In the course of the century there were also a considerable number of plays that turned from French to Greek models. While these cannot be regarded as wholly representative of a reaction from a pseudo to a truer classicism, they certainly offered hardly more resemblance to Voltaire than to Shakespeare. The Greek influence was, however, variously manifested. Adaptations of Euripides were numerous, half a dozen of which were presented at the theatres. In addition, a number of original plays were written, following the Greek form. Most famous of these were two by Gray's friend Mason, "Elfrida" and "Caractacus." The latter, while stilted and academic, compares favorably in point of literary excellence with most tragedies of the century, and not altogether unworthily takes its place in a series that includes "Samson Agonistes" and "Prometheus Unbound." "Read Shakespeare," wrote Lyttleton to Aaron Hill, "but study Racine and Sophocles." But the classicists were occupied in the main with neither poet, but in discussing various minor questions of dramatic propriety: Should any violence or bloodshed be permitted? Should rhyme tags end the scenes? Should the epilogue be comic or serious? Should figures of speech be allowed? Should long speeches be shortened for presentation? Classicism in both England and France was not greatly imitative of either Sophocles or Racine, but mainly insistent on immaterialities. If we attempt to follow the diminishing differences between English and French standards in the work of individual authors, Young's "Busiris" (1719) and "Revenge" (1721) are the most important of those tragedies in the first quarter of the century which cling to some of the characteristics of the early English drama, while his "Brothers," written at about the same time but not acted until 1753, is based upon Thomas Corneille's "Persée et Demetrius." In "Busiris" there is no villain, but tyranny, conspiracy, and a passionate revenging queen play their usual parts. There is an attempt, both in incidents and expression, at Elizabethan force and horror; the main action deals with a rape, and five of the principal persons are killed upon the stage. "The Revenge" is still more Elizabethan, being a palpable imitation of "Othello." The prologue declares that the proper field for tragedy is not villany but "the tumults of a Godlike mind," yet the villain, the Moor Zanga, is the chief character and was acted by Garrick, Kemble, and Kean. The villain's part, it is interesting to note, affords the most striking difference between this popular play and the even more popular "Zara." In both, the heroine, pure and innocent, is killed by the husband, Othello-like in both magnanimity and jealousy; but in Voltaire the jealousy is occasioned by the heroine's meetings with her brother, a captive Christian, in Young by the busy and ponderous intrigues of a Moorish Iago.