[38] For full discussion of the relationship between Cibber’s _Richard III_ and Shakspere’s _Richard III_, see A. I. P. Wood, and Dohse. The whole subject of Shaksperian alterations is taken up in Lounsbury’s _Shakspere as a Dramatic Artist_, and in Kilbourne’s _Alterations and Adaptations of Shakspere_. It is curious that Lounsbury does not discuss Cibber’s _Richard III_, which is not only the most famous Shaksperian alteration but the only one of any real value. [39] The addition of parts from _3 Henry VI_ at the beginning of the play. [40] _Tragedy_, VIII and IX. [41] See especially throughout _Ximena_. [42] According to _The Life of Aesopus_, this “was said to be a silly tale collected from some dreaming romance,” but as the writer does not give the title of this romance and apparently had no knowledge of the play, his testimony is of no value. [43] “The furious John Dennis, who hated Cibber for obstructing, as he imagined, the progress of his tragedy, called _The Invader of His Country_, in very passionate terms denies his claim to this comedy: ‘When _The Fool in Fashion_ was first acted,’ says the critic, ‘Cibber was hardly twenty-two years of age; how could he, at the age of twenty, write a comedy with a just design, distinguished characters, and a proper dialogue who now, at forty, treats us with Hibernian sense and Hibernian English?’” Davies, _Dramatic Miscellanies_, III, 410. [44] Jacob, _Poetical Register_, p. 38, suggests Otway’s _Dare Devil_ (that is, _The Atheist_) as the source of the play, but it would take a vivid imagination to see the connection. [45] _Das Verhaeltniss von Cibber’s Lustspiel Love Makes a Man zu Fletcher’s Dramen The Elder Brother und The Custom of The Country_, p. 82. [46] It was acted in New York, January 15, 1883, by Miss Ada Rehan, under the management of Augustin Daly. See Lowe, _Apology_, II, 289. Genest records, VI, 23, that when it was performed at Covent Garden in 1778, “the applause was so strong in the second act, that the performers were obliged to stop for some time.” [47] This translation of three French novels, whose original source had been Spanish, was issued again in 1712 as _Three Ingenious Spanish Novels_. See Chandler, _Romances of Roguery_, New York, 1899, pp. 462-3. These novels are ultimately based on _La Garduna de Sevilla_ of Castillo Solorzano. It is also to be noticed that the story appears in _La Villana de Ballecas_ by Tirso de Molina, in _La Ocasion hace al ladron_, by Moreto, and in the story of Aurora in Le Sage’s _Gil Blas_. Dunlop, _History of Prose Fiction_, II, 475, states that _She Would and She Would Not_ is taken from _Gil Blas_. _Gil Blas_ was published thirteen years later than Cibber’s play. [48] Wilkes, _General View of the Stage_, p. 40, says that were the play curtailed of one scene he “would not fail to pronounce it not only the best comedy in English, but in any other language.”