These reflections on the nature of Dryden's satires, have, in some degree, interrupted our account of his political controversies. Not only did he pour forth these works, one after another, with a fertility which seemed to imply delight in his new labour; but, as if the spirit of the time had taught him speed, he found leisure to oppose the Whigs in the theatre, where the audience was now nearly as much divided as the kingdom by the contending factions. Settle had produced the tragedy of "Pope Joan," Shadwell the comedy of the "Lancashire Witches," to expose to hatred and ridicule the religion of the successor to the crown. Otway and D'Urfey, Crowne and Southerne, names unequal in fame, vied in producing plays against the Whigs, which might counterbalance the effect of these popular dramas. A licence similar to that of Aristophanes was introduced on the English stage; and living personages were exhibited under very slight disguises.[32] In the prologues and epilogues, which then served as a sort of moral to the plays, the veil, thin as it was, was completely raised, and the political analogies pointed out to such of the audience as might otherwise have been too dull to apprehend them. In this sharp though petty war Dryden bore a considerable share. His necessities obliged him, among other modes of increasing his income, to accept of a small pecuniary tribute for furnishing prologues on remarkable occasions, or for new plays; and his principles determined their tendency.[33] But this was not all the support which his party expected, and which he afforded them on the theatre, even while labouring in their service in a different department.