FOR THE FIRST PART CLICK HERE. FOR THE SECOND PART CLICK HERE. FOR THE THIRD PART CLICK HERE.
FOUR – A council of the gods is held on Mount Olympus as the goddesses Venus and Juno make their cases for and against Aeneas and his fellow survivors of fallen Troy. Venus argues for them since Aeneas is her son, while Juno retains her position against Aeneas because she wants to prevent the founding of Rome.
Events move back to the battlefield as Aeneas finally arrives back at the Trojan camp with an army of his Tuscan and Arcadian allies. In the following battle casualties are again high. King Turnus – Aeneas’s rival for the hand of King Latinus’s daughter Lavinia – kills the Arcadian Prince Pallas, whose father King Evander had sent him forth to fight on the Trojan side.
Elsewhere on the battlefield, Aeneas wounds Mezentius, but the man’s son Lausus leaps between his father and Aeneas. While the two younger warriors fight each other, Mezentius flees back to his camp and Aeneas kills Lausus. Continue reading
THREE – Aeneas and his fleet of survivors of fallen Troy arrive at Latium in what is now west central Italy. They are made welcome by King Latinus, who offers his daughter Lavinia to Aeneas as a bride per the oracles foreseeing the arrival of strangers possessed of greatness and whose leader he should marry to Lavinia. 
TWO – Aeneas and his companions, the survivors of the Fall of Troy, are still lingering in Carthage. Queen Dido, not knowing that the Roman State which Aeneas will spawn will also be the future destroyer of Carthage, remains deeply in love with Aeneas. 
Playing into (or maybe establishing) the enduring cliche about people in a burgeoning romance being driven closer by needing relief from a downpour, Dido and Aeneas start to feel even friskier. Juno manipulates things further by having nature and animal life in the cave behave in ways that parallel a wedding ceremony. 
Recent movie news about the latest screen adaptation of The Odyssey happened to make me reflect on the lack of a big screen version of the poet Virgil’s epic The Aeneid. For newbies to the tale, I’m posting this very brief synopsis of the story – the first half a mythic voyage like Jason and the Argonauts and The Odyssey and the second half a tale of warfare as Aeneas leads his fellow survivors of fallen Troy in their mythic conquest of what would become Rome. 
THE FOURTEEN-YEAR POKER GAME – This legendary poker game in all likelihood never really happened but has come to embody the early 20th Century wildness of Thurmond, WV. During America’s coal boom Thurmond attracted the wealthy including mine and railroad tycoons. It became such a hub of gambling, drinking, prostitution and partying that it’s been called the Las Vegas of its era. 
THE FEAST OF BRICRIU (Fled Bricrenn) – The Book of the Dun Cow version of this tale is dated to around the 700s A.D. and is considered the forerunner of the story of Sir Gawain and the Green Knight in British legends.
When we left off last time, Medea’s Aunt Circe had informed her that in order to stop the vendetta the Furies were waging against her, Jason, Orpheus and the rest of the Argonauts Medea must be purified from the taint of betraying her father and killing her brother through rites performed by Orpheus and the Meliae – the ash-tree nymphs who nursed the infant Zagreus (in this Orphic version).
Having obtained the Golden Fleece, Jason, Orpheus and the rest of the Argonauts fled Colchis immediately on board the Argo. King Aeetes’ daughter Medea fled with them because she fell in love with Jason and defied her father to enable the theft of the Golden Fleece. 
King Aeetes had to break off pursuit so he and his crew could fish up the various fragments of his son’s corpse for proper funeral rites. 
As the Argo pulled into Colchis, King Aeetes and his family – including his daughter Medea – observed their arrival. The Royal Family was on hand because of a dream that the goddess Hera had sent to Aeetes regarding foreign forces that would take Medea across the seas. 
THE BAKARIDJAN KONE EPIC – Djeli, the poet-historians of the Bambara people for over 300 years, would often recite, chant and sing this epic myth while playing their stringed instruments called ngoni. 
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