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 man of monstrous appetite and bad digestion. The remark hit Warburton's most obvious weakness. Warburton, with his imperfect scholarship, and vast masses of badly assimilated learning, was jealous of the reputation of the thoroughly trained and accurate critic. It was the dislike of a charlatan for the excellence which he endeavoured to simulate. Bolingbroke, it may be added, was equally contemptuous in his language about men of learning, and for much the same reason. He depreciated what he could not rival. Pope, always under the influence of some stronger companions, naturally adopted their shallow prejudices, and recklessly abused a writer who should have been recognized as amongst the most effective combatants against dulness.

Bentley died a few months after the publication of the Dunciad. But Pope found a living antagonist, who succeeded in giving him pain enough to gratify the vilified dunces. This was Colley Cibber—most lively and mercurial of actors—author of some successful plays, with too little stuff in them for permanence, and of an Apology for his own Life, which is still exceedingly amusing as well as useful for the history of the stage. He was now approaching seventy, though he was to survive Pope for thirteen years, and as good-tempered a specimen of the lively, if not too particular, old man of the world as could well have been found. Pope owed him a grudge. Cibber, in playing the Rehearsal, had introduced some ridicule of the unlucky Three Hours after Marriage. Pope, he says, came behind the scenes foaming and choking with fury, and forbidding Cibber ever to repeat the insult. Cibber laughed at him, said that he would repeat it as long as the Rehearsal was performed, and kept his word. Pope took his revenge