Rethinking Pietas in the Aeneid

Aeneas, as the founder of the Roman people and the main character of the Aeneid, is framed as the ideal Roman citizen. He embodies the core virtue of their culture, pietas, a deep sense of devotion to the gods, country and family. To bolster the name and reputation of Rome and also
create an idealized character for the Romans to emulate, Virgil makes Aeneas’ character almost completely symbolic, unable to do wrong. Side characters of the Aeneid are introduced as foils to Aeneas, meant to make him appear even greater and more noble. However, what if these side
characters actually grasped and embodied pietas, and were truly better role models for the Roman people than Aeneas? The two characters, Dido and Camilla, stand out, as they impact the plot of the epic, and are recognized by scholars as atypical, and truly extraordinary. 

Unlike other female characters who do not exemplify values or develop except in relation to men, Dido is a profound individual. She founds the city of Carthage, which becomes a thriving civilization using her own wit, as seen through the legend of the ox hide. Negotiating with the
local Berber ruler who promised to give her the land that an ox hide could cover, Dido cleverly cut the hide into small, long strips and mapped out a large area. This area would become the port of her city, Carthage. This event only begins the many virtues and accomplishments of Dido.
Book 1 of the Aeneid established her as a just and good ruler, even compared to the goddess Diana, leading her hunters to success and unity. Being a beacon of pietas, she extends lavish hospitality to Aeneas and his Trojan companions as a sympathetic person. However, in the name
of following fate, Aeneas humiliates and abandons Dido, after she has given resources, time, love, and a place in her kingdom. Aeneas views his pietas as the absolute demand, which has no room to regard anyone else’s dignity or emotion. Pietas inherently requires selflessness, putting one’s country, family and gods, above themselves. So, Aeneas’ self-centeredness regarding Dido, while she may not be of his country or family, reveals an incomplete grasp and application of pietas and the virtue which it requires for all humanity. Dido’s great dignity and contribution to
Aeneas being able to thrive is often overshadowed by her tragic end.  It is characterized by divinely induced madness but should not be as she is a profound and distinct character. 

Similarly, Camilla represents independence and a rejection of traditional femininity, as she is a combination of a warrior princess and a virgin huntress. Although she is not typical or conforming to standards of women at the time, she is not described as barbaric (dux femina) by
Virgil, as the conquered rulers of barbaric tribes were at the time. She has great prowess as a military leader and warrior but is not unruly and out of control. The greatest display of her pietas is through her unwavering devotion to the gods, specifically the goddess Diana, and to her
country. She valiantly engages in battle as a Volsci, defending her homeland. This provides a contrast to Aeneas who requires constant prodding, such as that from Mercury, to continue his journey to found a new Troy.