement, death by suicide, child death, and physical abuse.

The novel begins with an excerpt from the Aeneid, describing Lavinia. The 18-year-old girl is at the river Tiber collecting salt when she sees ships sailing up the river. She recognizes a man on board one of the ships and returns home to tell her father, King Latinus, that warships have arrived. Lavinia introduces herself, revealing that she exists within a story written by a poet who didn’t do her justice. She met the poet for the first time when he was dying. Lavinia knows that she herself won’t die; she’ll linger on, perhaps as an owl. In the poem, Lavinia doesn’t speak even though she’s an important character who causes a war. Now, she tells her own story. Lavinia puzzles over how the Trojans who arrived in warships could have understood her people, who speak Latin. She wonders how those reading the poem can understand her now.

The narrative returns to Lavinia’s childhood. When she’s six, her two younger brothers die of an illness. Her mother, Amata, is overcome with grief and becomes cruel toward Lavinia. Amata’s relationship with Latinus, whom she married when he was 40 and she was 18, becomes strained. In a moment of anger, Amata scratches Lavinia’s face, leaving a scar. Lavinia’s father later takes her to a nearby kingdom to visit King Evander, a Greek living in exile. His son, Pallas, who is Lavinia’s age, takes her to see a wolf in a den with her cubs.

Latinus rules a peaceful area called Latium, the heart of which is the city of Laurentum. It’s surrounded by pastures and forest. The Latin people go to the Regia, a sacred shrine, to worship ancestors and household gods, including “two-faced Janus, Saturn, Italus, Sabinus, [and] Grandfather Picus who was turned into the red-capped woodpecker” (16). Lavinia avoids her mother, spending time with the palace’s servants and enslaved women. She tends the altar of Vesta as part of her royal duties.

Pages 17-25 Summary

Lavinia’s best friend is Silvia, the daughter of a cattle herder. Lavinia and Silvia spend time together in the woods and hills. Amata disapproves of the friendship. Silvia is good with animals and has tamed a fox and a young stag. The stag, Cervulus, is particularly precious to Silvia. She decorates his antlers with flowers, and he has a white ribbon around his neck so that hunters and dogs know not to attack him.

When Lavinia is 15, King Turnus visits Latium. Turnus is Amata’s nephew and has recently been crowned king of nearby Rutulia. Vestina, an older enslaved woman, is convinced that Turnus has come to Latium to court Lavinia. Amata seems very fond of Turnus, even harboring romantic feelings for him. Lavinia meets Turnus at a banquet. He’s very handsome and keeps staring at her, which embarrasses her. She isn’t ready for marriage. Turnus asks for Lavinia’s hand, but Latinus says she’s still too young, though they might marry in a few years. Amata is frustrated, as she wants the marriage to take place soon.

The narrative shifts to the future, when Lavinia and her husband, Aeneas, are in Lavinium. Lavinia looks at Aeneas’s shield, which he believes depicts the future. Lavinia can see the future by gazing at the shield and is horrified to see many violent wars. Aeneas says that the shield shows “the realm [their] sons’ sons will inherit” (24). Although Aeneas can’t see it, Lavinia sees Rome at its height in the shield and thus knows that he’ll die after three years of marriage to her.

Pages 25-41 Summary

When Lavinia is 12, she goes with her father to the sacred forest of Albunea for the first time. In Albunea is a sulfur spring where people go to receive omens. Latinus makes a sacrifice, and Lavinia has a prophetic dream. She sees a red river and a great city that she knows is her home. As the dream continues, she’s in the forest of Albunea again, where a woodpecker laughs and touches his feathers to her eyes. In the morning, she tells her father her dream. Latinus agrees to let her return to Albunea.

Lavinia spends much of her childhood roaming the wilderness with her companion, an enslaved Etruscan girl named Maruna. Maruna accompanies her when she visits Albunea, staying in a nearby woodcutter’s house while Lavinia enters the sacred grove alone. Because the kingdom is peaceful, Latinus allows more suitors to seek Lavinia’s hand in marriage; he isn’t worried that the competition could result in war. Men from all over come to seek Lavinia’s hand, but Amata openly favors Turnus. Lavinia doesn’t want to be courted and dislikes that her mother is so open about her lust for Turnus.

When Lavinia is 18, Turnus visits and brings her a monkey. Lavinia hates the monkey, but Amata adores it. To avoid Turnus, Lavinia makes a trip to Albunea. While there, she meets a shadowy figure. She tells him her name and is puzzled when he recognizes it. The man is the shadow of a dying poet currently on a boat from Greece to Italy. His spirit is visiting Lavinia. He tells Lavinia that she’s destined to marry a foreigner. Much of what he says confuses her. He asks her whether the Trojans have come yet, but she doesn’t recognize the word. Lavinia admits that she doesn’t favor any of her suitors. The poet asks whether she would favor a heroic and pious man; Lavinia concedes that she would at least pay attention to him. The poet tells her the story of the Trojan War and the hero Aeneas, who escaped the burning city of Troy with his father, Anchises, and his young son, Ascanius. Aeneas’s wife, Creusa, died during their escape, and Aeneas saw her spirit, which told him to travel west and establish a new home for his people. The poet’s voice fades, and Lavinia awakens.

Pages 38-53 Summary

Lavinia returns to Albunea as soon as Turnus leaves and finds the poet waiting for her. Although dying, he’s enjoying spending time in his own poem, which is unfinished. The poet tells Lavinia more about Aeneas: Aeneas journeyed to the underworld to get divine guidance about his voyage. He didn’t look for Creusa’s spirit because he had to look forward for his people, not back. He and his people sailed to Sicily, where Anchises died, and then arrived in Carthage in northern Africa. Carthage was ruled by Queen Dido, who fell in love with Aeneas. Aeneas loved Dido but knew that he wasn’t fated to be with her. When he left Carthage to continue his journey, Dido, stricken with grief and despair, died by suicide. When Aeneas visited the underworld, he saw Dido, but she refused to speak with him.

Lavinia tells the poet about her own life. The poet already knows about Silvia and her stag, and Lavinia wonders whether he knows everything. He admits that he knows little and says that he’ll order his poem to be burnt. Lavinia doesn’t know what he means but doesn’t like how it sounds. The poet tells Lavinia more about Aeneas’s descent into the underworld: He met Deiphobos, Paris’s brother, who died in the Trojan War. Deiphobos told Aeneas, “Go on, go, my glory. I am gone” (47). The poet, too, will soon be gone. Lavinia doesn’t want him to go.

In the morning, the poet disappears, and Lavinia spends the day by herself until nightfall, when he returns. He wonders how he knows what the underworld is like and vaguely remembers visiting it with a man he met in the woods. The man wasn’t Aeneas. His cruel descriptions of the souls of babies being punished after death angers Lavinia. The poet agrees to remove this passage from his poem if he’s allowed to do so. He’s unhappy with the current ending but doesn’t know what a better ending would be. He regrets not giving Lavinia more of a life in his poem. He tells her that after leaving Carthage, Aeneas returned to Sicily to celebrate his father’s life. The goddess Juno prevented him from leaving, which confuses Lavinia; she knows Juno as a sacred power inherent in women. Eventually, Aeneas and some of his people left Sicily and sailed toward Latium; he’ll arrive soon. The poet urges Lavinia to return to Albunea one more time to visit him before he dies.

Lavinia reflects on her love for Aeneas and for the poet. Had the poet died before becoming great, she and Aeneas and all the other characters would never have existed. Now, she’s a voice in the forest of Albunea; “all [she] can say is: Go, go on” (53).

Pages 9-53 Analysis

The opening section of Lavinia introduces the rather unusual main character and, through her characterization, introduces Storytelling and Immortality as a central theme. Lavinia has a striking relationship with this theme because, unlike most protagonists, she’s aware that she’s a character in a story. Given what an extraordinary thing this would be for someone to learn, Lavinia handles it well. She never tells anyone else what she has learned and continues to live in a world full of people who don’t realize that they’re part of the Aeneid. Lavinia learns the truth about herself because she’s the only character in the story to meet the poet, who is dying and visits the world of his own story for a while. He realizes that while he has granted Lavinia a kind of literary immortality, he never actually got to know her and described her little. In fact, Lavinia’s limited role in the Aeneid hasn’t even started yet at this point in the story. The poet says nothing of her childhood and adolescence before she meets Aeneas.

Although the poet was a real person, he was also famous as a fictional character. When the poet briefly mentions meeting a man in the woods and visiting the underworld with him, he’s referring to Dante Alighieri (1265-1321), who wrote The Divine Comedy, a series of epic poems. In Dante’s masterpiece, the poet’s spirit arrives to guide the narrator through Hell, Purgatory, and Heaven. He’s almost as famous for his role in Dante’s work as for his own poetry. Like Lavinia, he gained literary immortality.

Lavinia, as the daughter of a king, has many responsibilities. Her character introduces another of the book’s main themes, Duty and Piety, two values she cherishes given that many of her responsibilities are religious, such as tending Vesta, the home hearth. For Lavinia and the other Latin people, worshipping natural forces like fire (Vesta), war (Mars), and women’s power (Juno) is natural. The poet recognizes these concepts but has a Roman view of them as personified deities. Vesta is the equivalent of the Greek goddess Hestia, Mars of the Greek God Ares; and Juno of the Greek goddess Hera. Lavinia thus creates a somewhat speculative representation of pre-Roman Latin religious practice. While it’s true that because of Greek influence, local deities became functional equivalents of the Greek pantheon under different names, it’s less clear exactly how these forces were worshiped or understood before the founding of Rome.

In the Aeneid, Aeneas’s primary character trait is his piety, which manifests as a profound sense of duty. Lavinia admits that she would pay attention if she were to meet a very pious man, which foreshadows her love for Aeneas and their happy marriage. In Lavinia’s world, omens and religious rites aren’t taken lightly. Lavinia considers Maruna pious, describing piety as a way of being open to awe. Other characters are obviously less pious, especially Amata and Turnus. Amata tries to control her own life and her daughter’s life, attempting to orchestrate an advantageous marriage instead of focusing on her duties or on prophecies. Lavinia, however, though she doesn’t know Turnus well, is confident that he’s an impious man, no matter what other traits he might have.

Thematically, many characters in Lavinia struggle with their relationship with fate, which introduces another of the book’s primary themes, Accepting and Resisting Fate. Prophecies guide their lives whether they like it or not: Lavinia knows that she’ll marry a foreigner, regardless of her wishes, and takes that knowledge seriously. She also learns that Aeneas will die after three years of marriage, and she doesn’t try to escape that fate. Aeneas followed Creusa’s prophecy, which instructed him to travel west even though he loved Dido; this exemplifies his piety. In many ancient Greek myths and stories, characters suffer when they try to escape fate or ignore a prophecy. By carrying forward this sense of the importance of prophecy, the poet connects Roman culture with ancient Greek culture as part of his broader project of mythmaking and nation-building.

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