document_title: List of Haunted Mansion characters

question_text: who plays madame leota in the haunted mansion

question_tokens: who plays madame leota in the haunted mansion

text: List of Haunted Mansion characters

text: Ghost Host[edit]

text: The Ghost Host serves as the unseen narrator of the attraction; present in the Stretching Room and in the ride itself.  His voice provides commentary through the ride heard via onboard speakers in the Omnimover ride vehicle. The character is voiced with a Mid-Atlantic accented voice provided by Paul Frees that has been described as "gleefully sardonic".[1] The hanging corpse seen in the Stretching Room implies that he committed suicide.

text: The character is given the name 'Master Gracey' in some related media such as the 2003 film and the comics; a name featured on a tombstone in the queue. This connection was originally popularized by fans. It is an homage to master effects designer Yale Gracey who created most of the special effects in the mansion.

text: In the 1969 record album The Story and Song from the Haunted Mansion, the Ghost Host was voiced by Pete Renaday, using an accent and manner of speaking inspired by English actor Boris Karloff. During Haunted Mansion Holiday, the Ghost Host is voiced by Corey Burton who originally played Shockwave,Brawn,Sunstreaker and Spike Witwicky in The Transformers  Cartoon (1984-1987) and Brainac from the DCAU   . In the Tokyo Disneyland Haunted Mansion, the character is voiced in Japanese by Teichiro Hori.

text: The character is known as the Phantom in Phantom Manor at Disneyland Paris. He was originally voiced in English by Vincent Price, but was replaced by French actor Gérard Chévalier soon after the attraction opened due to French Regulations that required the voice to be only in French Accent. Price's performance is still used for the Phantom's evil laughter.

text: The Ghost Host's famous line "Welcome, foolish mortals" was reproduced by Corey Burton in the opening titles of the 2003 film. For the tour of the film's version of the mansion, the Ghost Host was voiced by British actor Tony Jay.

text: The film's Master Gracey (Nathaniel Parker), given the name Edward, is shown to be separate from the Ghost Host although he is a mashup of the Ghost Host, the aging man portrait, and the original Master Gracey in the attraction. The character fell in love with Elizabeth Henshaw, the beautiful multiracial daughter of one of the manor's multiracial servants, who in turn, also fell in love with him and they planned to marry. The family's evil butler Ramsley (Terence Stamp), seeing his actions as a disgrace to the family, murdered her with a poisoned cup of wine of and gave Edward a false letter from Elizabeth that he had penned himself which led Edward to believe that Elizabeth had never loved him, causing him to hang himself from the ceiling of the mansion in his grief while Elizabeth's real letter, which was confiscated and hidden by Ramsley, says that she loves Master Gracey, and that she will marry him. After she died, her spirit remained in the mansion as an orb (or "ghost ball"). Edward still loved her, and anxiously awaited her return, which was prophesied by a gypsy woman named Madame Leota. After Jim Evers (Eddie Murphy) reveals the truth to Edward, Ramsley is condemned to Hell for his actions and Elizabeth reunites with Edward, who gives the Evers family the deed to the house, and they ascended to Heaven with the rest of the spirits.

text: In 2010 at San Diego Comic-Con, a teaser for a new Haunted Mansion film being produced by Guillermo del Toro was shown, in which Ian McShane provided the voice of the Ghost Host.

text: Stretching Portraits[edit]

text: The following characters are depicted in the portraits of the Stretching Room:

text:
A balding man with a brown mustache and beard, dressed in a black tailcoat, a white shirt, a red sash, and a black bowtie. When the portrait stretches, it is revealed that he is not wearing pants (only red and white striped boxer shorts), and he is standing atop a lit keg of dynamite. In an early attraction script, which gave the names of the characters in the stretching portraits, he was an ambassador named Alexander Nitrokoff, who came to the Mansion one night "with a bang". In the comics, he was a visually impaired man named Steven who was invited to a party at Gracey Manor. Once Steven arrived at the Manor (sans pants), his glasses were flicked off by the Hatbox Ghost. Due to his poor eyesight, he wandered the house completely oblivious to the ghosts, and ended up lighting a keg of dynamite with a candle. The game Epic Mickey features a similar painting of a man standing on a barrel of TNT.
An old woman holding a rose and smiling. When the portrait stretches, it is revealed that she is seated on top of the tombstone of her late husband, George, who is depicted as a marble bust with his head split by an ax. The woman is later named as Constance Hatchaway.
A brown-haired man with his arms crossed, dressed in a brown suit and wearing a brown derby hat. When the portrait stretches, it is revealed that he is sitting on the shoulders of another man, who is sitting on the shoulders of yet another man who is waist-deep in quicksand. In the comics, the three men were gamblers known as Hobbs, Big Hobbs, and Skinny Hobbs.
A pretty young brunette holding a pink parasol. When the portrait stretches, it is revealed that she is balancing on a fraying tightrope above the gaping jaws of an alligator. This Ghost has had many names attributed to her. WDW cast members call her "Lillian Gracey" and say she strung her rope across to Tom Sawyer's Island from the Mansion grounds where she met her fate. In the comics, the girl was a witch named Daisy de la Cruz, who turned men into alligators. This was also her name in the 2014 Haunt Your Disney Side event. More recent Imagineering projects have given her the name "Sally Slater", starting from the 2011 interactive queue for the Walt Disney World version of the attraction and continuing in the 2016 Ghost Post ARG, where she is voiced by Hynden Walch in the interactive app portions.

text: Madame Leota[edit]

text: Madame Leota appears in the ride as a head encased within a crystal ball. She is the spirit of a psychic medium, conducting an otherworldly séance in an attempt to summon spirits and assist them in materializing. Her ghostly head appears on a table in the middle of her dark chamber, from which she speaks her incantations. Musical instruments and furniture levitate and make noises in response. She was played by Leota Toombs (face) and Eleanor Audley (voice). Before Toombs was chosen for the face of the medium in the crystal ball, Imagineer Harriet Burns was tested for the part. Toombs also played the Ghost Hostess who appears at the end of the attraction.

text: In 2001, a tombstone for Madame Leota debuted at Walt Disney World's Mansion. The epitaph reads: "Dear sweet Leota, beloved by all. In regions beyond now, but having a ball." The face on the tombstone periodically shifts and opens its eyes. In 2006, Disneyland's Madame Leota was given the ability to float above the table in mid-air, via wires. This effect, along with the spell-book, was installed into the Walt Disney World Haunted Mansion during the 2007 refurbishment. In the Servants Quarters (Walt Disney World), there is a bell for Madame Leota's Boudoir. Near the mansion in Walt Disney World, there is a newly opened shop named "Memento Mori" that has many references to Madame Leota.

text: During Haunted Mansion Holiday at Disneyland, she was played by Leota Toombs' daughter Kim Irvine (face) and Suzanne Blakeslee (voice).

text: In Phantom Manor at Disneyland Paris, Madame Leota was played by Oona Lind. Her incantations are different from those of The Haunted Mansion, and they alternate between English and French.

text: In the 2003 film, Madame Leota was portrayed by Jennifer Tilly. She is shown first when Eddie Murphy's character, Jim Evers, stumbles upon her chamber after trying to find his way out of a secret passage. Leota then tells him and his children, Michael and Megan about how the mansion was cursed and how to break it before sending them with servants Ezra and Emma to the graveyard to find the clue which is a key to a trunk in the attic which contains the secret of the curse. When the protagonists find the secret which was a letter from the fiancée of the mansion's master, Elizabeth to the master himself, Edward Gracey, the butler Ramsley reveals the truth before banishing everyone. Leota is depicted as a helpful person when she tells Jim on how to break back in the mansion and rescue his family then reveal the truth of Ramsley's evil plans to the master. After Gracey and Elizabeth are reunited in the afterlife, Leota joins the family in their vacation.

text: In the 2003 video game, Leota acts as the secondary main protagonist and aids the player character, Ezekiel "Zeke" Halloway in navigating the Mansion to restore peace in the residence and free her six friends as well as other spirits from the game's villain, Atticus Thorn, who has enslaved them when his group, the Order of Shadows, took over the estate. At the game's conclusion, Zeke reveals that he had become a successful author and writer with Madame Leota's guidance.

text: In the comics, Leota was killed mid-trance by William Gracey, and doesn't realize that she's dead.

text: In the Haunted Mansion level of the Xbox 360 game Kinect Disneyland Adventures, a malevolent Madame Leota (voiced by Suzanne Blakeslee) is encountered upon entering the Mansion, in the Stretching Room.

text: The video game Epic Mickey has its own version of the character, named Madame Leona, who is the librarian of Lonesome Manor.

text: Madame Leota appears in the eleventh episode of the seventh season of Once Upon a Time, "Secret Garden", played by Suzy Joachim.[2] In the series, Madame Leota is a witch, member of the Coven of the Eight,[3] whose leader is Mother Gothel.

text: Bride[edit]

text: The Bride, one of the Mansion's most enigmatic characters, haunts the Attic. Inspiration for the character can be traced back to legends including the Brown Lady of Raynham Hall. The Bride has been altered on numerous occasions over the years, appearing now at Disneyland and Walt Disney World as Constance Hatchaway—the "Black Widow Bride," using a digital projection effect.

text: The original incarnation of the Bride was a skeletal corpse with glowing eyes, clutching a candle in one hand and a bouquet in the other. The sound of her beating heart filled the attic, and it could be seen glowing red within her chest. Her groom (according to the Story and Song from the Haunted Mansion album), the Hatbox Ghost, was removed shortly after the attraction opened, as his "disappearing head" effect was unconvincing under the scene's lighting conditions. Several "blast-up" and "pop-up" ghosts were also featured in the attic until they were removed with the "Black Widow Bride" update.

text: At one point a story circulated that the Bride's ring was embedded in the exterior exit path of Walt Disney World's Haunted Mansion. The object was actually what remained of a crowd-control stanchion that had been cut down. It was removed during 2007's Re-Haunting. In November 2016 when the new interactive queue was added, an "official" Bride's ring was embedded in the path to honor the popular legend.

text: A candle-holding bride appears in the 2003 video game, though she is not the character from the movie.

text: In the comics, the bride is named Emily De Claire.

text: The storyline of Phantom Manor at Disneyland Paris revolves around a bride named Melanie Ravenswood who is tormented by the sinister Phantom.

text: Constance Hatchaway[edit]

text: During the 2006 upgrades at Disneyland, the Bride was given a name, a new look, and a backstory. In the late 19th century, Constance married—and murdered—at least five wealthy men and inherited their fortunes. Her ghost utters sinister variations on classic wedding vows as a hatchet materializes in her hands. The visible beating heart from the previous versions of the Bride was not carried over to Constance, but its audio remains on the soundtrack. While much of Constance's story is left to the imagination, there are some hints in the newly decorated attic that give guests some insight into the character. A series of wedding photographs can be seen among various gifts and ceremonial trappings, and as guests pass each photo the heads of Constance's former grooms disappear. In the last photo, Constance holds a rose while posing next to her groom George Hightower. This echoes the portrait (in the stretching room) of a much older Constance holding a rose as she sits atop the tombstone of her late husband George, whose stone bust has a hatchet lodged in its head. (In an early attraction script, the widow in the stretching portrait was named Abigale Patecleaver.) Though Constance's ghost manifests as a young woman, she apparently lived to see old age.

text: Constance was later installed at Walt Disney World's Haunted Mansion during the 2007 refurbishment, though considerable work was done on her Floridian counterpart (including utilizing different video footage and switching to a single projector instead of two at Disneyland).

text: The performance model of Constance is Julia Lee.

text: Constance is voiced by Kat Cressida.

text: In the Wii game Epic Mickey, Horace Horsecollar (who runs the Detective Agency in the Wasteland) sends Mickey Mouse on a quest to find Constance's murder weapon. As Horace explains to Mickey, "Constance Hatchaway was once the Lady of Lonesome Manor. Several of her husbands... expired. There were suspicions but no evidence. Mrs. Hatchaway hid a hatchet in the house."

text: In the Xbox 360 game Kinect Disneyland Adventures, Constance haunts the Ballroom and serves as a boss. Her appearance is based on the pre-2006 version of the character, complete with candle and bouquet.

text: Organist[edit]

text: At the attraction's ballroom is a ghostly organist dressed in formal wear with a cape and top hat. He plays "Grim Grinning Ghosts" as a macabre waltz on the ballroom's pipe organ. Tiny wisp-like spirits emerge from the organ's pipes as the organist plays.

text: In the original Disneyland version of the attraction, the organ console is the original prop of the organ used by Captain Nemo in the 1954 film, "20,000 Leagues Under the Sea". While the console is the same, the noticeable differences are that of the bat-shape note stand which replaced the mirror from the film and the taller set of pipes that replaces the fan-shaped pipes of Nemo's organ to better compliment the ballroom's dimensions and to make a good effect on the skull-like spirits floating out of the pipes.

text: The organist appears in The Haunted Mansion (video game) as one of the six friendly ghosts who are enslaved by the game's villain, Atticus Thorn. Unlike the ride, the character is depicted without a hat but retains his cloak and is shown to be short-tempered and rude, on the manner that he refers to the game's protagonist, Zeke Halloway, as "beggar" and is always upset when his playing is interrupted. However, despite some of his negative attitudes, he is also shown to be a little bit nice and appreciates Zeke's efforts to restore the Mansion and thanks him for setting him as well as his friends and the other spirits free from Thorn's control. The character gives Zeke a second weapon upgrade.

text: While the character does not appear in the 2003 film adoption, there is a homage to him wherein one of the supporting characters, Ezra (Wallace Shawn) is shown wearing a cape and a hat and plays an off-key rendition of Richard Wagner's Bridal Chorus during the film's botched wedding ceremony.

text: Hatbox Ghost[edit]

text: The Hatbox Ghost was a character who originally appeared in the attic, on the opposite side of the room from the Bride. He was a cloaked figure with a grinning skeletal face, clutching a cane with a trembling hand. His head would disappear from his body and reappear from within the hat box he held in his other hand. He was removed shortly after the attraction opened at Disneyland due to the effect not working as intended, and returned on April 10, 2015. In the Story and Song from the Haunted Mansion album, he is identified as the Bride's groom ("with each beat of his bride's heart..."). The headless groom theme was re-introduced into the attic scene in 2006, as part of the "Black Widow Bride" storyline.

text: Guillermo del Toro has stated that his upcoming Haunted Mansion film will feature the Hatbox Ghost as a pivotal figure in the story, and that the mythology of the Mansion will be centered around the character. Del Toro analogized his version of the Hatbox Ghost to a spider sitting in the middle of a "web" of Haunted Mansions.

text: The look of the Hatbox Ghost may have been inspired by the Man in the Beaver Hat, played by Lon Chaney in the 1927 film, London After Midnight.

text: On April 10, 2015, it was officially confirmed that the Hatbox Ghost would return to Disneyland's Haunted Mansion in May 2015. The first day of the character's return was May 9, 2015.[4]

text: The Groundskeeper[edit]

text: The groundskeeper (also known as "The Caretaker") is a man who tends to the Mansion's upkeep but is stopped in his tracks when he effectively joins the guests' tour in seeing the ghosts' materializing at night. He is seen standing just outside the graveyard gates, next to a lamppost, raising a lantern in his shaking hand, and is visibly terrified. A shaking hound dog accompanies him, presumably his pet. In his other hand he holds a shovel, which either aids in his groundskeeping or could suggest alternatively he is a grave-robber caught in the act by the ghosts.

text: It is often pointed out that he is the only 'living' audio-animatronic seen throughout the entire ride.

text: The groundskeeper features prominently in D. W. Frydendall's comic book series based on the ride, and is identified as Horace Fusslebottom.

text: In other media[edit]

text: The groundskeeper and his dog appear in the 2003 film adaptation as ghostly versions of themselves in the graveyard scene. An original script had the Groundskeeper as a supporting character played by Don Knotts, who later dropped out before shooting began.

text: In the video game, the groundskeeper also makes an appearance as a ghost but his dog is omitted. The character is seen in the Winter Garden as a disgruntled ghost who complains about the absence of someone who is to pay him for his work. He only appears when the level is completed. It is also noted however that the player character and primary main protagonist, Zeke Halloway, was partially inspired by the groundskeeper.

text: Singing Busts[edit]

text: A quintet of marble busts sing Grim Grinning Ghosts amidst the revelry in the graveyard. Their names are (from left to right): Rollo Rumkin, Uncle Theodore, Cousin Algernon, Ned Nub, and Phineas P. Pock. The original concept art for talking or singing busts by Marc Davis included a female, Aunt Lucretia. The busts can also be seen in Phantom Manor at Disneyland Paris, minus Cousin Algernon.

text:
Rollo Rumkin: "Lived and died a friendly bumpkin," according to his tombstone (spelled Rolo on the stone), which was originally located in the family plot outside of the Disneyland Haunted Mansion. His name is a tribute to Imagineer Rolly Crump. He was played by Verne Rowe. In 2011 at Walt Disney World's Haunted Mansion, an epitaphless tombstone with the name Rollo Rumkin debuted on the hillside adjacent to the queue.
Uncle Theodore: The lead singing bust, whose head is broken off, was played by the deep-voiced Thurl Ravenscroft (known for singing You're A Mean One, Mr. Grinch and providing the voice of Tony the Tiger). He is often incorrectly identified as Walt Disney. Ravenscroft also narrated the 1969 record The Story and Song from the Haunted Mansion. In the comics, Uncle Theodore narrates Doom of the Diva, the tale of Baronessa Elda. In the 2003 film (like in the attraction), Thurl Ravenscroft's likeness was used for one of the singing busts. In 2011 at Walt Disney World's Haunted Mansion, an epitaphless tombstone that reads "In memory of Uncle Theodore" debuted on the hillside adjacent to the queue. In Phantom Manor, his head has not broken off of the bust, but it is leaning over to the side a little, mimicking the broken head in the American mansions and in Tokyo.
Cousin Algernon: Distinguishable from the other busts by his derby hat. He was played by Chuck Schroeder. In 2011 at Walt Disney World's Haunted Mansion, an epitaphless tombstone with the name Cousin Algernon debuted on the hillside adjacent to the queue.
Ned Nub: The only bust without a necktie. He was played by Jay Meyer. In 2011 at Walt Disney World's Haunted Mansion, an epitaphless tombstone with the name Ned Nub debuted on the hillside adjacent to the queue.
Phineas P. Pock: Relative of the poet Prudence Pock. He was played by Bob Ebright. The name Phineas Pock has appeared elsewhere in Haunted Mansion lore. A tombstone with the name Phineas Pock was featured in the original family plot at Disneyland's Haunted Mansion, but it may not have been the same character as the singing bust. In 2011 at Walt Disney World's Haunted Mansion, an epitaphless tombstone with the name Phineas Pock debuted on the hillside adjacent to the queue.

text: They were voiced by the Dapper Dans in the video game and the 2003 film adaptation. However, in these two adaptations, they are reduced to a quartet instead of appearing as five.

text: In the Wii game Epic Mickey, the original five busts make an appearance in a stretching portrait inside Lonesome Manor. In the Xbox 360 game Kinect Disneyland Adventures, four of the busts appear in the queue area outside of the Mansion, and can be conducted.

text: The Disney animated film Hercules features an homage during the song I Won't Say (I'm in Love), in which the  Muses appear as singing busts and are arranged in the same way as the Haunted Mansion characters.

text: Hitchhiking Ghosts[edit]

text: The Hitchhiking Ghosts are a tongue-in-cheek send-up of urban legends involving phantom hitchhikers. They are also said to be the attraction's mascots due to their appearances in many merchandise. They have also been known to be the "funny ghosts".

text: Near the end of the ride, the trio are encountered standing together inside a crypt, with thumbs extended. They hitch a ride with guests traveling in Doom Buggies and appear alongside them in mirrors. "They have selected you to fill our quota, and they'll haunt you until you return," says the Ghost Host. In 2011 at Walt Disney World's Haunted Mansion, the mirror scene was updated with digital effects that enable the ghosts to interact with the guests. The vocals for Walt Disney World's computer-generated ghosts were provided by actor Kurt von Schmittou.

text: The Prisoner is a short, hairy little ghost with a ball and chain shackled to his ankle.

text: The Skeleton is a tall, dapper, grinning ghost. When the attraction first opened at Disneyland, he was completely bald, but has since had hair of varying lengths. Although the Skeleton figure has the same face mold as the Hatbox Ghost, they are not meant to be the same character. In Marc Davis' original concept art, the character was a stereotypical "sheet ghost" with no clothes, save for the bowler hat he lifted above his head. By the time the attraction opened, the character had evolved into the fully clothed skeletal ghost seen in the Mansion today.

text: The Traveler is an overweight hunchback wearing a top hat and holding a carpet bag.

text: The Hitchhiking Ghosts are often referred to as "Gus" (Prisoner), "Ezra" (Skeleton), and "Phineas" (Traveler). These names are thought to have originated from and popularised by Cast Members who worked at the Walt Disney World Haunted Mansion, and further spread by fans. Since then, the names have appeared on merchandise for the characters and in various media licensed by Disney. When the subject was brought up in a 2006 interview, Imagineer Jason Surrell said, "Their names are not Ezra, Phineas, and Gus. I don't know where it came from. I know at one point, Cast Members contributed to this website that names all the ghosts and gives them backstories. None of those have any basis in Imagineering story, or anything like that. But somehow Ezra, Phineas, and Gus in particular managed to stick, so in the book about the only thing I could do is acknowledge that and say it's not official, but acknowledge it at the same time." When the interactive queue was installed outside of the Walt Disney World attraction in 2011, tombstones with the names Gus and Ezra were added. Also added was a tombstone for Phineas Pock, though this is a reference to the singing bust character, and not the Traveler hitchhiking ghost.

text: The Hitchhiking Ghosts make a brief appearance in the 2003 film, passed by the hearse carrying the Evers family through the graveyard, striking their signature pose. As Jim Evers (Eddie Murphy) is startled by their appearance, the Traveler and Prisoner (played by Deep Roy) argue how the Evers see them, thinking they are invisible until the Prisoner accuses Jim as a liar and psychic as the Skeleton (played by Jeremy Howard) observes silently. Unlike their ride counterparts, the trio were the mansion's former servants; the Traveller was the mansion's head chef (complete with French accent), the Skeleton was the coachman, and the Prisoner was the assistant groundskeeper. Early script drafts for the movie have revealed that the three ghosts were going to play larger comic relief supporting roles, similar to the servant characters Emma and Ezra.

text: The characters make an appearance in the Xbox 360 game Kinect Disneyland Adventures.

text: The Hitchhiking Ghosts made cameo appearances in multiple episodes of Disney's House of Mouse.

text: In August 2012, a "Disney Dream Portrait" by photographer Annie Leibovitz was released, featuring comedic actors Jack Black, Will Ferrell, and Jason Segel as the Hitchhiking Ghosts.

text: The queue of Tokyo Disneyland's Star Tours: The Adventures Continue features three Audio-Animatronic hitchhiking droids: a former RX pilot droid and two former F-series droids from the attraction's original 1989 incarnation, all posed in the same manner as the Hitchhiking Ghosts.

text: In 2016, the Disneyland Haunted Mansion "Ghost Post" in-park scavenger hunt includes the Phantom Radio iOS app with Disney voice veterans Peter Renaday as Ezra, Dee Bradley Baker as Gus and Stephen Stanton as Phineas.

text: Little Leota[edit]

text: Also known as the 'Ghost Hostess', this miniature "lady in white" type ghost beckons guests to hurry back at the end of the attraction: "...be sure to bring your death certificate" says the Little Leota. She was played (face and voice) by Leota Toombs. The character is said to have been inspired by the "arrangement hostesses" from the 1965 film The Loved One. The character was conceived as being separate to the character of Madame Leota, however due to being played by the same woman, both characters are sometimes combined in related media.

text: The Dread Family[edit]

text: The Dread Family is a family of six (five if you don't count the second bust on one stand) that killed each other for their wealth. Their busts are seen while waiting on line and part of interactive queue as a murder mystery for the guests to solve. The members of the Dread family are:

text:
Uncle Jacob Dread
Bertie Dread
Aunt Florence McGriffin Dread
The Twins, also known as Wellington and Forsythia Dread
Cousin Maude Dread

text: Jacob didn't kill anybody. Bertie poisoned him with venom from his snake and Florence killed him with her pistol gun for revenge but a rogue shot killed the twins pet canary. Wellington and Forsythia killed Florence for revenge with a bag of canary seeds on top of her face. Maude killed the two by smashing their heads with a Croquet mallet and Maude killed herself by accident because she forgot that she put matches in her hair to hold her bun together and the friction of her pillow caused fire.


document_title: Aeneid

question_text: who tells aeneas to go to the underworld

question_tokens: who tells aeneas to go to the underworld

root

text: Aeneid

text: Story[edit]

text: The Aeneid can be divided into two halves based on the disparate subject matter of Books 1–6 (Aeneas's journey to Latium in Italy) and Books 7–12 (the war in Latium). These two halves are commonly regarded as reflecting Virgil's ambition to rival Homer by treating both the Odyssey's wandering theme and the Iliad's warfare themes.[7] This is, however, a rough correspondence, the limitations of which should be borne in mind.[8]

tag: p

text: Journey to Italy (books 1–6)[edit]

text: Theme[edit]

text: Virgil begins his poem with a statement of his theme (Arma virumque cano ..., "I sing of arms and of a man ...") and an invocation to the Muse, falling some seven lines after the poem's inception (Musa, mihi causas memora ..., "O Muse, recount to me the causes ..."). He then explains the reason for the principal conflict in the story: the resentment held by the goddess Juno against the Trojan people. This is consistent with her role throughout the Homeric epics.

text: Storm and Refuge[edit]

text: Also in the manner of Homer, the story proper begins in medias res (into the middle of things), with the Trojan fleet in the eastern Mediterranean, heading in the direction of Italy. The fleet, led by Aeneas, is on a voyage to find a second home. It has been foretold that in Italy he will give rise to a race both noble and courageous, a race which will become known to all nations. Juno is wrathful, because she had not been chosen in the judgment of Paris, and because her favorite city, Carthage, will be destroyed by Aeneas's descendants. Also, Ganymede, a Trojan prince, was chosen to be the cup bearer to her husband, Jupiter—replacing Juno's daughter, Hebe. Juno proceeds to Aeolus, King of the Winds, and asks that he release the winds to stir up a storm in exchange for a bribe (Deiopea, the loveliest of all her sea nymphs, as a wife). Aeolus does not accept the bribe, but agrees to carry out Juno's orders (line 77, "My task is / To fulfill your commands"); the storm then devastates the fleet.

text: Neptune takes notice: although he himself is no friend of the Trojans, he is infuriated by Juno's intrusion into his domain, and stills the winds and calms the waters, after making sure that the winds would not bother the Trojans again, lest they be punished more harshly than they were this time. The fleet takes shelter on the coast of Africa, where Aeneas rouses the spirits of his men, reassuring them that they have been through worse situations before. There, Aeneas's mother, Venus, in the form of a huntress very similar to the goddess Diana, encourages him and recounts to him the history of Carthage. Eventually, Aeneas ventures into the city, and in the temple of Juno he seeks and gains the favor of Dido, queen of the city, which has only recently been founded by refugees from Tyre and which will later become a great imperial rival and enemy to Rome.

text: Meanwhile, Venus has her own plans. She goes to her son, Aeneas's half-brother Cupid, and tells him to imitate Ascanius (the son of Aeneas and his first wife Creusa). Disguised as such, Cupid goes to Dido and offers the gifts expected from a guest. With Dido's motherly love revived as she cradles the boy during a banquet given in honour of the Trojans, Cupid secretly weakens her sworn fidelity to the soul of her late husband, Sychaeus, who had been murdered by her brother, Pygmalion.

text: Trojan Horse[edit]

text: Aeneas sadly recounts the events that occasioned the Trojans' arrival. He begins the tale shortly after the war described in the Iliad: Cunning Ulysses devised a way for Greek warriors to gain entry into the walled city of Troy by hiding in a large wooden horse. The Greeks pretended to sail away, leaving a warrior, Sinon, to inform the Trojans that the horse was an offering and that if it were taken into the city, the Trojans would be able to conquer Greece. The Trojan priest Laocoön saw through the Greek plot and urged the horse's destruction, but his protests fell on deaf ears, so he hurled his spear at the horse. Then, in what would be seen by the Trojans as punishment from the gods, two serpents emerged from the sea and devoured Laocoön, along with his two sons. The Trojans then took the horse inside the fortified walls, and after nightfall the armed Greeks emerged from it, opening the city's gates to allow the returned Greek army to slaughter the Trojans.

text: In a dream, Hector, the fallen Trojan prince, advised Aeneas to flee with his family. Aeneas awoke and saw with horror what was happening to his beloved city. At first he tried to fight the enemy, but soon he lost his comrades and was left alone to fend off the Greeks. He witnessed the murder of Priam by Achilles' son Pyrrhus. His mother, Venus, appeared to him and led him back to his house. Aeneas tells of his escape with his son, Ascanius, and father, Anchises, after the occurrence of various omens (Ascanius' head catching fire without his being harmed, a clap of thunder and a shooting star). After fleeing Troy, he goes back for his wife, Creusa, but she has been killed. Her ghost tells him that his destiny is to found a new city in the West.

text: Wanderings[edit]

text: He tells of how, rallying the other survivors, he built a fleet of ships and made landfall at various locations in the Mediterranean: Thrace, where they find the last remains of a fellow Trojan, Polydorus; the Strophades, where they encounter the Harpy Celaeno, who tells them to leave her island and to look for Italy; Crete, which they believe to be the land where they are to build their city, which they name Pergamea (but they are set straight by Apollo); and Buthrotum. This last city had been built in an attempt to replicate Troy. In Buthrotum, Aeneas meets Andromache, the widow of Hector. She is still lamenting the loss of her valiant husband and beloved child. There, too, Aeneas sees and meets Helenus, one of Priam's sons, who has the gift of prophecy. Through him, Aeneas learns the destiny laid out for him: he is divinely advised to seek out the land of Italy (also known as Ausonia or Hesperia), where his descendants will not only prosper, but in time rule the entire known world. In addition, Helenus also bids him go to the Sibyl in Cumae.

text: Heading into the open sea, Aeneas leaves Buthrotum, rounds the SE tip of Italy and makes his way towards Sicily (Trinacria). There, they are caught in the whirlpool of Charybdis and driven out to sea. Soon they come ashore at the land of the Cyclopes. There they meet a Greek, Achaemenides, one of Ulysses' men, who has been left behind when his comrades escaped the cave of Polyphemus. They take Achaemenides on board and narrowly escape Polyphemus. Shortly after, Anchises dies peacefully of old age, and Aeneas sails to Carthage.

text: Fate of Queen Dido[edit]

text: Aeneas finishes his story, and Dido realizes that she has fallen in love with Aeneas. Juno seizes upon this opportunity to make a deal with Venus, Aeneas's mother, with the intention of distracting Aeneas from his destiny of founding a city in Italy. Aeneas is inclined to return Dido's love, and during a hunting expedition, a storm drives them into a small covered grove in which Aeneas and Dido presumably have sex, an event that Dido takes to indicate a marriage between them. But when Jupiter sends Mercury to remind Aeneas of his duty, he has no choice but to part. Her heart broken, Dido commits suicide by stabbing herself upon a pyre with Aeneas's sword. Before dying, she predicts eternal strife between Aeneas's people and hers; "rise up from my bones, avenging spirit" (4.625, trans. Fitzgerald) is a possible invocation to Hannibal.[9] Looking back from the deck of his ship, Aeneas sees the smoke of Dido's funeral pyre and knows its meaning only too clearly. Nevertheless, destiny calls, and the Trojan fleet sails on to Italy.

text: Sicily[edit]

text: Book 5 takes place on Sicily and centers on the funeral games that Aeneas organizes for the anniversary of his father's death. Aeneas and his men have left Carthage for Sicily, where Aeneas organizes celebratory games—a boat race, a foot race, a boxing match, and an archery contest. In all those contests, Aeneas is careful to reward winners and losers, showing his leadership qualities by not allowing antagonism even after foul play. Each of these contests comments on past events or prefigures future events: the boxing match, for instance, is "a preview of the final encounter of Aeneas and Turnus", and the dove, the target during the archery contest, is connected to the deaths of Polites and King Priam in Book 2 and that of Camilla in Book 11.[10] Afterwards, Ascanius leads the boys in a military parade and mock battle, a tradition he will teach the Latins while building the walls of Alba Longa.

text: During these events (in which only men participate), Juno incites the womenfolk to burn the fleet and prevent the Trojans from ever reaching Italy, but her plan is thwarted when Ascanius and Aeneas intervene. Aeneas prays to Jupiter to quench the fires, which the god does with a torrential rainstorm. An anxious Aeneas is comforted by a vision of his father, who tells him to go to the underworld to receive a vision of his and Rome's future. In return for safe passage to Italy, the gods, by order of Jupiter, will receive one of Aeneas's men as a sacrifice: Palinurus, who steers Aeneas's ship by night, falls overboard.

text: Underworld[edit]

text: In Book 6, Aeneas, with the guidance of the Cumaean Sibyl, descends into the underworld through an opening at Cumae. They pass by crowds of the dead by the banks of the river Acheron and are ferried across by Charon before passing by Cerberus. Then Aeneas is shown the fates of the wicked in Tartarus and is warned by the Sibyl to bow to the justice of the gods. He is then brought to green fields of Elysium. There he speaks with the spirit of his father and is offered a prophetic vision of the destiny of Rome.

text: War in Italy (books 7–12)[edit]

text: Upon returning to the land of the living, Aeneas leads the Trojans to settle in Latium, where he courts Lavinia, the daughter of King Latinus. Although Aeneas wished to avoid a war, hostilities break out. Juno is heavily involved in bringing about this war—she has persuaded the Queen of Latium to demand that Lavinia be married to Turnus, the ruler of a local people, the Rutuli. Juno continues to stir up trouble, even summoning the fury Alecto to ensure that a war takes place.

text: Seeing the masses of warriors that Turnus has brought against him, Aeneas seeks help from the Tuscans, enemies of the Rutuli. He meets King Evander of Arcadia, whose son Pallas agrees to lead troops against the other Italians. Meanwhile, in book 9, the Trojan camp is attacked, and a midnight raid leads to the deaths of Nisus and his companion, Euryalus. The gates, however, are defended until Aeneas returns with his Tuscan and Arcadian reinforcements.

text: In the battling that follows, many are slain—notably Pallas (a close friend of Aeneas), who is killed by Turnus, and Mezentius, Turnus's close associate. Mezentius, who has allowed his son to be killed while he himself fled, reproaches himself and faces Aeneas in single combat—an honourable but essentially futile endeavour. In book 11, another notable, Camilla, a sort of Amazon character, fights bravely but is killed. She has been a virgin devoted to Diana and to her nation; Arruns, the man who kills her, is struck dead by Diana's sentinel, Opis.

text: Single combat is then proposed between Aeneas and Turnus, but Aeneas is so obviously superior to Turnus that the Italians, urged on by Turnus's divine sister, Juturna, break the truce. Aeneas is injured, but returns to the battle. Turnus and Aeneas dominate the battle on opposite wings, but when Aeneas makes a daring attack at the city of Latium (causing the queen of Latium to hang herself in despair), he forces Turnus into single combat once more. Turnus's strength deserts him as he tries to hurl a rock, and Aeneas's spear goes through his thigh. As Turnus is begging on his knees for his life, the epic ends with Aeneas first tempted to obey pleas to spare Turnus's life, but killing him in rage when he sees that Turnus is wearing his friend Pallas's belt over a shoulder as a trophy.

text: Reception[edit]

text: Critics of the Aeneid focus on a variety of issues.[11] The tone of the poem as a whole is a particular matter of debate; some see the poem as ultimately pessimistic and politically subversive to the Augustan regime, while others view it as a celebration of the new imperial dynasty. Virgil makes use of the symbolism of the Augustan regime, and some scholars see strong associations between Augustus and Aeneas, the one as founder and the other as re-founder of Rome. A strong teleology, or drive towards a climax, has been detected in the poem. The Aeneid is full of prophecies about the future of Rome, the deeds of Augustus, his ancestors, and famous Romans, and the Carthaginian Wars; the shield of Aeneas even depicts Augustus' victory at Actium in 31 BC. A further focus of study is the character of Aeneas. As the protagonist of the poem, Aeneas seems to constantly waver between his emotions and commitment to his prophetic duty to found Rome; critics note the breakdown of Aeneas's emotional control in the last sections of the poem where the "pious" and "righteous" Aeneas mercilessly slaughters Turnus.

text: The Aeneid appears to have been a great success. Virgil is said to have recited Books 2, 4 and 6 to Augustus;[12] the mention of her son, Marcellus, in book 6 apparently caused Augustus' sister Octavia to faint. The poem was unfinished when Virgil died in 19 BC.

text: Virgil's death and editing[edit]

text: According to tradition, Virgil traveled to Greece around 19 BC to revise the Aeneid. After meeting Augustus in Athens and deciding to return home, Virgil caught a fever while visiting a town near Megara. Virgil crossed to Italy by ship, weakened with disease, and died in Brundisium harbour on 21 September 19 BC, leaving a wish that the manuscript of the Aeneid was to be burned. Augustus ordered Virgil's literary executors, Lucius Varius Rufus and Plotius Tucca, to disregard that wish, instead ordering the Aeneid to be published with as few editorial changes as possible.[13] As a result, the existing text of the Aeneid may contain faults which Virgil was planning to correct before publication. However, the only obvious imperfections are a few lines of verse that are metrically unfinished (i.e., not a complete line of dactylic hexameter). Other alleged "imperfections" are subject to scholarly debate.

text: History[edit]

text: The Aeneid was written in a time of major political and social change in Rome, with the fall of the Republic and the Final War of the Roman Republic having torn through society and many Romans' faith in the "Greatness of Rome" severely faltering. However, the new emperor, Augustus Caesar, began to institute a new era of prosperity and peace, specifically through the re-introduction of traditional Roman moral values. The Aeneid was seen as reflecting this aim, by depicting the heroic Aeneas as a man devoted and loyal to his country and its prominence, rather than personal gains, and going off on a journey for the betterment of Rome. In addition, the Aeneid gives mythic legitimization to the rule of Julius Caesar and, by extension, to his adopted son Augustus, by immortalizing the tradition that renamed Aeneas's son, Ascanius (called Ilus from Ilium, meaning Troy), Iulus, thus making him an ancestor of the gens Julia, the family of Julius Caesar, and many other great imperial descendants as part of the prophecy given to him in the Underworld. (The meter shows that the name "Iulus" is pronounced as 3 syllables, not as "Julus".)

text: Despite the polished and complex nature of the Aeneid (legend stating that Virgil wrote only three lines of the poem each day), the number of half-complete lines and the abrupt ending are generally seen as evidence that Virgil died before he could finish the work. Because this poem was composed and preserved in writing rather than orally, the Aeneid is more complete than most classical epics. Furthermore, it is possible to debate whether Virgil intended to rewrite and add to such lines. Some of them would be difficult to complete, and in some instances, the brevity of a line increases its dramatic impact (some arguing the violent ending as a typically Virgilian comment on the darker, vengeful side of humanity). However, these arguments may be anachronistic—half-finished lines might equally, to Roman readers, have been a clear indication of an unfinished poem and have added nothing whatsoever to the dramatic effect.[citation needed]

text: The perceived deficiency of any account of Aeneas's marriage to Lavinia or his founding of the Roman race led some writers, such as the 15th-century Italian poet Maffeo Vegio (through his Mapheus Vegius widely printed in the Renaissance), Pier Candido Decembrio (whose attempt was never completed), Claudio Salvucci (in his 1994 epic poem The Laviniad), and Ursula K. Le Guin (in her 2008 novel Lavinia) to compose their own supplements.

text: Some legends state that Virgil, fearing that he would die before he had properly revised the poem, gave instructions to friends (including the current emperor, Augustus) that the Aeneid should be burned upon his death, owing to its unfinished state and because he had come to dislike one of the sequences in Book VIII, in which Venus and Vulcan have sexual intercourse, for its nonconformity to Roman moral virtues. The friends did not comply with Virgil's wishes and Augustus himself ordered that they be disregarded. After minor modifications, the Aeneid was published.

text: The first full and faithful rendering of the poem in an Anglic language is the Scots translation by Gavin Douglas—his Eneados, completed in 1513, which also included Maffeo Vegio's supplement. Even in the 20th century, Ezra Pound considered this still to be the best Aeneid translation, praising the "richness and fervour" of its language and its hallmark fidelity to the original.[14][15] The English translation by the 17th-century poet John Dryden is another important version. Most classic translations, including both Douglas and Dryden, employed a rhyme scheme, a very non-Roman convention that is not usually followed in modern versions.

text: Recent English verse translations include those by British Poet Laureate Cecil Day-Lewis (1963) which strove to render Virgil's original hexameter line, Allen Mandelbaum (honoured by a 1973 National Book Award), Library of Congress Poet Laureate Robert Fitzgerald (1981), Stanley Lombardo (2005), Robert Fagles (2006), Sarah Ruden (2008), and Barry B. Powell (2015).

text: Style[edit]

text: As with other classical Latin poetry, the meter is based on the length of syllables rather than the stress, though the interplay of meter and stress is also important. Virgil also incorporated such poetic devices as alliteration, onomatopoeia, synecdoche, and assonance. Furthermore, he uses personification, metaphor and simile in his work, usually to add drama and tension to the scene. An example of a simile can be found in book II when Aeneas is compared to a shepherd who stood on the high top of a rock unaware of what is going on around him.[16] It can be seen that just as the shepherd is a protector of his sheep, so too is Aeneas to his people.

text: As was the rule in classical antiquity, an author's style was seen as an expression of his personality and character. Virgil's Latin has been praised for its evenness, subtlety and dignity.[citation needed]

text: Structure[edit]

text: The Aeneid, like other classical epics, is written in dactylic hexameters: each line consists of six metrical feet made up of dactyls (one long syllable followed by two short syllables) and spondees (two long syllables). This epic consists of twelve books, and the narrative is broken up into three sections of four books each, respectively addressing Dido; the Trojans' arrival in Italy; and the war with the Latins. Each book has about 1000 lines. The Aeneid comes to an abrupt ending, and scholars have speculated that Virgil died before he could finish the poem.[17]

text: Themes[edit]

text: Pietas[edit]

text: The Roman ideal of pietas ("piety, dutiful respect"), which can be loosely translated from the Latin as a selfless sense of duty toward one's filial, religious, and societal obligations, was a crux of ancient Roman morality. Throughout the Aeneid, Aeneas serves as the embodiment of pietas, with the phrase "pious Aeneas" occurring 20 times throughout the poem,[18] thereby fulfilling his capacity as the father of the Roman people.[19] For instance, in Book 2 Aeneas describes how he carried his father Anchises from the burning city of Troy: "No help/ Or hope of help existed./ So I resigned myself, picked up my father,/ And turned my face toward the mountain range."[20] Furthermore, Aeneas ventures into the underworld, thereby fulfilling Anchises' wishes. His father's gratitude is presented in the text by the following lines: "Have you at last come, has that loyalty/ Your father counted on conquered the journey? [21]

text: However, Aeneas's pietas extends beyond his devotion to his father: we also see several examples of his religious fervour. Aeneas is consistently subservient to the gods, even in actions opposed to his own desires, as he responds to one such divine command, "I sail to Italy not of my own free will."[22][23]

text: In addition to his religious and familial pietas, Aeneas also displays fervent patriotism and devotion to his people, particularly in a military capacity. For instance, as he and his followers leave Troy, Aeneas swears that he will "take up/ The combat once again. We shall not all/ Die this day unavenged."[24]

text: Aeneas is a symbol of pietas in all of its forms, serving as a moral paragon to whom a Roman should aspire.

text: Divine intervention[edit]

text: One of the most recurring themes in the Aeneid is that of divine intervention.[25] Throughout the poem, the gods are constantly influencing the main characters and trying to change and impact the outcome, regardless of the fate that they all know will occur.[26] For example, Juno comes down and acts as a phantom Aeneas to drive Turnus away from the real Aeneas and all of his rage from the death of Pallas.[27] Even though Juno knows in the end that Aeneas will triumph over Turnus, she does all she can to delay and avoid this outcome.

text: Divine intervention occurs multiple times in Book 4 especially. Aeneas falls in love with Dido, delaying his ultimate fate of traveling to Italy. However, it is actually the gods who inspired the love, as Juno plots:

text:
Dido and the Trojan captain [will come]
To one same cavern. I shall be on hand,
And if I can be certain you are willing,
There I shall marry them and call her his.
A wedding, this will be.[28]

text: Juno is speaking to Venus, making an agreement and influencing the lives and emotions of both Dido and Aeneas. Later in the same book, Jupiter steps in and restores what is the true fate and path for Aeneas, sending Mercury down to Aeneas's dreams, telling him that he must travel to Italy and leave his new-found lover. As Aeneas later pleads with Dido:

text:
The gods' interpreter, sent by Jove himself--
I swear it by your head and mine-- has brought
Commands down through the racing winds!...
I sail for Italy not of my own free will.[29]

text: Several of the gods try to intervene against the powers of fate, even though they know what the eventual outcome will be. The interventions are really just distractions to continue the conflict and postpone the inevitable. If the gods represent humans, just as the human characters engage in conflicts and power struggles, so too do the gods.

text: Fate[edit]

text: Fate, described as a preordained destiny that men and gods have to follow, is a major theme in the Aeneid. One example is when Aeneas is reminded of his fate through Jupiter and Mercury while he is falling in love with Dido. Mercury urges, "Think of your expectations of your heir,/ Iulus, to whom the whole Italian realm, the land/ Of Rome, are due."[30] Mercury is referring to Aeneas's preordained fate to found Rome, as well as Rome's preordained fate to rule the world:

text:
He was to be ruler of Italy,
Potential empire, armorer of war;
To father men from Teucer's noble blood
And bring the whole world under law's dominion.[31]

text:
It is important to recognize that there is a marked difference between fate and divine intervention, as even though the gods might remind mortals of their eventual fate, the gods themselves are not in control of it.[32] For example, the opening lines of the poem specify that Aeneas "came to Italy by destiny," but is also harassed by the separate force of "baleful Juno in her sleepless rage." [33]
Even though Juno might intervene, Aeneas's fate is set in stone and cannot be changed.

text: Later in Book 6 when Aeneas visits the underworld, his father Anchises introduces him to the larger fate of the Roman people, as contrasted against his own personal fate to found Rome:

text:
So raptly, everywhere, father and son
Wandered the airy plain and viewed it all.
After Anchises had conducted him
To every region and had fired his love
Of glory in the years to come, he spoke
Of wars that he might fight, of Laurentines,
And of Latinus' city, then of how
He might avoid or bear each toil to come.[34]

text: Violence and conflict[edit]

text: From the very beginning of the Aeneid, violence and conflict are used as a means of survival and conquest. Aeneas's voyage is caused by the Trojan War and the destruction of Troy.[35] Aeneas describes to Dido in Book 2 the massive amount of destruction that occurs after the Greeks sneak into Troy. He recalls that he asks his men to "defend/ A city lost in flames. Come, let us die,/ We'll make a rush into the thick of it."[36] This is one of the first examples of how violence begets violence: even though the Trojans know they have lost the battle, they continue to fight for their country.

text: This violence continues as Aeneas makes his journey. Dido kills herself in an excessively violent way over a pyre in order to end and escape her worldly problem: being heartbroken over the departure of her "husband" Aeneas. Queen Dido's suicide is a double edged sword. While releasing herself from the burden of her pain through violence, her last words implore her people to view Aeneas's people with hate for all eternity:

text:
This is my last cry, as my last blood flows.
Then, O my Tyrians, besiege with hate
His progeny and all his race to come:
Make this your offering to my dust. No love,
No pact must be between our peoples.[37]

text: Furthermore, her people, hearing of their queen's death, have only one avenue on which to direct the blame: the already-departed Trojans. Thus, Dido's request of her people and her people's only recourse for closure align in their mutual hate for Aeneas and his Trojans. In effect, Dido's violent suicide leads to the violent nature of the later relationship between Carthage and Rome.[38]

text: Finally, when Aeneas arrives in Latium, conflict inevitably arises.[39] Juno sends Alecto, one of the Furies, to cause Turnus to go against Aeneas. In the ensuing battles, Turnus kills Pallas, who is supposed to be under Aeneas's protection. This act of violence causes Aeneas to be consumed with fury. Although Turnus asks for mercy in their final encounter, when Aeneas sees that Turnus has taken Pallas' sword belt, Aeneas proclaims:

text:
You in your plunder, torn from one of mine,
Shall I be robbed of you? This wound will come
From Pallas: Pallas makes this offering
And from your criminal blood exacts his due.[40]

text: This final act of violence shows how Turnus' violence—the act of killing Pallas—inevitably leads to more violence and his own death.

text: It is possible that the recurring theme of violence in the Aeneid is a subtle commentary on the bloody violence contemporary readers would have just experienced during the Late Republican civil wars. The Aeneid potentially explores whether the violence of the civil wars was necessary to establish a lasting peace under Augustus, or whether it would just lead to more violence in the future.[41]

text: Propaganda[edit]

text: Written during the reign of Augustus, the Aeneid presents the hero Aeneas as a strong and powerful leader. The favorable representation of Aeneas parallels Augustus in that it portrays his reign in a progressive and admirable light, and allows Augustus to be positively associated with the portrayal of Aeneas.[42] Although Virgil's patron Maecenas was obviously not Augustus himself, he was still a high figure within Augustus' administration and could have personally benefitted from representing Aeneas in a positive light.

text: In the Aeneid, Aeneas is portrayed as the singular hope for the rebirth of the Trojan people. Charged with the preservation of his people by divine authority, Aeneas is symbolic of Augustus' own accomplishments in establishing order after the long period of chaos of the Roman civil wars. Augustus as the light of savior and the last hope of the Roman people is a parallel to Aeneas as the savior of the Trojans. This parallel functions as propaganda in support of Augustus,[43][44] as it depicts the Trojan people, future Romans themselves, as uniting behind a single leader who will lead them out of ruin:

text:
New refugees in a great crowd: men and women
Gathered for exile, young-pitiful people
Coming from every quarter, minds made up,
With their belongings, for whatever lands
I'd lead them to by sea.[45]

text: Later in Book 6, Aeneas travels to the underworld where he sees his father Anchises, who tells him of his own destiny as well as that of the Roman people. Anchises describes how Aeneas's descendant Romulus will found the great city of Rome, which will eventually be ruled by Caesar Augustus:

text:
Turn your two eyes
This way and see this people, your own Romans.
Here is Caesar, and all the line of Iulus,
All who shall one day pass under the dome
Of the great sky: this is the man, this one,
Of whom so often you have heard the promise,
Caesar Augustus, son of the deified,
Who shall bring once again an Age of Gold
To Latium, to the land where Saturn reigned
In early times.[46]

text: Virgil writes about the fated future of the city that Aeneas will found, which will in turn lead directly to the golden reign of Augustus. Virgil is using a form of literary propaganda to demonstrate the Augustan regime's destiny to bring glory and peace to Rome. Rather than use Aeneas indirectly as a positive parallel to Augustus as in other parts of the poem, Virgil outright praises the emperor in Book 6, referring to Augustus as a harbinger for the glory of Rome and new levels of prosperity.

text: Allegory[edit]

text: The poem abounds with smaller and greater allegories. Two of the debated allegorical sections pertain to the exit from the underworld and to Pallas's belt.

text: Aeneas's leaving the underworld through the gate of false dreams has been variously interpreted: One suggestion is that the passage simply refers to the time of day at which Aeneas returned to the world of the living; another is that it implies that all of Aeneas's actions in the remainder of the poem are somehow "false". In an extension of the latter interpretation, it has been suggested that Virgil is conveying that the history of the world since the foundation of Rome is but a lie. Other scholars claim that Virgil is establishing that the theological implications of the preceding scene (an apparent system of reincarnation) are not to be taken as literal.[47]

text: The second section in question is

text: This section has been interpreted to mean that for the entire passage of the poem, Aeneas who symbolizes pietas (reason) in a moment becomes furor (fury), thus destroying what is essentially the primary theme of the poem itself. Many have argued over these two sections. Some claim that Virgil meant to change them before he died, while others find that the location of the two passages, at the very end of the so-called Volume I (Books 1–6, the Odyssey), and Volume II (Books 7–12, the Iliad), and their short length, which contrasts with the lengthy nature of the poem, are evidence that Virgil placed them purposefully there.

text: Influence[edit]

text: The Aeneid is a cornerstone of the Western canon, and early (at least by the 2nd century AD) became one of the essential elements of a Latin education,[49] usually required to be memorized.[50] Even after the decline of the Roman Empire, it "remained central to a Latin education".[51] In Latin-Christian culture, the Aeneid was one of the canonical texts, subjected to commentary as a philological and educational study,[52] with the most complete commentary having been written by the 4th-century grammarian Maurus Servius Honoratus.[53] It was widely held to be the pinnacle of Latin literature, much in the same way that the Iliad was seen to be supreme in Greek literature.

text: The strong influence of the Aeneid has been identified in the development of European vernacular literatures—some English works that show its influence being Beowulf, Layamon's Brut (through the source text Historia Regum Britanniae), The Faerie Queene, and Milton's Paradise Lost. The Italian poet Dante Alighieri was himself profoundly influenced by the Aeneid, so much so that his magnum opus The Divine Comedy, itself widely considered central to the western canon, includes a number of quotations from and allusions to the Aeneid and features the author Virgil as a major character – the guide of Dante through the realms of the Inferno and Purgatorio. Another continental work displaying the influence of the Aeneid is the 16th-century Portuguese epic Os Lusíadas, written by Luís Vaz de Camões and dealing with Vasco de Gama's voyage to India.

text: The importance of Latin education itself was paramount in Western culture: "from 1600 to 1900, the Latin school was at the center of European education, wherever it was found"; within that Latin school, Virgil was taught at the advanced level and, in 19th-century England, special editions of Virgil were awarded to students who distinguished themselves.[54] In the United States, Virgil and specifically the Aeneid were taught in the fourth year of a Latin sequence, at least until the 1960s;[55] the current (2011) Advanced Placement curriculum in Latin continues to assign a central position to the poem: "The AP Latin: Virgil Exam is designed to test the student's ability to read, translate, understand, analyze, and interpret the lines of the Aeneid that appear on the course syllabus in Latin."[56]

text: Many phrases from this poem entered the Latin language, much as passages from Shakespeare and Alexander Pope have entered the English language. One example is from Aeneas's reaction to a painting of the sack of Troy: Sunt lacrimae rerum et mentem mortalia tangunt—"These are the tears of things, and our mortality cuts to the heart" (Aeneid I, 462). The influence is also visible in very modern work: Brian Friel's Translations (a play written in the 1980s, set in 19th century Ireland), makes references to the classics throughout and ends with a passage from the Aeneid:

text: Urbs antiqua fuit—there was an ancient city which, 'tis said, Juno loved above all the lands. And it was the goddess's aim and cherished hope that here should be the capital of all nations—should the fates perchance allow that. Yet in truth she discovered that a race was springing from Trojan blood to overthrow some day these Tyrian towers—a people late regem belloque superbum—kings of broad realms and proud in war who would come forth for Libya's downfall.[57]

text: The Aeneid was the basis for the 1962 Italian film The Avenger.

text: In the musical Spring Awakening, based on the play of the same title by Frank Wedekind, schoolboys study the Latin text, and the first verse of Book 1 is incorporated into the number "All That's Known".

text: Ursula Le Guin's 2008 novel Lavinia is a free prose retelling of the last six books of the Aeneid narrated by and centered on Aeneas' Latin wife Lavinia, a minor character in the epic poem. It carries the action forward to the crowning of Aeneas' grandson Silvius as king of Latium.

text: A seventeenth century popular broadside ballad also appears to recount events from books 1–4 of the Aeneid, focusing mostly on the relationship between Aeneas and Dido. The ballad, "The Wandering Prince of Troy", presents many similar elements as Virgil's epic, but alters Dido's final sentiments toward Aeneas, as well as presents an interesting end for Aeneas himself.[58]

text: Parodies and travesties[edit]

text:
A number of parodies and travesties of the Aeneid have been made.[59] One of the earliest was written in Italian by Giovanni Batista Lalli in 1635, titled L'Eneide travestita del Signor Gio.
A French parody by Paul Scarron became famous in France in the mid-17th century, and spread rapidly through Europe, accompanying the growing French influence. Its influence was especially strong in Russia.
Charles Cotton's work Scarronides included a travestied Aeneid.
In 1791 the Russian poet N. P. Osipov published Eneida travestied (ru) (Russian: Вирги́лиева Энеи́да, вы́вороченная наизна́нку, lit. 'Vergil's Aeneid, turned inside out').
From the late 18th to the early 19th centuries, many Slavic language folk parodies of the story were made. One of these, Енеїда (Eneyida), was written in 1798 by Ivan Kotlyarevsky. It is the first literary work written in popular Ukrainian.[60] His epic poem was adapted into an animated feature film of the same name, in 1991, by Ukranimafilm.[61]

tag: ul


document_title: Now I Lay Me Down to Sleep

question_text: who is the author of now i lay me down to sleep

text: Now I Lay Me Down to Sleep

text: Text[edit]

text: Perhaps the earliest version was written by Joseph Addison in an essay appearing in The Spectator[citation needed]on 8th March 1711. It says:[citation needed]

text:
When I lay me down to Sleep,
I recommend my self to His care;
when I awake, I give my self up to His Direction,
     Amen.

text: A later version printed in The New England Primer goes:

text:
Now I lay me down to sleep,
I pray the Lord my soul to keep,
If I should die before I 'wake,
I pray the Lord my soul to take.[1]

text: Other versions[edit]

text:
Now I lay me down to sleep,
I pray the Lord my soul to keep,
His Love to guard me through the night,
And wake me in the morning's light.[2]

text:
Now I lay me down to sleep,
I pray the Lord my soul to keep.
May the angels watch me through the night,
and keep me in their blessed sight.
Amen

text:
Lord I lay me down to sleep,
I pray the Lord my soul to keep,
thy angels watch me through the night,
And keep me safe till morning's light.[2]

text:
Now I lay me down to sleep,
I pray the Lord my soul to keep.
Angels watch me through the night,
And wake me with the morning light. Amen[3]

text:
Now I lay me down to sleep,
I pray the Lord my soul to keep.
Guide me through the starry night,
Wake me when the sun shines bright. Amen

text:
Now I lay me down to sleep,
I pray the Lord my soul to keep.
Guide me safely through the night,
Wake me with the morning light. Amen

text:
Now I lay me down to sleep.
I pray the Lord my soul to keep.
When in the morning light I wake,
Show me the path of love to take.
Amen

text:
(Additional third verse)
If I should live another day
I pray the Lord to guide my way.
Amen

text:
Now I lay me down to sleep.
I pray the Lord my soul to keep.
For if I die before I wake,
that's one less test I have to take.

text: It is sometimes combined with the "Black Paternoster", one version of which goes:

text:
Matthew, Mark, Luke and John,
Bless the bed that I lie on.
Four corners to my bed,
Four angels round my head;
One to watch and one to pray
And two to bear my soul away.[4]

text: In popular culture[edit]

text:
Now I Lay Me Down to Sleep (organization) is a 501(c)(3) not-for-profit organization that offers complimentary remembrance photography to families grieving after a stillbirth or the death of an infant.[5]
If I Die Before I Wake is the title of a 1938 crime novel written by Sherwood King which served as the basis of the Orson Welles film The Lady from Shanghai.[6]
Shel Silverstein parodied the prayer in his 1981 book A Light in the Attic with a poem titled Prayer of the Selfish Child.
Aerosmith paraphrases the prayer as "Now I lay me down to sleep, goodnight/Pray the Lord my soul to keep tonight" in their song "Darkness".
Frankie Knuckles and Jamie Principle open their classic Chicago House track "Baby Wants to Ride" with the first part of this prayer.[7]
Sky Ferreira paraphrases the lyric as "and laid awake,/Pray the Lord my soul to take" in her song "Sad Dream"[8]
Kid Cudi paraphrases the lyric as "And if I die before I wake,/I pray the Lord my soul to take" in his song "The Prayer"[9]
Kanye West paraphrases the lyric as "As I lay me down to sleep" in his song Only One[10]
Metallica paraphrases the lyric as "Now I lay me down to sleep/I pray the lord my soul to keep/And if I die before I wake/Pray the lord my soul to take" in their song "Enter Sandman"[11]
Megadeth paraphrases the lyric as "And if I die before I wake/Pray the lord my soul to take" in their song "Go to Hell"[12]
Aloe Blacc paraphrases the lyric as " And Now I lay me down to sleep/I pray the Lord my soul to keep/And if I die before I wake/there must be a mistake, Lord take me back" in his song "Take Me Back"[13]
TobyMac paraphrases the lyric as "If I should die before I wake/I pray the Lord my soul to take/And if I should get a peaceful sleep/I wanna wake at my Father's feet" in his song "Captured"[14]
The Civil Wars paraphrase the lyric as "Still can't lay me down to sleep/If I die before I wake/I know the Lord my soul won't take" in their song Barton Hollow.[15]
In the 1984 slasher movie A Nightmare on Elm Street Nancy Thompson, played by Heather Langenkamp, recites the prayer before going to sleep to confront Freddy Krueger in the Dream World.
A little girl recites the prayer to keep herself safe from the monster she sees in the 1986 slasher movie Friday the 13th Part VI: Jason Lives.
Sir Psycho Sexy by Red Hot Chili Peppers uses an alternate version of the rhyme.[16]
Christina Aguilera paraphrases the lyrics as "Now I lay me down to sleep/I pray we'll meet inside my dreams/If I should go before I wake/I pray our souls will join again" in her song "Little Dreamer".[17]
In Michael Grant's book, "Plague", Dekka recites this prayer with Hunter in his last moments before Sam euthanises him with a deadly beam of light because of the "greenies", parasites which were eating Hunter alive.
Snoop Dogg interpolates the whole prayer in his song "Murder Was the Case" from his debut album, Doggystyle.[18]
HIM paraphrases the lyrics with some different words in their song "Buried Alive By Love, "If I should die before I wake/Pray no one my soul to take/If I wake before I die,/Rescue me with your smile" from their album Love Metal.[19]
Frank Wilson samples part of the prayer in his Northern Soul song "Do I Love You, Indeed I Do" .[20]
Notorious B.I.G. paraphrases the lyrics as "Now I lay me down to sleep/Pray the Lord my soul to keep/If I should die before I wake/I pray the Lord my soul to take" in the title song of his album "Ready To Die".
Dalton Trumbo uses the sentence "Now I lay me down to sleep" in his book Johnny Got His Gun, in both sections Book I: The Dead and Book II: The Living.
2Pac paraphrases the lyrics as "Now I lay me down to sleep/I pray the Lord my guns to keep/If I die before I wake/I pray the Lord my soul to take" in the song "When Thugz Cry", which was scrapped from the album The Don Killuminati: The 7 Day Theory and put at the end on his demo album The Don Killuminati: The 3 Day Theory. The song later appears on one of 2Pac's posthumous albums; Until The End of Time, and also featured in his posthumous documentary film, Tupac: Resurrection.
G-Eazy paraphrases the lyrics as "Yeah, lonely nights I laid awake / Pray to lord, my soul to take" in his song "Me, Myself & I".[21]
The song "Crazy World" from the 1991 album "House of Exile" by Lucky Dube includes the entire prayer.[22]
OPM uses a variation of the prayer on their 2000 album Menace to Sobriety for "Heaven Is A Halfpipe" as "If I die before I wake at least in heaven I can skate" [23]
Pirates of the Mississippi uses a variation of the prayer on their song "Feed Jake," a country hit in 1991. During the first part of each chorus—as "Now I lay me down to sleep / I pray the Lord my soul to keep / If I die before I wake/ Feed Jake, he's been a good dog"—an elderly man express hope that if something should happen to him and his dog (the titular Jake) survives him, Jake will be taken care of.
Sweethearts of the Rodeo use the prayer in the bridge of their song "Midnight Girl/Sunset Town," a country hit in 1987, to express a young woman's restlessness of living in a small, backroads town with old-fashioned values ("Now I lay me down to sleep/I pray the Lord my soul to keep/If I should die 'fore the world turns 'round/Lord, don't leave me in this one horse town ... ").
In The Simpsons episode "Lisa's First Word," a 3-year-old Bart goes to bed in a new-but-poorly designed clown bed created by Bart's father, Homer. As a frightened Bart tries to go to sleep, he imagines the headboard—one that because of its poor design resembles an evil clown—coming to life and with evil cackling reciting the line, "If you should die before you wake ... ".
In the 1940 MGM animated short Puss Gets the Boot, Jinx the mouse recites the prayer as he gets caught by Jasper the cat after his scheme fails.
Ernest Hemingway wrote a short story titled "Now I Lay Me".
In the 2001 Survival horror game Silent Hill 2, the prayer is backmasked into one of its ending songs "The Reverse Will" [24]
The character of Stuart Larkin, played by Michael McDonald (comedian) on Mad TV, recites the prayer near the beginning of a sketch referred to as "Stuart and the Tooth Fairy".[25][26]
Belgica Wave Party uses the New England Primer version of the rhyme in their song "The Wave".
blackbear references the poem in his song "do re mi"

text: Ice Nine Kills uses “Now I lay her down to sleep Her soul is mine, and mine to keep If she dies before she wakes, I'll find another soul to take” as an alternative version in their song “Communion of the Cursed”

text: Patti Smith quotes the lines "Now I lay me down to sleep/I pray the Lord my soul to keep/" in her 1979 song "Frederick (song)."


document_title: A Christmas Melody

question_text: who sings oh santa in a christmas melody

text: A Christmas Melody

text: Synopsis[edit]

text: Widowed mother Kristin (Lacey Chabert) has recently moved back to her home town of Silver Falls, Ohio with her daughter Emily (Fina Strazza) after her fashion business in Los Angeles folded. The process has been difficult for both of them, especially as the move brings Kristin face to face with Melissa (Mariah Carey), her former rival from high school and the current president of the local PTA. The two women are instantly at odds with one another, making it necessary for their loved ones to show them the Christmas spirit and help them to overcome their differences.

text: Cast[edit]

text:
Lacey Chabert as Kristin
Mariah Carey as Melissa
Brennan Elliott as Danny
Fina Strazza as Emily
Kathy Najimy as Sarah

text: Credits adapted from Hallmark Channel's official website.[3]

text: Production[edit]

text: In September 2015, the Greater Cincinnati & Northern Kentucky Film Commission stated that Carey would be filming in Cincinnati for an upcoming film, Mistletoe & Melody.[4] Carey was confirmed to be serving as the film's director and as one of the film's stars, and Stella Bulochnikov, Jonathan Axelrod, Alan Ett, Eric Jarboe and Kevin Connor were named as the movie's executive producers.[4][5] Lacey Chabert and Brennan Elliott were also later confirmed as actors for the film, which had been re-titled A Christmas Melody.[6][7] Child actress Fina Strazza was brought on to play Chabert's daughter and to sing "Oh Santa!", which Carey re-wrote for the film.[8] Filming began on October 6, 2015 in Hyde Park and was expected to wrap on October 16, but did not finish until October 26.[7][9]

text: On November 17, 2015, the Hallmark Channel released a trailer for A Christmas Melody.[10] Entertainment Tonight poked fun at the trailer, writing "Only time will tell how much holiday cheer can be stuffed into one movie, but if this trailer is any indication, A Christmas Melody will be pushing the boundaries."[11]

text: Release and reception[edit]

text: A Christmas Melody first aired on the Hallmark Channel on December 19, 2015, as part of the "Countdown to Christmas" holiday programming.[12] It was seen by 3.95 million viewers upon release, more than any other show that day.[13] VH1 wrote a mixed review for the film, stating "Sure, the film has an abrupt, saccharine ending, but that doesn't make the journey to it any less fun to watch. In terms of Mariah Carey shade, A Christmas Melody is Oscar-worthy. It's just the so-bad-it's-good trainwreck slosh you need to liven up your It's a Wonderful Life coma."[14] The New York Times was also mixed in their opinion, writing "In telling the story of Kristen (Lacey Chabert), a widowed single mom whose Los Angeles fashion boutique goes bust, the movie is as blandly watchable as everything else in Hallmark's Christmas lineup, which includes titles like I'm Not Ready for Christmas, Merry Matrimony and 'Tis the Season for Love. But Ms. Carey's participation makes the generic badness of A Christmas Melody a touch better than its neighbors. She treats herself like a woman who's come to family entertainment from Venus."[15] NPR praised the film as a "delightfully bonkers addition to the firmament of holiday madness".[16]


document_title: List of Indian Premier League awards

question_text: list of fair play award in ipl 2018

question_tokens: list of fair play award in ipl 2018

text: List of Indian Premier League awards

text: Orange Cap[edit]

text: The Orange Cap is an annual cricket award presented to the leading run scorer in the Indian Premier League.[1][2] It was introduced on 25 April 2008, a week after the start of the inaugural season of the IPL. The batsman with most runs in the tournament during the course of the season would wear the Orange Cap while fielding, with the overall leading run-scorer at the conclusion of the tournament winning the actual Orange Cap award on the day of the season's final. Brendon McCullum became the first player to wear the Orange Cap,[2] and Shaun Marsh became the first winner of the award.

text: The then IPL chairman and commissioner Lalit Modi said of the initiative, "Cricket is often remembered and recorded as statistics and not by material distinctions. The DLF Indian Premier League will create a distinction for the best performing batsman, which will be cherished and valued by each player through this initiative. The purpose of this initiative is to be innovative, create another unique piece of history that sets the DLF Indian Premier League apart from the crowd, and to reward outstanding achievements by the players."[2]

text:
Season
Player[1]
Mat
Runs
Ref

2008
 Shaun Marsh (KXIP)
11
616
[3]

2009
 Matthew Hayden (CSK)
12
572
[4]

2010
 Sachin Tendulkar (MI)
15
618
[5]

2011
 Chris Gayle (RCB)
12
608
[6]

2012
 Chris Gayle (RCB)
15
733
[7]

2013
 Michael Hussey (CSK)
16
733
[8]

2014
 Robin Uthappa (KKR)
16
660
[9]

2015
 David Warner (SRH)
14
562
[10]

2016
 Virat Kohli (RCB)
16
973
[11]

2017
 David Warner (SRH)
14
641
[12]

2018
 Kane Williamson (SRH)
17
735
[13]

tag: table

text: indicates the player captained his team for the season.

text: Purple Cap[edit]

text: The Purple Cap is an annual cricket award presented to the leading wicket-taker in the Indian Premier League.[14][15] After the introduction of Orange Cap on 25 April 2008, the Indian Premier League announced the introduction of the Purple Cap on 13 May 2008. The bowler with most wickets in the tournament during the course of the season would wear the Purple Cap while fielding, with the overall leading wicket-taker at the conclusion of the tournament winning the actual Purple Cap award on the day of the season's final. In case of a tie, the bowler with superior economy rate would hold the Purple Cap.[16]

text: The then IPL chairman and commissioner Lalit Modi said of the initiative, "We have seen over the course of the inaugural season of the League so far that bowlers have just as important a role to play in winning T20 matches as batsmen do.”[16]

text:
Season
Player[14]
Mat
Wkts
Ref

2008
 Sohail Tanvir (RR)
11
22
[17]

2009
 R. P. Singh (DC)
16
23
[18]

2010
 Pragyan Ojha (DC)
16
21
[19]

2011
 Lasith Malinga (MI)
16
28
[20]

2012
 Morne Morkel (DD)
16
25
[21]

2013
 Dwayne Bravo (CSK)
18
32
[22]

2014
 Mohit Sharma (CSK)
16
23
[23]

2015
 Dwayne Bravo (CSK)
16
24
[24]

2016
 Bhuvneshwar Kumar (SRH)
17
23
[25]

2017
 Bhuvneshwar Kumar (SRH)
14
26
[26]

2018
 Andrew Tye  (KXIP)
14
24
[27]

text: Maximum Sixes Award[edit]

text: The Maximum Sixes Award is an annual cricket award presented to the batsman who hits the most sixes in the Indian Premier League.[28]

text:
Season
Player
Mat
Sixes
Ref

2008
 Sanath Jayasuriya (MI)
14
31
[29]

2009
 Adam Gilchrist (DC)
16
29
[30]

2010
 Robin Uthappa (RCB)
16
27
[31]

2011
 Chris Gayle (RCB)
12
44
[32]

2012
 Chris Gayle (RCB)
15
59
[33]

2013
 Chris Gayle (RCB)
16
51
[34]

2014
 Glenn Maxwell (KXIP)
16
36
[35]

2015
 Chris Gayle (RCB)
14
38
[36]

2016
 Virat Kohli (RCB)
16
38
[37]

2017
 Glenn Maxwell (KXIP)
14
26
[38]

2018
 Rishabh Pant (DD)
14
37
[39]

text: Most Valuable Player[edit]

text: The award was called the "man of the tournament" till the 2012 season. The IPL introduced the Most Valuable Player rating system in 2013, the leader of which would be named the "Most Valuable Player" at the end of the season.

text:
Season

Player
Ref

2008
 Shane Watson (RR)
[40]

2009
 Adam Gilchrist (DC)
[41]

2010
 Sachin Tendulkar (MI)
[42]

2011
 Chris Gayle (RCB)
[43]

2012
 Sunil Narine (KKR)
[44]

2013
 Shane Watson (RR)
[45]

2014
 Glenn Maxwell (KXIP)
[46]

2015
 Andre Russell (KKR)
[47]

2016
 Virat Kohli (RCB)
[48]

2017
 Ben Stokes (RPS)
[49]

2018
 Sunil Narine (KKR)
[50]

text: Player of the match (final)[edit]

text:
Season

Player of the match
Ref

2008
 Yusuf Pathan (RR)
[40]

2009
 Anil Kumble (RCB)
[41]

2010
 Suresh Raina (CSK)
[42]

2011
 Murali Vijay (CSK)
[43]

2012
 Manvinder Bisla (KKR)
[44]

2013
 Kieron Pollard (MI)
[45]

2014
 Manish Pandey (KKR)
[46]

2015
 Rohit Sharma (MI)
[47]

2016
 Ben Cutting (SRH)
[48]

2017
 Krunal Pandya (MI)
[49]

2018
 Shane Watson (CSK)
[50]

text: Emerging player of the year[edit]

text: The award was presented for the "best under-19 player" in 2008 and "best under-23 player" in 2009 and 2010, being called "Under-23 Success of the Tournament". In 2011 and 2012, the award was known as "Rising Star of the Year", while, in 2013, it was called "Best Young Player of the Season". Since 2014, the award has been called the "Emerging Player of the Year."

text:
Season

Player
Ref

2008
 Shreevats Goswami (RCB)
[40]

2009
 Rohit Sharma (DC)
[41]

2010
 Saurabh Tiwary (MI)
[42]

2011
 Iqbal Abdulla (KKR)
[43]

2012
 Mandeep Singh (KXIP)
[44]

2013
 Sanju Samson (RR)
[45]

2014
 Axar Patel (KXIP)
[46]

2015
 Shreyas Iyer (DD)
[47]

2016
 Mustafizur Rahman (SRH)
[48]

2017
 Basil Thampi (GL)
[49]

2018
 Rishabh Pant (DD)
[50]

text: Fair Play Award[edit]

text: The Fair Play Award is given after each season to the team with the best record of fair play.[51] The winner is decided on the basis of the points the umpires give to the teams.[51] After each match, the two on-field umpires, and the third umpire, scores the performance of both the teams. A team can be awarded a total of ten points per match, out of which four points are given on the basis of how the team has adhered to the "spirit of the game" in the opinion of the umpires. The other three criteria are based on the respect towards to the opposition, the laws of cricket and the umpires. Each of these three criteria represents 2 points. If a team has got two points in the criterion, its performance is considered as "good", whereas getting one or zero points indicates that its performance is "average" or "bad" respectively.[51]

text:
Season
Team

2008
Chennai Super Kings

2009
Kings XI Punjab

2010
Chennai Super Kings

2011
Chennai Super Kings

2012
Rajasthan Royals

2013
Chennai Super Kings

2014
Chennai Super Kings

2015
Chennai Super Kings

2016
Sunrisers Hyderabad

2017
Gujarat Lions

2018
Mumbai Indians