Colley Cibber - Life

Life

Cibber was born in Southampton Street, in Bloomsbury, London. He was the eldest child of Caius Gabriel Cibber, a distinguished sculptor originally from Denmark. His mother, Jane née Colley, came from a family of gentry from Glaston, Rutland. He was educated at the King's School, Grantham, from 1682 until the age of 16, but failed to win a place at Winchester College, which had been founded by his maternal ancestor William of Wykeham. In 1688, he joined the service of his father's patron, Lord Devonshire, who was one of the prime supporters of the Glorious Revolution. After the revolution, and at a loose end in London, he was attracted to the stage and in 1690 began work as an actor in Thomas Betterton's United Company at the Drury Lane Theatre. "Poor, at odds with his parents, and entering the theatrical world at a time when players were losing their power to businessmen-managers", on 6 May 1693 Cibber married Katherine Shore, the daughter of Matthias Shore, sergeant-trumpeter to the King, despite his poor prospects and insecure, socially inferior job.

Cibber and Katherine had 12 children between 1694 and 1713. Six died in infancy, and most of the surviving children received short shrift in his will. Catherine, the eldest surviving daughter, married Colonel James Brown and seems to have been the dutiful one who looked after Cibber in old age following his wife's death in 1734. She was duly rewarded at his death with most of his estate. His middle daughters, Anne and Elizabeth, went into business. Anne had a shop that sold fine wares and foods, and married John Boultby. Elizabeth had a restaurant near Gray's Inn, and married firstly Dawson Brett, and secondly (after Brett's death) Joseph Marples. His only son to reach adulthood, Theophilus, became an actor at Drury Lane, and was an embarrassment to his father because of his scandalous private life. His other son to survive infancy, James, died in or after 1717 before reaching adulthood. Colley's youngest daughter Charlotte followed in her father's theatrical footsteps, but she fell out with him and her sister Catherine, and she was cut off by the family.

After an inauspicious start as an actor, Cibber eventually became a popular comedian, wrote and adapted many plays, and rose to become one of the newly empowered businessmen-managers. He took over the management of Drury Lane in 1710 and took a highly commercial, if not artistically successful, line in the job. In 1730, he was made Poet Laureate, an appointment which attracted widespread scorn, particularly from Alexander Pope and other Tory satirists. Off-stage, he was a keen gambler, and was one of the investors in the South Sea Company.

In the last two decades of his life, Cibber remained prominent in society, and summered in Georgian spas such as Tunbridge, Scarborough and Bath. He was friendly with the writer Samuel Richardson, the actress Margaret Woffington and the memoirist–poet Laetitia Pilkington. Aged 73 in 1745, he made his last appearance on the stage as Pandulph in his own "deservedly unsuccessful" Papal Tyranny in the Reign of King John. In 1750, he fell seriously ill and recommended his friend and protégé Henry Jones as the next Poet Laureate. Cibber recovered and Jones passed into obscurity. Cibber died suddenly at his house in Berkeley Square, London, in December 1757, leaving small pecuniary legacies to four of his five surviving children, £1000 each to his granddaughters Jane and Elizabeth (the daughters of Theophilus), and the residue of his estate to his eldest daughter Catherine. He was buried on 18 December, probably at the Grosvenor Chapel on South Audley Street.

Read more about this topic:  Colley Cibber

Famous quotes containing the word life:

    When man has neither the strength to subdue his underworld powers—which are really the ancient powers of his old, superseded self; nor the wit to placate them with sacrifice and the burnt holocaust; then they come back at him, and destroy him again. Hence every new conquest of life means a “harrowing of Hell.”
    —D.H. (David Herbert)

    Human life itself may be almost pure chaos, but the work of the artist—the only thing he’s good for—is to take these handfuls of confusion and disparate things, things that seem to be irreconcilable, and put them together in a frame to give them some kind of shape and meaning. Even if it’s only his view of a meaning. That’s what he’s for—to give his view of life.
    Katherine Anne Porter (1890–1980)

    Art is only a means to life, to the life more abundant. It is not in itself the life more abundant. It merely points the way, something which is overlooked not only by the public, but very often by the artist himself. In becoming an end it defeats itself.
    Henry Miller (1891–1980)