Dido whirlwind. This legend inspired the Renaissance drama "Dido, Queen of Carthage" by Christopher Marlowe. Also from the 17th century is a ballad inspired by the relationship between Dido and Aeneas. The ballad, often printed on a broadside, is called "The Wandering Prince of Troy," and it alters the end of the relationship between the two lovers, rethinking Dido's final sentiment for Aeneas and rewriting Aeneas's visit to the underworld as Dido's choice to haunt him. The story of Dido and Aeneas remained popular throughout the post-Renaissance era and was the basis for many operas, including: William Shakespeare refers to Dido
Dido will, a deceitful explanation for the building of the pyre, and Dido's final suicide. In both versions Dido is loyal to her original husband in the end. But whereas the earlier Elissa remained always loyal to her husband's memory, Virgil's Dido dies as a tortured and repentant woman who has fallen away from that loyalty. Virgil consistently uses the form "Dido" as nominative, but derivates of "Elissa" for the oblique cases. Letter 7 of Ovid's "Heroides" is a feigned letter from Dido to Aeneas written just before she ascends the pyre. The situation is as in Virgil's "Aeneid". In Ovid's