The stage, from about the middle of the seventeenth century to nearly the middle of the succeeding century, was uncommonly busy with knights as heroes of new plays. The piece which brought most money to the theatrical treasury, after the “Comical Revenge,” was the “Sir Martin Mar-all,” an adaptation by Dryden, from the “Etourdi” of Molière. Such adaptations were in fashion, and the heroes of the French author were invariably knighted on their promotion to the English stage. Such was the case with “Sir Solomon, or the Cautious Coxcomb,” adapted by Carill, from Molière’s “Ecole des Femmes.” The same course was adopted by Mrs. Behn when she transferred Molière’s “Malade Imaginaire” to the stage at Dorset Gardens, and transformed _Argon_ into _Sir Patient Fancy_. One of the characters in this intolerably indecent play instructs the city knight’s lady how to divide her time according to the fashion set by “the quality.” “From eight to twelve,” he says, “you ought to employ in dressing. Till two, at dinner. Till five, in visits. Till seven, at the play. Till nine, in the park; and at ten, to supper with your lover.” In the “Sir Barnaby Whig, or No Wit like a Woman’s,” one of D’Urfey’s comedies, and produced in 1681, we have again a hero who is described as one of Oliver’s knights. The play is avowedly a party piece, and the author, in his prologue, remarks, “That he shall know both parties now, he glories; By hisses, Whigs; and by their claps, the Tories.” The audience at the “Theatre Royal,” in the days of Charles II., was made especially merry by this poor jest. Sir Barnaby is represented as a Cromwellian fanatic, who will not drink the King’s health; is in an agony of terror at hearing that an army of twenty thousand men is about to sweep every rebel from the land; turns traitor; sings a comic song against the Roundheads; is saluted as Rabbi Achitophel; offers to turn Roman Catholic or Mohammedan; and is finally consigned to Newgate.