I just came across this play and decided I needed to read it. It's actually pretty good! I can imagine it going nicely with the Roman plays I usually teach in my various Shakespeare courses. There certainly do seem to be some echoes of Antony and Cleopatra in it, though I suppose that may just be a common ancestry in Plutarch. Anyway, I thought I'd write up another Holzknechtian treatment for our friends over at Blogging the Renaissance. They're welcome to cut and paste it from here if they'd like to have it over there.
The False One by John Fletcher and Philip Massinger, circa 1620 (first printed in 1647).
Dramatis Personae
Julius Caesar, Emperour of Rome
Ptolomy, King of Aegypt
Achoreus, an honest Counsellor, Priest of Isis
Photinus, A Politician, minion to Ptolomy
Achillas, Captaine of the Guard to Ptolomy
Septimius, a revolted Roman Villain
Labienus, a Roman Souldier, and Nuncio
Apollodorus, Guardian to Cleopatra
Antony
........................}Caesars Captaines
Dollabella
Sceva, a free Speaker, also a Captaine to Caesar
Boy, Souldiers, Guard, Servants
Women
Cleopatra, Queene of Aegypt, Caesars Mistrisse
Arsione, Cleopatras Sister
Eros, Cleopatras waiting Woman
Masquers
Isis
Nylus and his seven Heads
Three Labourers
The Scene Aegypt
Prologue
The prologue begins with a discussion of originality and derivation. Roman stories may be familiar to the audience, but this treatment of Caesar's erotic desire and of young Cleopatra is certainly different than other stories they may know, such as Shakespeare's treatment of Caesar's subsequent fall in the Capitol or Cleopatra's exercising her wiles on Antony.
Act One
At the court of King Ptolomy, his wise counselor and the captain of his guard provide exposition on the current situation: following others' advice, Ptolomy has imprisoned his sister Cleopatra, rival for the throne. The dastardly Septimus arrives and suffers their calumny. After Ptolomy enters with Labienus and hears that Pompey has been defeated at Pharsalia and now seeks refuge from his former dependent, he holds a council and listens to the wicked advice of Photinus (i.e. murder Pompey since Fortune obviously now favors Caesar) over Achoreus's virtuous advice (i.e. support Pompey, who supported Ptolomy in the past). Ptolomy empowers Photinus, who sends Septimus and Achillas to do the deed. Meanwhile, melancholy Cleopatra suffers house arrest, but plots an escape with the ingratiating Apollodorus. She must find a way to reach and impress Caesar directly, since he may preserve her majesty, though it may come at the cost of her virginity.
Act Two
Septimus enters boasting with Pompey's head, but Achillas rebukes him for taking so much pleasure in a wicked deed. Ptolomy enters with Photinus and Achoreus still contending over the wisdom of the deed. Seeing the head, Achoreus mourns the treachery. Caesar and his party arrive and Photinus with Achillas's help boasts of Ptolomy's devotion to Caesar, but Caesar and his party condemn them for the wicked murder. Rather than more material rewards, Caesar tells them that he forgives them for the murder and that they should give thanks for that reward instead. Ptolomy worries that Photinus's advice may not have been as good as he had hoped. Septimus sulks until Photinus assures him that his deeds will pay off in the end, asking whether he might be willing to commit another despicable deed. Meanwhile, Caesar and company worry about the untrustworthy Egyptians. Unable to rest, Caesar is troubled by a noise outside his chamber. It turns out it is his honest advisor Sceva, who has intercepted a packet intended for Caesar: he opens it for his master and out pops Cleopatra, who immediately enchants Caesar. A disgusted Sceva, who laments inadvertently becoming a bawd, quits the service of the enraptured Caesar as Cleopatra and he retire to discuss how he can serve her.
Act Three
Ptolomy worries that Photinus has ruined him, especially now that Cleopatra has Caesar's ear. Achoreus counsels signalling their trust in Caesar by appealing to him to mediate between the King and Cleopatra. Ptolomy agrees and turns against Photinus and Achillas. The Roman captains lament that Caesar has turned to dalliance rather than pursuing his military gains (though Antony admits she does have her attractions). When Septimus arrives, they scorn him. The murderer finds himself scorned by Eros too. He tries to buy the affections of Caesar's neglected, wounded soldiers, but when Sceva tells them whose gold they're taking, they give it back and reject him too. Meanwhile, Ptolomy has planned a masque to showcase the wealth of Egypt, foolishly hoping this will make Caesar more likely to side with him; his advisors on all sides caution against advertising Egypt's wealth to Caesar, lest it inspire the Roman simply to take Egypt for himself. Caesar enters, talking of the wonderful wealth of Egypt, then Cleopatra arrives. Finally, Ptolomy and his advisors enter with a show of wealth. Caesar can't take his eyes off the treasure, despite Cleopatra's efforts to keep his attention. Caesar watches a masque in which Isis extols the wonders of Nylus's abundance. Overcome, Caesar retires while Ptolomy gloats and Cleopatra sulks.
Act Four
The Egyptian advisors berate Ptolomy for enticing Caesar with the secrets of Egypt's wealth; the King regrets having put his safety at risk, but Photinus hints at a plan to redeem him. Cleopatra cannot believe her wiles have lost out to Caesar's greed for material things. If she were old and wrinkled, that would be one thing, but she's young and fresh! When Caesar arrives, she refuses his entry until he can restore her virginity, but he barges in because he is not accustomed to waiting. She refuses his advances, further whetting his appetite. Having been curtly dismissed, Caesar stands amazed but then hears news that Photinus has incited the Egyptians against the Roman party and reverts to his former martial bearing, pleasing his aides with this new resolve. Meanwhile, Septimius wallows in disgrace and repentance, earning some pity from the Roman soldiers who spurned him earlier. But Photinus and Achillas arrive to tempt him to another dastardly deed. He refuses at first, since their last proposal resulted in his current shame, but they promise him that if he can kill Caesar he will redeem his reputation.
Act Five
With the Egyptians in revolt not only against Caesar but also against their King, Ptolomy comes to the besieged Caesar and offers his assistance and those who remain loyal to him. Caesar is not used to being on the defensive, inside a siege, but recognizes the necessity of accepting Ptolomy's aid. The rebel party of Photinus, Achillas, and Septimius arrive, discussing their plans to kill Caesar's besieged party, including Ptolomy, and make Cleopatra a puppet until she is no longer useful to them. They exchange insults with Caesar, refusing to accept his points about law and authority since he himself abrogated law when he crossed the Rubicon. Caesar orders the palace to be burned and in order to lead his party through the confusion to safety. Septimius, realizing that he's a prop to be discarded by the actor Photinus, changes loyalty and resolves to aid Caesar. Meeting Caesar's party escaping the blaze of a second Troy, he offers to hide him and then bring him to Photinus's chamber to assassinate the rebel, but Caesar and his men scorn to take the base means of escape and leave soldier to kill off Septimius. As anarchy engulfs the city, Cleopatra's attendants lament the outrages they have suffered; a mob killed Arsino's "little dog, / And broke my monkey's chain!" But constant Cleopatra shows no fear, and when Photinus arrives and claims he has done all this for her favor, she scorns the base-born villain, even as he swears that no gods exist but himself. Achillas arrives with Ptolomy's body, but also bears the bad news that Caesar and his party escaped to his fleet. Photinus and Achillas flee as Caesar returns. Sceva reminds his master that he has business to complete before he can entertain Cleopatra and they exit, returning a few lines later with the rebels' heads. Cleopatra compliments him and he promises to bury Ptolomy honorably and to have the Senate install her as Queen of Egypt. A brief epilogue follows.
FINIS.
Wednesday, June 18, 2008
Monday, February 25, 2008
The Puritan Widow
I have finally had a chance to get my hands on the new Collected Works of Middleton. What a tome! I'll be curious what other folks think. Among the things that I am trying to digest: it includes Macbeth, Timon, and Measure for Measure. I mean, I get the argument that Middleton had a hand in some version of these, but still, it makes me a little queasy to see these here.
Anyway, in honor of updating some references to the new Collected Works, and again without my Holzknecht at hand to know if this is summarized elsewhere, I offer the following summary to my friends at Blogging the Renaissance. If they'd like to cut and paste it over to their blog, they're welcome to it! The Puritan Widow was among the Shakespeare apocrypha, which I suppose is apt for the occasion of my not being in an SAA seminar this year. Enjoy! And watch out for conjurors duelling in the streets of Dallas!
The Puritan Widow, by Thomas Middleton, c.1607
Dramatis Personae
Widow Lady Plus, a citizen’s widow
Frank }
}her two daughters
Moll }
Edmund, son to the Widow Plus
Sir Godfrey, brother-in-law to Widow Plus
George Pieboard, and scholar and a citizen
Peter Skirmish, an old soldier
Captain Idle, a highwayman
Corporal Oath, a vainglorious fellow
Nicholas St. Antlings }
Simon St. Mary Overies } serving men to Widow Plus
Frailty }
Sir Oliver Muckhill, a suitor to the Widow Plus
Sir John Pennydub, a suitor to Moll
Sir Andrew Tipstaff, a suitor to Frank
Sheriff of London
Puttock }
} two of the sheriff’s sergeants
Ravenshaw }
Dogson, a yeoman
Gentleman
Nobleman
Two Knights
Servant
Prison Keeper
Officers
Musicians
Scene: London
Act One
Widow Plus mourns her deceased husband and she and Frances swear not to marry, though Sir Godfrey points out that they now have much to offer. Moll and Edmund, however, pledge to enjoy life. The impoverished scholar Pieboard (stand-in for Peele?) and the furloughed soldier Skirmish talk about their poverty, with Pieboard beginning to scheme for ways to fleece the Widow Plus. They meet and follow their friend Captain Idle, on his way to prison for turning to robbery. Corporal Oath and the puritanical Nicholas, Simon, and Frailty meet and exchange barbs; Oath is going to prison to find help for Idle and Nicholas realizes that the captain is his cousin, resolving to try to help him as well. At the Marshalsea, Pieboard and Skirmish learn of Idle’s offense, the simpleton Nicholas arrives and protests that he’ll do anything to help his cousin. Idle asks him to steal Sir Godfrey’s very expensive necklace to be pawned for Idle’s bail. Nicholas balks at the sin of “robbing” but agrees that “nimming” is not forbidden in the scriptures. Pieboard then reveals his plan: when the chain goes missing, Godfrey will storm, and Nicholas is to tell him that his imprisoned kinsman can conjure and reveal the location of any object including the necklace. Surely, Godfrey will bail Idle to regain his necklace. Meanwhile, Pieboard will work other plans for fleecing the widow.
Act Two
While Moll plots to find a husband, the Widow berates Godfrey for suggesting that she remarry, and turns away three courtiers who come to her door offering themselves to her and her daughters. When the pious scholar Pieboard arrives, he tells the Widow that he is in communication with her husband, who suffers in purgatory for his hypocritical, puritanical dealings. Though the Widow knows the truth of his dealings, she cannot admit them. Pieboard prophesizes that a fight will break out before her door, leading to bloodshed and a death, and that Godfrey will suffer a loss; if it does not happen, the Widow and Frank will go mad and Moll will be dumb, but if it does, then the Widow and Frank will marry and Moll will be prevented. In soliloquy, Pieboard explains how he’ll bring this to pass: he will have Skirmish and Oath fight at the Widow’s door, then slip a sleeping potion to Oath while ministering to his wound, making him appear temporarily dead; when Skirmish is about to be executed for the murder, Pieboard will intervene to revive Oath and gain a reputation as a miracle worker. Finally, Nicholas arrives with Godfrey’s chain and hides it in the rosemary bush as agreed.
Act Three
Skirmish makes small talk with the Widow’s servants until Oath arrives and they quarrel about calculating time (Oath calls Skirmish a fool for not understanding military time, i.e. that 17 is the same as 5 o’clock). In the brawl, officers arrive to carry off the wounded Oath, just after Pieboard administers his potion; Skirmish, who didn’t realize that was part of the plan, finds himself arrested for murder. The Widow feels reluctant relief that Pieboard’s prophecies have come to pass, saving her from madness, and tries to comfort Godfrey who raves at the loss of his chain. Nicholas mentions that his imprisoned cousin may be able to divine its location. Pieboard thrills that his plan is moving along, but despairs when Puttock and Ravenshaw arrest him for the debts he owes his landlady. He persuades them that a paper in his pocket is a masque he’s written for a nearby gentleman, and that if they’ll take him to that man’s house before they go to the Counter, he will use the payment to settle his debts to the landlady, pay them double their fees, and treat them to a feast. He picks a random gentleman’s house, gains entry, and in hushed conference talks the nobleman into helping him with his trick. They enter further into the house for his “payment,” where Pieboard sneaks out the back door. The sergeants are left to lament their foolish trust of a debtor. Pieboard arrives at the Marshalsea and helps the nervous Idle prepare for the role of conjuror. Godfrey arrives having expunged Idle’s crimes and solicits him to help him with the chain, offering a huge reward. The foolish Nicholas almost wrecks the plot a few times, but at last the conjuror Idle and the seer Pieboard, having consulted their almanac, agree to meet Idle the next day at noon to conjure up a devil who can find the chain.
Act Four
Moll plans her marriage to Pennydub whose country father has just died and left the fortune to him. The Widow tries to put off Muckhill and Tipstaff and when she learns that the conjuror has arrived, she must show them into her gardens to be rid of them. Godfrey and excited Edmund show Idle and Pieboard into the parlor and warn them to keep the devil from burning the tapestry and the plaster. They exit into another room to watch and listen through a keyhole. Idle puts on a good show and the timid Godfrey and Edmund retreat further. When they return, Idle says that the devil has gone and has left the chain on the rosemary bush in the garden. While Godfrey goes for the chain, Edmund remains behind and Idle and Pieboard convince him they have made him invisible. He strikes Godfrey who sees him as plain as day. The Widow finds herself enamored of Idle. Meanwhile, a procession dragging Skirmish to the gallows and Oath in his coffin passes the Widow’s door. Pieboard promises to take Skirmish’s place if he cannot revive Oath, which he does. While relieved, Skirmish promises to get even with Pieboard for the narrow escape. Godfrey calls for a banquet to celebrate the return of his chain, the miracles that have happened, and the marriage of the Widow to Idle and Frank to Pieboard. (There’s still an Act Five, of course...)
Act Five
The foolish Edmund and Frailty quibble over the details of the festivities. Pieboard and Idle arrive for the nuptials. Moll and Pennydub make their own preparations. Informed by Skirmish, the disgruntled Muckhill and Tipstaff plot to ruin the wedding by hiring a nobleman, whose words naturally carry extra weight, to defame the tricksters and support the courtiers. As the Widow’s party heads to church, the nobleman interrupts, reveals how Pieboard and Idle have tricked the Widow and Sir Godfrey. To make the Widow feel better, the nobleman proffers the love of Muckhill and Tipstaff, whom Godfrey now seconds. The nobleman declares that this happy ending has been brought about to make the heavens rejoice.
FINIS
Anyway, in honor of updating some references to the new Collected Works, and again without my Holzknecht at hand to know if this is summarized elsewhere, I offer the following summary to my friends at Blogging the Renaissance. If they'd like to cut and paste it over to their blog, they're welcome to it! The Puritan Widow was among the Shakespeare apocrypha, which I suppose is apt for the occasion of my not being in an SAA seminar this year. Enjoy! And watch out for conjurors duelling in the streets of Dallas!
The Puritan Widow, by Thomas Middleton, c.1607
Dramatis Personae
Widow Lady Plus, a citizen’s widow
Frank }
}her two daughters
Moll }
Edmund, son to the Widow Plus
Sir Godfrey, brother-in-law to Widow Plus
George Pieboard, and scholar and a citizen
Peter Skirmish, an old soldier
Captain Idle, a highwayman
Corporal Oath, a vainglorious fellow
Nicholas St. Antlings }
Simon St. Mary Overies } serving men to Widow Plus
Frailty }
Sir Oliver Muckhill, a suitor to the Widow Plus
Sir John Pennydub, a suitor to Moll
Sir Andrew Tipstaff, a suitor to Frank
Sheriff of London
Puttock }
} two of the sheriff’s sergeants
Ravenshaw }
Dogson, a yeoman
Gentleman
Nobleman
Two Knights
Servant
Prison Keeper
Officers
Musicians
Scene: London
Act One
Widow Plus mourns her deceased husband and she and Frances swear not to marry, though Sir Godfrey points out that they now have much to offer. Moll and Edmund, however, pledge to enjoy life. The impoverished scholar Pieboard (stand-in for Peele?) and the furloughed soldier Skirmish talk about their poverty, with Pieboard beginning to scheme for ways to fleece the Widow Plus. They meet and follow their friend Captain Idle, on his way to prison for turning to robbery. Corporal Oath and the puritanical Nicholas, Simon, and Frailty meet and exchange barbs; Oath is going to prison to find help for Idle and Nicholas realizes that the captain is his cousin, resolving to try to help him as well. At the Marshalsea, Pieboard and Skirmish learn of Idle’s offense, the simpleton Nicholas arrives and protests that he’ll do anything to help his cousin. Idle asks him to steal Sir Godfrey’s very expensive necklace to be pawned for Idle’s bail. Nicholas balks at the sin of “robbing” but agrees that “nimming” is not forbidden in the scriptures. Pieboard then reveals his plan: when the chain goes missing, Godfrey will storm, and Nicholas is to tell him that his imprisoned kinsman can conjure and reveal the location of any object including the necklace. Surely, Godfrey will bail Idle to regain his necklace. Meanwhile, Pieboard will work other plans for fleecing the widow.
Act Two
While Moll plots to find a husband, the Widow berates Godfrey for suggesting that she remarry, and turns away three courtiers who come to her door offering themselves to her and her daughters. When the pious scholar Pieboard arrives, he tells the Widow that he is in communication with her husband, who suffers in purgatory for his hypocritical, puritanical dealings. Though the Widow knows the truth of his dealings, she cannot admit them. Pieboard prophesizes that a fight will break out before her door, leading to bloodshed and a death, and that Godfrey will suffer a loss; if it does not happen, the Widow and Frank will go mad and Moll will be dumb, but if it does, then the Widow and Frank will marry and Moll will be prevented. In soliloquy, Pieboard explains how he’ll bring this to pass: he will have Skirmish and Oath fight at the Widow’s door, then slip a sleeping potion to Oath while ministering to his wound, making him appear temporarily dead; when Skirmish is about to be executed for the murder, Pieboard will intervene to revive Oath and gain a reputation as a miracle worker. Finally, Nicholas arrives with Godfrey’s chain and hides it in the rosemary bush as agreed.
Act Three
Skirmish makes small talk with the Widow’s servants until Oath arrives and they quarrel about calculating time (Oath calls Skirmish a fool for not understanding military time, i.e. that 17 is the same as 5 o’clock). In the brawl, officers arrive to carry off the wounded Oath, just after Pieboard administers his potion; Skirmish, who didn’t realize that was part of the plan, finds himself arrested for murder. The Widow feels reluctant relief that Pieboard’s prophecies have come to pass, saving her from madness, and tries to comfort Godfrey who raves at the loss of his chain. Nicholas mentions that his imprisoned cousin may be able to divine its location. Pieboard thrills that his plan is moving along, but despairs when Puttock and Ravenshaw arrest him for the debts he owes his landlady. He persuades them that a paper in his pocket is a masque he’s written for a nearby gentleman, and that if they’ll take him to that man’s house before they go to the Counter, he will use the payment to settle his debts to the landlady, pay them double their fees, and treat them to a feast. He picks a random gentleman’s house, gains entry, and in hushed conference talks the nobleman into helping him with his trick. They enter further into the house for his “payment,” where Pieboard sneaks out the back door. The sergeants are left to lament their foolish trust of a debtor. Pieboard arrives at the Marshalsea and helps the nervous Idle prepare for the role of conjuror. Godfrey arrives having expunged Idle’s crimes and solicits him to help him with the chain, offering a huge reward. The foolish Nicholas almost wrecks the plot a few times, but at last the conjuror Idle and the seer Pieboard, having consulted their almanac, agree to meet Idle the next day at noon to conjure up a devil who can find the chain.
Act Four
Moll plans her marriage to Pennydub whose country father has just died and left the fortune to him. The Widow tries to put off Muckhill and Tipstaff and when she learns that the conjuror has arrived, she must show them into her gardens to be rid of them. Godfrey and excited Edmund show Idle and Pieboard into the parlor and warn them to keep the devil from burning the tapestry and the plaster. They exit into another room to watch and listen through a keyhole. Idle puts on a good show and the timid Godfrey and Edmund retreat further. When they return, Idle says that the devil has gone and has left the chain on the rosemary bush in the garden. While Godfrey goes for the chain, Edmund remains behind and Idle and Pieboard convince him they have made him invisible. He strikes Godfrey who sees him as plain as day. The Widow finds herself enamored of Idle. Meanwhile, a procession dragging Skirmish to the gallows and Oath in his coffin passes the Widow’s door. Pieboard promises to take Skirmish’s place if he cannot revive Oath, which he does. While relieved, Skirmish promises to get even with Pieboard for the narrow escape. Godfrey calls for a banquet to celebrate the return of his chain, the miracles that have happened, and the marriage of the Widow to Idle and Frank to Pieboard. (There’s still an Act Five, of course...)
Act Five
The foolish Edmund and Frailty quibble over the details of the festivities. Pieboard and Idle arrive for the nuptials. Moll and Pennydub make their own preparations. Informed by Skirmish, the disgruntled Muckhill and Tipstaff plot to ruin the wedding by hiring a nobleman, whose words naturally carry extra weight, to defame the tricksters and support the courtiers. As the Widow’s party heads to church, the nobleman interrupts, reveals how Pieboard and Idle have tricked the Widow and Sir Godfrey. To make the Widow feel better, the nobleman proffers the love of Muckhill and Tipstaff, whom Godfrey now seconds. The nobleman declares that this happy ending has been brought about to make the heavens rejoice.
FINIS
Tuesday, January 22, 2008
Love's Cure or, The Martial Maid
I was just talking about this play with a friend. I don't have Holzknecht handy, so perhaps it's summarized there as well, but I thought I'd write this up all the same. If the folks over at Blogging the Renaissance have an interest in cutting and pasting it to their blog for Holzknecht Redivivus, they're welcome to it. Anyway, enjoy:
Love’s Cure or, The Martial Maid (Beaumont and Fletcher c.1606/ heavily revised by Massinger after c. 1629).
Assistente, or Governor
Vitelli, a young gentleman, enemy to Alvarez.
Lamorall, a fighting gallant, friend to Vitelli.
Anastro, an honest gentleman, friend to Vitelli.
Don Alvarez, a noble gentleman, father to Lucio and Clara.
Siavedra, a friend to Alvarez.
Lucio, Son to Alvarez, a brave young gentleman in womans habit.
Alguazier, a sharking pandarly Constable.
[Piorato, a swordsman]
Pachieco, a Cobler }
Mendoza, a Botcher } of worship
Metaldie, a Smith }
Lazarillo, Pachieco his hungry servant
Bobbadilla, a witty knave, servant to Eugenia, and Steward to Alvarez.
Herald,
Officer
[Servants, pages, watch, guard, attendants]
Eugenia, a virtuous Lady, wife to Don Alvarez.
Clara, Daughter to Eugenia, a martial Maid, valiant and chaste, enamoured of Vitelli
Genevora, Sister to Vitelli, in love with Lucio.
Malroda, a wanton mistirise of Vitelli.
The Scene Sevil
Act I
In Seville, Vitelli reacts violently to the news that his enemy, Alvarez, and his ‘son’ have performed valiant deeds in Flanders and earned the Spanish King’s pardon for murdering Vitelli’s uncle. Alvarez and his ‘son’ return to Seville and rejoin Eugenia, who was pregnant when Alvarez departed. She bore him a son, but raised him as a daughter, ‘Posthumina,’ to protect him from Vitelli’s wrath. Vitelli bursts in on the reunion, but Alvarez’s cross-dressed virago/daughter, Clara, amazed at his valor, protects him from death.
Act II
Four buffoonish craftsmen berate Vitelli’s corrupt minion, Constable Alguazier, into treating them to a meal. Alvarez’s steward, Bobbadilla, mistreats the effeminate Lucio, who is not used to his sword, but suffers the buffets of Clara, who has a hard time accepting a passively feminine role. Vitelli comes to thank Alvarez’s son for protecting him, discovers that his defender was Clara, and the two fall in love.
Act III
Vitelli’s longtime mistress, Malroda, bribes Alguazier to serve as her bawd to the swordsman Piorato. When Bobbadilla hires Piorato to make Lucio act like a man, he mentions that Vitelli and Clara are in love. Piorato reveals this news to Malroda, hoping she’ll leave Vitelli. Malroda sneaks Piorato past Alguazier and Vitelli, picks a quarrel with her lover, and accuses him of throwing her over for Clara. Vitelli denies it and they appear to reconcile. Meanwhile, Clara refuses her mother’s proposed suitor, Siavedra. Piorato can’t make Lucio act more manly, but he reveals Vitelli’s longtime dalliance with Malroda to Clara, who demands visual proof that she’s been betrayed. Alguazier and the craftsmen plot a robbery.
Act IV
Vitelli leaves his sister Genevora with his friend Lamorall and goes to Malroda. Alguazier attempts Malroda, but Vitelli arrives and he skulks off. As Vitelli and his mistress reconcile, Piorato arrives above with Clara. He leaves her with his sword. She watches Malroda and Vitelli quarrel and reconcile again. Just as she despairs, Alguazier brings Piorato in to quarrel with Vitelli. In the confusion, the tradesmen enter and rob Vitelli, but Clara intervenes and everyone flees. She and Vitelli profess their love and he swears off whoring. Alguazier and the tradesmen count their spoils from Vitelli, then Alguazier leaves them to do more villainy. They spy on Alvarez and Bobbadilla who have taken Lucio to a dark alley and issued an ultimatum: fight with the next man and accost the next wench he sees, or be disowned. As Lucio reluctantly and comically attacks Lamorall and Genevora, the craftsmen join the melee. The chaos engulfs Alvarez and Bobbadilla as well. Lucio protects his father, redeeming his reputation, and absconds with Genevora. Alguazier arrives with the watch (including a disguised Assistente, the governor) to break up the scrum. He promises Alvarez that he will punish the rogues severely in private. Alone with them, Alguazier scoffs at civic authority and boasts of their successful schemes, only to suffer when Assistente unmasks. Lucio discovers the pleasure of kissing a woman other than his mother, but when Lamorall challenges him and takes Genevora’s glove-token, he backs down, earning Genevora’s scorn.
Act V
In a duel, Lucio disarms Lamorall but refuses to kill him and tries to console him about the loss of worthless honor. They part as friends. Vitelli arrives to tell Lamorall that the King has agreed to let Vitelli and Alvarez fight a duel to resolve the original dishonor of Vitelli’s uncle’s murder. Lamorall reluctantly agrees to be Vitelli’s second. Genevora receives a message from Clara asking for a secret meeting. Lucio arrives with tokens of his defeat of Lamorall and regains Genevora’s respect and desire. Alvarez and Lucio meet on the field of honor to fight Vitelli and Lamorall. Before they can fight, Eugenia, Clara, and Genevora enter above to try to persuade them to be reconciled. The women appeal to their beloveds, then to their kin, but the men are obstinate. Finally, they call in Bobbadilla with two swords and a pistol and demand that he kill them if the men raise their swords. At last, the men relent and all are reconciled. Assistente then pronounces punishments on Alguazier and his roguish friends, and the play ends with Alvarez and Vitelli commenting on the power of love to restore nature corrupted by custom.
Epilogue:
A brief, generic epilogue (used as well with the Deserving Favorite in 1629) is printed at the end.
Prologue:
There is also a prologue from the play’s revival that praises the original wit of Beaumont and Fletcher, comparing them to Phidias and Apelles.
Love’s Cure or, The Martial Maid (Beaumont and Fletcher c.1606/ heavily revised by Massinger after c. 1629).
Assistente, or Governor
Vitelli, a young gentleman, enemy to Alvarez.
Lamorall, a fighting gallant, friend to Vitelli.
Anastro, an honest gentleman, friend to Vitelli.
Don Alvarez, a noble gentleman, father to Lucio and Clara.
Siavedra, a friend to Alvarez.
Lucio, Son to Alvarez, a brave young gentleman in womans habit.
Alguazier, a sharking pandarly Constable.
[Piorato, a swordsman]
Pachieco, a Cobler }
Mendoza, a Botcher } of worship
Metaldie, a Smith }
Lazarillo, Pachieco his hungry servant
Bobbadilla, a witty knave, servant to Eugenia, and Steward to Alvarez.
Herald,
Officer
[Servants, pages, watch, guard, attendants]
Eugenia, a virtuous Lady, wife to Don Alvarez.
Clara, Daughter to Eugenia, a martial Maid, valiant and chaste, enamoured of Vitelli
Genevora, Sister to Vitelli, in love with Lucio.
Malroda, a wanton mistirise of Vitelli.
The Scene Sevil
Act I
In Seville, Vitelli reacts violently to the news that his enemy, Alvarez, and his ‘son’ have performed valiant deeds in Flanders and earned the Spanish King’s pardon for murdering Vitelli’s uncle. Alvarez and his ‘son’ return to Seville and rejoin Eugenia, who was pregnant when Alvarez departed. She bore him a son, but raised him as a daughter, ‘Posthumina,’ to protect him from Vitelli’s wrath. Vitelli bursts in on the reunion, but Alvarez’s cross-dressed virago/daughter, Clara, amazed at his valor, protects him from death.
Act II
Four buffoonish craftsmen berate Vitelli’s corrupt minion, Constable Alguazier, into treating them to a meal. Alvarez’s steward, Bobbadilla, mistreats the effeminate Lucio, who is not used to his sword, but suffers the buffets of Clara, who has a hard time accepting a passively feminine role. Vitelli comes to thank Alvarez’s son for protecting him, discovers that his defender was Clara, and the two fall in love.
Act III
Vitelli’s longtime mistress, Malroda, bribes Alguazier to serve as her bawd to the swordsman Piorato. When Bobbadilla hires Piorato to make Lucio act like a man, he mentions that Vitelli and Clara are in love. Piorato reveals this news to Malroda, hoping she’ll leave Vitelli. Malroda sneaks Piorato past Alguazier and Vitelli, picks a quarrel with her lover, and accuses him of throwing her over for Clara. Vitelli denies it and they appear to reconcile. Meanwhile, Clara refuses her mother’s proposed suitor, Siavedra. Piorato can’t make Lucio act more manly, but he reveals Vitelli’s longtime dalliance with Malroda to Clara, who demands visual proof that she’s been betrayed. Alguazier and the craftsmen plot a robbery.
Act IV
Vitelli leaves his sister Genevora with his friend Lamorall and goes to Malroda. Alguazier attempts Malroda, but Vitelli arrives and he skulks off. As Vitelli and his mistress reconcile, Piorato arrives above with Clara. He leaves her with his sword. She watches Malroda and Vitelli quarrel and reconcile again. Just as she despairs, Alguazier brings Piorato in to quarrel with Vitelli. In the confusion, the tradesmen enter and rob Vitelli, but Clara intervenes and everyone flees. She and Vitelli profess their love and he swears off whoring. Alguazier and the tradesmen count their spoils from Vitelli, then Alguazier leaves them to do more villainy. They spy on Alvarez and Bobbadilla who have taken Lucio to a dark alley and issued an ultimatum: fight with the next man and accost the next wench he sees, or be disowned. As Lucio reluctantly and comically attacks Lamorall and Genevora, the craftsmen join the melee. The chaos engulfs Alvarez and Bobbadilla as well. Lucio protects his father, redeeming his reputation, and absconds with Genevora. Alguazier arrives with the watch (including a disguised Assistente, the governor) to break up the scrum. He promises Alvarez that he will punish the rogues severely in private. Alone with them, Alguazier scoffs at civic authority and boasts of their successful schemes, only to suffer when Assistente unmasks. Lucio discovers the pleasure of kissing a woman other than his mother, but when Lamorall challenges him and takes Genevora’s glove-token, he backs down, earning Genevora’s scorn.
Act V
In a duel, Lucio disarms Lamorall but refuses to kill him and tries to console him about the loss of worthless honor. They part as friends. Vitelli arrives to tell Lamorall that the King has agreed to let Vitelli and Alvarez fight a duel to resolve the original dishonor of Vitelli’s uncle’s murder. Lamorall reluctantly agrees to be Vitelli’s second. Genevora receives a message from Clara asking for a secret meeting. Lucio arrives with tokens of his defeat of Lamorall and regains Genevora’s respect and desire. Alvarez and Lucio meet on the field of honor to fight Vitelli and Lamorall. Before they can fight, Eugenia, Clara, and Genevora enter above to try to persuade them to be reconciled. The women appeal to their beloveds, then to their kin, but the men are obstinate. Finally, they call in Bobbadilla with two swords and a pistol and demand that he kill them if the men raise their swords. At last, the men relent and all are reconciled. Assistente then pronounces punishments on Alguazier and his roguish friends, and the play ends with Alvarez and Vitelli commenting on the power of love to restore nature corrupted by custom.
Epilogue:
A brief, generic epilogue (used as well with the Deserving Favorite in 1629) is printed at the end.
Prologue:
There is also a prologue from the play’s revival that praises the original wit of Beaumont and Fletcher, comparing them to Phidias and Apelles.