“The Death of Dido” by Tom Lowenstein is a modern interpretation of Dido and Aeneas’ relationship. This modern interpretation of Aeneas and Dido is very similar to previous interpretations in some ways, going through the same motions from the original text. But in other ways, the interpretation is totally different. The use of dialogue between Aeneas and Dido, that occasionally seems more like a monologue, adds new layers to the characters than the descriptive narrative style of the Aeneid. Lowenstein has the modern benefit of understanding the importance of context, even alluding to the historical tension between Carthage and Rome. There is also the added benefit of hundreds of years’ worth of interpretations of Dido to draw on for the poem. The themes of power and legitimacy that are present in “The Death of Dido” show how pervasive certain archetypes about Dido were and how valuable she was for providing social commentary.
The poem initially starts out by situating the reader with a plot summary, jumping ahead to Dido’s suicide. The first stanza describes the sword the Dido used to kill herself, “her knife, blood burnt on the blade/ the jasper handle cracked/ lies in the ash” (I. 11-13). The use of fire imagery harkens back to the original use of fire in the Aeneid. Starting with the suicide reminds the reader that they know how this story ends—that Dido’s fiery suicide is the end result. This reminder helps situate the poem within other interpretations of Dido from previous writers and artists. The poem also draws on larger plot points of the Aeneid as well. One example of this is the reference to the Trojan War. Dido laments “He is Troy. I am not Helen” (IV.8). This brings the effects of the Trojan War into the conversation, which is something that Aeneas just left. Maintaining the chronology of the original version helps to establish narrative and enhance the meaning of the poem.
The poem takes the form of a dialogue, each stanza switching from Aeneas to Dido, and each providing commentary that relates to their particular situation. Both sides of the relationship are described and are very similar to the original text. Aeneas deeply feels the need to move on and feels trapped by his relationship to Dido. He does not think that it is going anywhere, nor is staying in Carthage productive for him or his journey. Dido is also very aware that Aeneas is distracted and unwilling to commit to her although she is committed to him. The dialogue stanza style provides a way to see both perspectives on a more intimate level while maintaining the themes of power and legitimacy that were included in both the classical and medieval interpretations of Dido. The back and forth that gives a glimpse into the feelings of both Dido and Aeneas gives "The Death of Dido" a decidedly modern feel.
Describing Carthage as “that gross cradle of/misrule,” immediately draws attention to the relationship between Rome and Carthage (III.7-8). Paying homage to the damage done by the Punic Wars shows the perceived superiority that Rome felt to Carthage and North Africa. Because Italy has yet to be established, the necessity of the foundation of Italy also has to be established. Aeneas says, “my fertile continent lies on the further shore” (III.9). The language uses also suggests that Italy is superior because it will be able to provide life since it is “fertile.” This sense of national pride is something that is especially present in the Aeneid and using it in this poem adds to the interpretation of the relationship between Aeneas and Dido as leaders. Historical context is also presented in a way that helps the modern reader understand the situation in a way that the original audience would have.
Themes of legitimacy are also present in the Lowenstein poem. Part of Aeneas’ dialogue highlights the divine providence that Aeneas found Italy. This divine mandate gives greater legitimacy to Aeneas’ leadership and to the foundation of Italy. This strong sense of the legitimacy and necessity of Italy is all the more reason for him to continue on his journey and leave Dido. Aeneas says, “My prosperity is a national, rational preoccupation/ and is therefore stronger than her pining” (VIII.1-2). This draws out the theme that Aeneas must move forward with his journey, and that it is far more important than a romantic relationship. Romance or love is not enough to justify Aeneas abandoning his journey to found Italy. But in contrast it is enough for Dido to leave her country without a queen, implying that Italy is far greater than Carthage, and has greater legitimacy as a state.
Another theme that relates to legitimacy and the importance of the foundation of Italy is the idea of sacrifice. Aeneas sees himself as someone who must make a sacrifice for the greater good. Both Aeneas and Dido have to make sacrifices for the foundation of Italy. Dido describes her sacrifice, saying that “All that’s left of me is incompleteness/ a void spirit, hanging in a landscape/of afterlife” (IX. 3-5). Even though Dido has no claims to Italy and is seen as an inferior queen, she still must make a sacrifice. Carthage also makes a sacrifice for Italy by losing their queen and having to persevere without a leader.
Aeneas’, but not Dido’s legitimacy, is clearly established in this poem. Aeneas describes himself as “a hero and a prince” (VIII.6). The only reference to Dido as a queen is in a short, descriptive stanza that is unassigned to either Dido or Aeneas, which says “Carthage queenless/ The palace courtyard/ has a hole burnt in it” (V.2-4). Aeneas is clearly designated as a ruler and Dido assumes the role of a lover. Dido is not praised for her life accomplishments and her political legitimacy is not directly eroded either. This attention to her only as a lover is a departure from the previous interpretations that combine the political and the romantic.
Even without any explicit sense of political legitimacy as the queen of Carthage, Dido is still perceived as a threat. However, she is not a threat because she is a powerful queen, she is a threat because she is an enticing lover. This interpretation of Aeneas believes that “if she must take her life/ then she would in some way/ in the end have taken mine” (VI. 1-3). Dido becomes a threat to both Aeneas’ life and the life of Italy. She simply becomes a chance the Aeneas cannot take. Aeneas also does not want to be haunted by Dido, saying, “may her/ memory be as her ashes:/ ghostless. Let them not be/ scattered” (VI.5-8). This demonstrates that Aeneas is aware of his actions and how devastating the effects may be; but he decides to literally and figuratively put distance between him and Dido. Dido’s suicide eliminates her as a threat.
Lowenstein does not overtly challenge other interpretations of Dido. Unlike de Pisan, who openly praises Dido for her attributes and celebrates her accomplishments in her life, Lowenstein remains focused on the end of her life. But just because Lowenstein does not pay more attention to Dido as a woman does not mean he is condemning female leaders in any way. His omission of any damning accusations about the state of Carthage or her actions speaks louder than any testament to her character. As a modern poem, it can easily be assumed that Dido is on a level playing field with Aeneas, and in some cases even has power over Aeneas when he feels threatened by her. The themes of power and legitimacy relate more strongly to the personal relationship between Dido and Aeneas in "The Death of Dido. " Omitting any damaging phrases about Dido's legitimacy as a queen makes this version of Dido more modern because it assumes that the strife between Dido and Aeneas exists on a personal level. The tension between Rome and Carthage is purely political, and both Aeneas and Dido have an equal right to participate in the political arena.
Love threatens to halt the foundation of Italy, and that is not something that can be tolerated. Dido and Aeneas are not equal rulers, nor are they equal lovers. In any interpretation of the relationship between Dido and Aeneas, he leaves, and she kills herself. It seems that both have to make sacrifices and life moves on. What different authors choose to focus on is telling of the time in which they were writing. Virgil’s origin story asserts Italy’s dominance over the rest of the world. Christine de Pisan’s Dido is a response to her contemporaries’ interpretations of women. Her focus on talent and achievement stands out from the other interpretations where Dido is a lovesick girl. Lowenstein adds more emotion to the end of the relationship and focuses on the sacrifice that is necessary to do great things. Dido has not endured the test of time because she is a good story, or a dramatic episode in an ancient text. She is purposely used and reused because she is a versatile figure. Her unique position allowed her to be given virtues and vices as needed.
Looking at Dido through a modern lens, it seems evident that women are capable of ruling. Reading the Aeneid today, it seems obvious that Aeneas deserves at least some blame for Dido's suicide and that he was clearly acting less than honorably. Living in a world that is obsessed with female empowerment and comparing the abilities of men and women in to prove that they are equal, Dido becomes a valuable character. Her life, represented in any of these works demonstrates that levels that power and legitimacy, which is centered around ability, can operate at. Power plays out on an intimate level between Aeneas and Dido. Aeneas leaves, clearly in control of the relationship, and an out of control Dido commits suicide as a result. Aeneas had the power, and the desire to leave Carthage and continue on. His departure then introduces legitimacy on an intimate level too. Clearly, Dido and Aeneas's relationship lacks the legitimacy for it to continue past a fling. Aeneas does not consider it as a commitment that he is making, and does not regard their relationship as something that is real. The apparent lack of meaning, or in a political sense, legitimacy, lets Aeneas leave. However, the meaning that Dido extrapolates from their relationship shows how real, or deep her feelings for Aeneas were.
On a more professional level, there is an inherent inequality between Dido and Aeneas. Both serve as rulers, but Aeneas is clearly the favored ruler. His ability to leave Carthage shows the power that he possesses to be able able to carry on with his journey. This power comes from both the gods and the internal strength within to carry on with his journey after fighting in the Trojan War. Aeneas' power takes the form of brute strength and bravado, where Dido is more intellectually powerful. Dido's power, derived from her intelligence, only manifests itself in de Pisan's version. Aeneas' power to rule, and his legitimacy is granted by divine mandate. However, thinking about Dido and Aeneas in modern political terms, Dido has greater legitimacy because of the more secular nature of her power, compared to Aeneas who seems to be some sort of theocratic ruler. Today, Dido would have formed the more modern nation-state compared to what Aeneas formed. Interpreting power and legitimacy is a mostly secular endeavor in modern times, however the classical and medieval states relied on divine intervention for their formation and continuation. Despite the differences in the perceptions of power and legitimacy through the different interpretations, the story of Dido and Aeneas are consistently used to describe the relationship between power, legitimacy, and sex.
Dido’s fluidity throughout the centuries show how universal the themes that she represents are. Grappling with power, legitimacy, and desire are constant battles in any society. Making choices is something that people do on a daily basis. Loss becomes part of life. Dido can fit any one of those molds in a way that is enticing. Her fiery suicide is not easy to forget, and the constant use of fire imagery is exciting. In many of her forms, her suicide outshines her accomplishments, but that balance also leaves a lot to consider. Dido forces people to think about what they should be remembered for. Should it be for accomplishments like gaining power and legitimacy over a nation? Or should it be for the relationships that are full of burning desire and passion and have a quality that negates that power and legitimacy that was worked so hard for?