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 pathetic power, but probably chiefly indebted for his long-lived popularity to his skill in the discovery of “sensational” plots; and Lord Lansdowne (“Granville the polite”) (c. 1667–1735). Congreve, by virtue of a single long celebrated but not really remarkable tragedy, and N. Rowe, may be further singled out from the list of the tragic dramatists of this period, many of whom were, like their comic contemporaries, mere translators or adapters from the French. The tragedies of Rowe, whose direct services to the study of Shakespeare deserve remembrance, indicate with singular distinctness the transition from the fuller declamatory style of Dryden to the calmer and thinner manner of Addison. In tragedy (as to a more marked degree in comedy) the excesses (both of style and subject) of the past period of the English drama had produced an inevitable reaction; decorum was asserting its claims on the stage as in society; and French tragedy had set the example of sacrificing what passion—and what vigour—it retained in favour of qualities more acceptable to the “reformed” court of Louis XIV. Addison, in allowing his Cato to take its chance upon the stage, when a moment of political excitement (April 1713) ensured to it an extraordinary success, to which no feature in it corresponds, except an unusual number of lines predestined to become familiar quotations, unconsciously sealed the doom of English national tragedy. The “first reasonable English tragedy,” as Voltaire called it, had been produced, and the oscillations of the tragic drama of the Restoration were at an end.

English comedy in this period displayed no similar desire to cut itself off from the native soil, though it freely borrowed the materials for its plots and many of its figures from Spanish, and afterwards more generally from French, originals. The spirit of the old romantic comedy had long since fled; the graceful artificialities of the pastoral drama, even the light texture of the mask, ill suited the demands of an age which made no secret to itself of the grossness of its sensuality. With a few unimportant exceptions, such poetic elements as admitted of being combined with the poetic drama were absorbed by the opera and the ballet. No new species of the comic drama formed itself, though towards the close of the period may be noticed the beginnings of modern English farce. Political and religious partisanship, generally in accordance with the dominant reaction against Puritanism, were allowed to find expression in the directest and coarsest forms upon the stage, and to hasten the necessity for a more systematic control than even the times before the Revolution had found requisite. At the same time the unblushing indecency which the Restoration had spread through court and capital had established its dominion over the comic stage, corrupting the manners, and with them the morals, of its dramatists, and forbidding them, at the risk of seeming dull, to be anything but improper. Much of this found its way even into the epilogues, which, together with the prologues, proved so important an adjunct of the Restoration drama. These influences determine the general character of what is with a more than chronological meaning termed the comedy of the Restoration. In construction, the national love of fulness and solidity of dramatic treatment induced its authors to alter what they borrowed from foreign sources, adding to complicated Spanish plots characters of native English directness, and supplementing single French plots by the addition of others. At the same time, the higher efforts of French comedy of character, as well as the refinement of expression in the list of their models, notably in Molière, were alike seasoned to suit the coarser appetites and grosser palates of English patrons. The English comic writers often succeeded in strengthening the borrowed texture of their plays, but they never added comic humour without at the same time adding coarseness of their own. Such were the productions of Sir George Etheredge, Sir Charles Sedley, and the “mob of gentlemen who wrote with ease”; nor was there any signal difference between their productions and those of a playwright-actor such as J. Lacy (d. 1681), and a professional dramatist of undoubted ability such as J. Crowne. Such, though often displaying the brilliancy of a genius which even where it sank could never wholly abandon its prerogative, were, it must be confessed, the comedies of Dryden himself. On the other hand, the lowest literary deeps of the Restoration drama were sounded by T. D’Urfey, while of its moral degradation the “divine Astraea,” the “unspeakable” Mrs Aphra Behn, has an indefeasible title to be considered the most faithful representative. T. Shadwell, fated, like the tragic poet Elkanah Settle, to be chiefly remembered as a victim of Dryden’s satire, deserves more honourable mention. Like J. Wilson, whose plays seem to class him with the pre-Restoration dramatists, Shadwell had caught something not only of the art, but also of the spirit, of Ben Jonson; but in most of his works he was, like the rest of his earlier contemporaries, and like the brilliant group which succeeded them, content to take his moral tone from the reckless society for which, or in deference to the tastes of which, he wrote. The absence of a moral sense, which, together with a grossness of expression often defying exaggeration, characterizes English comic dramatists from the days of Dryden to those of Congreve, is the main cause of their failure to satisfy the demands which are legitimately to be made upon their art. They essayed to draw character as well as to paint manners, but they rarely proved equal to the former and higher task; and, while choosing the means which most readily commended their plays to the favour of their immediate public, they achieved but little as interpreters of those essential distinctions which their art is capable of illustrating. Within these limits, though occasionally passing beyond them, and always with the same deference to the immoral tone which seemed to have become an indispensable adjunct of the comic style, even the greatest comic authors of this age moved. W. Wycherley was a comic dramatist of real power, who drew his characters with vigour and distinctness, and constructed his plots and chose his language with natural ease. He lacks gaiety of spirit, and his wit is of a cynical turn. But, while he ruthlessly uncloaks the vices of his age, his own moral tone is affected by their influence in as marked a degree as that of the most light-hearted of his contemporaries. The most brilliant of these was indisputably W. Congreve, who is not only one of the very wittiest of English writers, but equally excels in the graceful ease of his dialogue, and draws his characters and constructs his plots with the same masterly skill. His chief fault as a dramatist is one of excess—the brilliancy of the dialogue, whoever be the speaker, overpowers the distinction between the “humours” of his personages. Though he is less brutal in expression than “manly” Wycherley, and less coarse than the lively Sir J. Vanbrugh, licentiousness in him as in them corrupts the spirit of his comic art; but of his best though not most successful play it must be allowed that the issue of the main plot is on the side of virtue. G. Farquhar, whose morality is on a par with that of the other members of this group, is inferior to them in brilliancy; but as pictures of manners in a wider sphere of life than that which contemporary comedy usually chose to illustrate, two of his plays deserve to be noticed, in which we already seem to be entering the atmosphere of the 18th-century novel. His influence upon Lessing is a remarkable fact in the international history of dramatic literature.

The improvement which now begins to manifest itself in the moral tone and spirit of English comedy is partly due to the reaction against the reaction of the Restoration, partly to the punishment which the excesses of the comic stage had brought