173:. (Historically, Venice conquered Crete in the early thirteenth century and ruled the island until 1669, though with many rebellions by the local populace.) The commander of the army, Cassilanes, the leading soldier of his generation, expects to receive the acclaim of the troops, and is incensed to find that he has a rival in his own son, Antinous, who has distinguished himself in his first battle. The father's concern is real: Antinous wins the approval of the soldiers. Paradoxically, Cassilanes is even more outraged when Antinous claims his reward from the state—and names a bronze statue of his father. To Cassilanes, this is only one more assertion of the son's assumed power.
177:
play's
Machiavellian villain; he plots and manipulates with the goal of becoming both the king of Candy and the duke of Venice. Gonzalo, however, makes two mistakes. One is that he takes a young Venetian prisoner of war, Fernando, into his confidence, relying on their shared nationality. When Cassilanes retreats to a poverty-stricken retirement, Gonzalo arranges for Fernando to live in the general's little household to further his machinations. Fernando is a noble young man, in mind as well as in birth; and once he falls in love with Cassilanes' daughter Annophel, he reveals Gonzalo's plots.
165:
are in the statute books. One is a (highly impracticable) law against ingratitude: a citizen who is accused of ingratitude by another, and fails to make amends, can be sentenced to death. The second law holds that after a military victory, the soldiers will select the one of their number who has done
192:
In the play's final climactic scene, the other odd law of Candy comes into play. Cassilanes comes before the Senate with a complaint of ingratitude against his son; and
Antinous, resigned to death, refuses to defend himself. But Erota makes a similar complaint of ingratitude against Cassilanes—which
196:
The befuddled Senate turns the matter over to the
Cypriot prince Philander for judgment. Philander prevails on Cassilanes to repent and withdraw his complaint against Antinous, which allows all the subsequent difficulties to be resolved. Almost as an afterthought, the Cretans and Venetians unite in
176:
Cassilanes is certainly an irascible old man—but he has an additional grievance. He has mortgaged his estates to pay the troops, who otherwise would not have fought; and the state is in no hurry to rectify the matter. The owner of the mortgage is
Gonzalo, an ambitious Venetian lord. Gonzalo is the
193:
provokes
Antinous to make the same complaint against her, in a sort of round-robin festival of egomania. The solution to this tangle comes when Annophel enters and makes her own complaint of ingratitude...against the Senate of Candy, for its treatment of her father.
188:
named
Philander, but scorns them all. Until, that is, she meets Antinous, and falls in love with him. Motivated by that love, she manipulates the vain Gonzalo into selling her Cassilanes' mortgage, and also into committing his plots and plans to writing.
109:, in his wide-ranging and detailed treatment of authorship problems in Fletcher's canon, also confirmed the judgment in favor of Ford's authorship; and while this judgment was controversial for a time,
197:
condemning
Gonzalo to punishment. Erota's pride is humbled (we know this, since she tells us so herself), and she accepts her most constant (and noble) suitor, Prince Philander, as her spouse.
85:, all members of that company. With that roster of personnel, the play could have premiered anytime between the spring of 1619, when Taylor joined the troupe, and June 1623, when Tooley died.
184:
describes her as "a
Princess, imperious, and of an overweaning Beauty." Royal, rich, witty, and beautiful, she is also extravagantly vain; she is loved by many men, including a prince of
149:
is early as well, which could help to explain its relative crudity. If the play was written as early as 1619 or 1620, it could be the earliest of Ford's extant dramatic works.
101:, or Fletcher's other usual collaborators, in the play. The reason for this began to become clear when William Wells and E. H. C. Oliphant identified the hand of
280:
402:
120:, that an addition to his canon of a full solo play is an important development. Critics are unanimous in their verdicts on the low quality of
764:
273:
976:
650:
266:
169:
The second law is the cause of the play's conflict. The forces of Candy have just won a great victory over the invading
45:. Scholars judge it to have been written most likely in the 1619–23 period. The play was clearly performed by the
991:
54:
215:
The Later
Jacobean and Caroline Dramatists: A Survey and Bibliography of Recent Studies in English Renaissance Drama,
145:)—are known to have been acted by the King's Men, and they are all relatively early Ford plays; this may imply that
395:
900:
46:
22:
228:
The Plays of
Beaumont and Fletcher: An Attempt to Determine Their Respective Shares and the Shares of Others,
996:
905:
38:
895:
740:
601:
471:
117:
49:; the cast list for the original production, added to the play in the second Beaumont/Fletcher folio of
310:
94:
258:
124:; "tiresome" is one of the kinder epithets that have been attached to the work. Three of Ford's plays—
126:
829:
629:
622:
503:
110:
933:
819:
657:
566:
180:
Gonzalo's second mistake is to fall in love himself, with the princess Erota. The play's list of
74:
855:
78:
66:
871:
782:
716:
671:
457:
350:
290:
102:
230:
New Haven, Yale University Press, 1927; reprinted New York, Phaeton Press, 1970; pp. 472–86.
986:
981:
809:
747:
587:
510:
8:
754:
643:
573:
485:
330:
161:—"Candy" and "Candia" being archaic names for the island. In Ford's fictional Candy, two
93:
Early scholars were frustrated at their inability to find any evidence of the styles of
664:
594:
580:
517:
464:
450:
436:
429:
170:
142:
62:
50:
42:
116:
Ford's canon is so limited in extent, compared to those of other major playwrights of
915:
799:
775:
685:
552:
478:
942:
910:
792:
723:
443:
340:
317:
303:
250:"Counterfeiting" Shakespeare: Evidence, Authorship, and John Ford's "Funeral Elegy"
132:
98:
847:
531:
422:
70:
730:
678:
360:
345:
82:
970:
636:
559:
538:
335:
693:
365:
325:
162:
29:
that is significant principally because of the question of its authorship.
545:
26:
355:
288:
58:
106:
524:
185:
158:
113:, writing in 2005, called the attribution to Ford "certain".
217:
Lincoln, NE, University of Nebraska Press, 1978; p. 73.
252:, Cambridge, Cambridge University Press, 2002; p. 494.
959:†= Not published in the Beaumont and Fletcher folios
37:The play received its initial publication in the
968:
403:The Masque of the Inner Temple and Gray's Inn
274:
213:Terence P. Logan and Denzell S. Smith, eds.,
765:Four Plays, or Moral Representations, in One
281:
267:
969:
262:
815:with Massinger, Chapman & Jonson
13:
825:with Massinger, Ford & Webster
14:
1008:
166:the most to achieve the success.
39:first Beaumont and Fletcher folio
396:The Knight of the Burning Pestle
977:Plays by John Ford (dramatist)
242:
233:
220:
207:
1:
937:(Shakespeare & Fletcher?)
712:with Beaumont & Massinger
200:
88:
906:Beaumont and Fletcher folios
7:
896:English Renaissance theatre
602:Rule a Wife and Have a Wife
152:
118:English Renaissance theatre
10:
1013:
736:with Massinger & Field
992:English Renaissance plays
957:
924:
886:
839:
703:
651:The Custom of the Country
611:
495:
412:
387:
374:
298:
859:(Middleton & Rowley)
830:The Fair Maid of the Inn
741:The Honest Man's Fortune
630:The Little French Lawyer
504:The Faithful Shepherdess
239:Logan and Smith, p. 143.
934:The History of Cardenio
820:Rollo, Duke of Normandy
567:The Humorous Lieutenant
32:
856:Wit at Several Weapons
141:(licensed 28 November
127:The Lover's Melancholy
783:The Two Noble Kinsmen
717:Thierry and Theodoret
291:Beaumont and Fletcher
810:The Maid in the Mill
748:The Queen of Corinth
658:The Lovers' Progress
588:The Wild Goose Chase
997:Plays set in Greece
946:(possibly based on
755:The Knight of Malta
644:The Double Marriage
574:The Island Princess
486:The Noble Gentleman
331:William Shakespeare
226:E. H. C. Oliphant,
157:The play is set in
665:The Spanish Curate
595:A Wife for a Month
465:A King and No King
458:The Maid's Tragedy
139:Beauty in a Trance
63:William Ecclestone
964:
963:
916:Humphrey Robinson
882:
881:
864:The Laws of Candy
800:Wit Without Money
686:The Elder Brother
553:The Loyal Subject
511:The Woman's Prize
479:The Scornful Lady
472:Love's Pilgrimage
182:dramatis personae
147:The Laws of Candy
122:The Laws of Candy
18:The Laws of Candy
1004:
943:Double Falsehood
911:Humphrey Moseley
793:The Night Walker
770:with Shakespeare
385:
384:
341:Thomas Middleton
318:Philip Massinger
304:Francis Beaumont
283:
276:
269:
260:
259:
253:
246:
240:
237:
231:
224:
218:
211:
133:The Broken Heart
99:Philip Massinger
1012:
1011:
1007:
1006:
1005:
1003:
1002:
1001:
967:
966:
965:
960:
953:
920:
889:and publication
888:
878:
848:The Nice Valour
835:
705:
699:
613:
607:
532:Monsieur Thomas
491:
430:Cupid's Revenge
423:The Woman Hater
414:
408:
380:
378:
376:
370:
294:
287:
257:
256:
248:Brian Vickers,
247:
243:
238:
234:
225:
221:
212:
208:
203:
155:
91:
71:Nicholas Tooley
35:
12:
11:
5:
1010:
1000:
999:
994:
989:
984:
979:
962:
961:
958:
955:
954:
952:
951:
938:
928:
926:
922:
921:
919:
918:
913:
908:
903:
898:
892:
890:
884:
883:
880:
879:
877:
876:
872:The Coronation
868:
860:
852:
843:
841:
837:
836:
834:
833:
826:
823:
816:
813:
806:
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796:
789:
786:
779:
771:
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758:
751:
744:
737:
734:
727:
720:
713:
709:
707:
701:
700:
698:
697:
689:
682:
679:The Sea Voyage
675:
672:The Prophetess
668:
661:
654:
647:
640:
633:
626:
617:
615:
609:
608:
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605:
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591:
584:
577:
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563:
556:
549:
542:
535:
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468:
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447:
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418:
416:
410:
409:
407:
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399:
391:
389:
382:
372:
371:
369:
368:
363:
361:George Chapman
358:
353:
348:
346:William Rowley
343:
338:
333:
328:
322:
321:
314:
307:
299:
296:
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278:
271:
263:
255:
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241:
232:
219:
205:
204:
202:
199:
154:
151:
90:
87:
83:Thomas Pollard
79:Richard Sharpe
67:John Underwood
34:
31:
25:stage play, a
9:
6:
4:
3:
2:
1009:
998:
995:
993:
990:
988:
985:
983:
980:
978:
975:
974:
972:
956:
949:
945:
944:
939:
936:
935:
930:
929:
927:
923:
917:
914:
912:
909:
907:
904:
902:
899:
897:
894:
893:
891:
885:
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869:
866:
865:
861:
858:
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850:
849:
845:
844:
842:
838:
832:
831:
827:
824:
822:
821:
817:
814:
812:
811:
807:
804:
802:
801:
797:
795:
794:
790:
787:
785:
784:
780:
778:
777:
772:
769:
767:
766:
762:
759:
757:
756:
752:
750:
749:
745:
743:
742:
738:
735:
733:
732:
728:
726:
725:
724:Beggars' Bush
721:
719:
718:
714:
711:
710:
708:
702:
696:
695:
690:
688:
687:
683:
681:
680:
676:
674:
673:
669:
667:
666:
662:
660:
659:
655:
653:
652:
648:
646:
645:
641:
639:
638:
637:The False One
634:
632:
631:
627:
625:
624:
619:
618:
616:
610:
604:
603:
599:
597:
596:
592:
590:
589:
585:
583:
582:
578:
576:
575:
571:
569:
568:
564:
562:
561:
560:Women Pleased
557:
555:
554:
550:
548:
547:
543:
541:
540:
539:The Mad Lover
536:
534:
533:
529:
527:
526:
522:
520:
519:
515:
513:
512:
508:
506:
505:
501:
500:
498:
494:
488:
487:
483:
481:
480:
476:
474:
473:
469:
467:
466:
462:
460:
459:
455:
453:
452:
448:
446:
445:
441:
439:
438:
434:
432:
431:
427:
425:
424:
420:
419:
417:
411:
405:
404:
400:
398:
397:
393:
392:
390:
386:
383:
373:
367:
364:
362:
359:
357:
354:
352:
349:
347:
344:
342:
339:
337:
336:James Shirley
334:
332:
329:
327:
324:
323:
320:
319:
315:
313:
312:
311:John Fletcher
308:
306:
305:
301:
300:
297:
292:
284:
279:
277:
272:
270:
265:
264:
261:
251:
245:
236:
229:
223:
216:
210:
206:
198:
194:
190:
187:
183:
178:
174:
172:
167:
164:
160:
150:
148:
144:
140:
137:and the lost
136:
134:
130:
128:
123:
119:
114:
112:
111:Brian Vickers
108:
105:in the work.
104:
100:
96:
95:John Fletcher
86:
84:
80:
76:
72:
68:
64:
60:
56:
55:Joseph Taylor
52:
48:
44:
40:
30:
28:
24:
20:
19:
947:
941:
932:
870:
863:
862:
854:
846:
828:
818:
808:
798:
791:
788:with Shirley
781:
774:
763:
753:
746:
739:
729:
722:
715:
694:A Very Woman
692:
684:
677:
670:
663:
656:
649:
642:
635:
628:
621:
612:Fletcher and
600:
593:
586:
579:
572:
565:
558:
551:
544:
537:
530:
523:
516:
509:
502:
484:
477:
470:
463:
456:
449:
442:
435:
428:
421:
415:and Fletcher
401:
394:
381:conjectural)
379:attributions
366:John Webster
326:Nathan Field
316:
309:
302:
249:
244:
235:
227:
222:
214:
209:
195:
191:
181:
179:
175:
168:
163:unusual laws
156:
146:
138:
131:
125:
121:
115:
92:
75:George Birch
36:
17:
16:
15:
987:1620s plays
982:1610s plays
887:Performance
851:(Middleton)
805:with Rowley
731:Love's Cure
581:The Pilgrim
546:The Chances
518:Valentinian
451:The Captain
437:The Coxcomb
53:, includes
27:tragicomedy
971:Categories
901:King's Men
776:Henry VIII
760:with Field
706:and others
356:Ben Jonson
201:References
89:Authorship
59:John Lowin
47:King's Men
875:(Shirley)
623:Barnavelt
614:Massinger
444:Philaster
351:John Ford
171:Venetians
107:Cyrus Hoy
103:John Ford
948:Cardenio
704:Fletcher
496:Fletcher
413:Beaumont
388:Beaumont
153:Synopsis
23:Jacobean
925:Related
525:Bonduca
293:" Canon
867:(Ford)
840:Others
186:Cyprus
81:, and
377:(some
375:Plays
289:The "
159:Crete
97:, or
21:is a
143:1630
51:1679
43:1647
33:Date
41:of
973::
77:,
73:,
69:,
65:,
61:,
57:,
950:)
940:â€
931:â€
773:â€
691:â€
620:â€
282:e
275:t
268:v
135:,
129:,
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