While we still have light banter and raillery, they are primarily used to display character or further the plot, functions which they disregard in the Restoration plays. The theme and its working out not only deal with the reformation of the loose character, but also endeavor to present an admirable example of womanhood who shows a proper fidelity to her husband in spite of all his delinquencies. In the presentation of this high type of character Cibber has again become an innovator and has made a positive contribution to the drama of the period. In his adaptation of the plays by Dryden[81] in _The Comical Lovers_ (1707) Cibber has not attempted any changes, and the play is of no importance in the development of comedy. It was regarded merely as a revival of Dryden’s work, and was acted along with other old plays during the same season, largely because of an antiquarian interest. The two plays from which this is made go well together and present something of the best that Dryden did in the line of satiric comedy, and no doubt the social satire was almost as pertinent in Cibber’s time as it had been forty or fifty years earlier. But the moral standard, which is almost always present, even if in the background, in Cibber’s own plays, is almost entirely lacking here. Celadon expects to be cuckolded, but would rather be cuckolded by Florimel (who reminds one very strongly of Congreve’s Millamant even in the stipulations before their agreement of marriage), than by any one else. So too in the complications in the second story in the play, the moral defections are humorous merely because they are immoral, and there is no disapproval expressed or implied. In Cibber’s own work he may retain his disapproval until the last act, but the moral standard always appears in some way or other, so that this play is essentially uncharacteristic of Cibber’s work. _The Double Gallant_ (1707) is an adaption of the same sort as _The Comical Lovers_, derived from Restoration plays,[82] but it does have more significance. It is marked by the same general tone of moral irresponsibility and lightness, but without the actual culmination of delinquencies; there is the same raillery, somewhat curtailed, and the hero, as in those plays, involves himself in intrigue with several women at once. There is more respect for morals in the general conduct of the piece. The change is indicated in the handling of the source. Burnaby[83] has made use of what is probably the most notorious and grossest incident in Restoration comedy, Horner’s subterfuge in _The Country Wife_, but has modified some of the elements of the intrigue. Cibber has prevented the successful outcome of the intrigue, and has entirely omitted the unpleasant features.