Colley Cibber was an English actor-manager, playwright and Poet Laureate. From being merely one symptom of the artistic decay of Britain, he was transformed into the demigod of stupidity, the true son of the goddess Dulness.

The Comical Lovers (1707) was based on Dryden's Marriage à la Mode. Pope's notes call Cibber a hypocrite, and in general the attacks on Cibber are conducted in the notes added to the Dunciad, and not in the body of the poem. Without consulting Theophilus, Cibber sold his share for more than 3,000 pounds to the other managers, who promptly gave Theophilus his notice. Alexander Pope said Cibber's drastic adaptations and patchwork plays were stolen from "crucified Molière" and "hapless Shakespeare".

The Apology was a popular work and gave Cibber a good return. King of Dunces The derogatory allusions to Cibber in consecutive versions of Pope's mock-heroic Dunciad, from 1728 to 1743, became more elaborate as the conflict between the two men escalated, until, in the final version of the poem, Pope crowned Cibber King of Dunces. The Careless Husband Outstanding wifely tact in The Careless Husband: Lady Easy finds her husband asleep with the maid and places her scarf on his head so that he will not catch cold, but will know that she has seen him. Modern scholars often endorse the criticism that was levelled at Love's Last Shift from the first, namely that it is a blatantly commercial combination of sex scenes and drawn-out sentimental reconciliations. Life Cibber was born in Southampton Street, in Bloomsbury, London. In the Apology, Cibber speaks daringly in the first person and in his own praise. The easy-going Sir Charles Easy is chronically unfaithful to his wife, seducing both ladies of quality and his own female servants with insouciant charm. For the early part of Cibber's career, it is unreliable in respect of chronology and other hard facts, understandably, since it was written 50 years after the events, apparently without the help of a journal or notes.

The rhyme scheme of the poem is abab cdcd. The selection of Cibber for this honour was widely seen as outlandish, at a time when Pope, Gay, Thomson, Ambrose Philips, and Edward Young were all in their prime. His triumph was that he rose to a position where, in consequence of his sole power over production and casting at Drury Lane, London audiences had to put up with him as an actor. Richard's himself again!

After he had sold his interest in Drury Lane in 1733 and was a wealthy man in his sixties, he returned to the stage occasionally to play the classic fop parts of Restoration comedy for which audiences appreciated him. He was a clever, innovative, and unscrupulous businessman who retained all his life a love of appearing on the stage. As an actor, manager, and playwright, Colley Cibber was among the most influential members of the London theater in the 18th century. His colourful memoir Apology for the Life of Colley Cibber (1740) describes his life in a personal, anecdotal and even rambling style. After five years, he had still not seen significant success in his chosen profession, and there had been no heroic parts and no love scenes. The Provoked Husband (1728) was an unfinished fragment by John Vanbrugh that Cibber reworked and completed to great commercial success. She steals away, Sir Charles wakes, notices the steinkirk on his head, marvels that his wife did not wake him and make a scene, and realises how wonderful she is. Cibber recovered and Jones passed into obscurity. Plays he considered non-commercial were rejected or ruthlessly reworked. Cibber reused parts of Woman's Wit for The School Boy (1702). The play was a great box-office success and was for a time the talk of the town, in both a positive and a negative sense. Six died in infancy, and most of the surviving children received short shrift in his will. The three actors squeezed out the previous owners in a series of lengthy and complex manoeuvres, but after Rich's letters patent were revoked, Cibber, Doggett and Wilks were able to buy the company outright and return to the Theatre Royal by 1711. © Poems are the property of their respective owners. Poem Hunter all poems of by Colley Cibber poems. Critic John Hill in his 1775 work The actor, or, A treatise on the art of playing, described Cibber as "the best Lord Foppington who ever appeared, was in real life (with all due respect be it spoken by one who loves him) something of the coxcomb".These were the kind of comic parts where Cibber's affectation and mannerism were desirable. By registering with PoetryNook.Com and adding a poem, you represent that you own the copyright to that poem and are granting PoetryNook.Com permission to publish the poem.

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