November 1705. Although not explicit regarding its authorship, this play's Epilogue indirectly attributes the play to a woman. Following her success with The Basset Table, Centlivre wrote Love at a Venture and saw it performed in 1706. Centlivre was a highly successful professional playwright. A similarly renowned playwright, Colley Cibber, was accused of borrowing parts of Love at a Venture to write his own play, The Double Gallant. However, in an apparent reconciliation he accepted a part in Centlivre's next play, The Platonick Lady (November 1706). After having grown weary with anonymous authorship, Centlivre used the preface to The Platonick Lady to express her distaste for society's outlook on the female writer. Following her third marriage, Centlivre took some time off. This decision turned out to be a good one; her time away resulted in her most successful comedy, The Busie Body (May 1709). The play ran for thirteen nights, a remarkable run for the time, and was revived the following season. Centlivre's next play, The Man's Bewitch'd, was first performed in December 1709, and satirized the squirearchy of Tory gentlemen. This political satire appeared during an ongoing election campaign, and the Tory press struck back. The weekly Female Tatler printed an "interview" that it claimed to have done with Centlivre, where she insulted the actors and blamed them for all her failures. The acting company was on the verge of walking out on her before she persuaded them that she was the victim of a politically inspired hoax. Writings 1710–1723 All of Centlivre's later works have a clear anti-Tory, pro-Whig political affiliation, "notable through the characters of tory fathers or guardians, whose party fervour forms another obstacle to the happiness of young lovers – always whiggishly inclined." In March 1710, Centlivre released A Bickerstaff's Burying, a political satire. Despite the risk of annoying Anne, Queen of Great Britain, Centlivre was not afraid to openly support the Hanoverian succession. Next, Centlivre took it upon herself to write a sequel to the successful The Busy Body, entitled Marplot, or, The Second Part of the Busie-Body (December 1710). Although it didn't receive the same attention as its precursor, it was performed seven times. The sequel reflects Centlivre's continuing interest in politics, specifically the battle between Whig and Tory. Once again, Centlivre turned to poetry with a complimentary poem on the recovery of the Duke of Newcastle's daughter. Although this might seem an