Later in the play, the hero quarrels with a friend who had found fault with a "pair of French tops," worn by the former. These boots made so much noise when the wearer moved in them, that the friend's mistress could not hear a word of the love made to her. The wearer, however, justifies the noise as a fashionable French noise: "for, look you, sir, a French noise is agreeable to the ear, and therefore not unagreeable, not prejudicial to the hearing; that is to say, to a person who has seen the world." The English Monsieur, as a matter of course, loves a French lady, who rejects his suit; but to be repulsed by a French dame had something pleasant in it; "'twas a denial with a French tone of voice, so that 'twas agreeable." Ultimately, the nymph bids him a final adieu, and the not too dejected lover exclaims to a friend: "Do you see, sir, how she leaves us; she walks away with a French step!" One word may be said here for Sir Ludovick Carlell, the old gentleman of the bows to Charles I. Like Shirley, Killigrew, and Davenant, he had written plays before the time of the Commonwealth; and he survived to write more after the Restoration. The only one, however, which he offered to the players was a translation of "Heraclius," by Corneille; and that was returned on his hands. There is another knight, Sir Francis Fane, from whose comedy of "Love in the Dark," Mrs. Centlivre, more clever at appropriation than Mrs. Inchbald, has taken Intrigo, the man of business, and turned him into Marplot, with considerable improvements; but as Fane himself borrowed every incident, and did not trouble himself about his language, his merit is only of the smallest order. He wrote a fair masque, and in his unrepresented "Sacrifice" was little courtier enough to make his Tamerlane declare that "princes, for the most part, keep the worst company." He and Sir Robert Howard, both Tories, could, when it pleased them, tell the truth, like the plainest spoken Whig.