How did Restoration comedy differ from tragedy in William Congreve’s time?

During the time of William Congreve, the distinction between Restoration comedy and tragedy was marked by differences in tone, subject matter, and social focus.

Restoration comedy, or the comedy of manners, was defined by its satiric and often cynical examination of fashionable, aristocratic society. It focused on the "game of love," prioritizing wit, grace, and intelligence while exploring themes of sexual intrigue and social decorum. These plays were designed to mirror the lives of their courtly audience, often highlighting the hypocrisy inherent in balancing primitive human nature with artificial social restraints.123

In contrast, tragedy during this period struggled to maintain the same vitality. While dramatists like John Dryden experimented with "heroic tragedy," the era was not considered a heroic age. Tragedy often sought to satisfy demands for poetic justice, providing fortunate endings for the virtuous and unfortunate ones for the vicious. By the late 17th century, the lines between the genres began to blur, with tragicomedy influencing both forms and tragedy increasingly incorporating private, domestic concerns rather than focusing solely on the "great" figures of history.34