Drama was pursued by Scottish playwrights in London such as Catherine Trotter (1679–1749), born in London to Scottish parents and later moving to Aberdeen. Her plays and included the verse-tragedy "Fatal Friendship" (1698), the comedy "Love at a Loss" (1700) and the history "The Revolution in Sweden" (1706). David Crawford's (1665–1726) plays included the Restoration comedies "Courtship A-la-Mode" (1700) and "Love at First Sight" (1704). These developed the character of the stage Scot, often a clown, but cunning and loyal. Newburgh Hamilton (1691–1761), born in Ireland of Scottish descent, produced the comedies "The Petticoat-Ploter" (1712) and "The Doating Lovers" or "The Libertine" (1715). He later wrote the libretto for Handel's "Samson" (1743), closely based on John Milton's "Samson Agonistes". James Thompson's plays often dealt with the contest between public duty and private feelings, included "Sophonisba" (1730), "Agamemnon" (1738) and "Tancrid and Sigismuda" (1745), the last of which was an international success. David Mallet's (c. 1705–65) "Eurydice" (1731) was accused of being a coded Jacobite play and his later work indicates opposition to the Walpole administration. The opera "Masque of Alfred" (1740) was a collaboration between Thompson, Mallet and composer Thomas Arne, with Thompson supplying the lyrics for his most famous work, the patriotic song "Rule, Britannia!".