Search Results for dido

...Deborah Payne Fisk; Jessica Munns The College of William & Mary 2002 ECL26203-44-fiskREV.q4 5/28/02 2:49 PM Page 23 “Clamorous with War and Teeming with Empire”: Purcell and Tate’s Dido and Aeneas...

... Lestrade, Dido, Mary, Lady Hallam—all these are fictional characters, citizens of the imagination living imaginary ad- ventures in an eighteenth century of the mind. Some of the characters however are based upon real historical lives. Foremost among...

... blows old interpretations out of the water: Bryan White’s indisputable redating of Nahum Tate and Henry Purcell’s opera Dido and Aeneas, which we now know was performed no later than the summer of 1688, invalidates all those readings that sought to see the opera as an allegory of the revolution...

... Moment in A Sentimental Journey” on Yorick’s reference to Dido in Versailles; Thomas Keymer’s “Marvell, Thomas Hollis, and Sterne’s Maria”; and W. B. Gerard’s “Benevolent Vision” on illustrations of Yorick’s encounter with Maria of Moulines, to name just a few.2 The citations might be shortened...

... almost as unreasonable as Queen Dido, & don’t encircle much less with our whalebones, than she did with her bulls hide, & I am afraid we are not so excuseable for her ground was to build a Town, whereas what we gain is only for a sort of wall, which in some measure hinders the trade & use...

..., one at the beginning, the other at the end. The opening, title vignette introduces the narrator in this isolated spot to tell the story of the fateful voyage of the Britannia and the disaster of the shipwreck he has witnessed. The Virgilian lines, spoken by Aeneas on his arrival at Dido's court...

... and a white Austrian woman, became a renowned violinist who performed with Beethoven (Gerzina, 203). Even those children born from irregular sexual unions were sometimes incor- porated into white families at the highest social levels: Dido Lindsay, the biracial daughter of Sir John Lindsay and a slave...

... his stay in Italy in the early 1750s. Trevisani’s Banquet of Antony and Cleopatra was painted for the Cardinal Fabrizio Spada-Veralli most likely between 1705 and 1710. It was intended to accompany three other depictions of famous women: Guercino’s Dido, Pedro Campana’s copy of Guido Reni’s...

... enterprise confuses conceptual, medical, material, and mythical categories: along with such physical items as three drops of Jove’s golden shower that seduced Danae, the arrow that Cupid shot at Mark Antony, Dido’s sword, Eve’s snakeskin, Adam’s fig-­leaf, Noah’s stuffed pigeon, and a ring made...

..., and in this respect, Sapho is a poetic model for the young Pope. She declares that she now “burns” with love for Phaon like wind-driven, raging flames over a field of corn, and she self-“consumes” with more than volcanic “Fires.” Virgil’s Dido, in book 4 of the Aeneid, perhaps the most well-known embodiment...