Schevill — Studies in Cervantes. 487 



the Aeueid occur frequently in the sixteenth century drama/ while 

 the desire to imitate the classics in form as well as in the use of 

 standai'd episodes prompted the choice of Dido's story for the 

 stage." On account of the meagerness of the material for an entire 



^ Some examples are: Torres Naharro, Comedia Jacinta: "Segunda Dido 

 Afrieana" (near beginning) ; Jeronimo Bermlidez, Nise Lastimosa: "la 

 sabiduria [ de Salomon, ;;, contra el amor que vale? | Troya, Troya, 

 I quien te puso fucgo, | y no dejo de tl ni aim las cenizas?" (Act I) ; 

 L. Leonardo de Argensola, Isabela, Prologo : "No soy aquella Fama que 

 Virgilio | dijo, y malgrado del gran Marun, tu, Dido, | entre las viudas 

 castas te colocas"'; cf. also II, sc. 4, a reference to wooden horse of Troy; 

 Dr. Fr. Tarrega, La enemiga favorable ; loa en alabanza de las mugeres 

 feas (near beginning) : "[la fea] no es la Cava para Espafia | ni para 

 Troj'a otra Elena | ni Dido para Cartago"; Gaspar de Aguilar, El mercader 

 amante, (Act II) : "Caballo de Troya hiciste | De im pensamiento seguro, | 

 Y para que entrase, el muro | De tu vergiienza rompiste, etc."; Alfonso 

 Velazquez de Volasco, El Zeloso, Act I, sc. 2: "i Quien puso a Troya en 

 tanta ruina y desventura, que de ella no dejo casi cenizas?" In Rojas, 

 El Viaje entretenido, two volumes (Madrid, 1793), first edition, 1604, 

 there are also numerous references to Virgil and his Aeneid, similar to 

 those so common in the literary vocabulary of the times; Virgil is used for 

 comparison after the current fashion : "muestras ser en este tu viage, | 

 Virgilio en verso, etc.," Vol. I, p. 31, also pp. 20, 28, 32; II, p. 145, 

 while in tlie exposicio de los nomhres, etc., p. 2G3, he says: "Virgilio, 

 Principe de los Poetas, que en los seis de la Eneida, cuenta las peregrina- 

 ciones de Eneas," as though the poem were a kind of adventure stoiy in 

 six books; reminiscences of the Aeneid may perhaps be seen in the storm 

 I, p. GO, also in pp. 78, 97; "la honestidad . . . de la reyna Dido," 

 201; 207. 



- In Spanish the following plays are based on the story of Dido, with 

 or without Aeneas : Gabriel Lobo Laso de la Vega, La lionra de Dido 

 restaurada. cf. Barrera, Catdlogo del teatro antigiio espailol, p. 219; 

 Cristobal de Virues, Tragedia de Elisa Dido, cf. Barrera, op. cit., p. 499; 

 both are mentioned in Moratin, Origenes del teatro espailol (Rivadeneyra) , 

 pp. 217, 22.5; cf. also Wolf, Studien zur GeschicJite der ^panischen und Por- 

 tugiesischen 'Nationallitteratur (Berlin, 1859), p. 61G-7; Guillen de Castro, 

 Los amores de Dido y Eneas, cf. Barrera, op. cit., p. 83; Cristobal de Morales 

 is credited with a play, Los amores de Dido y Eneas which I have not seen, 

 cf. Barrera, op. cit., jj. 274; Alvaro Cubillo de Aragon, La honestidad 

 defendida, 6 Elisa Dido, Rcina de Cartago, cf. Barrera, op. cit., p. 115. Of 

 more recent times there is the Eneas y Dido, Comedia famosa, etc., de 

 un ingenio Cathalan (Barcelona, 1733) ; and the Dido by Juan C. Varela, 

 cf. a recent rendering of Virgil, Eneida, etc., traduccion de Care (Madrid, 

 1905), p. xii. There have been Dido tragedies in Latin from 1550 on, cf. 

 Creizenach, op. cit., Vol. II, pp. 164, 378, n. 1; in Italy the subject of Dido 



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