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V. English Drama of the 18th Century
1. The Decline of the English Drama
English drama showed its
decline in the 18th century compared with the high achievement of novel in
this period. Especially after the pass of the
Licensing Act in May, 1737 in
Parliament, which forbade the production of any play unless it had received
the sanction of the English Government, all theatres except the three houses
under royal patent were closed, and many excellent dramatist, including
Fielding, ended their career as dramatists abruptly. Therefore, the drama
lost its power to criticize and satirize the social evils and sank into the
mere lofty entertainment. Furthermore, sentimental comedy became more and
more popular. However, this kind of drama weakened rationalism and covered
the serious social problems with overwhelming tender sentiment. Goldsmith
believed that sentimental comedy mainly showed the individual virtue in life
rather than revealed evil; exposed human’s suffering rather than the
weakness of human nature. The representatives of sentimental comedy in this
age, Richard Cumberland (1732-1811), Hugh Kelly (1739-1777), were totally
lost in sentimentalism. Until the great English playwrights of the 18th
century, Oliver Goldsmith and Richard Brinsley Sheridan appeared that drama
was promoted to a new stage.
The 18th century was a great period for eminent actors rather
than playwrights, such as the well-known actor David Garrick (1717-1779) and
the well-known actress Mrs.Sarah Siddons. Garrick emphasized the natural
acting compared the more formalized performing in the past.
In this age, Shakespeare’s drama became prevalent, mainly
popularized by Garrick. Interest in Shakespeare was also reflected in
literary criticism. Rowe wrote the first modern edition of Shakespeare in
1709, followed by Pope’s (1725), Theobald’s (1734) and Hammer’s (1734),
criticism of this national dramatist.
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