Jeremy Collier had published in 1697 his famous Short View of the Profaneness and Immorality of the English Stage, which dealt a terrible blow at what little prosperity the theatres enjoyed, and aroused a wholesome spirit of resentment against the outrages committed on the stage against Christian virtue and common decency. The castigation was well deserved, for the licentiousness of the stage both before and behind the curtain had become a monstrous evil.
The sensation created by the book was enormous, scores of pamphlets refuting or defending its views were written, and the falling off in the audiences plainly showed that its remonstrances had struck home. D'Urfey was one of those hardest hit; he winced, cried out, but did not mend. D'Urfey was a good, witty, and genial companion, and this obtained him favour with a great many persons of all ranks and conditions. The Duke of Albemarle, son of General Monk, had him frequently at his table to divert the company; of which he was not a little vain, as we may gather from part of a song made upon him at that time:—
He prates like a parrot;
He sups with the Duke,
And he lies in a garret.
Crowned heads condescended to admit him to their presence, and were not a little diverted by him. It is not surprising to hear this of so merry a monarch as Charles II; but even King William, so glum and reserved in temper, and so little appreciative of music, or of any amusements of that kind, must needs have D'Urfey one night to him; and D'Urfey extorted a hearty laugh even from him, and departed with a present. D'Urfey had inherited his grandfather's Huguenot prejudices; he was a staunch Protestant in his feelings if not a Christian in his morals, and he wrote satirical
