The English translation by the 17th-century poet John Dryden is another important version. Most classic translations, including both Douglas and Dryden, employ a rhyme scheme; most more modern attempts do not. Recent English verse translations include those by British Poet Laureate Cecil Day-Lewis (1963), who strove to render Virgil's original hexameter line; Allen Mandelbaum (honoured by a 1973 National Book Award); Library of Congress Poet Laureate Robert Fitzgerald (1981); Stanley Lombardo (2005); Robert Fagles (2006); Sarah Ruden (2008); Barry B. Powell (2015); David Ferry (2017); Len Krisak (2020); and Shadi Bartsch (2021). There have also been partial translations, such as those by Henry Howard, Earl of Surrey (Book 2 and Book 4), and Seamus Heaney (Book 6). Adaptations One of the first operas based on the story of the Aeneid was the English composer Henry Purcell's Dido and Aeneas (1688). The opera is famous for its aria "Dido's Lament" ('When I am laid in earth'), of which the first line of the melody is inscribed on the wall by the door of the Purcell Room, a concert hall in London. The story of the Aeneid was made into the grand opera Les Troyens (1856–1858) by the French composer Hector Berlioz. The Aeneid was the basis for the 1962 Italian film The Avenger and the 1971–1972 television serial Eneide. In the musical Spring Awakening, based on the play of the same title by Frank Wedekind, schoolboys study the Latin text, and the first verse of Book 1 is incorporated into the number "All That's Known". Ursula Le Guin's 2008 novel Lavinia is a free prose retelling of the last six books of the Aeneid narrated by and centered on Aeneas' Latin wife Lavinia, a minor character in the epic poem. It carries the action forward to the crowning of Aeneas' younger son Silvius as king of Latium. A seventeenth-century popular broadside ballad also appears to recount events from books 1–4 of the Aeneid, focusing mostly on the relationship between Aeneas and Dido. The ballad, "The Wandering Prince of Troy", presents many similar elements as Virgil's epic, but alters Dido's final sentiments toward Aeneas, as well as presenting an interesting end for Aeneas himself. Parodies and travesties A number of parodies and travesties of the Aeneid have been made. One of the earliest was written in Italian by Giovanni Batista Lalli in 1635, titled L'Eneide travestita del Signor Gio. A French parody