Queen Dido



'''The histories of Chester report that in 1563 a "Triumph" of "Aenas and Dido" was presented on the Roodee. Even a little digging into the times, the people involved and the nature of the associated myth reveals what might be an intersting story of catholic recusancy or protestant politicking.'''

Chester in 1563
The best known 16th Century dramatic performances in Chester are the Chester Mystery Plays. However, the performance of other works has been noted. Few of these seem to have involved visiting companies of players, and it has been speculated that this was because of a relative geographical isolation, it has also been suggested that Chester was satisfied with the Mystery Plays and had no need for "outsiders" to come and act. However, there is also evidence that the church actively opposed performances by travelling players in Chester, even paying off troupes not to perform in Chester.

Some individuals were particularly opposed to the Chester Mystery Plays. Christopher Goodman (1520–1603) was not, as Wikipedia says, born in Chester, but he was educated at the Chester School before going off to Brasenose College, Oxford, as many from Chester did, graduating as B.A. 4 Feb. 1541, and M.A. 13 June 1544. In 1547 he became a senior student at Christ Church, Oxford (where his name appears as "Gudman" in the Buttery (Canteen) book), and was proctor in 1549. He proceeded B.D. in 1551, and is said to have become Lady Margaret's Professor of Divinity about 1548. The last part of Goodman's long life was spent in retirement at Chester, where he was rector of the parish of St Bridget. Goodman was closely aquainted with John Knox (c. 1513 – 24 November 1572). They were both members of the radical party within the Church of England. On 10 May 1572, the outspoken Christopher Goodman (who hated both Mary Tudor and Mary Queen of Scots) wrote a letter to the Earl of Huntingdon (Mary QoS's jailor) urging that he, as president of the Council of the North, suppress Chester’s annual mystery plays, and presumably other "religious" drama.

One of these "other works" may have been a "Triumph" of Aenas and Dido of Carthage, as performed in the mayorality of Sir Lawrence Smith. This 1563 performance is interesting because of the tension over the Chester Mystery Plays at that time (they were eventually to be banned after 1575). The performance schedule of the Chester Cycle in the 1560s and 1570s was erratic - plays were performed only in 1561, 1567, 1568, 1572, and 1575 - and Henry Hardware, for example, did not allow a performance of the plays in his first mayoral term in 1559-60. The reason for not performing the plays may have also been influenced by the fact that the mayors in some of the years when the plays were not performed were members of the gentry rather than members of the guilds (who actually performed the plays), and in 1574 and possibly other years, by the plague. In 1563 London experienced its worst episode of plague during the 16th Century. At least 20,136 people in London and surrounding parishes are recorded to have died of plague during this outbreak: thus around 24% of London's population ultimately perished, but no plague was recorded in Chester. So why the "long gap" in the performance of the Mystery Plays from 1561 to 1567?

Hemingway informs us of the performance of works other than the Mystery Plays at the time:


 * "There were besides these scripture dramas, others of a profane character which were acted occasionally on special occasions. The Shepherd's Play was acted in St John's church yard in 1515; in 1529 the play of Robert Cicell was performed at the High Cross; on the Sunday after Midsummer day 1563, the "History of Eneas and queen Dido" was played on the Rood eye, set out by one William Crofton, gentleman, and one Mr Mann, Master of Arts. In l577, the "Shepherd's Play" was performed before the Earl of Derby at the High cross, and other triumphs on the Rood eye. And in 1589, a play was performed at the High cross, called the story of "Kinge Ebranke with all his sonnes."

Ormerod contains essentially the same information, which he lifts directly from Magna Brittanica by Daniel Lysons.

"Triumphs", such as the "History of Eneas and queen Dido" were large, spectacular events in which the visual impact was more important than the text. Triumphs on the Roodee were among the entertainments seen by Henry Stanley, earl of Derby, in 1577. We have little information on the 1563 Triumph, but it appears to have been as spectacular as would be expected.



Dido in Rome: Vergil's plot
Dido (/ˈdaɪdoʊ/ DY-doh; Ancient Greek: Δῑδώ, Latin pronunciation: [ˈdiːdoː]) was, according to ancient Greek and Roman sources, the founder and first queen of Carthage: a city noted for its wars with Rome. She is primarily known from the account given by the Roman poet Virgil in his epic Aeneid. In some sources she is also known as Elissa (/iːˈlɪsə/ ee-LISS-ə, Ἔλισσα).

In Virgil's poetic version a fleet, led by the Trojan Aeneas, is on a voyage to find a second home, after the convenient, if somewhat mysterious, death of his wife: Creusa of Troy. It has been foretold that in Italy he will give rise to a race both noble and courageous, a race which will become known to all nations. The Gods intervene and, "tossed over so many seas by the wrath of Juno", Aeneas finds himself in Carthage where he seeks and gains the favor of Dido, queen of the city. The city has only recently been founded by refugees from Tyre ("the double-tongued Phoenicians") and will later become a great imperial rival and enemy to Rome. Aeneas recounts to Dido the events that occasioned the Trojans' arrival, including the fall of Troy, and his subsequent wandering. Dido realises that she has fallen in love with Aeneas and he returns the feeling ("Juno’s storm-cloud wraps the day in darkness; they are united in a cave"). He then prepares to leave Carthage. Dido discovers his impending flight, ("she laments, she begs, she rants, she rages") unmoved, he sets sail anyway. Dido commits suicide by placing the bed she shared with Aeneas atop a pyre and stabbing herself upon Aeneas's sword: while cursing that Carthage would never have peace with the Trojans or whatever they became:


 * "From yonder sea may his cold Trojan eyes discern the flames that make me ashes! Be this cruel death his omen as he sails!"

After many adventures, including trips to the underworld, Aeneas arrives near where Rome would later be built, kills an enemy (in a scene which reflects many features of the death of Dido) and the play comes to a seemingly abrupt end. Scholars have speculated that Virgil, who became fatally ill while travelling, died before he could finish (or burn) the poem. Fortunately his dying request to have the poem burned was disregarded. Emperor Augustus ordered Virgil's literary executors, Lucius Varius Rufus and Plotius Tucca, to disregard that wish, instead ordering the Aeneid to be published with as few editorial changes as possible, perhaps as a warning that the fate that befell Tyre, Troy and Carthage might yet befall Rome, whose story was also "unfinished".

The Aeneid is a cornerstone of the Western canon, and early (at least by the 2nd century AD) became one of the essential elements of a Latin education, often required to be memorised. It was widely held to be the pinnacle of Latin literature, much in the same way that the Iliad was seen to be supreme in Greek literature. In England the myth developed a perculiar local aspect. Brutus of Troy, a legendary descendant of the Trojan hero Aeneas, was known in medieval British history as the eponymous founder and first king of Britain. This legend is best known from the account given by the 12th-century chronicler Geoffrey of Monmouth in his Historia Regum Britanniae.

Marlowe's Play


It is sometimes said that the oldest English play written on the subject of Dido is Christopher Marlowe's "Dido Queen of Carthage" (with possible contributions by Thomas Nashe). As is discussed in detail below this is strictly true, but a little deceptive. The Marlowe play was probably written between 1587 and 1593, and was first published in 1594, a year after Marlowe's untimely death in Deptford, although it may have been the first of his plays to be written, it is often considered an apprentice work and a box-office flop. However, there had been relatively recent plays on the same subject in Latin.

William Gager's latin tragedy "Dido Tragoedia" dates from 1583. The site of the original performance was by Oxford students in the dining hall at Christ Church college: all of his works were produced at the University of Oxford, from 1582 to 1592. He was considered one of the major dramatists of the late sixteenth century. Apart from one comedy, Rivales (1582), which has not survived, his works were all Latin tragedies. They include Oedipus (1582), Meleager (1582), Dido (1583) and Ulysses Redux (1592). Dido, 1583, is adapted from Virgil and has suggestive hints of analogies to Elizabeth as a chaste queen who is piously fit to govern (though Dido dies as a chaste widow, not a virgin). Gager at times even uses "Eliza" for Dido: recall she is also known as Elissa (/iːˈlɪsə/ ee-LISS-ə, Ἔλισσα). Gager is a complex figure with "something approaching an obsessive interest in the theme of chastity".



This was not the only early "Dido", on 10th November 1527 King Henry VIII had such a play (by John Rightwise) acted at his palace in Greenwich. This article is mainly concerned with two other notable performances of "Dido".

The Alderseys
The Alderersey's were a tenacious county gentry family, who acquired a moiety of the manor of Aldersey (Cheshire) in 1281/82 and the remainder in the late 17th century. William Aldersey (fl. mid 15th cent.) married the daughter and heir of John Stalker of Lower Spurstow (Cheshire), and for four hundred years the family owned both estates. The squires were seldom of particular note in the county or on a wider stage, but over several generations there was a tradition of younger sons going into trade as merchants, first in Chester and later in London, and a number of them for example Thomas - 1521/22 – December 1598) became successful and prominent citizens.

In the 16th and 17th centuries the family was divided in its religious beliefs. Exposure to Protestant Reformist speakers in London, including Christopher Goodman and Jan Łaski, led Thomas Aldersey to become a Protestant. Mary I's accession in 1553 made his religious and political convictions dangerous, and in 1555 he was charged over his attention to Goodman's writings. His efforts, which continued throughout his life, to aid the Protestant exiles who left England for Emden in Germany in establishing trading relationships gained him the support of William Cecil and other prominent Protestants.

Randel Aldersey (d. 1600) was fined repeatedly for Recusancy in the 1590s, while his nephew, Samuel Aldersey of London (d. 1633), was a prominent Puritan and a founder member of the Massachusetts Bay trading company. Randle’s son, John Aldersey (c.1569-1647) was succeeded by his son Thomas (1600-75), who was a Crown escheator in Cheshire, and he was succeeded by his son Thomas (1635-1715), a barrister and "godly Christian" who debated points of doctrine with his son, Rev. Samuel Aldersey (1673-1742). Samuel was rector of Wigan (Lancs), but is said to have rebuilt Aldersey Hall as a country house, presumably on inheriting the estate.

Dido in Chester
Many records in Chester refer to the staging, in 1563, of the "History of Aeneas and Dido". As Marlowe was born 1563/4 he could have had nothing to do with the Chester performance. The mayor's list of expenses (BL: Harley MS2125) refers to it as:




 * "this year the sunday next after midsomer there was a triumph deuysed by willian Crofton gentleman & mr mane master of Art of the history of Aeneas & dido of carthage which was played on the Rode eye & 2 forts Raysed & a ship on the water with sundrey horsmen well apoynted"

From the mayor's book (BL: Addit MS 29777) we also learn that "man" was "a schoolmaster of the ffree Schole". He would therefore have been very familar with the Aeneid. We do not know how much of the entire Aeneid was played in the "triumph" but it is likely from the description that only the Dido/Aeneas section was used.

We have some information on William Crofton. Harley MS 2133, f 42v and also CL/107/90 records a:


 * "Bill of Complaint exhibited in the Court, as to Robert Earle of Leycester Chamberleyne of the Com. Palentyne of Chester; by William Crofton Gent. one of the Quenes Serjants & Officer within the said Countie, and Anne his Wiffe, late the Wiffe of Alderman Raffe Aldersey decessed: against certain Persons Tenants of one Mesuage, diverse Shoppes, and other Tenements in Chester, which accrued to the said Anne from the Possessions of the said Raffe Aldersey: because of their denial to pay some Rents due, upon the Instigation of William Aldersey, Son & Heire of the said Raffe; to whome the Premysses were to discend, in Reversion after the Deathe of the said Anne."

We have some further information from the funeral certificate of Mary Aldersey, who died in 1615:


 * "Mrs MARY ALDERSLEY, late wife of Mr William Aldersey of the Citty of Chester, Alderman, and was twise Maior therof, first 1595 and in 1614. Shee dyed on the Viijth day of January 1615, and lyeth interred in Christes Church in the said Citty. Shee was daughter to John Brerton of Wettnall, in the Country of Chester, Esq, and had yssue by her husband Raffe Aldersey (Jane Aldersey, Marie, Randall and Robert Aldersey all wch dyed young. Hugh Aldersey dyed sans yssue. Richard Aldersey maryed Elizabeth, daughtr of Thomas Barnardston of Churton, in the County of Chester, gent., they haue yssue Mary Aldersey. Robt. 4th dyed young. Jane Aldersey, daughtr of Willm and Mary, dyed young, ....(document damaged).....Ales maryed to John Leech of Carden, in the County of Chester, gent., the haue yssue John Leech."

What is at once apparent is that William Crofton is very well connected in Chester, being married into the Aldersey's. William Aldersey of Aldersey, a wealthy Chester merchant, was the grandson and nephew of the Mayors of Chester in, respectively, 1560 and 1594, and he was himself to be Mayor of Chester in 1613. He died in 1625, leaving among other issue a daughter, Alice, who married John Leche of Carden, Serjeant-at-law for the County Palatine of Chester, and associated with Leche House. Over the years Leche House has attracted several associations with odd religious symbolism, priest holes and spy-holes. Matters are not made clearer by the property having been for many years the home of an antiques business which might just have seeded a few myths of it's own to entertain prospective customers.

What we do know is that Crofton had married a widow of the Aldersey family. Many of the Aldersey's were Catholic recusants who were even dragged before the Diocesian High Commision or thrown into prison. These included Fulk Aldersey (1562), Jane "daughter of recusants William and Mary Aldersey" fined for not turing up at quarter sessions (1579), Margaret and William (q.v.) for "concealing an image" and using a latin primer (1562). Many others of the Aldersey's of Chester were accused, several of whom were inhabitants of St Bridget's parish (where Christopher Goodman) eventually became Rector. Another Aldersey active at the time was William Aldersey born in 1513: he was reported upon in 1564 by the archbishop of York (Thomas Young), who adjudged him "not favourable to the established religion". Thomas Young's report was based on information from Bishop Downham of Chester - he cast doubt on the religious loyalties of several aldermen, including the then mayor, Richard Poole (1564-5) and three of his predecessors: John Smith (1555-6), William Aldersey (1560-1), and Randle Bamvill (1562-3). Mayors were elected on the Friday after the feast of St Denis (October 9th), so Sir Laurence Smith had plenty of time to oversee the preparations for the 1563 "Triumph" - which may have been time-consuming given the complex staging with forts and a ship. Although Downham had been chaplain to Elizabeth during the reign of her sister Mary he was considered rather ineffectual against the Roman Catholics, preferring not to offend the gentry.

Why Dido?


So is there anything suspicious about the choice of "Dido" that might point to hidden religious or political symbolism?

One fairly obvious interpretation is that an actual physical and political union between Dido and Aeneas could have been of great benefit to both. Similarly in 1563 Robert Dudley had been pursuing Elizabeth I for some time, matters were complicated by proposals to marry him to the widowed Mary, Queen of Scots and the convenient, if somewhat mysterious, death of Dudley's wife: Amy Robsart. In many ways Dido might be seen as a very provocative alternative to the Mystery Plays. Much might also depend on how, if at all, Dido was portrayed in detail.

On the other hand, Dido promises revenge "hereafter, at whatever time ..the strength will be afforded" - the play can be read as Elizabeth (Eliza) enacting the eventual triumph of Dido (Elissa: Ἔλισσα) over "Rome".

There are other interpretations. Chester is a walled city, as was Troy. Troy fell when Odysseus (Ulysses) carried off the Palladium of Athena by means of the city’s underground sewers, thus sealing the fate of the city. The Trojan Palladium was said to be a wooden image of Pallas (whom the Greeks identified with Athena and the Romans with Minerva) and to have fallen from heaven in answer to the prayer of Ilus, the founder of Troy. Chester had a statue of Minerva as well - and legends about underground sewers. Perhaps more importantly Chester had the legend of Werburgh and her protective shrine: which like the Palladium could supposedly strike men blind (as in the case of Welsh king Gruffudd ap Llywelyn). Is it reasonable to assusme that anyone familiar with the Trojan legend, would not see see the link? This might have contained other allusions which would have been familiar to the audience: as Augustine of Hippo wrote in the "City of God":




 * "Did not Diomed and Ulysses having slain the keepers of the citadel seize the sacred statue and with blood stained hands dare to touch the fillets of the virgin goddess"

"Dido" is therefore perhaps not a politically neutral play. It has a protagonist who comes from the east to help found Rome. It has the "theft" of holy protective relics and even has a link to the supposed origin myth of the British (as exiled Romans). Even William Crofton, the person most closely involved with the staging of the play, married into a family of recusants. Worst of all it portrays the death of a queen who might be seen to share much in common with Elizabeth.

Years later Purcell's Dido and Aeneas was to become politicised as, among other things, an allegory of William and Mary. This may be the reason why it was never given a public performnce in Purcell's lifetime. However, the play was arguably a political allegory from the time of Vergil and may also have been seen as such in 1563.

There is a curious sequel to the staging of the Triumph in Chester in 1563. In August 1564, Elizabeth visited Cambridge and the entertainments laid on include a specially written play by former King's College fellow Edward Halliwell: it was a Latin version (since lost) of Dido and Aeneas. Dido's tragic love affair with Aeneas perhaps offered a potential warning to the Queen about the dangers of a foreign consort, and Robert Dudley (who was Lord High Steward of the University and had been involved in the preparations for Elizabeth's visit) was standing on the stage throughout the performance.

Conclusions
The staging of "Dido" at Chester in 1563 can be considered as something other than simply an acceptable alternative to a Mystery Cycle which was becoming a political issue. William Crofton, the man who was the driving force behind the play married into a wealthy and influential family of Chester recusants and much of the symbolism in both the Aeneid and Dido might resonate with a Chester audience. During the reign of Elizabeth the death of a queen betrayed by foreign (Roman) powers, whose country will become the implacable enemy of Rome, or indeed discussion of "what might have beens" had she wed, were hardly simply the stuff of light entertainment.

Sources and Links



 * Dido, Queen of Carthage: by William Gager (trans. Elizabeth Sandis);
 * Dido: "When cold death has parted my soul from my body, my spectre will be wherever you are. You shall pay for the evil you have done me.";
 * Cheshire and Lancashire Funeral Certificates: By John Paul Rylands;
 * CHESTER CUSTOMS ACCOUNTS 1301-1566;
 * The Chester Cycle in Context, 1555-1575: Religion, Drama, and the Impact of Change;
 * Elizabethan Recusancy in Cheshire, Volume 3; Volume 19;
 * Cheshire and the Tudor State 1480-1560;
 * Henry Purcell's Dido and Aeneas;
 * Purcell’s Dido and Aeneas and Virgil’s Aeneid:Roman Mythology Seen Through an English Restoration Lens;
 * Journal of Neo-Latin Studies: page 145ff;
 * The cultural politics of Dido and Aeneas;
 * Social and Political Values in the Dido Narrative of Aeneid;
 * The Progresses, Pageants, and Entertainments of Queen Elizabeth I;
 * Neoclassical Tragedy in Elizabethan England;
 * The foundation of Carthage;
 * William Glasier (sometimes in the Mayor's book "Glaseor"): a possible link between Dudley and Chester in 1563;
 * John Yerworth: a possible link between Dudley and Chester in 1563;
 * The Deva Pentice has an article on William Aldersey;
 * Frank Simpson, Journal of the Chester and North Wales Archaeological & Historic Society 1913;