Henry Purcell/Nahum Tate Dido and Aeneas Henry Purcell/Nahum Tate

“Remember me! But ah—forget my fate”

Belinda: “Shake the cloud from off your brow, Fate your wishes does allow. Empire growing Pleasures flowing Fortune smiles and so should you” Dido and Aeneas I.i.1-5

Virgil’s Dido She rolled her bloodshot eyes, her quivering cheeks Were flecked with red as her sick pallor grew Before her coming death. Into the court She burst her way, then at her passion’s height She climbed the pyre and bared the Dardan’s sword ... …her household people saw her Crumpled over the steel blade, and the blade Aflush with red blood, drenched her hands. A scream Pierced the high chambers. Virgil, The Aeneid, Book IV (trans. Fitzgerald ll. 894-98, 920-23)

17th Century English Opera An Opera is a poetical Tale or Fiction, represented by Vocal and Instrumental Musick, adorn'd with Scenes, Machines and Dancing. The suppos'd Persons of this musical Drama, are generally supernatural, as Gods and Goddesses, and Heroes, which at least are descended from them, and are in due time, to be adopted into their Number. The Subject therefore being extended beyond the Limits of Humane Nature, admits of that sort of marvellous and surprizing conduct, which is rejected in other Plays. Dryden, Preface to Albion and Albianus (1685)

Masque origins The Triumphing Dance,End of Act I

Political Allegory “Look down ye orbs and see A new divinity. Whose lustre does outshine Your fainter beams, and half eclipses mine” … “To Phoebus and Venus our homage we’ll pay Her charms blessed the night, as his beams blessed the day” Nahum Tate, Prologue to Dido and Aeneas, ll.12-15, 36-37.

Political Allegory “Look down ye orbs and see A new divinity. Whose lustre does outshine Your fainter beams, and half eclipses mine” … “To Phoebus and Venus our homage we’ll pay Her charms blessed the night, as his beams blessed the day” Dido and Aeneas, Prologue, ll.12-15, 36-37. When monarchs unite, how happy their state; They triumph at once o’er their foes and their fate. Dido and Aeneas, I.i.20-21

As Morality Play? “Preists att Little Chelsey was one which was much commended; but he hath lately had an opera, which I’me sure hath done him a great injurey; & ye Parents of ye Childern not satisfied with so Publick a show”, Letter from Mrs A. Buck to to Mary Clarke (1691? Possibly referring to Dido and Aeneas)

Aeneas: Aeneas has no fate but you. Let Dido smile and I’ll defy The feeble stroke of destiny” [I.i46-48]

Aeneas: Aeneas has no fate but you. Let Dido smile and I’ll defy The feeble stroke of destiny” [I.i46-48] Mercury: Stay, Prince, and hear great Jove’s command: He summons thee this night away. Aeneas: Tonight? Mercury: Tonight…. Aeneas: Jove’s command shall be obey’d…. Yours be the blame ye gods! For I Obey your will; but with more ease could die. [II.ii]

Belinda: “Shake the cloud from off your brow, Fate your wishes does allow. Empire growing Pleasures flowing Fortune smiles and so should you” Dido and Aeneas I.i.1-5

Belinda: “Shake the cloud from off your brow, Fate your wishes does allow. Empire growing Pleasures flowing Fortune smiles and so should you” Dido and Aeneas I.i.1-5 Aeneas: If not for mine, for empire’s sake, Some pity on your lover take. Ah! Make not in a hopeless fire, A hero fall, and Troy once more expire [I.i.52-5]

Dido’s Lament: Ground Bass Theme (repeated 11 times without variation under Dido’s sung line)