Dennis, in an extasy, cried out, addressing himself to the suspected
person, 'Now sir, Bailiff, or no Bailiff, I don't care a farthing for
you, you have no power now.' The man was astonished at this behaviour,
and when it was explained to him, he was so much affronted with the
suspicion, that had not Mr. Dennis found his protection in age, he
would have smarted for his mistaken opinion of him.

In the year 1705 a comedy of Mr. Dennis's called Gibraltar, or The
Spanish Adventure, was acted unsuccessfully at Drury-Lane Theatre. He
was also author of a masque called Orpheus and Euridice.

Mr. Dennis, considered as a dramatic writer, makes not so good a
figure as in his critical works; he understood the rules of writing,
but it is not in the power of every one to carry their own theory into
execution. There is one error which he endeavoured to reform, very
material for the interest of dramatic poetry. He saw, with concern,
that love had got the entire possession of the tragic stage, contrary
to the authority of the ancients, and the example of Shakespear. He
resolved therefore to deviate a little from the reigning practice, and
not to make his heroes such whining slaves in their amours, which
not only debases the majesty of tragedy, but confounds most of the
principal characters, by making that passion the predominant quality
in all. But he did not think it safe at once to shew his principal
characters wholly exempt from it, lest so great and sudden a
transition should prove disagreeable. He rather chose to steer a
middle course, and make love appear violent, but yet to be subdued
by reason, and give way to the influence of some other more noble
passion; as in Rinaldo, to Glory; in Iphigenia, to Friendship; and
in Liberty Asserted, to the Public Good. He thought by these means an
audience might be entertained, and prepared for greater alterations,