the delight of the
most polite companies and conversations from the beginning of King
Charles II.'s reign to our present times. Many an honest gentleman has
got a reputation in his country by pretending to have been in company
with Tom D'Urfey." "I myself remember King Charles II. leaning on Tom
D'Urfey's shoulder more than once, and humming over a song with him. It
is certain that monarch was not a little supported by 'Joy to great
Caesar,' which gave the Whigs such a blow as they were not able to
recover that whole reign. My friend afterwards attacked Popery with the
same success--he has made use of Italian tunes and Sonatas for promoting
the Protestant interest, and turned a considerable part of the Pope's
music against himself."

Little need be added to this eloquent commendation, except that it was
written to obtain patronage for a benefit in behalf of an aged poet and
friend. D'Urfey wrote through the reigns of Charles II., James II.,
William and Anne, into that of George I. His plays, which were thought
attractive at the time, contained much that was gross, and were
deficient in humour and power. Thus, they were soon forgotten, and
neither he nor his rival Brown were able to reach a point, which would
give them a permanent position in literature.

The following description would have led us to expect something better
of him, at least in farcical talent[62]--

"Mr. D'Urfey generally writes state-plays, and is wonderfully
useful to the world in such representations. This method is the
same that was used by the old Athenians, to laugh out of
countenance or promote opinions among the people. My friend has
therefore against this play is acted for his own benefit, made two
dances which may be also of an universal benefit. In the first he
has represented absolute power in the person of a tall man with a
hat and feathers, who gives his first minister who stands just
before him a huge kick; the minister gives the kick to the next
before; and so to the end of the stage. In this moral and practical
jest you are made to understand that there is in an absolute
government no gratification, but giving the kick you receive from
one above you to one below you. This is performed to a grave and
melancholy air; but on a sudden the tune moves quicker, and the
whole company fall into a circle and take hands; and then, at a
certain sharp note, they move