The Drama as an Instrumentality
The political satirical drama founded by Aristophanes was copied in England in the seventeenth and eighteenth centuries. The Greek comic poet introduced real characters on the stage for the purpose of satirizing them. His freedom and boldness in depicting corrupt men and corrupt measures were prominently shown in his caricature of the coarse and noisy Cleon, when that Athenian leader was at the height of his power and insolence. In a similar way the first Earl of Shaftesbury was assailed by Dryden in an opera entitled “Albion and Albanis.” “The subject of this piece,” as Baker says, in his “Biographica Dramatica,” “is wholly allegorical, being intended to expose Lord Shaftesbury and his adherents.” But there is a more violent and virulent satire upon the same individual in Otway’s play of “Venice Preserved.” In reference to the former, Baker quotes Dr. Johnson as truly describing those portions of the play, now never represented, and in which the leading character was Antonio, as “despicable scenes of vile comedy.” All the vices assigned to Antonio were intended to depict Anthony, Earl of Shaftesbury; and it was on account of these very scenes that the play was a favorite with Charles II. Both political parties, at that period of English history, were merciless in their treatment of each other, and made use of the forms of a drama to gratify their detestation of their adversaries.