Sentimental comedies and Bourgeois tragedies weren't the only kinds of theatres on offer in early modern England.

“情感喜剧”和“中产阶级悲剧”并不是近代英国早期仅有的两种戏剧。

The sad ending version of Sentimental Comedy.

它是“情感喜剧”的“悲伤结局”版本。

The repertory is still mostly English Shakespeare and sentimental comedy.

当时的剧目仍然是莎士比亚戏剧和情感喜剧。

Oliver Goldsmith would later criticize a Sentimental Comedy for not being fun enough.

后来 奥利弗·哥德史密斯批评了一部情感喜剧 说它不够有趣。

Sentimental Comedy promotes the Enlightenment idea that people are mostly good, unless they encounter bad influences.

“情感喜剧”促进了启蒙思想的发展 而启蒙思想的观点是：大部分的人都是好人 除非他们受到了某些坏的影响。

Today Sentimental Comedy and Bourgeois Tragedy don't seem especially realistic. And 18th century acting would strike us as ridiculous.

现在的“情感喜剧”和“中产阶级悲剧”好像并不怎么现实 而18世纪的戏剧表演会让我们觉得非常地滑稽。

But Sentimental Comedy is all about really illusionment, which illusions you might ask, well, I'm glad you did.

而“情感喜剧”讲述的都是真正的幻觉 你可能会问我是哪种幻觉 嗯 问得好。

It borrows from sentimental comedy and bourgeois tragedy but is way more about showing the audience a good time.

音乐剧借鉴了“情感喜剧”和“中产阶级悲剧” 只不过它向观众展示的更多的是美好的时光。

The best-known Sentimental Comedy is Richard Steele's 1722 play The Conscious Lovers, which is based on a comedy of Terence.

最著名的“情感喜剧”是理查德·斯梯尔1722年的《有良知的情侣》 根据特伦斯的喜剧改编。