The Merchant of Venice (Shakespeare, 1596-98)

Setting: Italy.

Act One
Scene 1: Venetian street. Accompanied by his friends Salarino and Salanio, Antonio reflects on not knowing the cause of his sadness. His friends suggest that he is distracted by the thoughts of his ships at sea and will not be easy until they have arrived in port, but he denies this – so Salarino suggests that he is in love. Antonio denies this too. Antonio’s cousin Bassanio enters with Lorenzo and Gratiano, and so Salarino and Salanio leave them to cheer Antonio up. Lorenzo and Gratiano agree to meet Bassanio at dinner later, and leave, although not before commenting on how gloomy Antonio looks. Alone, Bassanio confesses his money woes to Antonio, and goes on to tell him about his love for the beautiful Portia, who lives in Belmont and is courted by many men. Antonio can offer him no more money, but sends him to Belmont and tells him to use him as a guarantor to get money.
Scene 2: Portia’s house, Belmont. Portia explains to her maid Nerissa that she is tired of life, but Nerissa points out her many fortunes. Portia is frustrated because her late father’s will stipulates that she may only marry a man who chooses correctly from three chests of gold, silver, and lead. She is not delighted by the prospect of any of her suitors: a Neopolitan prince obsessed with horses; a county Palatine who is very severe; a French lord who is very boastful; Baron Faulconbridge who is nice but speaks none of the same languages as Portia; a Scottish lord who spends all his time fighting the English baron; and a young German man who is an unpleasant drunkard. Nerissa reassures her that none of these men want any part of the contest, much to Portia’s relief – but that means that she must remain unmarried. Nerissa reminds her of Bassiano, and Portia admits that she was fond of him. They are interrupted by a servant, who comes with news that four strangers wish to take their leave of Portia, and a fifth comes with news that a Moroccan prince will be there that evening. Portia is unenthusiastic but resigned.
Scene 3: A public place in Venice. Bassanio has asked Shylock to lend him three thousand ducats for three months, using Antonio as his guarantor. Shylock ponders the offer, then accepts, but wants to meet with Antonio first. Bassanio invites him to eat with them but Shylock scornfully declines: “Yes, to smell pork; to eat of the habitation which your prophet, the Nazarite, conjured the devil into: I will buy with you, sell with you, talk with you, walk with you, and so following; but I will not eat with you, drink with you, nor pray with you.” Antonio enters and Shylock reflects on how he hates him for being a Christian and for his freedom with lending money, thus driving down the usury rates. Antonio and Shylock agree on the terms of the loan, but due to the past slights that Shylock has received from Antonio, he has a strange stipulation: if Antonio fails to pay, he will permit Shylock to take a pound of his flesh from anywhere on his body. Antonio agrees, confident that he will have ready money soon. They agree to meet at the notary’s to sign the bond and Shylock leaves. Bassanio expresses his concern but Antonio reassures him: his ships come in a day before the debt is sue to be repaid.

Act Two
Scene 1: Portia’s house. The Prince of the Morocco enters with his train and meets Portia, Nerissa, and her attendants. He tells her to overlook his appearance and pleads his bravery; she points out that her marriage is subject to the outcome of her father’s test, but says that if it were entirely up to her, he stands as good a chance as any of her suitors. He thanks her, and they agree that he will take the test after dinner.
Scene 2: Venetian street. Launcelot Gobbo, Shylock’s servant, wonders whether he should leave his master’s service. His old blind father enters and, not recognising him, asks him the way to Shylock’s house. Launcelot decides to play a trick on him and gives him obscure instructions. When Old Gobbo asks if he has seen his son, Launcelot says that he is dead. Old Gobbo is distraught so Launcelot ends the charade; his father is loathe to believe him at first, as Launcelot has changed so much. Bassanio enters with Leonardo and his followers, and Launcelot and Old Gobbo scramble to talk to him. Launcelot eventually declares that he wishes to leave Shylock’s service and become Bassanio’s servant instead, and Bassanio accepts him.
Scene 3: Shylock’s house. Shylock’s daughter Jessica is bidding Launcelot farewell with some regret, as he was the only person who livened up the house. He leaves and, alone, Jessica reflects on her love for Lorenzo and her intention to marry him and become a Christian.
Scene 4: Venetian street. Gratiano, Lorenzo, Salarino, and Salerio enter, with plans to disguise themselves at Lorenzo’s lodgings, but they are interrupted by Launcelot who is carrying a letter. It is a love-letter from Jessica to Lorenzo; Lorenzo bids Launcelot to tell Jessica that he will rescue her. In her letter, Lorenzo then reveals to Gratiano, Jessica has promised to rob her father of all his things so that she can elope with Lorenzo.
Scene 5: Outside Shylock’s house. Shylock is preparing to leave to dine with Bassanio. He gives Jessica his keys, but is stopped by a feeling of foreboding: he has dreamt of money-bags. Launcelot tells him that there will be masques, which horrifies Shylock, who tells Jessica to ensure that the house is locked up. He sends Launcelot off ahead of him – although Launcelot manages to pass on Lorenzo’s message to Jessica – and after bidding his daughter farewell, leaves to join Bassanio.
Scene 6: Outside Shylock’s house. Gratiana and Salarino enter, masked. They are waiting for Lorenzo, who is slow in coming. He arrives at last and Jessica appears above, wearing boy’s clothes. She tosses down a basket of treasure to him, and then joins them below. The couple leave with Salarino, but Gratiano runs into Antonio, who bids him stay at home; the weather has become too bad for a masque.
Scene 7: Portia’s house, Belmont. Portia invites the Moroccan prince to choose from the three caskets. He reads the inscriptions and attempts to puzzle out the correct answer and eventually chooses the golden casket. He has chosen incorrectly! He accepts the judgement with some regret and leaves; privately, Portia expresses her pleasure that he picked the wrong casket.
Scene 8: Venetian street. Salarino and Salanio meet to discuss the scandal: Shylock has discovered that Jessica has escaped with Lorenzo and all of his money. He is now wandering the streets, chased by schoolboys and crying: “My daughter! – O my ducats! – O my daughter! / Fled with a Christian? – O my christian ducats! – / Justice! the law! my ducats! and my daughter!” Salarino and Salerio are amused by what has happened, but reflect that Antonio had better ensure that he keep his bargain with Shylock, who will be feeling especially vengeful now. This reminds Salarino that he has heard a rumour that a Venetian ship has sunk; Salerio advises him to tell Antonio, in case it is his. They leave to break the news to him.
Scene 9: Portia’s house, Belmont. Nerissa enters in a hurry to prepare the room for the Prince of Aragon, who follows close behind with Portia. Portia shows the prince the caskets and tells him the rules. Like the Moroccan prince before him, this new suitor attempts to work out which is the correct casket. He chooses the silver one – and is wrong. He leaves in a huff, and Portia is happy once more. Before she can draw the curtain on the caskets, however, a servant enters with news that a young Venetian is at her gate. Portia agrees to see him, and Nerissa expresses her hope that it is Bassanio’s servant.

Act Three
Scene 1: Venetian street. Salarino and Salerio have confirmed the bad news: it is Antonio’s ship which has sunk. Before they can leave, however, Shylock enters. Shylock is still preoccupied with his daughter’s betrayal; he accuses the two men of knowing about it ahead of time, which they readily admit. Salarino then nervously asks him if he has heard of Antonio having any losses and Shylock says he has. He curses Antonio as another bad bet and Salarino presses him further: will he insist on taking Antonio’s flesh? Shylock will: “He hath disgraced me, and hindered me of half a million; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies; and what’s his reason? I am a Jew: Hath not a Jew eyes? hath not a Jew hands, organs, dimensions, senses, affections, passions? fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a Christian is? if you prick us, do we not bleed? if you tickle us, do we not laugh? if you poison us, do we not die? and if you wrong us, shall we not revenge? if we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? revenge; If a Christian wrong a Jew, what should his sufferance be by Christian example? why, revenge. The villainy you teach me, I will execute; and it shall go hard, but I will better the instruction.” A servant enters to summon Salarino and Salerio to Antonio’s house; then Shylock’s friend Tubal arrives. He has been searching for Jessica and Lorenzo but can only say that they are in Genoa. Shylock is incensed: “The curse never fell upon our nation till now; I never felt it till now:- two thousand ducats in that; and other precious precious jewels.- I would, my daughter were dead at my foot, and the jewels in her ear! ‘would she were hears’d at my foot, and the ducats in her coffin.” Tubal intersperses his news of Jessica’s reckless spending in Genoa with the information about Antonio’s lost fortune, and Shylock vows to have his revenge.
Scene 2: Portia’s house, Belmont. It is Bassanio’s turn to choose from the caskets, but Portia encourages him to take his time in choosing – she enjoys his company, and if he chooses wrong, he will have to leave. Bassanio, however, wants to choose quickly as he is feeling tortured by the uncertainty. Portia accepts this, but commands her musicians to play for him while he chooses. A song plays and Bassanio ponders the deceptiveness of outward appearances. He is drawn to the lead casket, and opens it – revealing Portia’s portrait! He has chosen correctly and gives Portia a kiss. They declare their love for one another, and their happiness. Nerissa and Gratiano wish them joy – and announce their own intention to be married. The celebration is interrupted by the entrance of Lorenzo, Jessica, and Salerio, who have brought a letter to Bassanio from Antonio. They offer up the news that Antonio is not doing well, and the letter explains all. Bassanio tells the group that all of Antonio’s ventures have failed. Salerio adds that Shylock is now insisting on payment – or rather, flesh. Jessica confirms that it is the flesh that her father most wants. Portia immediately insists on paying the full amount, and more if necessary, telling Bassiano that they will marry at once and then he can sail to Venice with the money and then bring Antonio back with him. Bassanio reads Antonio’s letter aloud, and Portia bids him be on his way.
Scene 3: Venetian street. Shylock is taunting Antonio, who is pleading for clemency – but Shylock already has a gaoler. Shylock leaves and Salanio tries to comfort Antonio, telling him that the Duke will never uphold the punishment. Antonio is pessimistic, however: the Duke will never do anything to bend justice, therefore he is resigned to his fate. He allows the gaoler to take him away. The date is set for the pound of flesh to be taken the following day.
Scene 4: Portia’s house, Belmont. Lorenzo compliments Portia on her generosity and goodness, but Portia says that any friend of Bassanio’s is her own friend. She then gives Lorenzo the management of her own household: she and Nerissa are going to a monastery until Bassanio arrives home. They agree, and leave. Portia then summons her servant and gives him a letter to take to her cousin Dr Bellario in Padua. Alone with Nerissa, she then suggests they disguise themselves as boys; Nerissa is unsure, but the two exit to prepare for their journey.
Scene 5: A garden, Belmont. Launcelot and Jessica joke with one another about Jews and Christians. Launcelot enters to join the fun, and leads Jessica off to dinner.

A Midsummer Night’s Dream (Shakespeare, 1595)

Setting: Athens, ancient times.

Act One
Scene 1: Theseus’ palace. Theseus and Hippolyta happily discuss their upcoming wedding. Theseus tells his Master of Revels, Philostrate, to rile up the public to make merry for the celebration. He tells his fiancee: “Hippolyta, I woo’d thee with my sword, / And won thy love, doing thee injuries; / But I will wed thee in another key, / With pomp with triumph and with revelling.” Egeus enters with Hermia, Lysander, Demetrius, and a complaint: he has arranged a marriage between his daughter Hermia and Demetrius, but Hermia has been wooed by Lysander and now refuses to marry anyone else. Although Hermia insists that her love for Lysander is real, Theseus gravely informs her that if she does not follow her father’s will, she will be sent to a nunnery. Hermia stubbornly accepts this, and Theseus tells her that she has until his own wedding day and she must then choose between death, marriage to Demetrius, and the nunnery. Lysander likewise refuses to give Hermia up, and tells Egeus that Demetrius has seduced Helena. Theseus sweeps out to discuss marriage business and most of the others follow, leaving Lysander and Hermia alone. They complain about their plight, but Lysander has a plan: he has a widowed aunt who lives far from the reaches of Athens. If Hermia will agree to meet him in the woods the following night, they can go to his aunt’s house and be married there. Hermia happily agrees, but they are interrupted by the entrance of Helena, who is distraught that Demetrius does not love her and only has eyes for Hermia. Hermia comforts her by telling her all about her and Lysander’s plan. They leave Helena alone, who is still upset – until she has the idea to win favour with Demetrius by telling him about Hermia’s intended flight.
Scene 2: Cottage. The actors have gathered to receive their parts for their play, Pyramus and Thisby. Bottom the weaver has been cast as the tragical lover Pyramus, but he would much rather play a warrior, and is keen to also play the parts of Thisby and the lion. They discuss costuming (Bottom wants to wear an extravagant fake beard), and then Peter Quince, the director, hands out the parts and suggests that they all meet to rehearse in the woods the following night.

Act Two
Scene 1: Woodland. Puck and a Fairy meet and describe their adventures. Puck says that his master, King Oberon, wants Queen Titania’s changeling child (a young Indian prince) for himself, but she refuses to give him up. As a result, the royal couple are arguing. He then discusses all the pranks that he is known to play.
Scene 2: Woodland. Oberon and Titania meet and argue, she refusing to give up her prince. She sweeps off and Oberon calls Puck to him, He tells him about a certain flower that can induce a love-spell, and tells Puck to fetch it for him. Puck leaves, promising to return soon, and Oberon reflects on his plan to make Titania fall in love with the first thing she sees so that he can take the prince from her. Demetrius and Helena enter, and he becomes invisible to watch them. Demetrius is on the trail of Hermia and Lysander and is trying to shake off Helena. She refuses to leave him, telling him that even as he is cruel to her, she loves him. They wander off and Puck returns. Oberon tells Puck to put the juice of the flower in Titania’s eyes while she sleeps, and to do the same with the Athenian youth he has just encountered.
Scene 3: Woodland. Titania’s fairies sing her to sleep. Oberon enters and squeezes the juice from the flower into her eyes and tells her to wake only when a foul beast is near. Lysander and Hermia enter, tired from their night of travelling. They lie down to sleep a little way from one another, for modesty’s sake. Puck enters and assumes that Lysander and Hermia are the couple he has been looking for, so he squeezes the flower’s juice into Lysander’s eyes and leaves. Demetrius and Helena then enter, running, but she cannot keep up with him and so collapses on the ground while he runs off. She laments her fate, but then sees Lysander asleep and wakes him. He sits up – and falls madly in love with her! She assumes that he is making fun of her and leaves; he follows close behind, speaking of his newfound hatred of Hermia. Hermia then awakes from a bad dream. She realises that Lysander is gone and hurries off to look for him.

Act Three
Scene 1: Woodland. The actors gather near to where Titania sleeps. Bottom has many complaints about the play; he is concerned that the ladies will be scared if Pyramus is seen to kill himself, and if they see the lion. These problems are resolved, but new ones appear: how to stage the moonlight and the wall? They decide to use natural moonlight and that they will have a man act the part of the wall. The rehearsal can now begin, but Puck enters and decides to have some fun. After Bottom has made his first speech, he leads him out and replaces his head with that of an ass. He then leads him back to the other actors, who flee in terror. Bottom is deeply insulted and wanders around, singing, and wakes Titania – who is enthralled by him: “What angel wakes me from my flowery bed?” She praises his beauty and wit, demands that he stay with her in the woods, and orders her fairies to treat him well. He introduces himself to them and is led away to Titania’s bower.
Scene 2: Woodland. Oberon asks Puck if Titania has awoken yet, and Puck tells him all about Titania’s passion for Bottom. Oberon is very pleased, and Puck goes on to tell him that he managed to drug the Athenian as well. Demetrius and Hermia enter, her accusing him of murdering Lysander. Demetrius is cagey at first, but then admits that he is no murderer and Lysander is still alive, as far as he knows. She leaves and he lies down to go to sleep, while Oberon realises that Puck has drugged the wrong man and demands that the fairy go and fetch Helena. Puck leaves while Oberon casts a spell to make Demetrius fall in love with Helena when he wakes up, and Puck soon returns with Helena and Lysander following behind. Their arguing awakens Demetrius, who promptly falls in love with Helena. Unfortunately, she believes that he is just conspiring with Lysander to make fun of her. Demetrius and Lysander argue with each other over who deserves Helena, and then Hermia enters. She is startled to find Lysander’s hatred of her, and Helena bitterly accuses her of being in on the joke as well. Demetrius and Lysander continue arguing and eventually agree to fight one another, “to try whose right / Or thine or mine is most in Helena.” Helena also leaves, disgusted with them all, and Hermia pursues her. Oberon angrily blames Puck for this outcome; Puck claims that it is not his fault but admits that he is enjoying the confusion he has caused. Oberon tells him to confuse Demetrius and Lysander in the woods so that they cannot find one another to fight, and once they sleep, to put a potion into Lysander’s eye to set him right. When the lovers awaken, they will think all this has been a dream, and will return to Athens to be married. Oberon, meanwhile, will go to ask Titania to give him her Indian prince, and then break her love-spell. Puck agree but reminds Oberon that this all must be done quickly: it is nearly dawn. Oberon leaves and Lysander enters, searching for Demetrius. Puck imitates Demetrius’s voice to taunt him and Lysander follows him out; Demetrius then enters and Puck pretends to be Lysander. Lysander enters once more, tired, confused, and angry, and so he lies down to sleep. Puck and Demetrius enter; Demetrius is also exhausted and also decides to sleep. Finally, Helena and Hermia enter one after the other and lie down to sleep as well. Puck squeezes the flower juice on Lysander’s eyes and bids him fall in love with Hermia once more.

Act Four
Scene 1: Woodland. Titania bids Bottom sit with her on a bed of flowers. Bottom orders the fairies to fetch him various things and then he and Titania snuggle down to sleep next to one another. Oberon and Puck enter, Oberon admitting that he has begun to feel sorry for her. She has willingly given him the prince, so he now tells Puck to remove the donkey’s head from Puck and send him back to Athens. Oberon himself cures Titania and awakens her. She sees him and is in love once more, telling him that she dreamt that she was in love with an ass. Oberon shows her the sleeping Bottom and she is disgusted. Oberon tells Puck to right Bottom and calls for music. He leads Titania away. Theseus, Hippolyta, and Egeus enter. They encounter the four Athenian lovers and assume they have risen early to observe the May-day rituals. Theseus bids huntsmen wake them with their horns. They wake and Lysander confesses that he and Hermia were fleeing Athens to marry. Egeus is furious and demands that Demetrius join him in pursuing justice – but Demetrius announces that he now loves Helena and considers himslf engaged to her. Theseus announces that he is overruling Egeus’s will and wants the young lovers to marry at the same time as his marriage to Hippolyta. He, Hippolyta, and Egeus leave. Confused, the lovers follow behind. Bottom then wakes up and believes all that has happened to him to be a dream. He leaves, planning to have Quince write him a ballad for the play all about his dreamland adventures.
Scene 2: Quince’s house. Quince asks the other actors if they have heard from Bottom. They haven’t, and the play may have to be cancelled if he is not found as no one else has the skill to play Pyramus. Snug enters with news that more people are to be married. Bottom then arrives; his fellow actors are overjoyed but he insists on hurrying on with the preparations for the play.

Act Five
Scene 1: Theseus’s palace. Theseus, Hippolyta,and Philostrate enter with lords and Attendants. Theseus and Hippolyta puzzle over the story that the young lovers have told them: Theseus doesn’t believe a word of it but Hippolyta doesn’t understand how they could have all told the same story. The other four then enter and Theseus calls for some entertainment. Philostrate shows him the programme – and Theseus rejects everything except for Quince’s play. Philostrate warns him against it, but Theseus is intrigued, especially after he hears that it was prepared especially for the occasion, and insists on seeing it, “For never any thing can be amiss / When simpleness and duty tender it.” The play begins and the audience makes fun of it. Eventually, Theseus cuts off the ending and sends everyone to bed.
Scene 2. Puck enters and reflects upon nighttime being fairy time. Oberon, Titania, and their train enter and sing and dance a blessing upon the three mortal couples.

The Comical Revenge (Etherege, 1664)

Setting: London.

Act One
Scene 1: Ante-chamber to Sir Frederick Frolick’s bedchamber. Frolick’s French manservant Dufoy enters with a plaster on his head, followed by Beaufort’s Clerk. Dufoy is in a bad mood and threatens to leave England forever: last night he recommended that Frolick go to bed but Frolick was drunk and struck him over the head. The Clerk sympathises but ultimately just wants to see Frolick.
Scene 2: Frolick’s bedchamber. Dufoy enters and complains about his head to Frolick, who is in bed. Frolick expresses some apology after being pressed, and offers to pay for the plaster; Dufoy is not really mollified, but announces the Clerk. Frolick considers that drunkenness is not so wrong: “I am of opinion tħat drunkenness is not so / Damnable a sin to me as ’tis to many; Sorrow / And Repentance are sure to be my first Work / The next morning.” The Clerk’s message is brief, letting Frolick know that Beaufort (his cousin) will call on him later. He leaves, and Dufoy tells Frolick of all the people who have besieged the house after his drunken night. Frolick tells Dufoy to dismiss them all, except for the chambermaid. He will deal with her himself. Jenny, “Wheadle’s Wenches Maid,” enters, furious that Frolick came to her mistress’s house at two o’clock in the morning and wouldn’t stop knocking on the door; they are worried that they must now move as he bothered all the neighbours: “Because we would not let you in at that / Unseasonable hour, you and your rude / Ranting Companions hoop’d and hollow’d like / Mad-men and roar’d out in the Streets, / A whore, a whore, a whore; you need not have / Knock’d good people out of their Beds, you / Might have met with them had been good / Enough for your purpose abroad.” He apologises and tries to hug her. She threatens to scream and tells him that her mistress will never see him again. Beaufort then enters; Frolick covers Jenny’s mouth so that she can’t tell him anything, but she is defiant: “Pray tell the Consequence, how you march’d / Bravely at the rere of an Army of / Link-boys; upon the sudden, how you gave / Defiance, and then wag’d a bloody war with / Constable; and having vanquish’d that / Dreadful enemy, how you committed a general / Massacre on the glass-windows: Are not these / Most honourable atchievements, such as will be / Registred to your eternal Fame, by the most / Learn’d Historians of Hicks’s Hall.” He flirts with her a little in whispers, and she weakens. She and Dufoy insult one another and both leave. Alone, Frolick tells Beaufort all about Wheadle, the man who keeps Jenny’s mistress. Wheadle is good friends with Sir Nicholas Culley, “one whom Oliver, for the / Transcendent knavery and disloyalty of / His Father, has dishonoured with Knight-hood; / A fellow as poor in experience as in parts, / And one that has a vain-glorious humor to gain a / Reputation amongst the Gentry, by feigning good nature, and / An affećtion to the King and his Party.” Frolick sometimes socialises with them both, and knows that they rack up many bills. Beaufort happily tells his cousin of his inevitable marriage to Graciana. Frolick is cynical but Beaufort brushes him off and invites him as his guest to Lord Bevill’s dinner table. Frolick was meant to dine with his mistress, Lucy, but decides to break that date. Beaufort tells him that Bevill’s sister, a wealthy widow, will also be there, and she has designs on Frolick.
Scene 3: Wheadle’s lodgings. Wheadle consoles Thomas Palmer, who has had great gambling losses, telling of his friend Cully, who pays most of his bills. He tells Palmer to disguise himself like a thrifty man just come up from the country and to meet him at the Devil Inn at three o’clock. Palmer leaves and Cully enters. Palmer lies, telling him that they have been invited to a rendezvous with a newly-married woman who dislikes her husband. Cully is very interested and Palmer tells him to meet him at the Devil at three.
Scene 4: Lord Bevill’s house. Aurelia hands her sister Graciana a love-letter from Colonel Bruce but she rejects it. Aurelia berates her but they are interrupted by the arrival of their father Bevill, their brother Lovis, and their aunt, the Widow Rich. Lovis is concerned that their family honour is in question as Bevill encouraged Bruce to court Graciana, but now the match is off. Bevill shuts him down. They all go off to dine – except for Aurelia, who lingers to reflect upon how she is secretly in love with Bruce herself.

Act Two
Scene 1: Bevill’s house. The Clerk remarks that Dufoy is looking unwell after the wound that Frolick gave him, but Dufoy says he is wrong: it is actually because he has lost money to an English whore. The Clerk leaves and Frolick enters with the Widow and her maid Betty, flirting. They turn to Dufoy, who claims to be heartbroken over Betty. Betty is outraged at the accusation and leaves. Frolick and the Widow continue their flirtations and wander off to walk in the park.
Scene 2: Bevill’s garden. Beaufort and Graciana are walking and discussing how open they have been about their love for one another. Graciana is worried that she has not been as discreet as a woman should be: “Our weaker Sex glories in a Surprise, / We boast the sudden Conquests of our Eyes; / But Men esteem a Fo that dares contend, / One that with noble Courage does defend, / A wounded Heart; the Victories they gain / Tħey prize by their own hazard and their pain.” Lovis passes through and Beaufort greets him but is rebuffed. Graciana weeps: she is worried that her brother is going mad. Beaufort tries to comfort her: “Your Brother is a Man, whose noble Mind / Was to severest Virtue still inclin’d; / He in the School of Honor has been bređ, / And all her subtle Laws with heed has read.” Graciana explains that Lovis is good friends with Bruce, who wants to marry her, and Bruce has been pressuring Lovis to make the match. Frolick and the Widow enter and invite Beaufort and Graciana to join them at the park. They also invite Aurelia, who has just entered with her maid Leticia, but she declines and so the party leaves, with only Aurelia and Leticia remaining. Aurelia confesses that she is unhappy in love and Leticia tells her that she has also been heartbroken, by a man from a higher social class than she. She tells Aurelia that time will heal her pain and the two women sing together, then Leticia recommends that Aurelia try and rest.
Scene 3: Tavern. At the Devil, Wheadle gives Palmer’s footboy a letter and tells him to give it back to him when Cully arrives. Palmer (disguised as a “Buckinghamshire Grasier”) and Cully soon enter and the footboy dutifully gives Wheadle the letter. Wheadle reads it and pretends to be displeased; when Cully asks what it says, Wheadle gives it to him: it is a cancellation of their rendezvous, as the lady has to go to Greenwich with her husband. Cully calls for wine to improve their evening and Palmer sings a drinking song before leaving on false business. Wheadle tells Cully all about Palmer’s position as a grasier, telling him that he is very wealthy and encouraging him to con him out of his money. Palmer returns with a great deal of money and there is more singing and drinking. Wheadle tells Cully to call for dice so that he can begin to trick Palmer, and then men march off into another room to commence gambling.

Act Three
Scene 1: Tavern. The gambling has finished and Cully owes Palmer a lot of money – that he is reluctant to pay. He would rather fight, and Wheadle takes Cully’s side. They agree to meet and fight the following morning at eight, and Wheadle and Cully leave, laughing.
Scene 2: Covent Garden. Frolick enters with fiddlers and link-boys and borrows a bell from a bell-man. He proceeds to make a great racket outside the Widow’s house and her maid comes to the window. He is rude to her and she is quickly replaced by the Widow herself. She is unimpressed by his antics and leaves, but returns when he orders the fiddlers to sing a song about her. He eventually convinces her to let him in. Before he enters, he runs into Palmer, who tells him of his plot to “bubble” Cully.
Scene 3: Widow’s house. Frolick flirts with the Widow and kisses her but she is not so easily won over. He calls in his fiddlers and link-boys, who are actually dancing-masters in disguise, and they put on an entertainment for the Widow. Afterwards, Frolick asks the Widow to let him stay the night, but she sends him on his way.
Scene 4: Frolick’s lodging. Dufoy and the Clerk gossip about Frolick being out so late. Dufoy tells the Clerk how he came to work for Frolick, with the foot-boy rudely interjecting periodically. A foot-man then enters to summon Dufoy to see the apothecary outside.
Scene 5: Field. Wheadle and Cully arrive to fight a duel; Cully wishes that they’d got his neighbour Colonel Hewson to send some musketeers his way, but Wheadle points out that then his honour would be in question. At first it seems as though Palmer will not arrive, but he shortly enters with his second. Cully is very nervous. The men strip and measure swords, but Cully dithers: “I will not rend the buttons from my / Doublet for no mans pleasure.” Wheadle and Palmer’s second fight but when Palmer turns to Cully, Cully changes his mind: “My Conscience will not let me fight in a wrong / Cause; I will pay the money, I have fairly lost it.” Wheadle expresses his disgust at Cully’s fear and wants to fight anyway. Wheadle is held back, however, and Palmer’s second produces a judgement of debt for Cully to sign, which he duly does. Palmer and his second ride off to the tavern, singing, and Cully and Wheadle slink away.
Scene 6: Bevill’s house. Lovis is begging his father to protect the family honour, but Bevill rebukes his insolence and leaves. Lovis reflects on the nature of beauty, until he is joined by Bruce. Bruce is in a good mood, hoping to soon be united with Graciana, but Lovis bitterly wishes her dead. Before he can explain, Aurelia enters, and it falls upon her to tell Bruce that Graciana has fallen in love with another. Bruce is devastated, but admits that she probably pitied rather than loved him all along. Lovis is very angry for him, and disgusted by Beaufort’s foreign ways, and when a servant enters with news that Beaufort and Graciana are walking in the garden, insists that Bruce go and challenge him. Bruce is initially reluctant but Lovis goads him on until the two leave to confront Beaufort, to Aurelia’s horror.
Scene 7: Bevill’s garden. Beaufort and Graciana are talking of Bruce, when Bruce and Lovis pop out and surprise them! Bruce insists that she is his but Beaufort intervenes. Graciana tries to calm them both down but they continue arguing. In their heat, they agree to meet and fight at a later date, and it is only Graciana holding Beaufort back that stops them from fighting immediately. Bruce and Lovis leaves and Beaufort berates Graciana for restraining him. She begs him not to fight, and he calms himself.

Act Four
Scene 1. Lovis and Beaufort have just settled the terms of the duel, and Lovis leaves. Frolick enters to offer to act as Beaufort’s second – although he does remind him that Graciana does not want him to fight. Beaufort is firm, however: “Cousin, my love to her cannot make me forget my duty / To my Family.” They leave to prepare for the duel.
Scene 2. Palmer (dressed like Bevill) and Wheadle await Cully; when they hear him coming, Palmer slips away. Cully, dressed in clothes to rival Frolick in the hope of marrying the Widow. Wheadle assures him that the Widow has been told very good things about him, and the two leave to go to the tavern for wine.
Scene 3. Palmer flirts with Grace, Wheadle’s mistress who is dressed like the Widow. Wheadle enters with Cully, hugely drunk, and is introduced to Palmer (who is still in disguise as Bevill). Palmer leaves to fetch his “sister” while Cully and Wheadle discuss the prospect of smashing the windows with their swords; when Palmer returns, he has Grace with him, whom he introduces as the Widow. She flirts and drinks with Cully, who suggests that they go for a night-time walk together, telling her about all of the pranks he will play: “Thou shalt be witness how many Constables / Staves I’le break about the Warchmens ears: / How many Bell-men I’le rob of their Verses, / To furnish a little Appartment in the back-side / Of my Lodging.” They all agree that Cully and the “Widow” should marry and have many children, and when Grace leaves, Cully chases off after her. Wheadle is very pleased with how things are progressing: as long as Cully can be kept drunk, he will marry Grace and then Wheadle and Palmer will have control over his estate.
Scene 4: Field. Bruce and Lovis “traverse the Stage.” Four or five men then enter, “unacquainted with Compassion,” in order to find and kill Bruce. They are acting on a revenge plot from the first man, who hates Bruce for killing his father at the Battle of Naseby. When another man doubtfully suggests that the father was fairly killed, the first man doesn’t care. For years he tried to have him killed by legal means by falsely accusing him to Cromwell – but his plot has been discovered and Bruce has been released from prison, so the man must find another way to get revenge. The other men, being hired assassins, accept this, and they all exit. Bruce and Lovis enter, then Beaufort and Frolick “at another door.” Bruce thanks Lovis for his loyalty to him, but Lovis tells him to think nothing of it: “Shou’d I your friendship and my Honour rate / Below the value of a poor Estate, / A heap of dirt! Our Family has been / To blame, my blood must here atone the sin.” The villains then enter and, their leader pulling off his mask, attack Bruce and Lovis. Outmatched by sheer number, they are saved by Beaufort and Frolick, who enter and are horrified by the sight: “Heavens! what’s this I see! Sir Frederick, draw; / Their blood’s too good to grace such / Villains Swords, Courage, brave men; now / We can match their Force.” The four heroes manage to beat the villains down, making them run off, and they agree not to pursue them as they are “not worth pursuit.” Bruce thanks Beaufort for his help, but Beaufort explains that “We come to conquer, Bruce, and not to see / Such Villains rob us of our victory. / Your lives our fatal swords claim as their due; / W’ad wrong’d our selves had we not righted you.” He, Lovis, and Frolick begin to strip for the fight, but Bruce wavers: would it be right to fight the man who just saved his life? He offers to allow Beaufort to wound him, to satisfy honour, but this disgusts Beaufort, who insists on combat: “I come to conquer bravely in the Field, / Not to take poor revenge on such as yield. / Has nothing pow’r, too backward man, to move / Thy Courage? Think on thy neglected Love: / Think on the beauteous Graciana‘s Eyes; / ‘Tis I have robb’d thee of that glorious prize.” At these words, Bruce is moved to fight, and “strips hastily.” The men all fight, and eventually Beaufort manages to disarm Bruce. He returns him his sword and permits him to live. Lovis is disgusted at the “bloodless Field.” Bruce admires Beaufort’s honour and courage and thanks him for his generosity in giving him his life twice – but he can never overcome the loss of Graciana, and so he falls on his sword. Beaufort runs to take him in his arms and Lovis, devastated, tries to fall on his sword as well, and is only prevented from doing so by Frolick. Bruce still lives but is badly injured and wants to make a second attempt, but Lovis reprimands him: “Look on your Friend; your drooping Country view; / And think how much they both expect from you. / You for a Mistress waste that precious blood, / Which shou’d be spent but for our Masters good.” Beaufort, Lovis, and Frolick carry Bruce out to recover at the nearest house.
Scene 5. Graciana is weeping at the thought of the duel, when Bevill enters with the news that Bruce has killed himself for her after losing the battle. Having conveyed this, he leaves, only to be replaced by Aurelia, who is also weeping. She condemns her sister and leaves. Graciana wonders how best to proceed with honour. Beaufort enters, hoping for approval for his victory – but Graciana is furious for fighting after she had begged him to control his anger. She leaves, telling him that she hates him now, leaving Beaufort to ponder the twists of fate.
Scene 6: Widow’s house. Betty the maid tells Leticia how she has spiked Dufoy’s drink with opium and discovered that diseased, and he now lies drugged. A coach-man enters with a tub with holes made for arms, legs, and head, and puts Dufoy inside it. They then summon a fiddler to play, and Dufoy awakens. He is furious to discover his condition; he argues with the maids and struggles to be free, but they just laugh and dance around him with the coach-man and other servants. Eventually, they leave him alone in his humiliation.
Scene 7. Frolick is brought in upon a bier, surrounded by mourners, while the Widow weeps. A mourner describes how Frolick was killed in the duel, and that he told him that he loved the Widow with his last breath. The Widow speaks of her deep sorrow, but then Dufoy enters in his tub and she shrieks and runs out. Frolick sits up, startling Dufoy, and the Widow re-enters, laughing. He tries to kiss her but she starts laughing again and he storms out. She reflects that he will have to be cleverer to make her admit her love for him.

Act Five
Scene 1: Bevill’s house. Lovis and a surgeon enter, with servants carrying Bruce on a chair. The surgeon is doing his best to cure Bruce, but he privately despairs to Lovis. Aurelia, who has just entered, overhears this and weeps. Bruce sees her and is touched by her pity. She confesses that it is more than pity she feels for him, and he begins to realise that he has been pursuing the wrong sister. Graciana enters, and Bruce reassures her that she has made a good choice in Beaufort. She tells him that while she is Beaufort’s by honour, if he dies she will never marry. Bruce protests: “Can you be mindful of so small a debt, / And that which you to Beaufort owe forget? / That will not honour but Injustice be, / Honour with Justice always does agree.” He breaks off, weak, and is taken away by servants. Everyone leaves except for Graciana, who considers how she must pretend to hate Beaufort. Beaufort enters with a plea for her to be kind but she exits, leaving him to meditate on her refusal to reconsider.
Scene 2. Cully is drunk, “with a blind Fellow led before him playing on a Cymbal, follow’d by a number of boys hollowing, and persecuting him.” Cully chases them away with his sword, and, having reached the Widow’s house, announces his intention to serenade her. The Widow and Betty enter; the Widow tells Betty to release Dufoy when he wakes up. They are interrupted by Cully’s noise; Betty explains who he is, pointing out that his mother was her grandmother’s dairy-maid. The Widow’s servants take Cully’s sword from him and she tells them to take him away, while he tries to convince her that they are due to be married. They are interrupted by the clashing of swords outside, and a servant enters to tell them that Frolick is fighting with some bailiffs. The Widow hurries everyone out to help him, leaving Cully alone; Cully promptly falls asleep on the floor. Dufoy enters, wondering what’s going on, and Betty returns to tell him that Frolick is being arrested. She helps Dufoy out of the tub and he hurries off to help his master. The Widow returns and a servant tells her that he has been arrested over a debt of two hundred pounds. The Widow tells Betty to pay the debt with her own money and then bring Frolick to her house, but to make sure that Frolick does not realise that she is his benefactor. A foot-boy enters for Cully, who wakes up but is still too drunk to move. He wants to be taken to the Widow so the foot-boy lifts him up. Frolick enters with the bailiffs – who are actually the fiddlers in disguise! He questions Cully’s presence, and Cully informs him that he and the Widow are going to be married, before falling asleep again. Frolick and the Widow continue flirting, but are interrupted by Dufoy, who enters wearing a helmet and carrying a sword. He begins to attack the fiddlers, who protest that they are not really bailiffs and call for Frolick for help. The Widow is angry at being tricked and tells him that she is tempted to marry Cully in revenge. She orders him away and leaves, although he is convinced that she will change her mind soon. A servant enters to pick up Cully, telling Frolick that there is a man disguised as Bevill waiting outside. Cully repeats that he will marry the Widow and Frolick understands Wheadle’s plan. He leaves to find out more, and Cully and Dufoy begin to argue. Cully pulls Dufoy’s nose, but then falls down and Dufoy begins to beat him. Frolick and Palmer enter, and Frolick decides to end the charade. He pulls off Palmer’s disguise and Cully is drunkenly surprised. He tells Frolick that he owes Palmer money in a judgement, which Frolick demands to see. Reluctantly, Palmer hands it over, and admits that the “Widow” is simply Wheadle’s mistress Grace. Frolick offers Cully the opportunity to marry his sister (ugly but wealthy), and the two go off to get her consent, leaving Palmer to lament his bad fortune.
Scene 6: Garden. Graciana walks with Leticia, who has been gathering flowers. Leticia tells Graciana that Aurelia is with Bruce, and she sings to her. Graciana sighs over Beaufort, who has just entered. Startled, he hides himself and listens as Leticia suggests that she has been too hard on Beaufort and Graciana agrees to marry him if Bruce lives. At this, Beaufort reveals himself, but Graciana is alarmed and she and Leticia hurry off. Beaufort calls after her that Bruce’s wound is found to not be mortal, but she has already gone.
Scene 7: Lady Dawbwell’s house. Wheadle and Grace wonder why they have heard nothing from Palmer. Cully and Frolick enter; Wheadle is dismayed at Frolick’s presence but leads him away while leaving Cully and Grace alone. Unfortunately, he is arrested by bailiffs waiting for him outside. He owes money to Frolick; when he protests, they tell him that Palmer signed the debt over to him. Wheadle pleads for mercy and Frolick relents – provided that he marries Grace himself. Frolick will give Grace a thousand pounds to sweeten the deal, and also suggests that Palmer marry Jenny. These things being settled, Frolick takes Cully off to meet his sister at the Rose tavern.
Scene 8: Bevill’s house. Bevill, Bruce, Lovis, Beaufort, Graciana, and Aurelia enter, and Bruce confesses that he is now in love with Aurelia. Bevill gives his blessing to their marriage. With the knowledge that Bruce is recovering, Graciana happily agrees to marry Beaufort, and the men declare their friendship to one another. Frolick and Dufoy enter through one door, and the Widow and Betty through another. Frolick and the Widow dance around their relationship for a while, but then Bevill joins their hands and encourages their union. Dufoy then announces the arrival of Cully, Palmer, Wheadle, and their brides. Frolick chooses this moment to reveal that Cully has not married his sister at all, but rather his old mistress Lucy. There is nothing to be done, however, and Cully decides to keep her, for fear of making himself look foolish. As a final act, Frolick organises a match between Dufoy and Betty, and everyone celebrates with a wedding dance.

The Old Wives’ Tale (Peele, 1595)

Scene 1: Woodlands. Anticke, Frolicke, and Fantasticke are lost, but Anticke tells the others not to panic. They hear a dog and realise that they must be near a village. Clunch the Smith enters with a lantern and demands to know what they’re doing in the area. They explain that they are lost, and he offers them hospitality in his cottage and introduces them to his dog, Ball. They enter the cottage and are greeted by Madge, an old woman, who gives them cheese and pudding. The guests are not interested in food, however, and only want to talk, and they sing for their hosts. They then ask Madge to tell them a story. She agrees, but as Clunch is to go to bed (as he wakes up early), she says that one of them must go and lie with him. Anticke goes, and the others huddle round to listen to her story. She first insists that they must make noises at regular intervals so that she knows that they are still awake. She begins her story, of a king’s daughter, Delya, who is stolen away by a conjurer in the form of a bear and her two brothers who go out to seek her. Two men enter and begin to act out her story. Having arrived in Albion and unsure of where to go, the brothers encounter an old man gathering sticks straw from the ground. They give him some money and tell him about their sister, and he tells them to be brave and blow out every flame. He claims to be the white bear of England’s wood: originally from Thessaly, Sacrapant the sorcerer turned him into a bear by night and an old man by day because he coveted his betrothed wife, Venelia. Likewise, Venelia has been sent mad, and runs through the woods all day. His neighbour is Lampriscus, who enters to give him a pot of honey and ask for help with a problem. He has buried two wives; the first gave him a daughter who is a great burden to him, being poor and proud, while the second gave him a daughter who is really ugly and is impossible to marry off. The old man tells him to send them to the well to find their fortunes. Madge, Frolicke, and Fantasticke watch as harvest-men sing and then Huanebango enters with his sword and Booby the clown. Huanebango tells Booby to forget about rescuing Delya: only he is brave enough to do so. Booby refuses and the two men argue, Huanebango making sure to emphasise that he comes from good stock. They come across the old man, who gives them some advice – but Huanebango refuses to give him any alms and rides off. Booby sympathises with the old man, gives him some cake, and follows after his rival. Sacrapant enters, in a bad mood: he is not happy with Delya. Delya enters with a pot, telling him that she has been gathering roots for his supper. She asks for the best English meat, French wine, and a Spanish knave, and Sacrapant summons a friar who carries meat and wine. After these japes, he sends Delya away just before her two brothers enter. They call out to her and she answers – but then Sacrapant brings forth thunder and lightning and the brothers fall down. Two furies take them away to a cell, and Sacrapant reflects on how he has given Delya a potion that has made her forget herself. He goes on to show off a light in a glass that is the source of all his power, and can only be destroyed by one who is neither wife, widow, nor maid. He exits and Eumenides the wandering knight enters, accompanied by the old man. Eumenides is desperate to know when he will see Delya, and the old man tells him to govern his wit and pay more than he can. The old man leaves, then Wiggen, Corobus, a Church-warden, and a Sexton enter, arguing: Wiggen and Corobus want the parish to bury their friend Jack, but he was a useless drunken fool. Eumenides awakens and tries to resolve the argument, which he does by offering to pay for the burial himself, even though he can’t afford it. Madge, Frolicke, and Fantasticke watch the harvest-men singing again. Huanebango enters with Corebus the clown. Huanebango is struck down by a flame of fire, and then Sacrapant enters and makes Corebus blind. The two would-be heroes leave and Delya enters. Sacrapant renames her Berecynthia and has her stand over her two brothers and make them dig for gold. When they see her, they try to embrace her but she doesn’t recognise them because of Sacrapant’s spell. They dig until they come across Sacrapant’s glass of light, which Delya snatches away from them. Sacrapant praises her for her work. They all leave and Lampriscus’s cursed daughter Zantyppa approaches the well, asking for a good husband or none. She is followed by her ugly sister Celanta, who asks for the same; Zantyppa watches and breaks her pitcher against her sister’s. They briefly leave to fetch new pitchers, and the furies lay Huanebango down by the well. Zantyppa returns first, sees Huanebango, and is convinced that she will easily get a husband. She scorns her father’s advice to control her tongue, as “a woman without a tongue, is as a souldier without his weapon.” She asks the well for a husband again, and a head speaks from within. It tells her to brush its hair but she is disgusted and breaks her pitcher upon it. This brings forth thunder and lightning which wakes Huanebango. He is deaf and speaks gibberish, but manages to come to some sense. Zantyppa thinks she may like the prospect of a foolish husband and the two agree to a match and leave. Eumenides enters and bemoans his fate, but encounters Jack, who offers to be his servant. Eumenides is unsure – he can barely afford to keep himself, let alone a servant – but then Jack reveals that he knows a lot about him, and Eumenides eventually agrees to take him as his co-partner. Jack goes on ahead into inn and leads out a host who brings some good meat and some fiddlers to play – but Eumenides will not eat as he has no money. Jack bids him look in his purse, and it is filled with money! Eumenides gladly pays and then Jack leads him off to see Sacrapant. Celanta enters leading Corebus in. They have decided to marry and she assures him that she is good-looking. At the well, the head bids her comb its hair; unlike her sister, she acquiesces, and finds that she has combed a lot of gold into her lap. The couple go off happily. Eumenides and Jack return, and Jack stops up Eumenides’s ears so that he cannot be enchanted by Sacrapant. When Sacrapant enters, he finds that his spells don’t work and he believes he has been betrayed. Invisible, Jack steals Sacrapant’s wreath from his head and his sword from his hand. Sacrapant dies! Jack pulls the wool out of Eumenides’s ears and gives him Sacrapant’s sword to dig until he finds the glass of light. Only by breaking this may Sacrapant’s spells be broken, and Jack gives Eumenides a horn to blow to summon the one who is not wife, widow, or maid. Venalia enters, still mad, and breaks the glass. The spells are broken and Eumenides finds Delya asleep behind a curtain. He awakens her and declares his love. They agree to marry and then Jack enters with Sacrapant’s head in his hands but Eumenides doesn’t recogise it. Jack explains that Sacrapant stole the likeness of the old man, who was forced to take on Sacrapant’s own aged looks. Eumenides blows his horn again and Delya’s brothers enter with Venalia and Erestus, the once-old man. The brothers give their blessing to the marriage – but Jack reminds Eumenides that he promised to give him half of everything he had, so he must use his sword to split Delya in half. Eumenides tries to reason but decides that he can’t go back on a promise to a friend. The brothers protest but Eumenides is firm. Just in time, Jack stops him from killing Delya: he was only testing his constancy. With that, he leaps down into the ground. The characters are satisfied. Madge announces that she has reached the end of her story; it is now morning and she offers her guests some bread and cheese.

Notes
Likely written between 1588 and 1594. Parodies contemporary romances.

The Siege of Rhodes, Part 2 (Davenant, 1657-59)

Setting: Rhodes.

Act One
Scene 1: Rhodes. Alphonso, the Admiral, and the Marshal of Rhodes wonder in desperation when they will receive help from overseas. The Marshal questions whether they are doing the right thing in allowing their people to starve through the siege: “I find we are to blame / In playing slowly Honour’s Game.” They consider the prospect of fighting Solyman’s army: “If valour Virtue be, why should we lack / The means to make it move?” On hearing all this, Villerius is horrified, and explains to them that they have no chance of beating Solyman. He reminds them: “Where shall the fair Sex their safety find? / When you with num’rous Foes lye dead, / (I mean asleep in Honour’s Bed).” He reminds Alphonso of Ianthe, and Alphonso reflects that he is torn between love and honour. Villerius solemnly tells them that as they will surely die fighting Solyman, and as they are all near starvation, they can do nothing but form a treaty. His men are distressed, “For those who Treat sheath all their Swords / To try by length of fencing words.” The Admiral leaves to make the declaration to the people of Rhodes, and then quickly returns. The people are not happy, and are calling upon Ianthe to make a deal with Solyman. Alphonso is not keen on this idea, and decides to go and reason with the people himself. Ianthe then enters and Villerius tells her that she must be the ambassador to Solyman. She protests but he insists, and the Marshal leads her off. Privately, Villerius tells the Admiral that he is only doing this to appease the people. He is not so bothered about Alphonso being jealous, however, as he believes that jealousy springs from love. Alone, the Admiral reflects on his own love for Ianthe.

Act Two
Scene 1: Rhodes. Villerius, the Admiral, and the Marshal discuss the people’s discontent. Villerius is sure that sending Ianthe to Solyman is the only pathway to success, although the Admiral is uncertain, wondering if the mission will blight her honour. Villerius admits that he has secretly sent a prisoner back to Solyman as an exchange for Ianthe in the hope that he will be contented, but there was no success: Solyman only wants Ianthe. Their conversation is interrupted by a great happy cry outside: Ianthe is being led out before the crowd. She insists that they must do honour by Solyman. She and Alphonso have a sad parting, but resolve to look brave before the Rhodians.
Scene 2: Solyman’s camp. Solyman and his men discuss their victory over Rhodes, now that Rhodes is asking to make a treaty. Mustapha enters with news that Ianthe is coming to request peace, and Solyman is delighted. Pirrhus announces her arrival. Solyman reflects on his own bloodlust.
Scene 3: Solyman’s camp. Solyman’s wife Roxolana discusses foreign gifts and audiences with Haly, Mustapha, and Pirrhus. Roxolana is frustrated that everyone thinks she’s stupid just because she’s a beautiful sultana, and vows to make her will known.

Act Three
Scene 1: Solyman’s camp. Solyman confides in Mustapha, Pirrhus, and Rustan that he is worried about Roxolana, who is putting about false stories about Solyman’s marital conquests in order to obtain succession for her son. They reassure him that her mood is just temporary, and that she will soon be reconciled with him. Solyman is not convinced, and hints that he might prefer to have Ianthe as a wife. Mustapha then brings Ianthe in, and she and Solyman discuss the treaty. He wants her to stay in the camp overnight as the terms may take a long time to be agreed upon; alarmed, she refuses, as Rhodes is nearby. She points out that her request for clemency can be quickly granted. He has her sent to Roxolana’s tent, “And tell my haughty Empress I have sent / Such a mysterious Present as will prove / A Riddle both to Honour and to Love.”
Scene 2: Rhodes. The Admiral muses on how, even though it is un-Rhodian to lust after another man’s wife, he must win Ianthe’s love. He decides to encourage Alphonso’s jealousy. Villerius and the Marshal enter; they are concerned about Alphonso’s moodiness, but are pleased that the people are gratified at least. Alphonso and the Admiral discuss Ianthe’s time in Solyman’s camp, the Admiral telling Alphonso that he must REALLY trust her. Alphonso argues that she’s so innocent that it’s impossible to suspect her fidelity. Villerius then receives a message from Mustapha that Ianthe needs to stay in the camp in order to appease Roxolana. The Admiral asks Alphonso if he can stand to be parted from Ianthe for an entire night, arguing that Roxalana should sleep with Solyman and Ianthe should be back in Rhodes. Confused, Alphonso leaves to write a letter to Solyman. The Admiral is gleeful in his triumph in bamboozling Alphonso.
Scene 3: Solyman’s camp. Roxolana is suspicious as to why Solyman has stationed Ianthe in her quarters. She demands an explanation from Mustapha, but he explains that he was only carrying out his duty to Solyman, and he shows her a parchment dictating that Ianthe “must be sought with Love and serv’d with Fear.” She and her eunuch Haly agree that they should acquiesce for the time but secretly plot.

Act Four
Scene 1: Rhodes. Solyman, Mustapha, and Rustan discuss the differences between Roxolana and Ianthe: Roxalana is passionate but Ianthe is quiet and calm. Pirrhus brings news that every nation salutes Solyman. Solyman is unimpressed, believing that they are only trying to win his favour in order to save their lands. They leave, and Villerius, Alphonso, the Admiral, and the Marshal enter. Alphonso is frantic, having received a letter from Roxolana with the ominous hint that Solyman is seducing Ianthe. The men deeply regret allowing Ianthe to leave Rhodes and, joining their swords together, vow to fight for her safe return.
Scene 2: Roxolana’s pavilion. Roxolana watches Ianthe sleep and muses on her death. Haly begs her to show pity, but she justifies herself as preventing adultery by killing Ianthe. Haly tries to argue that if she forgave Solyman, her greatness would seem even moreso, as everyone would be impressed that she had the power to forgive a great ruler. Roxolana is unconvinced and bids him waken Ianthe – but feels ashamed of her plan when Ianthe speaks. The two women discuss Christian morality, and Roxolana is impressed by Ianthe and Alphonso’s relationship. She kisses Ianthe, and tells her that she is safe as long as she remains virtuous – but tells her that she must pretend to be her enemy for a while. Solyman enters, and Roxolana complains that he has abandoned her. Solyman sends Ianthe out to sleep while he talks to Roxolana. Roxolana describes how he can change the world so easily, but these are not as impressive as his change in looks towards her. He defends himself: she is too tempestuous and it’s only natural he should look elsewhere. He would be faithful if she were gentler. Roxolana is very upset: “Love’s most Victorious and most cruel Foe / Forsake me and to meaner Conquests go / To Warrs where you may Sack and Over run / Till your Success has all the World undone.” He complains that she has lost him simply to promote her son, and that Mustapha has a better claim to being his heir by being first-born. He bids her leave and dwells upon his quandary.

Act Five
Scene 1: Rhodes. The palace is on fire. Solyman and his men are astonished at the realisation that the Rhodians are no longer seeking a peace treaty; Solyman vows to take up their challenge. They leave and Villerius and his men enter and gloat over the fire. They plan to take as many prisoners as possible and then trade them for Ianthe.
Scene 2: Battlefield. Solyman’s army is having more trouble defeating Villerius’s than expected, but Solyman and his men vow to continue battling on.
Scene 3: Rhodes. Villerius calls to quench the fire. The battle is not going well, and the Admiral brings the bad news that Alphonso is on the brink of death, after fighting valiantly. They make the sad decision to retreat. They leave to pray for Ianthe’s return. Solyman enters with Pirrhus, whom he informs that he will not continue to pursue the defeated Rhodians. Mustapha enters, telling the sultan that they have captured Alphonso! Solyman is delighted. He has him sent to Roxolana’s tent on her request, but insists on seeing him before he dies.
Scene 4: Roxolana’s pavilion. Dressed in her nightdress, Ianthe mourns the defeat of the Rhodian army and Alphonso’s death. She wishes that she had Alphonso’s sword, so that she could kill herself with it. Roxolana enters with news: Alphonso is not dead, and he has been given to her as a prisoner. Ianthe is overjoyed – but her joy turns to horror when Roxolana mocks her and tells her that she means to have Alphonso killed. Ianthe begs for her own life to be taken and Alphonso’s spared – and Roxolana kisses her and tells her that she was planning to spare Alphonso all along. She leaves and has Alphonso sent in, bound up. Alphonso is happy to see Ianthe but distressed at the prospect of being Solyman’s prisoner. Ianthe unbinds him and tells him that she will negotiate with Solyman. She scolds him, too, for risking everything to rescue her. Solyman and Roxana enter with their men and give Alphonso and Ianthe their freedom in Sicily. This is no good, though: Alphonso wants to return to Rhodes with his comrades, and Ianthe refuses to go to Sicily without Alphonso. Solyman permits them both to return to Rhodes, citing honour as the reason: “From Lovers Beds, and Thrones of Monarchs, fly / Thou ever waking Madness, Jealousie. / And still to Natures Darling, Love / (That all the World may happy prove) / Let Giant-Virtue be the watchfull Guard, / Honour, the cautious Guide, and sure reward: / Honour, adorn’d in such a Poet’s Song / As may prescribe to Fame / What loyal Lovers name / Shall farr be spread, and shall continue long.”

Endymion; or, The Man in the Moon (Lyly, 1588)

Act One
Scene 1. Endymion confesses to his friend Eumenides that he has fallen in love with the moon, Cynthia. Eumenides tries to convince him to think rationally – the moon is incapable of love – but Endymion is stubborn, and rants about how Cynthia is more constant and more beautiful than all other mistresses. Eumenides recommends sleep (which Endymion angrily rejects), and decides to follow him, to ensure that he does not become more mad.
Scene 2. Tellus, Endymion’s former mistress, is furious that he has thrown her over for Cynthia, and demands revenge. Her maid Floscula tries to calm her down, reminding her that she owes all that she has to Cynthia. Tellus is as stubborn as Endymion, however, and vows to cast a magic spell to make him fall in love with her again so that she can make him unhappy.
Scene 3. Dares and Samias, the pages of Endymion and Eumenides, look forward to making mischief while their masters are occupied with love. Sir Tophas enters with his page, Epiton, forswearing love: it is simply a poet’s ruse to become rich. He spies Dares and Samias and mistakes them for wrens, and only Epiton is able to convince him not to shoot them. He agrees that the two boys should be his “half-friends,” as they are not tall enough to be full friends, and boasts to them of their masters’ lack of military prowess compared to himself. Dares and Samias ask Tophas mocking questions, and he continues to make ridiculous boasts. The group then part: Dares and Samias in search of their masters, and Tophas and Epiton to the field for fighting and fishing.
Scene 4. Tellus and Floscula encounter Dipsas the wise woman, who tells them that she can do anything except make people fall in love with others. However, she can convince the moon that Endymion is unfaithful to her, which Tellus accepts.

Act Two
Scene 1. Endymion makes a long, lovesick speech in praise of Cynthia, but quietens down when he sees Tellus coming. They dance around the subject of love, Endymion telling her that Cynthia is the only woman who does not dissemble. She accuses him of being in love with Cynthia; he goes off to gaze upon her.
Scene 2. Dares and Samias have met up with some women, Scintilla and Favilla, and are telling them about their lovesick masters. The women squabble, with the pages and with each other, but the pages manage to calm them down. They encourage them to make fun of Tophas by pretending to be in love with him. Tophas enters and boasts about doing battle with a monstrous sheep, which he plans to eat. Scintilla and Favilla profess their love, but (although unsurprised) Tophas disdains it: “[M]y tough heart receiveth no impression with sweet words. Mars may pierce it, Venus shall not paint on it.” He leaves to fight the sheep.
Scene 3. Endymion tries to sleep, but is preoccupied with his thoughts of Cynthia, and cannot stop comparing Tellus to her. He eventually talks himself to sleep, and Dipsas creeps forward to cast her spell: Endymion will sleep for many years and will not awaken until he is old. She bids her servant, Bagoa, watch over him while she finishes her ceremonies. Bagoa expresses regret for what Tellus has planned, but abides by Dipsas’s demands for loyalty and silence.
A dumb show with music. Three women enter; one, encouraged by another, makes to stab Endymion while the third looks on unhappily. The would-be murderer looks in a mirror and puts her knife down.
An old man offers Endymion leaves from a book; Endymion rejects the first two but accepts the third.

Act Three
Scene 1. Cynthia wonders at Endymion’s deep sleep, and asks the other characters what they make of it. Tellus gives an impertinent answer, and Cynthia sends her off to live in a castle in the desert, where she will weave. Cynthia then sends Eumenides and two other lords off to foreign lands to find a cure for Endymion’s sleep.
Scene 2. Cynthia’s servant Corsites has brought Tellus to the castle. Tellus doesn’t care: “Cynthia may restrain the liberty of my body, of my thoughts she cannot; and therefore I do esteem myself most free, though I am in greatest bondage.” Corsites, a military man, tries to flirt with her, telling her that she “must not think soldiers so rough hewn, or of such knotty metal, that beauty cannot allure.” He promises to bring her anything she desires.
Scene 3. Tophas asks Epiton for help: he has fallen for Dipsas. He rids himself of his knightly possessions and reflects on her “beauty,” then falls asleep. Dares and Samias enter, and Epiton tells them of his master’s new love. They make fun of what his married life will be like with her, then sing loudly to wake him up. Tophas begs them to plead his cause to Dipsas.
Scene 4. On his way to Thessaly, Eumenides encounters Geron, who tells him that he can simply see the cure by looking into the bottom of a nearby fountain, provided that he is faithful – unlikely, he adds, as most people are not truly faithful. Eumenides reflects upon his own love, Semele, and the uncertainty of whether or not she is faithful. He cries, and looking into the fountain see the words: “ask once for all, and but one thing at all.” Geron is impressed: he can’t see anything, so Eumenides must be true. Eumenides is now torn as to whether he should go to Semele or continue searching for Endymion’s cure; Geron, remarking on the rarity of friendship and that fact that love can fade, recommends Endymion, and Eumenides agree. He looks into the fountain again and asks how he can cure Endymion. He receives a cryptic answer, but luckily Geron is still on hand to help interpret it: Cynthia must kiss Endymion while he sleeps. Geron offers to accompany him to Cynthia, who is responsible for his own troubles.

Act Four
Scene 1. Tellus wonders why Corsites, notoriously a cruel guard, is so nice to her, and suspects that he may have fallen in love with her. She doesn’t care, though, as she is still in love with Endymion and regrets her plot against him. She decides to flirt with Corsites, and convinces him to move Endymion’s body to a cave; if he does this, she promises to marry him. Corsites is happy to agree, but reminds her that they must hide their love from Cynthia.
Scene 2. Epiton complains about Tophas to Dares and Samias; Tophas is in a bad mood because he cannot lodge with Endymion. Epiton resolves to find the magic fountain to help him to cure Endymion. The pages want to see Endymion, but are prevented by the watches whom Cynthia have placed over over him. They all sing a song about watchmen.
Scene 3. Corsites attempts to shift Endymion, but he is too heavy. Frustrated (for he is known for his strength), Corsites keeps trying, until some fairies appear, and dance around him and pinch him until he falls asleep. They then kiss Endymion and sing a song. Cynthia enters, rebuking Pythagoras, who is humbled. Neither he or Gypton have any ideas on curing Endymion. Semele is silent, for fear of offending Cynthia – who takes offence anyway, and tells her that if she speaks for the next year, she will lose her tongue. Cynthia then looks on Endymion, and is dismayed to see that he has aged during his sleep. She is alarmed to see Corsites, black-and-blue from the fairies, and has him woken. Corsites confesses his crime. Cynthia is surprised: “In love! a thing unfitting the name of a captain, and (as I thought) the tough and unsmoothed nature of Corsites.” She forgives him, however, and heals his wounds. Corsites now hates Tellus, however, for her treachery. Returning to the problem of Endymion, the philosophers confirm that there is nothing to be done to help him; all they can do is wait for the witch who cursed him to die, and set a watch over him.

Act Five
Scene 1. Eumenides brings Cynthia to Endymion; she is uncertain of the cure he has suggested but kisses Endymion anyway. He awakens and is alarmed to discover that he has been asleep for forty years and is now an old man. Cynthia asks him what he saw in his dreams, and he relates the events of the dumb show. Endymion and Eumenides then begin the renewal of their friendship.
Scene 2. Tophas tells Epiton all about the delights and frustrations of love, and defends his love for Dipsas. Samias and Dares appear and tell him that they have just spoken to Dipsas, who has announced she can love no one who has teeth or nails, but Tophas agrees to this. The pages become nervous as they never spoke to Dipsas, so tell Tophas that Dipsas’s husband has arrived home. Tophas is devastated, and asked them to find another old matron he can love.
Scene 3. Panelion and Zontes gossip about Tellus; the servant Bagoa has betrayed her and in a rage Dipsas has turned Bagoa into a tree. Cynthia berates Dipsas for her treatment of her ex-husband Geron and Endymion, and then Tellus for her cruelty. Tellus is sorry and confesses that love made her do it. Endymion declares that he is only loyal to Cynthia; Cynthia is delighted and makes him young again. Eumenides admits that he loves Semele, and Cynthia is moved to remove the curse from her so that they can be together. She then suggests that Tellus and Corsites marry, to which they agree. Finally, she tells Dipsas that if she gives up witchcraft, she can marry Geron once more. Things look well – but then Tophas complains that he has no one to love! Cynthia transforms Bagoa back into a woman. Everyone leaves to celebrate in Cynthia’s court.

Notes
First performed at Greenwich Palace in February 1588 by the Children of Paul’s. Sources inc. Ovid, Lucian, Apollonius of Rhodes. Dumb show first appears in the 1632 quarto.

George a Greene, The Pinner of Wakefield (1588-90)

Setting: England, reign of a medieval King Edward.
Scene 1: Bradford. The Earl of Kendall has gathered an army of thirty thousand men in the north to “fight, and die for England’s good.” He swears upon his sword to liberate the poor people of England, with an alliance with James of Scotland. He agrees on a time to meet James and promises dukedoms for all his noble followers if he becomes king. Lord Bonfield is worried, however, as the troops need feeding, and so Kendall sends Sir Nicholas Mannering to Wakefield to demand supplies, or he will “like martial Tamberlaine, lay waste / Their bordering countries, leaving none / Alive that contradicts my commission.” The others will stay in Bradford, looking for women and entertainment.
Scene 2: Wakefield. The town Justice confers with a townsman (representing all the townsmen) on how best to respond to Mannering’s demand. They agree with him: they will send nothing as Kendall is a traitor. Mannering passes along Kendall’s threat but George a Greene speaks up loyally in favour of Edward: “We are English born, and therefore Edward’s friends, / Vow’d unto him even in our mother’s womb, / Our minds to God, our hearts unto our king; / Our wealth, our homage, and our carcases / Be all King Edward’s. Then, sirrah, we have / Nothing left for traitors but our swords, / Whetted to bathe them in your bloods, / And die against you, before we send you any victuals.” Mannering is amazed at George’s presumption and shows him a large commission which has seals from Kendall, Bonfield, and Sir Gilbert Armstrong – but George tears it up and commands that Mannering eat them, “or eat my dagger’s point.” Mannering reluctantly does, and is sent back to Kendall. George is widely praised.
Scene 3: Borderlands. Young Cuddie demands that his father, William Musgrove, allow him to take over the border defences against the Scots: “Give arms to youth, and honour unto age.” Musgrove angrily denies him.
Scene 4: Bradford. Grime is regretfully entertaining Bonfield and Sir Gilbert. He is also annoyed that his daughter Bettris is only interested in marrying George and not any of her wealthy suitors. Bonfield himself offers to make her a lady if she marries him, but Bettris is not impressed. Mannering has returned from Wakefield and Kendall is amused by what George did to him, and Bettris confesses that George is the man she loves. The traitors plan to enter Wakefield and send Bettris George’s head, although Kendall is interested in what George must be like if Bettris prefers him to Bonfield and plans that they should go in disguise.
Scene 5: Borderlands. James of Scotland discusses Kendall’s chances of victory with his men. They encounter Ned a Barley and his mother Jane; James is immediately taken with Jane and proposes himself as her lover, even though she is already married. She refuses him and he swears to burn her castle to the ground; when that doesn’t move her, he vows to murder Ned. Jane waivers, but Ned reminds her of the importance of chastity, and the fact that his father Sir John will arrive the following day, so Jane refuses James again. Just as James is about to carry out the murder, a messenger comes with news that Musgrove is approaching.
Scene 6: Borderlands. Musgrove has taken James prisoner; he and Cuddy celebrate their victory.
Scene 7: Wakefield. George reflects on love, which he then discusses with Jenkin the clown: Jenkin is in love with Madge the Sousewife but has a rival in a sow-gelder. Jenkin leaves to survey George’s fields, and then Kendall and his men enter, disguised. Jenkin quickly returns: he has found three fine horses in the fields! George tells him to drive them to the pound. Kendall stops him, however, as they are his horses, revealing his identity and claiming to be Edward’s better. George strikes him, for “a poor man that is true, / Is better than an earl, if he be false.” Kendall commands his other men to come forward to attack George. George speaks loyally in favour of Edward again and Kendall, impressed, offers to take him with him, telling him of a prophecy in which he and James overthrow Edward in London and promising to make George a captain and later a knight. George turns to Jenkin and tells him to take the horses home and feed them oats. He then tells Kendall to visit a wise man who lives nearby and question him about the future; if the man says so, he will join Kendall. Meanwhile, he invites the traitors to dine with him.
Scene 8: Bradford. George’s boy Wily, disguised as a woman, approaches Grime’s house and claims to be a seamstress who is calling on Bettris. Grime is suspicious but lets him through. Grime contemplates marriage, then Bettris appears, now wearing Wily’s disguise. Grime, none the wiser, flirts and gives her some money; Bettris hurries off to see George.
Scene 9: Woods. Jenkin has led Kendall and his men into the woods, where George is disguised as a wise man. The men ask how they will fare in their war against Edward, and George gives them a black outlook, telling them that George will dishonour them. Kendall is angry and swears he will kill George when he returns to Wakefield – but George pulls out his sword and fights them all! He kills Sir Gilbert and takes Kendall and Bonfield prisoner, telling them that they must plead with Edward for mercy. The Justice enters and George commands him to go and disband Kendall’s army. The Justice takes the prisoners off and George is left alone, where he sinks into a melancholy about Bettris, kept away from him by her father. Just then, Jenkin enters and twists a promise of a reward out of George if he can produce Bettris at once. He does, via a fake magic spell, and George is delighted.
Scene 10: Borderlands. Edward and James meet to discuss Scotland’s recent betrayal of England. James asks Edward to be reasonable in his response and they both briefly admire Musgrove’s bravery. Cuddy and Warwick then tell them all about George, and Edward is very impressed. Kendall is brought before Edward, who is told the story of how he was captured. Edward sentences him to imprisonment in the Tower of London, then decides that he and James should visit Wakefield in disguise to find out more about George.
Scene 11: Woods. Maid Marian explains to Robin Hood and his Merry Men that she is sad to hear only songs of George and Bettris. Robin agrees to go to Wakefield and beat George for her; Scarlet, Much, and Marian will accompany him.
Scene 12: Wakefield. Jenkin asks a Shoemaker where he can get something to drink. The Shoemaker offers to show him, but tells him he must first put down his staff. He threatens to fight him, but Jenkin manages to talk his way out of it, and they agree to go and drink together.
Scene 13: Fields. George and Bettris exchange words of love but are interrupted by Robin and his men who are tramping through the fields. George angrily tells them to move on but they refuse, and so he fights and beats Scarlet and Much in turn. He almost beats Robin, who manages to stay him and offers him a place in the gang. George gives no answer but invites them all to dine at his house.
Scene 14: Bradford. Edward and James enter the town, disguised and carrying staves, and encounter the Shoemaker, who again demands that they put down their weapons or fight him. They meekly comply. George and Robin enter, also disguised, and make fun of the disguised kings for trailing their staves, believing them to be peasants wearing yeomen’s clothes. Edward and James explain and George decides to fight all the shoemakers. He wins, they identify him, and they all agree to drink some ale. The Earl of Warwick enters and reveals Edward’s true identity by presenting his royal clothes. George and Robin kneel and beg for forgiveness, but Edward is only amused and promises to grant them anything that they wish. George only wants to marry Bettris, who won’t have him without her father’s permission. Edward grants it, and the other characters loyal to him enter. Edward knights Musgrove and gives him a castle, then turns to Grime, asking him if he will let Bettris marry George. Grime agrees – as long as he is allowed to marry the young woman who has caught his eye. It is Wily, still dressed as a woman! When this is pointed out to him, he backs down but promises to let his daughter’s marriage go ahead, and to bestow his lands upon George. To this, Edward also gives George Bradford and half of Kendall’s seized lands. He wants to knight him, too, but George wants to live and die a yeoman, like his father before him, for “’tis more credit to men of base degree / To do great deeds, than men of dignity.” James agrees to pay for his attacks on the border towns, and everyone goes off to feast and celebrate.

Notes
Possible authors inc. Robert Greene, Thomas Lodge, John Heywood, and an unknown minister who may have played the part of George a Greene. Originally acted by Lord Strange’s Men at the Rose (1593).

The Siege of Rhodes, pt 1 (Davenant, 1656)

Setting: Rhodes, 1522.

First Entry
Scene 1: Rhodes. Villerius, Grand Master of Rhodes, discusses military tactics with his Admiral: the Turkish fleet is on the horizon and they must show their bravery. The Admiral leaves to raise the flags of Rhodes. Alphonso, a Sicilian duke, enters, alarmed by the cannon fire from the Turks, and Villerius grimly tells him of the inevitability of war: “Danger begins what must in honour end.” Alphonso insists on assisting but Villerius tells him to hasten back to his new bride. Alphonso prefers the glory of war, however: “Honour, is colder virtue set on fire: / My honour lost, her love would soon decay: / Here for my tomb or triumph I will stay.”
Chorus: Soldiers of several nations sing against the Turks.

Second Entry
Scene 1: Rhodes. The battle is not going well for Villerius, even though Alphonso is fighting honourably. The Chorus worries about Islamic invasion, before Alphonso enters to sing about previous Christian battles. They conclude that all they can do is to continue fighting bravely.
Scene 2: Outside Rhodes. Solyman and his general, Pirrhus, discuss their tactics for conquering Rhodes; Solyman demands lots of blood and sends Pirrhus off to continue the assault. Another general, Mustapha, enters with Alphonso’s wife Ianthe, veiled. She has been captured from a Rhodish ship. Solyman is intrigued and bids her unveil, but she refuses: only her husband may see her bare face. He is impressed by her virtue and promises her safe passage back to Rhodes; Ianthe expresses her gratitude.
Chorus: Women sing about fashion.

Third Entry
Scene 1: Outside Rhodes. Solyman gives Pirrhus instructions on how to fight the Rhodian army. He warns him not to launch the attack on Rhodes too soon, as he wants to ensure that Ianthe is returned so that everyone may admire his mercy. Pirrhus wonders what Solyman would do if he saw Ianthe’s face.
Scene 2: Rhodes. Ianthe has been returned, but Rhodes is heavily besieged. Villerius, the Admiral, and Alphonso all praise her virtue, as well as the fact that she has brought some gallies with her – but when Villerius and the Admiral leave, Alphonso reprimands her for endangering his life. She explains how Solyman let her go free, and Alphonso is amazed. Once she leaves, he wonders to himself why Solyman did not rape her, as was his right (!). “Are we besieg’d then by a friend? / Could Honour such a Present make, / Then when his Honour is at stake?” He concludes that Solyman must be in love with Ianthe and vows revenge, “on thy Troops, if not on Thee, / This Sword my cure and my revenge shall be.”
Chorus: Men and women sing about the relationship between both genders.

Fourth entry
Scene 1: Castle on Mount Philermus. Solyman is furious that Rhodes has not yet surrendered, but Pirrhus reassures him that victory will soon be his, describing the Rhodians as rebels rather than foes. The king still frets at his want of power, but Mustapha tells him that he has shown he can be merciful (through his release of Ianthe) and must now show his power of destruction. Solyman agrees, and orders Mustapha to storm the camp and stop at nothing to capture Alphonso and Ianthe.
Scene 2: Rhodes. Ianthe, worried about the consequences of war, wonders why they do not surrender to Solyman’s conquering army. Alphonso’s answer is simple: “To be o’recome by his victorious Sword, / Will comfort to our fall afford: / Our strength may yeild to his; but ’tis not fit / Our vertue should to his submit.” They argue, she advocating a peace between Solyman and him (if not Rhodes itself); he insisting on loyalty to Rhodes against its invader, and suggesting that she has an ulterior motive for pursuing a treaty with Solyman. Ianthe is hurt at the insinuation, reminding him of her virtue. She despairs, predicting her death.
Scene 3: Rhodes. Villerius and the Admiral discuss the camp. Alphonso has gone mad with jealousy, and his failure to fight will mean destruction for Rhodes. They despair.
Chorus: Wives sing about the perils of jealousy in a marriage.

Fifth entry
Scene 1: Rhodes. Solyman’s attack on Rhodes is merciless. Victory is nearly complete, and Alphonso tells Solyman that he saw a very beautiful woman, whom Solyman believes must be Ianthe.
Scene 2: Rhodes. Alphonso is despairing: “My Reason by my Courage is misled! / Why chase I those who would from dying fly. / Enforcing them to sleep amongst the dead, / Yet keep my self unslain, that fain would die?” He is worried that he will not die in battle but will be taken prisoner and forced to live, humiliated, in Solyman’s palace. The Admiral comes with bad news: Ianthe is wounded, and he must decide between helping her and battling on to try and save Rhodes. Alphonso dithers but eventually decides to go to Ianthe.
Scene 3: Rhodes. Pirrhus is shocked that Solyman’s army is suddenly being repulsed. He and Mustapha spur the army on.
Scene 4: Castle. Solyman rants in fury at the slowness in taking Rhodes, and vows to wait in his castle until the people of Rhodes have starved to death.
Scene 5: Rhodes. Ianthe, dressed in a nightgown, is carried in on a chair. Villerius tells her that she is out of danger from her injury, but she claims to still be heartsick. The Admiral tells her that Alphonso has managed to keep Solyman’s army at bay. Ianthe wants to see him, but Villerius tells her that he has been wounded in battle, and the Admiral tells her of how bravely he fought for her. Alphonso is then brought in, wounded, by a pair of mutes, and he and Ianthe have an awkward reunion.
Chorus: Soldiers sing about the war against Solyman.

Notes
First staged in May 1656 at Rutland House as sung recitative and later at the Cockpit Theatre, Drury Lane in 1658. Entered into the Stationer’s Register as a masque. Henry Cooke – Miles. Gregory Thorndell – Villerius. Edward Coleman – Alphonso. Matthew Locke – Admiral. John Harding – Pirrhus. Henry Persill – Mustapha. Mrs Coleman – Ianthe. Music by Henry Lawes, Henry Cooke, and Matthew Locke. Sets by John Webb. Staged as a heroic drama during the Restoration.

Friar Bacon and and Friar Bungay (Greene, 1588-92)

Setting: England, reign of Henry III.
Scene 1: Court. Despite recently going hunting, Prince Edward is depressed, a fact that his friends have noticed: “Alate we ran the deer, and through the lawndes / Stript with our nags the lofty frolic bucks / That scudded fore the teasers like the wind: / Near was the deer of merry Fressingfield / So lustily pulled down by jolly mates, / Nor shared the farmers such fat venison, / So frankly dealt, this hundred years before; / Nor have I seen my lord more frolic in the chase; / And now – changed to a melancholy dump?” Edward is in love with an innkeeper’s daughter, Margaret of Fressingfield. Ralph Simnell, the fool, concocts a scheme to help him to seduce her: they will go to Oxford to see Friar Bacon, who will use magic arts to enable Edward to seduce Margaret. “[I]t must be necromantic spells / And charms of art that must enchain her love.” Margaret, along with everyone else in Oxford, does not realise that Edward is a prince. Lacy, Earl of Lincoln, is commissioned to talk to Margaret and discover if she loves him; Ralph meanwhile will disguise himself as Edward and remain at Court.
Scene 2: Oxford. Friar Bacon boasts of his magical skill to the academics who have come in search of him. He conjures up the hostess from the Bell at Henley-upon-Thames and a devil, in order to show his power; the hostess describes how one of the academics, Burden, visits her nightly. The academics are in awe. Bacon also has a magical Brazen Head that he has spent seven years perfecting, which he plans to use to encircle all of Britain with a protective wall of brass.
Scene 3: Fressingfield. Lacy has infiltrated the company of Margaret and her country friends. He mentions Edward to her; she is coy but has actually fallen in love with Lacy.
Scene 4: Court. Henry III meets with the Emperor of Germany and the King of Castile to arrange a marriage between Elinor of Castile and Edward. His welcome is cordial: “Great men of Europe, monarchs of the west, / Ring’d with the walls of old Oceanus, / Whose lofty surge is like the battlements / That compassed high-built Babel in with towers, / Welcome, my lords, welcome brave western kings / To England’s shore, whose promontory cleeves / Show Albion is another little world.” They all decide to ride to Oxford to meet Edward, so that the guests may see the university.
Scene 5: Oxford. Edward and his friends are disguised and encounter Bacon, who is disparaging and beating his scholar Miles. Bacon insults the other men, who find themselves magically unable to draw their swords in retaliation. Bacon reveals that he knows everything and Edward begs him to help. Bacon offers to take him into his study and show him a magic mirror.
Scene 6: Bacon’s study. Bacon and Edward watch Margaret with Friar Bungay, who informs her of Edward and Lacy’s plan. They then see Lacy, who reflects on his attraction to Margaret and his loyalty to Edward, before deciding to marry Margaret secretly before she can be debauched. He begins to profess his love for her, but is interrupted by Bungay, who slyly informs him that Lacy’s presence is known in town. Margaret interrupts, telling Lacy that she knows his true identity. They agree to marry then and there; Edward, still watching, is enraged. He commands Bacon to stop the wedding; Bacon complies and Bungay is muted and then carried off by a devil.
Scene 7: Regent House. The three scholars discuss the royal visit to Oxford and plan to stage some plays as entertainment. The Emperor is bringing a famous German scholar, Vandermast, and they decide that they must convince Bacon to debate him so that England is not disgraced. The constable then enters with Ralph and the other courtiers, who have been arrested for brawling in a pub. Ralph continues the facade that he is Edward but the scholars aren’t convinced and sentence them to prison. The courtiers reveal their true identities and the scholars permit them to go free.
Scene 8: Fressingfield. Edward confronts Lacy and Margaret, threatening to kill his former friend. Margaret promises that if he does, she will kill herself. The two suggest that Edward simply kill them both, and this spurs Edward to realise his wrong and bless their marriage. Edward and Lacy resolve to go to Oxford to hear the debate between Bacon and Vandermast, but promise to return to Margaret.
Scene 9: Oxford. Emperor: “Trust me, Plantagenet, these Oxford schools / Are richly seated near the river side; / The mountains full of fat and fallow deer, / The battling pastures lain with kine and flocks, / The town gorgeous with high-built colleges, / And scholars seemly in the grave attire, / Learning in searching principles of art.” Bungay begins a debate with Vandermast about English versus German learning, and conjures up a “tree leav’d with refined gold, / Whereon the fearful dragon held his seat, / That watch’d the garden call’d Hesperides, / Subdued and won by conquering Hercules.” In response, Vandermast conjures up Hercules, who begins destroying the tree. Bungay is crushed but Bacon then enters, who prevents Hercules from further destruction, and whisks Vandermast and Hercules back the Hapsburg – much to Henry’s delight. He then excuses himself. Edward enters with his friends, and is struck by Elinor’s beauty. A match is contemplated between them, and their fathers express their pleasure. Bacon and Miles offer up some pottage to their guests, who scorn it.
Scene 10: Fressingfield. Two of the country squires make offers to the innkeeper for Margaret’s hand, but he tells them that Margaret must choose. She manages to delay making a decision, promising that she will choose one of them in ten days’ time. They are content and leave; meanwhile, Margaret receives a letter from Lacy, telling her that he is going to marry one of Elinor’s ladies-in-waiting and giving her a hundred pounds. Margaret vows to confine herself to a nunnery.
Scene 11: Bacon’s study. Bacon is exhausted and commands Bacon to watch over the Brazen Head. The Head speaks “Time is,” “Time was,” and “Time is past,” and is destroyed by a hand wielding a hammer. Bacon awakens and is distraught at the Head’s destruction, for it means the loss of his own powers.
Scene 11: Oxford. Ralph fools that he will marry Elinor. Lacy tells everyone of Margaret’s beauty and Henry is interested, telling him to send for her from Fressingfield to allow them to marry.
Scene 12: Bacon’s study. Bacon is in a deep depression because his Brazen Head is broken. Two young scholars come knocking to ask if they can use Bacon’s magical mirror to see how their fathers fare. Bacon agrees, and it turns out that their fathers are the two squires who are rivals for Margaret. The squires stab one another to death, and, watching grief-struck, the scholars do likewise. Bacon is appalled by what has happened, and smashes the mirror, expressing his regret for ever meddling in magic. He vows to spend the rest of his life in devotion to God.
Scene 13: Fressingfield. Margaret’s father begs his daughter, already wearing nun’s apparel, not to join a nunnery. Lacy enters and is amazed to see her, and explains that he was simply testing her fidelity, but is now ready to marry her. Margaret explains that she has already made her vow, which cannot be taken back. Lacy’s friends remind her that life at court might offer more pleasure than years in a nunnery. Margaret yields and they all go off to celebrate with a breakfast of meat, cheese, and wine.
Scene 14: Oxford(?) Bacon has persuaded a devil to hunt down Miles in revenge for breaking the Brazen Head. He is no longer interested in magic, explaining: “Bacon must be damned / For using devils to countervail his God. / Yet, Bacon, cheer thee; drown not in despair, / Sins have their salves. Repentance can do much. / Think Mercy sits where Justice holds her seat, / And from those wounds those bloody Jews did pierce, / Which by thy magic oft did bleed afresh, / From thence to thee the dew of mercy drops / To wash the wrath of high Jehovah’s ire, / And make thee as a new-born babe from sin. / Bungay, I’ll spend the remnant of my life / In pure devotion, praying to my God / That he would save what Bacon vainly lost.” The devil tells Miles all about the pleasures of a tavern-like Hell, and Miles agrees to get on his back and ascend with him.
Scene 15: Court(?) Newly married, Edward swears loyalty to the Emperor and to Castile, and Margaret and Elinor express their happiness. Bacon gives out a prophecy in praise of Elizabeth I – “From forth the royal garden of a king / Shall flourish out so rich and fair a bud,” – and the wedding party leave for a feast.

Notes
Originally acted by Queen Elizabeth’s Men at Court (1588-92) and by Lord Strange’s Men at the Rose (1592). Dick Tarlton – Miles? Source: The Famous History of Friar Bacon (Anon., 1555?). Friar Bacon based on Roger Bacon; Friar Bungay on Thomas Bungay. Magic possibly inspired by Marlowe’s Doctor Faustus.