All his plays are pretty much of a kind. The juvenile and worthless "Nero" unites the conventions of heroic love with the ghosts, lust, bloodshed, and madness of the later Elizabethan revenge plays. The later blank verse plays, though to a large extent based on French romances, envelop the love interest in a Tourneurian medley of depravity and horror. They revive the late Elizabethan type of tragedy that united the sentimental and the terrible and delighted to present loving and devoted womanhood in an environment of undiluted villany, abnormal lust, and physical torture. They add somewhat of the closeness of structure of French models, the spectacle of an unproved stage that displays ballets and temples along with bloody heavens, human sacrifice, and crucifixions, and a style that out-Herods the Elizabethans in the extravagance and vehemence of its rant. "Theodosius" tells of the fatal result of the rival love of brothers for the same woman; "Brutus" of the judicial murder of a son by a father; "Cæsar Borgia" introduces Machiavelli again as a machinating villain in a story of fraternal rivalry in love; "Constantine" and "Gloriana" deal with the rival loves of son and father. This theme, a favorite with Lee, reappears in "Mithridates," the contents of which are fairly typical of the revolting intrigues to which Lee mainly confined himself. The leading persons are Mithridates, the lustful dotard; his two sons, Ziphares and Pharnaces; Monima, the gentle heroine, contracted to Mithridates; Semandra, the chief heroine, in love with and loved by Ziphares; her father, a noble soldier; and two conspiring villains. The Romans are at the gates of Synope, where the scene is placed. Pharnaces, at feud with his brother and desirous of Monima for himself, conspires with the villains to thwart the marriage of Mithridates to Monima and direct the passion of the king to Semandra. Mithridates condemns Ziphares to death and pursues Semandra, but is persuaded to relent in order that Ziphares may lead the army against the Romans. Semandra and Ziphares exchange parting vows of fidelity as he leaves for battle. The conspirators again incite Mithridates; and Semandra, in order to save the life of her lover, repulses him upon his return in triumph. In consequence he believes her false and leaves her in the power of his father. The fourth act opens with Mithridates, who has ravished Semandra, "encompassed with the ghosts of his sons, who set daggers to his breast and vanish." He is attacked by remorse; Pharnaces betrays the city to the Romans; Semandra and Ziphares have a last interview and commit suicide; Mithridates dies after condemning the captured conspirators and Pharnaces to execution.