The conflict between the contending theories of tragedy may be studied in criticism. Dryden's various essays recur again and again to the main issues of the war, and define with changing emphasis his attempted reconciliation of the two opposites. Rymer came forward as a thoroughgoing exponent of classicism, and at the beginning of the next century Dennis, Gildon, and Addison carried on the discussion. The conflict is also represented in the work of nearly every dramatist. There are tragedies in blank verse and tragedies in rhyme, tragicomedies, tragedies with comic scenes, tragedies without deaths and with happy endings, tragedies translated from the French, others based on Greek originals, and still others in their medleys of farce, horror, and rant as Elizabethan as "The Jew of Malta" itself. Many of these varieties are represented in the work of a single writer, as Crowne, or Lee, or Otway. The career of Dryden sums up and reflects nearly all the changes in opinion or practice. His plays, and with them the whole course of tragedy from 1660 to 1700, fall roughly into certain divisions. For a few years after the Restoration, ending at about the time of the "Essay," is the period of the dominance of the earlier drama, a period of which Davenant is the leading figure. About 1664 began the heroic tragedies in rhyme which for a time carried all before them. In a dozen years, however, the fashion wore out, and Dryden's "All for Love" in 1678 marked the abandonment of rhyme and led the return to Shakespeare. From 1678 on, the course of tragedy again takes to varied streams. To this period belong the most notable alterations of Shakespeare, the most permanent of Restoration tragedies in the plays of Dryden, Lee, and Otway, and also the growth of French methods and of the influence of Racine, culminating in the pseudo-classical triumph at the beginning of the eighteenth century.