Page:Dictionary of National Biography volume 10.djvu/361

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His father, Caius Gabriel Gibber or Cibert [q. v.], a native of Flensborg, known as a sculptor, settled in England oefore the Restoration. Colley Gibber was the offspring of a second marriage, his mother being Jane, daughter of William CoUey of Glaston, Rutlandshire, and granddaughter of Sir Anthony Golley, whose fortune was lost during the civil war. In 1682 Gibber was sent to the free school of Grantham in Lincolnshire, where he remained until 1687, displaying, according to his own confession, a special sharpness of intellect and aptitude for verse writing, which gained him consideration from his masters, and a conceit which rendered him unpopular with his fellows. After quitting Grantham to 'stand at the election of children into Winchester College' (Apology, p. 38), upon which institution, on account of his descent through his mother from William of Wykeham, he was held to have a claim, and being rejected, he went to London, where he visited the theatres and conceived a taste for the stage. A residence in town of some months was followed by a departure for Chatsworth, where his father was engaged under William Cavendish, earl and subsequently duke of Devonshire. While on his journey Cibber heard of the landing of William of Orange, and joined his father, whom he found in arms at Nottingham with the Earl of Devonshire. Gibber was accepted as a soldier by the earl, who promised in more settled times to look after his advancement. He formed part of an escort which went out to meet the Princess Anne; he waited at table upon Lady Churchill, and marched to Oxford and, after the flight of James II, back to Nottingham. Disappointed in his hope of receiving a commission, he quitted the army and proceeded to Chatsworth, whence he was sent by his father to London to the Earl of Devonshire, whom he had first propitiated by a Latin petition for preferment. During the five months in which he danced attendance on the earl he haunted the theatres. Without waiting accordingly for the place in the household which he hints was being sought for him, he joined the united companies at the Theatre Royal. Though generally regardless of dates, he states for once that he joined the companies in 1690 (ib. p. 87). According to Davies (Dramatic Miscellanies, iii. 417-18), Gibber and Verbruggen were two dissipated young fellows who constantly attended upon Downes, the prompter, in hope of obtaining employment as actors. Cibber, Davies was tolh by Richard Gross, prompter of Drury Lane, ' was known only for some years by the name of Master Colley.' Obtaining at length permission to carry a message to Betterton, he was so terrified that the action of the play was interrupted. Betterton was told that the offender was Master Colley. 'Then forfeit him.' 'Why, sir,' Downes is reported to have said, 'he has no salary.' 'Then put him down ten shillings a week and forfeit him five 'was the reported answer. Gibber asserts that in consequence of there being no competition young actors on probation were kept six months without a salary, and states that he was 'full three-quarters of a year' before being 'taken into a salary of ten shillings a week' (Apology, p. 193). His first recorded appearance is as Sir Gentle's servant in Southerne's 'Sir Anthony Love,' Theatre Royal, 1691. In the same year he played small parts in 'Alphonso, King of Naples,' an adaptation by Powell of the 'Young Admiral' of Shirley, and in D'Urfey's alteration of Ghapman's 'Bussy d'Ambois.' During 1692 and 1693 he is heard of as Mr. Cibber or Mr. Colly {sic), as Cibbars and as Zibbar. His efforts to rise into heroic parts were defeated owing to the insufiiciency of his voice. His first success was obtained, assumably about 1692, as the Chaplain in the 'Orphan' of Otway, in which he replaced Percival. According to his own account, Goodman, after seeing him play, asked what new actor this was, and in emphatic language predicted his future success. A performance of Lord Touchwood in the 'Double Dealer,' in which he replaced Kynaston, who was ill, brought him the applause of Congreve, and an increase of salary from fifteen to twenty shillings a week. The date of this may safely be taken as 1693-4. With the secession of Betterton [q. v.] and his associates to the new theatre m Little Lincoln's Inn Fields, which opened 30 April 1695, a chance for the younger actors was afforded and Cibber found his salary raised to 30s. A prologue for the reopening of the theatre Easter Monday 1695, was accepted from him. This, however, he was not allowed to speak. In a revival of the 'Old Bachelor' which followed Cibber played Fondlewife, originally taken by Doggett, one of the seceders from the Theatre Royal, with conspicuous but unremunerative success, described in some of the most characteristic pages in his 'Apology.' No further character of importance being assigned him. Gibber determined to write a play for himself. In January 1695-6, accordingly, his 'Love's Last Shift, or the Fool in Fashion,' was produced, chiefly through the influence of Southeme, who, while predicting success, cautioned Cibber against playing himself. Cibber was resolute, however, in playing Sir Novelty Fashion. Piece and performance were alike successful