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

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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.
Didos "I doe eye" plays upon her name; other instances include the palindrome "O Dido" (2.1.159; 4.4.55, 149) and the partial anagram of diamond, "Dido I am" (5.1.264).
Gonzalo's narrative of an Edenic isle is a story of the founding of a society, which echoes Didos founding of Carthage.
References to Dido, lover of Aeneas, in the second act of The Tempest have garnered much interpretation and speculation by readers and playgoers.
(1) Although Marlowe follows Virgil in this play, stronger emphasis on the character of Dido is derived from Ovid's Heroides.
1.367-368), the greatness of Carthage as a city (1.455) and Dido described as a great lawmaker (1.507-508).
There is strong evidence, however, that ancient readers felt exactly the same sympathy for Dido, for example Ovid's Heroides contains the first reference to Dido after Virgil and tells the story from Dido's perspective (an idea Marlowe has used in this play too).
This essay returns to Watts's idea and theorizes a fresh link between Marlowe the playwright and Conrad the novelist; I will argue that Dido, Queen of Carthage, one of Marlowe's earliest plays, serves as an intertext and was likely a source for Heart of Darkness.
(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.