This article argues that Behn's two early tragicomedies The Young King (probably written in the 1660s but not staged until 1679) and The Forc'd Marriage (1670) provide critiques of divine right kingship as astute and incisive as that found in their immediate successor, The Amorous Prince (1671). It demonstrates that these plays reveal Behn's serious reservations about royalist political theory in the first decade after the Restoration and also, perhaps, given The Young King's belated first performance in 1679, during the early stages of the Exclusion Crisis.