Cameron Harvey
December 2016
Section B
The Effects of Comparison and Foil Characters on Dido’s Development in the
Aeneid
Rome, one of the most impressive ancient civilizations, was home to the creation of a
plethora of great literary works. One such work of literature is the impressive Aeneid, the first
written epic poem composed by Virgil. This epic features a refreshing style from the transcribed
oral epics of earlier authors like Homer, and a vivid cast of characters. One such character is the
glorious Dido, the fallen queen of Carthage. Virgil uses several techniques such as comparing
Dido to water, comparing her relationship with Aeneas to that of a hunter and a deer, and using
Anna as a foil character to develop Dido throughout Book Four of the Aeneid.
Water is a very fluid substance, just like Dido in the Aeneid. It can be described as slow,
or a raging river that is unable to be calmed. This dichotomy also exists in the character of Dido,
who is developed using vivid water imagery throughout Book Four of the Aeneid. When Dido
gives an offering to the gods after unsuccessfully begging Aeneas to stay in Carthage, “the
consecrated liquid [turned] black,” demonstrating the vile feeling of depression and insecurity
that have overtaken her, replacing her previous pureness and happiness. Later, when informing
Anna about a priestess who might help her, Dido says that “she can stay the waters in the
rivers.” This reference to rough waters is a metaphor for Dido’s own emotional turmoil, which
Dido hopes to return to its previously calm state. Dido’s turmoil only continues, for “again love
rises, surges in her; she wavers on the tide of anger.” This shows that Dido is still in a state
emotional unrest, further accentuated by Virgil’s use of verbs typically associated with the
movement of water to describe her emotions and further descent into depression. The
language used by Virgil to describe Dido’s unbridled emotions, much more extreme than the
earlier uncertainty of her feelings for Aeneas, represent the tumultuous half of water’s
dichotomy, as well as the dichotomy of Dido herself.
Vivid imagery, specifically of a hunter and prey, is also used in developing Dido through
her relationship with Aeneas. At the beginning of Book Four, Dido leads Aeneas around her city
absentmindedly, without a destination or purpose. In this moment, Virgil chooses to compare
Dido to “a heedless hind hit by an arrow when a shepherd drives for game,” displaying an
uncertainty in Dido’s actions not uncommon in those making difficult decisions, just like Dido
must make about her relationship with Aeneas. However, Dido’s role soon changes. The long
description of Dido preparing for the hunt represents the start of a change in the relationship of
Dido and Aeneas as Dido becomes more sure of her decision to feel for Aeneas. There is no
description in Book Four of the Aeneid of the hunt itself, showing that Dido’s transformation to
a hunter is much more symbolic than literal. Dido’s role as a hunter in the relationship becomes
curiously similar to another classic tale known as Moby Dick later in Book Four. Aeneas is the
white whale to Dido’s Ahab, and the connection becomes even clearer as Dido sinks further
into her depression and longing for Aeneas. Dido’s role as a committed hunter, and Aeneas’
role as an escaping animal in their relationship is further cemented as Dido’s death approaches.
The comparison of Dido’s relationship with Aeneas to that of a hunter and prey allows the
reader to more clearly visualize it as the relationship develops throughout Book Four.
Anna, a fairly static character in Book Four of the Aeneid, is also used to develop Dido.
When Dido consults Anna for advice on her situation with Aeneas, Anna tells Dido that “if
[Dido] marries Aeneas, what a city / and what a kingdom, sister, you shall see!” This advice sets
Dido on a path inevitably leading to her suicidal depression at the end of Book Four by pursuing
her interest in Aeneas. Therefore, Anna is at least partially responsible for Dido’s character
development. Anna continues to affect Dido’s development later in Book Four when she
assumes that Dido’s emotional situation is “nothing worse than happened when Sychaeus
died.” This assumption severely underestimates Dido’s mental turmoil at that moment, and
leads Anna to continue assisting Dido in the work that will allow Dido to kill herself. Anna’s lack
of action in this moment has a devastating effect on the development of Dido that allows her to
sink further into emotional turmoil. Anna, as Dido’s confidant, is shown to drastically affect
Dido’s development throughout Book Four of the Aeneid.
Virgil’s Aeneid set a new precedent in the quality of ancient literature. His use of
comparisons, as well as other characters, to develop protagonists is still evident in literature
today. The switch from oral epics to written epics was revolutionary in the time of the Romans,
and Virgil constructed a masterpiece with his Aeneid in this new form. This literary work
contains elements suggested by Aristotle’s Poetics and facets of writing used in literature
hundreds of years later, including the themes of unrequited love and universal struggles. This
continuation of ideas suggests that language and implementation may change, but the current
forms of writing are eternal.