Iorga was a highly productive dramatist, inspired by the works of Carlo Goldoni, William Shakespeare, Pierre Corneille and the Romanian Barbu Ștefănescu Delavrancea. According to critic Ion Negoițescu, he was at home in the genre, which complimented his vision of "history as theater". Other authors are more reserved about Iorga's value for this field: noting that Negoițescu's verdict is an isolated opinion, Simuț considers the plays' rhetorical monologues "hardly bearable". Literary historian Nicolae Manolescu found some of the texts in question illegible, but argued: "It is inconceivable that Iorga's theater is entirely obsolete". Of the twenty-some plays, including many verse works, most are in the historical drama genre. Manolescu, who argues that "the best" of them have a medieval setting, writes that "Constantin Brâncoveanu", "Un domn pribeag" and "Cantemir bătrânul" are "without any interest". Iorga's other work for the stage also includes the "five-act fairy tale" "Frumoasa fără trup" ("Bodyless Beauty"), which repeats a motif found in Romanian folklore, and a play about Jesus Christ (where Jesus is not shown, but heard).