_The Provoked Husband_ was presented at Drury Lane, January 10, 1728, and had a run of twenty-eight nights. There was an unsuccessful attempt on the part of Cibber’s enemies to damn the play on the first night; the interruptions were so great that during the fourth act the actors were compelled to stand still until it was quiet enough for them to be heard. On January 31, Cibber published Vanbrugh’s unfinished play and his own completion of it. The critics, who had condemned the play unmercifully, especially the supposed additions of Cibber, found, when the plays were published, that it was not Cibber but Vanbrugh they had been condemning. According to Cibber,[56] on the twenty-eighth night the play took in one hundred and forty pounds, a greater amount than had been taken in at the last night of any play for fifty years. Vanbrugh’s _Journey to London_ consists of four acts, the first two practically complete, but the last two apparently unfinished. Cibber has used practically all that Vanbrugh left, omitting the trip to the theatre in the last part of Act II, and adding much of his own to the whole play. He has interspersed his additions between the parts of Vanbrugh’s play, and has changed very little of the Vanbrugh part, except to “water it down” where it had been too strong for the changed taste of the theatre goers. Cibber’s additions to Steele’s _Conscious Lovers_ are mentioned on a later page of these _Studies_. Several of Cibber’s comedies were translated into foreign tongues: in German _The Double Gallant_ appeared as _Der doppellte Liebhaber_, translated by Johann Friedrich Jünger and published in Leipzig in 1786, _The Careless Husband_ as _Der sorglose Ehemann_, published in Göttingen in 1750, and _The Provoked Husband_ as _Der erzürnte Ehemann und der Landjunker_, published in Frankfurt in 1753; in French _The Provoked Husband_ appeared as _Le Mari poussé à bout, ou le voyage à Londres_, published in London, 1761. The adaptations, except _The Non-Juror_ and _The Refusal_, seem to have been produced merely to furnish amusement which should be in accordance with changed stage conditions and changed taste. They show little originality, being merely the stringing together of scenes without alteration, though Cibber in the prologue to _The Double Gallant_ says: “Nay, even alter’d Plays, like old houses mended, Cost little less than new, before they’re ended; At least, our author finds the experience true.” His method seems to have been to take two plays of an older author, often plays which contained both a serious and a comic action, to select such scenes as suited his purpose, and to join them into a play, either alternating the scenes of the separate plays with link characters, or putting the two plays end on end, as in the case of _Love Makes a Man_. This latter method entailed much greater labor, as many of the characters were made by consolidating two characters from different plays.