November 7, 1722, marked a transformative moment in English drama with the opening of The Conscious Lovers at Drury Lane. This event heralded the end of Restoration comedy and the rise of sentimental comedy, a shift that would redefine theatrical narratives. Sir Richard Steele, though renowned for his journalistic endeavors, played a pivotal role in this transition through his innovative approach to drama.

The Life and Influence of Sir Richard Steele

Sir Richard Steele is primarily known for his work in journalism, with periodicals such as The Tatler, The Spectator, The Guardian, and The Theatre showcasing his prowess in the essay form. Appointed to the governorship of Drury Lane by King George I, Steele stayed intimately connected with the theater world, even amid critiques of his support for new plays. In response to such critiques, he launched The Theatre, a periodical that ran from January to April 1720, closely linked with The Conscious Lovers, initially titled Sir John Edgar.

The periodical featured characters and themes that would later fully develop in the play. Steele's choice of Sir John Edgar, the protagonist of his unwritten play, as his periodical's spokesman illustrates the deep interconnection between his journalism and theatrical work. Characters like Sir John Edgar’s son Harry, who appears in both the periodical and the play, demonstrate Steele's thematic continuity. Eventually, the play was retitled The Conscious Lovers, with characters undergoing final transformations to Sir John Bevil and Bevil Junior.

Defining Sentimental Comedy

The Conscious Lovers served multiple purposes. A primary aim was to critique dueling, a topic Steele often addressed in his essays, framing refusal to duel as neither cowardly nor dishonorable. In act 4, a scene between Bevil and Myrtle exemplifies this stance. Steele's second goal was to elevate the social status of merchants, a class often disparaged in Restoration drama, advocating their recognition as honorable members of society. Characters like Mr. Sealand articulate this perspective, challenging the prejudices against merchants.

Steele's most significant ambition was to "chasten wit, and moralize the stage," taking a stand against the ribaldry of Restoration comedy. This call for reform resonated with the critiques of Jeremy Collier's 1698 work, A Short View of the Immorality and Profaneness of the English Stage. Steele believed that theater could play an educational and moral role, a sentiment he expressed in The Tatler, advocating that "a good play, acted before a well-bred audience, must raise very proper incitements to good behaviour." King George I’s gift of five hundred guineas to Steele underscored the play's success in this moral endeavor.

In steering away from Restoration comedy, Steele emerged as a pioneer of sentimental comedy. Though Colley Cibber’s Love’s Last Shift in 1696 made the initial attempt at this genre, it retained elements of Restoration crudeness. Steele's The Conscious Lovers cemented the genre’s place in dramatic history, characterized by the belief in human goodness, emotional appeal over intellectual, apparent morals, and the quest for realism amid improbabilities. Sentimental comedy also focused on evoking pity and tears, ethical discussions, mysterious elements like lost children, and romantic love scenes.

Character Archetypes and Innovations

Steele introduced new character types in sentimental comedy: the untainted lovers, the loyal friend, the reformable debauchee, the redeemed mistress, and the virtuous wife. These archetypes, though nascent in The Conscious Lovers, shaped the genre's future. Steele's hero, young Bevil, embodies innate goodness through filial devotion and gentlemanly conduct, contrasting sharply with the self-absorbed heroes of Restoration plays.

For comedic relief, Steele incorporated a subplot featuring Tom and Phillis, who mimic their social superiors, offering satire on societal...