The play is credited with putting an end to heroic drama, but, in the long run, it did not.

The satire was successful enough that heroic drama largely disappeared afterward.

Third, the hero of the heroic drama must be powerful, decisive, and, like Achilles, dominating even when wrong.

Restoration heroic drama, for all its literariness, relied on opulent scenery.

The play he is going to put on is made up almost entirely of excerpts of existing heroic dramas.

Dryden was unable or unwilling to pursue heroic drama for long after The Rehearsal came out.

Yes, as classical heroic drama has always shown us, the hero's imperfections and how he handles them are the real barometers of heroism.

Dryden had written other heroic drama aside from The Conquest of Granada.

For tragedy, their tastes ran to heroic drama; for comedy, to the comedy of manners.

Yet this heroic drama in five acts, first presented in Paris in 1777, has virtually disappeared from the repertory.

George Speaight believed that the play was "an amusing but coarse burlesque of the old-fashioned heroic drama".

Heroic drama is a type of play popular during the Restoration era in England, distinguished by both its verse structure and its subject matter.

New genres of the Restoration were heroic drama, pathetic drama, and Restoration comedy.

Hitler told Goebbels that the plight of the 6th Army was a "heroic drama of German history."

Mandach argues that Davenant, as a practitioner of heroic drama, was unlikely to have ridiculed it.

All for Love or, the World Well Lost, is a heroic drama by John Dryden written in 1677.

It is notable both as a defining example of the "heroic drama" pioneered by Dryden, and as the subject of later satire.

The play has been considered a defining work in the sub-genre of heroic drama, in which "rhymed heroic tragedy comes into full being."

These plays were sometimes called by their authors' histories or tragedies, and contemporary critics will call them after Dryden's term of "Heroic drama".

It was adapted by John Dryden in his very successful heroic drama Oedipus, licensed in 1678.

The term "heroic drama" was invented by Dryden for his play, The Conquest of Granada (1670).

As for subject matter, the hero of a heroic drama must demonstrate, Dryden said, the Classical virtues of strength and decisiveness.

Heroic dramas centred on the actions of men of decisive natures, men whose physical and (sometimes) intellectual qualities made them natural leaders.

But I had this in common with Wagner, that I was thinking not of concert pieces but of heroic drama.

There, Dryden scolds his fellow dramatists for having immoral heroes and low sentiments, and he proposes a new type of theater, the heroic drama.