Dido and Aeneas In a poem of about 1686, Tate alluded to James II as Aeneas, who is misled by the evil machinations of the Sorceress and her witches (representing Roman Catholicism, a common metaphor at the time) into abandoning Dido, who symbolises the British people. The same symbolism may apply to the opera. This explains the addition of the characters of the Sorceress and the witches, which do not appear in the original "Aeneid". It would be noble, or at least acceptable, for Aeneas to follow the decree of the Gods, but not so acceptable for him to be tricked by ill-meaning
Virgil from which Rome would emerge. The "Aeneid"<nowiki>'</nowiki>s first six books describe the journey of Aeneas from Troy to Rome. Virgil made use of several models in the composition of his epic; Homer, the preeminent author of classical epic, is everywhere present, but Virgil also makes special use of the Latin poet Ennius and the Hellenistic poet Apollonius of Rhodes among the various other writers to which he alludes. Although the "Aeneid" casts itself firmly into the epic mode, it often seeks to expand the genre by including elements of other genres such as tragedy and aetiological poetry. Ancient commentators noted