Others see her as a representation of Epicureanism, a mode of thought that Aeneas has to reject in favor of the popular Roman ideology of Stoicism. A painting of when Aeneas and Dido meet.
However, Aeneas is unmoved by her pleas and is determined to leave her island and Dido behind.
Because of her, we can see what it means to be a Roman soldier and the extreme sacrifices called for. Her former pietas disappears as she thinks only of her husband and lets her city stand in disarray, allowing her great love to consume her every thought.
Scholars are all over the map in their interpretations of this first queen of Carthage, a woman whose intimate relationship with the Trojan hero Aeneas delays, for a full year, his journey to Italy and the inevitable founding of Rome.
Although Vergil characterizes Dido as a potentially loving and devoted mother and wife, she is also a sexually attractive and aggressive woman, and, as such, she is also a potential trap, a danger to Aeneas and, by extension, to Rome. She is both a tragic figure and representative of a sort of Epicureanism, a self-indulgence unbecoming of and impractical for a man as politically important as Aeneas.
Most of all, Vergil depicts Dido as an ideal potential wife—at least within the context of first-century Roman culture that valued familial devotion and a patriarchal family structure.
Had Venus hired one, a modern-day efficiency consultant would certainly have here pointed out that she could have skipped a whole step if only she had only charged Cupid to take the form of Aeneas instead of Ascanius.