The epilogue, spoken by Mrs. Oldfield, and undoing all the soft emotions wrought by the tragedy, was repeated twice, for several consecutive nights. The audience could not have enough of it, and long years after, they called for it, whenever the piece was revived. Budgell was the reputed author, but Tonson printed it, with Addison's name as the writer. The latter, however, ordered that of Budgell to be restored, "that it might add weight to the solicitation which he was then making for a place." Thus Ambrose Philips showed that he could write something more vigorous than the Pastorals, which had given him a name while at the University. He took higher rank among the wits at Button's Coffee-house, and had no reason to fear the censure or ridicule of men like Henry Carey, who fastened upon him the name of Namby Pamby. Success made the author not less solemn, but more pompous. He wore the sword, which he could boldly use, although his foes called him Quaker Philips--with an air; and the successful author of a new tragedy could become arrogant enough to hang a rod up at Button's, and threaten Pope with a degrading application of it, for having expressed contempt of the authors Pastorals.[96] Whatever may be thought of this, Rowe and Philips were the first authors of the last century who wrote tragedies which have been played in our own times. But a greater than either was rising; for Addison was giving the last touches to "Cato;" and he, with Steele and others, was imparting his views and ideas on the subject to favourite actors over tavern dinners. At the close of this season, was finished the brief career of an actor, who was generally considered to possess rare talents, but who was variously judged of by such competent judicial authority as Steele and Cibber. I allude to Richard Estcourt. His London career as a player lasted little more than half a dozen years, during which he distinguished himself by creating Serjeant Kite and Sir Francis Gripe. Downes asserts that he was a born actor. Steele mournfully says, "If I were to speak of merit neglected, misapplied, or misunderstood, might I not say that Estcourt has a great capacity? but it is not the interest of those who bear a figure on the stage that his talents were understood. It is their business to impose upon him what cannot become him, or keep out of his hands anything in which he could shine." Chetwood alludes to his habit of interpolating jokes and catches of his own, which raised a laugh among the general public, but which made critics frown. Cibber has been accused of being unjust to him, but Colley's judgment seems to be rendered with his usual fairness, lucidity, and skill.