The City Heiress is most manifestly borrowed from two main sources. Sir Anthony Meriwill and Charles are Durazzo and Caldoro from Massinger’s The Guardian (licensed 31 October, 1633, 8vo, 1655). Mrs. Behn has transferred to her play even small details and touches. The burglary, that most wonderful of all burglaries, is taken and improved from Middleton’s A Mad World, My Masters (4to, 1608), Act ii, where Sir Bounteous Progress is robbed by Dick Folly-Wit, his grandson, in precisely the same way as Sir Timothy is choused by Tom. On 4 February, 1715, Charles Johnson produced at Drury Lane his The Country Lasses; or, The Custom of the Manor, a rifacimento of Fletcher’s The Custom of the Country and The City Heiress. It is a well-written, lively enough comedy, but very weak and anaemic withal when compared to Mrs. Behn. B. G. Stephenson, in his vivacious libretto to Cellier’s tuneful opera, Dorothy, produced at the Gaiety Theatre, 25 September, 1886, has made great use of Johnson’s play, especially Act i, where the gallants meet the two ladies disguised as country girls; the duel scenes of Act v; and the pseudo-burglary of Act iii. He even gives his comic sheriff’s officer the name of Lurcher, who in Johnson is the rackety nephew that tricks his hospitable old uncle, Sir John English. The Biographia Dramatica states that Mrs. Behn ‘introduced into this play (The City Heiress) a great part of the Inner Temple Masque by Middleton.’ This charge is absolutely unfounded, and it would not be uninteresting to know how so complete an error arose. The two have nothing in common. It must be allowed that Mrs. Behn has displayed such wit and humour as amply to justify her plagiarisms. Sir Timothy Treat-all himself is, of course, Shaftesbury almost without disguise. There are a thousand telling hits at the President of the Council and his vices. He was also bitterly satirized in many other plays. In Nevil Payne’s The Siege of Constantinople (1675) he appears as The Chancellor; 1680 in Otway’s Shakespearean cento cum bastard classicism Caius Marius some very plain traits can be recognized in the grim Marius senior; in Southerne’s The Loyal Brother (1682) Ismael, a villainous favourite; in Venice Preserved (1682) the lecherous Antonio; in the same year Banks caricatured him as a quite unhistorical Cardinal Wolsey, Virtue Betray’d; or, Anna Bullen; in Crowne’s mordant City Politics (1683) the Podesta of a most un-Italian Naples; the following year Arius the heresiarch in Lee’s Constantine the Great; in the operatic Albion and Albanius (1685), Dryden does not spare even physical infirmities and disease with the crudest yet cruellest exhibition, and five years later he attacked his old enemy once more as Benducar in that great tragedy Don Sebastian.