So powerful was Virgil's sympathy for the defeated that it often seems to conflict with the triumph of Rome's achievement.

So powerful was Virgil's sympathy for the defeated that it often seems to conflict with the triumph of Rome's achievement.

• A. Paul F. Burke
• B. Oliver Lyne
• C. Denis Feeney
• D. R. D. Williams

Answer: (D)

The idea being tested is that Virgil’s depiction of those who are defeated carries a strong emotional resonance that can clash with the celebratory arc of Rome’s rise. This reading is most closely associated with R. D. Williams, who analyzes how Virgil often invites pity for individuals and peoples toppled by war and empire, rather than presenting triumph as unambiguous or unproblematic. Williams argues that this sympathy introduces a moral ambiguity into the Aeneid: the epic shows Rome’s greatness and destiny, yet it also foregrounds suffering and loss, prompting readers to feel for the defeated even as triumph is celebrated. This emphasis helps explain why the poetry doesn’t simply serve imperial propaganda. It highlights Virgil’s artistry in balancing epic grandeur with humane, humane concerns for those who suffer, which can complicate the sense of victory. The other scholars mentioned are notable Virgil scholars with valuable contributions to the broader study—whether on political rhetoric, textual craft, or imperial ideology—but they are not the ones most associated with foregrounding this particular tension between sympathy for the defeated and Rome’s triumph.

The idea being tested is that Virgil’s depiction of those who are defeated carries a strong emotional resonance that can clash with the celebratory arc of Rome’s rise. This reading is most closely associated with R. D. Williams, who analyzes how Virgil often invites pity for individuals and peoples toppled by war and empire, rather than presenting triumph as unambiguous or unproblematic. Williams argues that this sympathy introduces a moral ambiguity into the Aeneid: the epic shows Rome’s greatness and destiny, yet it also foregrounds suffering and loss, prompting readers to feel for the defeated even as triumph is celebrated.

This emphasis helps explain why the poetry doesn’t simply serve imperial propaganda. It highlights Virgil’s artistry in balancing epic grandeur with humane, humane concerns for those who suffer, which can complicate the sense of victory. The other scholars mentioned are notable Virgil scholars with valuable contributions to the broader study—whether on political rhetoric, textual craft, or imperial ideology—but they are not the ones most associated with foregrounding this particular tension between sympathy for the defeated and Rome’s triumph.