In speaking of the drama of this period, we should hardly, therefore, be
wrong in calling it the Drama of the Regency. It held, however, by
historic links, following the order of historic events, to the earlier
drama. Shakspeare and his contemporaries had established the dramatic art
on a firm basis. The frown of puritanism, in the polemic period, had
checked its progress: with the restoration of Charles II, it had returned
to rival the French stage in wicked plots and prurient scenes. With the
better morals of the Revolution, and the popular progress which was made
at the accession of the house of Hanover, the drama was modified: the
older plays were revived in their original freshness; a new and better
taste was to be catered to; and what of immorality remained was chiefly
due to the influence of the Prince of Wales. Actors, so long despised,
rose to importance as great artists. Garrick and Foote, and, later,
Kemble, Kean, and Mrs. Siddons, were social personages in England. Peers
married actresses, and enduring reputation was won by those who could
display the passions and the affections to the life, giving flesh and
blood and mind and heart to the inimitable creations of Shakspeare.
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