J. J. Jusserand's _Shakespeare en France_ (1898), Professor Lounsbury's _Shakespeare as a Dramatic Artist_, and Miss Canfield's _Corneille and Racine in England_ (1905) are important for certain phases of the drama. Concerning the heroic plays there is a considerable literature; see, especially, P. Holzhausen on Dryden's heroic plays, _Englische Studien_, vols. xiii, xv, and xvi (1890-92); L. N. Chase, _The English Heroic Play_ (1903); J. W. Tupper, _The Relation of the Heroic Play to Beaumont and Fletcher_, Mod. Lang. Assn. Publ. 1905. C. G. Child, _The Rise of the Heroic Play_, Mod. Lang. Notes, 1904. Alex. Beljame's _Le Public et les Hommes de Lettres en Angleterre au xviii^{ e} siècle_ (1881) deals fully with Dryden and has an elaborate bibliography.
[25] In this and subsequent chapters the dates in brackets give the year of the first presentation in the case of acted plays. The date of publication usually coincides with the year of acting.
[26] _Cf._ James W. Tupper, _Relation of the Heroic Play to the Romances of Beaumont and Fletcher_. Publ. Mod. Lang. Assn. 1905.
[27] Ward (iii, 415) is in error in crediting public taste with condemnation of this play. Lavinia seems to have been one of Mrs. Barry's most successful parts.
In tragedy the division between the seventeenth and eighteenth centuries is less marked than that which distinguishes in general the literatures of the Restoration and the Augustan eras. Yet by 1700 most of the leading dramatists of the preceding generation had ceased to write for the stage; and the death of Dryden marked the end of the old, as the beginning of the reign of Anne, with its important changes in politics, society, and literature, marked the beginning of a new development in tragedy. The attack of Jeremy Collier (1698) was also an important landmark in the history of the drama, assisting in a notable change from the preceding licentiousness and toward a moralized and sentimentalized comedy. A similar change in tragedy was its most apparent departure from Restoration models. Chastened language and a stricter moral censorship of both subjects and sentiments reflected that refinement of which the age of Addison and Pope was wont to boast.