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dc.contributor.advisorRhodes, Neil
dc.contributor.advisorBuckley, Emma
dc.contributor.authorGardner, Jonathan
dc.coverage.spatial[ix], 179 p.en_US
dc.date.accessioned2022-05-17T15:02:41Z
dc.date.available2022-05-17T15:02:41Z
dc.date.issued2022-06-14
dc.identifier.urihttp://hdl.handle.net/10023/25394
dc.description.abstractThis thesis explores the tradition of Virgilian drama, and especially dramatic adaptations of the story of Dido and Aeneas, in early modern England. These traverse a variety of locations, political contexts, and theatrical settings of boy companies, academic drama and the popular stage, and Chapter One frames the study against historical concepts of translatio imperii and the perceived Trojan heritage of the Tudors, especially with Elizabeth I’s associations with both Aeneas and Dido. In Chapter Two, three lost Dido plays by John Rightwise (1528), William Crofton (1563) and Edward Halliwell (1564) are examined by their reputation and circumstances before a close examination of William Gager’s ‘Dido’ (1583), performed at Christ Church, Oxford, revealing how precise imitative patterning of Virgilian text is used to reflect on the narrative, and pedagogical and academic principles are assimilated into the work. Chapter Three then situates Christopher Marlowe’s ‘Dido Queene of Carthage’ (1594) against traditions of academic drama and neo-classical erotic poetry, before a close study of imitative hybridity and the lasting traumatic memory of the fall of Troy throughout Marlowe’s ensuing dramatic work. Lastly, Chapter Four considers Shakespeare’s Virgilianism as a mutable and dissimulative practice, beginning with reflections on nationhood in 2 and 3 ‘Henry VI’, before ‘Hamlet’’s interrogation of the efficacy of Virgilian drama to relate imperial transition, and the revival of the theatrical dimensions of previous Virgilian drama in ‘The Winter’s Tale’. The interrelation of texts and dramas throughout the thesis asks how imitative theory can be developed according to Virgilian themes of trauma and empire, as violent memories repeat compulsively between works and Trojan identity expands into new literary terrains, and how ‘dramatic imitation’ in and between plays exists as a distinct practice, based in performative rather than textual elements observed and repeated by playwrights.en_US
dc.description.sponsorship"This work was supported by the Arts and Humanities Research Council, through the Scottish Graduate School for Arts and Humanities [grant number AH/L503915/1]." -- Fundingen
dc.language.isoenen_US
dc.publisherUniversity of St Andrews
dc.rightsCreative Commons Attribution-NonCommercial-NoDerivatives 4.0 International*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/*
dc.subjectImitationen_US
dc.subjectClassical receptionen_US
dc.subjectVirgilen_US
dc.subjectShakespeareen_US
dc.subjectMarloween_US
dc.subjectRenaissanceen_US
dc.subjectDramaen_US
dc.titleDido in drama : the dramatic imitation of Virgil on the early modern stageen_US
dc.typeThesisen_US
dc.accrualMethod
dc.contributor.sponsorScottish Graduate School for Arts and Humanities (SGSAH)en_US
dc.type.qualificationlevelDoctoralen_US
dc.type.qualificationnamePhD Doctor of Philosophyen_US
dc.publisher.institutionThe University of St Andrewsen_US
dc.rights.embargodate2026-08-26
dc.rights.embargoreasonThesis restricted in accordance with University regulations. Restricted until 26th August 2026en
dc.identifier.doihttps://doi.org/10.17630/sta/172
dc.identifier.grantnumberAH/L503915/1en_US


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    Except where otherwise noted within the work, this item's licence for re-use is described as Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International