233:
three for their presumption in seeking the hand of a lady so far above them. The now-repentant
Orleans decides to restore Montague's rightful estates to him. With Montague's fortunes restored, Duboys and Longaville can be his retainers once again. (The dead officer is conveniently forgotten.) Laverdine attempts to recover from Lamira's rejection by revealing that he has formed an alliance with Veramour, who appears in a woman's gown; but it quickly transpires that Veramour is playing a joke on the courtier – he wears his boy's "breeches" underneath the gown, and reveals the truth to Laverdine's humiliation.
205:
suit has no true merit; but he has the wealth and influence to "corrupt a jury, and make a judge afraid" – and through "false witnesses" and perjured testimony he wins the lawsuit. Montague, suddenly in deep financial trouble, has to dismiss his retainers, including his loyal page
Veramour. The intensity of Veramour's attachment to Montague has an almost erotic quality to it, a fact noted by several characters in the play. The page remains devoted to his old master even after Montague has placed Veramour in the household of Lamira, a wealthy, single, and much sought-after young lady.
209:
of
Montague, to fight him over the dishonor to his family – but the Duchess follows, and protests that her first admission was a falsehood, told to stop the duel. Once Amiens withdraws, Montague and the Duchess are left alone, and their conversation reveals that their former courtship was chaste and honourable. (Montague makes a sexual advance to her, only to express his satisfaction when it is rejected – one of those "chastity tests" that are such a striking feature of the plays of the era, especially those of Fletcher.)
106:), a license confirmed in Herbert's own records. The play had passed into the possession of the King's Men as had several other plays from the Lady Elizabeth's company, along with key members (Field, Taylor, Benfield, Ecclestone). The King's Men's manuscript of 1624/5 was probably prepared for use as a prompt book for an intended revival, the original prompt book having been lost. Knight's MS. was likely made from the three authors' "foul papers" or working draft.
166:, in his wide-ranging study of authorship shares in the Fletcher canon, argued that both the printed and manuscript texts reveal the hands of Fletcher, Massinger, and Field. Hoy determined that the play is "very largely" the work of Field, but also that the collaboration among the writers is close and complex and cannot fully be split among the scenes of the play. Insofar as an Act/scene division is possible and meaningful, Hoy offered this assignment:
217:
him arrested for some small debts. As
Montague is being led away to debtors' prison by officers and creditors, Duboys arrives, ostensibly to fulfill Orleans' order of murder; but Duboys arranges the confrontation so that Montague can grab his sword. Montague fights his way free, though he kills an officer in doing so; he escapes, wounded.
213:
the ruthless
Orleans is quick to take Duboys into his service, and instructs him to murder Montague. Amiens reacts oppositely, resentful that his affairs are being bandied about by ruffians in the street; but once he meets Longaville and judges him worthy of patronage, Amiens takes the man into his service as well.
229:
strike the
Duchess; she falls. Orleans, thinking that his wife has been killed, is shocked out of his pose of arrogant self-importance. It turns out that the Duchess has only fainted; Longaville had charged his pistol with gunpowder but no lead ball, hoping to frighten Orleans into abandoning the duel with Amiens.
216:
Montague tries to recoup his fortunes by investing his last 500 crowns. But he has the bad luck to fall in with disreputable associates: a merchant named
Mallicorn, the "knavish Courtier" Laverdine, and an unemployed sea captain called La-Poope. Mallicorn takes Montague's money, then arranges to have
208:
Orleans turns his malice toward his wife as well, accusing her of infidelity with
Montague. This provokes Lord Amiens, the Duchess's brother; the two men quarrel, and are about to duel when the Duchess breaks in upon them and confesses that her husband's accusation is true. Amiens then goes in search
220:
The scene shifts to the garden of Lamira's country estate, where
Veramour the page has entered service. The Duchess of Orleans is present too, having found sanctuary with Lamira when her husband drove her out of his house. They are enjoying the quiet scene, and commenting on their pleasant seclusion
212:
Two of
Montague's cashiered followers are gentlemen named Longaville and Duboys. They decide to seek employment by staging a fake quarrel over the affair between Orleans and Amiens, in the hope that this will win them places as the noblemen's retainers. Both Orleans and Amiens hear about the matter;
204:
is a rich and powerful aristocrat, arrogant and ruthless, "a spleenful detracting Lord." He resents Montague because Montague had courted his Duchess before the Duke married her; and the Duke has chosen to vent his spleen by suing for control of the lands that provide Montague his income. The Duke's
232:
The abortive duel and Orleans' change of heart provide the resolution of the plot. Lamira holds a banquet at which she announces that she will choose a husband from among her suitors. To the surprise and displeasure of Mallicorn, La-Poope, and Laverdine, she selects Montague, who reproves the other
228:
Amiens employs Longaville to deliver a challenge to Orleans; after doing so, however, Logaville goes to Lamira's house to inform the Duchess. She, Lamira, and Montague arrive at the intended duel's location to try to stop it. In the confusion, Longaville discharges a pistol and the shot seems to
191:
In 1952 Johan Gerritsen published a critical edition specifically of the manuscript version of the play, covering essential aspects of the subject. (Gerritsen assigned the play to Field, Fletcher, and Tourneur.) More recently, the play has attracted critical attention for its treatment of sexual
224:
Soon, Laverdine, Mallicorn, and La-Poope arrive to pay court to Lamira; they meet and mock Montague for his decline in status. Laverdine, though a suitor to Lamira, is strongly attracted to Veramour, and convinces himself that the page is actually a woman in disguise. He propositions the page
109:
Knight's manuscript "corrects some slips made in the 1647 Folio version, simplifies the language, makes a number of cuts, some of them probably by Herbert as censor, omits one scene from the last act and alters the conclusion."
221:
from the corrupt city – when the wounded Montague bursts in upon them. Lamira provides him shelter and aid, and Montague, having no other present recourse, enters into her service.
455:
79:
in London. The MS. differs in some particulars from the printed text, most notably in its omission of Act V, scene iii and its alternate ending to the play's final scene.
138:
in the 1612–13 period. The production must have occurred before Ecclestone's departure from that company in 1613, which is consistent with the date on the manuscript.
577:
1465:
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939:
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448:
118:
The play's text in the second Beaumont and Fletcher folio of 1679 is prefaced by a cast list for the original production, which cites Nathan Field,
345:
For another usage of the same plot device – a woman falsely confessing to sexual impropriety to forestall a duel – see Middleton and Rowley's
825:
146:
Nineteenth-century scholars recognised that the play had multiple authors, based on its profile of internal evidence; critics beginning with
441:
95:
1460:
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119:
1209:
570:
1075:
91:
1450:
1156:
103:
83:
1353:
1080:
68:
1070:
776:
646:
407:
The Later Jacobean and Caroline Dramatists: A Survey and Bibliography of Recent Studies in English Renaissance Drama.
1329:
1273:
485:
250:
76:
37:
1149:
1305:
1297:
1004:
804:
797:
678:
278:
414:
The Plays of Beaumont and Fletcher: An Attempt to Determine Their Respective Shares and the Shares of Others.
130:, Emanuel Read, and Thomas Basse. This combination of personnel indicates that the play was premiered by the
1313:
1249:
1108:
994:
832:
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131:
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1345:
1030:
1361:
1046:
957:
891:
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525:
465:
632:
433:
192:
themes, what one commentator has called "the faithful page/loving heroine/boy player/catamite nexus."
1445:
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147:
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135:
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150:
proposed several potential authors working in combination, including Fletcher, Massinger, Field,
127:
87:
44:. It was apparently the earliest of the works produced by this trio of writers, the others being
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604:
201:
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1038:
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225:
sexually, though Veramour tells Laverdine that he would "rather lie with my lady's monkey."
1173:
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515:
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378:
255:
41:
1385:
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1022:
706:
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400:
Dramatists and Their Manuscripts in the Age of Shakespeare, Jonson, Middleton and Heywood.
391:. "The Shares of Fletcher and His Collaborators in the Beaumont and Fletcher Canon (IV)."
123:
1393:
1217:
905:
853:
535:
520:
347:
155:
151:
1434:
1257:
811:
734:
713:
510:
170:
Field – Acts I and II; Act III, scenes 1b (after Montague's entrance) and 2; Act IV;
1417:
1369:
868:
540:
500:
245:
159:
33:
1337:
1201:
720:
29:
94:. The last page of the manuscript contains permission for performance from Sir
530:
1141:
388:
163:
428:
Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages.
67:
exists in two versions. The play received its initial publication in the
699:
200:
The play's plot turns on a conflict among three French noblemen. The
71:
in 1647; it also survives in a manuscript dated 1613, identified as
373:"The Honest Mans Fortune": A Critical Edition of MS Dyce 9 (1625).
276:
The title of this play resembles the subtitle of Cyril Tourneur's
1145:
437:
421:
The Changing Room: Varieties of Theatrical Cross-Dressing.
16:
Play by Nathan Field, John Fletcher and Philip Massinger
182:
Massinger – Act III, scene 1a (to Montague's entrance).
366:
The Dramatic Works in the Beaumont and Fletcher Canon,
1134:† = Not published in the Beaumont and Fletcher folios
368:
Vol. X. Cambridge, Cambridge University Press, 1996.
1099:
1061:
1014:
878:
786:
670:
587:
562:
549:
430:Ann Arbor, MI, University of Michigan Press, 1994.
279:The Atheist's Tragedy, or The Honest Man's Revenge
409:Lincoln, NE, University of Nebraska Press, 1978.
405:Logan, Terence P., and Denzell S. Smith, eds.
385:. Cambridge, Cambridge University Press, 2004.
1157:
578:The Masque of the Inner Temple and Gray's Inn
449:
8:
940:Four Plays, or Moral Representations, in One
375:Groningen and Djakarta, J. B. Wolters, 1952.
173:Field and Fletcher – Act V, scenes 1 and 4;
1164:
1150:
1142:
559:
456:
442:
434:
416:New Haven, Yale University Press, 1927.
269:
176:Field and Massinger – Act III, scene 3;
7:
1466:Plays by John Fletcher and Massinger
990:with Massinger, Chapman & Jonson
1456:Plays by John Fletcher (playwright)
1000:with Massinger, Ford & Webster
102:, dated 8 February 1624 (or 1625,
14:
383:The Shakespeare Company 1594–1642
364:Bowers, Fredson, general editor.
179:Fletcher – Act V, scenes 2 and 3;
69:first Beaumont and Fletcher folio
571:The Knight of the Burning Pestle
82:The manuscript was produced by
1:
1112:(Shakespeare & Fletcher?)
887:with Beaumont & Massinger
1081:Beaumont and Fletcher folios
1071:English Renaissance theatre
777:Rule a Wife and Have a Wife
395:12 (1959), pp. 91–116.
1482:
1330:A New Way to Pay Old Debts
1274:The Great Duke of Florence
911:with Massinger & Field
318:Logan and Smith, pp. 63–4.
77:Victoria and Albert Museum
1461:Plays by Philip Massinger
1441:English Renaissance plays
1210:The Custom of the Country
1180:
1132:
826:The Custom of the Country
473:
187:Scholarship and criticism
75:in the collection of the
1306:The Little French Lawyer
1298:John van Olden Barnavelt
1290:The Honest Man's Fortune
1034:(Middleton & Rowley)
1005:The Fair Maid of the Inn
916:The Honest Man's Fortune
805:The Little French Lawyer
679:The Faithful Shepherdess
423:London, Routledge, 2000.
402:London, Routledge, 2006.
65:The Honest Man's Fortune
21:The Honest Man's Fortune
1250:The Emperor of the East
1109:The History of Cardenio
995:Rollo, Duke of Normandy
742:The Humorous Lieutenant
393:Studies in Bibliography
86:, the "book-keeper" or
1378:Rollo Duke of Normandy
1346:The Parliament of Love
1031:Wit at Several Weapons
1451:Plays by Nathan Field
958:The Two Noble Kinsmen
892:Thierry and Theodoret
466:Beaumont and Fletcher
327:Shapiro, pp. 85, 222.
309:Oliphant, pp. 383–91.
1410:The Unnatural Combat
1314:The Lovers' Progress
985:The Maid in the Mill
923:The Queen of Corinth
833:The Lovers' Progress
763:The Wild Goose Chase
419:Senelick, Laurence.
336:Senelick, pp. 142–4.
132:Lady Elizabeth's Men
114:Date and performance
100:Master of the Revels
47:The Queen of Corinth
1226:The Double Marriage
1194:Believe as You List
1121:(possibly based on
930:The Knight of Malta
819:The Double Marriage
749:The Island Princess
661:The Noble Gentleman
506:William Shakespeare
412:Oliphant, E. H. C.
136:Whitefriars Theatre
53:The Knight of Malta
1402:The Spanish Curate
1322:The Maid of Honour
840:The Spanish Curate
770:A Wife for a Month
640:A King and No King
633:The Maid's Tragedy
426:Shapiro, Michael.
371:Gerritsen, Johan.
128:William Ecclestone
28:era stage play, a
1428:
1427:
1242:The Elder Brother
1234:The Duke of Milan
1186:The Bashful Lover
1139:
1138:
1091:Humphrey Robinson
1057:
1056:
1039:The Laws of Candy
975:Wit Without Money
861:The Elder Brother
728:The Loyal Subject
686:The Woman's Prize
654:The Scornful Lady
647:Love's Pilgrimage
1473:
1174:Philip Massinger
1166:
1159:
1152:
1143:
1118:Double Falsehood
1086:Humphrey Moseley
968:The Night Walker
945:with Shakespeare
560:
516:Thomas Middleton
493:Philip Massinger
479:Francis Beaumont
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451:
444:
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398:Ioppolo, Grace.
352:
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291:Bowers, pp. 3–5.
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256:Philip Massinger
42:Philip Massinger
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1386:The Roman Actor
1266:The Fatal Dowry
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1064:and publication
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1023:The Nice Valour
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707:Monsieur Thomas
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605:Cupid's Revenge
598:The Woman Hater
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348:A Fair Quarrel
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156:Cyril Tourneur
152:Robert Daborne
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1258:The False One
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899:Beggars' Bush
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812:The False One
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735:Women Pleased
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714:The Mad Lover
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511:James Shirley
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172:
169:
168:
167:
165:
161:
157:
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139:
137:
133:
129:
125:
121:
120:Joseph Taylor
113:
111:
107:
105:
101:
97:
96:Henry Herbert
93:
89:
85:
84:Edward Knight
80:
78:
74:
70:
66:
59:
57:
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49:
48:
43:
39:
38:John Fletcher
35:
31:
27:
23:
22:
1418:A Very Woman
1416:
1408:
1400:
1392:
1384:
1376:
1370:The Renegado
1368:
1360:
1352:
1344:
1336:
1328:
1320:
1317:(1624, 1634)
1312:
1304:
1296:
1289:
1288:
1282:The Guardian
1280:
1272:
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1256:
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1224:
1216:
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1184:
1122:
1116:
1107:
1045:
1037:
1029:
1021:
1003:
993:
983:
973:
966:
963:with Shirley
956:
949:
938:
928:
921:
915:
914:
904:
897:
890:
869:A Very Woman
867:
859:
852:
845:
838:
831:
824:
817:
810:
803:
796:
787:Fletcher and
775:
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733:
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719:
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631:
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610:
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590:and Fletcher
576:
569:
556:conjectural)
554:attributions
541:John Webster
501:Nathan Field
491:
484:
477:
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379:Gurr, Andrew
372:
365:
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305:
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246:Nathan Field
242:Playwrights
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190:
160:John Webster
145:
117:
108:
81:
72:
64:
63:
51:
45:
34:Nathan Field
20:
19:
18:
1446:1610s plays
1354:The Picture
1338:The Old Law
1202:The Bondman
1062:Performance
1026:(Middleton)
980:with Rowley
906:Love's Cure
756:The Pilgrim
721:The Chances
693:Valentinian
626:The Captain
612:The Coxcomb
148:F. G. Fleay
32:written by
30:tragicomedy
1435:Categories
1421:(1619–22?)
1381:(1612–24?)
1076:King's Men
951:Henry VIII
935:with Field
881:and others
531:Ben Jonson
389:Hoy, Cyrus
142:Authorship
92:King's Men
73:MS. Dyce 9
1341:(1614–18)
1309:(1619–23)
1261:(1619–20)
1229:(1619–22)
1213:(1619–23)
1172:Plays by
1050:(Shirley)
798:Barnavelt
789:Massinger
619:Philaster
526:John Ford
164:Cyrus Hoy
104:new style
1123:Cardenio
879:Fletcher
671:Fletcher
588:Beaumont
563:Beaumont
237:See also
196:Synopsis
88:prompter
26:Jacobean
1413:(1624?)
1100:Related
700:Bonduca
468:" Canon
359:Sources
351:(1616).
134:at the
90:of the
1405:(1622)
1397:(1622)
1389:(1626)
1373:(1630)
1365:(1622)
1357:(1630)
1349:(1624)
1333:(1625)
1325:(1632)
1301:(1619)
1293:(1613)
1285:(1633)
1277:(1636)
1269:(1632)
1253:(1632)
1245:(1625)
1237:(1623)
1221:(1632)
1205:(1624)
1197:(1631)
1189:(1636)
1042:(Ford)
1015:Others
158:, and
98:, the
40:, and
552:(some
550:Plays
464:The "
264:Notes
60:Texts
24:is a
50:and
1437::
381:.
162:.
154:,
126:,
122:,
36:,
1165:e
1158:t
1151:v
1125:)
1115:†
1106:†
948:†
866:†
795:†
457:e
450:t
443:v
281:.
55:.
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