"What I would infer is this, I think, evident truth; that tragedy is so far from losing its dignity, by being accommodated to the circumstances of the generality of mankind, that it is more truly august in proportion to the extent of its influence, and the numbers that are properly affected by it. As it is more truly great to be the instrument of good to many, who stand in need of our assistance, than to a very small part of that number."[39] Southerne, Otway, and Rowe had won great success for domestic themes, and their examples were naturally cited in the prologue which introduced "The Merchant." Comedy might also have been summoned to support. After the scourging from Collier it had joined in the general movement at the beginning of the century toward sentiment and moralizing. Sentimental comedy, seeking both pathos and a moral, may be said to begin in England at least as early as Colley Cibber's "Careless Husband" (1704) and Steele's "Tender Husband" (1705). Steele's "Conscious Lovers" (1722) shows the species in full development. More general but not less important encouragements for realism in tragedy came from the realistic tendencies manifest in the literature of the preceding generation, notably in the novels of Defoe, and from the moralistic tendencies everywhere manifest in both fiction and drama. Lillo was one with his time, though out with truth and art, in thinking "the more extensively useful the moral of any tragedy is, the more excellent that piece must be of its kind."[40] The ascendancy of the middle class in letters, their expanding social life, their attachment to a conventional morality and a utilitarian art, and their delight in sentimentality, all help to explain the appearance of "George Barnwell." Lillo was writing for a generation that had "The Fair Penitent" and was waiting for "Pamela." Lillo's work, however, was none the less that of a pioneer. "The Fatal Curiosity" had a special influence, beginning forty years after its appearance, in the German tragedies of destiny; and "The London Merchant," soon after its publication, became of importance in both France and Germany. In France its welcome was prepared by the growth of a species of sentimental comedy paralleling the English, and it was translated in time (1748) to serve as an example and stimulant to Diderot's plays and theories. Even before the publication of his "Le Fils Naturel"[41] (1757), and "Le Père de Famille"[42] (1758), Lessing's "Miss Sara Sampson" (1755) had appeared directly modeled on "The London Merchant." Through Diderot and Lessing and, a little later, through German translations of Lillo's plays, domestic tragedy continued its leavening work in the German drama. By that time, sentimental comedy and domestic tragedy were returning from France and Germany to influence the English drama.