The Elizabethan tradition was directly represented by Elizabethan imitations and revivals, by many new plays that reverted in one way or another to the early methods, by the conservatism of actors and playgoers, and by the tragedies of Shakespeare. As Shakespeare grew in the appreciation of readers and critics, there was a tendency toward the restoration of a real Shakespearean text to the stage. There were, to be sure, innumerable new alterations and adaptations, but these were mostly of little importance on the stage. They dealt with the minor plays, as "Cymbeline," "Coriolanus," or "Timon;" or they were the essays of admiring amateurs with a bent for restringing the rough diamonds of the original, or of playwrights trying to meet the theatrical demands of the moment. Cibber's "Richard III" and Tate's "Lear" held the stage well into the next century, but "Julius Cæsar," "Hamlet" (except for Garrick's alteration, 1772-80), and "Othello" admitted no alterations. After 1744 Shakespeare's "Macbeth" took the place of Davenant's, and "Romeo and Juliet" of Otway's "Caius Marius." "Coriolanus," variously revised, altered, and finally combined with Thomson's play of the same name, was toward the end of the century given a great vogue by Kemble; and, indeed, the only one of the tragedies neglected during the century was "Antony and Cleopatra."[30] Dryden's "All for Love" had usurped its place. As the critical tone toward Shakespeare grew more admiring and less tainted by condescension, so the attitude of actors and audiences grew in heartiness of appreciation. The revival of the romantic comedies marked an important change of taste, though not calling for more than mention here. Year after year his comedies, histories, and tragedies were acted oftener and to larger audiences, and gave opportunity for the best efforts of a long series of great actors and actresses. Garrick's revivals and triumphs were followed by those of Mrs. Siddons and Kemble. Now one play became a favorite, now another, under the influence of a great impersonation; but few were neglected, and over the theatre Shakespeare's domination was unquestioned.