zealous, and probably by his temper more furious than Addison, for
what they called liberty, and though a flatterer of the Whig
Ministry, could not sit quiet at a successful play; but was eager to
tell friends and enemies that they had misplaced their admirations.
The world was too stubborn for instruction; with the fate of the
censurer of Corneille's Cid, his animadversions showed his anger
without effect, and Cato continued to be praised.

Pope had now an opportunity of courting the friendship of Addison by
vilifying his old enemy, and could give resentment its full play
without appearing to revenge himself. He therefore published "A
Narrative of the Madness of John Dennis:" a performance which left
the objections to the play in their full force, and therefore
discovered more desire of vexing the critic than of defending the
poet.

Addison, who was no stranger to the world, probably saw the
selfishness of Pope's friendship; and, resolving that he should have
the consequences of his officiousness to himself, informed Dennis by
Steele that he was sorry for the insult; and that, whenever he
should think fit to answer his remarks, he would do it in a manner
to which nothing could be objected.

The greatest weakness of the play is in the scenes of love, which
are said by Pope to have been added to the original plan upon a
subsequent review, in compliance with the popular practice of the
stage. Such an authority it is hard to reject; yet the love is so
intimately mingled with the whole action that it cannot easily be
thought extrinsic and adventitious; for if it were taken away, what
would be left? or how were the four acts filled in the first draft?