ck of being
surprized, the lovers are let down, and escape at a trap door. In a
word, any who have the curiosity to observe what pleased in the last
generation, and does not go to a comedy with a resolution to be grave,
will find this evening ample food for mirth. Johnson, who understands
what he does as well as any man, exposes the impertinence of an old
fellow who has lost his senses, still pursuing pleasures with great
mastery. The ingenious Mr. Pinkethman is a bashful rake, and is
sheepish, without having modesty with great success. Mr. Bullock
succeeds Nokes in the part of Bubble, and, in my opinion, is not much
below him, for he does excellently that kind of folly we call absurdity,
which is the very contrary of wit; but next to that is, of all things,
properest to excite mirth. What is foolish is the object of pity,
but absurdity often proceeds from an opinion of sufficiency, and
consequently is an honest occasion for laughter. These characters in
this play, cannot but make it a very pleasant entertainment, and the
decorations of singing and dancing, will more than repay the good-nature
of those, who make an honest man a visit of two merry hours, to make his
following year unpainful.'

These are the testimonies of friendship and esteem, which this great
author has given in favour of D'Urfey, and however his genius may be
turned for the Sing-song, or Ballad, which is certainly the lowest
species of poetry, yet that man cannot be termed contemptible, who was
thus loved, and, though in jocular terms, praised by Mr. Addison.

There are few, or no particulars relating to the life of this poet
preserved. He was attached to the Tory interest, and in the latter part
of Queen Anne's reign frequently had the honour of diverting her with
witty catches, and songs of humour suited to the spirit of the times. He
died, according to Mr. Coxeter, February 26, 1723, in a good old age,
and was buried in the Church-yard of St. James's, Westminster. His
dramatic works are,

1. The Siege of Memphis, or the Ambitious Queen; a Tragedy acted at the
Theatre-royal, printed in quarto 1676. Mr. Langbain says that this play
is full of bombast and fustian, and observes, 'That there goes more
to the making a poet, than copying verses, or tagging rhimes, and
recommends to the modern poetasters, the following lines from a Prologue
to a Play called the Atheist.'

'Rhimsters get wit, e're ye pretend to shew it,
Nor think a game at Crambo m