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Title: Teaching Dido

(EPUB 3.0)

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WCAG 2.0 A 00000
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WCAG 2.1 A 00000
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Metadata

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Publication metadata.
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dc:title Teaching Dido
dc:creator Ingo Gildenhard
dc:subject Dido;classics;sixth-form study guide;translation;Ancient Studies
dc:description A companion to Virgil, Aeneid 4, with Study Questions, Vocabulary, and Commentary (OBP 2026), Teaching Dido includes five essays that explore aspects of Virgil's poetry in a student-friendly way. They range from issues in poetics (verse design, allusion) to key themes ('historiographical Dido', religion, pietās). Seven reprinted scholarly articles follow, allowing students and their teachers to engage directly with some of the research that informs the essays and the commentary and to broaden their appreciation of Dido, the Aeneid, Virgil, and the wider historical context. Topics covered include the ethics of hospitality, the interface of intertextuality and psychology in the construction of character, Carthage and Rome as imperial powers, racecraft in Aeneid 4, Virgil's authorial self-fashioning and negotiation of the Augustan new normal, the myth of Troy in Rome's cultural imaginary, and Dido's place within Virgil's philosophy of history.
dc:date 2026-06-30T14:43:19Z
dc:rights ©2026 Ingo Gildenhard, CC BY-NC-ND 4.0
dc:language en-GB
dc:identifier urn:uuid:b595d821-7885-47aa-a58a-a797e2ce048a | 978-1-80511-949-4 | https://doi.org/10.11647/OBP.0540
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Outlines

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TOC Outline

  1. Cover
  2. Title page
  3. Copyright
  4. Dedication
  5. Table of Contents
  6. Editor’s Bio
  7. List of Illustrations
  8. Preface
  9. Acknowledgements
  10. INTERPRETATIVE ESSAYS
  11. Essay 1: Content and Form1
  12. Essay 2: Historiographical Dido1
  13. Essay 3: Allusion1
  14. Essay 4: Religion1
  15. Essay 5: Transvaluating Pietās
  16. CRITICAL APPROACHES
  17. Chapter 6: Aeneas as Hospes in Vergil, Aeneid 1 and 4
    1. Roy K. Gibson
  18. Chapter 7: Furthest Voices in Virgil’s Dido
    1. Alessandro Schiesaro
  19. Chapter 8: Translating Empire from Carthage to Rome
    1. Josephine Crawley Quinn
  20. Chapter 9: Rac(ializ)ing Dido
    1. Elena Giusti
  21. Chapter 10: Virgil vs. Ennius, or: The Undoing of the Annalist
    1. Ingo Gildenhard
  22. Chapter 11: Trojan Plots: Conceptions of History in Catullus, Virgil and Tacitus
    1. Johannes Geisthardt and Ingo Gildenhard
  23. Contributors
  24. About the Team
  25. This book need not end here…
  26. You may also be interested in:
  27. Back cover

Headings Outline

  • TEACHING DIDO
  • Teaching Dido
    • Critical Perspectives on Aeneid 4
      • Edited by Ingo Gildenhard
  • Table of Contents
  • Editor’s Bio
  • List of Illustrations
  • Preface
  • Acknowledgements
  • Interpretative Essays
  • Essay 1: Content and Form1
    • Aeneid 1.52–59: The Cave of the Winds
    • Works cited
  • Essay 2: Historiographical Dido1
    • Appendix:Historiographical and Virgilian Dido in Early-Modern Times (and a textual crux)
    • Works cited
  • Essay 3: Allusion1
    • 1. Overview
      • Homer
      • (Greek and Roman) Tragedy
      • Apollonius Rhodius
      • Callimachus (via Catullus)
      • Ennius
      • Catullus
      • Lucretius
    • 2 DIY Guide
      • Step 1: Process the dataset
      • Step 2: Check out the texts
      • Step 3: Interpret the texts as in dialogue with one another
    • Appendix:Dido in the Intertextual Mirror Cabinet: Some of Her ‘Other Selves’ Illustrated
    • Works cited
  • Essay 4: Religion1
    • 1 Introduction
    • 2 Taking Stock
    • 3 Religious Paradigms
    • 4 Limits and Possibilities of (Human) Agency
    • 5 Conclusion
    • Works cited
  • Essay 5: Transvaluating Pietās
    • 1. Historical Background
    • 2. (im)pietās in the beyond
    • 3. (im)pietās of/ towards divine figure in the (narrative) here and now
      • 3.1 Tracking impius (‘wicked’) in the Aeneid
      • 3.2 Divine attitudes towards human pietās
      • 3.3 pietās as a quality of the divine – and as divine interest in (retributive) justice
    • 4. (Inter)personal pietās
      • 4.1 Nisus, Euryalus, and Euryalus’ mother
      • 4.2 Lausus, or when ‘pietās murders pietās’42
      • 4.3 pius Aeneas – down to the bitter end?
    • 5. Conclusion
    • Appendix:pius, pietās, and impius in the Aeneid
    • Works cited
  • Critical Approaches
  • Chapter 6: Aeneas as Hospes in Vergil, Aeneid 1 and 4
    • Roy K. Gibson
    • Hospitality Scenes in Homer and the Aeneid
    • The Arrival of the Trojans in Africa
    • The Speech of Ilioneus: 1.522–58
    • Dido’s Reply to Ilioneus: 1.562–578
    • The Reply of Aeneas to Dido: 1.595–610
    • The End of Aeneid 1
    • Aeneid 4
    • Dido’s First Speech to the Departing Aeneas: 4.305–30
    • The Departing Aeneas’ Reply to Dido: 4.333–61
    • Dido’s Final Speech to Aeneas: 4.365–87
    • Issues of Status and Reciprocity
    • Ancient Responses
  • Chapter 7: Furthest Voices in Virgil’s Dido
    • Alessandro Schiesaro
    • Part one
    • Part two
    • Bibliography
  • Chapter 8: Translating Empire from Carthage to Rome
    • Josephine Crawley Quinn
    • Contrasting Models
    • Polybius and the Succession of Empires
    • Imperial Cooperation and Transfer
    • Strategies of Subjection
    • Military Recruitment
    • Imperial Space
    • Treaty Formulations
    • Taxation Policies
    • Literature Cited
  • Chapter 9: Rac(ializ)ing Dido
    • Elena Giusti
    • 1. Race, Racism, Racialization
    • 2. Racialized Dido
    • 3. Racializing Dido
    • Bibliography
  • Chapter 10: Virgil vs. Ennius, or: The Undoing of the Annalist
    • Ingo Gildenhard
    • 1. Introduction1
    • 2. Ennius
      • a. Authorial self-fashioning15
      • b. The Annals and the political culture of the Roman republic37
      • c. Religion
      • d. Literary format and conception of history
    • 3. Virgil
      • a. The return of the uates
      • b. From ciuitas to ethnos, from gentes Romanae to gens Romana
      • c. From contingency to destiny: the notion of fatum
      • d. Narrative form and political ideology
    • 4. Conclusion
    • Bibliography
  • Chapter 11: Trojan Plots: Conceptions of History in Catullus, Virgil and Tacitus
    • Johannes Geisthardt and Ingo Gildenhard
    • 1 Introduction
    • 2 The Tragedy of Catullus: Carmen 64 and the Poetry of Doom
      • 2.1 Catullus’ Universal History
      • 2.2 Tragic Narratives of Self and the City
    • 3 Virgil’s Aeneid
    • 3.1 Virgil’s Destruction of Republican History
      • 3.2 Virgil’s (Partial) Destruction (and Reaffirmation) of Contingency47
      • 3.3 Virgil’s Destruction of the Future
    • 4 Tacitus: (Trojan) Rome May Burn; Republican Annals Last76
      • 4.1 Histories 1.1
      • 4.2 Annals 1.1
      • 4.3 Tacitus’ Destruction of Augustan History
        • * * *
    • Bibliography
  • Contributors
  • About the Team
  • This book need not end here…
    • Share
    • Donate
    • We invite you to connect with us on our socials!
    • Read more at the Open Book Publishers Blog
  • You may also be interested in:
  • Contents
    • Landmarks

Images

Images in the EPUB, with their description
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Book cover for Teaching Dido: Critical Perspectives on Aeneid 4, edited by Ingo Gildenhard. Against a dark, golden-brown classical illustration, a crowned female figure, representing Dido, stands in draped robes holding a small urn and a long staff or sceptre. She is positioned beside architectural columns, wooden structures and palm-like foliage, creating an ancient Mediterranean setting. A black title panel at the bottom contains blue and white text with the editor’s name, book title and subtitle. N/A N/A N/A cover.xhtml#epubcfi(/4/2/2) doc-cover
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Creative Commons logo N/A N/A N/A copyright.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container006]/6/2/2[CC-logo]/2) N/A
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Large sheet with a pale outline engraving of Aeneas watching Dido and her companions on a rocky shore, while storm-tossed figures and ships appear at sea. The print sits within wide margins with a colour scale at the bottom. N/A N/A N/A ch1.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container016]/172/2[Container015]/2) N/A
Large allegorical engraving of the Triumph of Fame, with a winged figure blowing a trumpet from a chariot drawn by lions. Famous women and men gather around the procession, with labelled figures and a Latin inscription below. N/A N/A N/A ch2.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container025]/116/2[Container018]/2) N/A
Engraving of Dido standing in a columned palace loggia, holding a dagger behind her and reaching outward in anguish. Her classical drapery exposes one shoulder, and a Greek inscription appears on a hanging tablet nearby. N/A N/A N/A ch2.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container025]/126/2[Container019]/2) N/A
Engraving of Dido by a tree and burning pyre, twisting away while holding a dagger and extending her other hand. A landscape with water, buildings, and a Greek inscription on a tablet frames the tragic scene. N/A N/A N/A ch2.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container025]/132/2[Container020]/2) N/A
Engraving of Dido inside an architectural setting, leaning from a balcony with one arm extended and a dagger held behind her. Her drapery billows around her body, with a Greek inscription on a hanging tablet beside her. N/A N/A N/A ch2.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container025]/136[table012]/4/2/2/2/2[Container021]/2) N/A
Engraving of Dido standing beside a tree and a funeral pyre, holding a dagger and turning away in grief. A tablet with Greek text leans against the tree, and the Latin caption below describes her decision to die. N/A N/A N/A ch2.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container025]/136[table012]/4/2/4/2/2[Container022]/2) N/A
Book page from Promptuarium Iconum showing two circular portrait medallions labelled Sichaeus and Dido above Latin biographical text. The page is numbered 74 and printed in dense early modern type. N/A N/A N/A ch2.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container025]/146/2[Container023]/2) N/A
Marble relief of a nude classical female figure, possibly Dido, leaning against a draped architectural panel. Her raised arm crosses her chest as she looks to the side, with flowing hair, a pedestal, and faint Latin inscription below. N/A N/A N/A ch2.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container025]/180/2[Container024]/2) N/A
Diagram comparing ancient literary passages about love as a wound, with Greek and Latin excerpts from Euripides, Ennius, Catullus, Lucretius, and Virgil. Arrows and question marks indicate possible lines of influence between the texts. N/A N/A N/A ch3.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container038]/320/2[Container027]/2) N/A
Engraving of Mercury descending from the sky towards Aeneas, who reclines beneath trees beside Cupid and a child in a basket. A female attendant pours water nearby, with a river landscape and distant buildings behind them. N/A N/A N/A ch3.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container038]/356/2[Container028]/2) N/A
Loose black crayon or lithographic print of a woman standing in a wooded landscape near a river or path, with dense sketchy shading around trees, rocks and distant hills under a bright sun. N/A N/A N/A ch3.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container038]/360/2[Container029]/2) N/A
Black-and-white linocut or woodcut titled ‘Circe II’, depicting a stylised dark female figure with a patterned headdress standing among bold tropical plants and geometric shapes, with a large panther-like animal crossing the foreground. N/A N/A N/A ch3.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container038]/366/2[Container030]/2) N/A
Close-up photograph of a red-figure Greek vase showing a bent archer on the left aiming downward and a large helmeted warrior’s head or shield on the right, framed by black handles and a floral border near the rim. N/A N/A N/A ch3.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container038]/372/2[Container031]/2) N/A
Black-and-white photograph of a white marble statue labelled ‘Medea’, showing a downcast woman in classical dress standing on a plinth, one arm folded across her body and the other hand gripping a dagger behind her waist. N/A N/A N/A ch3.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container038]/378/2[Container032]/2) N/A
Colour star chart titled ‘Boötes, Canes Venatici, Coma Berenices, and Quadrans Muralis’, showing a muscular male figure holding a staff and the leash of two black hunting dogs, with a flowing lock of hair for Coma Berenices and labelled stars and neighbouring constellations across the sky map. N/A N/A N/A ch3.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container038]/384/2[Container033]/2) N/A
Reproductive print from the Dresdner Galerie labelled ‘Kauffmann: Ariadne’, showing Ariadne seated on rocks by the sea with one arm raised towards a distant ship, while a small winged Cupid crouches beside her. N/A N/A N/A ch3.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container038]/390/2[Container034]/2) N/A
Small bronze statuette of a nude female figure, possibly a mythological heroine, standing with one arm lowered and the other holding a short curved object or blade, her head tilted upward against a plain grey background. N/A N/A N/A ch3.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container038]/396/2[Container035]/2) N/A
Engraving showing a richly dressed man standing in an interior while a seated woman drinks from a cup; a Latin inscription appears above them. N/A N/A N/A ch3.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container038]/402/2[Container036]/2) N/A
Page from a sketchbook with two pencil drawings of standing women in draped classical clothing; the left figure is veiled and labelled ‘Ariadne’, while the right figure holds an object and is labelled ‘Dido’. N/A N/A N/A ch3.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container038]/450/2[Container037]/2) N/A
Photograph of an irregular bronze or greenish metal object with incised diagrams, lettering and raised forms, including a cone-like projection and small mounted shapes, displayed against a white background. N/A N/A N/A ch4.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container042]/150/2[Container040]/2) N/A
Black-and-white engraving of a crowded classical battle scene, with armoured soldiers on horseback and on foot fighting among fallen figures, raised spears, shields and billowing clouds of dust. N/A N/A N/A ch4.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container042]/182/2[Container041]/2) N/A
Black-and-white engraving showing Dido welcoming Aeneas and his armed companions at a palace entrance, with ships, sea winds and storm-tossed figures visible in the harbour behind them. N/A N/A N/A frontispiece.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container047]/2/2[Container046]/2) N/A
Ancient red-figure vase painting of two women beside a tall column; one leans forward holding a sword or stylus towards the other, while a small winged figure stands on a pedestal nearby. N/A N/A N/A ch6.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container050]/208/2[Container049]/2) N/A
Dramatic historical painting of the Trojan Horse under attack, with nearly nude warriors pulling ropes and striking the wooden structure while helmeted soldiers and city walls appear in the background. N/A N/A N/A ch7d.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container053]/2/2[Container052]/2) N/A
Colour photograph of a performer in a white pleated dress seated beside a piano, smiling towards the camera, with wigs, jewellery and accessories arranged on top of the instrument behind them. N/A N/A N/A ch8.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container056]/280/2[Container055]/2) N/A
Small woodcut-style portrait labelled ‘Ennius poeta’, showing a robed poet or scholar seated with an open book, framed by a simple rectangular border on aged paper. N/A N/A N/A ch9.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container059]/346/2[Container058]/2) N/A
Dark, atmospheric painting of a burning ancient city at night, with orange flames illuminating an arched bridge, classical buildings, statues, boats and small fleeing figures in the foreground. N/A N/A N/A ch10.xhtml#epubcfi(/4[Gildenhard-0540-July1]/2[Container062]/600/2[Container061]/2) N/A
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Back cover for Teaching Dido: Critical Perspectives on Aeneid 4, edited by Ingo Gildenhard. N/A N/A N/A back-cover.xhtml#epubcfi(/4/2/2) N/A