"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 round and kick as kick can. This latter performance he makes to be the representation of a free state; where, if you all mind your steps, you may go round and round very jollily, with a motion pleasant to yourselves and them you dance with: nay, if you put yourselves out, at the worst you only kick and are kicked by friends and equals." But D'Urfey's short songs and poems were his most successful productions--sometimes he breathed martial strains in honour of Marlborough's victories, sometimes formed adulatory addresses to members of the Royal Family. His "Pills to purge Melancholy," at times approached humour. The following is taken from the "Banquet of the Gods," and refers to Hermes visiting the Infernal regions-- "Fierce Cerberus, who the gate did keep, First with a sop he lays asleep, Then forward goes to th' room of State, Where on a lofty throne of jet, The grizly King of Terrors sate, Discoursing with his Proserpine On things infernally divine. To him the winged Ambassador His message tells, then adds to her How much her mother Ceres mourns In Sicily, till she returns; That now she hoped (the long half-year Being ended) she would see her there, And that instead of shrieks and howls, The harmony of par-boiled souls, She'd now divert with tunes more gay, And go with her to see a play." D'Urfey often introduces fresh and pleasing glimpses of country life. He is more happy in this direction than in his humour, which generally drifted away into maudlin and indelicate love-making between pseudo-Roman Corydons and Phyllises. The following effusion is very characteristic of the times,--