Much in the same way, though with a characteristic difference, the Russian regular drama had its origin in the cadet corps at St Petersburg, a pupil of which, A. Sumarokov (1718-1777), has been regarded as the founder of the modern Russian theatre. As a tragic poet he seems to have imitated Racine and Voltaire, though treating themes from the national history, among others the famous dramatic subject of the False Demetrius. He also translated _Hamlet_. As a comic dramatist he is stated to have been less popular than as a tragedian; yet it is in comedy that he would seem to have had the most noteworthy successors. Among these it is impossible to pass by the empress Catherine II., whose comedies seem to have been satirical sketches of the follies and foibles of her subjects, and who in one comedy as well as in a tragedy had the courage to imitate Shakespeare. Comedy aiming at social satire long continued to temper the conditions of Russian society, and had representatives of mark in such writers as A. N. Ostrovsky of Moscow and Griboyedov, the author of _Gore et uma_. In any survey of the Slav drama that of the Czech peoples, whose national consciousness has so fully reawakened, must not be overlooked. A Czech theatre was called into life at Prague as early as the 18th century; and in the 19th its demands, centring in a sense of nationality, were met by J. N. Stepinek (1783-1844), W. C. Klicpera (1792-1859) and J. C. Tyl (1808-1856); and later writers continued to make use of the stage for a propaganda of historical as well as political significance. BIBLIOGRAPHY.--The following works treat the general theory of the drama and the dramatic art, together with the principles of dramaturgy and of the art of acting. Works which have reference to the drama of a particular period or of a particular nation only are mentioned separately. Works which deal with special authors only have been intentionally omitted in this bibliography, as being mentioned in the articles in the several authors.