In this play Cibber continues the general practice of basing dramatic technique upon that of the Restoration drama. We find the same multiplicity of plots, though there is here a material reduction in their number. But here the various plots are more consistently bound together and more logically worked out. The hero is a somewhat refined Restoration character; he has more gentleness and goodness in him, but the course he pursues is typical of the earlier plays in that he is carrying on two amours during the play and at the end he abandons those intrigues; with this difference, however, that the reformation of the hero of _The Careless Husband_ is felt to be permanent. The love story of Lord Morelove and Lady Betty, which forms the sub-action, is in the best style of the comedy of manners. It, as well as the main action, reminds one in its finished workmanship of the best plays written during the latter part of the preceding century. There is a distinct effort to teach the advantage of moral living, in the unhappy outcome of the illicit affairs and in the happy outcome of the legitimate. The situation in which Edging and Sir Charles are discovered asleep, which proved too gross for Cibber’s audience, is nevertheless handled in a manner to show disapproval; the Restoration dramatist would have been salacious and humorous. Sir Charles’s feeling of guilt after this scene, however, is an entirely new note. Some of the characters are stock figures. Lady Betty is the usual coquette, is a Millamant type, but is altogether more human and modern; Lord Foppington is the continuation of Sir Novelty Fashion, whom we recognize as a type which appears in Etherege and Crowne; and Sir Charles, until his reformation, is, in his conduct, the Restoration rake, with, however, distinctly more humanity. His whole-heartedness and inherent honor make one forgive his lapse in conduct. Other characters indicate a new mode. Lady Easy is a modest, virtuous, capable wife, full of moderation and tact, with the gentleness of the modern ideal woman. She belongs to the patient Griselda type, and her situation, which contains not a little pathos, is handled in a way to gain the sympathy of the audience. This is a new and noteworthy contribution in the direction of the fully developed type of sentimental comedy. Even in spite of Sir Charles’s defection in conduct, we recognize an inherent goodness in his nature. Lord Morelove is the preaching, sentimentalizing type, serious minded and upright, the sort of character that Cibber has presented in Lord Lovemore in _Woman’s Wit_ and Elder Worthy in _Love’s Last Shift_; a character who seldom appears in the Restoration period, or, if he does appear, is ridiculed. In this presentation of a successful lover, lacking in wit and inconstancy, Cibber was not following the convention of the preceding drama, which usually made its heroes witty scamps.