The translations of these tragedies, however, indicate the influence of English traditions. The long speeches are shortened, the dialogue is broken and enlivened, the minor proprieties disregarded, the sentiments and morals Anglicized, and some business and bloodshed introduced on the stage. In Hill's "Merope," for example, the great scene where Merope strives to kill the murderer of her long-lost son and discovers the supposed murderer to be her son himself, loses all its simplicity as well as its poetry. It is ornamented by Hill with processions, virgins in white, music, a sacrificial song, and many starts and strains. Where on the French stage Egisthe decorously withdraws behind the scenes as his mother approaches with the dagger, on the English stage everything was in full sight. If some of the other translations are less altered, the imitations and unavowed adaptations are much more so. Hoole's "Cyrus" (1768), a popular play, is obviously based on "Merope," but adds a much complicated plot, a mad woman, a love intrigue between the long-lost son and the daughter of the old tutor, and a returning husband for Mandane (Merope). The great success of Voltaire in England did not, in fact, produce any very marked change in the course of tragedy. He represents the continuance of French influence but established no departures of note from the general type established in the English theatres by 1725. Virtually no English tragedies in the eighteenth century introduced comedy; few reveled in horrors and bloodshed, the majority observed the unities, nearly all had few persons, a restricted action, and themes and situations confined to slight variations of a stereotyped love story; and nearly all had regard for poetic justice. The differences between French and English tragedy were largely those which adapters of Voltaire eliminated when they made over his plays for the London theatres and gave them a more broken dialogue and more stage action, and perhaps a mad woman or a villain. Moreover, the amelioration of the differences between the two theatres was not all on one side, as is shown by Voltaire's own imitations of Shakespeare and his introduction of ghosts and horrors, and by the growing interest in France in Shakespeare and other English dramatists.[33] Voltaire, with his ingenious plots and telling crises, was nearer than Racine to the English tradition, and he wrote at a time when the differences between the two national theatres were minimized to a degree that made intercommunication easy. His talents gave him an easy superiority over any English writer of tragedies after the classical formulas.