Of the farces ascribed to Cibber, only two, _The Rival Queans_ and _Bulls and Bears_, are unquestionably his, and these two are not accessible. _The Rival Queans_, acted at the Haymarket, June 29, 1710, printed in Dublin in 1729, is without doubt by Cibber. But in the collected edition of his plays, published in 1777, the editors substituted a farce of the same name, which, however, deals with a different subject and is by another writer. Cibber’s farce was a burlesque of Lee’s _Rival Queens_; the piece that was substituted deals with the operatic situation in England. An adaptation of Doggett’s _Country Wake_ (1696), called _Hob, or The Country Wake_ (1715), has been ascribed to Cibber, but Genest[1] doubts his authorship because it was brought out while Doggett was still on the stage. _Bulls and Bears_, Cibber’s second undisputed farce, was acted at Drury Lane, December 2, 1715, but was apparently not printed. _Chuck_ (1736) seems to have been ascribed to him by either the author or the publisher without grounds, for in a list of plays “wrote by anonymous authors in the 17th century,” appended to the fourth edition of the _Apology_ (1756), there is a note on this play to the effect that “the author or printer has set the name of Mr. Cibber to this piece.” This is not proof positive that Cibber did not write the play, for _Cinna’s Conspiracy_, which is unquestionably by him, appears in the same list. In _The New Theatrical Dictionary_ (1742), it is stated that “this piece [_Chuck_] is extremely puerile, yet the author has thought proper to put Mr. Cibber’s name to it.” This again is not necessarily convincing argument against Cibber’s authorship, for he was capable of poor work, as his poems and some of his plays show. On the whole, it seems probable that _Hob_ and _Chuck_ are not by Cibber. In any case, they are entirely without value, and it is therefore a matter of no importance to literary history whether their authorship is ever determined or not. Coffey’s _The Devil to Pay_ (1736) is stated in the catalogue of the British Museum to have been “revised by Colley Cibber.” But the work of revision was done by Theophilus Cibber, his son, and Cibber himself contributed only one song.[2] 2. OPERAS. In common with many of his contemporaries, Cibber attempted operatic pieces. His undisputed operas are _Venus and Adonis_ (1715), _Myrtillo_ (1716), _Love in a Riddle_ (1729), and _Damon and Phillida_ (1729), the last being merely the sub-plot of _Love in a Riddle_ acted separately.[3] Two other operatic pieces, _The Temple of Dullness_ (1745) and _Capochio and Dorinna_, have been ascribed to him. _Love in a Riddle_ (1729) seems to have been the cause of some unpleasantness. In the _Life of Quin_ (1766) the following account of it is given:[4]