In England the direct stream of domestic tragedy never flowed high. A one-act play, "Fatal Extravagance," in prose, had appeared in 1721 under the patronage of Aaron Hill, and was revived the year before the success of "Barnwell," and later enlarged into five acts. There were a few successors--"Caelia, or the Perjured Lover" (1732), by Charles Johnson, presenting a Lovelace-like protagonist; "Love the Cause and Cure of Grief" (1743), a three-act play in prose; and Victor's adaptation of "A Woman Killed with Kindness" (1776). Far more important than any of these was Moore's "Gamester" (1753), long a stock play, and almost as influential on the continent as "Barnwell." Like "The Yorkshire Tragedy," it pictures the horrors of gaming. The gamester, his long-suffering wife, a faithful servant, a spirited girl, her lover, the intriguing villain, and his accomplices play a story of far more insistent dramatic power than Lillo's and of no less sentimental and moral conclusiveness. Cumberland's "Mysterious Husband" (1783) is a later and less crude representative of the same species.[43] Lord Davenant has deceived his wife into marrying him by slandering her lover Dormer. Later he has entrapped Dormer's sister into a pretended marriage and then deserted her. She, supposing her husband dead, marries Lord Davenant's son. On their marriage day, Dormer returns; Lord Davenant is discovered and kills himself. Though a man and not a woman is the central figure of this social entanglement, we are reminded of the Tanquerays and Ebbsmiths of a later day in its powerful and not unveracious presentation of domestic ruin.