It was at the latter end of King Charles’s reign, that Mr. Crowne, tired with the fatigue of writing, shocked with the uncertainty of theatrical 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.