In comedy, one effect of the Licensing Act was that playwrights began to develop a comedy of sentiment. This comedy was critically labeled as "high" comedy, in that it was intended to be entertaining rather than actually be funny, and brought about its entertainment by elevating the sentiments of the viewer. The plots also relied upon characters being in or out of sympathy with each other. Very late in the 17th century Oliver Goldsmith attempted to resist the tide of sentimental comedy with "She Stoops to Conquer" (1773), and Richard Brinsley Sheridan would mount several satirical plays after Walpole's death. Both of these playwrights were taking advantage of a loosening of the censorship and popular weariness with "refined" comedy. Goldsmith's play reintroduces the country bumpkin character who outwits the sophisticated would-be rakes who are engaged in a plot to marry well. Sheridan, on the other hand, very consciously turned back to the Restoration comedy for his models but carefully toned down the dangers of the sexual plots.