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one of the three Furies

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Without delay Allecto, Dripping venom deadly as the Gorgon's, Passed into Latium first and the high hall Of the Laurentine king.
680-86) Virgil has constantly emphasized the interpenetration of love and fury, good and evil, in both his hero and his opponents, and even in the gods who function as counter-fates: Juno, with her love of Carthage, and Allecto, with her demonic passion.
Valerius Flaccus, for example, drawing on resemblances of Venus to Allecto in the Aeneid, characterizes Venus's revenge in the Lemnian episode as exitium furiale (Furylike destruction) and suggests that the deity has two faces, one as the goddess of love, the other "very similar to the maidens from hell" (virginibus Stygiis ...
Significantly, Virgil's Allecto also leads vulnerable and enraged mortals astray from their ideal families.
Just as Allecto does with Amata, she encourages Saul to demonstrate his pride in his family genealogy by eliminating threats to his dynasty.
Allecto's speech is strikingly prophetic, for there will be war, and Turnus will taste death.
The gadfly, as Hera's agent, has obvious parallels with Allecto, who is sent by Juno to instil furor in Turnus.
At Juno's request, Allecto flies to Ardea, where she will find the sleeping Turnus (7.411-12):
Together with Dido's hesitation in her chamber (cunctantem, 4.133), Aeneas's frozen response to Dido's emotional turmoil (cunctantem, 4.390), the obstinacy of the Golden Bough (cunctantem, 6.211), Turnus's all too brief resistance to Allecto (cunctantem, 7.449), and Aeneas's fleeting impulse to mercy in the face of Turnus's supplication (cunctantem, 12.940), Vulcan's wavering belongs to that immensely charged nexus of "pauses" that "regularly occur throughout the Aeneid at moments of liminality where one of the epic's protagonists debates between two possible causes of action and the decision is crucial not only for its immediate results in the poem's action but also for the effect it has in helping form our judgments of the poem as a whole" (Putnam 1998, 173).
Supernatural powers are still of course active, and the way in which outside and inside interact will often be elusive: we need only think of Allecto and Turnus in 7.406-74.
His utterances, reminiscent of those of Allecto in the Aeneid, are intended not only to persuade, but to foment anger and unleash fury.
(59.) Hessus, 1508, B3v: "Audistin Syrenes dulce cantantes blanda dulcedine soporatos et allectos ad se nautas in mari submersisse?