The pieces represented in the London theatres in the time of Charles II. were, as we have before stated, filled with indecent allusions, and their interest with the public turned on the number and intensity of these prurient passages. The ladies never attended the first representation of a comedy except in masks; and when the dames of the court, with their established reputations for gallantry, were apprehensive of being seen at them, some idea may be formed of the licentious character of the pieces most in favor. But many of these plays are still in evidence to speak for themselves. It will be seen that in the majority the plot is so framed as to admit the greatest license in libidinous allusions. The distinguishing feature of them is that the most immodest passages are put into the mouths of women, and, indeed, we know that that actress was the most successful who took the greatest liberties with the text, and most improved upon its lewdness of expression. As a specimen of the general character of these plays, we may name "All Mistaken, or the Mad Couple," quite a favorite with the public in its day. The hero is importuned by six clamorous unfortunates whose ruin he has effected, and dunned in addition by the nurses of their illegitimate offspring for wages owing to them. The delectable superstructure of obscene dialogue which is raised on this foundation may be better imagined than described. The usual hour at which the theatres opened their doors was four in the afternoon, and after the close of the performances the audience generally repaired to some garden or other place of public amusement. Here scenes were enacted which proved a fit sequel to those witnessed on the stage. The orange-girls had a superior known as "Orange Moll," who occupied a position somewhat analogous to that of the modern brothel-keeper. She attended the girls to the theatre, and superintended and directed their operations there. During the _entreactes_ lewd conversations were carried on between the orange-girls and the gallants, which were interspersed with obscene jokes, and highly relished by the audience. The custom of interpellating the gay women who frequented the theatre was continued to a period comparatively recent. Every one has heard the story of Peg Plunket and the Duke of Rutland, in the days when the gods of the Dublin theatre were esteemed the most discriminating, though boisterous and rollicking audience of the three kingdoms. Charles selected several of his mistresses from the stage, for which he had a passionate fondness. Miss Davis literally sang and danced her way into his affections. Her conquest of the king was consummated by the manner in which she sang the popular ballad "My lodging is on the cold ground." Charles thought she was deserving of warmer quarters, and raised her to his own bed. He established her in a splendid residence, and lavished on her the most extravagant gifts.