‘What is this but stone?’ Priam's statue in Marlowe's<i>Dido, Queen of Carthage</i>

Click to increase image sizeClick to decrease image size Notes 1 – House of Fame 1.151–2, 158–9, The Riverside Chaucer, ed. Larry Benson, 3rd ed. (New York: Houghton Mifflin, 1987). 2 – Thomas Sackville, ‘Induction,’ in William Baldwin, A Mirror for Magistrates, 3rd ed. (London: T. Marshe, 1563), STC 1248, p. 137. 3 – Timothy Crowley, ‘Arms and the Boy: Marlowe's Aeneas and the Parody of Imitation in Dido, Queen of Carthage’, English Literary Renaissance 36/3 (2008), pp. 408–38, here p. 408. 4 – As Roma Gill puts it, ‘had he embarked upon a straight-forward translation of the [Aeneid], Marlowe, even at this early stage of his career, could easily have surpassed the [well-meaning but clumsy] efforts of the Earl of Surrey, Thomas Phaer, and Richard Stanyhurst, translations which he either did not know or disdained.’ Roma Gill, ‘Marlowe's Virgil: Dido Queene of Carthage’, The Review of English Studies 28/110 (1977), pp. 141–55, here p. 141. 5 – See Jonathan Goldberg, Sodometries: Renaissance Texts, Modern Sexualities (Stanford: Stanford University Press, 1992) Sara Munson Deats, ‘The Subversion of Gender Hierarchies in Dido, Queene of Carthage,’ Marlowe, History and Sexuality, ed. Paul Whitfield White (New York: AMS Press, 1998), pp. 163–78; Emily Bartels, Spectacles of Strangeness: Imperialism, Alienation and Marlowe (Philadelphia: University of Pennsylvania Press, 1993) pp. 29–52; Margo Hendricks, ‘Managing the Barbarian: The Tragedy of Dido Queen of Carthage’, Renaissance Drama, 23 (1992), pp. 165–88; Donald Stump, ‘Marlowe's Travesty of Virgil: Dido and Elizabethan Dreams of Empire’, Comparative Drama 34/1 (Spring 2000), pp. 79–107; Deane Williams, ‘Dido, Queen of England,’ English Literary History 73/1 (2006), pp. 31–59; Clare R. Kinney, ‘Epic Transgression and the Framing of Agency in Dido Queen of Carthage,’ SEL: Studies in English Literature 1500–1900 40/2 (2000), pp. 261–76. 6 – Rick Bowers, ‘Hysterics, High Camp, and Dido Queen of Carthage,’ Marlowe's Empery, ed. Sara Munson Deats and Robert Logan (Cranbury, NJ: University of Delaware Press, 2002), pp. 95–107, here p. 97. 7 – Although Renaissance writers like Marlowe would not have understood the term in its modern sense, the description of art was conventional to classical and medieval epic poetry and the practice, if not the name, as Kelly Quinn points out in ‘Ecphrasis and Reading Practices in Elizabethan Narrative Verse’, Studies in English Literature 1500–1900 44 (2004), pp. 19–35, here p. 19, would have been familiar. 8 – See Deborah Beck, ‘Ecphrasis, Interpretation, and Audience in Aeneid 1 and Odyssey 8,’ American Journal of Philology 128/4 (2007), pp. 536–37. For powerful readings of this episode, see also Don Fowler, ‘Narrate and Describe: The Problem of Ekphrasis,’ Journal of Roman Studies 81 (1991), pp. 25–35 and Michael Putnam, Virgil's Epic Designs: Ekphrasis in the Aeneid (London and New Haven: Yale University Press, 1998), Chapter 1, ‘Dido's Murals.’ Putnam argues that the ekphrasis allows the epic text to represent loss and mourning in a feminized space, since this moment of grieving takes place in Dido's realm (see pp. 42–43). 9 – Adam Parry, ‘The Two Voices of Virgil's Aeneid,’ Arion 2/4 (1963), pp. 66–80, reprinted in Steele Commager, ed., Virgil: A Collection of Critical Essays (Englewood Cliffs, NJ: Prentice Hall, 1966), p. 110. 10 – Ayala Amir, ‘Sunt lacrimae rerum: Ekphrasis and Empathy in Three Encounters between a Text and a Picture,’ Word & Image 25/3 (2009), pp. 232–42, here pp. 236, 242. 11 – The translation is by Robert Fitzgerald (New York: Vintage, 1983). 12 – Viktor Pöschl, The Art of Virgil, trans. Gerda Seligson (Ann Arbor: University of Michigan Press, 1962), p. 10. 13 – Christopher Marlowe, Complete Plays, ed. Frank Romany and Robert Lindsey (London: Penguin, 2003). All further references are to this edition and will be given parenthetically in the text. 14 – Crowley, ‘Arms and the Boy’ p. 417. 15 – Ibid., p. 422. 16 – Alan Shepard, Marlowe's Soldiers: Rhetorics of Masculinity in the Age of the Armada (Aldershot: Ashgate, 2002), p. 59. 17 – The translation is by A.D. Melville, Ovid, Metamorphoses (Oxford: Oxford University Press, 1986), p. 130. All further references are to this translation and will be cited parenthetically in the text. 18 – Richard Meek, ‘Ekphrasis in The Rape of Lucrece and The Winter's Tale,’ SEL Studies in English Literature 1500–1900 46/2 (2006), pp. 389–414, here p. 391. 19 – See Crowley, ‘Arms and the Boy’, p. 422. 20 – Stump, ‘Marlowe's Travesty of Virgil,’ p. 28. 21 – See Frederic Tromly, Playing with Desire: Christopher Marlowe and the Art of Tantalization (Toronto: University of Toronto Press, 1998), p. 63. 22 – They do not recognize their leader because he is dressed in rags, as Dido points out later, ‘Warlike Aeneas, and in these base robes?’ (2.1.79). Marlowe's emphasis on clothing is an addition to the source. 23 – Vivien Thomas and William Tydeman, Christopher Marlowe: the Plays and their Sources (London: Routledge, 1994), p. 23. 24 – Lydgate's poem is a translation and expansion of Guido delle Colonne's Historia destructionis Troiae, a Latin prose account written in 1287 but based, without acknowledgement, on Benoît de Sainte-Maure's Old French Roman de Troie (c.1160). 25 – See Stump, ‘Marlowe's Travesty of Virgil’, pp. 100–01 and Crowley, ‘Arms and the Boy,’ p. 419. 26 – Williams, ‘Dido, Queen of England’, p. 47. 27 – See Ivo Kamps, ‘The Writing of History in Shakespeare's England’, in Blackwell's Companion to Shakespeare: The Histories, ed. Richard Dutton and Jean Howard (London and Oxford: Blackwell, 2003), pp. 4–25, here p. 10. 28 – See Stephen Orgel, ‘Shakespeare and the Cannibals,’ in Cannibals, Witches and Divorce, ed. Marjorie Garber (Baltimore: Johns Hopkins University Press, 1987) pp. 40–60, here p. 62. 29 – Susan Doran, ‘Virginity, Divinity and Power: The Portraits of Elizabeth I,’ in The Myth of Elizabeth, ed. Susan Doran and Thomas Freeman (London: Palgrave Macmillan, 2003), pp. 171–200, p. 187. 30 – Orgel, ‘Shakespeare and the Cannibals’, p. 62. 31 – On the victimization of Iarbas see David Scott Wilson-Okamura, ‘Virgilian Models of Colonization in Shakespeare's Tempest,’ ELH 70/3 (2003), pp. 709–37, here p. 726. 32 – See Diane Purkiss, ‘Marlowe's Dido, Queen of Carthage and the Representations of Elizabeth I,’ A woman Scorn'd: Responses to the Dido Myth, ed. Michael Burden (London: Faber & Faber, 1998), pp. 151–67, here p. 157. 33 – Lisa Hopkins, ‘Englishmen Abroad: Mobility and Nationhood in Dido, Queen of Carthage and Edward II,’ English 59/227 (2010), pp. 324–348, here p. 333. 34 – Kinney, ‘Epic Transgression and the Framing of Agency in Dido’, p. 262. 35 – Pliny, Natural History, 35.65. 36 – On the retelling of the anecdote in the Renaissance, see Leonard Barkan, ‘The Heritage of Zeuxis: Painting, Rhetoric and History,’ in Antiquity and Its Interpreters, ed. Alina Payne, Ann Kuttner, and Rebekah Koch Smith (Cambridge: Cambridge University Press, 2008), pp. 99–109. 37 – ‘But liuing art may not least part express, / Nor life-resembling pencil it can paint, / All were it Zeuxis or Praxiteles’ (3.Proem.2). 38 – The expensive gifts include Juno's jewelry given by Jove to Ganymede and the robes, crown, and sails offered by Dido to Aeneas. 39 – As Mary Smith points out, ‘only the evidence of the title page testifies to its performance by “the Children of her Maiesties Chappell”; no records of actual performances exist’. Mary E. Smith, ‘Staging Marlowe's Dido Queene of Carthage’, Studies in English Literature, 1500–1900, 17/2 (1977), p. 177. 40 – Ibid., pp. 177–90, here p. 190.

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