Muddiman's new titles included 'no folly' in contrast to L'Estrange's works. From late 1665 to 1679 L'Estrange's polemical and literary output was limited. The 'satire boom' of the late 1660s took up much of his time in censorious duties, while he remained a prominent figure at Court. In particular he spent much time acting as a conduit between the Worshipful Company of Stationers, who had extensive censorship duties, and the House of Lords in formulating press regulation policy and repressing 'libellous' prints. At this period too, he helped Thomas Britton found his concert series, playing the viol at the first event in 1678. The viol remained a lifelong love and throughout his career L'Estrange was known as 'Noll's Fiddler' after accusations he had played music for Oliver Cromwell before 1658, with the implication he was an unprincipled 'hack'. Crisis and reaction - 1679-85 The Licensing of the Press Act lapsed at a dangerous time for the Restoration regime, which now contended with the twin crises of the Exclusion Crisis and the hysteria generated by the fabricated Popish Plot. With no official post to censor 'libels' or attack critics of the Court, L'Estrange returned to polemic. Writers such as Andrew Marvell attacked what they saw as growing Catholic and tyrannical tendencies at Court. Marvell coined the phrase 'Popery and Arbitrary Government' in a 1677 polemic which argued that excessive Catholic influence at court would lead to a 'Catholic' system of government based on superstition and tyrannical repression. This played on contemporary Anglo-Scottish worldviews which relied on a construction of Catholicism as essentially foreign, tyrannical, and irrational or superstitious. The failure of Charles II's foreign policy in the Third Anglo-Dutch War and the ensuing rapprochement with the Netherlands aligned English politics against France, while figures like Marvell feared Charles II saw Louis XIV of France as a role-model for absolutist rule. Marvell and like-minded figures coalesced into the Whig faction during the Exclusion Crisis and advocated the removal of James, Duke of York, an open Catholic, from the royal succession in favour of the Protestant illegitimate son of Charles II, James Scott, 1st Duke of Monmouth. L'Estrange inverted the language of Whiggish opposition to the Court. In An Account of the Growth of Knavery he accused Marvell and other figures of playing to popular fears in order to sow social disorder and advance their own causes. His most striking work was Popery