[15] Richard Dohse, _Colley Cibber’s Buehnenarbeitung von Shakspere’s Richard III_, Bonn, 1899. [16] Alice I. Perry Wood, _The Stage History of Richard III_, New York, 1909. [17] The number and sources of the lines as given by Furness. _Variorum Richard III_, p. 604, are as follows: _Richard II_, 14; _1 Henry IV_, 6; _2 Henry IV_, 20; _Henry V_, 24; _1 Henry VI_, 5; _2 Henry VI_, 17; _3 Henry VI_, 103; _Richard III_, 795; Cibber, 1069; total, 2053. The number of lines in the Globe text of Shakspere’s _Richard III_ is 3621. [18] As “God” to “Heaven,” I, ii, 236; due in this instance to the Collier influence. [19] Edition of 1665, pp. 102-157. [20] _Dedication_ of _Perolla and Izadora_. [21] Genest, II, 506. [22] _To the Reader_, _Ximena_. [23] See Canfield, _Corneille and Racine in England_, p. 169. [24] Genest, II, 511; and Canfield, _op. cit._, pp. 179 ff. [25] II, 104. [26] VIII, 204. “Mr. Cibber. 1701 Nov. 8 A Third of Love’s Last Shift 3 4 6 1705 Nov. 14 Perolla and Izadora 36 11 0 1707 Oct. 27 Double Gallant 16 2 6 Nov. 22 Lady’s Last Stake 32 5 0 Feb. 26 Venus and Adonis 5 7 6 1708 Oct. 9 Comical Lover 10 15 0 1712 Mar. 16 Cinna’s Conspiracy 13 0 0 1718 Oct. 1 The Nonjuror 105 0 0 No price or date. Mrytillo, A pastoral, Rival Fools, Heroic Daughter, Wit at Several Weapons.” [27] Although acted six times it could not be considered extremely successful. According to Genest, III, 162, Nichols speaks of having made merry with a party of friends over the pasteboard swans, on the first night of its production. [28] III, 161. [29] _Das Verhaeltniss von Cibber’s Tragoedie Caesar in Egypt zu Fletcher’s The False One._ [30] _Op. cit._, p. 223. [31] Cibber no doubt used Rowe’s translation (1710). [32] Compare, for instance, the general idea of the exposition In Act I. [33] Lucan ends before this incident, but Rowe continues the narrative, using the same material as _The False One_. [34] Genest. IV, 146, says that it had not been acted since 1695, though he records the performances in 1737 and 1738. [35] It is to be noted that efforts were made to deprive Cibber of credit for his work not only in this play but also in _The Non-Juror_ and _The Refusal_. [36] _The History of the Theatres of London and Dublin_, II, 49. [37] Davies, _Dramatic Miscellanies_, I, 5. For a characteristic example of the criticism to which Cibber was subjected, see Fielding’s _Historical Register for the Year 1736_, Act III.