The myth of Aeneas and Dido, as well as the beginning of the enmity between Rome and Carthage. Mythical persons Dido and Aeneas, who became the main characters of the legendary opera of the same name. Analysis of the poem “Dido and Aeneas” by Brodsky
Purcell's Opera Dido and Aeneas "was staged for the first time in 1689, but by the will of fate it was forgotten for a long time and was revived to a new life only 200 years later. In addition, Purcell wrote music for at least fifty dramatic plays. This music consisted of individual pieces: choruses, arias, ballet fragments, instrumental introductions and intermissions. In this music Purcell made extensive use of the achievements of both folk comedy and court performances - “masks”. Among these performances with music there are those that Purcell himself called operas, since in them entire large scenes are set to music (“The Prophetess”, “King Arthur”, “The Fairy Queen”, “The Tempest”, “The Indian Queen”).
Purcell's "Dido and Aeneas" is a rare, amazing example of a real, highly accomplished opera in a country where before this national opera had not been created and did not have its own developed tradition. In its artistic perfection, “Dido and Aeneas” is not inferior to the best Italian examples.
The author of the libretto of the opera “Dido and Aeneas” was the English poet N. Tate, who worked on an episode of Virgil’s “Aeneid”, which tells about the tragedy of the Carthaginian queen Dido, abandoned by the Trojan Aeneas, obsessed with the desire to build a new Troy to replace the destroyed one. In Virgil's poem, the gods themselves tell Aeneas to leave Dido to fulfill their will. In Tate's libretto, the place of the ancient gods who destroy Dido's human happiness is taken by the evil forces traditional to English drama, witches with their incantatory choirs and ominous witchcraft dances. A striking contrast to the heroic music of Aeneas and the lyrical arias of Dido are the choirs and dances of sailors, written in the folk spirit. The climax of the opera is the departure of the Trojan ships, a frantic chorus of witches and Dido's dying aria, written in the form of an ancient passacaglia (variations on a constantly returning sequence of sounds in a bass voice). When the bass melodic figure appears for the seventh time, Dido's voice falls silent, and the instruments finish the aria mournfully and quietly; the unfortunate Dido threw herself into the sea and died in its waves. The final chorus mourns her.
Purcell's work was the pinnacle of the English musical and theatrical tradition, which developed gradually from the Middle Ages of the Renaissance to the 17th century. XVIII century and the subsequent historical period, right up to the present day, is generally considered to be a time of decline in English music. However, this generally accepted judgment should not be taken as an absolutely reliable description of an entire historical era in English music.
"Dido and Aeneas" is the first truly great opera composed by an Englishman; but there are evil tongues that claim that she is also the last. It was composed (in 1689) by the young Henry Purcell, who personified the glory of English music, and was intended - first of all - for a boarding school where only girls studied. This school was led by one Josiah Priest, who apparently had influential friends. Not only did the leading English composer write the music for the school play, but also the then recognized English poet Neum Tate was the author of the libretto. He may not have been a great poet, but he wrote a really good and acceptable libretto for the myth of passionate love and death. Acceptable - if you keep in mind that the opera was intended to be staged by girls. The source for the libretto was the fourth book of Virgil's Aeneid. Perhaps girls studied this poem in school at that time.
The opera was staged only once during the author’s lifetime, on the occasion of the graduation of female boarding school students. In the 17th century it was used as a “mask” in the appendix to Shakespeare’s comedy “Measure for Measure.” Published by William G. Cummings between 1887 and 1889, it became familiar to our era; it was then published by the Purcell Society Press (1961). Despite the fame of the opera and the interest in it as the largest example of musical drama (the first in England), some believe that Purcell showed his abilities better in music for the theater, written for other occasions, for "half-operas" or masks, in which the composer could include more extensive, imaginative episodes, including those of a figurative nature. This was the case with Diocletian (1690) and King Arthur (1691), The Faerie Queene (1692) and Oedipus (1692), The Tempest (1695) and Bonduca (1695). However, despite the small size, laconicism and concentration of the narrative, the dramatic unity achieved in “Dido and Aeneas”, especially in the finale, is striking, being, in particular, the result of the use of the English language, although the stage structures are still closely related to the shape of the mask.
It is truly wonderful that in such a small, truly chamber work, the young composer was able to show such skill in depicting feelings, to paint a picture in which the fatal magical threads of fate and the almost deliberate general indifference of those who do not take part in the fate of the main characters are perfectly conveyed. The emotional vocal formulas of the Italian Baroque school, especially Cavalli and Carissimi, the skillful and daring harmonies of which Purcell was the founder, French influence (Lully) and melodic-rhythmic elements drawn from the typical choral and polyphonic English tradition (not to mention about "Venus and Adonis", the mask of John Blow).
The persistent change (in the opinion of some, truly painful) of recitatives and various ariatic forms, as it were, speeds up the action, well outlining the characters and position of the characters. In particular, the dialogues between the queen and Aeneas ruthlessly rule the inexorable course of events: on the one hand, her tears and protests, on the other, the dry responses of the hero, who knows his destiny and is drawn by his own egoism. In the sad finale - a powerful and gloomy death scene - the queen proclaims her voluntary death and wants to leave a good memory of herself, although she is seized by a gust of painful self-condemnation. The intense sound of the basso ostinato and the sequence on the words “Remember my” became legendary. This scene, after an extended touching lamento, ends with the chorus’s epitaph: the cupids dance around Dido’s deathbed, brightening the atmosphere. This is an image sent into the future, an amazing anticipation of the future and appears before the viewer as a cinematic influx.
G. Marchesi (translated by E. Greceanii)
Purcell's opera reflects the ancient myth about the life of Aeneas, which formed the basis of Virgil's poem "Aeneid". The poem was popular among composers. But not many works have remained relevant to this day, including Purcell’s opera. Restrained sorrow and depth distinguish the melody of this composition, rich in chromaticisms. For two centuries the opera was not performed on stage; only after the London premiere in 1895 did it find its “second life”. Dido’s aria “When I am laid in earth” (3 days) is one of the world masterpieces. Let us note the 1951 production in London by Britten, the performance at the Glyndebourne Festival (1966, the role of Dido was performed by Baker).
The mythical heroes Dido and Aeneas excited the imagination of not only the ancient Greeks and Romans, but also people of later eras. The love story, sung by Homer and Virgil, was repeatedly played out and reinterpreted by ancient tragedians. In it, historians saw an encrypted code of the future. Dante Alighieri used the story of Aeneas and Dido for his pious edifications in the Divine Comedy. But it was the English baroque composer Henry Purcell who glorified the mythical couple. Using Virgil's Aeneid, Nahum Tate wrote the libretto. Thus, in the second half of the 17th century, a wonderful opera in three acts was born - “Dido and Aeneas”. Who are Dido and Aeneas? Gods? No. But these heroes did not emerge from myth and became legend.
The Story of Aeneas
The great poet of antiquity, Homer, who lived in the eighth century BC, in his multifaceted epic work “The Iliad”, brought out, among others, the image of Aeneas. This son of the goddess of beauty Aphrodite and the earthly king of the Dardans, Anchises, left burning Troy and sailed overseas with his people on twenty ships. The twentieth book of the Iliad describes his salvation. He saved from the dying city not only his wife Crispa and son Yul, but also his old father, carrying him on his back. The Hellenes, respecting such an act, let it pass. However, other ancient authors give different versions of the story of Aeneas. Lesch describes how the mythical hero was captured by Neoptolemus. Arctin believes that Aeneas left Troy even before its capture. Hellanicus, Lutatius Daphnis and Menecrates Xanthius believed that it was he who surrendered the city to the Achaeans. Be that as it may, the fall of Troy caused the distant wanderings of the Dardan tribe. A storm at sea drove the ships to the shores of Carthage. This is how the local queen Dido and Aeneas met. The myth tells that they fell in love with each other. But obedient to the will of the gods, Aeneas remained faithful to his duty. He was to found the kingdom of the Latins. In order not to torment himself and his beloved by a long separation, he left Carthage secretly. Dido, having learned about Aeneas's flight, ordered the funeral pyre to be lit. Then she threw her lover’s things there and threw herself into the fire.
Virgil version
For Homer, Dido and Aeneas are supporting heroes. Virgil devotes more attention to mythical heroes and their love story. The navigator, shrouded in a veil of fog, in which his mother, the goddess Venus, clothed him, enters Carthage. He sees the beautiful queen and the fact that she is friendly towards the members of his team. Then he appears to her. At the feast, Cupid, taking the form of Aeneas' son, Yul, presses himself against Dido and shoots an arrow straight into her heart. This makes the queen fall madly in love with the Trojan hero. But their happiness did not last long. A year later, the gods sent Mercury to remind Aeneas of his duty - to go to Italy and found a new kingdom. Fate, which, according to ancient concepts, cannot be changed, destined Aeneas to marry Lavinia, the daughter of Latinus. In order not to hear Dido's complaints, Aeneas leaves her while she was sleeping. Waking up, the queen in despair throws herself into a blazing fire. Seeing black smoke rising above the horizon, Aeneas understands its cause, and his heart yearns. But he follows his destiny.
Heroes don't die
A touching love story with a tragic end was not forgotten since Ovid Naso composed “The Letter of Dido to Aeneas” (Heroids VII). This mythical couple became the main characters in the tragedy of Pseudo-Euripides "Res". Dido and Aeneas are also mentioned in a number of medieval poetic works. And if the Romans with full confidence considered the famous navigator their common ancestor, the Spaniards consider the Queen of Carthage to be their founder. So, at least, it is indicated in the 1282 chronicle of King Alfonso X “Estoria de Espanna”.
Political rethinking
In 1678, the famous British playwright Nahum Tate wrote the play “Brutus of Alba, or the Enchanted Lovers,” which later became the basis for G. Purcell’s opera “Dido and Aeneas.” The libretto completely rethinks the love story and makes it an allegory for the political events of the era of the English king James II. It is the author who portrays him in the image of Aeneas. Dido, according to Tate, is a British people. The author of the play introduces new characters that are not found in Virgil. This is the Witch and her assistants - the witches. By these Tate means the Pope and the Catholic Church. These evil creatures take the form of Mercury and incite the king to betray his people.
"Dido and Aeneas": an opera by Purcell
This work is considered one of the best works of the Baroque composer. The original score has not survived, and at the beginning of the eighteenth century it underwent many changes (the music of the prologue, several dances and the end of the scene in the grove was lost). This is Purcell's only work without spoken dialogue. The opera was first performed on the stage of the Women's Boarding House in London. This has led music researchers to believe that Pursell deliberately simplified his baroque score, adapting it for performance by schoolgirls. The most popular excerpts from the opera are the aria "Ah, Belinda" and the sailor's song. But the most valuable, included in the treasury of world music, was “Dido’s Lament”. With the departure of her beloved, the Carthaginian queen asks the cupids to scatter rose petals on her grave, as tender as her love. Dido's Lament - the aria "When I am laid in the ground" - is performed annually on the day of the end of the First World War, in a ceremony that takes place in Whitehall.
Yang and Yin as reimagined by Joseph Brodsky
In 1969, for the Soviet justice, a parasite, and for the rest of the world, a great poet, wrote the poem “Dido and Aeneas.” Brodsky only indirectly touches on the plot of an already well-known myth. He places the main emphasis on thinking about the dialectical confrontation between the masculine - active and active - principle, Yang, and the emotional, feminine Yin. The “great man” Aeneas, in his desire to decide destinies, leaves Dido. And for her, the whole world, the whole Universe is only her beloved. She wants to follow him, but she can't. This turns into torment and death for her.
Aeneas and Dido
Venus advised her son to ask the queen for shelter. Aeneas and Achates immediately hurried to the city and entered it unnoticed by anyone, since Venus shrouded them in fog. Their attention was attracted by the festive appearance of the residents gathered in the square, as well as the beauty of the queen, who was talking with their comrades, who miraculously escaped during the storm.
The sailors told Dido about their famous leader, rumors of whom had already reached her ears, and she happily promised to send people to find him and, if necessary, give him help.
And I will send it all over the coast
Messengers and I will order to search to the extreme limits
Livia: maybe he wanders through forests or villages.
Virgil
Hearing this, Aeneas stepped forward, the fog cleared, and he appeared before the queen in all his glory.
Dido invited the guests to the banquet hall, where they, enjoying food and wine, talked about their adventures on land and sea. During the feast, Cupid, at the request of Venus, took the form of Yul, the son of Aeneas, and, pressing himself to the queen’s chest, shot his arrow straight into her heart, and she fell in love with Aeneas.
The days passed in feasts and entertainment. Aeneas completely forgot that he was supposed to found a new kingdom. He didn't want to leave Dido. So a year passed, and the gods finally decided to send Mercury to remind Aeneas of his duty.
In order not to see Dido's tears and not to hear her lamentations, Aeneas prepared to leave secretly and left her while she was sleeping. Waking up and looking out the window, she saw the last Trojan ship disappearing over the horizon.
Hiding her grief and feigning anger, which she did not really feel, Dido ordered the servants to prepare firewood for the funeral pyre and threw into it all the things that Aeneas had used while living in her palace. Then she lit a fire, jumped into the fire and was burned.
Even if I die unavenged, I will die a desired death.
From the sea let the cruel Dardanian look at the fire,
Let my death be an ominous sign for him!
Virgil
Aeneas saw a column of smoke rising into the sky, and his heart sank - he understood where this smoke was coming from, and sincerely mourned the death of the beautiful Queen Libya.
The Trojans sailed until clouds gathering on the horizon forced them to seek refuge in Sicania, where they staged traditional games in memory of Anchises, who died here a year ago. While the men competed in rowing, running, wrestling, archery, fist fights and equestrian competitions, the women gathered together and, incited by Juno, began to complain about their hard lot, which forced them to endanger their lives again and again, wandering around the world. seas. Their discontent reached such an intensity that in one impulse they set fire to the ships. Aeneas, having learned about this, rushed to the shore, tore off his expensive festive clothes and began to pray to Jupiter for help.
O almighty father! If not everyone, as one, is hated
The Trojans have become for you, if you still have the same pity
To human troubles, O Jupiter, do not let the fire destroy
All ships and save the miserable property of the Teukrs.
Virgil
Jupiter heard his plea and sent a heavy rain to the earth, which extinguished the fire that was devouring the ships. Soon after this, Anchises appeared before Aeneas and ordered him to leave the women, children and old people in Sicily and go to Cumae. Here he had to turn to Sibyl for help, descend with her into the afterlife and receive further instructions from his father.
But first
Go down to the kingdom of Dita, go down into the depths of Avernus,
My son, find me there too.
Virgil
Aeneas obeyed his father’s words, but when Venus saw that her son was again set free by the waves, she rushed to Neptune and asked him to take care of her unfortunate son. Neptune listened to her with sympathy and promised that he would take only one person from Aeneas’ team. It turned out to be the helmsman Palinur, who, having fallen asleep at the wheel, fell into the water and drowned.
Aeneas's fleet reached Qom safe and sound, and Aeneas hurried to the Sibyl's cave. He told her that he wanted to go down to Hades and asked her to accompany him there. She agreed, but said that first he must get the golden branch of a tree that grew in the dense forest.
But no one will penetrate into the hidden depths of the earth,
Before he plucks the treasured branch from the tree.
Virgil
Aeneas, in desperation, again turned to the gods for help - how could he find a small twig in the forest without their help? In response, Venus, who never forgot about her son, sent him two snow-white doves, who led him to the right tree and illuminated it. Thanks to this, Aeneas found what he was looking for.
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From the book Myths and Legends of Greece and Rome by Hamilton EdithAeneas (chap. 9). The world knows less of this Aeneas than of Virgil’s. He walked around the world and performed various deeds of human valor, but this one “has been lying in bed in relaxation for eight years now” (9:33). He, the traveler, did not make a single person better, but this one, the relaxed one, turned to
From the book Myths of Greece and Rome by Gerber Helen From the book Encyclopedia of Classical Greco-Roman Mythology author Obnorsky V.Chapter 29 Aeneas The Adventures of Aeneas You already know how the Greeks broke into Troy in the dead of night, massacred its inhabitants and set fire to the beautiful buildings that its king was so proud of. Now I will tell you how part of the Trojans escaped death. Without knowing anything about the fate that befell
From the author's bookAeneas and Anchises Aeneas rushed home and told his father to prepare to escape, but Anchises became stubborn - he did not want to leave the city. But then he saw a glow flare up above his grandson’s head, and decided that the gods were giving a sign that his family must be saved. He no longer resisted leaving, but
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From the author's bookDido Dido or Elissa (Dido, Elissa) - the founder of Carthage. According to legend, she was the daughter of the Tyrian king Mutton and the husband of his brother Sihei (Sinchei), a priest of the god Melkart, whom the Greeks compared to their Hercules. She was supposed to share the throne with her brother
From the author's bookAeneas In Greco-Roman mythology, Aeneas (Aeneas, AineiaV) - 1) son of Anchises and Aphrodite, ruler of the Dardans at the foot of Ida, relative of Priam (see). Born on Mount Ida (Il. 2, 820) or near the river Simoenta, he was raised by Alkathos, the husband of his sister Hippodamia, in Dardian (Il. 13, 428. 465); and by
With a libretto (in English) by Neaham Tate, based on the fourth book of Virgil's Aeneid.
CHARACTERS:
DIDO, Queen of Carthage (contralto)
AENEAS, leader of the Trojans (baritone)
BELINDA, Dido's confidant (soprano)
SECOND LADY, another confidante (mezzo-soprano)
SPIRIT, in the guise of Mercury (soprano)
WITCH (contralto)
Time period: after the fall of Troy.
Location: Carthage.
First performance: Chelsea (London), 1689.
"Dido and Aeneas" is the first truly great opera composed by an Englishman; but there are evil tongues that claim that she is also the last. It was composed (in 1689) by the young Henry Purcell, who personified the glory of English music, and was intended - first of all - for a boarding school where only girls studied. This school was led by one Josiah Priest, who apparently had influential friends. Not only did the leading English composer write the music for the school play, but also the then recognized English poet Neum Tate was the author of the libretto. He may not have been a great poet, but he wrote a really good and acceptable libretto for the myth of passionate love and death. Acceptable - if you keep in mind that the opera was intended to be staged by girls. The source for the libretto was the fourth book of Virgil's Aeneid. Perhaps girls studied this poem in school at that time.
ACT I
Scene 1. After a classic tragic overture, Belinda calms Dido, her mistress and queen of Carthage. But the queen is overcome with excitement because of her love for Aeneas. Aeneas is, of course, the Trojan hero who landed on the shores of Carthage after the fall of Troy. He shows up with his entourage, and by the end of the scene it is quite obvious that they are madly in love with each other. The madrigal chorus (which is always present in the most intimate domestic conversations in classical operas) glorifies the union of lovers (“To the hills and the vales” - “Bright Chorus of Clouds”). General delight is expressed in dancing.
Scene 2. In the second scene we meet the villains. Among them are a witch, two main witches, and a whole choir of witches accompanying them. They all look more like the witches from Shakespeare's Macbeth than what Virgil imagined. In their cave, they make plans to cause a storm at sea in order to separate Dido and Aeneas and force the hero to leave the queen. The painting alternates between recitative and chorus: the intruding choral stanza (in the rhythm of a gigue) imitates the devil's laughter, giving the music a demonic hue. The duet of witches sounds triumphant and menacing, anticipating victory over love. The scene ends with a chorus of dramatic echoes indicating a “deep vaulted cavern.”
ACT II
The very short second act is a hunt that Queen Dido organized for the pleasure of her famous guest. A sorceress and two witches plot to break up the union of Dido and Aeneas and destroy Carthage in a fire. The Chorus, Belinda, and then the second lady describe the grove and Aeneas's boasts about the boar he killed. As Dido and her companions flee a storm, Aeneas is prevented from following them by a mysterious spirit. This character in the guise of Mercury was sent by a sorceress with an order supposedly from Jupiter. He tells Aeneas that he must leave Dido that very night, since his calling is to found the great city of Rome. Aeneas laments the need to leave his beloved queen, but understands that he must obey this order of the gods. The action ends with the witches expressing their joy that their plan was a success.
ACT III
The last act begins with a chorus of Trojan sailors happily preparing to sail from the shores of hospitable Carthage (“Come away, fellow sailors” - “Hey, sailor! Let’s raise the anchors”). Then the sorceress appears with her choir of witches, who rejoice at this departure more than ever. My favorite verse in this hilarious episode:
Our plot has taken,
The Queen's forsook.
(Our plan was a success,
The queen is left behind.)
This is, of course, 17th century English syntax.
Then the tragic Dido enters with her retinue. She is completely resigned to her fate, and even when Aeneas offers to disobey Jupiter's orders and stay with her, she adamantly insists that her lover go on his way. The music becomes unusually tragic when she sings her big aria, “When I am laid in earth.” In the entire operatic repertoire, I am sure there are not many pages equal to these. The opera ends with a short chorus, filled with a feeling of light sadness (“With drooping wings ye cupids come” - “In sorrow, two wings drooped”).
Henry W. Simon (translated by A. Maikapara)
The opera was staged only once during the author’s lifetime, on the occasion of the graduation of female boarding school students. In the 17th century it was used as a “mask” in the appendix to Shakespeare’s comedy “Measure for Measure.” Published by William G. Cummings between 1887 and 1889, it became familiar to our era; it was then published by the Purcell Society Press (1961). Despite the fame of the opera and the interest in it as the largest example of musical drama (the first in England), some believe that Purcell showed his abilities better in music for the theater, written for other occasions, for "half-operas" or masks, in which the composer could include more extensive, imaginative episodes, including those of a figurative nature. This was the case with Diocletian (1690) and King Arthur (1691), The Faerie Queene (1692) and Oedipus (1692), The Tempest (1695) and Bonduca (1695). However, despite the small size, laconicism and concentration of the narrative, the dramatic unity achieved in “Dido and Aeneas”, especially in the finale, is striking, being, in particular, the result of the use of the English language, although the stage structures are still closely related to the shape of the mask.
It is truly wonderful that in such a small, truly chamber work, the young composer was able to show such skill in depicting feelings, to paint a picture in which the fatal magical threads of fate and the almost deliberate general indifference of those who do not take part in the fate of the main characters are perfectly conveyed. The emotional vocal formulas of the Italian Baroque school, especially Cavalli and Carissimi, the skillful and daring harmonies of which Purcell was the founder, French influence (Lully) and melodic-rhythmic elements drawn from the typical choral and polyphonic English tradition (not to mention about "Venus and Adonis", the mask of John Blow).
The persistent change (in the opinion of some, truly painful) of recitatives and various ariatic forms, as it were, speeds up the action, well outlining the characters and position of the characters. In particular, the dialogues between the queen and Aeneas ruthlessly rule the inexorable course of events: on the one hand, her tears and protests, on the other, the dry responses of the hero, who knows his destiny and is drawn by his own egoism. In the sad finale - a powerful and gloomy death scene - the queen proclaims her voluntary death and wants to leave a good memory of herself, although she is seized by a gust of painful self-condemnation. The intense sound of the basso ostinato and the sequence on the words “Remember my” became legendary. This scene, after an extended touching lamento, ends with the chorus’s epitaph: the cupids dance around Dido’s deathbed, brightening the atmosphere. This is an image sent into the future, an amazing anticipation of the future and appears before the viewer as a cinematic influx.
G. Marchesi (translated by E. Greceanii)
Purcell's opera reflects the ancient myth about the life of Aeneas, which formed the basis of Virgil's poem "Aeneid". The poem was popular among composers. But not many works have remained relevant to this day, including Purcell’s opera. Restrained sorrow and depth distinguish the melody of this composition, rich in chromaticisms. For two centuries the opera was not performed on stage; only after the London premiere in 1895 did it find its “second life”. Dido’s aria “When I am laid in earth” (3 days) is one of the world masterpieces. Let us note the 1951 production in London by Britten, the performance at the Glyndebourne Festival (1966, the role of Dido was performed by Baker).
Discography: CD - EMI. Dir. Jones, Dido (Flagstad), Aeneas (Hamsley), Belinda (Schwarzkopf), Sorceress (Mandikian) - EMI. Dir. Barbirolli, Dido (Los Angeles), Aeneas (Glossop), Belinda (Harper), The Witch (Johnson).
Juno, seeing from the heights of Olympus that the Trojan fleet sailing from Sicily to Italy was close to its goal, was inflamed with anger and hurried to Aeolia to the king of the winds. She asked him to release the winds and sink the Trojan fleet. Aeolus obeyed and opened the cave where the winds were locked.
The god of the sea, Neptune, noticing this, commanded the winds to leave his domain and pacified the angry waves. Triton and the Nereid Kimatoya, on the orders of Neptune, removed the ships from the underwater reefs, and he himself moved those that ran aground with his trident.
Aeneas with difficulty gathered only seven ships from the entire fleet and landed with them on the near shore. It was Libya. The bay they entered was calm and safe, surrounded by rocks and forest. In its depths one could see a spacious grotto - the home of the nymphs - with a clear stream and stone benches. Here the Trojans landed on shore to take a break from adversity. Achates, Aeneas' constant friend, struck a fire and built a fire; others carried soaked wheat from the ships so that, after drying it by the fire, they could grind it and prepare food for themselves. Aeneas, meanwhile, accompanied by Achates, climbed onto a nearby rock to look out from there for some remnants of his fleet, but did not see a single ship, but noticed a herd of slender deer grazing in the valley below. They immediately went down and killed seven of the largest animals from the herd with bows. Then Aeneas divided the spoils so that each ship had a deer. The travelers brought wine and, lying down on the grass, enjoyed delicious drink and food until nightfall. But the feast was sad, for everyone was saddened by the thought of their missing friends.
The next morning, Aeneas and Akhat went to explore the surroundings. Entering the thicket of the forest, they met the goddess Venus, the mother of Aeneas, in the form of a young maiden in a hunting robe. “Have you met any of my friends?” - the goddess asked them. “No,” answered Aeneas, “we haven’t met one, oh maiden, I don’t know what to call you, but in your appearance, in your voice, you are not one of the mortals... you are a goddess!.. Perhaps the sister of Apollo or a nymph? But whoever you are, be merciful to us and help us in our trouble; tell me what country we are in. A storm has driven our ships to this land, and we do not know where we are.”
“You are near the city of Carthage,” said Venus. - This land is called Libya and is inhabited by warlike Libyans. Queen Dido rules in Carthage; She, persecuted by her brother, fled with her friends, taking her wealth, from Tire, from the Phoenician country, and built a city here on land she bought from the Libyan leaders. But tell me: who are you, where are you from and where is your path?”
Aeneas told her everything. Then the goddess revealed to them that they would be received friendly in Carthage, and gave hope that they would see their missing comrades there - as the birds foretold, for at that time twelve swans, pursued by an eagle, rustling with their wings, sank to the ground. Having said this, the goddess left, taking on her form again, and the air was filled with the fragrance of ambrosia.
Aeneas went with Achates to the walls of Carthage.
Climbing the hill, from where both the city and the palace were visible, Aeneas was incredibly surprised by the huge buildings, gates, and streets lined with stone. Everywhere there was a flurry of activity - walls were being erected, loopholes were erected; some carried heavy stones, others hewed columns to decorate the theater, in one place they began building a new house, in another they dug a harbor. “O happy people, you are already building the walls of your city!” - Aeneas exclaimed, looking at the battlements, and walked with quick steps through the crowd, unnoticed by anyone. In the middle of the city, in a small grove, a magnificent temple to the goddess Juno was erected. Approaching him, Aeneas was surprised to see a whole series of paintings depicting both heroic battles and the suffering of the Trojans. He was pleased that the Carthaginians sympathized with his people.
While he was admiring the paintings, Queen Dido appeared, accompanied by armed young men, resembling Venus in beauty and figure. Entering the vestibule of the temple, the queen sat on the throne and began to judge the people and distribute the work. At this time, Aeneas and Akhat, with surprise and joy, saw their missing friends in the crowd surrounding the queen.
They approached Dido, told her that they sailed with Aeneas, but their ships were separated by a storm, and asked her for protection and permission to repair the ships in order to sail to Italy, if King Aeneas united with them again, or, if he died, in Sicily to King Acestes.
The queen graciously listened to their request and promised protection and help. “Who does not know,” she said, “the great Aeneas, the beautiful Troy and its sad fate? We do not live so far from the rest of the world that we have not heard of your glory, and our hearts are not so cruel as not to sympathize with your sad fate. If you want to go to Hesperia or Sicily, then I will send you there, providing you with supplies; if you want to stay with us, then look at my city as if it were your own. Why isn't Aeneas here with you? I will now send reliable people all over the seashore to find your king.” But then Aeneas himself appeared.
Dido was captivated by the beauty and masculinity of Aeneas. She greeted him in a friendly manner and invited him and his companions to her palace, where she ordered a rich feast to be held in honor of their arrival. She ordered the people of Aeneas who remained on the ships to carry various supplies. Aeneas hastily sent his friend, Achates, for Ascanius and for the rich gifts that he saved from the devastated Troy.
Venus and Cupid. Lucas Cranach the Elder
Venus, fearing for the safety of Aeneas in Libya, asked her son, Cupid, to take the form of young Ascanius and strike the heart of Dido with his well-aimed spear, and she would fall in love with Aeneas. The God of Love willingly agreed and, taking the form of Ascanius, whom Venus had meanwhile transported sleepily to the fragrant groves of Italy, went with Achat to Carthage. Arriving at the palace, they found the Trojans and the noblest Tyrians already at the table. The queen, enchanted by the young man, did not let him go from her throughout the feast and fell under the power of the god of love. When the cups began to be passed around, and Aeneas began to talk, at Dido’s request, about the fate of Troy and his own, a fiery love for the hero arose in the queen’s heart, and the more the queen looked at him, the more her passion flared up. When the feast ended late at night and everyone went to rest, the queen’s only thought was about Aeneas.
Juno, ready to do anything to prevent Aeneas from reaching Italy, invited the goddess Aphrodite to arrange the marriage of Aeneas with Dido. The goddess Aphrodite agreed, because in this way the unhappy wanderings of her son would cease, and he would acquire a rich state.
Aeneas was lured into the net by the goddesses; seduced by the queen’s virtues, he forgot about the great promises given to the family and decided to share power over Carthage with Dido. But Jupiter, holding in his hand the fate of the world, did not want the plans destined for the Aeneas family to lay the foundation of a new state in Italy to remain unfulfilled, and sent with Mercury an order to Aeneas to hastily leave Carthage and sail to Italy.
Aeneas with a heavy heart obeyed Jupiter, ordered the secret production of a fleet and, deaf to the pleas and reproaches of Dido, set off. Then the abandoned queen decided to die. By her order, a high fire was built in the courtyard of the palace; Dido climbed onto him and, when the fire burned, she pierced her tormented heart with a sword. And the last, dying glance of the dying woman was turned to the direction where, in the distance, barely turning white, the sails of a ship could be seen, quickly moving away from the Libyan shores.