Dido, Queen of Carthage is a short play written by the English playwright
Christopher Marlowe, with possible contributions by
Thomas Nashe.
Publication
The play was first published in
1594 by the bookseller Thomas Woodcock. The title page attributes the play to Marlowe and Nashe, and also states that the play was acted by the
Children of the Chapel. That company of
boy actors stopped regular dramatic performance in
1584, but appears to have engaged in at least sporadic performances in the late 1580s and early 1590s, so that scholars give a range of 1587-93 for the first performance of
Dido.
Authorship
The nineteenth-century scholar
Frederick Gard Fleay attempted to delineate the collaborators' respective shares in the text, and assigned these portions of the play to Nashe:
- Act I, scene i (second part, after line 122); Act III, scenes i, ii, and iv; Act IV, scenes i, ii, and v;
— and the rest to Marlowe. Yet few other critics have agreed with this assessment, and Nashe's share remains an open question. Some critics have virtually ignored the participation of Nashe — yet the presence of a collaborator may help to explain the play's divergences from Marlowe's standard dramaturgy. No other play by Marlowe has such a strong female lead character, and in no other "is heteroerotic passion the centripetal force of the drama's momentum.
Plot
The story of the play focuses on the classical figure of
Dido, the
Queen of
Carthage. It tells an intense dramatic tale of Dido and her fanatical love for
Aeneas (induced by
Cupid), Aeneas' betrayal of her and her eventual suicide on his departure for Italy. The playwrights depended upon Books 1, 2, and 4 of the
Aeneid of
Virgil as their main source.
Adaptation
The English composer
Stephen Storace wrote an opera titled
Dido, Queen Of Carthage (
1794) — alleged, by his sister
Anna (Nancy) Storace, for whom the title role was written, to have been his greatest work — which largely set Marlowe's play to music. It was also the only one of Storace's works to have been completely sung throughout, with no spoken dialogue. However, the jealous suspicions of Storace's impresario
Richard Brinsley Sheridan led to the opera being kept in a single copy at the
Drury Lane Theatre, to prevent pirated versions appearing elsewhere — and the opera is presumed to have been lost in the
1809 Drury Lane Theatre fire, since nothing of it has survived.
Characters
Notes
References
- Chambers, E. K. The Elizabethan Stage. 4 Volumes, Oxford, Clarendon Press, 1923.
- Cheney, Patrick Gerard, ed. The Cambridge Companion to Christopher Marlowe. Cambridge, Cambridge University Press, 2004.
- Logan, Terence P., and Denzell S. Smith, eds. The Predecessors of Shakespeare: A Survey and Bibliography of Recent Studies in English Renaissance Drama. Lincoln, NE, University of Nebraska Press, 1973.
External links