345:
and is wounded with, the others; but he then brings the duel to a halt by appealing to the long-standing friendship between the principals.) Lisander asks for a clandestine meeting with
Calista, and Clarinda facilitates it, for her own reasons. Calista and Lisander meet quietly in the night; Calista is still in love with Lisander, and he tries to steer their relationship toward a sexual culmination – but Calista stands upon her honor and refuses. Cleander almost catches the two together; and while Lisander is sneaking out of the sleeping house, he trips and discharges his pistol, waking everyone; but he is not caught.
333:
her two suitors, and is married to
Cleander; but her other suitor, Cleander's close friend Lisander, is still in love with her, and she still loves him. Calista's friend Olinda, however, cannot choose between Lidian (who is Calista's brother) and Clarange. (Lidian and Clarange are also close friends.) In despair, Olinda sends both her suitors away, and states that she will marry the man who returns to her last. The two men, applying their own culture's standard of judgement to this odd stricture, decide to settle the matter quickly – with a
365:
of
Cleander, confesses everything. The evidence indicates that Lisander was the wronged party in the duel with the King's favorite, and King is convinced to pardon him; he "sentences" Lisander to marry the widowed Calista after a year of mourning. Olinda's fate is also resolved; it turns out that Clarange is not just a pretended friar but a real one. Having chosen the religious life, he yields his claim on Olinda to Lidian. Clarinda and Leon are left to their fates before the law.
357:
that his time has come. Cleander becomes aware of the affair between Leon and
Clarinda; in a confrontation, Leon kills Cleander with Lisander's sword. Clarinda has him leave the sword behind, so that Lisander will be suspected; and Clarinda moves to revenge herself on Calista by exposing her meeting with Lisander. Calista must face the law as an apparent accessory to her husband's murder.
353:
worst. This contradicts
Clarinda's plans and expectations; but she manages to retain her place by appealing to Cleander's brother Beronte. (Clarinda says that "Monsieur Beronte my Lords Brother is / Oblig'd unto me for a private favour"...leaving the audience to speculate of the nature of that favor.)
360:
Lidian has endured a change of heart after being wounded in the duel with
Clarange (a feature typical of the dramaturgy of Fletcher and Massinger). He is now living in the countryside as a hermit. Clarange comes to him disguised as a friar, and convinces him that he, Clarange, is dead. Lidian goes to
356:
Lisander gets involved in serious trouble: he kills two men in another duel, one of whom is a favorite of the King; and he must flee for his life. He leaves his broken sword behind him on the "field of honor;" it is picked up and repaired by Leon. The ghost of the Host comes to
Cleander and warns him
332:
The play is set in France. Its plot depends on an unusual narrative structure: a standard romantic triangle, tripled. There are three female characters, and each enjoys (or suffers) the romantic attentions of two men. Two, Calista and Olinda, are gentlewomen. Calista has already made a choice between
364:
The whole plot comes to a head in the final trial scene. The King of France himself has come to rule on
Calista's case. Clarinda present her false accusation; but Lisander surprises everyone by appearing in person to defend Calista's reputation. And Leon, captured and now repentant over his killing
344:
Lisander is not only
Cleander's friend, but becomes something of a hero to his family. Lisander saves Calista's father Dorilaus when the old man is set upon by bandits; and he later resolves the duel between Clarange and Calista's brother Lidian. (Serving as Clarange's second, he fights along with,
352:
Calista suspects
Clarinda's lapse from chastity, and confronts her; but Clarinda boldly responds by threatening to expose her mistress's meeting with Lisander. Calista is deeply distressed – but decides again to stand upon her honor. She dismisses Clarinda from her service, and dares her to do her
348:
Dorilaus and Cleander visit a familiar inn, and are surprised to learn that their old acquaintance, the inn's Host, has recently died. Yet they hear him sing a song, and then meet his ghost. Cleander is superstitiously moved and frightened by the incident, and sees it as a malevolent omen; he asks
340:
The third woman is a servant, Calista's waiting woman Clarinda. She is identified as "a lustful wench," and in modern terms could be called a sexually liberated woman; but the prevailing norms of her society, and her dependent social place, force her to conceal her active sexuality. Clarinda's
341:
subplot inverts and mocks the conventions of courtly love that the main-plot characters take seriously; she has a foolish suitor named Malfort that she manipulates – allowing him to kiss her foot, and later, her hand – while she enjoys a sexual relationship with Leon, her pretended cousin.
311:
in the 1647 folio was one of those set into print by Susan Islip – a rare instance of a woman printer in that era. Widows sometimes continued the businesses of their late husbands; among booksellers, Alice Moseley, widow of Humphrey Moseley, and
153:. No work with this combined title and subtitle is known. Moseley had a habit, however, of exploiting the confusion inherent in titles and subtitles to register two separate plays for a single fee. (For examples, see
361:
Olinda to give her the news and comfort her; Clarange follows, and by being the second to arrive claims Olinda's hand by her own stricture. Lidian is outraged, feeling he's been tricked.
260:
Given the major stylistic and textual differences in the habits of Fletcher and Massinger, scholars have been able to distinguish the two men's hands in the existing version.
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241:
which was acted in late 1623 or early 1624 by the King's Men. A decade later, Massinger revised that play into a new version, alternatively known as
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1499:
1489:
978:
1202:
320:, are two among a number of possible examples. For printer/widows like Islip, Ellen Cotes, widow of Richard Cotes and sister-in law of
487:
134:. The Prologue and Epilogue to the play indicate that this extant text is a revision by another hand of an original work by Fletcher.
54:. As its multiple titles indicate, the play has a complex history and has been a focus of controversy among scholars and critics.
864:
372:. The scene of the innkeeper's ghost, III, v, is one aspect of the play that has attracted notice from critics and readers.
480:
71:
1504:
1494:
1479:
191:
190:; in that collection it is supplied with a cast list from the original production by the King's Men, a list that cites
442:
The Later Jacobean and Caroline Dramatists: A Survey and Bibliography of Recent Studies in English Renaissance Drama,
368:
The play is one of the relatively few works in Fletcher's canon that was not revived after the theatres re-opened in
1248:
609:
1114:
94:
1195:
411:
The Plays of Beaumont and Fletcher: An Attempt to Determine Their Respective Shares and the Shares of Others,
1392:
1119:
274:
Massinger and Fletcher – Act I, 2 (Massinger, first half, to Dorilaus's entrance; Fletcher, the remainder).
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109:
could be called a tragedy from the point of view of the character Cleander, since Cleander dies in Act IV.)
1328:
1109:
954:
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685:
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Editors of the 18th and 19th centuries generally chose to take "lover" as singular, and titled the play
1368:
1312:
524:
47:
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On the play's title: the 17th-century folios rendered the title without punctuation: no apostrophe in
1188:
102:
1344:
1336:
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843:
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717:
264:, in his wide-ranging study of authorship problems in Fletcher's canon, argued for this division:
1288:
1147:
1033:
780:
249:
This revised version was later published in the Beaumont and Fletcher folios of 1647 and 1679 as
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1416:
1384:
1069:
211:
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387:– since the drama certainly offers its audience more than one lover. For a similar case, see
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in June 1623 but before the death of John Underwood in October 1624 – or around the time of
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1023:
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8:
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98:
237:
The consensus interpretation of this evidence is that Fletcher wrote a solo play titled
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Also in 1634, Sir Humphrey Mildmay noted in his diary that he had seen a play he called
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Histoire trage-comique de nostre temps, sous les noms de Lysandre et de Caliste,
1432:
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The historical facts pertinent to the play, in chronological order, are these:
1473:
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173:) The implication is that Moseley's entry refers to two separate plays, the
1456:
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907:
579:
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a popular prose romance by Vital d'Audiguier that was first published in
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was similarly licensed on 7 May 1634, and performed soon after by the
261:
222:. This list has been interpreted to indicate a premier production of
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the ghost to warn him if he is soon to die – and the ghost agrees.
444:
Lincoln, NE, University of Nebraska Press, 1978; pp. 77, 110, 113.
738:
82:, as a work by John Fletcher. It was acted at Court on 1 January
295:
and often reprinted. The first English translation appeared in
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that was licensed in December 1623, and Massinger's lost play
466:
Vol. 10, Cambridge, Cambridge University Press, 1996; p. 428.
268:
Massinger – Act I, scene 1; Act III, 1 and 4; Act IV; Act V;
334:
324:, can be cited, along with Alice Warren and Sarah Griffin.
186:
was reprinted in the second Beaumont and Fletcher folio of
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Modern editors tend to prefer the more accurate plural –
464:
The Dramatic Works in the Beaumont and Fletcher Canon,
413:
New Haven, Yale University Press, 1927; pp. 95–6, 251.
1173:† = Not published in the Beaumont and Fletcher folios
226:
in the 1623–24 period, after the death of King's Man
1471:
42:) is an early seventeenth-century stage play, a
1210:
1196:
617:The Masque of the Inner Temple and Gray's Inn
488:
440:Terence P. Logan and Denzell S. Smith, eds.,
979:Four Plays, or Moral Representations, in One
1203:
1189:
495:
481:
16:Play by John Fletcher and Philip Massinger
116:. Lisander and Calista are characters in
271:Fletcher – Act II; Act III, 2–3 and 5–6;
57:
86:. No play with that title has survived.
1472:
1184:
476:
1500:Plays by John Fletcher and Massinger
1029:with Massinger, Chapman & Jonson
147:The Wandering Lovers, or The Painter
70:was licensed for performance by Sir
1490:Plays by John Fletcher (playwright)
283:The primary source for the plot of
105:saw it there on 13 May that year. (
13:
1039:with Massinger, Ford & Webster
337:. The survivor will marry Olinda.
14:
1516:
128:first Beaumont and Fletcher folio
610:The Knight of the Burning Pestle
462:Fredson Bowers, general editor,
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447:
434:
425:
416:
403:
1:
1151:(Shakespeare & Fletcher?)
926:with Beaumont & Massinger
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255:
1120:Beaumont and Fletcher folios
422:Oliphant, pp. 96 and 239–40.
7:
1110:English Renaissance theatre
816:Rule a Wife and Have a Wife
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141:, bookseller and publisher
89:A play by Massinger titled
10:
1521:
1369:A New Way to Pay Old Debts
1313:The Great Duke of Florence
950:with Massinger & Field
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1505:Henrietta Maria of France
1495:Plays by Philip Massinger
1480:English Renaissance plays
1249:The Custom of the Country
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1138:
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1053:
917:
865:The Custom of the Country
825:
709:
626:
601:
588:
512:
145:entered a play he called
1345:The Little French Lawyer
1337:John van Olden Barnavelt
1329:The Honest Man's Fortune
1073:(Middleton & Rowley)
1044:The Fair Maid of the Inn
955:The Honest Man's Fortune
844:The Little French Lawyer
718:The Faithful Shepherdess
302:
1289:The Emperor of the East
1148:The History of Cardenio
1034:Rollo, Duke of Normandy
781:The Humorous Lieutenant
453:Logan and Smith, p. 77.
91:The Tragedy of Cleander
1417:Rollo Duke of Normandy
1385:The Parliament of Love
1070:Wit at Several Weapons
997:The Two Noble Kinsmen
931:Thierry and Theodoret
505:Beaumont and Fletcher
381:The Lover's Progress.
251:The Lovers' Progress.
247:Lisander and Calista.
239:The Wandering Lovers,
232:The Wandering Lovers.
126:was published in the
118:The Lovers' Progress.
58:Facts and conclusions
1449:The Unnatural Combat
1353:The Lovers' Progress
1024:The Maid in the Mill
962:The Queen of Corinth
872:The Lovers' Progress
802:The Wild Goose Chase
385:The Lovers' Progress
309:The Lovers' Progress
285:The Lovers' Progress
224:The Lovers' Progress
184:The Lovers' Progress
151:Stationers' Register
124:The Lovers' Progress
114:Lisander and Calista
107:The Lovers' Progress
76:Master of the Revels
68:The Wandering Lovers
39:Lisander and Calista
27:The Wandering Lovers
21:The Lovers' Progress
1265:The Double Marriage
1233:Believe as You List
1160:(possibly based on
969:The Knight of Malta
858:The Double Marriage
788:The Island Princess
700:The Noble Gentleman
545:William Shakespeare
409:E. H. C. Oliphant,
99:Blackfriars Theatre
1441:The Spanish Curate
1361:The Maid of Honour
879:The Spanish Curate
809:A Wife for a Month
679:A King and No King
672:The Maid's Tragedy
1467:
1466:
1281:The Elder Brother
1273:The Duke of Milan
1225:The Bashful Lover
1178:
1177:
1130:Humphrey Robinson
1096:
1095:
1078:The Laws of Candy
1014:Wit Without Money
900:The Elder Brother
767:The Loyal Subject
725:The Woman's Prize
693:The Scornful Lady
686:Love's Pilgrimage
431:Oliphant, p. 239.
156:The Bashful Lover
1512:
1213:Philip Massinger
1205:
1198:
1191:
1182:
1181:
1157:Double Falsehood
1125:Humphrey Moseley
1007:The Night Walker
984:with Shakespeare
599:
598:
555:Thomas Middleton
532:Philip Massinger
518:Francis Beaumont
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175:Wandering Lovers
143:Humphrey Moseley
78:, on 6 December
52:Philip Massinger
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1305:The Fatal Dowry
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1103:and publication
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1062:The Nice Valour
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644:Cupid's Revenge
637:The Woman Hater
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200:Robert Benfield
137:On 9 September
103:Henrietta Maria
60:
24:(also known as
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212:Richard Sharpe
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204:John Underwood
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122:A play titled
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87:
66:A play titled
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1297:The False One
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938:Beggars' Bush
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753:The Mad Lover
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550:James Shirley
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48:John Fletcher
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34:
29:
28:
23:
22:
1457:A Very Woman
1455:
1447:
1439:
1431:
1423:
1415:
1409:The Renegado
1407:
1399:
1391:
1383:
1375:
1367:
1359:
1356:(1624, 1634)
1352:
1351:
1343:
1335:
1327:
1321:The Guardian
1319:
1311:
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1002:with Shirley
995:
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908:A Very Woman
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629:and Fletcher
615:
608:
595:conjectural)
593:attributions
580:John Webster
540:Nathan Field
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322:Thomas Cotes
318:Edward Allde
308:
307:The text of
306:
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259:
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216:George Birch
183:
179:The Painter.
178:
174:
169:A Very Woman
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162:The Guardian
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1393:The Picture
1377:The Old Law
1241:The Bondman
1101:Performance
1065:(Middleton)
1019:with Rowley
945:Love's Cure
795:The Pilgrim
760:The Chances
732:Valentinian
665:The Captain
651:The Coxcomb
316:, widow of
46:written by
44:tragicomedy
1485:1623 plays
1474:Categories
1460:(1619–22?)
1420:(1612–24?)
1115:King's Men
990:Henry VIII
974:with Field
920:and others
570:Ben Jonson
397:References
256:Authorship
196:John Lowin
95:King's Men
1380:(1614–18)
1348:(1619–23)
1300:(1619–20)
1268:(1619–22)
1252:(1619–23)
1211:Plays by
1089:(Shirley)
837:Barnavelt
828:Massinger
658:Philaster
565:John Ford
262:Cyrus Hoy
149:into the
1162:Cardenio
918:Fletcher
710:Fletcher
627:Beaumont
602:Beaumont
328:Synopsis
287:was the
243:Cleander
101:. Queen
33:Cleander
1452:(1624?)
1139:Related
739:Bonduca
507:" Canon
377:Lovers.
279:Sources
97:at the
1444:(1622)
1436:(1622)
1428:(1626)
1412:(1630)
1404:(1622)
1396:(1630)
1388:(1624)
1372:(1625)
1364:(1632)
1340:(1619)
1332:(1613)
1324:(1633)
1316:(1636)
1308:(1632)
1292:(1632)
1284:(1625)
1276:(1623)
1260:(1632)
1244:(1624)
1236:(1631)
1228:(1636)
1081:(Ford)
1054:Others
218:, and
74:, the
591:(some
589:Plays
503:The "
303:Islip
36:, or
370:1660
335:duel
297:1617
293:1615
188:1679
166:and
139:1653
132:1647
84:1634
80:1623
50:and
245:or
130:of
1476::
299:.
214:,
210:,
206:,
202:,
198:,
194:,
30:,
1204:e
1197:t
1190:v
1164:)
1154:†
1145:†
987:†
905:†
834:†
496:e
489:t
482:v
392:.
171:.
164:,
158:,
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