Cibber has handled his sources very freely, and in some particulars has improved both the plot and the characters. That is not to say that _The Non-Juror_ is a greater play than Molière’s _Tartuffe_, for as a whole it is not. The parts of Dorine, who in _Tartuffe_ is the life and source of the humor, of Cléante, and of Madame Pernelle, are omitted, but the part of Mariane is enlivened into one of the best coquettes of the stage. The other characters and incidents correspond in _The Non-Juror_ and Molière’s _Tartuffe_, though the dénouement is more artistically handled in Cibber. _The Refusal_, an adaptation of Molière’s _Les Femmes Savantes_, published in 1721, was acted at Drury Lane, February 14, 1721, and had a run of six performances. Molière’s play had been adapted by Wright as _The Female Virtuosoes_ in 1693, and this play was revived at Lincoln’s Inn Fields on January 10, 1721, to anticipate _The Refusal_. In like manner with the effort to discredit Cibber’s hand in _The Non-Juror_, though in this case after the run of Cibber’s play was over, Curll published, with a dedication to Cibber, “the second edition of _No Fools Like Wits_,[55] as it was acted at Lincoln’s Inn Fields or _The Refusal_, as it was acted at Drury Lane.” In his adaptation Cibber has made more changes than is usual with him, both in plot and in character; and in the dialogue he has anglicized the idiom to an extent not found in his adaptations of tragedies from the French. Molière’s comedy is a satire on false learning in men as well as in women, while Cibber has added some satire on business trickery, in the same way that he added political satire in his adaptation of _Tartuffe_. Cibber has supplied the elder daughter with a successful suitor, and the dénouement is brought about by different, more complicated, and more characteristically English means. In the incident in Molière’s play in which Bélise takes the love of Clitandre to herself, Cibber substitutes the mother for Bélise, omits the maid, along with her impertinences, and adds some slight original incidents. Trissotin, the poet, becomes one of the typical would-be wits of English comedy, and Chrysale is changed to a typical promoter. In Molière, Chrysale is a purely humorous character, whose vacillation and lack of force were no doubt very laughable on the stage; Sir Gilbert, his equivalent in Cibber’s play, on the other hand, is in no way a weakling and is in no way admirable or a source of laughter, but embodies a satire on contemporary business practices. The directness and simplicity of Molière’s play, the unity of tone and plot, give way in Cibber to complication of plot and character, in which the whole piece loses the delightful quality of the humor of the original.