In this same year as "All for Love" appeared "Oedipus," written in collaboration with Lee, in which the authors brought to their classical model the methods of the Elizabethans. Eurydice and Adrastus furnish the necessary love story, and Creon becomes the hateful rival and intriguing villain. The declamation sometimes shows Dryden at his best, the bombast and horrors are in Lee's worst vein. In the next year appeared Dryden's improvement of "Troilus and Cressida" with his careful essay on "The Grounds of Criticism in Tragedy," in which he criticises after the fashion set by Rymer the errors of Shakespeare and Fletcher, insists on the necessity of unity, order, and greatness in action, and praises the excellence of Fletcher and especially of Shakespeare in character and passion. Nowhere else, perhaps, has Dryden expressed so discriminatingly and so finally his own views and, on the whole, the views of his age, on tragedy. Shakespeare's greatness is recognized as preëminent in the presentation of character and passion; his faults in coherence and unity of structure and his archaism in manners and proprieties are admitted. From this time on Dryden's contributions to the drama were less frequent. In "The Spanish Fryar" (1681), he added the best Restoration example of tragicomedy, availing himself of Fletcher's example, a double plot, and a happy ending. "The Duke of Guise" (1682), a political allegory, written in collaboration with Lee, deserves little consideration as satire or drama. After two operas and an absence of several years from the stage, came "Don Sebastian" (1690), which Sir Walter Scott thought the best of his tragedies. It is heroic in its pairs of lovers and tangle of love and jealousy, and in the exploits, boasts, and love-making of the hero; French in its general structure; Elizabethan in its mixture of comedy, its use of horror and incest, and its imitation of Shakespeare. It recalls the tragedies before 1642, with their heroic love after the style of Beaumont and Fletcher, their horrors and incest following the Websterian school, and their emulation of famous passages in Shakespeare. "Cleomenes" (1692), which repeats the Potiphar's wife story, is still more Elizabethan, and "Love Triumphant," a tragicomedy (1693), deals with an incestuous passion proved innocent at last, a motive very popular since "A King and No King."