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are difficult to relate to and that audience members will, therefore, remain indifferent to the characters' plight. Goldsmith advocates that since sentimental comedies show distresses that they should be labeled as tragedies, though a simple name change will not enhance their efficacy. The essay is ended with a sarcastic comment about the ease with which any writer could create a sentimental comedy with just some, "insipid dialogue, without character or humour...make a pathetic scene or two, with a sprinkling of tender melancholy conversation...and there is no doubt that all the ladies will cry".
36:. In sentimental comedies, middle-class protagonists triumphantly overcome a series of moral trials. These plays aimed to produce tears rather than laughter and reflected contemporary philosophical conceptions of humans as inherently good but capable of being led astray by bad example. By appealing to his noble sentiments, a man could be reformed and set back on the path of virtue. Although the plays contained characters whose natures seemed overly virtuous and whose problems were too easily resolved, they were accepted by audiences as truthful representations of the human predicament.
66:
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Beaumarchais noisy laughter is the enemy of thought, sentimental comedy gives its audience a chance to find silent sympathy and thought provoking isolation in tears. Being touched by the action on stage allows viewers to learn from the play and as good men are reminded of the rewards of virtues they are able to relate the play's events to real life. The form is praised for doing away with verse and rhyme as they can obscure the meaning – making the truth disappear. Beaumarchais is instead in favor of language found in nature, and used in sentimental comedy.
259:, published in 1698. This essay signaled the public opposition to the supposed improprieties of plays staged during the previous three decades. Collier convincingly argued that the, "business of plays is to recommend Vertue, and discountenance Vice". Other sentimentalists took on the responsibility to moralize the stage in hopes of repairing the perceived damage of restoration comedies. These playwrights and theoreticians used the theater to instruct rather than delight after puritan opposition to theater grew from 1660 to 1698.
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audience more in the rascal than the honest man showing the viewers that morality is shallow, worthless, and inverted. Even
Beaumarchais admits that some critics describe the genre as deadly dawdling prose with no comic relief, maxims, or characters with improbable plots that will inspire laziness in young writers who will not take the time to write verse.
273:
honest tears." This enthusiasm was aroused by the virtues of the characters, creating a sense of astonishment in the audience because they allowed them to feel admiration for people like themselves. This feeling became the hallmark of sentimentalism. Richard Steele stated that sentimental comedies, "makes us approve ourselves more" and
85:(1722), in which the penniless heroine Indiana faces various tests until the discovery that she is an heiress leads to the necessary happy ending. Steele wished his plays to bring the audience, "a pleasure too exquisite for laughter." Steele was an Irish writer and politician, remembered mainly for co-founding the magazine
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in
January 1696 spectators experienced a new genre. They were genuinely surprised by the unexpected reconciliation and the joy of seeing this, "spread such an uncommon rapture of pleasure in the audience that never were spectators more happy in easing their minds by uncommon and repeated plaudits and
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and insists that comedy is meant to expose the vices rather than the distresses of man. He argues that theatre is meant to amuse its spectators and while sentimental comedy might amuse the public, laughing comedy would amuse them more. He goes further to say that the characters of sentimental comedy
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The characters in sentimental comedy are either strictly good or bad. Heroes have no faults or bad habits, villains are thoroughly evil or morally degraded. The authors' purpose was to show the audience the innate goodness of people and that through morality people who have been led astray can find
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of the 17th and 18th centuries. Many believed that the sexually explicit behavior encouraged by
Charles II on the stage led to the demoralization of the English population outside the theater. Many felt that restoration comedies, which started out ridiculing vice, appeared to support vice instead
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The playwrights of this genre aimed to bring the audience to tears, not laughter, as the name sentimental comedy might suggest. They believed that noisy laughter inhibited the silent sympathy and thought of the audience. Playwrights strove to touch the feelings of the spectators so that they could
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To combat the opposition, Beaumarchais lays out come criticism of laughing comedy. He argues that laughing at others distances the laughter from those being made fun of and that mockery is therefore not the best weapon to fight vice. A play that encourages this type of behavior also interests the
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was very much in support of sentimental comedy and describes his reasoning in his essay published in 1767. He explains first that the purpose of sentimental comedy is to offer a more immediate interest and more direct moral lesson than tragedy, and a deeper meaning than comedy. Since according to
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The plot usually centered on the domestic trials of middle-class couples and included romantic love scenes. Their private woes are exhibited with much emotional stress intended to arouse the spectator’s pity and suspense in advance of the approaching happy ending. Lovers are often shown separated
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advocated that sentimentalism helps spectators remember that all nature is inherently good. Sentimentalists met resistance with playwrights of true comedy, who also had a moral aim but strove to reach it by exhibiting characters from which the audience should take warning instead of emulate.
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Neither Steele nor Colley, or any other writer, made a career of writing sentimental comedies as the genre was popular for only a short time. In fact, all of the authors of sentimental comedy at this time wrote other forms, including
108:, in order to give himself a role. The play did establish him as both an actor and a playwright, and though some of his 25 plays were praised, his political adaptations of well-known works met with much criticism.
91:. While he wrote a few notable sentimental comedies, he was criticized for being a hypocrite as he wrote moral plays, booklets, and articles but enjoyed drinking, occasional dueling, and debauchery around town.
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from each other by socioeconomic factors at the beginning, but brought together in the end by a discovery about the identity of the lower class lover. Plots also contained an element of mystery to be solved.
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beginning around the mid-18th century. These tragedies intended to use real-life situations, settings, and prose to move an audience and foreshadowed the realism to come in the 19th century.
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was not used in order to create a closer illusion of reality. It was thought that rhyme would obscure the true meaning of the words and make the truth disappear.
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Sentimental comedy had both supporters and naysayers, but by the 1770s the genre had all but died out, leaving in its place laughing comedies, such as
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therefore becoming one of the leading causes of moral corruption. One of the leading environmental factors that made way for this new genre was
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Gollapudi, Aparna (Fall 2011). "Why Did Steele's The Lying Lover Fail? Or, The
Dangers of Sentimentalism in the Comic Reform Scene".
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learn from the play and relate the events they witnessed on stage to their own lives, causing them to live more virtuously.
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The Drama of
Sensibility: A Sketch of the History of English Sentimental Comedy and Domestic Tragedy 1696-1780
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and tragedy. Sentimental comedies continued to coexist with more conventional laughing comedies such as
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is an 18th-century dramatic genre which sprang up as a reaction to the immoral tone of
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Scholars argue whether a more important writer of the genre was Colley Cibber, an
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An Essay on the
Theatre; Or, A Comparison between Laughing and Sentimental Comedy
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232:(1735) – a good example of the French genre similar to sentimental comedy,
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Sentimental comedy influenced and became absorbed into a new genre called
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530:(Foundation ed.). Boston: Pearson Education. pp. 134–146.
136:(1775) until the sentimental genre waned in the early 19th century.
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A Short View of the
Immorality and Profaneness of the English Stage
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Dunciad, Book the First, in The Rape of the Locke and Other Poems
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Short View of the
Immorality and Profaneness of the English Stage
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The
Cambridge History of English and American Literature
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405:"Sentimental Comedy in England and on the Continent"
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A Comparison between
Laughing and Sentimental Comedy
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616:(First ed.). The University Press of Kentucky.
328:invokes the classical definition of comedy through
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244:Sentimental comedy was a reaction to the bawdy
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751:(VII ed.). Assezat: Euvres. p. 312.
776:: CS1 maint: multiple names: authors list (
558:Beaumarchais, Pierre Augustin Caron (1767).
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102:who wrote the first sentimental comedy,
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682:. Springfield, Mo: The Folcroft Press.
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647:Sentimental Comedy:Theory and Practice
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472:. Gloucester, Mass.: Ginn and Company.
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320:In this essay, alternately titled
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721:(III ed.). pp. 411–412.
701:Steele and the Sentimental Comedy
262:At the opening night of Cibber's
240:Significant environmental factors
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678:Cox, James E.; Litt, D. (1926).
488:Sentimental Comedy, A Definition
795:. London: Westminster Magazine.
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486:Harber, Lilian Isidora (1912).
680:The Rise of Sentimental Comedy
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762:Vanbrugh, John, Sir (1698).
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734:Epilogue to the Lying Lover
698:Hare, Maurice Evan (1909).
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45:the path of righteousness.
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834:History of Western theatre
791:Goldsmith, Oliver (1773).
704:. Oxford: Claredon Press.
612:Colley Cibber: A Biography
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468:Bernbaum, Ernest (1915).
296:An Essay on Serious Drama
128:Richard Brinsley Sheridan
34:English Restoration plays
732:Steele, Richard (1703).
660:Collier, Jeremy (1698).
627:Pope, Alexander (1728).
526:Brockett, Oscar (2007).
438:(12 ed.). Longman.
436:A Handbook to Literature
434:Harman, William (2011).
1274:Theatre of ancient Rome
749:De la Poesie dramatique
747:Diderot, Denis (1875).
715:Davies, Thomas (1784).
324:and published in 1773,
315:An Essay on the Theatre
528:History of the Theatre
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1481:Theatre of the Absurd
718:Dramatic Miscellanies
645:Frank, Ellis (1991).
608:Koon, Helene (1986).
587:10.1353/cdr.2011.0024
347:She Stoops to Conquer
215:The School for Lovers
123:She Stoops to Conquer
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40:Elements of the genre
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1456:Shakespearean comedy
1254:Ancient Greek comedy
226:Le Préjugé à la mode
193:The Conscious Lovers
140:Sentimental comedies
82:The Conscious Lovers
867:English Renaissance
403:Campbell, William.
302:Pierre Beaumarchais
159:The Constant Couple
1444:Comédie larmoyante
1439:Sentimental comedy
1434:Restoration comedy
1397:Commedia dell'arte
1269:Corral de comedias
872:Spanish Golden Age
861:Commedia dell'arte
375:History of theatre
370:Comédie larmoyante
360:Restoration comedy
246:restoration comedy
234:comédie larmoyante
182:The Tender Husband
114:restoration comedy
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30:Sentimental comedy
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1372:Boulevard theatre
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1259:Comédie-Française
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766:. pp. 65–71.
649:. Cambridge: CUP.
575:Comparative Drama
537:978-0-205-47360-1
289:Critical response
270:Dury Lane Theater
265:Love's Last Shift
220:William Whitehead
147:Love's Last Shift
105:Love's Last Shift
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100:poet laureate
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96:actor-manager
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88:The Spectator
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25:
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18:
1668:Black sitcom
1648:Mockumentary
1556:Opéra bouffe
1524:Café-théâtre
1509:Ballad opera
1438:
1427:Harlequinade
1377:Comedy-drama
1156:Mockumentary
1040:Impersonator
1020:Comic timing
937:20th century
912:19th century
882:Neoclassical
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313:Goldsmith's
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1736:Documentary
1732:(dry humor)
1695:Alternative
1673:Teen sitcom
1566:Opera buffa
1541:Light music
1536:Comedy club
1486:Tragicomedy
1451:Shadow play
902:Romanticism
887:Restoration
490:. Berkeley.
414:28 February
126:(1773) and
61:Major works
1643:Television
1546:Music hall
1491:Vaudeville
1412:Macchietta
1402:Double act
1311:Indonesia
1305:Mo lei tau
1301:Hong Kong
1295:Xiangsheng
1166:Remarriage
1075:Visual gag
1065:Punch line
1060:Prank call
932:Postmodern
922:Naturalism
877:Classicism
381:References
133:The Rivals
1790:Slapstick
1715:Christian
1710:Character
1687:Subgenres
1502:and dance
1422:Pantomime
1208:Slapstick
1181:Screwball
1085:Word play
927:Modernism
907:Melodrama
772:cite book
664:. London.
595:192187837
496:cite book
330:Aristotle
1855:Category
1830:Category
1765:Physical
1576:Operetta
1350:Sarugaku
1218:Thriller
1110:American
1030:Humorist
1000:Comedian
942:timeline
892:Augustan
855:Medieval
562:. Paris.
354:See also
1802:Surreal
1730:Deadpan
1616:Hip hop
1514:Cabaret
1240:Country
1232:Theatre
1196:Mexican
1191:Italian
1171:Romance
1146:Fantasy
1125:Italian
1115:British
1103:Country
917:Realism
334:Terence
1840:Portal
1812:Zombie
1795:Topics
1755:Insult
1750:Horror
1725:Cringe
1658:Sitcom
1621:Parody
1345:Rakugo
1340:Owarai
1335:Manzai
1330:KyĹŤgen
1326:Japan
1320:Ludruk
1315:Lenong
1247:Europe
1213:Stoner
1203:Silent
1161:Parody
1151:Horror
1141:Action
1120:French
1070:Satire
1035:Humour
993:Topics
986:Comedy
897:Weimar
593:
534:
442:
222:(1762)
210:(1748)
200:(1722)
188:(1705)
178:(1703)
166:(1699)
154:(1696)
1780:Shock
1720:Clown
1700:Black
1653:Roast
1638:Radio
1633:Novel
1606:Album
1601:Music
1594:Media
1581:Revue
1500:Music
1365:Genre
1290:China
1134:Genre
1050:Irony
1025:Farce
850:Roman
845:Greek
591:S2CID
51:Verse
1785:Sick
1770:Prop
1741:High
1705:Blue
1611:Rock
1466:Spex
1283:Asia
1095:Film
1055:Joke
778:link
532:ISBN
502:link
440:ISBN
416:2015
332:and
1745:low
1186:Sex
1080:Wit
583:doi
344:'s
268:at
253:'s
228:by
218:by
206:by
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418:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
