Actor, playwright, and theater manager, Colley Cibber was a leading figure in the eighteenth-century London theater world. As an actor, Cibber specialized in playing the fop, the man of fashion whose ...
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In the following excerpt from a work that was originally published in 1953, Boas surveys Cibber's career as a playwright, paying particular attention to The Careless Husband, The Non-Juror, and...
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In this essay, Szilagyi claims that the tendency to dismiss Cibber and his comedies as lightweight has caused scholars to overlook the serious social and political issues of such plays as The Careless...
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In the following excerpt, Ashley provides a comprehensive survey of Cibber's theatrical efforts.
Colley Cibber was writing plays before Vanbrugh and Farquhar, and he did not stage his last w...
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In this essay, Fone contends that not only the reformation in the final act of Love's Last Shift but also the consistent moral tone throughout the play confirms its status as the first sentimen...
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In this essay, Potter demonstrates how Cibber himself created the fop persona that was often used by his enemies to mock him.
It is to Pope that most readers owe their image of Colley Cibber the ca...
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In this essay, Haley examines Cibber's defense of the stage from the attacks of Jeremy Collier, whose Short View of the Immorality and Profaneness of the Stage (1698) began a fierce debate over...
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In the following essay, Drougge charges that although Cibber presents his plays as realism, they are actually sentimentalism: “wishfulfilment fantasies offered as instruction, unreal behaviour ...
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In this essay, Staves examines the theatrical tradition of foppery and the changes it underwent throughout the eighteenth century, paying particular attention to Cibber and David Garrick. Staves demon...
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In this excerpt from his study of sentimental comedy throughout the eighteenth century, Ellis considers Love's Last Shift as one of the earliest works in the genre, although he argues that only...
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In this essay, Straub examines the eighteenth-century practice of gendering literary authority as masculine and in that context focuses on Cibber's unusual use of the sexually ambiguous figure ...
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