success, and desirous to shelter himself from the resentment of those
numerous enemies he had made, by his City Politics, immediately
addressed the King himself, and desired his Majesty to establish him
in some office, that might be a security to him for life: the King
answered, he should be provided for; but added, that he would first see
another comedy. Mr. Crowne endeavouring to excuse himself, by telling
the King he plotted slowly and awkwardly, his Majesty replied, that he
would help him to a plot, and so put in his hand the Spanish Comedy
called Non Poder Esser. Mr. Crowne was obliged immediately to go to
work upon it, but after he had written three acts of it, found, to his
surprize, that the Spanish play had some time before been translated,
and acted and damned, under the title of Tarugo's Wiles, or the
Coffee-House: yet, supported by the King's command, he went briskly on,
and finished it.

Mr. Crowne, who had once before obliged the commonwealth of taste, with
a very agreeable comedy in his City Politics, yet, in Sir Courtly Nice
went far beyond it, and very much surpassed himself; for though there is
something in the part of Crack, which borders upon farce, the Spanish
author alone must answer for that: for Mr. Crowne could not omit the
part of Crack, that is, of Tarugo, and the Spanish farce depending upon
it, without a downright affront to the King, who had given him the play
for his ground-work. All that is of English growth in Sir Courtly Nice
is admirable; for though it has neither the fine designing of Ben
Johnson, nor the masculine satire of Wycherley, nor the grace, delicacy,
and courtly air of Etherege, yet is the dialogue lively and spirited,
attractively diversified, and adapted to the several characters. Four
of these characters are entirely new, yet general and important, drawn
truly, and graphically and artfully opposed to each other, Surly to Sir
Courtly, and Hot-head to Testimony: those extremes of behaviour, the