In the return to Shakespeare, Dryden's influence was more potent, though here, as in the case of the Greeks, an increased appreciation was shown partly through alterations and adaptations. Before "All for Love," only "Measure for Measure," "Macbeth," and "The Tempest" of Shakespeare's plays had suffered alterations, and in two of these Dryden had a share. In the four years after 1678, no less than ten alterations were produced, the majority of which long usurped the stage. The restorers, sincere enough in their admiration for Shakespeare, were following Dryden's precept and example, correcting Shakespeare's faults in diction or structure, and preserving his poetry and characters. While their entire readiness to cut or to add resulted in part from ignorant vanity, it depended far more on their confidence in the panacea afforded by Art for all diseases of genius. Art, according to their prescription, was compounded of closeness of structure in the French style and a declamatory vocabulary in accord with the latest pseudo-classic conventions. The alterations are so various in their audacities that a brief general description is hardly possible. The main purpose in each case was the remaking of Shakespeare's disordered beauties into "a play," and, beyond the formulas of Art, the most usual improvement was the addition of a love story. Thus, Alcibiades marries the daughter of Timon, and Cordelia's loyalty is rewarded by the hand of Edgar. Perhaps the most that can be said for the restorers is, first, that they rescued for the stage some of the less dramatic plays, as "Troilus and Cressida," "Timon," "Henry IV," "Coriolanus," and "Cymbeline," and thereby greatly extended the knowledge and appreciation of Shakespeare; and, second, that they left "Hamlet" and "Othello" untouched. Adaptations were made of practically all Elizabethan authors, and Shakespeare fared as his fellows. A more elaborate history of the drama than the present one might trace the changes in the conception of tragedy and in the taste of the theatres as indicated by these alterations. The main consideration here is that, however mutilated or embellished, a half dozen of his tragedies were among the favorite plays of the Restoration. Before the end of the century they had outclassed the other Elizabethan plays, even those of Beaumont and Fletcher, in popular regard. The Restoration did what his own age had not done; it recognized Shakespeare's supremacy in English tragedy.