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 songs against the Roman Catholics, so that William III felt it well to show him favour.
One of his anti-papal songs, and one that was very popular among the Whigs, was “Dear Catholic Brother,” and this he set to a very fine ancient tune, to which to this day “The Hunting of Arscott of Tetcott” is sung in Devon. But D’Urfey did not take the complete tune, as he did not need it for his piece of verse, and his incomplete version of the tune travelled into Wales and Scotland as well as throughout England. It is an early, genuine English melody in the Dorian mode.
Charles II had leaned familiarly on D’Urfey’s shoulder, holding a corner of the same sheet of music from which the poet was singing his burlesque song, “Remember, ye Whigs, what was formerly done.”
James II continued the friendship previously shown him when he was Duke of York. He had no wish to offend one who could turn a song against him and his religion. Queen Anne delighted in his wit and gave him fifty guineas when she admitted him to her at supper, because he lampooned the Princess Sophia, then next in succession to herself, by his ditty, “The Crown’s too weighty for shoulders of eighty.” She herself entertained great dislike towards the Electress Dowager of Hanover. D’Urfey was attached to the Tory interest; and in the latter part of the Queen’s reign frequently had the honour of diverting her with witty catches and humorous songs, suited to the spirit of the times, written by himself and sung in a droll and entertaining manner.
The Earl of Dorset welcomed him at Knole Park, and had his portrait painted there. At Wincherdon, Buckingham’s house, Philip, Duke of Wharton, enjoyed in company D’Urfey singing his songs, which he did with vivacity, although in speech he stammered. D’Urfey said: “The town may da-da-da-mn me as a poet, but they sing my songs for all that.”
He collected his songs into six volumes, published under the title of Wit and Mirth, or Pills to Purge Melancholy, which went through several editions. In that for 1719 all the songs in the first two volumes are his own; other songs, many of them folk ballads, he tampered with, and added coarsenesses of his own not in the original. The book was published by Playford, and the melodies are not always correctly printed. Most of his airs were folk melodies; many of them, doubtless, heard by him when he was young in Devonshire, for there they are still employed to ballads he recast.
Writing to Henry Cromwell, 10th April, 1710, Alexander Pope says: “I have not quoted one Latin author since I came down, but have learned without book a song of Mr. Thomas Durfey’s, who is your only poet of tolerable reputation in this country. He makes all the merriment in our entertainments, and but for him, there would be so miserable a dearth of catches, that, I fear, they would put either the Parson or me upon making some of ’em. Any man, of any quality, is heartily welcome to the best topeing-table of our gentry, who can roar out some rhapsodies of his works; so that in the same manner as it was said of Homer to his detractors, What! dares any man speak against him who has given so many men to eat? (meaning the rhapsodists who lived by repeating his verses). Thus may it be said of Mr. Durfey to his detractors, Dares any one despise him, who has made so many men drink? Alas, Sir! this is a glory which neither you nor I must ever pretend to. Neither you with your Ovid, nor I with my Statius, can amuse a board of Justices and extraordinary Squires, or gain one hum of approbation, or laugh of admiration. These things (they would say) are too studious, they may do well enough with such as love reading, but give us your ancient Poet, Mr. Durfey! ’Tis mortifying enough, it must be confess’d.”
There is a slight allusion to D’Urfey in the Dunciad, iii. 146.
Gay mentions that Tom ran his Muse with what was long a favourite racing song, “To horse, brave boys, to Newmarket, to horse!”