Genest's _Account of the English Stage_ stops at 1830. A continuation of this work down to the present time is much to be desired. There is no thorough history or bibliography of the drama of this period. In addition to the histories of the theatre already mentioned, W. C. Oulton's _History of the Theatres of London_, 1795-1817, may be consulted. Memoirs of the Kembles are useful for this period, and also Macready's _Reminiscences_, ed. Sir F. Pollock (1875), Moore's _Life of Sheridan_ (1825), Molloy's _Life of Edmund Kean_ (1888), William Archer's admirable life of Macready (_Eminent Actors Series_), are all valuable. _Random Recollections_ by Colman the younger, and memoirs of Kelly, O'Keefe, and Reynolds supply information in regard to the theatre and illegitimate drama. John Cumberland's collections, _British Theatre_ (41 vols., 1829) and the _Minor Theatre_ (15 vols.), are printed from acting copies, and the second comprises many illegitimate plays. Dramatic criticism of the period includes Coleridge (see criticism of Maturin's _Bertram_ in _Biographia Literaria_), Hazlitt, _A View of the English Stage_ (1818); Leigh Hunt, _Critical Essays on the Performers of the London Theatres_ (1807) (selections from same, ed. W. Archer and R. W. Lowe, 1894); Lamb (see _Lamb's Dramatic Essays_, ed. Brander Matthews, 1893). See, also, R. H. Horne's _New Spirit of the Age_ (1844), containing criticism of Knowles, Macready, Bulwer-Lytton, and Browning. The dramatic work of the chief poets has been studied in connection with their other poetry by many editors and critics, but rarely in its relation to the drama of the period. Professor Beers's two volumes, _English Romanticism in the Eighteenth Century_ (1899), and _English Romanticism in the Nineteenth Century_ (1901), deal with the German influence; C. H. Herford has an excellent though brief account of the drama of the period in his _Age of Wordsworth_; Watson Nicholson's _The Struggle for a Free Stage in London_ (1906) is full and valuable. Ernest Bates's monograph on _The Cenci_ (1908) discusses that tragedy and its relations to contemporary drama. FOOTNOTES: [45] See _The Haunted Tower_, an opera (1789), acted eighty times in two seasons. [46] Its borrowings are noted by Genest, viii, 603. The scene is quoted in Archer's _Life of Macready_ (Eminent Actors Series), p. 40. [47] _The Fall of Robespierre_ (1794), by Southey and Coleridge, and Southey's _Wat Tyler_ (1817), written in 1794, hardly require even mention as tragedies. [48] In this and the two following paragraphs the bracketed dates are those of the first performances in London. Some of the plays were first acted elsewhere. [49] "I mean the mire of a bad reputation which is continually rising against me. My name with the literary fashionables is vulgar. I am a weaver-boy to them. A tragedy would lift me out of this mess." Letter to his sister, December, 1819.