The last three lines naturally lead us to a consideration of the 'Resident's' dramatic works, written, as he says, to beguile the tedium of exile. Thomas Killigrew wrote eleven plays in all; and, according to Genest, strictly speaking wrote but two at Venice; but the four written at Naples, Rome, Turin and Florence, were probably completed before his return to Paris. Dibdin, in his 'History of the Stage,' points out that these plays are by no means original, tracing some of them to their sources, and calling them 'paste-and-scissors' affairs. But this is not their chief defect. I have, as I thought myself in duty bound, read one of them, and intend never to read another. How it was possible, even in that dissolute age--'never to be recalled,' as Macaulay says, 'without a blush'--for a man to sit down and deliberately write such obscene buffoonery, and dedicate it to ladies--some of whom were his own relations--I cannot imagine. Plays too, of which one, at least, 'The Parson's Wedding,' was to be performed wholly by women! and in which the words assigned to those who played the women's parts are scarcely less offensive than those supposed to be spoken by men![82] We find ourselves indeed 'surrounded by foreheads of bronze, hearts like the nether millstone, and tongues set on fire of hell.' I must add that they have scarcely a sparkle of that witty wickedness which one meets with in the writings of Sir Charles Sedley;--luckily they are dead, and they deserved to die! It is difficult to find an extract which is now presentable; and I can put my hand on no better specimen, on the whole, than this: WALKING. '_Fine Lady._ I am glad I am come home, for I am weary of this walking; for God's sake whereabouts does the pleasure of walking lie? I swear I have often sought it till I was weary; and yet I could ne'er find it.'