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(Roman mythology) a princess of Tyre who was the founder and queen of Carthage

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3) It has already been suggested that Virgil's version of the Dido story in the Aeneid inspired the episode of the so-called "African mistress" (Cleary and Sherwood 185-86; Lothe 177-96, Firchow 25).
5) Firchow proceeds to describe the ways in which this particular episode resembles Virgil's account of Dido and Aeneas in Books 1, 2, and 4 of the Aeneid.
The most familiar version of the Dido legend, the one popularized by Virgil, recounts the travails of the battle-weary Aeneas who is shipwrecked by the tyrannous gods on the shore of northern Africa and taken in by Dido, founder and ruler of the city of Carthage.
When Paul Herbert first saw MAC's open-air Arena theatre in the 1960s, he thought it would be a great space in which to produce Purcell's opera Dido and Aeneas.
Dido and Aeneas is generally regarded as Britain's first operatic masterpiece, yet its dimensions and origins are both modest, playing for only about an hour.
Michael Barry adds: 'What's very interesting is seeing singing Dido talking to dancing Dido.
Retellings and invocations of Didos story in Renaissance drama are characterized by a language of seeing, burning, and dying, relating both to Dido's supposed view of Aeneas sailing away from her and Aeneas's view of her pyre as he further recedes.
Didos "I doe eye" plays upon her name; other instances include the palindrome "O Dido" (2.
29) As Queen Margaret of 2 Henry VI draws upon the visual diminution in the story of Dido, the distracted Jailer's Daughter of The Two Noble Kinsmen unwittingly invokes Didos mental diminution as a parallel to her own abandonment and madness.
Christopher Marlowe's Dido, Queene of Carthage is an obscure, early work that no one seems to pay much attention to except Marlowe scholars, who prefer to occasionally study what makes Marlowe's first attempt at writing for the stage a very bad play, a reputation it thoroughly deserves.
It should also be mentioned that Marlowe's play was premiered by a children's company, (2) and the notion of a little boy Dido pleading with a little boy Aeneas, (3) on top of Marlowe's comic script must have made for hilarious viewing.
Dido, a partir del anuncio de abandono de Eneas, redacta una epistola al troyano para intentar persuadirle de permanecer en Cartago a su lado y no marchar hacia la mision fundacional de Roma que le impusieron las deidades, su destino y su deber como heroe.
La principal fuente es la Eneida de Virgilio, pues el propio Ovidio retoma aspectos fundamentales del episodio en el Libro IV para recrear su version, la cual es complementaria, dado que puede insertarse in medias res a la historia de Dido y Eneas, previo al final del respectivo libro de la obra epica.
Los relatos de Tegualda (7) y de Glaura (8), asi como su encuentro con Lauca, que le sirve de pretexto para comenzar su relato y defensa de la legendaria reina Dido (9), orientan el interes del poeta y del lector a lo romantico, y son la manifestacion mas clara de la ruptura de esa promesa inicial, por la que el mismo Ercilla debio excusarse (10).
Sin embargo, desde este punto de vista, el excurso correspondiente a la historia de Dido podria alejarse de esta tendencia, pues parece haber sido creado en la direccion opuesta, vale decir, desde la poesia hacia la historia.