ming
couplets in the French fashion. Movable painted scenery was now
introduced from France, and actresses took the female parts formerly
played by boys. This last innovation was said to be at the request of
the king, one of whose mistresses, the famous Nell Gwynne, was the
favorite actress at the King's Theater.

Upon the stage, thus reconstructed, the so-called "classical" rules of
the French theater were followed, at least in theory. The Louis XIV.
writers were not purely creative, like Shakspere or his contemporaries
in England, but critical and self-conscious. The Academy had been formed
in 1636 for the preservation of the purity of the French language, and
discussion abounded on the principles and methods of literary art.
Corneille not only wrote tragedies, but essays on tragedy, and one in
particular on the _Three Unities_. Dryden followed his example in his
_Essay of Dramatic Poesie_ (1667), in which he treated of the unities,
and argued for the use of rime in tragedy in preference to blank verse.
His own practice varied. Most of his tragedies were written in rime, but
in the best of them, _All for Love_, founded on Shakspere's _Antony and
Cleopatra_, he returned to blank verse. One of the principles of the
classical school was to keep comedy and tragedy distinct. The tragic
dramatists of the Restoration, Dryden, Howard, Settle, Crowne, Lee, and
others, composed what they called "heroic plays," such as the _Indian
Emperor_, the _Conquest of Granada_, the _Duke of Lerma_, the _Empress
of Morocco_, the _Destruction of Jerusalem_, _Nero_, and the _Rival
Queens_. The titles of these pieces indicate their character. Their
heroes were great historic personages. Subject and treatment were alike
remote from nature and real life. The diction was stilted and
artificial, and pompous declamation took the place of action and genuine
passion. The tragedies of Racine seem chill to an Englishman brought up
on Shakspere, but to see how great an artist Racine was, in his own
somewhat narrow way, one has but to compare his _Phedre_, or
_Iphigenie_, with Dryden's ranting tragedy of _Tyrannic Love_. These
bombastic heroic plays were made the subject of a capital burlesque, the
_Rehearsal_, by George Villiers, Duke of Buckingham, acted in 1671 at
the King's Theater. The indebtedness of the English stage to the French
did not stop with a general adoption of its dramatic methods, but
extended to direct imitation and translation. Dryden