He did not at all explain himself, in which he had injured him, and Gay could not guess at anything else in which he could have injured him so considerably."[14] It seems, however, more probable that Addison really had in mind the part he had taken in connection with "Three Hours After Marriage." Two critical publications, "A Complete Key to 'Three Hours After Marriage,'" and "A Letter to John Gay, Concerning his late Farce, entitled a Comedy," annoyed Gay; while Pope, too, and, in a minor degree, Arbuthnot, were attacked for their share in the farce.

John Durand Breval, writing over the signature of Joseph Gay, published in 1717 "The Confederates: A Farce," in which he introduced a humorous caricature print of Pope, Gay and Arbuthnot, so that, says Professor Courthope, "Pope, at the height of his fame, found himself credited, though he seems to have had little to do with it, with the past paternity of a condemned play."[15] Another incident, recorded by Professor Courthope, further angered Pope: "While he was still sore at the mishap, Colley Cibber, playing in 'The Rehearsal,' happened to make an impromptu allusion to the unlucky farce, saying that he had intended to introduce the two kings of Brentford, 'one of them in the shape of a mummy, and t'other in that of a crocodile.' The audience laughed, but Pope, who was in the house, appeared (according to Cibber's account) behind the scenes and abused the actor in unmeasured terms for his impertinence.

Cibber's only reply was to assure the enraged poet that, so long as the play was acted, he should never fail to repeat the same words.

He kept his promise, thus committing the first of that series of offences which, in the poet's vindictive memory, marked him down for elevation to the throne of Dulness which was rendered vacant by the deposition of King Tibbald."[16] There is a rumour that Gay, in revenge for Cibber's banter of "Three Hours After Marriage," personally chastised the actor-dramatist,[17] but there is nothing definitely known about this.

Anyhow, Gay was so irritated by the failure of this play that he did not produce anything at a theatre during the next seven years.
How Gay managed to exist through the three years after the production of "Three Hours After Marriage" is one of the stumbling blocks for the biographer.