transformed the servant into a college friend, mumming as servant
because, since 'a prating servant is necessary in intrigues,' the two
had 'cast lots who should be the other's footman for the present
expedition.' Then he adapted the French couplets into pleasant prose
comedy, giving with a light touch the romancing of feats of war and of
an entertainment on the river, but at last he turned desperately
serious, and sent his Young Bookwit to Newgate on a charge of killing
the gentleman--here called Lovemore--who was at last to win the hand of
the lady whom the Liar loved. In his last act, opening in Newgate,
Steele started with blank verse, and although Lovemore of course was not
dead, and Young Bookwit got at last more than a shadow of a promise of
the other lady in reward for his repentance, the changes in construction
of the play took it beyond the bounds of comedy, and were, in fact,
excellent morality but not good art. And this is what Steele means when
he says that he had his play damned for its piety.

With that strong regard for the drama which cannot well be wanting to
the man who has an artist's vivid sense of life, Steele never withdrew
his good will from the players, never neglected to praise a good play,
and, I may add, took every fair occasion of suggesting to the town the
subtlety of Shakespeare's genius. But he now ceased to write comedies,
until towards the close of his life he produced with a remarkable
success his other play, the 'Conscious Lovers'. And of that, by the way,
Fielding made his Parson Adams say that 'Cato' and the 'Conscious
Lovers' were the only plays he ever heard of, fit for a Christian to
read, 'and, I must own, in the latter there are some things almost
solemn enough for a sermon.'

Perhaps it was about this time that Addison wrote his comedy of the
'Drummer', which had been long in his possession when Steele, who had