From 1678 to 1683 were years of the keenest political excitement and unrest. Fomented to frenzy by the murderous villainies of Gates and his accomplices, aggravated by the traitrous ambition and rascalities of Shaftesbury, by the deceit and weakness of Monmouth, and the open disloyalty of the Whiggish crew, party politics and controversy waxed hotter and fiercer until riots were common and a xli revolution seemed imminent. Fortunately an appeal in a royal declaration to the justice of the nation at large allayed the storm, and an overwhelming outburst of genuine enthusiasm ensued. Albeit the bill against him was thrown out with an ‘ignoramus’ by a packed jury 24 November, 1681, a year later, 28 November, 1682, Shaftesbury found it expedient to escape to Holland. Monmouth, who had been making a regal progress through the country, was arrested. Shortly after he was bailed out by his political friends, but he presently fled in terror lest he should pay the penalty of his follies and crimes, inasmuch as a true bill for high treason had been found against him. It was natural that at such a crisis the stage and satire (both prose and rhyme), should become impregnated with party feeling; and the Tory poets, with glorious John Dryden at their head, unmercifully pilloried their adversaries. In 1682 Mrs. Behn produced three comedies, two of which are mainly political. _The Roundheads_, a masterly pasquinade, shows the Puritans, near ancestors of the Whigs, in their most odious and veritable colours. _The City Heiress_ lampoons Shaftesbury and his cit following in exquisite caricature. The wit and humour, the pointed raillery never coarsening into mere invective and zany burlesque, place this in the very front rank of her comedies.36 _The False_ xlii _Count_, the third play of this year, is non-political, and she has herein borrowed a suggestion from Molière. It is full of brilliant dialogue and point, whilst the situations are truly ludicrous and entertaining. As might well be surmised, _The Roundheads_ and _The City Heiress_ were not slow to wake the rancour of the Whigs, who looked about for an opportunity of vengeance which they shortly found. On 10 August, 1682, there was produced at the Duke’s Theatre an anonymous tragedy _Romulus and Hersilia; or, The Sabine War_. It is a vigorous play of no small merit and attracted considerable attention at the time.37 Mrs. Behn contributed both Prologue and Epilogue, the former being spoken by that sweet-voiced blonde, winsome Charlotte Butler, the latter by Lady Slingsby, who acted Tarpeia. There was matter in the Epilogue which reflected upon the disgraced Duke of Monmouth, for whom, in spite of his known treachery and treasons, Charles still retained the fondest affection. Warm representations were made in high quarters, and the following warrant was speedily issued:—