Appendices. 517 



APPENDIX I. 



The two versions of the story of Dido. 



Ticknor saw in the manner in which Dido is represented in this 

 hallad (p. 484 above, Duran, ^omance?'0, no. 487) a peculiarly Span- 

 ish view (cf. his History, op. cit.. Vol. I, p. 145, n.). It represents 

 Aeneas as the aggressor, she desiring to remain faithful to the mem- 

 ory of her first husband. Menendez y Pelayo (Antologia, op. cit.. 

 Vol. XII, p. 485) thinks this form is prompted by "la natural sim- 

 patia que en todo lector del poema virgiliano despierta la apasionada 

 reina de Cartago, y que de ningun modo puede inspirar su insulso y 

 egoista amante." There was, however, a traditional defense of Dido 

 as well as a widely current condemnation of the "traitor" Aeneas, 

 which was neither peculiarly Spanish, nor the individual and 

 independent conception of the author of this ballad (cf. A. Chas- 

 sang, Histoire du roman, etc., Paris, 1862, p. 364; Hertziana, 

 Munich library, "An tike Sagen," I, no. 27). As Landau has 

 already remarked {Die Quellen cles Dehameron, p. 290), by the 

 Chroniclers of the Middle Ages the founding of Rome was held to 

 be an incontrovertible fact, and so they readily discovered an 

 anachronism in Aeneas's visit to Dido, a view which possibly had its 

 starting point in Justin's Universal History, bk. xviii, chapters 6-8, 

 Cf., however, Paulys Real-Encyclopddie der Classischen Alter- 

 thumswissenschaft, neue Bearbeitung (Stuttgart, 1905), under 

 "Dido." Por an account of the early form of the legend see Fried- 

 rich Cauer, Die Romische Aeneassage von Naevius his Vergilius, 

 15ter Supplementband der Jahrbiicher fiir Classische Philologie; 

 Abdruck (Leipzig, 1886) ; for the story of Aeneas both independent 

 of Dido and connected with her history, see Dr. E. Worner, "Pro- 

 grammarbeit des Koniglichen Gymnasiums," (Leipzig, 1882), p. 16 

 ff. : Die Sage von den Wanderungen des Aeneas his Dionysios von 

 Halilcarnasos und Vergilius. 



Dido was therefore championed at an early date as a much- 

 wronged woman ; Virgil's fourth book was considered a poet's crea- 

 tion and took the place of romance. In Italy Petrarch gave voice 

 to this view in his Trionfi, TV, Triumphus pudicitiae; cf. Die 

 Triumphe Francesco Petrarcas, in kritischem Texte herausgegeben 

 von Carl Appel (Halle a/S., 1901), p. 224, 234: 



