ABSTRACT
This chapter offers a close reading of the famous storm scene at the start of Vergil’s Aeneid, with particular focus on a single, richly sonorous line. Adducing parallels from elsewhere in Vergil, as well as from Homer, Aratus, Pacuvius, Lucretius and Cicero, and exploiting the insights of recent theorists of sound, the author seeks to resolve an ancient question: what is the relationship between the sound of poetry and the sounds represented in and by poetry?
