FABELL, PETER

Peter Fabell is the "merry devil of Edmonton," a Faust-like Cambridge scholar who has made a pact with the devil in the anonymous The Merry Devil of Edmonton. His time on earth is over when the play starts, and Coreb, a minor devil, comes to take him to hell. But Peter Fabell tells him that he still has important business to do and asks the spirit to sit down and wait a moment. Coreb sits and becomes trapped in Fabell's magical chair. To be freed, he must grant Peter Fabell another seven years. For the rest of the play Fabell plays only a minor part on the stage, but he is the mastermind behind the operation that leads to the marriage of the young lovers. He knows Sir Arthur's plans and he wants to cross them and help the young lovers, because Raymond and Frank have been his favorite pupils. He organizes the plot for Milliscent's escape from the nunnery. Disguised as Father Hildersome he deceives Sir Arthur Clare and has him take Raymond in the disguise of his novice Benedic to the nunnery. In the final scene he confesses his responsibility for all the events, and he is proud that his plan has succeeded without any magic, conjuration or spells.

FABER, SIMPLICIUS

The foolish Simplicius Faber is an associate of Lampatho Doria's in Marston's What You Will. Albano beats him for insisting that Albano is Soranza. He is gulled by Holifernes Pippo's disguise as a woman named Perpetuana.

FABIAN

Fabian is one of Olivia's servants in Shakespeare's Twelfth Night. He joins with the others when they plant the fake love letter, complaining that Malvolio has gotten him in trouble with Olivia. With Sir Toby, he helps persuade Sir Andrew that Olivia is in love with him, despite her apparent attraction to Cesario. He and Sir Toby then set up the duel between Sir Andrew and the disguised Viola, with Fabian dragging a reluctant Sir Andrew towards the fight, all the while telling him that his opponent is eager for his blood. After Feste has tormented the confined Malvolio, Fabian asks to see the letter he has written, but Feste will not give it up. It is unclear how long he remains on stage for the final scene, but he probably is one of those who helps the wounded Sir Toby and Sir Andrew off.

FABIAN FITZDOTTREL

Fitzdottrel is a would-be conjurer in Jonson's The Devil is an Ass. His name means "son of a foolish, easily-captured bird." He tries to conjure a devil and is delighted when Pug shows up, though he doesn't believe Pug to be a real devil. His "humor" is his obsession with clothes - but he is too cheap to buy new ones, preferring second-hand bargains. A fervent believer in getting something for nothing, he is cheated by both Wittipol and Merecraft in various ways: he allows Wittipol access to his wife in return for a cloak, and he is suckered into fronting Merecraft's scheme to sell undrained swampland by Merecraft's promise of millions and the title, "Duke of Drowned-Land." He sends his wife, Frances, to the "Spanish Lady's" salon for instruction in noble manners, buying a ring as a bribe to the Spanish Lady (Wittipol in disguise, hired by Merecraft). He also hires Merecraft's cousin Everill in his guise as "Master of Dependances," an organizer of duels, to arrange a duel against Wittipol. As security, he is meant to sign over his estate to Merecraft but, persuaded by the "Spanish Lady," whom he loves, he signs it to Manly instead, who puts it into Mistress Fitzdottrel's possession. Fitzdottrel makes a last attempt to regain his estate by pretending to be possessed by devils (thus non compos mentis when he signed the deed), but upon learning from Shackles that Pug had been an actual devil, he repents and confesses.

FABIAN SCARECROW

A "ghost character" in Dekker and Webster's Westward Ho. Clare Tenterhook boasts of humiliating him in front of her husband and "Master Parenthesis."

FABIANUS **1639

Honorio’s friend in Sharpe’s Noble Stranger. He is in love with Clara, and she gives him her ring. He acts as lookout for his friend when Honorio goes to woo the princess. The king makes him Public Treasurer of Naples. When discovered wooing in the garden, he draws his sword against the king to protect the ladies. When the king promises not to harm the women, he yields. The king banishes Honorio and Fabianus from the country on pain of death by starvation. He takes his leave of Clara and, with Honorio and Philomusus (who joins them), goes into banishment. He returns in the final scene in disguise as an attendant to the Prince of Portugal. He unmasks with Honorio, who is the actual Prince of Portugal, and receives Clara’s hand in marriage.

FABIO **1633

As a foppish Naples nobleman and friend to Cesario in Shirley's The Young Admiral, Fabio is known for his pompous and flowery elocution. He games with Mauritio and loses his bet; because Fabio survives the Naples versus Sicily battles, he loses half of his land to Mauritio.

FABIO**1635

One of the murderers, with Strozzo, sent to Palermo to assassinate Eulalia in Brome's The Queen and Concubine. When the Palermians attempt to lynch him and Eulalia prevents it, he begs forgiveness for bearing false witness and attempted murder, and swears allegiance to her. At Eulalia's request, he is pardoned by King Gonzago at the end of the play.

FABIO**1642

A countryman in Shirley's The Sisters; husband to Morulla and father to Piperollo. At the end, he reveals that he and his wife are also the parents of Paulina.

FABIUS **1587

A soldier fighting for Belinus in Greene's Alphonsus, King of Arragon, he is eventually arrested (and later killed) by Amurack who does not believe his news of Mahomet's last prophecy.

FABIUS**1601

A "ghost character" in Marston's What You Will. Former suitor of Meletza.

FABIUS SANGA, QUINTUS

Quintus Fabius Sanga is a senator in the Roman republic in Jonson's Catiline. The nation of the Allobroges was under his patronage. Therefore, when they hear of Catiline's conspiracy, Allobroges inform Sanga first. In his turn, Sanga informs Cicero. At the Senate, Sanga enters announcing the Allobroges. He informs Cicero of the conspirators' plot to attract Allobroges to their side. Sanga attends the discussion between Cicero and Allobroges, making side comments on the personality of Sempronia, wife of Decius Brutus, at whose house the conspirators planned to meet the ambassadors secretly. After the Allobroges have obtained the incriminating letters from the conspirators, Sanga enters Cicero's house while the consul was holding a council of war. Sanga informs Cicero that the conspirators have taken the bait and Cicero must send his troupes at once to the Milvian Bridge to intercept Allobroges. In addition, Sanga asks Cicero what he would do with Sempronia, and the consul says that his anger is not vented on fools and women, so she will be spared. After the conspirators have been tried in the Senate, the consul rules that Sanga should be given public thanks for his good services to the nation.

FABRICHIO**1629

Fabrichio is a nobleman of Savoy in Shirley's Grateful Servant. He has been sent by the duke to arrange a treaty with Milan through a marriage between the duke and Leonora.

FABRICHIO **1633

Fabrichio is a Sicilian captain and marshal of the field in Shirley's The Young Admiral. He is ordered by the Sicilian king to make entrenchments, and he is enlisted by Rosinda in a scheme to get Cesario into the Sicilian camp.

FABRICIO

Fabricio is the former husband of Flavia, whom he sold to Julio without her knowledge in order to escape bankruptcy in Ford's The Fancies Chaste and Noble. He continues to receive financial assistance from her but is so shamed by her virtue and her reproaches that he takes a final farewell of her and tells her that he will be travelling to a new world. We later learn that he has become a Capuchin monk.

FABRICIUS

Only mentioned in Marmion's A Fine Companion. Fabricius was an Italian anatomist. Careless refers to this fellow in speaking of pleasures with wenches.

FABRITIO**1612

A fellow soldier and friend to Jacamo in Fletcher's The Captain. Fabritio cannot understand why Jacamo believes that a woman could never love him. Fabritio reassures Jacamo that there are other ways for them to make a living besides fighting. Along with Jacamo, Fabritio gives assistance to Lelia's father, who is dressed as an old soldier. Fabritio plots with Frederick to unite Jacamo and Franck, and the three go to Frederick's house, where they hear Franck and Clora, Fabritio's sister, making music upstairs. Fabritio convinces Jacamo to pay a visit to Franck and Clora the following day, but Jacamo refuses. When Fabritio next encounters Jacamo, Jacamo draws his sword and challenges him. Fabritio avoids dueling with him by taking Jacamo's sword under the pretext of measuring the two weapons. Once he has Jacamo's sword, Fabritio mocks Jacamo until he admits that he had been hasty in drawing upon his friend. Fabritio returns Jacamo's sword and suggests that it would be honorable for Jacamo to redeem himself with Franck and Clora. Fabritio arrives after Jacamo seems to have killed Frederick and has Servants take Jacamo to his lodgings. Fabritio is happy to discover Frederick is alive and says he will try to assuage Jacamo's temper and try once again to bring Franck and Jacamo together. The next morning, when Jacamo refuses to enter the house, Fabritio supports Clora's idea to dump a bucket of urine on Jacamo's head, believing that Jacamo will enter in a rage. When this does not work, Fabritio follows and mocks Jacamo, finally boxing Jacamo on the ear in order to provoke him. He runs from Jacamo, leading him the house where he promptly hides. He re-emerges while Jacamo and Franck are kissing, and makes certain that Jacamo understands the purpose of Fabritio's behavior. Fabritio joins the nuptial celebrations later and drinks to the news that war is coming.

FABRITIO **1621

Fabritio is as poor a father in Middleton's Women Beware Women as Leantio's mother is a poor mother. He literally sells his daughter Isabella to Ward, whom he knows to be simple, dull, and foolish, but whose wealth will set both his daughter and himself in good stead.

FABRITIO**1625

A "ghost character" in Fletcher's The Chances. A woman mistakes Don John for Fabritio, who is apparently supposed to be the one to whom she entrusts her Baby.

FABRITIO**1632

Son to Pantaloni in Brome's The Novella. He is in love with Victoria, but his father has arranged for him to marry Flavia. He is in the process of fleeing to Rome when he encounters Francisco and Horatio. He pledges not to marry Flavia, and the men retire to Horatio's lodgings. After Nicolo informs him of Pantaloni's plan to get revenge on the Novella, he disguises himself in the Dutchman's costume that the hangman should have worn and travels to see the Novella. En route, Paulo mistakes him for Swatzenburgh but informs him that Francisco and Flavia are married and waiting at the Novella's. Once there, he quarrels with the real Swatzenburgh (who is now disguised as an English Factor). Finally, Victoria reveals her identity, Fabritio reveals his, and the two lovers are married by Paulo.

FABRIT[I]US

A "ghost character" in May's Julia Agrippina, mentioned as a noble Roman of old.

FABULATOR, FRANCIS

A "ghost character" in [?]Bower's Apius and Virginia. Enemy to Mansipulus who tries to get him in trouble with his lord.

FACE

Face is a charlatan in Jonson's The Alchemist. Actually he is Jeremy the butler, but he uses his master Lovewit's house while his master is not at home. As Face, he has several different impersonations:
  1. As Captain Face, he cheats Dapper, Drugger, and Kastril.
  2. As Lungs or Ulan Spiegel (the alchemical servant/apprentice), he cheats Sir Epicure Mammon, Surly, Ananias, and Tribulation.
  3. Finally, Face reverts to his persona as Jeremy the butler when his master returns home. As Jeremy he persuades Lovewit that the impostors calling themselves Doctor and Captain Face have left.
Face saved Subtle from poverty in the streets, setting him up in Lovewit's house in Blackfriars with a laboratory to practice alchemy. Face must juggle his various disguises as different dupes enter and leave the house, each knowing him by a different name. Face tells Subtle that he wants Dame Pliant for himself, while Subtle threatens him that Dol Common will find out. When his master Lovewit returns unexpectedly, Face reverts to his persona as Jeremy the butler. Face deals hard with Subtle and Dol Common. After he gets hold of the key for the trunks containing all the stolen goods, Face threatens his former associates with the law unless they leave. Telling them his master has pardoned him, Face dispatches Dol and Subtle through the back door. Face has the final word in the play. He says that, after emerging clean from having cozened so many people, he places himself at the mercy of the spectators, who have the right to judge him.

FACE, CAPTAIN

Captain Face is also known as Captain Puff in Barry's Ram Alley. He was a friend of the now-deceased husband of Changeable Taffeta, and now goes around London boasting that he is married to her. He threatens Sir Oliver Smallshanks, a rival for Taffeta's hand, and comes to her house drunk, protesting that he is her true husband. Taffeta persuades Thomas Boutcher to get rid of Face for her. Boucher meets with Face in the ordinary and, with the help of William Smallshanks and Constantia Sommerfield, makes him stand on the table and behave like a performing animal. After this humiliation, Face gives up his claim on Taffeta.

FACERTES **1636

Former prince and now king of Sicily following his father’s death in Killigrew’s The Princess. Now a prisoner of the Romans. Brother to Lucius and Cicilia. Before the start of the play, Caesar would have put him to death when he was captured despite Virgilius’s letters pleading to spare him because he had once spared Virgilius. Only Sophia’s prayer to Caesar saved Facertes. He has since fallen in love with Sophia. Virgilius has befriended him, too, and they go together back to Sicily because Virgilius is in love with Cicilia. Seeing Virgilius beset in Naples by Bragadine’s men, he draws his sword on his friend’s side. He rescues Virgilius but is surprised and disappointed to learn that he has switched his affections from Cicilia to a slave. He has Virgilius wear a disguise as they go to rescue the girl. On his way, he happens to see Bragadine leading Cicilia and realizes that his sister is the slave that Virgilius is attempting to rescue. He tells Virgilius that the slave is Cicilia. He goes to Cicilia and reveals himself only to learn that, although Cicilia loves the man that fought for her she cannot love the man who conquered her country. Facertes kills Ennius whilst rescuing Cicilia. Facertes, Virgilius, Cicilia, and Pauline escape to the waiting galley to flee Naples. Driven to land by a storm, he is taken prisoner, along with Cicilia and Paulina, by Cilius and his pirates. Cicilia’s prayers for Facertes’s life wins Cilius, who spares him. He discovers Sophia prisoner and is released as soon as the pirates learn his identity. He rushes in time to save Cilius/Lucius and Virgilius from killing one another. Cilius/Lucius recants his interest in Sophia in favor of his elder brother, and all ends happily.

FACETIA

The obedient daughter of Lepidus as well as his sole heir in Wilde's Love's Hospital. Facetia is in love with Comastes but is forced to "act [. . .] another parte" for her father who has banned Comastes from his house and, instead, brings home a loathsome collection of suitors for her. She mocks the mute Piscinus's advances at the play's beginning, refusing his gift of a necklace of pearls and instructing him to return with an interpreter in tow, but humors the furtherance of Caecilius's suit made by the Rustic, who is actually Comastes in disguise. After Comastes makes himself known to her, Facetia accuses him of attempting to try her constancy, but is informed that Comastes has been charged with the duty of wooing her in his father's favo r. After having her palm read by Caecilius, Facetia is a witness to Lysander's and Lepidus's plot to have the blind man unknowingly married to Nigella (who is actually Olimpa in disguise). With the knowledge that such a marriage would be "to much to put upon the father of [her] beloved Comastes," Facetia informs Macilento (and, thus, Surdato) that Caecilius and his accomplices have stolen away Nigella (Surdato's gift to Facetia), a plea that incenses the pair to rescue the "blackamoore." After Lysander confesses his love to Facetia and claims that he has been transformed she chides him for acting so cruelly towards Caecilius but promises him that she will marry him in time. In a similar manner, Facetia convinces Caecilius not to disinherit Comastes and promises the blind man that she will wed him shortly although she is chided by Lysander for leading him on. After informing Comastes that Caecilius has decided to re-inherit him she charges her lover with the task of rescuing her from Lysander, then assigns a task to each of her suitors which she claims must be completed by her future husband, promising that she will marry the first man to complete the complicated mission. Accompanying Comastes (who is disguised as a Rustic) to St Clares (where she is supposed to marry Lysander) at her father's order, Facetia weds Comastes and returns with him "joynde Hande in hande." Reminding Caecilius of his promise not to disinherit his son she is welcomed as his daughter-in-law, and her marriage is blessed by Lepidus.

FACETIA'S MOTHER

A "ghost character" in Wilde's Love's Hospital. Facetia's mother is no longer living though Lepidus claims that Facetia's wit and cunning confirm that she is her mothers daughter.

FACTOR**1592

A "ghost character" in Shakespeare's Comedy of Errors, this Factor is the deceased merchandising agent of the Syracusan merchant Egeon.

FACTOR**1599

An agent of a London merchant in the anonymous A Larum for London. He is stopped by Danila as he tries to deliver the ransom to Dalua. He is bullied by Danila to reveal additional sources of wealth. He is next stopped by Alua, who demands a ransom equal to that which Factor has paid Danila. He is tortured on stage by Alua and interrogated by Verdugo who also wants ransom. Eventually he is hung by Verdugo when he is convinced that Factor really has no money.

FACTOR**1624

Agent for Thomas Ashburne in Heywood's The Captives. As Ashburne leaves to explore Marseilles, his Factor promises to look after his ship and men.

FACTOR, ALVARO'S

A "ghost character" in Haughton's Englishmen for My Money. He looks after Alvaro's business abroad and writes to Alvaro that the ship Pisaro thought the Spaniards had captured was in fact blown to Candy.

FACTOR, ENGLISH

A disguise adopted by Swatzenburgh in Brome's The Novella. When the German discovers that the Novella means to save herself for a husband, he comes disguised as an English factor with 2,000 ducats to test her honesty. When she refuses the money, he attempts to reveal his identity but is interrupted by Fabritio, who is disguised as "the Dutchman," Swatzenburgh's earlier costume.

FACTOR, FIRST, SECOND, and OTHER

Several factors figure in Heywood's 2 If You Know Not Me:

FACTOR, PISARO'S

A "ghost character" in Haughton's Englishmen for My Money. Pisaro is suspicious that the Post has brought news to Towerson but not to him, and wonders if his factor's signature has been counterfeited. The factor sends a letter to Pisaro that makes it clear that he must repay a loan of £200 to Towerson. The letter also announces that Pisaro's ships were set upon by Spanish galleys and are lost.

F. ADSON

An invisible spirit in Heywood and Brome's The Late Lancashire Witches, F. Adson appears on stage only once, accompanying a brace of greyhounds. Why he is given this name is unclear, as he does not speak, is not addressed, and undertakes no action in the play. The Boy encounters the greyhounds and takes them under his charge, but F. Adson does not interfere with this decision. If live greyhounds were used on stage, it is possible that "F. Adson" was their keeper and not a character designation, written into the script as a spirit to keep the dogs under control during their theatrical appearance.

FAERIES

See under FAIRY, FAIRIES, and related spellings and concepts.

FAILE, GEORGE

A "ghost character" in Quarles' The Virgin Widow Pertenax has a bond from him.

FAIR–CHASTE, MARY

Mary Fair-Chaste is the pseudonym of Mrs Bellaflora in Jordan's Walks of Islington and Hogsden.

FAIR RESEMBLANCE

A personified figure in Wilmot's Tancred and Gismunda. He accompanies Cupid when he arrives from the heavens to assert his power. Cupid has a red twist of silk in his right hand, which is apparently held by or attached to Fair Resemblance and Late Repentance.

FAIR SEMBLANCE

Fair Semblance is the name assumed by Dissimulation in Wilson's The Three Lords and Three Ladies of London when he presents himself to Pleasure as a servant.

FAIREFAITH

Fairefaith is kinsman and cousin to Valentine, and lover of Mirabell in Chamberlain's Swaggering Damsel. He is thought to be too young for her so he does not have too many expectations to marry his beloved lady. In such a mood, he suggests Valentine forgetting about marrying Sabina in the same way that he gives up. However, when Mistress Mirabell comes with Sabina, he asks her for her love. Fairefaith is accepted but he has to keep it in secret. When Sir Timothy arrives with Sir Plenteous, he is invited to go with them to squander. Then, he tells Sir Plenteous about Valentine´s intention to wed Mistress Sabina. In Act Three, Valentine´s renunciation to see Sabina worries Fairefaith as he thinks that it could be an obstacle to be accepted by Mirabell. Thus, he decides to go to tell her that she is too coy about sleeping with him. Fairefaith confesses her that her sister has slept with Valentine, what does not help him because from now on she will reject any gentleman to be her lover. His only option is to promise her that he will help her to restore her sister's reputation if she accepts him. In the end, she will do so when her father gives her to Fairefaith.

FAIRFIELD

Fairfield flatters Carol in Shirley's Hyde Park, but is rebuffed with some vehemence. His favored applicant for the hand of his sister, Julietta, is Trier, but he is bothered by Trier's apparent disinterest. He endures more mocking from Carol, but he tries a trick–he makes her promise that she will not desire his company. He walks with Julietta in the Park, deliberately rousing feelings of jealousy in Carol. He uses Carol's increasing curiosity about him to persuade her to lend money to Trier. He receives further verbal abuse from Carol, and storms off, vowing to have nothing more to do with her. He kisses the Milkmaid, and confidently proclaims her to be a virgin. Fairfield is shown a letter by Carol, the one that supposedly indicates that he is feeling suicidal because of Carol's coldness. But he denies heartbreak, even saying that he will castrate himself to demonstrate his lack of care for women. He does, however accept Carol's offer of her hand in marriage–he will accept the offer, he says, just to revenge her 'peevishness'. He doesn't actually admit to his love for Carol, but his long-term interest in her has been obvious. Quietly, and with satisfaction, he follows the unfolding drama as Bonavent sabotages the 'wedding day' of Lacy and Mistress Bonavent.

FAIRIES

See also named fairies, such as Peaseblossom, Cobweb, Moth, Mustardseed, et al, by using the "CNTL-F" function to search key words such as "Faerie," "Fairy," and related spellings.

FAIRIES**1590

An unspecified number of fairies dance in the first chorus of Greene's James IV, although the stage direction stipulates that another kind of dance would also do.

FAIRIES**1593

A group of Fairies attend Oberon in the anonymous Guy Earl of Warwick. The Fairie King Oberon arrives outside the Tower of Donather Castle to free Guy from the Enchanter's spell. The fairies pummel the foolish Sparrow.

FAIRIES**1600

After Maria has taken the drug that Eleazar gave her to give King Fernando in the anonymous Lust's Dominion, Oberon comes with his Fairies in a masque-like sequence to warn Maria that the Queen Mother intends to kill her and marry her husband.

FAIRIES**1610

These characters in Heywood's The Golden Age accompany Diana and her train.

FAIRIES**1615

Vaster, Valentine and Curfew disguise themselves as Fairies to terrify and rob Gripe in S.S's Honest Lawyer.

FAIRIES**1619

The Fairies are invoked in Fletcher's The Humorous Lieutenant by the Magician during the creation of a potion that Antigonus intends to use on Celia to make her fall in love with him.

FAIRIES**1638

Disguises assumed by Snap and Swift in the anonymous Oberon the Second. They pose as fairies to carry out their deception of their various gulls (Politico, Covet, Spendall, and Losarello) that they are indeed in Fairyland.

FAIRIES, THREE ANTIC

Summoned by Urganda's magic in the anonymous Dead Man's Fortune, they halt the execution of Tesephon and Allgerius and dismiss the executioner.

FAIRY

This unnamed Fairy, in service to Titania, discovers and speaks with Puck in the forest, giving us Puck's alternate name of Robin Goodfellow in Shakespeare's A Midsummer Night's Dream. Their conversation reveals that the King and Queen of the fairies are feuding over a Changeling Child.

FAIRY, FIRST and SECOND

  1. With no other given name in Shakespeare's A Midsummer Night's Dream, the First Fairy is the leader of the primary verses in the fairies' song meant to lull Titania to sleep.
  2. The Second Fairy serves Queen Titania. This fairy's job is to send the rest of the fairies away so the queen may sleep while a single fairy stands watch.

FAIRY QUEEN

The Fairy Queen appears in a masque organized by Morgan in The Valiant Welshman. The foolish Morion falls in love with her. The Juggler arranges for her to appear to Morion (this time, she is presumably played by an accomplice of the Juggler). She leads Morion into a ditch where he falls in.

FAITH**1513

A "ghost character" in the anonymous Hick Scorner. A true monk. One among the "true religious" men and "holy women" whom Hick Scorner was glad to see drown in the Irish Sea at the Race of Ireland when their thirteen ships foundered and sank.

FAITH **1617

A “ghost character" in the anonymous Pathomachia. One of the intellectual Virtues whom King Love wishes would join him in his war. Unhappily those Virtues are at war with some of their ‘home-bred’ enemies.

FAITHFUL

Lady Love-all's waiting woman in Killigrew's Parson's Wedding. Chosen, according to Jolly, because of her discretion at arranging liaisons. At the end of the play, she's still furious for having been libeled by the Captain.

FALCONBRIDGE**1588

FALCONBRIDGE**1596

A "ghost character" in Shakespeare's Merchant of Venice. He is one of the first group of Portia's suitors, described by Nerissa who leaves without attempting to find the correct casket.

FALCONBRIDGE **1599

Old Sir Faukenbridge is married to young Lady Marrian Faukenbridge of whom Prince Richard is enamored in Chettle's(?) Looke About You. Though not the most steadfast supporter, Faukenbridge is of the old King's party, which directly links him with Robert of Huntingdon (Robin Hood) and Prince Richard. The prince's thinly veiled courtship of his wife is a constant worry to Faukenbridge, who thinks Lady Marrian is cuckolding him. He is however himself put to shame when later in the play he meets his wife in disguise as a pretty merchant's wife, fails to recognize her and subsequently arranges a secret date with her at his house. Faukenbridge is framed by the cunning Marrian, who has Robin Hood act as her proper self, while she arrives, still in disguise. Faukenbridge offers to take the "merchant's wife" to bed, she however calls for help from Lady Faukenbridge (i.e. the disguised Robin Hood). While Faukenbridge, ill at ease, is trying to explain himself, Marrian and Robin give up their disguises and all is forgiven.

FALCONBRIDGE **1599

Falconbridge is Thomas Neville, the bastard son of Lord Falconbridge in Thomas Heywood's 1 Edward IV. Violently opposed to the rule of King Edward and fiercely loyal to the deposed and imprisoned Henry VI, Falconbridge recruits 20,000 troops and assaults London. Repulsed by the London citizenry, whom he lauds for their chivalry despite their loyalist stance, Falconbridge joins the French and attempts to burn Southampton before he is captured and executed.

FALCONBRIDGE**1599

A "ghost character" in Shakespeare's Henry V. He is reported among the French dead on the Agincourt battlefield.

FALCONBRIDGE, LADY

Lady Faulconbridge, the mother of both the Bastard and Robert in Shakespeare's King John, enters after their meeting with John. She at first refuses to admit that she was unfaithful to her husband, but when the Bastard states that he has denied his parentage, she admits he is Richard I's son.

FALCONBRIDGE, LADY MARRIAN

Lady Marrian Faukenbridge is the wife of old Sir Faukenbridge, sister of Gloster, and love interest of prince Richard in Chettle's(?) Looke About You. Worried about her brother she dresses up as a merchant's wife to seek advice from the sage Hermit on Black Heath but receives little help (the Hermit actually being the deceiver Skinke, who is busy figuring out a way to avoid revealing himself). Meanwhile, at the Hermit's hut she meets her husband Faukenbridge and Prince John on the search for Gloster; they too are tricked by Skinke. Faukenbridge, who has no good reason to be suspicious of his wife's involvement with Richard, lusts after 'the merchant's wife' and suggests an amorous rendezvous with her at his home. Lady Faukenbridge agrees, and together with Robin Hood, whom she has already employed to impersonate her when Prince Richard comes a-wooing, manages to expose old Faukenbridge in his lechery and false suspicions.

FALCONBRIDGE, LORD

Lord Falconbridge is guardian to William Scarborrow and thus in control of him and his estate until his majority in Wilkins' The Miseries of Enforced Marriage. He contrives to marry off his ward, William, to his niece, Katherine, in order to consolidate and expand his estate. In a letter fortuitously presented by the Butler at the point when the distraught William is about to murder Katherine and their two children, it is learned that Lord Falconbridge is dead. Before he died he repented his actions and for this he doubles the wealth that young Scarborrow originally had. Additionally, he provides a dowry for the sister thus saving all the Scarborrows from destitution and jail. (Several speech-prefixes give his name as Hunsf(d).)

FALCONER

Along with the barber, huntsman, perfumer, and tailor, he has a functional use befitting his name in Middleton's A Trick to Catch the Old One. After Hoard's marriage to Medler, these characters become the liveried servants of Walkadine Hoard, used by him to show off his newly acquired wealth.

FALCONER of SIR CHARLES MOUNTFORD

Non-speaking role. Involved in the fight between Sir Francis and Sir Charles in Heywood's A Woman Killed with Kindness.

FALCONER of SIR FRANCIS ACTON

Non-speaking role. Killed in the fight between Sir Francis and Sir Charles in Heywood's A Woman Killed with Kindness.

FALCONER'S WIFE

A "ghost character." The natural mother of Caesario in Fletcher, Ford, Massinger and Webster's The Fair Maid of the Inn.

FALKNER, JACK **1595

Falkner is a servant to Morris, the Bishop of Winchester's secretary in Chettle, Dekker and Munday's Sir Thomas More. Arrested for taking part in a melee in Paternoster Row, he is brought before More, who orders the man to be taken to Newgate. Falkner begs to be sent instead to one of the "Counters" (prisons for lesser offenders), and More sends for Morris. As they wait for the secretary, More calls Falkner a ruffian and asks about the prisoner's extraordinarily long hair. When the latter claims that he has taken a vow not to be shorn for three years, More orders him to Newgate for three years unless he submits to a haircut, in which case the sentence will be reduced to one month. Falkner refuses and is led off. Morris arrives a short time later to plead for Falkner's release, saying the man has had his hair cut and promises to live a quiet life. More has Falkner brought in, likes the reformation he sees, and orders the man released. When More leaves to attend to guests, Falkner begins to rant so uncontrollably about his lost hair that Morris discharges him, only to relent when Falkner begins to weep.

FALLACE

Fallace is Deliro's wife, daughter to Sordido and sister to Fungoso in Jonson's Every Man out of His Humour. Despite Delirio's adoration for her, she is in admiration of Fastidious Brisk's affected ways. At Deliro's house, Fallace enters and pretends to be disgusted at the flowers and incense her husband has lavished in her honor. When Fastidious Brisk enters boasting another new suit, Fallace falls in admiration of the courtier's counterfeit grace. When Deliro exits with Macilente and Fastidious Brisk to the city, Fallace exits to her chamber to dream of her fictional romance with the courtier. At Deliro's house, Fallace enters with Fungoso. Fallace asks her brother about Fastidious Brisk, disclosing her admiration for him. When Deliro enters with musicians to please his wife, Fallace rebukes him. When Macilente enters, reporting that Fastidious Brisk is a bogus courtier and ladies deride him, Fallace says that Macilente is just an envious villain. When Deliro says he intends to claim Fastidious Brisk's bonds, Fallace exits in anger. In another room at Deliro's house, Fallace enters with Fungoso. She gives her brother some money, telling him to warn Fastidious Brisk of Deliro's intention to claim the obligations. At Deliro's house, Fallace enters when Deliro is just leaving for the Mitre Tavern to repay Fungoso's debts. When he is alone with Fallace, Macilente reports that Fastidious Brisk has been arrested and suggests that some money to bribe the guards might help the courtier. Fallace exits to go to the prison. At the prison, Fallace enters with Fastidious Brisk, telling him she is worried about him. She offers money to bribe the guards and kisses him. Deliro and Macilente enter at this moment, and the husband calls Fallace a strumpet. Fallace exits in disgrace.

FALLACY

The "base-born" or "bastard" son of Discourse, the older brother of Demonstration and Topicus, and Ambiguity's Master in Zouche's The Sophister. Fallacy lives in "scorne and infamy," is hated, and "adores / Sacred Deosis." Ambiguity claims that he cannot sleep because "Melancholy keeps [Fallacy] alwayes waking, and [Fallacy's] envy will not suffer [Ambiguity] to take any rest." Ambiguity describes the "buzzing Suitors" which "flock" to his Master and delivers "two Violls [. . .] of water of the same colour" to him. Fallacy keeps the one which causes madness, gives Ambiguity the one that causes drunkenness, and attempts to justify the revenge which he plans to take upon Discourse, Demonstration, and Topicus. He expresses his intentions to prevent the marriage of his two brothers to the two daughters of Truth–Scientia and Opinion. Discourse claims that a report of Fallacy "from farre" has brought him disgrace, and that his son's "lewd behaviour" has brought him much grief. Discourse considers cursing and chiding Fallacy, but decides, instead, to "intreate" his son to "begin / Better to governe [his] misguided selfe." Fallacy defends himself against his father's accusations and promises to "approve" his "deserts," and then places "poyson" in the drink which Topicus has brought for the King. Discourse immediately begins to show the effects of the poison as he praises Fallacy and departs with him to walk in "the Garden of the Muses." Fallacy desires to "inchant" Judicium and Invention, since he claims that they are "the Dragons that so duely keepe / The golden fruit which [he] so long[s] to crop." Thus, he (falsely) informs them that Intellect "is departed from the Court, and fled" and then advises them to search for their Lord in Rhemes and Verona and not to return until they find him. After they exit, Fallacy informs the audience that Judicium and Invention may neither meet nor return again since his own "hope / Stands resolute of quickly taking" Intellect. Proposition proclaims Discourse's madness, states that Demonstration, Topicus, and Fallacy are "hot in contention who must governe," and claims that Discourse newly affects Fallacy "exceedingly." Ambiguity claims that Fallacy sends him on "idle errands" and the servant delivers Fallacy's letters to Opposition. In these letters Fallacy promises to advance Opposition if he helps the bastard to win the right to succeed Discourse, which Opposition willingly agrees to do. Fallacy (along with his two brothers) makes a plea to Definition, Division, Proposition, and Opposition as to why he should succeed his father. At this time, he claims to have been "Discourse his chiefe controwler in the state, / Truths sole soliciter, [and] common Atturney / In all the causes which concerne the Land." Opposition votes for Fallacy but, when the decision remains unresolved, Fallacy resigns his right to his father's position and claims that one of his brothers can "rule the State" for him if they can agree upon whom it should be. Fallacy sends Opposition for Contradiction, who encourages Topicus and Demonstration to fight in the name of courage and honour for the right to their father's kingdom. Fallacy entrusts Ignoratio to deliver keys (which unlock the closet in which Intellect, the Lady Truth, and her daughters are imprisoned) to Ambiguity, which Ignoratio mistakenly gives to Distinction. After Demonstration and Topicus badly wound each other in fighting over who should succeed Discourse, Fallacy becomes his father's successor. He banishes Definition and Division from the Court, allows Proposition to stay, makes Opposition his "chiefest Counsellor of State" and commits the trust of his "fourtunes and [his] selfe" to Contradiction. He instructs Opposition to proclaim his "lawfull just succession" throughout "Parrhesia" and claims that he will "no longer be call'd Fallacy" but must be "stile[d]" as Sophime. He sends Ignoratio with a letter to Scientia in an attempt to "win her." Because he is confident in his new position and thinks that he can "stand alone," he contrives the ruin of Contradiction and Opposition. He (separately) informs each of his two "sworne supporters" that Scientia has promised to "place her best affections" upon him if Judicium is killed, and that Judicium has, thus, bid him to "combate." On receiving this information each of the men vows to fight on Fallacy's behalf. He bids them each (separately) to disguise themselves, to keep the plan a secret from the other, and to meet at a certain place and time where each will apparently meet Judicium. However, unbeknownst to Opposition and Contradiction, Fallacy plans for them to meet and kill each other instead. Ambiguity meddles in Ignoratio's delivery of Fallacy's letter to Scientia and claims that he doesn't care if he "crosse[s]" his Master "in this project." Distinction causes all of "Fallacies followers" to become "madde," and Truth, Scientia, Opinion, and Intellect are let out (by Distinction) of the closet in which they were locked. Judicium believes that Fallacy is the "cause of all" and "forc't his fathers madness." Ambiguity delivers to Fallacy some "accusations" which he has contrived against the "Ladies of Verona" at Fallacy's command, and informs him of the fight between Contradiction and Opposition, their recovery due to Equipolency, and Analysis's letting of Discourse's blood. At this news Fallacy becomes desperate, and makes plans for his escape. He and Ambiguity exchange clothes and practice what Fallacy will say when inevitably called to appear before his cured father, and then Fallacy decides to "faine some present business" and "muffle [his] selfe." Ambiguity is arrested by Proposition, Description, and Conclusion on the charge of Capital Treason for his and Fallacy's contrivances. When Discourse is informed at the play's end that Fallacy has not yet been found, Discourse prays that he "never may be found / Or heard of more within Herminia." He wishes for his son to "be hated throughout all the world, / But ever banished from forth the coasts."

FALLACY'S FOLLOWERS

Disciples of Fallacy in Zouche's The Sophister. Because Distinction thought to "requite a kindnesse Ambiguity did [him]," he sends a tainted drink around to Fallacy's followers and is disappointed when he realizes that Ambiguity is not "amongst them." This drink makes them mad, and they appear "singing, and at last fall together by the eares," and "disperse and fly" when Fallacy appears. Fallacy is disgusted with them and, at the play's end, Discourse orders that the "tumultuous frantick crew, / Which revell it so loosly in our streets, / Dragging our subjects basely by the eares" be "ship't away to Barbary, / And serve as gally slaves till they come there."

FALLBRIDGE, CONSTABLE**1637

Disguise assumed by Howlet in the anonymous The Wasp. In this guise, he comes to "make privy search for three or four disguised rascals" at Countess Claridon's while Grig Brandwell, Dampit, Kenwell, and Huntit are there in disguise attempting to woo her. The trick succeeds in driving away the unwanted suitors.

FALLERIO

Husband of Sostrato, father of Allenso, and brother of Pandino in Yarington's Two Lamentable Tragedies. Also called Falliera. Attends, with his wife and son, Pandino and Armenia on their deathbeds and outwardly expresses his grief, while in a series of asides he secretly reveals his ambition to be possessed of Pandino's estate after he has killed Pertillo. After Pandino and Armenia have died, he pays the Scrivener and then rejects Allenso's suggestion that he erect a memorial to them, telling him instead to look forward to possessing his uncle's land. Alone, Fallerio convinces himself that he deserves his brother's estate and therefore that Pertillo must die. He decides to seek Allenso's advice, and when Allenso expresses his love for Pertillo and his horror at his father's suggestion, Fallerio vows to kill him. Fallerio engages two Ruffians to murder Pertillo. He promises them two hundred marks to take Pertillo to a remote grove, murder him and leave his body in a ditch, and another two hundred marks when the deed is complete. When they agree, Fallerio offers to shelter them for the night before turning Pertillo over to them. The next day, Fallerio, joined by his family, prepares Pertillo to go with the Ruffians. When Allenso asks to go along with Pertillo, Fallerio promises to visit him in a week; Allenso also expresses concern about the two Ruffians who are supposedly to accompany Pertillo to the university. Fallerio reassures Allenso and asks God to take vengeance on him if anything happens to Pertillo. Fallerio turns Pertillo over to the Ruffians, who secretly ask him if he still wants the boy killed, based on the oath he made to Allenso; when he reaffirms his commitment, the Ruffians exit with Pertillo. He later enters with Sostrata, who is weeping, and tries to stop her from crying. He blames Allenso for upsetting her, and when Allenso enters, grieving over Pertillo's death, Fallerio tells him not to upset his mother further. Allenso, however, loudly announces Pertillo's murder, which causes Sostrata to die. Fallerio then listens to Allenso's account of Pertillo's murder and the subsequent discovery of Fallerio's involvement through the second Ruffian's confession to the Duke of Padua and his hunting party. Fallerio then agrees to Allenso's plan to disguise himself as a shepherd while Allenso dresses as Fallerio. Fallerio, praising Allenso's loyalty to him, exits with Sostrata's body. Later, disguised as a shepherd, Fallerio pretends to discuss his sheep with Allenso, who has disguised himself as Fallerio. They are met by Vesuvio, Turqual, and Alberto, who have been sent by the Duke to arrest Fallerio. Fallerio watches as they arrest the disguised Allenso for the murder of Pertillo. After the lords take Allenso away, Fallerio decides to follow and watch Allenso be freed. Disguised as a shepherd, Fallerio observes Allenso being sentenced to death by the Duke. Stepping forward, he protests to the Duke that Allenso is innocent and that he should receive the punishment for the crimes. He removes his disguise and once the Duke realizes who he is, the Duke sentences Fallerio to death. Fallerio continues to plead for Allenso, but the Duke rejects these pleas. Allenso and Fallerio forgive one another for their misdeeds and prepare to be executed.

FALLIERA

Alternate name given to Fallerio in Yarington's Two Lamentable Tragedies.

FALORUS

As Carionil's steadfast friend in Cokain's The Obstinate Lady, Falorus encourages him not to give up hope of winning the heart of Lucora, and hatches several unsuccessful plots to facilitate their union. Meanwhile, he is summoned by Lucora's father, Polidacre, who wishes a betrothal between Falorus and Lucora, declaring him worthy despite his lowly birth. They are contracted, but Lucora asks for a month to make up her mind. Although he agrees to the contract, and despite his recognition of the honor in being selected, as well as his desire to take advantage of this improvement in his fortune, Falorus sees this match as a transgression against his friendship with Corionil. He vows never to marry Lucora, and generally dismisses love as a form of excessive passion. Falorus encounters the love-struck but unrequited Carionil; he assures his friend that Polidacre wishes Lucora to marry, and that her father would not deny her if she should choose Corionil. Falorus then reveals that Polidacre is attempting to arrange a marriage between Falorus and Lucora, which drives the frantic Corionil to challenge his friend to a duel. Falorus refuses, and convinces Carionil of his steadfast friendship. Upon receiving a rejection letter from Lucora, Carionil stabs himself in an ineffectual attempt at suicide. Falorus reads the letter sent by Lucora, and vows eternal hatred of her. Carionil revives, and Falorus joyfully promises to instruct him in how to win Lucora. He administers a sleeping potion to Carionil, and with Anclethe's aid, brings Lucora to the feigned deathbed of Carionil in the hope of instigating a confession of her affection for him. She refuses, criticizes her suitor for his rashness, and leaves, prompting Falorus to call her a most obstinate lady. When Carionil revives, and responds with agony over Lucora's rejection, Falorus suggests disguising Carionil as an Ethiopian, Tucapelo, as a new means to woo Lucora. Apparently the change in Lucora, once she has fallen in love with Tucapelo, attracts Falorus, and he finds himself inexplicably love-struck, despite his vow never to marry Lucora. Grieved by this transgression against Carionil, he threatens suicide. He encounters Carionil and Cleanthe, after they have discovered their mutual love, and begs Carionil to kill him for his transgressive love of Lucora. Carionil refuses, explains, and puts an end to his friend's agony by revealing that he, Carionil, has been cured of his unrequited love. The relieved Falorus is now free to woo Lucora, and Cleanthe offers to intercede on his behalf. Falorus is pleased, but confesses that he was never truly smitten with her. It was only the misery created by his transgression against Carionil's friendship that grieved him and drove him to suicidal thoughts. Polidacre pushes for an immediate marriage between Falorus and Lucora, and she dejectedly agrees. When Cleanthe's identity and marriage are revealed, Lucora requests to be freed from her contract to Falorus, but with Cleanthe's intercession, she agrees to marry him after all.

FALORUS, LORD

A "ghost character" in Cokain's The Obstinate Lady. Father of Falorus, who presented a ring to Cleanthe at her baptism; this ring serves to positively identify her at the end of the play.

FALSE FALSEHOOD

A companion of Shrewd Wit in the anonymous An Interlude of Wealth and Health, False Falsehood helps Shrewd Wit pass the time by stealing purses from thieves and whores.

FALSE LAW**1513

A "ghost character" in the anonymous Hick Scorner. One of "the devil's officers" among Hick Scorner's company on his recently returned ship. Listed among a large group of "thieves and whores" and "other good company" of "liars, backbiters, and flatterers . . . brawlers, liars [sic], getters and chiders, walkers by night [and] great murderers."

FALSEHOOD**1513

A "ghost character" in the anonymous Hick Scorner. One of "the devil's officers" among Hick Scorner's company on his recently returned ship. Listed among a large group of "thieves and whores" and "other good company" of "liars, backbiters, and flatterers . . . brawlers, liars [sic], getters and chiders, walkers by night [and] great murderers."

FALSEHOOD**1588

Falsehood comes to Lucre while she is on her stone to offer her fine garments in Wilson's The Three Lords and Three Ladies of London. But Nemo warns her that Falsehood has been sent by Fraud to gull her.

FALSEHOOD**1606

An allegorical figure that appears in dumb show in Dekker's The Whore of Babylon. She issues from a cave, disguised as Truth, whose voice she counterfeits. It is clear from the first, however, that she is not the real Truth, for while Truth is pure and beautiful, Falsehood's face is hideously spotted by the pox. When she stamps upon the earth, Campeius rises from it, accompanied by a Friar with a box and a number of suspiciously armed Gentlemen. Time allies her with the Empress, calling her the "damned sorceress that keeps the enchanted towers of Babylon," and Plain Dealing recognizes her as "bawd to the Whore of Babylon."

FALSELIGHT

Together with Shortyard, he is a "spirit" employed by Quomodo in Middleton's Michaelmas Term. Falselight assumes numerous disguises in his pursuit of this quest. Under the alias Idem, he acts as a messenger for Shortyard (alias Blastfield) in securing the loan which Easy cosigns and stands liable. Together with his crony, he acts as a sergeant to arrest Easy and then as a generous citizen to bail him out of jail to search for Blastfield. Easy posts his estate as his bond and when he cannot locate Blastfield, his land revert to Quomodo. The three tricksters celebrate their successful extortion but, when Quomodo is undone after faking his own death, Falselight and Shortyard are banished from the city.

FALSE-MEASURE, FRISSIT

A "ghost character" in Wilson's The Three Ladies of London. A guest at the wedding of Dissimulation and Love. She is the wife of Fardinando False-Weight.

FALSET

Or Falsehood, one of the Three Vices or fools in the court of King Humanity in Lindsay's Satire of the Three Estates. He and the other two fools disguise themselves to avoid the censure of Good Counsel and Divine Correction. Falset chooses the guise of a monk and, in a mock baptism, the name Sapience. Gaining access to the King, he and the other two Vices chase Good Counsel away from court, and put Verity and Chastity in the stocks. Hearing of the approach of Divine Correction, he resolves to hide among the Burgesses. He fights with the other two Vices over possession of the King's stolen treasure box. In the second part, when John the Common-weal identifies the Three Vices as the cause of this evil, he is put in the stocks. Betrayed by Flattery, he is hanged along with Deceit.

FALSE-WEIGHT, FARDINANDO

A "ghost character" in Wilson's The Three Ladies of London. A guest at the wedding of Dissimulation and Love. He is the husband of Frissit False-Measure.

FALSO

Falso is a Justice of the Peace and father of the Jeweler's Wife in Middleton's The Phoenix. His deceased brother has left the care of his niece to him along with her sizable dowry. Falso plans never to approve a marriage for his niece. Instead, he plans to keep the dowry himself and would have his niece service him as a wife. Falso's scandalous behavior becomes public knowledge at the play's end when the disguised Phoenix reveals himself as the Duke's son.

FALSTAFF, SIR JOHN**1592

I.
Sir John Falstaff is blamed for Talbot's capture early in Shakespeare's 1 Henry VI. According to a messenger, Talbot would have vanquished the French but for Falstaff's cowardliness. Later, Falstaff is caught deserting Talbot's forces at Rouen. At Henry's coronation, Talbot tears Falstaff's garter from him because Falstaff does not merit the knighthood that the garter symbolizes. After listening to Talbot's report, Henry retracts the knighthood and banishes Falstaff. [Note: this is not the same Falstaff who appears in 1 & 2 Henry IV. This character is presumably inspired, at least in name, by the historical Sir John Fastolfe.]
II.
Only mentioned in Davenport's New Trick to Cheat the Devil. Master Changeable mentions Sir John Falstaffe when he is urging Treatwell to speak before his wife, his daughter and Master Slightall. On his wife's claim that the message Treatwell has to deliver comes from a great man, Master Changeable says: "Came it from on[e] of the Guard, from Sir John Falstaffe." Sir John Falstaffe was an experienced knight of great renown, who participated in the Battle of Agincourt (October 25, 1415). He is the origin of Shakespeare's Falstaffe in the Henry IV plays, is mentioned in Henry V and appears again in The Merry Wives of Windsor.

FALSTAFF, SIR JOHN **1597

I.
Also known as Jack, Falstaff is a lovable reprobate who frequents the bars and bawds of London, providing a poor role model for Prince Hal, who often companions Falstaff in Shakespeare's 1 Henry IV. Falstaff shows little respect for royalty; to him, Prince Hal is just another drinking companion who happens to have the advantage of one day being able perhaps to pass preferment along to Falstaff. There is no reverence whatsoever in Falstaff's charade with Hal; Sir John depicts King Henry as mean and graceless, and he does not quite realize how close to the truth Hal touches when the roles are reversed and Hal provides a foreshadowing of how he will behave when he is sovereign himself. Much given to food and drink, Falstaff is a "tun" of a man. He arrives at Shrewsbury without a sword, having sold it to buy sack. He comes into unhappy contact with the Douglas in battle and falls. When Hal finds his fat comrade lying on the battlefield, he delivers a moving eulogy in which he claims that he could have better spared a better man. It is all a ruse of Falstaff's however, who has played dead to avoid injury or capture. He rises and claims (falsely) to have killed Hotspur. In a play whose theme is honor, Falstaff is honor's antithesis.
II.
Continually in debt and forever promising marriage to Mistress Quickly, in Shakespeare's 2 Henry IV Sir John continues the type of lovable yet rascally capers we saw of him in 1 Henry IV. When given a captain's commission to impress an army (of foot, a joke on the old fat knight), Falstaff uses his power to extort money from men who do not wish to fight. Later, in a part of Gaultree Forest, Falstaff "captures" the rebel Colevile, bragging loudly of his exploit even though Colevile surrendered merely out of courtesy. Falstaff urges the newly arrived Prince John to shower him with fame and recognition for taking Colevile; the Prince, however, primarily notes Falstaff's habitual tardiness. Falstaff makes the mistake of assuming Prince Hal will offer preferment based upon their long acquaintance. His overly familiar greeting to Hal after the coronation is ignored, and King Henry V insists no advancement will come to Falstaff without major character reform. At play's end he is banished from the king's presence and ordered not to come within ten miles of Henry V.
III.
Falstaff is a fat, cowardly knight in Shakespeare's The Merry Wives of Windsor. He devises a plan to obtain money from the Page and Ford families by wooing the Mistresses of each house. His discharging of Bardolph causes ill will between him and Pistol and Nym, starting their revenge. When he then fires Pistol and Nym for not carrying his letters to Mistresses Ford and Page, they reveal his plans to the husbands. The discovery of his plan by the Mistresses starts another revenge. Each time he is nearly discovered, the fat knight is either hidden in laundry baskets (only to be dumped into the Thames) or else disguised as Mother Prat, who is persona non grata at the Ford home, and beaten in that disguise. At last he is tricked into Windsor Park, at Herne's Oak, ridiculously disguised as Herne (complete with buck's head and antlers). There he is set upon by a "satyr" (Evans) and "fairies" (William and Anne Page with children), who pinch him mercilessly.
IV.
A "ghost character" in Shakespeare's Henry V. Falstaff was a major figure in the Henry IV plays, where he was Henry's constant companion, but he does not appear in Henry V. His death is described by Nell Quickly, who suggests that Henry's rejection has killed Falstaff.
V.
Only mentioned in Jonson's Every Man out of His Humour. Sir John Falstaff is a character in Shakespeare's Henry IV, Parts 1 and 2, Henry V, and The Merry Wives of Windsor. When Macilente has the final speech, he empowers the audience with the ultimate critical judgment. If they like the play and applaud, they can turn the lean and envious Macilente into a person as fat as Sir John Falstaff.
VI.
Sir John Falstaff is an old fat cowardly witty knight in ?Dering's The History of Henry the Fourth. He is Hal's drinking companion and the target of Hal's pranks. Sir John is Shakespeare's greatest comic character and Dering preserves most of his lines verbatim. In the play, Falstaff has no discernable income other than Hal's purse. He has no discernable skills other than drinking, eating and talking. From his conversations with Hal, it is apparent that Falstaff hopes to secure a lifelong patron when Henry V ascends the throne. In a hysterical scene, Falstaff is gulled by Poins and Hal into taking part in a highway robbery at Gads Hill. Falstaff, Peto and Bardolf first rob the carriers and are then immediately robbed in turn by a disguised Poins and Hal. Unlike in Shakespeare's play, Dering has both actions executed off stage. Falstaff returns to the tavern and claims to have fought off a hundred men and killed a dozen before losing the booty. When Poins and Hal reveal the fact that they rob Falstaff, Sir John brilliantly counters that he knew instinctively not to kill the heir apparent. When the sheriff arrives at the inn to arrest Falstaff, Hal allows John to hide while he, the prince, gets rid of the officers. When Hal goes to tell Falstaff the coast is clear, he finds Falstaff fast asleep. Poins and Hal go through John's pockets and find nothing except a number of unpaid grocery bills. Falstaff awakens, finds his pockets bare, and accuses the Hostess of allowing him to be pickpockets of cash and jewelry. Again, Hal confronts Falstaff with his lie. In the funniest and most politically profound scene in the comic subplot, Falstaff and Hall take turn impersonating Henry IV in a mock interrogation of the delinquent prince. When Falstaff is the king, he dismisses all of Hal's comrades save for a virtuous knight named Sir John. Even more remarkable is Falstaff's turn as Hal, when he mounts an active defense of his lifestyle. If the king banishes Falstaff, Sir John as Hal concludes, he will, in effect, banish the world. When Hal learns that the Percies are in revolt, he commissions Falstaff to raise a company and report to the battlefield. Falstaff abuses the authority by conscripting a number of wealthy young men eager to buy their way out of service. He then drafts a number of inferior troops that he does not need to pay well. Falstaff then pockets the difference in pay along with the bribes he received. Falstaff does lead his troops to battle, but he does not fight. Instead, he hides for the majority of the conflict. When Hal approaches Falstaff and asks to borrow John's sword, he finds that a skin of wine rests where the blade should. When Hal duels Hotspur, Falstaff plays dead. After Hal kills Percy and wanders off, Falstaff gets up, stabs Percy and claims that he, not Hal, killed Hotspur. When Hal becomes Henry V, Falstaff visits Henry, no doubt expecting a windfall payment from his drinking companion. Instead, Hal, now Henry, tells Falstaff that he does not know the old man. Falstaff is banished from the court until Henry degenerates or Falstaff repents.
VII.
Only mentioned in Randolph's Plutophthalmia. Higgen compares Penia-Penniless' "knights of the tattered fleece" to Falstaff's regiment that had but one shirt between them.

FAME**1564

Appears at end of [?]Bower's Apius and Virginia with Doctrina and Memory bearing Virginia's tomb; they, along with Virginius, conduct Virginia's funeral.

FAME**1567

After Horestes captures Mycenae, Fame speaks of her role, now, in distributing good fame or bad fame in Pickering's Horestes. She announces that Idumeus and his group have arrived from Crete. She is mocked by the Vice but retains her dignity, responding in Latin, as she exhorts Vice (and the audience) to work for good fame. She announces that all the Greek kings are meeting in Athens to discuss Horestes's actions.

FAME**1581

At the beginning of Wilson's The Three Ladies of London, Fame assures Love and Conscience that they will be rewarded as long as they steer clear of Lucre. Sadly, they fail to do so.

FAME**1589

The allegorical figure of Fame appears in the final dumb show of Peele's The Battle of Alcazar. He enters like an angel and hangs the crowns upon a tree.

FAME**1599

Fame accompanies Astraea in Marston's Histrio-Mastix.

FAME**1607

Speaks the Prologue and Epilogue in Day, Rowley and Wilkins's The Travels of the Three English Brothers. In the Epilogue, gives the Sherley brothers a 'prospective glass', so that they can see each other.

FAME**1612

Fame is a character in "The Triumph of Time," the final play within the play of Fletcher's Four Plays in One. He announces the restoration of Anthropos to wealth and prosperity.

FAME**1618

In the second entertainment Lala Schahin devises for Amurath in Goffe's The Courageous Turk, Fame appears as a presenter, informing the stage audience that, although great men die, their deeds live on through the fame they achieved while alive. After Alexander the Great rejects the physical pleasures offered him by Philoxenus and rededicates himself to further action on the battlefield, Fame concludes the sequence by praising the Macedonian's rejection of lust and his commitment to honor.

FAME**1635

Fame enters at the beginning and speaks the Prologue to the King in [?]Queen Henrietta's Florimène.

FAME **1635

A character in Shirley's Coronation appearing in a masque that Polidora arranges to have performed for Arcadius.

FAMINE**1590

A "ghost character" in Lyly's Love's Metamorphosis. At Ceres' request, Famine starves Erisicthon as a punishment for murdering the tree-nymph Fidelia.

FAMINE**1599

Famine accompanies Poverty in Marston's Histrio-Mastix.

FANCIE **1636

After Prudentius leaves in Strode's The Floating Island, the Passions crown Fancie queen. They each offer her a different crown. Desperato offers a Turkish turban, Audax offers a crown of gold, Ovidian offers a laurel crown, but she takes the feather crown offered by Livebyhope and makes him her chief counselor, angering the other Passions. She asks Concupiscence for more ladies-in-waiting, sparking the decision to dress Timerous up as a woman. Enamored of all things Persian, she tries to convince Hilario to marry his sister Concupiscence, but both refuse. Fancie is almost tricked by Audax and Irato into a limitation of her powers, based on a decision made by Henry III, but Livebyhope stops them. At Desperato's dinner, she decides to die by poison because she believes that Livebyhope has been killed. When Intellectus Agens reveals that Livebyhope is alive, she returns the crown to Prudentius, saying she can be queen without it.

FANCY **1515

Spelled Fansy in the original. A fool in Skelton's Magnyfycence. One of the evil counselors who mislead Magnyfycence and bring him to ruin and despair.

FANCY**1624

One of the characters in Evanthe's and Valerio's wedding masque in Fletcher's A Wife for a Month. Only Cupid speaks, but Cupid's attendants include hopeful characters of Fancy, Desire, Delight, Hope, and also the dire characters Fear, Distrust, Jealousy, Care, Ire, and Despair, suggesting that in the lovers' marriage, misery will outweigh happiness. Valerio finds this to be the case when shortly after the wedding the king forbids him from consummating his marriage.

FANG

Master Fang serves the sheriff in the capacity of sergeant in Shakespeare's 2 Henry IV.

FANNIO

Page to Quintiliano in Chapman's May Day. He worries about the debt they're accumulating at the Lion early in the play, and later learns from Giacomo that Franceschina is disguised as a man and has gone to Lorenzo's home.

FANNIUS, DEMETRIUS

I.
Thomas Dekker's allegorical self-portrait in his Satiromastix, Demetrius originally appeared in Ben Jonson's Poetaster as a satiric representation of Dekker. In Satiromastix, however, Demetrius is presented as a well-meaning character who, with his friend Crispinus, repeatedly attempts to facilitate reconciliation between themselves and Horace. His attempts to foster friendly relations are repeatedly betrayed by the hypocritical Horace, who disparages Demetrius and Crispinus (and their poetic abilities) behind their backs by satirizing them in epigrams circulated amongst the city's gallants. Like Crispinus, Demetrius is at pains to convince Horace that they do not resent Horace's abilities or accomplishments but merely wish him to cease his satirizing attacks on others for his own good. In the play it is Crispinus who takes on the lion's share of the role of rival poet, while Demetrius acts more as a loyal companion to Crispinus. He does however aid Crispinus in the public humiliation of Horace at the end of the play.
II.
Demetrius Fannius is a meager playwright in Rome in Jonson's Poetaster. He is probably meant to represent Thomas Dekker, Jonson's contemporary. According to Histrio, Demetrius is a dresser of plays, whom the actors have hired to abuse Horace and all the other gallant poets. The players expect to gain a great deal of money from the production of such a play. Histrio tells Tucca that Demetrius has one of the most overflowing rank wits in Rome, and would slander any man that breathes. At Albius's house, Demetrius enters with Crispinus, followed by Tucca. Albius introduces Demetrius to the poets of Ovid's party. After he hears Crispinus's verses, apparently composed for Chloë, but which prove to be plagiarized from Horace, Demetrius makes unfavorable remarks regarding Horace. According to Demetrius's vulgar description, Horace is like a sponge, which sucks from every society he is in and then comes home and squeezes himself dry. As regards his satires, Demetrius accuses Horace of arrogance and impudence. Although Tucca and Crispinus are invited to the ball at court, Demetrius is not. Neglected and marginalized, Demetrius exits telling Tucca he is going to do some writing. While Caesar is holding his court with the poets, Demetrius enters with Crispinus, following Aesop, because they think that Aesop is brought to testify against Horace. When Aesop and Lupus are chased in disgrace, Demetrius and Crispinus are charged with calumny and plagiarism. They sit a trial and are pronounced guilty. When asked what cause he had to malign Horace, Demetrius answers it was no great cause, save that Horace kept better company than he did, and that better men loved him. Demetrius is sentenced to wear a fool's coat and cap in public, thus showing what others have made of him. Demetrius and Crispinus are made to swear they will never publicly detract Horace or write against him.

FANTASTES

See also PHANTASTES.

FANTASTES **1641

Also spelled Phantastes in Wild’s The Benefice. A mere scholar newly come from university. One of his boots is russet and the other black. He comes to Marchurch’s for the living. He mistakes Scuttle as a servant in Marchurch’s house. Fantastes and Scuttle squabble, Puritain to Papist, and strive together for the living. Fantastes pays Tinker twelve pence to beat Scuttle.

FANTASTIC

Fantastic, along with Antic and Frolic, is a page lost in the woods near Madge's cottage in Peele's The Old Wives' Tale. Invited home by the smith Clunch, Fantastic and Frolic will be treated to Madge's "old wife's tale" of the sorcerer Sacrapant and the rescue of Delia by Eumenides and the Ghost of Jack.

FARDINANDO FALSE-WEIGHT

A "ghost character" in Wilson's The Three Ladies of London. A guest at the wedding of Dissimulation and Love. He is the husband of Frissit False-Measure.

FARELO DE SFORZA

A "ghost character" in Davenant's The Cruel Brother. Farelo de Sforza was the Duke's secretary and, on his death, the Duke appoints Foreste to his position.

FARMER**1591

When in Peele's Edward I Friar Hugh ap David learns that the Farmer is going to Brecknock to receive a large fortune, he devises a plan to cheat him. Meeting the Farmer on the road, the friar pretends to be mad, telling him that he owes "Saint Francis" a gambling debt of five gold nobles. The Farmer, seeing a chance to defraud the cleric, claims to be "Saint Francis' receiver" and takes the money from the friar. Later, Friar Hugh accosts the Farmer as he is returning from Brecknock, calls him "Saint Francis' receiver," claims that the saint now owes a gambling debt of one hundred marks to him, and demands that the "receiver" pay him. When Edward, who is on hand, inquires about this matter and learns of the Farmer's having taken advantage of the friar earlier, the king orders the Farmer to hand over the money.

FARMER**1592

A disguise adopted by Dunstan to catch Cutbert the Cutpurse and Coneycatcher in the anonymous A Knacke To Knowe A Knave. The King disguises as a Gentlemen needing to have Cutbert swear a false oath.

FARMER**1592

A victim, along with the Butcher and Cowtail in the anonymous Thomas of Woodstock, of the extortions of Nimble and Ignorance.

FARMER**1614

One of the Madmen who torments the Duchess in Webster's The Duchess of Malfi.

FARMER**1620

Soto's father and unwitting employer of the disguised Silvio in Fletcher's Women Pleased.

FARMER**1625

A "ghost character" in Massinger's A New Way to Pay Old Debts. Caught in a commission with Overreach, he is ruined due to the extortioner's successful bribery of Justice Greedy, who rules in favor of Overreach "against his conscience, and his knowledge too."

FARNESE

Prince of Parma in Shirley's The Sisters. Farnese, disguised, comes to the palace of Paulina at the invitation of his follower, Lord Contarini, and finds there that the brigand Fripolo is impersonating him. Contarini asks him to plead his own courtship with Paulina's sister, Angellina, but the prince falls in love with her himself. She, meanwhile, is in love with Contarini's page, Vergerio. Vergerio turns out at last to be Pulcheria, Contarini's former love, so the way is made clear for Farnese and Angellina, but there is no sign that they will take it. He has the last word in the play, which is a praise of humility.

FARNESE, DIONISIO

The given name for the Duke of Parma in Shirley's The Duke's Mistress. The duke is besotted with Ardelia, finding her far more interesting than his wife Euphemia. He courts Ardelia, sending her jewels with Leontio, and he orders Leontio to imprison Euphemia. Visiting Ardelia in the garden, the duke responds to her demands that he state he has not been intimate with her, unaware that her betrothed Bentivolio is hidden and overhears their conversation. The duke later repeats his behavior and reconciles with his wife, realizing also the duplicity of Leontio, his former favorite.

FARNEZE**1600

A suitor to Julia in Chettle, Dekker and Haughton's Patient Grissil. Like the other suitors, his advances lead nowhere.

FARNEZE**1611

Farneze appears at the court in Dekker's If It Be Not Good complaining that Bartervile has failed to pay him the two hundred crowns he owes him. When Bartervile perjures himself and falls down in a trance, Farneze triumphs over him and takes the money that falls out of Bartervile's staff.

FARNEZE**1636

Farneze is cousin to Gonzaga in Massinger's The Bashful Lover. He is wounded in the war. After the defeat of Mantua, he is ordered by Gonzaga to join Manfroy at St. Leo. He takes a disguise as a Florentine soldier in order to look for Prince Uberti, from whom he has been separated. When he again meets the prince, he gives up his disguise so that the prince may use it and thus escape. About to be executed for his crimes, a stranger walks in and demands the right of torturing Farneze himself. According to the stranger, Farneze killed his father and two brothers. Lorenzo grants the stranger's wish and leaves. The stranger turns out to be the Prince Uberti, who then cuts Farneze free. Together, they wound Martino and escape. Back at court, and always anxious to further Prince Uberti's claim over Matilda, he almost has the marriage of Matilda and Hortensio barred, citing an ancient law which allows royals to marry only other wealthy royals. His plan is thwarted when Hortensio reveals himself as Galeazzo, Duke of Milan.

FASHIONER

The tailor in Jonson's The Staple of News providing Pennyboy Junior with his first set of clothes as an heir. He brings Pennyboy Junior word that the Staple of News has opened.

FASTIDIOUS BRISK

Fastidious Brisk is an affecting courtier, fashionably dressed but always in debt in Jonson's Every Man out of His Humour. The name suggests a boring person, from the Italian fastidioso, tedious, dull. Under the mask of this character it is possible to read a satire of Samuel Daniel, accepted poet of the court, sonneteer, and follower of men's fashion. Before Puntavorlo's country house, Fastidious Brisk enters with Carlo Buffone and Sogliardo. The three men have a silly conversation about hobbyhorses and amusing pastimes. At Deliro's house in London, Fastidious Brisk boasts his connections at court and his fashionable suits. Fastidious Brisk asks Deliro in private to lend him some money, and exits after the merchant. At St. Paul's, Fastidious Brisk enters with Deliro and Macilente but mixes with the Puntavorlo party. In an apartment at court, Fastidious Brisk enters with Macilente boasting about his favor with a certain court lady. When Saviolina enters, however, Macilente witnesses how she makes a fool of Fastidious Brisk. At Puntavorlo's lodgings in London, Fastidious Brisk comes to sign the insurance papers. After a conversation praising the excellence of life at court, Fastidious Brisk exits with the Puntavorlo party to go to court. At court, Fastidious Brisk enters with Puntavorlo, Fungoso, and Saviolina. The men play a trick on Sogliardo and Saviolina, making them look like fools. Fastidious Brisk exits with the Puntavorlo party to the tavern. During the ensuing brawl at the Mitre Tavern, Fastidious Brisk tries to escape arrest, but Constable seizes him as he is rushing by. Fastidious Brisk and Carlo Buffone are arrested. In prison, Fallace visits Fastidious Brisk and kisses him just when her husband enters. Macilente informs Fastidious Brisk that Delirio has entered three legal actions against him, claiming his bonds. Fastidious Brisk exits in haste to arrange his disastrous financial situation.

FAT BISHOP

The Fat Bishop in Middleton's A Game at Chess is a caricature of Marc Antonio de Dominis, Archbishop of Spalato (1566-1624). The role was written to be performed by the clown-actor William Rowley. The Fat Bishop was originally of the Black House, but he left them, and now works for the White House, writing defamatory pamphlets against his former masters. However, the Fat Bishop is unhappy with the rewards given by the White House. The Black Knight and Black Bishop tempt him back to their side with the possibility of a lofty bishopric, but they really intend only to damn him forever; the Black Knight is still angry about an incident when the Fat Bishop made a joke about his fistula. The Fat Bishop publicly returns to the Black House. He refuses absolution to the Black Knight's Pawn because he cannot find castration in the Taxa Poenitentiaria. He is eventually scuppered by over-ambition: he tries to 'take' the White Queen, but is surprised by the White Bishop, and thrown into the Bag, where he squashes the other characters.

FAT BISHOP'S PAWN

The Fat Bishop's Pawn in Middleton's A Game at Chess has no function other than fetching and carrying for his master.

FATES

I.
Non-speaking roles. The three Fates accompany Lucina when she is summoned by the Devil in William Rowley's The Birth of Merlin: or, The Child Hath Found His Father. They are responsible for endowing Merlin with Knowledge, Arts, Learning and Wisdom, in order to give him the power of prophecy.
II.
Non-speaking characters in Heywood's The Golden Age. The three "fatal sisters" appear in a dumb show at the end of the play, with a rock, a thread, and a pair of scissors representing Jupiter, Pluto and Neptune, the kingdoms of Heaven, Hell, and the Sea. They are in control of Man's fate, and what they decree is inevitable.
III.
Though they do not speak in Heywood's The Silver Age, the three sisters are witnesses in Hades of the settlement of the dispute over Prosperpine.
IV.
Only mentioned, they are referred to as the three thread-thrumming sisters in the anonymous Narcissus. Cephisus mentions the Fates when he learns the sad fortune that is awaiting his son. According to Greek mythology, the three Fates have the destiny of all mankind in their hands. Clotho spins the thread of life, Lachesis measures it and Atropos is in charge of cutting it.

FATHER

For named clergy, search under the given name e.g. "PAULO, FATHER."

FATHER**1530

A "ghost character" in the extant fragment of this interlude, though arguably he may have appeared in the full version of the anonymous Pater, Filius et Uxor. Filius's father. He is only referred to by Filius. Father will beat him up if he does not sell his faggots before the end of the day.

FATHER**1561

The Father of the Maid in the anonymous Pedler's Prophecy comes looking for his wife and daughter, to find out what is keeping them from preparing dinner. He is at first suspicious of the Pedler but is quickly won over and invites the Pedler for dinner. After the Mother and Maid leave, the Father asks if the Pedler is a man of science, leading to another prophecy about wicked children before they leave.

FATHER**1627

Thomas Randolph in Randolph's Thomas Randolph's Salting. The speaker introduces himself as one of the two Fathers of the feast. The other is a witty "Key" (Thomas Kay), whose lines do not survive, assuming his role was as second speaker at the point Randolph's section breaks off. The Second Father's role, of course, may have been stage-managerial, presenting and "salting" the participants in turn as the first Father pronounced his roll-call. Randolph announces this to be first salting in a long time at Trinity and suggests that the timing coincides with the British fleet capturing the Salt Islands. His task is to name his boys. He does not plan to half-hang them with ill names and rejects several naming schemes: neither to name them for metals, body parts, nor books. He decides to name them as foods in a great feast, as many tutors have grown fat on their students before now. He describes his invisible table, well-laid and promising good cheer. Even better, there is no wife cluttering up the table as hostess, or a simpering bride to mince words. The feast is extra-ordinary, not the usual stale pies of college fare. He greets his Fellow Commoners, gentlemen all, who are excluded from the ordeal to come. They have promising futures at the "Councill Table," and like the luxurious, too dainty foods served to Tantalus, are exempt from tasting. He begins his list of candidates with his son Priest, who would obviously be Chaplain and say grace at the feast, but who is absent. He pronounces a satirical grace himself. Clark and Whithorn come next. They are Randolph's schoolfellows (from Westminster) and he calls them his chief dishes, brothers not sons. Coming from the same alma mater, to call them sons would be incestuous. Graunt is a stewed chicken, Ashton (a notable scholar) is that landlord of meats, a sirloin of beef. Gamble (gambol) is named a calve's head, the musical Rodes, a swan. Manvell (not, apparently "Marvell" as has been thought) is a sour sauce and Evans the "kitt-plaier," a goose to entertain them with his pocket-violin. Heggin-bottom's name reminds him of the character Higgen in Fletcher's Beggar's Bush, the king of crutches. He is also absent, and the suggestion is to cut off one of his limbs. Nelson, a scholar of Hebrew, is named for Jerusalem artichokes. The final fresher named is Foster. He is not named in the surviving text, but Father recites a letter from Foster to his mother, complaining about the bad food at college and the MS abruptly ends.

FATHER**1638

The father of the Bride in Nabbes' The Bride. He first appears along with his wife (the Mother) and the Bride, on what is supposed to be Goodlove and the Bride's wedding day. When he learns that Theophilus has run off with the Bride instead, he runs off to look for the couple, whereupon Goodlove reveals that he has merely been pretending to marry the Bride in order to trick her parents into providing a bigger marriage portion. Later, in act five, the Father reappears with his wife and tells Goodlove that he has learned of the plot, and will not give any marriage portion at all. But after interrogating Raven and learning of his villainy, the Father reveals that Theophilus had earlier come to him and calmed his anger, and that he fully approves of his daughter's marriage to Theophilus.

FATHER, ALWORTH'S

A "ghost character" in Massinger's A New Way to Pay Old Debts. Tom Alworth's father (who is also referred to at times as Alworth) is the deceased husband of Lady Alworth and a former good friend of Welborne's. Known to have experienced some particularly bad fortune in his past he was "set upright" by Welborne, to whom he remained forever indebted. It is on account of Lady Alworth's love for her late husband that she demonstrates a filial responsibility toward her stepson and consents to take part in the charade that Welborne proposes.

FATHER, ACANTHUS'S

A "ghost character" in Knevet's Rhodon and Iris. Acanthus claims, "Let me nere inherit more then my Fathers hempland" when Rhodon praises the joys of love.

FATHER, AGENOR'S**1636

A fictional character in Carlell's 2 Arviragus and Philicia. Arviragus and Philicia attempt to convince Cartandes that the disguised Princess is actually Agenor, Prince of Scotland, "whose Father [. . .] hath power to right himself" if the "Prince" "suffer[s] injury" as the Queen's prisoner.

FATHER, AGENOR'S**1638

Disguise that Lucidor takes while he is in Neustrea in Carlell's 1 The Passionate Lovers.

FATHER, ARVIRAGUS'S

The former King of Pictland in Carlell's 1 Arviragus and Philicia, Arviragus's father's "Kingdome" was "usurpt" by the King who promised Arviragus that he would "seat [him] on [his] fathers throne" if he "return'd victorious from the warre" against "th' Danes." It is the neglect of the King to fulfill this promise which prompts the battle between the King and Arviragus.

FATHER, ASCANIO'S

A fictitious character in Fletcher and Massinger's Spanish Curate. Ascanio maintains that, although he never knew him, his father's rich reputation as a soldier and captain on the field of battle in the service of the King belied his poverty. This myth is exploded when Bartolus reveals that Ascanio is his son and legitimate heir.

FATHER, AURELIA'S

Aurelia's father wants his daughter to marry the Governor of the Fort in Middleton's More Dissemblers Besides Women. She disguises as a gentleman, but her father sees through her disguise, and takes her away to the fort. Aurelia escapes by disguising as a gypsy. Then, when she encounters her father and the Governor on the road, she distracts them by telling their fortunes, and "predicting" that Aurelia is heading for the quay.

FATHER, BELLAMY'S

A "ghost character" in Brome's A Mad Couple. He is Old Bellamy's brother. Old Bellamy says that he does not want Bellamy to be like him as he was a drunkard.

FATHER, BOOK–WORM’S **1641

A “ghost character" in Wild’s The Benefice. He left two hundred pounds when he died to Book–worm, thus robbing his other sons of it, so Book–worm could buy more books and study.

FATHER, BRAINSICKE'S

A "ghost character" in ?Clavell's The Soddered Citizen. Father to Brainsicke, he is defined by Undermine as a "bastard by some of Nesto Tribe" and a man who has a lot of diseases, namely, "the applopex, strongullion, Tisicke, Catarr, Gowte, Palsey, ague, Pox, etc., but yet he lives." However, eventually, he actually dies, bequeathing only a bull to his son.

FATHER, BROWNE’S **1604

A “ghost character" in Rowley’s When You See Me. He is, according to Henry, as gallant a knight as any in the south of England.

FATHER, CALYMATH'S

A "ghost character" in Marlowe's The Jew of Malta. Calymath's father is the Turkish emperor, who has demanded the tribute of Malta. Historically, the Turkish emperor at this time was Suleiman the Magnificent.

FATHER, CAPTAIN AGER'S

A "ghost character" in Middleton and Rowley's A Fair Quarrel. Ager's deceased father is important to the plot because Ager is concerned to know whether he is really his father's son.

FATHER, CARELESSE'S

A "ghost character" in Brome's A Mad Couple. Carelesse is asked whether he has inherited anything from his ancestor.

FATHER, CLOWN'S

A "ghost character" in (?)Brome's The Cunning Lovers. As his son, he was a loyal servant to the Duke of Mantua.

FATHER, COMPLEMENT'S

A "ghost character" in Hawkins's Apollo Shroving. Implement jokes that Complement's father "was a Baker, and therefore [Complement] allowes an odde cast of courtesie, neatly chipt" to the number of months in the year.

FATHER, CORNELIO'S

A "ghost character" in Chapman's All Fools. Gostanzo tells Cornelio that he knew Cornelio's father, and that gentleman not only looked the other way when Cornelio's mother had extramarital affairs, but would ring his doorbell and then stand and talk to his neighbor so that her lovers could leave by the back door. This, according to Gostanzo, ensured a quiet life. After Cornelio reveals that he has only been threatening divorce to tame his wife, he claims that now the world will see that he is as wise as his father.

FATHER, COUNTRY WENCH'S

An older man in Middleton's Michaelmas Term. After receiving a letter from his daughter explaining that, without his blessing or consent, she has moved to London and is in the company of Lethe, the father spends his time searching for her. Disguised, he enters his daughter's service though he is unable to recognize her because of her fashionably changed appearance. He is, however, present to see his daughter married (upon the judge's decree) to her former employee, Sir Andrew Lethe.

FATHER, DESPINA’S **1637

A “ghost character" in Carlell’s Osmond. His heart was pierced in the battle.

FATHER, DORIA'S**1637

A "ghost character" in Glapthorne's Ladie's Privilege. Twice referred to. The first time, the Duke says that Doria's father, who also fought against the Turk, was not welcomed home with more joy than Doria himself. At the trial, Doria says he has disgraced his father's memory.

FATHER, FREE WILL'S**1513

A "ghost character" in the anonymous Hick Scorner. Free Will tells Perseverance that he was a "knight of the halter" (i.e. hanged) and that he "wore a horn" (i.e. was cuckolded) by way of suggesting that he was a gentleman.

FATHER, GOSTANZO'S

A "ghost character" in Chapman's All Fools. Gostanzo, appalled by Valerio's apparent shyness around woman, reminisces about his youth, when, at twenty-five, he was able to entertain the Duchess, who was invited to the house by Gostanzo's father.

FATHER, GREEDY'S

A "ghost character" in Massinger's A New Way to Pay Old Debts. Greedy's father was a tailor and is mentioned only briefly by the distraught Justice when he is defending his "lineage" and position to Overreach in response to abuse from Sir Giles's "self-will'd" cook.

FATHER, GREGORY DWINDLE'S

A "ghost character" in ?Brewer's The Country Girl. His son remembers his future death all along the play.

FATHER, GINGLE'S

A "ghost character" in Hawkins's Apollo Shroving. Indulgence asserts that Gringle is his "fathers picture" and claims that her son will have his father's "long guilt Rapier." Gringle claims that his father is "a man of great worth, and lands" and that he is his father's "heire apparant."

FATHER, GUIMANTES'S

A "ghost character" in Carlell's 2 Arviragus and Philicia. The former King's deeds and murder are mentioned and discussed by various characters throughout the play.

FATHER, HEAVENLY

I.
After John baptizes Jesus in Bale's John Baptist's Preaching in the Wilderness, The Heavenly Father descends to declare that Jesus is his son and that his law, not Moses' is now all that matters.
II.
God or Pater Caelestis, appears in Bale's God's Promises seven separate times, complaining about the sinfulness of man. His first complaint is about Adam, who ate the apple. God's second and third complaints are against the sinfulness of humanity in general, and his third, fourth and fifth are against the sinfulness and ungratefulness of the Israelites. In each case, after threatening to destroy humanity all together, a human comes forward to beg for mercy. In each case, God eventually grants that mercy, and establishes a new promise, or covenant. With Adam, God establishes hatred between man and the serpent, and the pain of woman in childbirth. With Noah, he establishes the rainbow as a sign he will never again destroy humanity. With Abraham, he establishes the covenant of circumcision. With Moses, David and Isaiah, God foretells the coming of Christ. Finally over his anger, God appears, now amiable, before John Baptist and tells him of the coming of Christ, and that he has chosen John to prepare the way for Christ and to baptize him.

FATHER, HORATIO'S

A "ghost character" in Cokain's Trappolin. Horatio's Father is the Duke of Piedmont.

FATHER, HUMIL'S FIANCÉE'S

A "ghost character" in Armin's The Two Maids of More–Clacke. He offers his daughter to Humil as his wife.

FATHER, IMAGINATION'S**1513

A "ghost character" in the anonymous Hick Scorner. Free Will suggests that his wife is cuckolding him with the rector, Sir John, and causes a fight.

FATHER–IN–LAW, CHABOT'S

An honest man in Chapman's The Tragedy of Chabot, Admiral of France, who comes to court to warn Chabot about Montmorency. Although Chabot tries to persuade him that the two can work together for justice, the Courtier's appearance with an unjust suit that Montmorency has signed reveals that his father-in-law is right. He supports Chabot's decision not to sign it, and attends him as he is brought to his arraignment. He joins his daughter in begging the King's mercy when Chabot is condemned. After Chabot's acquittal, he returns to the court to tell the Queen and the Lord Chancellor that Chabot has weakened. When the King appears, he also reveals, under pressure, the Admiral's state to him.

FATHER–IN–LAW, CORBO’S **1635

A “ghost character" in Rider’s The Twins. Corbo refers to a voice in the woods as his father-in-law and later as his father, though it may be his own echo.

FATHER, JAMIE and HENRIQUE'S

A "ghost character" in Fletcher and Massinger's Spanish Curate. Jamie speaks to his brother of their father's expectations while attempting to reveal Violante's negative influence on Don Henrique.

FATHER, LADY LOVERIGHT'S

A "ghost character" in Davenant's News From Plymouth. Loveright's father (an earl and a soldier) has left her in control of her fortune without a guardian. He is also responsible for writing a description of a soldier's character which Warwell finds unattainable.

FATHER, LELIA'S

Lelia's father, on his way to see Lelia in Fletcher's The Captain, encounters Piso and Lodowicke, who ask him if he is Lelia's pander. The old man beats Piso for the insult to Lelia. He asks Lelia for money enough to live on. Lelia denies her father's request, adding that finding a job or even dying would be more appropriate for him. The old man, concealing his identity, meets Jacamo and Fabritio, who, touched by his plight as an apparent old soldier, offer to share their meager resources and take him to a tailor. Lelia's father receives a purse of money from Lelia along with an invitation to dine that evening. He reveals that he has a plan to use Piso and Lodowicke and asks them to meet him. That evening, he arrives at Lelia's to discover a banquet, music, the Waiting Woman with "a Night-gowne and Slippers," and Lelia offering to sleep with him. He asks Lelia to send away the music and the Waiting Woman, then reveals his identity and asks her to repent. Instead, Lelia attempts to seduce him again, refuting the taboo against incest. He decides that it would be most honorable to kill her first and then himself, but Angilo, who, unknown to Lelia and to Lelia's father, had bribed the Waiting Woman to allow him to eavesdrop, stops him. Angilo offers to help Lelia's father bind and gag Lelia and her Waiting Woman, carry them to a carriage, and take them to his house where they might be able to reform the women. Lelia's father meets Lodowicke and Piso, tells Lodowicke that a young, virtuous, beautiful, and wealthy widow loves him, asks Lodowicke for a ring to send the widow as a token, and tells Lodowicke to procure the provisions for the wedding. After Lodowicke leaves, Lelia's father pretends to Piso that he identified Lodowicke as the groom by accident; Piso is the true groom. He tells Piso that they will use the provisions Lodowicke purchases. He then meets Angilo and Julio, and Julio reveals that he intends to marry Clora. At the nuptial festivities, Lelia's father lets Lodowicke know that he was in error, then reveals his identity and Lelia's to Piso, who realizes that he has married the woman he recently accused of being a whore. When Lelia's father says that he will provide well for Piso and Lelia, however, and Lelia promises to be faithful to Piso, Piso resolves to make the best of the situation.

FATHER, LUCE'S

A goldsmith and "plain" citizen in Thomas Heywood's The Wise Woman of Hogsdon. Luce's Father is not addressed by name in the play. He approves of his daughter Luce's marriage to Young Chartley, a socially advantageous match, but expresses justified concern about Young Chartley's desire to keep the marriage a secret until Young Chartley can secure his inheritance. He worries over the damage it does to both his and his daughter's reputations. Young Chartley convinces Luce's Father to keep the marriage a secret for a month longer. Luce's Father's kindness and trust in Young Chartley is soon betrayed, however, when Young Chartley denies knowing him in the street. He and Luce realize they have been abused. Luce's Father is furious, but agrees to be ruled by his daughter and adhere to the plan that she has devised. He becomes a member of the party that confronts Young Chartley about his misdeeds at the end of the play. When the Wise-Woman of Hogsdon reveals that Luce has not in fact married Young Chartley but rather Boyster, Luce's Father welcomes Boyster as his son-in-law.

FATHER, MANASSES'

A "ghost character" in Day's Isle of Gulls. Manasses claims that 'My great Graundfather was a Rat-catcher, my Grandsier a Hangman, my Father a Promooter, and my selfe an Informer', but he has rejected informing for his profitable career with Dametas.

FATHER, MISERLY

A part taken by Latinus in the first inset play of Massinger's The Roman Actor. In the second inset play he portrays the porter. The first inset play is performed for the benefit of Philargus, an old miser and the father of Parthenius. Parthenius seeks to cure his father of his miserliness by showing him a play in which an old miser sees the error of his ways. When the play fails to have its desired effect, Domitian orders Philargus's execution.

FATHER, MONGREL’S **1632

A “ghost character" in Hausted’s Rival Friends. A gentleman who will bequeath his son six or seven hundred a year.

FATHER, MOUNTAYNE'S

A "ghost character" in ?Clavell's The Soddered Citizen. Undermine mentions Montaigne's father when he explains that he had "known the Pillory, as records at Newgate have him registered."

FATHER, NICOLO'S

A "ghost character" in Brome's The Novella. Pantaloni saved Nicolo's father from the galleys and constantly reminds him of this fact.

FATHER, NOVICE'S

A "ghost character" in Hawkins's Apollo Shroving. Novice offers Implement various bribes in order to entice the Page to speak on his behalf to Complement and the greedy Implement asks Novice to steal his father's "dagger with the silver haft" for him in return. When Complement asks Implement if Novice's parents are rich, Implement claims that Novice's "father's but a plaine Farmer; but hee's call'd the rich Chuffe. Hee keeps three ploughes, and fourteene yoake of Oxen."

FATHER of the DUCHESS

A "ghost character" in Thomas Middleton's The Witch. He appears on stage only as a skull that the Duke, is son-in-law, has had made into a chalice.

FATHER, PALLANTUS’ **1635

A “ghost character" in Killigrew’s The Conspiracy. Pallantus’ father was hated by Timeus.

FATHER, PAMBO'S

A "ghost character" in Davenport's The City Night Cap. In Act Two, Pambo's ancestor is remembered by his son, who says that his father had been a costermonger.

FATHER, PHILARCHUS'S

He comes to King Edgar in the anonymous A Knacke To Knowe A Knave and complains that his son is disobedient and ashamed of his poor father. When he wanted to beat his son for that, he was instead beaten by him. Philarchus is now ashamed for his deeds and asks forgiveness, but his father grows angry and demands his death. Finally he agrees to have his son banished.

FATHER, PHILOPONUS'S

Philoponus, in Hawkins's Apollo Shroving, claims that his father has no land to leave him, but that "his meane estate is the better meanes of [Philoponus's] happiness." He also states that the education which his father "affoords" him is "a more goodly and durable inheritance" than "thousands of flockes and acres."

FATHER, PORTIA'S

A "ghost character" in Shakespeare's Merchant of Venice. Portia's father has left a will that establishes very specific marriage terms for her. She can only marry the man who picks the right casket, and she cannot refuse the man who does pick the correct one. The will also establishes that before attempting to pick, suitors must swear that if they are wrong they will never tell which casket they picked, and they will never marry.

FATHER, PUPILLUS’ **1639

A “ghost character" in Sharpe’s Noble Stranger. He was a citizen and a Mercer who grew wealthy and left an estate to his widow.

FATHER, SABINA'S

A "ghost character" in Montague's The Shepherd's Paradise. A former King of Castile. He agreed to allow his lovelorn daughter found the Shepherd's Paradise, an aristocratic kingdom within a kingdom, composed of members who take a vow of chastity and are ruled by a queen. He does not appear in the play.

FATHER, SCONCE’S **1636

A “ghost character" in Glapthorne’s Hollander. He was one of the ‘Barnavet’ conspiracy but escaped to England while the Dutch hanged ‘Barnavet.’ He attempted unsuccessfully to obtain a monopoly on Tobacco and next to drain the Fens but was drowned. Sconce volunteers that he was not a Jew, though he took pawns and their forfeits and left Sconce a thousand pounds per annum.

FATHER, SCROCCA'S

A "ghost character" in P. Fletcher's Sicelides. Scrocca claims that his father was "translate[d]" by Circe "into an hogge."

FATHER, SIMSONS'**1600

A "ghost character" in Chettle and Day's Blind Beggar of Bednal Green. Simsons' Father is described by Tom as a dandy.

FATHER, SLIGHTALL'S

Only mentioned in Davenport's New Trick to Cheat the Devil. Slightall's father is mentioned by Roger when he reprimands his master for wasting his old father's fortune: "How many monthes did your old Father spend / to purchase that you in a few houres consume?"

FATHER, SLUGGE'S

A "ghost character" in Hawkins's Apollo Shroving. Slugge informs Drudo that he has "the gout [. . .] in foot, and hand too." He also claims that his "father and grandsire had so."

FATHER, TALES KINGCOB'S

A "ghost character" in Chapman's Sir Giles Goosecap. He christened his son as Decem Tales.

FATHER, TARQUIN'S

A "ghost character" in Heywood's The Rape of Lucrece. The former King of Rome, Tarquin's father was overthrown and killed by Servius.

FATHER, TIMOTHY SHALLOWIT’S **1638

A “ghost character" in Glapthorne’s Wit in a Constable. Timothy affirms that his father died a knave and left that title as part of his patronage.

FATHER, URINAL’S **1636

A “ghost character" in Glapthorne’s Hollander. A doctor. He was ‘the brother of Master Mischief’s function.’

FATHER who has killed his SON

During the civil war which pits Henry's supporters against York's in Shakespeare's 3 Henry VI, Shakespeare brings onstage a father who has killed his son and a son who has killed his father to dramatize how divisive the war is.

FATHER, ZEALOUS KNOWLITTLE’S **1632

A “ghost character" in Hausted’s Rival Friends. He sent Justice Hook a horse of Robin Redbreast’s getting.

FATHERS**1604

Bario, Dorio, Ferio, and Giro are all widowers in the anonymous Wit of a Woman. Each has a family consisting of an unmarried son and an unmarried daughter, with the daughter studying at Mistress Balia's school. In the course of the play each Father attempts to marry the daughter of one of the other Fathers. That daughter tests their seriousness by getting them to stand in for one of the other Fathers in a clandestine marriage of one of the other daughters to one of the other sons. At the end of the play each Father discovers that they have been betrayed, and that all the daughters have now married all the sons, leaving them still single.

FATHERS**1610

The fathers of Mammon's hypothetical mistresses are "fictional characters" in Jonson's The Alchemist. Imagining himself the owner of extraordinary wealth and exceptional sexual prowess gained because of the magical elixir, Mammon fantasizes he will use the fathers and mothers of his hypothetical mistresses as his bawds. Relying upon people's greed, Mammon argues that the fathers and mothers are the panders to their daughters and they do this job best. According to Mammon, they are ready to sell their daughters for good money.

FATIMA

Fatima is Landgartha and Scania's cousin in Burnell's Landgartha. She is assigned to Gotar as the leader of his troops by Frollo. Inguar asks her to be his wife, but she rejects the proposal.

FATYMA

Infant daughter of Mirza and Erythaea in Denham's The Sophy. Her grandfather, Abbas, dotes on her; imprisoned and desperate for revenge on Abbas, Mirza almost murders her, but recalls himself in time.

FAUCONBRIDGE, LADY

The widow of Robert Fauconbridge the Elder and mother of Robert the Elder is also the proclaimed mistress of Richard Coeur de Lion in the anonymous 1 Troublesome Reign of John. In audience before John she insists that Philip is the son of Sir Robert the Elder, but in private concedes that Richard was his father.

FAUCONBRIDGE

Family name of Robert the Elder, Robert the Younger, Philip the bastard, and Lady Fauconbridge in the anonymous 1 Troublesome Reign of John.

FAUGH, MARY

The dramatis personae of Marston's Dutch Courtesan describes Mary Faugh merely as an "old woman," but she is clearly bawd to Franceschina as well as the lover and sometime accomplice of Cockledemoy, who, to her delight, describes her as his "blue-toothed patroness of natural wickedness" and delivers speeches on the virtues of brothel-keepers. It is, of course, Mary Faugh who introduced Franceschina to Freevill and to a host of other men, mostly knights as Cockledemoy points out, from practically every country in western Europe. Appropriately, it is because Mary Faugh brings Freevill and Franceschina together one too many times that Franceschina is brought to her demise: after Freevill has costumed himself as a pander, near the end of the play, Mary Faugh is unable to see through the disguise, and when Franceschina calls for an escort, on her way to accuse Malheureux of Freevill's murder, Faugh recommends that she go with the disguised Freevill, who, in due course, happily reveals Franceschina's "vices" to everyone.

FAUKENBRIDGE

See "FALCONBRIDGE."

FAULCONBRIDGE

See FALCONBRIDGE, FAUCONBRIDGE, and related spellings.

FAUNES

Only mentioned in Jonson's Catiline. In Roman mythology, Fauns are goat-like half-human creatures, corresponding to the Greek satyr. Fauns were disciples of the god Faunus and were renowned for their sexual prowess. When Fulvia and Sempronia discuss their lovers, Fulvia suggests that they might exchange favorites. Fulvia implies she is tired of Quintus Curius, and Sempronia could have him, adding that the world is full of sexually rewarding men. In fact, Fulvia is dissatisfied because Curius is broke and he cannot pay for her extravagant tastes. In exchange, Fulvia alludes to Sempronia's former beau, Caius Caesar, saying that these lords who used to be Sempronia's Faunes are so passionate that they leap a lady at first sight. Since it is known that Caesar has sent Fulvia a pearl as a gift, probably in exchange for sexual favors, it is inferred that Fulvia refers to Caesar's sexual potency, which she esteems to be like a Faun's.

FAUNUS**1581

Faunus, like Pan and Silvanus, is one of the "country gods" who prepares a welcome to Ida for the goddesses Juno, Pallas, and Venus in Peele's The Arraignment of Paris. He brings a fawn as his gift for the visiting Olympians.

FAUNUS**1605

The Fawn in Marston's Parasitaster, or The Fawn. The assumed name taken by Hercules, Duke of Ferrara, while he visits Gonzago's court in disguise.

FAUSTA

Wife to Amurack in Greene's Alphonsus, King of Arragon, she argues against the marriage of their daughter Iphigina to Alphonsus, and as a result she and her daughter are banished by Amurack. She is quickly convinced by Medea that Alphonsus' victory is assured by fate and that she will have little choice but to eventually marry her daughter to him and save her land. She takes Medea's advice and, before submitting, raises an army of her own, only to be taken prisoner by Alphonsus.

FAUSTINA

Faustina is the sister of Philautus in Marmion's Holland's Leaguer. She is convinced by Fidelio to take part in a scheme to prove to Philautus that there are women who are indeed chaste and worthy. She acts the part (which indeed represents her own personality) of such a lady to Philautus, not knowing that it is her own brother for whom she is performing. She is soon to wed Fidelio.

FAUSTUS

King of Babylon in Greene's Alphonsus, King of Arragon. Fights on the losing side with Amurack.

FAUSTUS**1594

A "ghost character" in Kyd's Cornelia. Another brave Roman referred to by Cassius who was killed because of Caesar's ambitious wars.

FAUSTUS, DOCTOR

I.
Learned Dr. Faustus forswears his books and his students to live a life of pleasure, fame, and fortune by signing away his soul to the devil in return for 24 years of magical power on earth in Marlowe's Doctor Faustus. Although he has second thoughts from time to time, he gains widespread fame and the love both of his Emperor and his Duke while he humiliates his enemies large and small. He tours the world, sates his senses, and is loyally served by Mephostophilis for 24 years until he is cast into eternal damnation when the clock strikes twelve on the final day. He was called "master Fustian" by the Horse-Courser.
II.
Only mentioned in ?Cumber's Two Merry Milkmaids. He is invoked to warn Bernard of the dangers involved in his pursuit of magical arts.
III.
Only mentioned in Randolph's Plutophthalmia. Never-good invokes Dr. Faustus, Mephistopheles, Asmodeus, Termagant, and Almeroth of Cantimeropus in his impotent attempt to curse Goggle and Carion.
IV.
Only mentioned in Glapthorne’s Wit in a Constable. Thorowgood teases Jeremy Hold–fast that all his learning is fit only to walk about like Faustus in a cap fit for a costermonger.

FAVEL**1513

A "ghost character" in the anonymous Hick Scorner. Duplicity, false flattery. One of "the devil's officers" among Hick Scorner's company on his recently returned ship. Listed among a large group of "thieves and whores" and "other good company" of "liars, backbiters, and flatterers . . . brawlers, liars [sic], getters and chiders, walkers by night [and] great murderers."

FAVILLA**1584

Favilla is a lady at Sapho's court in Lyly's Sapho and Phao.

FAVILLA**1588

A waiting maid in Lyly's Endymion. One of the young women that Dares and Samias persuade into teasing Sir Tophas with feigned love. Scintilla is the other.

FAVOR **1617

A “ghost character" in the anonymous Pathomachia. One of the nine inferior Affections. A minion of Love who attended the Parliament during Love’s sickness.

FAVORINUS

Favorinus is one of two magistrates of Minturnum, where Marius has fled after being defeated by Scilla in Lodge's The Wounds of Civil War. He worries that his small town cannot harbor a fugitive like Marius. When Pausanius suggests that they kill Marius to ingratiate themselves with Scilla, he calls the act barbarous and dishonorable, but agrees. The two magistrates hire Pedro to do the killing. Favorinus urges Pedro on and, when Pedro hesitates, asks why he delays. When Pedro runs away, Favorinus describes how Marius, in his infancy, was visited by seven eagles, signifying that he would be Consul seven times. Since the gods apparently protect Marius, Favorinus suggests that they free Marius and then asks Marius to leave the town at once.

FAWKES, GUY

I.
With Bartervile, Ravillac, and the Prodigal, Guy Fawkes is doomed by the infernal judges to suffer torments in hell in Dekker's If It Be Not Good.
II.
Only mentioned in Randolph's Plutophthalmia. One of the gunpowder conspirators. Carion, calling him "Faux," mentions him, Digby, and Garnet and lumps them together with the knaves of the world.

FEALTY

Fealty is the herald of the three lords of London in Wilson's The Three Lords and Three Ladies of London. His coat has "the arms of London before, and an olive tree behind." He and Shealty act as go-betweens in the confrontation between the lords of London and Spain, and Fealty describes the lords of London to the Spanish lords.

FEAR

One of the characters in Evanthe's and Valerio's wedding masque in Fletcher's A Wife for a Month. Only Cupid speaks, but Cupid's attendants include hopeful characters of Fancy, Desire, Delight, Hope, and also the dire characters Fear, Distrust, Jealousy, Care, Ire, and Despair, suggesting that in the lovers' marriage, misery will outweigh happiness. Valerio finds this to be the case when shortly after the wedding the king forbids him from consummating his marriage.

FEAR **1607

A “ghost character" in Tomkis’ Lingua. Appetitus’ horse upon which he needs no spurs because it flies him away like Pegasus.

FEAR **1617

One of the fifteen affections and the subject of the play in the anonymous Pathomachia. One of the ringleaders in the battle who have never loved Love. Like earth, Fear is dry and cold. He cannot see a way around the civil war. If the Affections vanquish Love or Love vanquish the Affections, what is to become of him? Caught by Justice, he is afraid to stay with the Virtues because he will be suspected or with the Vices because he will be confronted. He chooses instead to take a neutral position until the war is over.

[FEAR–THE–LORD BAREBOTTLE]

[A "ghost character" in Cutter of Coleman Street (performed 1661), the 1658 revision of Cowley's The Guardian. He is the dead husband of Mistress Barebottle, described as the "saint and soapboiler" who bought Jolly's estate. His widow's grisly reminiscences reveal his hypocritical and grasping nature.]

FEATHERBRAIN, FRANK

A destitute prodigal in Jordan's Money is an Ass. After failing to renew his relationship with Money and Credit, he vows to get the better of them in their marriage prospects. To which ends, he joins forces with Captain Penniless. He counterfeits a letter of credit from Credit in order to get fine clothes, knowing that once they are well attired, they will gain admittance to Clutch's house. This plan fails, and the two prodigals resort to pretending to be Money and Cash's servants to enter the house. Once inside, he declares his love for Felixina, and she declares her love for him. She gives him gold to buy nice clothes, and these clothes allow him to pass as Gold, a kinsman of Money. In this disguise, he accompanies Money and Credit to Clutch's house. While there, he and Felixina again exchange love vows. However, he is dismayed by Calumny's report that she has already had sex with Money. When he confronts her with this allegation, she faints and persuades him that it is false. After convincing Penniless of this fact, the two prodigals force Money and Credit to renounce their claims to the daughters at sword point. He is then free to marry Felixina with half of Money's estate being offered by Clutch as a dowry. Prior to the wedding, he reveals his true identity, but Clutch sanctions the match anyway.

FEATHER–MAKER

The feather-maker serving the affected courtiers is summoned at their party together with the tailor, perfumer, barber, milliner, and jeweler in Jonson's Cynthia's Revels. Mercury, disguised as a Frenchified Gentleman, uses and abuses these merchants, thus showing the gallants how ridiculous they are. Mercury demands the feather from the feather-maker and the jewel from the jeweler to pin the feather on his hat. The feather-maker produces the feather and it seems that he is the least abused of the retailers, probably because the object of his trade is light. It is understood that Feather-maker and the other dealers attend the scene in which the pretentious gallants and nymphs are being disgraced through Mercury's over-reaction in elegant courtly manners. Feather-maker exits with the rest of the party.

FEATHERSTONE

Greenshield's friend and partner, a young gentleman in Dekker and Webster's Northward Ho. Greenshield does not know that he has had an affair with his wife, Kate. When they stay together in Maybery's garden house, Kate comes to visit him at night, pretending to be sleepwalking. He decides to elope with her and counterfeits a letter from Kate's father, an innkeeper of Doncaster, that Kate should go to Enfield to get some money. He gives Greenshield certain pills, so that he is unable to travel. Greenshield then asks Featherstone to accompany his wife to Enfield, but they run off to Ware instead. Maybery, who has been informed about this by his servant Squirrel, tells Greenshield that his own wife, Mrs. Maybery, has gone to Ware to meet a gentleman from the court. Greenshield is convinced that he can prove Mrs Maybery's infidelity there, and he wants to go to Ware with Maybery to catch them in the act. To get his revenge, Maybery wants as many people as possible present when Greenshield discovers his own wife Kate together with Featherstone, so he asks Bellamont, Philip, Leverpool and Chartley to join the party. During a short absence of Featherstone, Greenshield, disguised as a fawkner, goes to his inn to look for a suitable prostitute for Maybery. He does not recognize his own wife because she is wearing a mask, and she follows the "stranger" willingly to be presented to Maybery. When all comes out, Greenshield has been cuckolded by his friend Featherstone, but he has now also cuckolded himself. As Featherstone finds himself also cuckolded by Kate, he agrees to marry Doll Hornet, whom he thinks to be Maybery's niece. He marries her on the spot and is willing to stay with her, although he also to pay all her debts - and the travel expenses of Maybery's party.

FEDELE

Fortunio's friend in ?Munday's Fedele and Fortunio. Like his old friend Fortunio, he loves Victoria and plans to gain access to her home with the help of Pedante, who is feigning love for her servant Attilia. Before doing so, however, he discovers a letter revealing Victoria's love for Fortunio. He challenges Fortunio to a fight, but before being able to act on it he spies the disguised Pedante leaving her home. He fights and defeats Crackstone, capturing him in a net and publicly humiliating him by parading him in front of Victoria. After discovering that Fortunio has "had" Virginia, he agrees to marry Victoria.

FEDELLA

Daughter of Leogarius, the king of Ireland in Shirley's St. Patrick For Ireland. After dancing with her sister, Ethne, Fedella asks Archimagus to impede the plot to kill Dichu's sons, Endarius and Ferochus, so that they can enjoy the men's company. Secretly, she meets up in the temple with Ferochus. She takes advantage of her father's hasty leaving of the blood sacrifice to again dally with Ferochus. She gets kissed by the invisible Rodamant, who also kisses her sister and interferes with their men. She ends up baffled by the confused behaviour of the two brothers, and ends up frustrated as she and her sister are abandoned by the brothers who must flee.

FEEBLE

By occupation Francis Feeble makes women's garments in Shakespeare's 2 Henry IV. Recruited by Shallow for military service with Falstaff, Feeble's main concern is not a fear of battle but rather a desire that Thomas Wart serve with him. The implication is clear that Francis Feeble prefers the company of men to that of women.

FEESIMPLE, LORD

Lord Feesimple is the foolish son of the Count in Field's Amends for Ladies. He is in love with Lady Bright, and is worried that he father is plotting to make a new marriage to Lady Honour and disinherit him. Feesimple's rival, Bold , takes advantage of his lack of intelligence: Bold poses as an elderly waiting-gentlewoman and has Feesimple recommend "her" to Lady Bright. Feesimple insults Bold to the latter's friend, Welltried, and when challenged by Welltried he swoons; Feesimple claims that he has had an aversion to swords ever since he was cut in the hand by a chopping knife as a child. Welltried takes Feesimple to meet the "roarers" Whorebang, Tearchaps, Bots and Spillblood, in an attempt to cure his fear of steel. A fight breaks out between them all, and Whorebang, Tearchaps, Bots and Spillblood flee. Welltried and Feesimple continue drinking, and Welltried eventually has to take a comatose Feesimple back to his own lodgings. When Feesimple wakes up, Bold tells him that he has killed three men and that Welltried has fled. Feesimple is ready to believe him, but is then told that he really killed noone. Bold then tells Feesimple that he is required to meet Lady Bright at the church, disguised as Bold's fiancée. He impatiently waits for his moment. When the weddings between Lady Honour and Ingen and Lady Bright and Bold have been concluded, the Count is advised to woo Bold's masked fiancée, but finds, on kissing her, that she has a beard, and is really his son. Feesimple is angry to have been cozened, but is placated by the promise of the wedding feasts.

FELECIA

Daughter of Antifront and sister of Florida in Sharpham's The Fleire. Having lost their birthright, the sisters flee to England and become courtesans. In love with Ruffel but rejected by him, Felecia plans revenge and asks the knight Havelittle, who is in love with her, to murder Ruffel as a demonstration of his affection. Thinking the murder done, she testifies against Havelittle in court. Her role revealed in court, Felecia repents her crime and begs forgiveness of Havelittle. When Ruffel and Sparke are shown to be alive, she and Havelittle are happily united.

FELICE**1599

Alternate spelling of Feliche in Marston's Antonio and Mellida.

FELICE **1625

Felice is the daughter of Cornelio and sister to both Antonio and Selina in Shirley's The School of Compliment. Years ago Felice left home, deeply in love with Gasparo but hindered by her overly strict father. Felice is now in the guise of a shepherdess, and in this guise she ends up meeting sister, brother, father, and future husband Gasparo all at the shepherd's festival near the play's end.

FELICHE

One of five Venetian gentlemen in Marston's Antonio and Mellida. He first appears in the play's Induction wherein the actors comment upon their parts (though the speech headings identify them only by their character names). Feliche does not much like court life and criticizes much if its convention and hypocrisy. He speaks his realistic and critical mind to Duke Piero and to his fellow courtiers, and he is seemingly the only knight in the play not actively pursuing Rossaline. Feliche helps Antonio escape certain death by insisting that Antonio put on his own sailor suit as disguise, and he is the one who announces that a knight is bringing Andrugio's head into the banquet hall. He is the refreshing voice of reason and good sense even though his name in Italian means happy or fortunate. He is either the YOUNG FELICHE of Antonio's Revenge who is murdered before the play begins and appears as a corpse and a ghost in that play (see GELICHE'S GHOST) or else he reappears in the sequel as PANDULPHO FELICHE, the stoical father of the murdered man.

FELICHE'S GHOST

Young Feliche was a gentleman of the Venetian court in Marston's Antonio's Revenge. At the beginning of the play, he has just been murdered by Piero and Strotzo. Piero has young Feliche's body tied to Mellida's body on her supposed wedding day to Antonio. Feliche is found by Antonio's group of gentleman hanging in Mellida's chamber window. Castillo and his fellow gentleman Forobosco are instructed by Piero to guard an imprisoned Mellida. His spirit visits Antonio and demands revenge.

FELICHE, PANDULPHO

Pandulpho Feliche is a gentleman of the Venetian court in Marston's Antonio's Revenge. He first appears on stage with Antonio and a group of gentlemen. He is a stoic by study and disposition. When Antonio tells a group of gentlemen about a bad dream, Pandulpho instructs Antonio not to express fear under any circumstances. When Pandulpho finds his dead son hanging in Mellida's window, he stoically laughs to keep himself from showing grief. Pandulpho is disappointed when Piero moves to refuse young Feliche a decent burial. Pandulpho is surprised to hear that Andrugio is dead and that Mellida is on the verge of condemnation. When Piero asks Pandulpho to help him frame Antonio for Andrugio's death, Pandulpho angrily refuses. He defies Piero's banishment of him, insinuating that he can always retain honor by committing suicide. Pandulpho thanks Antonio for seeking vengeance for young Feliche and offers to help him. Pandulpho tells Antonio that he is lucky he lost Mellida while she was still good. He tells Alberto that he is lucky he lost his friend Feliche while he was still good. Pandulpho feels lucky that his son died pure. Yet when he sees Feliche's bare breast, Pandulpho cannot any longer affect a stoic front. He feels great sorrow and vows to assist Antonio and Alberto in the slaying of Piero. He dresses in the costume of a masque to gain access to a drunken Piero and kill him.

FELICITY or "FELYCYTE"

It stands for wealth in Skelton's Magnyfycence. At the beginning of the play, Felycyte and Lyberte are put under the control of Measure by Magnyfycence, but when the king falls under the influence of the evil counselors, Measure is expelled from court and Felycyte is placed under the rule of Largesse (i.e. Fansy) and Lyberte. As a consequence, Felycyte deserts Magnyfycence. Thanks to the intervention of Good Hope, Redresse, Cyrcumspeccyon and Perseveraunce, Felycyte is restored.

FELISARDA

Daughter to the impoverished Theodoro and niece to Don Carlo, in whose house she lives in Shirley's The Brothers. Felisarda is a modest girl who attracts the love of the wealthy Fernando when she is praying in church. Fernando pretends to be courting Jacinta while in fact courting Felisarda. Don Carlo sees through this pretence and threatens to send Felisarda away (a plan he soon drops upon selecting a still wealthier husband for Jacinta). When Fernando confesses his love for Felisarda to his father, Don Ramyres, he is cursed and disinherited. Felisarda is happy at the thought that now she will not be so far beneath him, but he refuses to bring her into ruin with him. The situation is finally resolved when Don Ramyres reveals that he was only conducting a test of Fernando's piety and Felisarda's love. Restored to his position, Fernando marries Felisarda.

FELIXINA

Eldest daughter of Clutch in Jordan's Money is an Ass. She overtly goes through with marriage negotiations with Money; however, she secretly means to disobey her father's wishes. She asks for one day to decide whether or not to consent to Money's proposal. She confesses to Feminia that she does not intend to marry Money, but refuses to divulge whom she does intend to marry. When Featherbrain, passing as Money's servant, enters her closet, she faints. Featherbrain's protestations of love overcome her fears that he is only interested in her money. She gives him gold so that he can buy nice clothes in order to be admitted to the house. After momentarily fearing that her sister may be in love with Featherbrain, she again vows her love for him. When Featherbrain accuses her of being unfaithful, she faints. Upon recovering, she convinces him that she is faithful and persuades her father to grant her and her sister half of Money and Credit's estates as a dowry. Ultimately, she marries Featherbrain with her father's consent.

FELLMONGER

The Fellmonger (wool merchant) is a petitioner used by Vortiger to vex Constantius in Middleton's Hengist.

FELLOW**1608

A thief in London in Middleton and Dekker's Moll Cutpurse, The Roaring Girl. He had insulted Moll Cutpurse in a tavern. Moll sees him on the street and strikes him; he is too cowardly to retaliate.

FELLOW **1626

A fellow crying wine pots crosses the stage in Randolph's Aristippus and interrupts Wildeman's first ranting monologue against the pernicious influence of wine. His entrance provokes Wildeman to further anger, and he is beaten off stage again. Other than crying his wares, he does not have any lines.

FELLOW, BEATRICE-JOANNA'S

A "ghost character" in Middleton and Rowley's The Changeling. Vermandero makes an elliptical reference to a "fellow" of Beatrice-Joanna, who has since died. He may to be referring to a sister of Beatrice who died before she could be married; alternatively, he may be referring to his own deceased wife.

FELLOW, COUNTRY

During Julio's trial in J.D.'s The Knave In Grain New Vamped, a Country Fellow challenges anyone to cheat from him a coin that he is keeping in his mouth. Julio 'accidentally' drops some small change before the Country Fellow, then says he can't find a twenty shilling piece that he had. He then persuades a Sergeant that the County Fellow has something in his mouth. When the coin is extracted Julio announces that he should not be punished when such a blatant cheater is not.

FELLOW, COUNTRY **1609

This Country Fellow is an unnamed citizen in Beaumont and Fletcher's Philaster who searches the woods hoping for a glimpse of the king. Observing Philaster's wounding of Arethusa, the Country Fellow comes to her aid, wounding Philaster and receiving injury himself. He would have been able to identify Philaster as Arethusa's assailant when Bellario confessed to that crime, but the Country Fellow is led away by two woodmen to have his wounds dressed and does not appear again.

FELLOW, DEFORMED **1630

Roscius in Randolph's Muses' Looking Glass wishes him to play Mephistopheles. He is driven off, however, when he views is own face in a looking-glass and is appalled.

FELLOWS**1605

Two Fellows, customers at Frippery's pawnshop in Middleton's Your Five Gallants. The first, from the parish of St Clement's, has his goods rejected, as a possible plague-bearer; he is angry to be disappointed. The second, from the plague-free parish of St-Martin-in-the-Fields, pawns a full lady's suit of clothes on behalf of an unnamed gentlewoman, first asking for twelve pounds, but settling for twenty nobles in exchange, and he departs satisfied.

FELLOWS

The Tyrant hires a group of 'Fellows' to attack the house where the Lady and Govianus are imprisoned in [?]Middleton's The Second Maiden's Tragedy. The Fellows seem to be different from the Tyrant's regular soldiers; he describes them as war criminals that he has pardoned from execution. He presumably uses them because they are more ruthless than the common soldiers.

FELLOWS, RUDE

There is a rabble of rude fellows that torments Wat in Brome's The Damoiselle. They want to throw him to the Thames. They want to teach a lesson to this gentleman who had lived a life of excess. They are going to go their own way until they meet together with the Ordinary.

FELLOWSHIP

Friend to Everyman in the anonymous Everyman. Fellowship, though he protests unfailing loyalty to Everyman, deserts him when he learns that Death has called him make a reckoning before God.

FEMINIA

Youngest daughter of Clutch in Jordan's Money is an Ass. She is dismayed because she believes that her father is neglecting her marriage prospects, and is excited to learn that he intends to marry her to Credit. She makes Credit swears by "all the oaths man can invent," that he is her "infinite admirer," but she refuses to make the same oath in return. Once she does return an oath, Credit proposes to her and she accepts. When Penniless, passing as Credit's servant, enters her closet, she falls in love with him and advises him to pretend to be her brother in order to get money from Credit so that he can purchase nice clothes in order to be admitted to the house. After momentarily fearing that Penniless may be in love with her sister, she again vows her love for him. Her father grants her half of Credit's estate as a dowry, and she marries Penniless with his consent.

FENCER**1609

A "ghost character" in Jonson's Epicoene. The fencer passing in the street before Morose's house. When Truewit discusses Morose's noise-hating idiosyncrasy with Clerimont, Page mentions an incident involving a fencer. According to Page, Morose punished a fencer marching to his prize in accompaniment of the drum by having his drum run through his head. It seems that this is another of Page's nasty pranks, because Page reports that he asked the fencer to take that particular route by Morose's house.

FENCER **1631

The Fencer in Shirley's Love's Cruelty is an unnamed attendant who practices the sword arts with Hippolito.

FENELL

Fenell, also spelled ffenell, is a male servant in the anonymous July and Julian. He works for Chremes and Maud. He explains that he was born in "bondage" and brought up in "beggary". In fact, he describes himself as "hungry," "skinny," and "coloryd lyk a coorse." He has always been an obedient servant, but now he wants to be free. He is ordered by his mistress, Maud, to take her son, Dick, to school. Obediently, he does as he is told, but when he is alone with the child, he actually tells him that his mother has been unkind to him, and that she should have let him play. He truly sympathizes with Dick, especially when the latter explains his daily routine to him–the servant will have the chance to confirm what the little boy tells him about his schoolmasters, when, on their arrival at school, he witnesses the way they abuse Dick. In an attempt to encourage him, Fenell reveals that he will have to bear it all until he becomes a man. When he goes back home, Fenell teases Nane, Maud's daughter, amused at her wish for escaping the stereotype of the Renaissance housewife, which she believes has been imposed on her. Later, he is asked to help Maud in her plan to ruin July and Julian's marriage perspectives and future happiness: he has to go and deliver a message to Misis, Menedemus's daughter, urging her to go to Maud's house immediately. Then he meets Wilkin, who invites Fenell to help him make July marry Julian, explaining that, if they achieve that goal, they will be granted freedom by grateful July. Wilkin suggests exchanging Fenells's niece, Bettrice, for Julian, before the Merchant notices it–making all the dealings with his Messenger–and than making her father appear claiming for her, so that she can be restored to him safe and sound. Fenell agrees to it, and to Wilkin's second plan, consisting in getting some extra money from the Merchant for themselves. In the end, Wilkin's plans succeed, and, therefore, both servants contribute to July and Julian's happiness, and gain their long-awaited freedom.

FENNER

A "ghost character" in Brome's The Weeding of Covent Garden famous, according to Captain Driblow, as a "rhyming soldier" not unlike the disguised Cockbrain.

FENNOR, WILLIAM **1627

Only mentioned in Randolph's Plutophthalmia. The literary antagonist of Taylor the water-poet. Cleon's ghost accuses Aristophanes of being the "Fennor of Greece."

FENTON

Fenton is the true love of Mistress Anne Page in Shakespeare's The Merry Wives of Windsor. He conspires with the Host of the Garter to whisk her away at Herne's Oak.

FERANDO**1589

Ferando promises to marry Kate and tame her for a dowry of six thousand crowns in the anonymous The Taming of a Shrew. He woos Kate with coarse humor, and shows up at the wedding basely attired. Immediately after the wedding he insists that Kate and he must leave at once, and drags Kate away to his home. When he and Kate arrive, he beats his servants, including Sander, for bringing burnt meat. Later, he offers Kate meat but when she does not thank him he takes it away and promises she will have none until she is meek and gentle. When the Haberdasher and Tailor arrive with the goods Kate has requested, Ferando destroys them, claiming they are out of fashion and unattractive. Then he claims it is nine o'clock when it is really past two, and, when Kate disagrees with him, he insists that they will not leave until she agrees it is whatever time he says it is. When Kate agrees that the sun is the moon, and that the old man they meet on the road (the Duke of Sestos) is a young maiden, he claims that now they have one heart and one mind and so will live happily. Ferando bets five hundred marks that Kate will come at his call and is proved right.

FERANDO**1621

A "ghost character" in Fletcher's The Pilgrim. The father to Pedro, he is also referred to as 'Alonso', presumably his first name. Ferando is a much-despised neighbour of Alphonso, perhaps because he hates the outlaw Captain Roderigo and all his friends. Because of the enmity between Ferando and the Alphonso/Roderigo party, Pedro is forbidden to marry Alinda and almost loses his life to Roderigo.

FERDINAND**1592

The Emperor's son in ?Greene and Chettle's John of Bordeaux. Melancholy with love for Roassalin, John of Bordeaux's wife, he seeks out the help of Jacques Vandermast. At the suggestion of Vandermast, he launches a plot to have John of Bordeaux exiled and ruined, thus opening the door to the seduction of Rossalin. He is tricked into nearly committing adultery with his own wife (whom Bacon sends in place of Rossalin), and in a final act of desperation, he attempts to bribe a nearly starving Rossalin to sleep with him. After her refusal, he pledges to kill himself.

FERDINAND**1595

Ferdinand, King of Navarre in Shakespeare's Love's Labour's Lost, founds the all-male Academe with the goal of achieving the immortality of lasting fame. The academics are bound by strict rules governing their eating, sleeping, and socializing. Ferdinand also prohibits women from coming within one mile of his Academe. First Costard and then Don Armado violate Ferdinand's rules by courting Jaquenetta, then the Princess of France arrives in Navarre with her ladies Maria, Katherine, Rosaline, who prove too irresistible for the men of Ferdinand's academe. Ferdinand and his followers begin to woo the ladies, but when the King of France dies the men promise to wait a year before resuming their courtship.

FERDINAND**1600

Ferdinand is the son of Lodowick, Duke of Bullen, in the anonymous Weakest Goeth to the Wall. He is found on a riverbank as a baby and is brought up by Emmanuel, Duke of Brabant. Because of an "F" embroidered on the infant's cloth, he is given the name "Ferdinand." When, many years later, Emmanuel is told that Ferdinand and his daughter, Odillia, have fallen in love, the young lovers aver that they have done nothing wrong. They then run away together. They flee through the woods at night and eventually meet Bunch on his travels. Lodowick, dressed as a sexton tells the three that they are in Picardy. Ferdinand asks Lodowick, as a representative of the church, to arrange for him to marry Odillia, and Sir Nicholas the vicar agrees to perform the ceremony. Because he cannot get work and they have no money, Ferdinand must leave for France to become a soldier in the wars. Lodowick agrees to look after Odillia in his small cottage while Ferdinand is away. When the invading Spanish army and the French army under Epernon meet, Ferdinand meets and defeats Don Ugo, the Spanish lieutenant. When Epernon asks who he is Ferdinand says that he is a younger son with no fortune, a subject of the Duke of Brabant. Epernon rewards him for his deeds and reflects that Ferdinand looks and acts very like his old friend, Lodowick, Duke of Bullen. Lodowick enters to ask Epernon if he can identity the brave gentleman who killed Don Ugo. Epernon points out Ferdinand, describing him as the Duke of Brabant's subject. At this Brabant, recognizing him, is horrified that such a man should be considered a hero. Lodowick, remembering Ferdinand from when he left Odillia in his trust, knights him. In rage, Brabant dismisses Ferdinand's explanation that Odillia loved him and that they are now married. He wants Ferdinand tried. Lodowick agrees to stand bail for him. When they are alone Lodowick identifies himself to Ferdinand as the sexton of Ards, explaining that he can vouch for Ferdinand and Odillia's marriage and that he has sent for Odillia to protect him from her father's anger. Brabant insists on justice, standing upon the law that states anyone who is not a prince and who steals the heir of a prince is to be put to death. He describes the lowly circumstances in which he found Ferdinand. Lodowick reveals that he lost a son in exactly similar circumstances, even down to the "F" embroidered on his clothes. Brabant accepts that his indictment has failed because Ferdinand is in fact the son of a prince. Brabant gladly accepts Frederick as his own son.

FERDINAND**1601

Ferdinand is the son of the King of Navarre, and is in love with Katharina, daughter of the King of France in the anonymous Trial Of Chivalry. He attempts to woo her, enlisting the Earl of Pembroke to help him in his suit, but Katharina falls in love with the Earl of Pembroke instead. Discovering this, Ferdinand believes Pembroke has betrayed him. He challenges Pembroke to a duel in the woods, and wounds him, and is himself wounded almost mortally, but is rescued by a passing fisherman. Later, he returns to the site of the duel, by now having overcome his jealousy. There he meets Pembroke, and they start to fight again before recognizing one another's true identity. Pembroke tells Ferdinand what has happened, and advises him to impersonate his own alabaster statue on the tomb set up for him. Ferdinand does so, and surprizes Katharine, who by now has truly fallen in love with him. Ferdinand takes part in the battle to defeat Rodorick, then reveals his identity to the Kings, and ends the play ready to marry Katharina.

FERDINAND**1602

The Duke of Prussia in Chettle's Hoffman. He is father to Jerome and uncle to Otho. Disappointed with his own son's stupidity, he names Otho as his heir (really the disguised Hoffman). Jerome later kills his father by mistake.

FERDINAND **1610

French gentleman in Daborne's A Christian Turned Turk. Together with Albert, abducted by Ward the pirate, who is lacking in manpower to crew his ship. Sufficiently gullible to have been tricked into an on-board session of dice and cards with a stranger, and distracted by the excitement of gaming while the ship sails away leaving him helpless. More outspoken than his companion in trying to persuade Ward to accept a ransom for their freedom. He deplores piracy, extortion and slavery, the terms of the new life he is doomed to follow. Accused of cowardice by Gismund, he is quick to anger and prepared to fight him. He accepts his ill fortune and serves Ward with loyalty henceforward. Fails to comfort Ward on the death of a friend, and in a soliloquy reflects on the pirate's imperfect judgment and lack of faith. Where Ward blames his fate, fortune and heaven for his misfortunes, Ferdinand sees only the results of Ward's bad choices in life. In Tunis he attempts, together with Albert, to intercede for the release of the Raymond family. Ward refuses their offered ransom, prayers and appeals to family loyalty, and in anger sells them both into slavery too. Seen later with Albert and the two sons of Raymond being taken under guard to serve in the galleys. Their plight now troubles Ward's conscience, but he resists their generous offers to forgive him if he remains Christian. Ferdinand prophesies a 'hell of lust' if Ward remains constant to his conversion. Dansiker later ransoms Albert and Ferdinand, who travel back to Marseilles with him, then return in his service to Tunis. They are present at his death, and appear to survive, although their fates are uncertain.

FERDINAND**1611

The son of Alonso, the King of Naples in Shakespeare's The Tempest. Ferdinand accompanies his father to his sister Claribel's wedding to the King of Tunis. While returning, the ship transporting them encounters a storm conjured by Prospero, and they are stranded on Prospero's island. Ferdinand is separated from the others, causing Alonso to think that his son has drowned. Ariel, however, on Prospero's command, has brought Ferdinand safely to shore, and leads him to Prospero's daughter Miranda. The two immediately fall in love, and Ferdinand subjects himself to hard toil under Prospero to prove himself worthy of Miranda. In the end, Alonso is reunited with Ferdinand who happily agrees to his son marrying Miranda.

FERDINAND**1612

Ferdinand is a character in "The Triumph of Love," the second play within the play of Fletcher's Four Plays in One. He is raised as a ward of Benvoglio, who offers Ferdinand his daughter Violanta in marriage. Ferdinand accidently reveals to Benvoglio the illicit relationship between Violanta and Gerrard and the birth of their child. Benvoglio sends poison to Ferdinand via Dorothea, who secretly replaces it with opium. Ferdinand is to give the poison to Violanta so that she can avoid the shame of public execution; they both drink the opium and faint away. They awaken before Rinaldo, the newly reinstated Duke of Milan, and Ferdinand's mother, Cornelia, reveals his true identity: Ascanio, son of Rinaldo.

FERDINAND**1613

A "ghost character" in Shakespeare's Henry VIII. Ferdinand is the Spanish king and father of Queen Katherine of England.

FERDINAND**1614

Duke of Calabria in Webster's The Duchess of Malfi. He is the younger twin of the Duchess. Obsessed with his sister's sexuality and disguising an incestuous desire for her, Ferdinand ultimately goes mad, believing himself to be a wolf. He is the open villain, willing to do murder himself. In the end he stabs both Bosola and his own brother, the Cardinal, as Bosola stabs him to death. Ferdinand is the first appearance of a werewolf in English literature.

FERDINAND**1617

King of Thessaly and father to Prince Sigismund in Daborne's Poor Man's Comfort. After repelling one attempt by his usurping nephew Oswell to overthrow him, Ferdinand seeks to install his son Sigismund as king but finds him too melancholic to rule. He urges the fool Catzo to revivify the prince but in the meantime entrusts the four senators Vincentio, Silenius, Leonardo and Glistar to "determine the affairs of state," releasing all former traitors, modeling himself on the "good king." When Gisbert fails to find judicial remedy in the senate, the king hears his case, takes pity on him, and appoints him senator, banishing Leonardo and Silenus in the process. However, when Gisbert sentences his daughter Urania and her husband Lucius to death for the murder of Flavia, the king commutes their sentence. His happiness is restored when his son is married to Princess Adelizia of Sicily, an act which restores the prince's sanity.

FERDINAND**1619

A courtier and servant to Lord Raymond in ?Cumber's Two Merry Milkmaids, integral in the celebratory masque presented by the Duke that concludes the play.

FERDINAND**1621

Ferdinand, Duke of Urbin in Massinger's The Maid of Honor, he attacks Sienna in an effort to win the Duchess of that territory.

FERDINAND**1629

Ferdinand, General of Bohemia's armies in Massinger's The Picture, he defeats the Turks in battle.

FERDINAND**1634

Son of the Emperor and King of Hungary in Glapthorne's Albertus Wallenstein. Summoned by his father to assist in opposing Wallenstein's rebellion. He arrives with reinforcements and is a pattern of filial loyalty thereafter. He later tries to encourage his father, after a heavy defeat, of the divine justice of their cause.

FERDINAND**1638

Ferdiand claims that Olivia of Murcia is not the true heir of the throne in Shirley's The Doubtful Heir. After warring with Olivia's troops, Ferdinand is captured and imprisoned, along with his betrothed Rosania, who has adopted the guise of the male page Tiberio. At his trial, Ferdinand continues to claim the throne, explaining that his uncle had made Olivia queen; as nephew, Ferdinand had escaped and is therefore Olivia's cousin. Though his story is not accepted by everyone as truth until late in the play, at this point Ferdinand is pardoned by the queen and then wed to her. Ferdinand remains true to Rosania, avoiding intimate relations with his wife Olivia; by the play's end Leandro has confirmed Ferdinand's tale, and Ferdinand is proclaimed king.

FERDINAND**1640

A royal favorite in Brome's Court Beggar who makes his money with forged grants from the King. He has deliberately sabotaged Andrew Mendicant's business dealings in the hopes that once he is destitute Charissa will become his whore. He pretends that he has been driven mad by Lady Strangelove's rejection of his love and is taken to her house to convalesce. When Lady Strangelove comes to him, he attacks and nearly rapes her. When Frederick threatens to kill him, he reveals his plan and offers to help him achieve Charissa. He does so by continuing to feign madness but giving the impression that if he regains his senses he will marry Charissa. This persuades Mendicant to admit a priest and Frederick (disguised as a Doctor) to his house. He provides Frederick with £3,000 to supplement his jointure. He ultimately marries Lady Strangelove.

FERDINAND GOLDING

The oldest of the three Golding brothers in [?]Heywood's The Fair Maid of the Exchange, Ferdinand has inherited much of their father's estate, and like his brothers, he is in love with Phillis. Like Anthony, he swears to have nothing further to do with love when he learns how Frank has deceived him.

FERDINAND HEIGHTON

He is the impoverished English suitor of Laurentia in Haughton's Englishmen for My Money. Ferdinand is also called Heighton and Fraunce. Pisaro has chosen Vandalle, the Dutchman, for Laurentia. Ferdinand's father has pawned his lands to Pisaro. He is a colleague of Harvey and Ned whose land has been similarly pawned and who are also suitors to Pisaro's other daughters. He joins in Anthony's plans to be revenged on Pisaro. He and his two colleagues direct Frisco to St. Paul's Church where Anthony, disguised as a Frenchman, is waiting to be hired back into the Pisaro household. Laurentia tells Ferdinand to spend money because he will get back his lands after marrying her. On this advice, he and his colleagues to go the Exchanger to raise money. At the Exchange, Pisaro, pretending to befriend Ferdinand, invites him and the other two back to his house. Ferdinand persuades them to arrive early and meet the three foreign merchant-suitors there. At dinner, when Delio, the Frenchman, insists on speaking French to Anthony, the disguised Englishman, Ferdinand and others rescue Anthony from exposure. That night, along with Harvey and Ned, Ferdinand stands outside Pisaro's house to misdirect the three merchants, Ferdinand pretending to be the proprietor of a shop selling glasses. He accuses Alvaro of being drunk and of breaking his glasses, and threatens to call the constable. He tells Alvaro that he is in the wrong street and tells him how to get to "Crocked-friers," where the girls live. He accuses Delio, who arrives next, of breaking his glasses and of going to visit his mistresses. All three mock Delio's English. Ferdinand also gives Delio directions to "Croshfriers." The clown Frisco arrives imitating the Dutchman. Ferdinand tells Frisco that he too has the wrong street. Frisco leaves too. Anthony, instigating a plan, sends Ferdinand to his chamber to remain there until Anthony greets him. The "Anthony" that arrives is Laurentia in disguise, and Balsaro marries Ferdinand to Laurentia believing from "Anthony" that they have Pisaro's permission, thus defeating both Vandalle and Pisaro.

FERDINAND, KING

A "ghost character" in (?Chettle and) Munday's Downfall of Robert Earl of Huntington. When Skelton says that the servants he has sent have been unable to locate Eltham, Eltham responds that he has been very busy looking over maps sent by King Ferdinand, clearly King Ferdinand of Spain, to the king.

FERDINAND MAGELLAN

Only mentioned in the anonymous Wit's Triumvirate. Magellan is mentioned by Sir Conquest Shadow when he is telling Doctor Clyster about his imaginary fights at sea: "Methinks I'm sailing about this our globe and do discover more than ever Magellan, Drake, or Cavendish did." Ferdinand Magellan (1480-1521) led the first circumnavigation of the globe. Born to a family of lower nobility and educated in the Portuguese court, he believed he could reach the Spice Islands by sailing west, either around or through the new World. His idea was soon dismissed by the Portuguese king, but he was supported by the Spanish king Charles I (Charles V of the Holy Roman Empire), who founded his expedition, thus contributing to his success.

FERDINAND PULTON

Only mentioned in the anonymous Wit's Triumvirate. Pulton is mentioned by Doctor Clyster when he is explaining to Sir Cupid Phantsy that he can see he is getting worse, and, thus, he is going to put him on a 'reading' diet: "I prescribe you Littleton's Tenures to read in French, with Lambarde's Justice of Peace, Dalton, Crompton, and Fitzherbert, Pulton's Statutes, and Coke's Reports." Ferdinand Pulton (1536-1618) wrote An Abstract of all the penall Statutes which be generall, in force and use: Wherein is conteined the effect of all those Statutes, which do threaten to the offenders thereof, the losse of life, member . . . or other punishment (1560) and A Kalendar or Table of All the Statutes (1606). De Pace Regis Et Regni, Viz. A Treatise Declaring Which be the Great and Generall Offences of the Realme, and the Chiefe Impediments of the Peace of the King and the Kingdome, as Treasons, Homicides, and Felonies, Menaces, Assaults, Batteries, Ryots, Routs, Vnlawfull Assemblies, Forcible Entries, Forgeries, Periuries, Maintenance, Deceit, Extortion, Oppression: And How Many, and What Sorts of Them There Be, and by Whom and What Meanes the Said Offences, and the Offendores Therein are to be Restrained, Repressed, or Punished. Which Being Reformed or Duely Checked, Florebit Pax Regis & Regni. Collected Out of the Reports of the Common Laws of This Realme, and of the Statutes in Force, and Out of the Painefull Workes of the Reuerend Iudges, Sir Anthonie Fitzharbert, Sir Robert Brooke, Sir William Stanford, Sir Iames Dyer, Sir Edward Coke, Knights, and other Learned Writers of Our Lawes (1609), is a comprehensive overview of criminal law. He is also the author of The Statutes at Large (1618).

FERDINANDO

Kinsman of Philippo, and a knight in Kyd's Soliman and Perseda. He is defeated by Erastus in the games, but finds the chain Erastus has lost and gives it to Lucina, his beloved. When he appears at her home, he encounters the departing mummers, who have the chain in hand, and challenges them. Erastus kills him.

FERENTES

A lecherous courtier in Ford's Love's Sacrifice, he is intent on seducing every woman available to him. A promiscuous reprobate, he is given license by the Duke, who depends on him for licentious entertainment. Respectable courtiers remark that the moral decline at court is recent and regrettable, although it is unclear whether Ferentes's promiscuity is a cause or effect of the Duke's corruption. Given the recent return from travel of the Duke's favorite, Fernando, Ferentes plans to ingratiate himself with Fernando. Before the start of the play Ferentes has already promised marriage to Julia and, getting her pregnant, moved on to new conquests, leaving her melancholy. He also impregnates Colona and Morona, repudiating all three when they challenge him to make good his promises. He has discarded Julia for being too easily seduced, Morona for being too old and Colona for not being pretty enough. The women band together to be revenged on him. During the masque he organizes for the ceremonial court welcome to the Abbot, the women, disguised as 'female antickes', murder him. He dies cursing the women as whores and the Duke has more sympathy for him than the women, even when they present their newborn infants to him. (The gestation of the children informs the time-line of the play by inference.)

FERGUS

Duke of Albany in Sackville and Norton's Gorboduc. He is incensed against the tyrants who have committed or attempted fratricide (Ferrex and Porrex(q.q.v.)) and murder(Videna). Still, he is shocked that the people have arisen and killed the "guiltless king" and the queen. He sees the death of the royal family as his opportunity to take control of the kingdom. The play ends as the other dukes, Mandud, Gwenard, and Clotyn, setting out to engage him in battle.

FERGUSIUS

A philosopher in May's Cleopatra; condemned to death by Caesar, he cleverly saves his own life by publicly reminding Arius, another philosopher highly favoured by Caesar, that a truly wise man saves the life of another. Caesar, amused, grants his pardon for Arius's sake. [The name of this character is a puzzle in the play. He and his story come directly from Plutarch, who gives him the unexceptionable Greek name "Philostratus"; "Fergusius," which is not a Classical name, appears to be May's own idea. Possibly a concealed satire on a contemporary.]

FERIO

Ferio, one of the four Fathers of the anonymous Wit of a Woman, is an old lawyer. He is the father of Rinaldo and of Lodovica, according to the dramatis personae. He announces an intention to marry one of the daughters, and we see him acting as a stand-in father for the secret marriage of Bario's son to Giro's daughter. He finds at the end of the play that he has been tricked, and the girl he has been intending to marry is herself secretly married. The identity of the girl is not clear, particularly since he appears to announce that he is courting Lodovica, who is stated elsewhere to be his own daughter.

FERIS de RYVIERS

Alternate name for Perecell, used only by Bertie and Erasmus in Drue's The Duchess of Suffolk.

FERNANDO**1615

Sebastian's honest and loyal friend in Thomas Middleton's The Witch. He supports his plan to win back Isabella

FERNANDO**1619

A Venetian captain captured by Antinous in ?Ford's The Laws of Candy. Fernando will be ransomed, a sum Gonzalo offers to pay. Fernando's ransom is used by Antinous to pay the soldiers and to commission the statue of Cassilane. Gonzalo reassures Fernando that Venice has not actually lost to Candy and says that he has already plotted Candy's downfall and outlines his plot, although he accuses Fernando of not being devious enough to understand it. Fernando requests to stay with Cassilane in his country retirement in order to learn from him; Cassilane at first believes Fernando is mocking him, and then he accepts that Fernando wishes to honor him. Fernando falls in love with Annophil and reveals Gonzalo's plot against Candy in a letter which Decius carries to Antinous. He wins Annophil's love and is accepted by her family.

FERNANDO**1623

Fernando is the Corigidor of Madrill in ?Middleton and ?Rowley's Spanish Gypsy. When the band of gypsies appears, he recognizes his son, Roderigo, among them. Clara tells Fernando that Roderigo has raped her, and Fernando insists on putting his son to death. He is only dissuaded when Clara expresses her willingness to marry Roderigo. Fernando requests an extemporary play from the gypsies, in which Roderigo plays the prodigal. He threatens to marry Roderigo to an unattractive woman but relents when Roderigo expresses a wish to marry Clara. In the end Fernando is reunited with his sister Guyamara and his daughter Constanza, who have been posing as gypsies. He acquits Don John of theft and welcomes Alvarez home after twelve years of banishment.

FERNANDO**1632

The hero of Ford's Love's Sacrifice, he is nephew to the Duke's counselor Petruchio, cousin to Colona and kinsman to Roseilli. He has recently returned to court from travelling abroad and is an accomplished and eloquent courtier. It seems that the Duke and court have degenerated morally in his absence. He is the Duke's best friend, but passionately in love with the Duchess, as he is in turn desired by the Duke's widowed sister, Fiormunda. His conflicted loyalties torment him as much as his unrequited desires. He has several extended soliloquies in which to express his torment. The Duke encourages deep intimacy between Fernando and his wife, which keeps him in the presence of temptation. Before the start of the play he has already solicited Biancha's love on two occasions, and is still tormented by his desires, and her constant rejection. He hides his banished kinsman, Roseilli, at court, and later assists him to infiltrate Fiormunda's privacy in the disguise of a natural Fool. This seems to be motivated not just from kinship, but a deep sympathy for another's unrequited love. He rejects Fiormunda's romantic advances and thus arouses the suspicion of her messenger, D'avolos, that he must have a secret love. Accosted by Fiormunda directly, he politely flirts with her, but when all else fails to deter her, convinces her that he is sworn to a life of celibacy. Biancha enlists his help to plead for the banished Roseilli, a well-intentioned scheme which is prevented by the Duke's rage at D'avolos. He later joins the Duke and other courtiers in spying on Maurucio, seizing the opportunity to speak privately with the Duchess. Once again he tries to woo her. This time, her moral outrage and stern lecture convince Fernando to accept her refusal. He is moved by her 'virtue and resolution' to forgo his lust and any further attempt to persuade her to betray her husband. D'avolos then discovers his secret attachment by showing Fernando portraits of Biancha and Fiormunda. His infatuated reaction to an image of his love is taken as proof of actual adultery, and D'avolos decides to make political mischief out of the inferred secret affair. It seems that his resolution then weakens, and he sends a letter in a further attempt to woo Biancha. In the Duke's absence she once again sees Fernando privately: he pleads that pure love, not lust, now moves him to action. Her rejection is more vehement than before and he sincerely vows never again to solicit her. This conversation has been overheard and again misinterpreted by D'avolos. Biancha now visits Fernando in bed and reveals her own love to him. She offers herself to him with the condition that, if they do make love, she will have to kill herself in atonement. She offers him the choice, and they agree to continue as chaste and platonic lovers. Holding hands and kissing will be the extent of their physical intimacy, although Biancha's public behavior will continue to compromise their reputation, with Fernando powerless to prevent it. Fernando, knowing himself technically innocent, is for a long time oblivious of the growing jealousy of both the Duke and his sister; (the latter now determined to be revenged on Fernando for his betrayed preference for Biancha over herself). Fiormunda slanders him to the Duke after the death of Ferentes, suggesting that the covert reason for his murder was to conceal hard evidence of Fernando's adultery. Fernando, unaware, (like Cassio), joins with Biancha to plead for the release of Maurucio and Morona. He is disturbed by the Duke's decision to exile the liberated couple, but does not realize that the Duke's rage is directed against himself. Fiormunda makes a final attempt to woo him, bluntly warning him of her brother's deteriorating mind, caused by jealousy. She warns him off his presumed adulterous affair but Fernando incautiously denounces her malice and declares that he detests her. This will provoke her determination to see the Duchess dead. The Duke pretends to depart to a spa for his health, leaving his wife in Fernando's care. Fernando ignores a further warning from his kinsman, Roseilli, that Fiormunda intends to betray the lovers. Despite this, they meet and share a bed, spied on by Fiormunda. Biancha is struggling with their agreed chastity as her passion for Fernando has grown stronger. Fernando vows to be buried alive in her tomb should she die before him. The Duke finds them kissing, places Fernando in D'avolos's charge and kills Biancha. Next seen in the charge of Petruchio and Nibrassa, and unaware of her death, Fernando persuades the older courtiers of the couple's innocence. He accepts Nibrassa's sword and they determine to rescue Biancha, but the Duke burst in, dagger bloodied, and challenges Fernando to a duel. Instead, Fernando yields and begs for death. He swears to Biancha's innocence and the Duke is struck with sudden remorse. Fernando prevents the Duke form committing suicide on the spot. Fernando is mysteriously absent from the obsequies at the Duchesses tomb, when the Duke confesses his guilt in public. He rises from her tomb, alive in his winding-sheet and defies the Duke by claiming his rightful place at Biancha's side. He takes poison to join his true love in death, unaware that the Duke will shortly stab himself and demand to be buried three-to-a-grave.

FERNANDO **1637

The first king of Castile in Rutter’s The Cid. He has defeated the Moors in Andalusia and set up his throne in Seville to keep his land secure. He is incensed by the news of Count Gormas’ insult to Diego and means to punish the count. When Roderigo kills Gormas in the duel, the king hears the pleas of Cimena and Diego and decides to put the matter before the full counsel. After the Moors are vanquished and name Roderigo their CID, Fernando decrees that all of his kingdom should know him by that title. The king asks Roderigo to recount the battle. When Cimena arrives, he sends Roderigo away and, testing her, reports that he has died of his wounds. Her reaction convinces the king that she loves Roderigo. When Cimena calls upon the ancient law that whosoever kills Roderigo may marry her, the king modifies it by allowing her only one champion and whoever wins Cimena must marry. He commands that no one of his court may witness the duel but the victor must come to him and be married immediately to Cimena. He tells the distressed Cimena, who has asked to go to a cloister rather than marry the apparently victorious Sanco, that Roderigo is alive. He decrees that Cimena’s honor is satisfied and Gormas’ death avenged (for heaven has willed it thus). He allows Cimena a year to mourn her father before she marries Roderigo and commissions Roderigo to spend that year in leading his armies against the Moors.

FERNANDO**1641

Elder of the two "brothers" in Shirley's The Brothers. Elder son of Don Ramyres and brother to Francisco. Don Ramyres and his old friend, Don Carlo, arrange that Fernando should marry Don Carlo's daughter, Jacinta. Fernando, however, falls in love with Felisarda, Jacinta's penniless cousin. Persuaded that his father will accept the situation, Fernando confesses his love. His father thereupon curses and disinherits him, and soon after seems to fall mortally ill. Fernando is more concerned about the curse than the disinheritance, and manages to persuade his father, through his confessor, to replace it with a blessing. The disinheritance, however, remains, and Fernando is soon bitterly resentful of his younger brother, Francisco—so much so that Francisco finally offers to overthrow his father's will and reinstate Fernando. Fernando refuses the dishonourable suggestion, and at this, Ramyres reveals that he is still alive. He was (with the help of Francisco) testing Fernando and Felisarda, who have passed the test. Fernando is reinstated as eldest son and marries Felisarda.

FERNANDO, DON

Governor of Cadiz, and father of Eleanora in the anonymous Dick of Devonshire. He takes command of the defense of the city against the English attack, and his decision to discharge the garrison contributes to the initial English success. Subsequently, he conducts the trial of Bustamente. He joins Teniente in censuring Don John for wounding the defenseless Pike, and proposes that Eleanora's complaint of rape against Henrico be tried at Sherries (Xerez).

FERNANDO, KING of SPAIN

Fernando King of Spain, Son of the late King Philip, Brother of Prince Philip and Isabella in the anonymous Lust's Dominion. Fernando becomes King of Spain after his father's death early in the play. His brother, Prince Philip, denounces his mother as the Moor Eleazor's concubine. Cardinal Mendoza, the newly appointed Lord Protector, bans Eleazar from the court. Fernando loves Maria, Eleazar's wife, and when she asks him, he reinstates Eleazar to his former rights. Mendoza becomes angry, but Fernando takes his protector's staff and gives it to Eleazar. The Cardinal is ready to raise an army against Fernando and have him excommunicated by the Pope. The Queen Mother arranges peace between them, and Fernando invites his court to Eleazar's palace. Prince Philip and Mendoza are to be killed during the night, but they manage to escape. King Fernando sends Eleazar in pursuit of the supposed traitors. During Eleazar's absence he hopes to get Eleazor's wife, Maria, into his bed. Eleazar gives Maria a poison for Fernando. Fernando, with his rapier drawn, forces Maria into a room where he offers her a banquet and music. She takes the drug herself, and Fernando falls asleep after kissing her. When Eleazar returns, he finds his wife dead and kills Fernando.

FERNESE**1639

Lord of Florence and brother of Bentivoli in Dekker's(?) Telltale. Enters with Elinor and Garullo, and comments sarcastically on Bentivoli intervening on behalf of a fool (Garullo). Fernese then listens to Cancko's account of Bentivoli's defeat of Hortensio in the duel, and then greets his brother when he enters. He listens to Bentivoli's tale of the two kinsmen, and, after Bentivoli's exit, tells Garullo of Bentivoli's anger towards him. He listens to Gismond's and Cancko's plan to disguise Garullo as a fool and vows to keep the plot a secret. Later, Fernese discusses with Gismond, Cosmo, and Bentivoli how to deal with Aspero's growing tyranny. Bentivoli tells a fable of the mice and the rats and their attempt to bell the cat: the Lords understand that, since they cannot eliminate Aspero, they must "bell" him by providing counsel. The problem remains who will bell the cat. As they discuss this problem, Aspero enters with the Ambassadors and the Doctor. The Lords each begin to present their dissatisfaction to Aspero, who grows increasingly angry. They are interrupted by Elinor's entry and observe her reaction to the news of Garullo's marriage to Lesbia and her reconciliation with Hortensio. At the end of the scene, after Aspero exits, the Lords note that the cat must still be belled. The start of Fernese's next scene is missing from the manuscript. After Aspero exits Isabella's chamber to prepare for their wedding, Cosmo, Gismond, and Fernese enter and tell Isabella and Picentio (disguised as the French Doctor) that the Duke and Duchess are both alive and are gathering a force at Castle Angelo. Picentio removes his French Doctor disguise briefly to identify himself to them. Bentivoli enters and is informed of the news and then tells a fable, to show their need to rely on themselves alone against Aspero. Fernese has the Porter bring him to Garullo and Lesbia, whom he holds prisoner. He questions Garullo about his melancholy and announces Bentivoli's arrival from court. Fernese and Bentivoli watch as Garullo drinks a glass of wine, which he afterwards claims was poisoned.

FERNESE, CARDINAL

A "ghost character" in Jonson's Volpone. Volpone claims he is an established customer while he is disguised as Scoto of Mantua.

FERNEZE**1589

Ferneze is the governor of Malta in Marlowe's The Jew of Malta. When Calymath demands tribute, Ferneze decides to tax the Jews. He announces that they will either have to become Christian or give up half of their estate. All agree to be taxed except Barabas, and Ferneze takes his entire estate as punishment and turns his house into a nunnery. When Bosco arrives, Ferneze at first does not allow him to sell Turkish slaves because of the presence of the Calymath. Bosco promises military aid from Spain and Ferneze allows the sale. Ferneze then defies the Calymath, refusing to give the collected tribute money. When Bellamira and Pilia-Borza tell him of Barabas' connection to his son's death, Ferneze has Barabas arrested. When Barabas apparently dies, Ferneze has the body thrown over the city walls rather than properly buried. Barabas helps Calymath take over Malta, but then attempts to double-cross him with Ferneze. However, instead of helping to kill Calymath, Ferneze springs the trap early, killing Barabas. He then informs Calymath that he is a prisoner until the Turkish emperor promises Malta freedom.

FERNEZE**1597

Family name of the Count, the Countess, Aurelia, Paulo, and the long-lost Camillo in Jonson's The Case is Altered.

FERNEZE**1604

Ferneze, a young courtier in Marston's Malcontent, is enamoured of Aurelia and becomes her lover by showering Maquerelle with gifts of jewels. After Duke Pietro and Mendoza try to kill Ferneze, he recovers from his wounds and joins Malevole and Celso in their plot against Duke Pietro.

FERNEZE**1612

Ferneze is a mute character in Webster's The White Devil.

FERNEZE, COUNT

Recently widowed in Jonson's The Case is Altered. He also mourns his long-lost son, Camillo. Although he agrees to allow his steward, Christophero, to marry Rachel de Prie, he actually loves her himself and plots to steal her. His visit to Jaques de Prie to ask for Rachel's hand is interrupted by the news that his son, Paulo, has been taken prisoner in battle. Count Ferneze takes this news as a punishment for his frivolous plan to woo and marry Rachel and leaves quickly to arrange Paulo's ransom. He agrees with Maximilian to exchange "Chamont" (actually Jasper in disguise) for his captured son, Lord Paulo. Maximilian asks "Jasper" (actually Chamont in disguise) to return to France and escort Paulo, and invites "Chamont" to remain behind as Count Ferneze's honored guest. Upon learning that Jasper and Chamont have switched identities, he is angered and blames Maximilian, in spite of Jasper's assurances that Maximilian didn't know about the switch. He orders Jasper imprisoned and tortured. On the day of Chamont's promised return, Count Ferneze orders Jasper hung, although everyone tries to dissuade him. He then intends to kill Jasper himself, but can't bring himself to do so. He begins to rave about his lost son, Paulo. He is comforted by the appearance of Chamont and Lord Paulo, and even more so by Chamont's revelation that Jasper is really his long-lost son Camillo. He rewards Chamont with Aurelia's hand.

FERNEZE, COUNTESS

A "ghost character" in Jonson's The Case is Altered: Count Ferneze's recently deceased wife and mother to Camillo, Paulo, Aurelia and Phoenixella.

FERNEZE, DUKE of GENOA

Ferneze is the duke of Genoa in Day's Law Tricks; he is the father of Polymetes and Emilia, and the brother of the Countess. He mourns for the loss of his sister's reputation after her separation from Lurdo, but seems powerless to do anything to redeem her. Polymetes returns from Pisa bringing news of Emilia's capture by the Turks. Ferneze lectures Polymetes about his bookish behavior before leaving his son in charge of the dukedom while he travels to Pisa in search of Emilia. Ferneze returns to the court in disguise and, in order to test his son, gives Polymetes a letter announcing his own death. Appalled by Polymetes' prodigal behavior and his joyful reaction to his father's death, Ferneze returns in his own clothing to confront his son. The duke is delayed by Joculo, but eventually finds Polymetes pretending to conjure spirits in an effort to recover his sister; he pretends to play along with him. Ferneze rejects the real Emilia's claim that she is his daughter because Adam has informed him that she is Polymetes' whore. Polymetes 'conjures' Emilia—really Joculo in disguise, accompanied by Julio in the clothes of a merchant—to appear before the duke, and Ferneze embraces 'her' as his daughter until the real Emilia uncovers the deception. Polymetes then brings what appears to be the Countess's ghost before Ferneze, who sentences Lurdo and Horatio to be immured in her tomb. When the Countess rises from the tomb alive, Ferneze agrees to pardon Lurdo but banishes Horatio from the court.

FEROCHUS

Son of nobleman, Dichu, in Shirley's St. Patrick For Ireland. Ferochus watches in amazement as his father first attacks and then joins up with Patrick's Christian band. Together with his brother, Endarius, he hides in the temple, acting as an idol. When given a chance, he comes out of hiding to spend time with his lover, the princess, Fedella. When joining up with her for a second time in the temple, he is harassed by the invisible Rodamant, who pours blood on him and his brother. When the King enters, he pretends, like his brother, to be his own ghost, and is driven out by Archimagus who claims to control these 'spirits'. Still blood-stained, he worries about being attacked in the woods by people, by wolves or even by a lion. He is greatly relieved to find his father in a low-key corner of the woods. After this reconciliation, he converts to the Christianity of Patrick.

FERRAND

The tyrannical king of Naples in Fletcher and Massinger's The Double Marriage. Ferrand abuses his subjects, distrusts everyone around him, and fears he will be assassinated. When his favorite Ronvere reveals Virolet's plot to depose Ferrand, the king first tortures Virolet's wife, Juliana, who valiantly refuses to reveal her husband's hiding place. The king then persuades the remaining conspirators to attempt to rescue his beloved nephew Ascanio from the pirate Sesse, keeping Juliana and Virolet's father Pandulpho as pledges and hoping that Sesse will kill Virolet. While waiting for news of the mission, Ferrand is convinced by Ronvere to impose very severe restrictions in Naples to prevent assassination plots. Citizens are prohibited from meeting or communicating in any way. At the same time, Ferrand makes his fool Castruchio into a temporary king, hoping to demonstrate that kings must bear weighty sorrows; instead, Castruchio uses his new office to satisfy his unsavory appetites. When Ascanio is safely returned to him, Ferrand pardons Virolet's treason, pays him the 40,000 ducats he promised, and releases Juliana and Pandulpho. Ferrand continues to be haunted by nightmares and assassination fears, causing Ronvere to hire as additional guards a group of Switzers, who turn out to be Sesse and his crew in disguise. Ronvere later arranges for Ferrand to meet Martia and to watch and mock Castruchio's frustrated attempt to hold a royal banquet. When Sesse and his crew enter the banquet to launch their coup, Ferrand flees to the castle tower. Meanwhile, Juliana has accidentally stabbed her former husband Virolet, then died of sorrow. When the corpses are exhibited to the citizens of Naples, Sesse demonstrates how Ferrand's tyranny caused the deaths. Sesse and his crew vow to take vengeance on Ferrand. Ferrand enters above with Martia, Ascanio, and Ronvere; the tyrant and Sesse hurl accusations back and forth. Sesse then attacks Ferrand, beheads him offstage, and returns in triumph with the tyrant's head.

FERRARA

The Marques of Ferrara wants to marry Valentia in (?)Brome's The Cunning Lovers. Thus, when he sees Antonio with his beloved princess, he goes to inform the Duke. But, together with the other suitors, he is tricked. In Act Five, he sees a Necromancer who tells him how to have access to the tower. He disguises himself as a Carpenter and he is arrested and taken to the Duke of Mantua.

FERRARDO

Ferrardo is a minion to Duke Pietro in Marston's Malcontent. He is verbally abused by Malevole for his effeminate mannerisms.

FERRARESE

An innkeeper of Ferrara in Gascoigne's The Supposes. He accompanies Philogano throughout Ferrara.

FERRARS

Ferrars is an English sea-captain, and brother of Hellena in Heywood's A Challenge for Beauty. Like his sister, he is handsome and virtuous. Ferrars, his friend Manhurst, and their crew are captured by a Turkish captain and sold as slaves in Spain. Valladaura, with whom Ferrars had once fought, buys Ferrars and Manhurst, and sends Manhurst home to England. Valladaura then puts Ferrars through a bizarre test of his virtue: he dresses Ferrars as a gallant, and orders him to woo Petrocella for him. Ferrars agrees, but he and Petrocella fall in love. Ferrars, unwilling to break his word to Valladaura, tricks Petrocella into promising to marry Valladaura. When Ferrars reports that he has successfully persuaded Petrocella to marry Valladaura, Valladaura tells him to disguise as a priest, and perform the marriage. He will not explain why. After the 'wedding,' Valladaura orders Ferrars to sleep with Petrocella, but not to do anything carnal. Ferrars obeys. That night, Petrocella claims to have stabbed Ferrars in error for Valladaura, but then reveals that she was lying and that Ferrars is alive and well, and never even kissed her (though she confesses that she gave him twenty). Valladaura is delighted and tells Ferrars and Petrocella to marry immediately. King Sebastian is so impressed with Ferrars's virtue that he awards him with a title. When, at the execution of Bonavida, it is revealed that Hellena is Ferrars's sister, he disbelieves her story and thinks that she has shamed and dishonored his name. But Valladaura and Manhurst convince him that she is virtuous.

FERRET**1622

Ferret is a member of the beggars' band headed by Clause (Gerrard in disguise) in Fletcher's Beggars' Bush.

FERRET**1629

Jack Ferret is a servant at the New Inn, in charge of the kitchen in Jonson's The New Inn. Before the tavern, Ferret discusses with Host about the sign of the light heart. When Lovel enters, Ferret attends the discussion in which Host informs Lovel that melancholy persons have no place at his joyful inn. Ferret comments that Lovel's Saturnine personality will turn the merry Host into a lugubrious bird of night. When Frank enters, Ferret informs Lovel that Host's son speaks Latin as if he were a parrot. When Host exits, Ferret tells Lovel that he could find work at any inn, but he prefers this one. Ferret exits, sent by Lovel to go down and inform him about the new guests at the inn. In the servants' quarters at the inn, Ferret enters with Stuff, Peck, Pierce, and Jordan. The merry group of servants indulges in gossip and heavy drinking, patronized by Tipto, who joins them in libations. The company of drunkards is organized according to the military hierarchy, with Fly as the quartermaster of the staff officers, Ferret as the trench master and Stuff/Trundle as the carriage master. When the whistle sounds for dinner, Ferret remembers he has some business and needs to be sober. The party of drunkards split up, and each servant goes to his duties. Ferret is the clerk in the mock court of love set up by Host and his party. Ferret calls Lovel as appellant and Lady Frampul as defendant, inviting Lovel to make his first challenge. When the first session of the love court is finished, Ferret exits with the others.

FERRET, JUSTICE**1638

A simple justice of the peace in Nabbes' The Bride, dominated by a shrewish wife who often insults him viciously and rarely allows him to get in a word edgewise. Ferret has come with his wife to the wedding of his friend Goodlove and the Bride, but when Theophilus and the Bride run off together, Goodlove reveals to them that he had intended all along to give the Bride to Theophilus and make Theophilus his heir. Later the justice and his wife arrive at Squirrel's tavern to apprehend the blades, who escape. Ferret tries to tell Theophilus, the Bride, and Raven about Goodlove's true intentions, but his wife does so instead, causing Theophilus to go in search of Goodlove to confirm the story. The Ferrets escort the Bride to Horten's house to await Theophilus's return, but when Kickshaw arrives with his tale of being robbed by the blades, they leave with Horten to investigate. They later show up at Horten's house again, but when news arrives that Kickshaw has escaped with some of Horten's antiquities, they leave briefly to put out a warrant for his arrest. Ferret is present in the play's climactic scenes, but speaks no lines, in keeping with his meek and henpecked nature in the rest of the play.

FERRET, MRS. **1638

The shrewish and talkative wife of Justice Ferret in Nabbes' The Bride. She often insults her husband viciously and usually talks on his behalf, rarely allowing him to get in a word edgewise. The Ferrets have come to the wedding of Goodlove and the Bride, but when Theophilus and the Bride run off together, Goodlove reveals to them that he had intended all along to give the Bride to Theophilus and make Theophilus his heir. Later the justice and his wife arrive at Squirrel's tavern to apprehend the blades, who escape. But Mistress Ferret tells Theophilus, the Bride, and Raven about Goodlove's true intentions, causing Theophilus to go in search of Goodlove to confirm the story. The Ferrets escort the Bride to Horten's house to await Theophilus's return, but when Kickshaw arrives with his tale of being robbed by the blades, they leave with Horten to investigate. They later show up at Horten's house again, but when news arrives that Kickshaw has escaped with some of Horten's antiquities, they leave briefly to put out a warrant for his arrest. In the play's climactic scenes, Mistress Ferret's only role is to tell Raven that Kickshaw has fled, shortly before Kickshaw shows up on his own.

FERREX

I.
Videna's favorite (and elder) son, always a model son and prince in Sackville and Norton's Gorboduc. After his father, Gorboduc, divides the kingdom between himself and his brother, he levies up an army to defend himself against his younger brother, Porrex, in the event that Porrex envies his realm.

II.
Gorboduc's son in ?Tarlton's Three Plays in One. Appears in first playlet. When Gorboduc divides his kingdom between his two sons, they feud. Their dispute turns into civil war. Ultimately, Porrex kills Ferrex in a swordfight.

FERRIO

A "ghost character" in Sharpham's The Fleire. A high-ranking judge who, due to illness, does not preside at the trial of Havelittle and Piso. Antifront, posing as a judge, takes his place.

FERRIS

Ferris is a second waterman that plays jokes with Wat in Armin's The Two Maids of More–Clacke.

FERRIS, MISTRESS

A "ghost character" in Thomas Heywood's 1 Edward IV. Mistress Ferris apparently looks enough like the Queen to cause Hobs the Tanner to mistake one for the other.

FERRYMAN

Carries Arden and Franklin across the river on their way to supper at Lord Cheiny and so unwittingly foils Black Will and Shakebag, who are hiding in a broom field to murder Arden in the anonymous Arden of Feversham.

FESTE

Feste is Olivia's fool, although he seems prone to wandering in Shakespeare's Twelfth Night. He is scolded by Maria in his first appearance for going missing and shows up in Orsino's court at least twice. Although Olivia is angry with him at first, he manages to make her laugh, but Malvolio is unimpressed and mocks Feste's wit, giving Feste a reason to seek revenge. He is further scolded by Malvolio, along with Sir Toby and Sir Andrew, for making noise late at night. Feste is not actually present during Malvolio's finding of the planted letter, but gains his own revenge by pretending to be a churchman, Sir Topas, and interrogating the imprisoned Malvolio. He meets with Sebastian and mistakes him for Cesario, insisting that Sebastian accompany him to Olivia, and then is present in the last scene, although it is unclear if he stays for the revelation of the twins. Feste is also a musician, and sings three songs, including the play's epilogue. His melancholy, it has been suggested, stems from his own secret love of Olivia.

FEWTRICKS

Fewtricks is Brainsicke's boy in ?Clavell's The Soddered Citizen. He goes to see Undermine with a letter from his master, and later, when they meet Mountayne, he reveals himself as a boy who must have received some education, since he can translate Latin. Afterwards, when Brainsicke tells him and Clutch about the contents of the letter he intends to send to his father, Fewtricks expresses his astonishment by, mockingly, remarking that such a letter will be the best way to put an end to his father's suffering, since he will surely pass away the moment he reads it. He soon thinks of an alternative, and advises his master to let the old man live long enough to write his will–considering that he will most certainly disinherit him and leave his property to his servants–, on his death, Brainsicke could argue he was a lunatic, which would make the will void before the law, and, thus, everything would go to him. Later, he helps his master to make Undermine drunk, and when they visit him again, they meet a creditor's servant who tells them he cannot get his master's money back because Undermine seems to have lost his fortune. Fewtricks explains to him that he must have been cozened by the wealthy man. When Miniona and her maid enter, he kisses and courts the latter, and he is corresponded by her, but when he later offers to couple with her, he is nicely turned down.

FFESCU **1599

A “ghost character" in Ruggle’s Club Law. Though mentioned in the dramatis personae and in the text, he does not actually appear on stage. One of the twenty-four Electors for the Burgomastership. He is not at the roll call of electors and is fined.

FFOOTS **1599

A townsman in Ruggle’s Club Law. He is on hand to help the townsmen beat the “Athenians" though he doesn’t know which end of a cudgel to hold.

FFORTUNES, LADY INCONSTANTINA **1629

A "ghost character" in Randolph's(?) The Drinking Academy. Pecunia is her eldest daughter.

FIAMETTA**1631

Fiametta, or Fyametta, is the daughter of the Duke of Florence in Dekker's Wonder of A Kingdom. Secretly in love with Angelo Lotti, she is expected to marry the Prince of Pisa in accordance with her father's will. After the Duke announces this engagement, Fiametta tries to prevent the marriage by counterfeiting illness. It is the disguised Angelo Lotti who tells the Duke of Florence that Fiametta is suffering from love sickness for Angelo. When he reveals his identity to her, she instantly asks her father to pardon him, revealing that he is the 'French Doctor'; but the Duke only thinks she has gone "starke mad." When Angelo is brought before the Duke, Fiametta bursts onto the stage and runs to her lover. She asks him if he loves her and if he would marry her, but he refuses, pretending to have fallen out of love with her. Seemingly hurt, she turns from him and promises to marry the Prince of Pisa, choosing the very next day to celebrate her wedding. However, she asks for the Friar, Angelo's confidant, to confess her at midnight. The next day, she announces that she has been secretly married to Angelo. A furious Duke demands to have Angelo hanged, but is told that it was not Angelo who had arranged the marriage. Fiametta, as the Friar tells the Duke, had asked Angelo to marry her, which he refused three times. Seeing no other way out of her misery, Fiametta threatened to kill herself, and thus forced Angelo to marry her in order to prevent her death. Fiametta blames her father for having betrothed her to the Prince of Pisa against her will, and now demands that he acknowledge her marriage. Finally, she grants the Prince of Pisa one last favor: a willow, signifying unrequited love.

FIAMETTA **1636

Fiametta is an ill-favored lady who attends Ardelia in Shirley's The Duke's Mistress. She realizes she is unattractive and at first wonders if Horatio mocks her when he praises her. She soon faces competition for Horatio's attention as Valerio introduces the extremely ugly Scolopendra to Horatio, who eventually weds her.

FIANCÉE, HUMIL'S

A "ghost character" in Armin's The Two Maids of More–Clacke. She is offered to Humil as his wife by her father.

FIBBIA

One of Rampino's creditors in Davenant's The Unfortunate Lovers; she is easily deceived by his promises of future employment at court.

FIBS

Loyal to Jerome in Chettle's Hoffman. He appears in the abortive civil war–alongside the father-son tandem, the Silts.

FID

Will Striker's nickname for his housekeeper in Brome's The Sparagus Garden. He calls her 'good Fid.' (See "FRISWOOD").

FIDAMIRA

Fidamira is the supposed daughter of Bonoso, a lord of Castile in Montague's The Shepherd's Paradise. She is in love with Agenor, who loves her in return, but is also loved by Basilino, the Prince. She refuses Basilino out of love for Agenor. To her horror, the King of Castile, Basilino's father, falls in love with her too, and in order to avoid shame she runs away to the Shepherd's Paradise, disguising herself as Gemella, a Moor. In this disguise she tells her story, omitting names that would identify her, and is admitted to the society. She learns that Agenor has fallen in love with Bellesa. Her death is falsely reported, and she appears to Agenor as the ghost of herself to see how he responds. Finally, she is, as Gemella, elected as Queen of the Shepherd's Paradise, and removes her disguise to reveal herself as Fidamira. It is further revealed that she is, in reality, Miranda, the Princess of Navarre, saved by Bonoso from the siege of Pamplona. She is therefore the sister of Pallante and Saphira, and since Agenor is revealed to be her brother Pallante, she cannot marry him. She therefore ascends the throne of the Shepherd's Paradise and takes a vow of perpetual chastity.

FIDDLE

Fiddle is a clownish servant in the Flower household in [?]Heywood's The Fair Maid of the Exchange. When Master Berry charges that the Cripple and his friends are mere libertines, and the Cripple responds with an attack upon Berry's greedy character, Fiddle assures Berry that he has information about the Cripple of a most condemnatory nature. After extracting several shillings from Berry for the information, Fiddle then swears the Cripple is as honest a man as there is and as good a fellow ever to have gone on "foure legges."

FIDDLER**1591

Plays in Greene's Orlando Furioso at the request of Orlando, who is disguised as a poet. Orlando mistakes his fiddle for a sword and beats him.

FIDDLER**1604

A fiddler attends Gerillo in his disguise as dancing master in the anonymous Wit of a Woman.

FIDDLER**1615

A very bad fiddler in Fletcher's Monsieur Thomas, who knows many superannuated folk tunes, he is hired by Thomas to 'serenade' Mary. He is irate when it seems that he may not be paid, but he punctiliously gives Mary change for the twelve pence she eventually gives him.

FIDDLER **1631

The Fiddler in Shirley's Love's Cruelty is an unnamed musician who so diligently persists in offering tunes to Bovaldo and Sebastian in the tavern that he is finally chased away by Bovaldo.

FIDDLER**1632

He is a silent character in ?Brewer's The Country Girl. He plays the fiddle in the dance.

FIDDLER**1633

This character in Shirley's The Gamester offers to sing a song for the gamesters at the tavern, but instead has wine poured over him by Hazard.

FIDDLER**1639

A fiddler in J.D.'s The Knave In Grain New Vamped plays a song to the gallants in Julio's leaguer. The section in which he appears is believed to have been marked for deletion in the copy text for the Quarto.

FIDDLERS**1604

Entertainers in the tavern at Brainford in Dekker and Webster's Westward Ho.

FIDDLERS**1605

Musicians who play at the inn at Ware in Dekker and Webster's Northward Ho.

FIDDLERS**1614

The fiddlers of London are "ghost characters" in Jonson's Bartholomew Fair. When Quarlous shows his displeasure at the fact that Winwife has been up so early, and is already at Littlewit's house to court Dame Purecraft, Quarlous says disparagingly that only a scattered covey of fiddlers would have been up at such an early hour.

FIDDLERS **1632

In Hausted’s Rival Friends, Lively has given his two maids, one named Kate, and two of his rustic servants, Robin and Edward, leave to go dance on the green. Along with the fiddlers, they encounter Merda and Anteros disguised as Geoffrey and bid them dance with them.

FIDDLERS**1634

The musicians on hand to provide music for the wedding celebration of Lawrence and Parnell in Heywood and Brome's The Late Lancashire Witches. The fiddlers are bewitched by unseen forces that cause them first to play in utter discord, and then play soundlessly. They eventually smash their bewitched instruments, but whether this action is the result of their being bewitched, frustrated, or superstitiously fearful is unclear. Their presence contributes to the chaotic effects of witchcraft on the Seely household as perceived from the wedding guests' perspective.

FIDDLERS**1638

Accosted on their way to play at a country wedding by Samorat, Nashorat, and Pellegrin, who are on the run in Suckling's The Goblins. Nashorat and Pellegrin insist on taking the fiddlers' clothes as a disguise and going to the wedding–a plan to which Samorat reluctantly accedes.

FIDDLERS**1641

Frank Rivers engages the "five or six" fiddlers to play dance music for the gallants at the King's Head in Jordan's Walks of Islington and Hogsden. Trimwell inserts himself among them in order to spy on his wife, but is discovered, and finds that he is tricked into paying the bill for everyone. The same Fiddlers later arrive in the Counter and provide music for the prisoners there.

FIDELE

A male disguise that Imogen adopts in Shakespeare's Cymbeline. As Fidele, she joins the Roman army.

FIDELI

A fairy in Dekker's The Whore of Babylon, and one of Titania's privy counselors. Because Titania gives him charge over the seas, he seems to figure Lord Charles Howard, High Admiral of England at the time of the Spanish Armada. He is particularly vociferous in counseling Titania against marrying any of the foreign Kings who court her. He also counsels Titania to kill the Moon (Mary, Queen of Scots) who seeks to eclipse her, and he discloses Ropus' plot against her life.

FIDELIA**1582

In love with Hermione in the anonymous Rare Triumphs Of Love And Fortune. She defends her love to her father and brother, but is saddened by Hermione's banishment. She attempts to secretly meet with Hermione, but her plans are thwarted by Armenio, who takes her back to the court. She rejects the plea by the disguised Bomelio that her blood can cure the dumb Armenio. At the urging of Bomelio, who reveals his identity to her, she yields and agrees to help. With her blood she cures Armenio and Bomelio on the condition she can marry Hermione, and she receives the blessing of both Armenio and Phizantius.

FIDELIA**1590

Fidelia is one of Ceres' nymphs in Lyly's Love's Metamorphosis. She has been changed into a tree, upon which lovers hang messages for the other nymphs, but Fidelia's true form is revealed when Erisicthon cuts the tree down, killing the nymph.

FIDELIA**1633

Fidelia is an attendant to Eugenia in Shirley's The Bird in a Cage. She voluntarily follows her into imprisonment by the duke. In the inset play, she plays an unnamed attendant of Danaë.

FIDELIO**1604

Fidelio is the son of Castiza and a friend of Phoenix, son of the Duke of Ferrara in Middleton's The Phoenix. Fidelio is Phoenix's sole choice of traveling companion, and together the two don disguises and go about Ferrara and its environs. Fidelio calls himself a scrivener and helps save Castiza from being sold to Count Proditor, presenting to the Duke a record of all the dishonesty and chicanery that he and Phoenix have observed within the realm.

FIDELIO **1610

The name used by Alizia while in boy's disguise in Daborne's A Christian Turned Turk.

FIDELIO **1631

Fidelio is friend to both Philautus and Snarl in Marmion's Holland's Leaguer. He is determined to make Philautus admit that there are indeed virtuous women in the world-an interesting task considering that Philautus is a married man. He convinces Philautus' sister Faustina to take on the role of the beautiful woman whose passion is like ice, and she plays the role to perfection, though neither she nor Philautus recognize each other in the performance. Fidelio is soon to wed Faustina.

FIDELIO**1639

A faithful Servant of the King of Lydia in T.D.'s The Bloody Banquet. In Act One, together with Amorpho, he follows his deposed King. In Act Two, he helps to rescue Lapyrus from the wolf-pit, and then searches for the Queen of Lydia and her two infants. In Act Five, he helps to slay the tyrannical King of Cicilia, Armatrites.

FIDELIO**1639

Servant to the Duke of Florence in Dekker's(?) Telltale. Brings news to the Duke of Aspero's capture of the Venetian princes Hortensio and Borgias and their desire to be ransomed and is ordered to fortify the Duke's castle. Meets the Duke after his disguised visit to the court. He hears the Duke report the deaths of Picentio and the Duchess and tell him that his next job is to look into the soldiers' camp and ensure the soldiers do not threaten the state. Fidelio promises to await his return.

FIDELIO, LORD **1635

A “ghost character" in Rider’s The Twins. Gratiano must go to visit lord Fidelio for two or three days; Charmia plots with Fulvio to use this time to conduct their assignation.

FIDES CHRISTI

Christian Faith appears once the vices have been banished in Bale's Three Laws. It is able to see the Laws of Nature and of Moses for what they truly are, and is then able to instruct the audience of Christian people in how to follow the laws and abjure Catholicism.

FIDLER, IACK**1603

The leader of the consort of viols in the anonymous 2 Return From Parnassus that Studioso and Philomusus have joined claims that the waggish pages have promised to pay the group to perform; the imps laugh in his face.

FIDO **1627

Musophilus's friend in the anonymous Wisest Have Their Fools. Most often spelled ffido in the surviving manuscript. He meets Musophilus upon the young man's return home from sea and consoles him for Cremulus's niggardliness to him. He later, with the aid of Cremula, stops Cremulus from hanging himself. He then tells Musophilus of Cremulus's desperate act. Later, he meets Mounsieur Silly. He learns of the foolish man's passion and helps Musophilus to gull him. Later he brings news to Musophilus that Cremulus has gone blind and settled his estate upon Crusophilus. He demonstrates a friend's effrontery at the news and later commiserates with his friend's mother, Cremula.

FIDO **1633

Fido is a friend of Aurelio and Careless in Marmion's A Fine Companion. He is eager to help both of his companions. He tries to urge Careless not to sell his land. He also aids Aurelio in delivering Valeria a letter instructing her to feign madness in a plan to unite Aurelio and his love.

FIDUCIO

Fiducio is a thief in a band headed by Latrocino in Thomas Middleton's The Widow. He complains of palsy, but it is a medicine flimflam set up by the bandits. He pretends to receive an instant cure from Latrocino in front of the watching Brandino.

FIELD, NATHAN

I.
Only mentioned in Jonson's Bartholomew Fair. Nathan Field (1587-1619) was an actor, dramatist, and friend of Jonson. He was probably a member of the original cast of Bartholomew Fair. When Lantern/Leatherhead shows Cokes the puppets as the "actors," Cokes asks about his Burbage, meaning the best actor. The puppeteer does not seem to understand the reference, so Cokes is more explicit, asking about his best actor, his Field. It seems likely that Lantern/Leatherhead prefers Field, and that is why he probably feigned to misunderstand the reference to Burbage. It has also been suggested that Field played Cokes.
II.
Only mentioned in the anonymous Wit's Triumvirate. Field is mentioned by Sir Cupid Phantsy when, after Doctor Clyster compares his reciting poetry to the way several actors do it, he corrects him in the following terms: "Nay, sir, rather Field in Love Lies a Bleeding." Nathan Field (1587-1619?) was an actor from a very early age. When he attended St Paul's School (London), he became a member of the Children of the Queen's Revels about 1600. He remained with the company until, round 1616-17 he joined the King's Men and he was reputed for being an outstanding player–his name is included in the list of actors contained in the First Folio of Shakespeare's plays (1623). He was also the author of two comedies: A Woman Is a Weathercock (staged round 1609) and Amends for Ladies (acted c. 1611). He also collaborated with Philip Massinger, and with Francis Beaumont and John Fletcher. In fact, he played the title role in Philaster (c. 1609) by the two latter playwrights. This tragicomedy would most certainly appeal to Sir Cupid Phantsy more than the early plays mentioned by Doctor Clyster.

FIENDS

See also "SPIRITS," "GHOSTS," and "APPARITIONS."

FIENDS

Joan de la Pucelle calls upon spirits to assist her in Shakespeare's 1 Henry VI. At Anjou they enter in thunder but do not speak. When she asks for their aid, reminding them that she has nursed them on her own blood, they hang their heads. When she offers her body if they will help, they shake their heads. When she offers her body, soul, and all in return for victory, they forsake her.

FIENDS, FOUR

As Amurath rages against the Christian deity late in Goffe's The Courageous Turk, the Four Fiends "framed like Turkish Kings, but blacke," enter singing and dancing. They claim to be Amurath's ancestors (one even asserts he is Amurath's dead father Orchanes) and to have come to tell him that his death is near.

FIGGA

Figga is a young woman in the anonymous Wit of a Woman, a patient of the fraudulent Doctor Niofell. When she returns for a follow-up consultation, Foggo proposes marriage to her. She is presumably the character whom the dramatis personae names as Billa.

FIGMENTOE, SIGNEOUR

A "ghost character" in Wilde's Love's Hospital. Comastes orders the First and Second Sergeants to pretend an action of Dettinew att Signeour Figmentoes suite" in order to seize Surdato and, thus, set Nigella free.

FILANDRE

A shepherd of Delos, friend to Anfrize in [?]Queen Henrietta's Florimène. He has no interest in romance.

FILARIO

Alternate spelling of Philario in Shakespeare's Cymbeline. See "PHILARIO."

FILBERTO, PRINCE

A "ghost character" in Cokain's Trappolin. Prince Filberto is the elder brother of Horatio, and heir apparent. The announcement of his death at the end of the play places Horatio in line for the throne of Piedmont, and helps win Lavinio's approval of Horatio's marriage to Prudentia.

FILBON

Filbon is a gentleman, son of Sir Rafe in Armin's The Two Maids of More–Clacke. Together with Toures, he looks for the Lady's glove. Later, he proposes to Tabisha whom her father offers to him in a strange way. He also sends a letter to Tabisha through Tutch who tells him that his beloved lady loves him. After that, his father comes telling him about Toures's elopement. In order to see Tabisha who comes with the Auditor, he changes roles with his servant and gets disguised not to be recognized. He will go to the wedding party disguised as his servant.

FILCHER**1570

A "ghost character" in the anonymous Clyomon and Clamydes. A neighbor of Corin who owns a farmhouse.

FILCHER**1614

Goodman Filcher is a doorkeeper at the puppet theatre in Jonson's Bartholomew Fair. Filcher and Sharkwell help the puppeteer (Leatherhead) to erect the puppet theatre. Lantern\Leatherhead tells them to beat the drum in order to attract customers. Apparently, Filcher's role is to observe the audience and to keep order, while Sharkwell collects the money. When he sees Cokes, Filcher invites him in, telling him that they will take his money within. When Littlewit wants to enter the theatre, Filcher says he must pay, but Sharkwell recognizes him as the author of the play and lets him go in free.

FILÈNE

Filène, a shepherd of Arcadia, is the hero and falls in love with the heroine, Florimène, on his visit to Delos in [?]Queen Henrietta's Florimène. He disguises himself as a woman, Dorine, to woo her. After some complications with Aristée (who is also disguised as a woman and falls in love with her/him, not knowing that "Dorine" is a man), and some additional difficulties with Lycoris (who does not know that Filène is in fact her brother) he is finally united by Diana with Florimène.

FILENIO

Filenio is one of the Gallants in the anonymous Wit of a Woman. He is son to Dorio, brother to Isabella, and master to the servant Goffo. Filenio takes on the disguise of a doctor. In this disguise he treats three patients, Figga, Miso, and Dives. Dives is a relative of Balia, and invites Filenio back to Balia's school. As a doctor, Filenio flirts with Lodovica. He benefits from the deception of the Fathers, and ends the play married to one of the Wenches, presumably to Lodovica. N.b. the four gallants are Filenio, Gerillo, Rinaldo, and Veronte.

FILIUS

Filius is trying to sell some faggots, unsuccessfully, to Uxor and Pater in the anonymous Pater, Filius et Uxor. Then he walks up and down the streets with similar fortune, since he is unable to sell a single faggot. His despair grows when he thinks of his going back home, since he fears his father's reaction. Filius would rather the earth gaped him, as he knows his father is going to beat him when he returns with all his unsold merchandise. Thus, he begs Pater, again, to buy him some faggots, and explains to him that, otherwise, he will be killed by his own father. When Servus comes, speaking in some strange language, the boy admits his own lack of education and his poor mastery of language. Suddenly the latter is nicely surprised when Servus expresses his wish to buy his faggots. Filius, overwelmed with gratitude, wants to know the name of his customer before he leaves.

FILLISELLA

Fillisella is a lady, the wife of Mavortius in Marston's Histrio-Mastix. Along with the other characters, she follows the cycle that begins with the reign of Plenty and ends with Poverty.

FILLPOT, GANYMEDE **1632

A pretender to a scholar in Hausted’s Rival Friends. He had once been a gentleman’s butler and is now a suitor to Mistress Ursely for the parsonage’s sake. When Bully Lively pretends to die, he and the other suitors begin pulling at Ursely as on a rope to win her quickly. When Anteros receives the parsonage deed and Sacrilege Hook drives Ganymede off, he and the other suitors flock to Anteros and call him patron. He is driven off by Anteros as unworthy to marry his sister.

FINE, MRS.

Mrs. Fine is a widow in Cokain's Trappolin. She is bringing a suit against Whip, a coachman who accidentally struck and killed one of her children. Trappolin's judgment is that Whip should lie with the widow until she conceives a child to replace the one she has lost. She is outraged by the judgment, but Whip is rather pleased with it.

FINGERLOCK

Mistress Fingerlock is a bawd in Dekker and Middleton's 1 The Honest Whore. She visits Bellafront to tell her that there is a new gentleman waiting at her house. When Bellafront (who has given up prostitution because of Hippolyto's objections) fires Roger, Mistress Fingerlock takes him on.

FINIO

Page to Camillo Ferneze in Jonson's The Case is Altered. Talks Pacue into becoming page to the newly-rich Onion.

FINNE, GOODY

A "ghost character" in William Rowley's A Match at Midnight. A fish-woman who has recently collected her pawned ring: a sign that business is not good for the usurers

FIORETTA

Daughter of the Duke of Mantua and sister of Honorio in Shirley's The Imposture, Fioretta is uncertain about wedding Leonato, to whom she is promised but whose face she has never seen. She enters Ferrara as Lauriana, quickly discovering that another woman–Juliana–has assumed her identity. Fioretta quickly falls in love with Leonato, whom she will eventually wed.

FIORINDA

Fiorinda, the Duchess of Urbin in Massinger's The Great Duke of Florence, in love with Sanazarro.

FIORMONDA

The Marquesse Fiormunda is the widowed sister of the Duke in Ford's Love's Sacrifice; deeply resentful of his new Duchess and herself passionately drawn to his best friend Fernando. She is plainly characterized as a young widow unable to revert to a life without carnal gratification after the unspecified death of her young husband. Her accomplice in her twin objectives of discrediting Biancha and obtaining Fernando's love is the Machiavellian D'avolos. She is unaware that he is less than trustworthy and equally credulous when told by Fernando that he has sworn to live celibate, in order to put an end to her immodest persistence in soliciting him, to the extent of offering him her late husband's ring. Her desire for Fernando, however, although misplaced, need not be other than sincere. The play divides all who suffer for love into those who accept their fate patiently and the others, like her, who seek redress for their frustration in violent reprisals. Fiormunda is also strongly motivated by her family honor, although her contempt for her sister-in-law's low birth is qualified by personal jealousy when she learns that Fernando truly loves Biancha. She never doubts the truth of their rumored adultery and her motivation changes from desire for Fernando to revenge on the (innocent) couple for having been deceived by his politic excuse. She is unscrupulous, calculating and remorseless; a shrewd tactician but a long-term strategist undermined by her obsession with Fernando. She is indifferent to the honest love offered her by the noble Roseilli and has contrived before the start of the play to have him removed from court to frustrate his persistent suit. She is oblivious of his reappearance in the disguise of a Fool, even when he is given to her as a love-token by the elderly Maurucio, who is equally infatuated with her, and whose overweening attentions cause her furious embarrassment to the amusement of the rest of the court. She ironically exchanges gifts with her despised geriatric suitor - the Fool for a toothpick - but her failure to see through Roseilli's disguise of imbecility leads to indiscreet plotting in his presence, which he in turn relays to his endangered kinsmen. Roseilli thus learns when her passion for Fernando sours into revenge, although his warning is ineffectual. It is significant that Fiormunda makes no attempt to intercede for the three court ladies, including her own maid, Julia, debauched by Ferentes. After his murder she twists the Duke's understanding of their revenge into a plausible tale of a conspiracy to kill him to cover up his alleged knowledge of Fernando's adultery. This lie, together with her eloquent arguments on behalf of their shared family honor and the need to preserve his heirs from the taint of bastardy, persuade the Duke to join her and D'avolos in a solemn oath of vengeance against Biancha and Fernando. She makes a final attempt to win Fernando for herself, by warning him of her brother's growing 'distraction' and the danger of his liaison with the Duchess. He now detests her for her obvious malice. Her realization that she will never win him over makes her desire for revenge more urgent and implacable. Her maid is enlisted to spy by D'avolos, while Fiormunda herself spies on an intimate conversation between Biancha and Fernando. When the Duke interrupts them, furious but indecisive, her intervention, urging her brother on to murder his wife, is crucial. The Duchess dead and her brother consumed with remorse verging on insanity, it is unclear whether Fiormunda's initial repentance is sincere at the point when Roseilli reappears to propose marriage to her once again. She declares that she honors him, however, and accepts him at last. After Fernando and the Duke both commit suicide, she formally bestows the dukedom on her new husband. Roseilli dispenses summary justice in condemning D'avolos to death and Fiormunda to a life of celibate marriage and atonement, which she accepts as her just desert. The Abbot gives the new dispensation his blessing, and she embraces her fate with patience, apparently a reformed and chastened character.

FIRE

A disguise assumed by Sir Gilbert Lambstone in Middleton's No Wit, No Help Like a Woman's when the four disgruntled former suitors of Lady Goldenfleece (Pepperton, Lambstone, Overdone, Weatherwise) intrude upon the wedding feast of the newly-remarried widow. Somewhat remarkably, and in keeping with Weatherwise's interest in almanacs and other arcane subject, the four elements embrace at the end of this pseudo-masque.

FIRENZO

Firenzo is a French colonel in the service of Raymond in Rawlins's The Rebellion.

FIRESTONE

A clownish figure, Firestone is Hecate's mischievous son and aide in Thomas Middleton's The Witch. His hypocritical if not malicious comments ridicule his mother's powers.

FIRK

One of Simon Eyre's journeymen in Dekker's Shoemaker's Holiday. He is a "crafty varlet" and cunning trickster who–by first sowing and then resolving chaos and confusion–enables the reunion of the play's romantic couples, Rowland Lacy and Rose Oatley and Rafe and Jane Damport. Together with his fellow shoemaker Roger Hodge, he pleads for Hans Meulter to be hired by their master without realizing that the Dutch shoemaker is in fact Rowland Lacy in disguise. Thus paving the way for the elopement of Rowland and Rose, he subsequently enables the lovers' marriage by sending Sir Lacy and Roger Oatley, who are trying to prevent the match, to the wrong church on the day of the wedding. In so doing, Firk also thwarts the marriage between the rich citizen Master Hammond and the seamstress Jane Damport, whom Hammon had falsely led to believe in the death of her lawful husband Rafe.

FIRKIN, FRANCIS

A "ghost character" in Mountfort's The Launching of The Mary. One of the workers in the shipyard. His name is called out by the Clerk of the Check.

FISH, WONDERFUL **1637

A disguise put on Timothy in Mayne’s City Match. When Timothy grows drunk and falls asleep at Roseclap’s Ordinary, Quarterfield and the others dress him as a fish and charge a shilling for people to come and see him. The fish was supposedly taken in the Indes, off the coast of Peru, where it could walk on land and ravish the women. The Danish supposedly wanted to buy the fish and train it to sink Spanish ships.

FISHER, DOCTOR JOHN **1595

The Bishop of Rochester in Chettle, Dekker and Munday's Sir Thomas More, Doctor John Fisher is a friend of More's, and like him, unwilling to submit to Henry VIII's claim to be the head of the Church of England. Arrested by Sir Thomas Palmer, Fisher is imprisoned in the Tower of London, where the Earls of Surrey and Shrewsbury visit him in an unsuccessful attempt to convince him to sign the articles of submission. More is informed of Fisher's execution shortly before his own.

FISHERMAN**1599

Warns Pheander that the Sicilians are coming in [?]W. Rowley's The Thracian Wonder.

FISHERMAN **1601

A Fisherman in the anonymous Trial Of Chivalry discovers Ferdinand wounded after his duel with Pembroke, and rescues him.

FISHERMAN**1608

In his exile Antonio Duke of Mantua lives as a simple fisherman in Day's Humour Out of Breath. This is an occupation change rather than disguise per se, since he seems not to have taken another name. But it functions as a disguise, since his enemy Octavio Duke of Venice does not recognize the Fisherman when he meets him.

FISHERMAN, FIRST, SECOND, and THIRD

There are three fishermen in Pentapolis in Shakespeare's Pericles. They find Pericles when he is washed ashore on Pentapolis after the shipwreck. They tell him of the tournament to be held for Thaisa and provide him with the suit of armor that they have fortuitously pulled up with their fishing nets.

FISHERMEN**1624

Two fishermen in Heywood's The Captives, one named Gripus, lament that being poor compels them to fish despite the violent storm. They are met by the Clown, who has been sent by Raphael to continue the search for Palestra and Scribonia. When the Clown asks whether they have seen Mildew or the two women, they think he is mocking them and they exit. Later, the Fisherman Gripus who works for John Asburne catches Mildew's bag, containing his gold, in his net. As the Clown attempts to get a portion of the gold for himself by arguing that he knows the bag's owner, the Fisherman counters by arguing that he has the right to anything he fishes from the sea. They hear the argument between John Ashburne and his wife and agree to suspend their argument and hide for the moment. When Ashburne is free, the Clown and the Fisherman both state their claims to the bag; when Palestra and Scribonia return with Godfrey and the bag is found to conceal the secret of Palestra's identity, Ashburne takes the bag himself and defers his judgment to a later date. Gripus, however, does not trust Ashburne and publicly seeks the bag's true owner. He finds Mildew and Sarleboys, and Mildew negotiates the return of the bag in exchange for a thousand crowns. Gripus exits and returns with Godfrey and John Ashburne, who brings Mildew's bag with him. When Mildew receives his bag, he refuses to give Gripus the agreed 1000 crowns, so Gripus complains to Ashburne: Ashburne orders Mildew to pay Gripus or return to court. Mildew pays Gripus the thousand crowns, but Ashburne takes half of the sum to pay Mildew to free Scribonia. When John Ashburne's fortune is restored, Gripus receives all of Ashburne's fishing equipment, which he considers fair compensation for the loss of the money in Mildew's bag.

FISHERMEN **1635

“Ghost characters" in Killigrew’s The Conspiracy. Coracinus reports that fishermen found Timeus’ assassins stabbed to death on the shore.

FISHERMEN**1638

A group of "ghost characters" in Carlell's 2 Passionate Lovers that have left a boat on the coast to protect it from the storm.

FISHMONGER**1598

A "ghost character" in Jonson's Every Man in His Humour. Fishmonger is Mathew's father. According to Cob, Mathew is the son of an honest fishmonger, but he spends his father's money on light entertainment in town with the gallants.

FISHMONGER**1621

A fictional character in Middleton's Anything for a Quiet Life. When Franklin is cornered and about to be arrested for having cheated Chamlet and the Barber, he pretends to be a French gentleman. He manages to secure the help of the French bawd, Margarita, who pretends she knows this "French gentleman" from Lyon. When Chamlet asks for more details, Margarita says she knows that the French gentleman's father is a fishmonger.

FISH–WIFE **1609

A "ghost character" in Jonson's The Alchemist. The fishwife is one of the clients waiting outside the bogus alchemist's door. When Dol Common tells Subtle the fish-wife is waiting outside and would not leave, the magician says he cannot receive her. When Subtle, Face, and Dol make an inventory of the goods cheated out of people before their planned escape, Subtle says one ring is from the fish-wife.

FISHWIFE **1625

A "ghost character" in Fletcher's The Chances. She is invoked, perhaps spuriously, as the source of news.

FISH–WIVES

"Ghost characters" in Jonson's Epicoene. The fish-wives that make loud noises crying their wares in front of Morose's windows. When Truewit discusses Morose's noise-hating idiosyncrasy with Clerimont, he mentions that Morose has tried to bribe all the vendors crying under his windows. Thus, Morose is said to have concluded various treaties with the fish-wives and orange women, who apparently agreed to keep silent.

FITCHOW

A "ghost character" in Brome's The Northern Lass. The dead husband of Mistress Fitchow, this lawyer was dubbed "the great Cannonier of the civil law" because of his familiarity with all its canons. He left Mistress Fitchow with an estate of about 10,000 pounds.

FITCHOW, MISTRESS AUDREY

The wealthy and strong-willed widow of Fitchow, a civil lawyer, and sister to Master Widgine in Brome's The Northern Lass. She decides to marry young Sir Philip Luckless (reputedly refusing at least two Aldermen in his favour) in order to become a Lady. When Tridewell tries to put her off Sir Philip by slandering him, she replies so sensibly that he falls in love with her himself. Once married to Sir Philip, she is incensed by his preference for Constance and by his assertion of power over her household. She promises to grant Sir Philip a divorce on condition that Constance be married or contracted to someone else (preferably her brother Widgine) first. When she discovers that she and Sir Philip were never legally married, however, she assents to his marriage to Constance and gives her hand to Tridewell.

FITTEN, JACK

A "ghost character" in the anonymous Arden of Feversham. Black Will tells Bradshaw that it was Fitten who stole the plate from Lord Cheiny that Bradshaw is accused of stealing.

FITTON**1625

A "ghost character" in Sampson's The Vow-Breaker. One of a group of English and Scots soldiers praised by Arguile for their bravery at the siege of Leith.

FITTON**1626

One of the jeerers (idle hecklers) in Jonson's The Staple of News. Shunfield, Piedmantle, Madrigal, Fitton, Cymbal, and Almanac hound Pennyboy Senior, mocking him, and also a suitor to Pecunia, Infanta of the Mines. He is the "Emissary Court" or royal court reporter for the Staple of News. He is exposed as a mere "canter" or jargonist by Pennyboy Canter.

FITZALLARD

Family name of Sir Guy and Mary in Middleton and Dekker's Moll Cutpurse, The Roaring Girl.

FITZALLEN

Fitzallen is a poor gallant, a kinsman of the Colonel in Middleton and Rowley's A Fair Quarrel. He is secretly married (by a de praesenti contract) to Jane Russell, and she is pregnant by him. But Jane's father wants her to marry the rich fool Chough, so he arranges for Fitzallen to be arrested on trumped-up charges of debt. Fitzallen is released from prison when Chough refuses to marry Jane. Russell decides to marry Fitzallen to Jane, but Chough warns Fitzallen that Jane is a 'whore.' Fitzallen refuses her. Russell, in desperation, offers Fitzallen a large dowry to take Jane off his hands, which Fitzallen accepts before revealing that he was married to Jane all along and the baby is his.

FITZAVARICE, LORD

Lord Fitzavarice holds the Peregrine mortgage in Shirley's The Example, and in the absence of Lady Peregrine's husband, Fitzavarice courts her relentlessly, offering to forgive the debts owed by her husband if she will share her favors. At one point Fitzavarice even draws his sword, intent upon forcing Lady Peregrine into submission. Eventually Lady Peregrine's character seems to have a positive effect upon Fitzavarice, for he stops pursuing her and releases the mortgage.

FITZDOTTREL

Family name of Fabian and Frances Fitzdottrel in Jonson's The Devil is an Ass.

FITZGERRARD

Fitzgerrard is a gentleman, cousin to Old Bellamy in Brome's A Mad Couple. In Act Five, he arrives looking for his sister Amie.

FITSGRAVE**1605

A gentleman, hero of Middleton's Your Five Gallants and an honest suitor to the recently bereaved heiress, Katherine. He plights his true love to her with a chain of pearl (subsequently stolen from her by Pursenet's Boy and passing between many parties during the course of the action). To investigate his rival suitors' true motives for wooing Katherine, he disguises himself as a 'credulous scholar' (Master Ralph Bouser), intending to expose any who prove deceitful or mercenary. He finds, one by one, that they are all corrupt. Goldstone introduces him at Primero's brothel, where Pursenet's Boy also steals the jewel recently given to him by Katherine. He also attends a crooked game of dice in their company at the Mitre. Pursenet, as a highwayman, intends to rob him: instead, Fitsgrave defies and beats him, secretly recognizing him during their fight. Fitsgrave, also finding the letter dropped by Pursenet (from the First Courtesan to Tailby), identifies the vices of the third Gallant to have exposed himself as unworthy of Katherine. Goldstone next betrays himself by stealing Fitsgrave's cloak. It is later pawned to and worn by Frippery, who thus receives the revenge beating intended for 'Bouser' by Pursnet. Frippery thus reveals himself as a trader in stolen goods, and the tally is complete. Fitsgrave continues to pretend to believe Goldstone innocent, then gives a long moral soliloquy on the impudence of City rogues. 'Bouser' is given the opportunity to use his learning to expose the Gallants on their request to write a masque for Katherine's entertainment. He chivalrously rescues Newcut from a beating by the jealous Courtesans and reveals the Gallants' plans to reject their several favors for Katherine. All are disillusioned in their affections and agree to participate in his masque, disguised as pageboys in order to learn more of the Gallants' culpability, and to assist in shaming them. He exploits the Gallants' ignorance, giving each lines in Latin which reveal their true criminal nature. He solemnly rehearses the masque with them. Together with other victims of the Gallants' trade, Pyamont and Bunglar, and two Gentlemen in his confidence, Fitsgrave attends the performance in his own person, and orchestrates the Gallants' downfall. He gives the ultimatum that the Gallants each marry one of the Courtesans to avoid public prosecution for their crimes: the Boy and Primero are in addition sent away to be whipped. Fitsgrave modestly shares the credit for his success with his helpers and Katherine formally chooses him for her husband.

FITZ–HARBART, LORD

A "ghost character" in the anonymous True Tragedy of Richard III.Lord Fitz Harbart, heir to the Earl of Pembroke, is reportedly among the men fighting alongside Richmond at Bosworth Field against Richard III.

FITZHERBERT, SIR ANTHONY

Only mentioned in the anonymous Wit's Triumvirate. Fitzherbert is mentioned by Doctor Clyster when he is explaining to Sir Cupid Phantsy that he can see he is getting worse, and, thus, he is going to put him on a 'reading' diet: "I prescribe you Littleton's Tenures to read in French, with Lambarde's Justice of Peace, Dalton, Crompton, and Fitzherbert, Pulton's Statutes, and Coke's Reports." Sir Anthony Fitzherbert (1470-1538) was the Justice of the Common Pleas at Gray's Inn. He wrote La Graunde Abbregement de le Ley (1514), which constituted the first important attempt to systematize the law. He was also the author of La Novel Natura Brevium (1534)–a manual of procedure–and of L'office et Aucthoritie de iustices de peace, in part collect per Sir Anthonie Fitzherbert Chiualer, iades vn de les iustices del common Banke, translated into English as The New Book of Justices of the Peace–a commentary on municipal courts, which was still being reprinted in 1594 and even later.

FITZJOHN, CAPTAIN

Captain Fitzjohn is the commander of the Mary in Mountfort's The Launching of The Mary. He shows the Lord Admiral around the shipyard, and they watch the workmen. Then he meets Dorothea Constance, who is sad because her husband is at sea. Captain Fitzjohn argues in favor of men going to sea, pointing out the benefits. But when he implies that Dorothea is being lustful for wanting her husband nearby, she defends marital sexuality, and the Captain apologizes, and eulogizes her as an emblem of constancy. When, later, he finds the workmen tormenting Dorothea as a typical unconstant sailor's wife, Captain Fitzjohn upbraids them and gives Dorothea his purse. He then sets off for his voyage on the Mary, but not before he utters a long speech in which he blesses the ship.

FITZ–SWORD

Brainworm disguises himself as a maimed soldier named Fitz-Sword in Jonson's Every Man in His Humour. At Moorfields, Brainworm/Fitz-Sword enters and relates how he took Stephen's cloak, purse, and hat. When Edward Knowell and Stephen enter, Brainworm/Fitz-Sword eavesdrops on their conversation and hears Stephen complaining that he lost his purse. Brainworm/Fitz-Sword comes forward and tries to sell a pretended Toledo sword to the gullible Stephen. Brainworm/Fitz-Sword invents an interesting personality for his character, who is supposed to have fought in all the wars in Europe for fourteen years under the best commanders in Christendom. According to the soldier, he was twice shot in the battle of Aleppo and once in the battle of Vienna, and then was a slave in the galley. During his life as a slave, this fictional soldier was most dangerously shot in the head through the thighs, a medical impossibility but a valid reason for the soldier's being an invalid. Extolling the qualities of his Toledo sword, Brainworm/Fitz-Sword exits with Stephen to collect his money. Brainworm/Fitz-Sword re-enters when Knowell is musing on the younger generation's frivolity. While trying to ingratiate himself with the father, Brainworm/Fitz-Sword says in an aside that he intends to service Knowell, learn of his intentions, and then inform his young master. At the Windmill Tavern, Brainworm/Fitz-Sword enters to look for Edward Knowell. When the gallants reprimand him for having sold a fake Toledo sword to Stephen, the maimed soldier admits his fault. He then reveals his disguise to Edward Knowell, telling him that his father is displeased with his dissolute company. After receiving instructions to stall Knowell as long as he can, Brainworm/Fitz-Sword exits with the party of gallants.

FITZWALTER, LORD

A nobleman who supports Bagot's accusations that the Duke of Aumerle was involved in the murder of the Duke of Gloucester in Shakespeare's Richard II.

FITZWATER

I.
Fitzwater is the father of Matilda/Marian after II.i of (?Chettle and) Munday's Downfall of Robert Earl of Huntington; before that, the character of Marian's father is named Lacy. After John has removed Ely from his position as regent, Fitzwater claims that they have removed bad and replaced it with worse. Fitzwater agrees that John should be regent in place of Ely, but when John asks Fitzwater for Matilda, Fitzwater is appalled. He first argues that Matilda is married to Robin, and when John says that since Robin is excommunicated he cannot have a wife, Fitzwater replies that John already has a wife, the Earl of Chepstow's daughter. He then attacks John, and knocks him down, but he does not kill him because he is of royal blood. John banishes him, and neither he nor the Queen will listen to Fitzwater's pleas. Fitzwater enters the forest in search of Matilda and Robin, and when he finds them, he pretends to be a blind man. He questions why Matilda has changed her name to Maid Marian and is pleased to learn that it is because she remains pure. Marian and Robin recognize him, but do not press him when he asks them not to inquire into his name. When Warman enters the forest to commit suicide, Fitzwater finds him and sends Marian to fetch Robin before Warman can hang himself. When John is discovered, he expects Fitzwater, Ely or Robin to take revenge, but they do not, and John asks forgiveness of all three. When Richard arrives, Robin presents Fitzwater to him, and Fitzwater is welcomed back by Richard, Richmond and Leicester. (See also "LACY").
II.
There is some confusion in the playwrights over this name in Munday and Chettle's Death of Robert, Earl of Huntington:
  1. Family name of Fitzwater and Young Fitzwater. However, Young Fitzwater vanishes in the middle of his first scene just as Young Bruce (Fitzwater's nephew) materializes. (See "YOUNG FITZWATER").
  2. Fitzwater enters with King Richard, claiming three stags in the hunt. When Richard's stag is finally brought down and found to have a collar around its neck, Fitzwater describes the legend of Harold Harefoot running down a stag and putting the collar on it. He mourns with Matilda when Robin is poisoned, and helps her with Robin's final request, that she close his eyes. When he next enters, he is scolding Matilda for still mourning Robin and urges her to consider the suit of Lord Wigmore's son. When she resists dancing with the masquers, he demands that she join in. It is revealed that John is Matilda's partner, and Fitzwater is then forced to defend his recent revolt against John. John demands Matilda as a pledge of loyalty and although Fitzwater swears his children are willing to die for their king, he refuses to allow her chastity to be compromised. After John storms out, Fitzwater realizes that there will be another civil dispute and, with Leicester, plans to raise an army. It is part of that army that he gives to Young Bruce to free his mother and brother from Windsor castle, promising that Blunt is likely to surrender the castle to him. When the battle goes against the rebels, Fitzwater refuses to surrender unless Matilda is returned unhurt; when Hubert reveals that he has escorted her safely to Dunmow Abbey, Fitzwater relents and submits to John. John immediately banishes him to France. Fitzwater asks only that he be allowed to see Matilda before he leaves. He advises her to continue to resist John and live chastely, and then departs for France.
III.
Baron Robert, or Robin Fitzwater, brother to Lady Bruce and father to Matilda in Davenport's King John and Matilda. Leader of the party opposed to King John, seconded by Old Bruce. He is campaigning for the restoration of the liberties confirmed in Magna Carta and later, he is opposed to the King's reconciliation with Rome. His principal personal grievances are the King's persistent attempts to violate his daughter, and progressively, to revenge the atrocities committed by the King's party throughout the play. Ardent to reform but not to depose the King, Fitzwater is resentful of being called a rebel. He resists Leister's suggestion of offering the crown to the King of France and proposes the plan to enlist the Dauphin merely as their ally, a plan that prevails. He makes the fatal paternal mistake of persuading Matilda to dance with the masquer who turns out to be the King in disguise. The glove he loses in the ensuing mêlée is used by Hubert to trick Richmond into ensuring Matilda's abduction. When Matilda takes sanctuary in the Abbey, he seems to accept the King's promise of honorable marriage for Matilda, but his attempt to persuade her to relent is a test of her chastity and her refusal delights him. After her death, he is persuaded to put aside personal revenge in the public good. He accepts the King's show of penitence for his daughter's death.

FITZWATER, LORD

Fitzwater is named as one of the conspirators against John in the anonymous 2 Troublesome Reign of John.

FITZWATERS

Family name of Young and Old Fitzwaters in Smith's The Hector of Germany.

FIVE WITS

An advisor to Everyman in the anonymous Everyman. Five Wits represents Everyman's five senses (sight, hearing, taste, touch, smell) and accompanies Everyman to the edge of the grave and then abandons him.

FLACCILLA

Flaccilla is one of two younger sisters of the emperor in Massinger's The Emperor of the East. She acts as a champion of Eudocia's cause and sometimes her confidante. At the end, she wishes to be married-to whom seems of little consequence.

FLACCUS

Flaccus is a consul and, generally, a supporter of Scilla in Lodge's The Wounds of Civil War. When Marius returns to Rome, Flaccus welcomes him back, calling his return fortunate. When Cornelia insults Marius, Flaccus advises her that it is wise to be humble in her circumstances. However, when Scilla retakes Rome, Flaccus is the one to ask the Citizens if they will accept Scilla and speaks strongly of his virtue and courage. As soon as the Citizens give their consent, Flaccus declares Scilla Dictator. Flaccus is the one who twice questions Scilla's mood as the latter decides whether or not to return to private life, and Flaccus is also the one who actually orders the soldier who disgraced Doritie to be found and made to pay for his lust. He attempts to sway Scilla from his plan to give up the dictatorship, but to no avail. Interestingly, when Scilla dies and Cornelia and Fulvia are weeping, Flaccus breaks in to say that long mourning is tedious, suggesting, perhaps, that Flaccus' loyalty lasted only as long as Scilla's life.

FLACCUS, LUCIUS VALERIUS

Lucius Valerius Flaccus is a praetor in Rome in Jonson's Catiline. He is responsible with the law and order, together with Pomtinius. At Cicero's house, Cicero tells his brother to summon a number of senators and loyal officials, among whom he mentions Flaccus and Pomtinius. The praetors witness the scene in which Cornelius and Vargunteius are not admitted into Cicero's house, because he has been warned that they intend to murder him. However, Cicero does not charge the praetors to arrest the would-be murderers because he lacks evidence. At Cicero's house, the consul instructs the praetors on the strategy of war, following the Senate's decision to send an army against Catiline. Flaccus and Pomtinius renew their allegiance to Rome, telling Cicero they will fight under the command of Petreius. Actually, only Pomtinius speaks, while Flaccus acts accordingly. Sanga enters announcing that the conspirators have taken the bait and the Allobroges must be intercepted at the Milvian Bridge. Flaccus and Pomtinius exeunt to execute the orders. The praetors intercept Allobroges, telling them to surrender, which they do easily, despite Volturtius's protests. The praetors arrest the entire party taking them to Rome. After the conspirators are brought to trial before the Senate, the consul rules that the praetors should be given public thanks for their handling of the conspirators' arrest.

FLAMEN

See also FLAMYN.

FLAMEN **1603

Flamen, a priest. He makes sacrifice for Sejanus before the altar of Fortuna in Jonson's Sejanus His Fall, but the goddess turns her back upon it.

FLAMEN**1622

A holy man in Fletcher and Massinger's The Prophetess. Brought in to certify the legitimacy of the marriage between Diocles and Aurelia, the Flamen claims that "the signs are fatal" and the marriage should not take place.

FLAMEN **1635

Several Flamen figure in Killigrew’s The Conspiracy.

FLAMETTA

Flametta is Trappolin's devoted sweetheart in Cokain's Trappolin. She vows at the beginning of the play that no man will win her from him. She has rejected Barbarino, frustrating him. When Trappolin returns to Florence disguised as Duke Lavinio, Flametta discovers the supposed Duke alone and pleads for the repeal of Trappolin's banishment. Her disguised lover tests her by asking for her maidenhead in recompense for the repeal, and she refuses. He continues to test her, and she respectfully adheres to her virtue. He does claim a number of kisses, and refuses to give her a final answer in response to her suit. In her second attempt to procure Trappolin's forgiveness and return, her disguised beloved insists that he will do her bidding if she promises to lie with Trappolin upon his oath to marry her, rather than waiting for the actual ceremony. She reluctantly agrees, but would rather wait for marriage. When Trappolin administers the magic powder and the Duke is transformed, Flametta enters and mistakes him for her Trappolin. The Duke rejects her, and she goes to Trappolin to complain. When the supposed Trappolin is arrested, she believes the Duke is acting on her behalf. She pleads for his release from prison, and tries to silence his claims to be the true Duke Lavinio upon his release. She is betrothed to Trappolin, who has been given the Earldom of Virelli, at the end of the play.

FLAMINEO**1608

Flamineo is an attendant on Octavio, Duke of Venice in Day's Humour Out of Breath. He speaks three lines in 2.1 but is otherwise mute, though he is included in stage directions in 1.3, 5.1 and 5.2. In Q1 and Bullen he is given four lines at the end of 5.1, but the context makes it clear that it is Octavio who should speak these lines, and the Mermaid editor makes this correction. Possibly a brief speech by Flamineo has dropped out; or a book-keeper's note indicating that it is Flamineo who takes away Hortensio has slipped into the printed text; or the name was originally part of Octavio's line ("...away with both, Flamineo!") and was mistaken for a speech prefix. Finally, although he is not named it is likely that Flamineo is one of the mute "attendants others" of 1.1.

FLAMINEO **1612

Flamineo is secretary to Brachiano in Webster's The White Devil. He is a black devil perhaps. His bawdry is as open and apparent as is his murder of Marcello (fratricide). It is he who assists Brachiano to his sister Vittoria's bed thus cuckolding his brother-in-law Camillo. He later kills Camillo by pushing him from a vaulting horse thus breaking his neck. He tests the fidelity of Vittoria and Zanche by giving them pistols with which to commit suicide and follow Brachiano into death. They instead turn the pistols on him, but the pistols are loaded with blank cartridges. He is murdered along with Vittoria and Zanche when Lodovico and his co-conspirators fall upon them.

FLAMINIUS **1587

Usurping King of Arragon in Greene's Alphonsus, King of Arragon. Mute character, killed by Alphonsus in the battle for Naples.

FLAMINIUS**1607

Flaminius, an old senator, is Terentia's father in Machin's(?) Every Woman in Her Humour. He is surprised early in the play when his daughter, Terentia, chooses to marry an orator of unimpressive birth, Tully, over the dashing soldier and patrician, Lentulus. In fact, Flaminius threatens to take the matter to the Senate. All is made well, however, when Terentia persuades Tully to wait patiently for this most recent of Flaminius's frequent bouts of anger to pass, and Lentulus gives his blessing to the pair and proposes to Flavia instead.

FLAMINIUS**1607

One of Timon's servants in Shakespeare's The Life of Timon of Athens. Timon sends him to Lord Lucullus to ask for a loan of fifty talents.

FLAMINIUS**1631

Flaminius, the Roman Ambassador at Carthage in Massinger's Believe As You List, attempts to imprison Antiochus and discredit his claims of being.

FLAMINIUS**1635

There are two characters with this name in Nabbes' Hannibal and Scipio:

FLAMINIUS, GAIUS

A plebeian in Medwall’s Fulgens and Lucrece. Though aware of his low condition, he courts Lucrece but is unwilling to force her choice. He hires character A to be his go-between with his love. After the (apparently lengthy) interval, he listens patiently to his rival, Publius Cornelius, as he calls upon family connection and wealth as his ‘proof’ of nobility. He dismisses this form of nobility, pointing out that all men are descended of Adam and Eve and therefore only personal virtue rather than family history should be the measure of a man’s virtue. He lists his personal traits as having always lauded God, shown charity to his neighbors, hated incontinency and uncleanness, been faithful and loving to his friends, he eschews idleness, and has personally fought and earned laurels for defending Rome. He can promise Lucrece only a modest keeping, but sufficient for a modest life.

FLAMYN

See also FLAMEN.

FLAMYN

The flamyn, or priest, attends the trial of Theanor in Fletcher's Queen of Corinth in order to marry him to one of the women he has raped should the Queen assign this as her son's punishment. Presumably, it is he who celebrates the marriage of Theanor and Merione at the play's end.

FLANDERS

The Earl of Flanders is a cousin of King Lewes in the anonymous Trial Of Chivalry, and commander of a force of 10,000 men who serve him. Flanders remains a loyal lieutenant of King Lewes, and attends on him in peace and war throughout the play: like Lewes, he fights with, and loses to Pembroke at the tomb, and surrenders his shield to him.

FLAPDRAGON, HAUNCE HERKIN GLUKEN SKELLAN

A "ghost character" in Marston's Dutch Courtesan. Haunce does not appear in the play. Mary Faugh lists him, along with the Irishman Sir Patrick, the Italian Master Beieroane, and the Spaniard Don Skirtoll, as one of the members, presumably representing the Dutch contingent, of the wide-ranging international clientele that Franceschina entertained before she met Freevill.

FLASH, PETER

A clever servant in Dekker's Satiromastix, Peter Flash begins the play in the service of Sir Quintilian Shorthose. It is Flash who has organized and invited the guest list for Cælestine and Sir Walter Terill's wedding celebration, and his efficiency seems to attract the attention of the foolish knight Sir Vaughan ap Rees, who hires Peter Flash into his service. Sir Vaughan then christens him Peter Salamander and refers to him as such for the rest of the play. Peter Flash accompanies Sir Vaughan when he challenges Tucca to a duel, but Sir Vaughan and Tucca resolve their differences verbally. Why Peter Flash desires to switch service from the capable Sir Quintilian to the silly Sir Vaughan is never made explicit, but there are hints in the play that suggest Flash does this in order better to take advantage of his master. For instance, after the duel scene Sir Vaughan tells Flash to go home, and Flash confesses that he does so in order to raid Sir Vaughan's wine cellar. Peter Flash's presence in the play does not really effect the development of the plot, but he does contribute witty banter and highlight the folly of some of the other characters.

FLASH, SIR PETRONEL

Sir Petronel Flash is an impecunious knight who wants to gain wealth by marrying Gertrude, the daughter of the rich goldsmith Touchstone in Jonson, Marston, and Chapman's Eastward Ho!. Petronel intends to sell Gertrude's land to Security and to sail off to Virginia with the money. He has stowed away all his belongings secretly on a ship and hopes to sail away as soon as the transfer of property papers are drawn and sealed. At Security's house, Petronel has breakfast with his host and takes his leave of Winifred, giving her a ring. At an inn, just before Gertrude's departure to her husband's fictional eastward castle, Petronel enters with Security and the Scrivener to have the papers signed by Gertrude. Petronel lies to Gertrude that the papers are about the sale of some poor tenement houses he owns, because he needs the money to furnish his castle. When the papers are signed, Petronel exits with Quicksilver and Security, instructing the usurer to bring him the money from the sale of the land at the Blue Anchor tavern. Petronel lies, telling Security in utmost confidence that he intends to elope with Bramble's wife, while in fact he intends to take Winifred, Security's wife, away with him. At the Blue Anchor tavern, Petronel announces to his hired crew that a masked lady will join them on their voyage. When he is warned that they must not leave for the ship at once because of the coming storm, the inebriated Petronel disregards the warning and orders everybody to embark. The boat is wrecked and Sir Petronel is cast ashore on the Isle of Dogs. Here he meets Quicksilver and Seagull. Since they are still drunk, Petronel believes they are in France and speaks French to the two gentlemen who happened to pass by. Deploring his misfortune, Petronel observes that all the money he had is on the bottom of the river. The Constable brings Petronel and Quicksilver before Golding, the new deputy alderman, saying that they were about to be shipped away to the Low Countries as vagrants. Touchstone confronts Petronel with his trickery and has him taken to prison. When Bramble visits the prisoners, Petronel asks the lawyer if they can be bailed. When Touchstone comes to prison, apparently to rescue Golding, Petronel asks his "father" for forgiveness. When Gertrude enters in the company of the other women, Petronel appeals to his "dear lady-wife" to forgive him. In the final reconciliation scene, Touchstone blesses Petronel and Gertrude as husband and wife.

FLATTERY**1540

One of the Three Vices or fools in the court of King Humanity in Lindsay's Satire of the Three Estates. He and the other two fools disguise themselves to avoid the censure of Good Counsel and Divine Correction; Flattery chooses the guise of a friar/Pardoner and, in a mock baptism, the name Devotion. Gaining access to the King, he and the other two Vices chase Good Counsel away from court, and put Verity and Chastity in the stocks. Hearing of the approach of Divine Correction, he resolves to hide among the Spirituality. He fights with the other two Vices over possession of the King's stolen treasure box. In the second part, when John the Common-weal identifies the Three Vices as the cause of this evil, he is put in the stocks. Identified as the root of church corruption during the Parliament's examination of the Spirituality, his disguise is stripped off and he is brought to the gallows. He betrays Deceit and Falset, insisting they be hanged as well. After they are hanged, he boasts of his hypocrisy, and escapes, apparently into the audience.

FLATTERY**1553

An alternate name by which Adulation goes in Udall's? Respublica.

FLATTERY**1565

Flateri is Symulatyon's cousin in Wager's The Cruel Debtor. As typical of the Vice, Flateri and Rigor decide to play a trick on Symulatyon: they feign a fight and when Symulatyon arrives and tries to separate them, they strike him.

FLATTERY**1581

A "ghost character" in Wilson's The Three Ladies of London. A guest at the wedding of Dissimulation and Love.

FLATTERY **1617

A “ghost character" in the anonymous Pathomachia. One of the twenty-five vices that are the extremes of the eleven virtues. Morosity and Flattery are the extremes of Affability.

FLAVELLO

A sycophantic courtier loyal to Alinda in Brome's The Queen and Concubine. He boasts of his success in training her to be a consummate courtier, fit for the King's bed. When Alinda asks him to murder Eulalia, he agrees readily, and sends the Doctor and Midwife to murder her. Alinda orders him to see to the job himself and, disguised as "Alphonso," he delivers a forged letter to Eulalia that tells of a conspiracy to murder Alinda and restore Eulalia. She sees through the ruse and orders him held along with the other conspirators from court. He is nearly lynched by the Palermians, but confesses all to Eulalia and at her request is pardoned by King Gonzago at the end of the play.

FLAVIA**1599

Gentlewoman to Mellida in Marston's Antonio and Mellida. Flavia identifies Mellida's suitors Galeatzo and Matzagente, helps Rossaline apply makeup, banters with Feliche, and rebuffs approaches from Catzo and Dildo but agrees to sing with them. She also is the one who reports that Mellida has run away, and she later dances with Balurdo at the prenuptial dinner party. She is 14 years old.

FLAVIA**1607

Flavia, described in the dramatis personae of Machin's(?) Every Woman in Her Humour as a "wag," delivers the play's prologue, which she uses as an opportunity to practice her husband-wooing skills. In the play itself, it is Lentulus who has won her heart, although Flavia has had plenty of suitors, which she has dismissed either because they were too old or too stupid; unfortunately, Lentulus is in love with Flavia's friend, Terentia. Flavia and Terentia both write letters to Lentulus in which they declare their feelings. Meanwhile, Flavia supports Terentia's efforts to win Tully, looking in on their betrothal scene regularly to encourage them to make haste. After Terentia and Tully declare their mutual love, Lentulus decides to marry Flavia, much to her delight. The four solemnize their vows in a double ceremony at which the Emperor is in attendance.

FLAVIA**1614

Flavia is Philadelpha's pert waiting gentlewoman in the anonymous The Faithful Friends. Wooed by Sir Pergamus, she recognizes that he is a vainglorious ninny, but encourages his attentions because she wants his wealth, and argues that a shrewd wife can more easily manage a fool than a man of sense.

FLAVIA **1615

Antonio’s sixteen-year-old daughter in Tomkis’ Albumazar. She loves Eugenio and fears her father may one day return to bestow her upon Pandolfo. When the real Antonio returns, she believes it is Trincalo transformed and hurls abuse at him. Learning the truth, she conspires with the real Antonio and the other young lovers and wins Eugenio in marriage.

FLAVIA**1617

A "whore" in Daborne's Poor Man's Comfort. Daughter to the bawd Gullman, she becomes the object of Lucius' affections. When she discovers that Lucius was previously married to Urania, she promptly rejects him and threatens to have him hanged but is persuaded to conspire temporarily with Urania (disguised as Castadora) to consummate her marriage to her true husband. She is murdered by Lucius after summoning the constable to arrest the adulterer.

FLAVIA**1632

Daughter to Guadagni in Brome's The Novella. She is in love with Francisco, to whom she was contracted, but her father has arranged for her to marry Fabritio. To placate her father, she pretends to acquiesce to his choice and reject Francisco. She announces her true feelings to Francisco when he comes to her disguised as the Peddler, and the two escape in a gondola with the help of Astutta, who distracts Guadagni by tossing a case of jewels from the window. Francisco takes her to the Novella's, where they are secretly married by Paulo.

FLAVIA **1633

Flavia serves as an attendant lady upon the Sicilian princess Rosinda in Shirley's The Young Admiral.

FLAVIA**1635

Flavia is the former wife of Fabricio, who sold her without her knowledge in Ford's The Fancies Chaste and Noble. She is now married to Julio, and is happy with him, but she regrets Fabricio and the fact that her brother Romanello will no longer speak to her. She also has to contend with the courtship of her attendants Camillo and Vespucci. To keep them at a distance, she pretends to be flighty and foolish, but her reproaches to Fabricio, whom she continues to help financially, reveal her true feelings. After he has been shamed into going away, she begs Julio to make overtures to Romanello for a reconciliation. Before he has done this she takes matters into her own hands by going to visit Romanello herself, revealing to him that Camillo and Vespucci have been courting her, and appealing for his protection. Reconciled with Romanello and glad to hear of Fabricio's spiritual regeneration, she ends the play content.

FLAVIA **1639

A wench and ‘the court jennet’ in Sharpe’s Noble Stranger. She is called a “black beauty" and agrees to Mercutio’s plan to marry the foolish Pupillus and cuckold him. Mercutio advises her to behave around Pupillus as “a holy sister of the loving Family." She plays her part well, and Pupillus is hooked. She disguises herself as Minerva to gull the fool. She takes forty angels from him and pours water down his throat to inspire him to wit. She comes again as Flavia and, when asked, agrees to marry Pupillus. Once she’s married, she refuses to split Pupillus’ wealth with Mercutio, Plod, and Fledwit.

FLAVIANO

Flaviano is close to the Duke of Mantua in Shirley's The Imposture. His intimacy allows him to take chances that most men would forego. Desiring the duke's daughter Fioretta for himself, for example, Flaviano instigates the substitution of Juliana for Fioretta. His desire for Fioretta also drives him to disguise himself as Claudio, travel to Ferrara, and attempt to kill Honorio. Eventually revealed for the impostor and false counselor that he is, Flaviano dons the guise of a friar and attempts to hide in the woods. He is finally banished from both Mantua and Ferrara.

FLAVINA

A "ghost character" in Shakespeare's Two Noble Kinsmen. Flavina does not appear on stage in the play but is mentioned by Emilia as a now-deceased childhood friend.

FLAVIO

A "ghost character" in Shakespeare's Measure for Measure. A lord of Vienna and friend to Duke Vincentio. When the Duke decides to "return" to Vienna in his own guise, he has Friar Peter deliver letters to Flavio, Crassus, Valentinus, and Rowland, telling them to meet with him. The Duke indicates he wants to meet with Flavio before the others.

FLAVIUS**1599

Flavius is the Roman tribune in Shakespeare's Julius Caesar who accosts the First Commoner in the streets of Rome, demanding to know why the citizen is not working. Flavius next takes it upon himself to pull the celebratory scarves from the statues and images of Caesar throughout the city.

FLAVIUS**1607

Timon's faithful steward in Shakespeare's The Life of Timon of Athens. Timon ignores his warnings. After Timon has left, Flavius shares the little money that is left with the other servants and dismisses them. Flavius then visits his former master in his cave. Timon admits that he is the only "honest man," and he gives him some gold under the condition that he will hate and avoid all men. Later Flavius returns to Timon with two senators. They ask Timon to come back to defend the city against Alcibiades and his army.

FLAVIUS**1624

One of the conspirators against Nero in the anonymous Tragedy of Nero. After the conspiracy is discovered, he dares to denounce Nero's crimes to his face and is condemned to death. See "SCEVINUS."

FLAWNE**1600

Mamon's page (servant) in Marston's Jack Drum's Entertainment. He drinks too much, probably because he has to work for the despicable usurer, Mamon. He refers to his master as the "devil" several times in the play and he never hesitates to tell Mamon what he thinks about him. After Mamon pours the poison onto Katherine and Pasquil destroys all of Mamon's "indentures" the notes of the people who owe him money, Flawne comes to tell Mamon that his house and all of his property are burning to the ground. No one has attempted to extinguish the blaze; on the contrary, they are warming their hands by the fire. Mamon, in complete despair, tells Flawne that he will die now that he is (financially) ruined, but Flawne tells the audience that he will put Mamon into the madhouse, Bedlam, where he can suffer the "sting of the Usurer's conscience" forever.

FLEANCE

The son of Banquo in Shakespeare's Macbeth. Fleance is destined to become ancestor to a long line of kings, culminating in England's King James I. When Banquo and Fleance are ambushed by the Three Murderers, Fleance manages to escape.

FLEDWIT, TOM **1639

A student of law at the Inns of Chancery in Sharpe’s Noble Stranger. He and Plod join with Mercutio in gulling Pupillus. After all his work getting Pupillus to fancy and then marry Flavia, he and his friends find they have been gulled when Flavia refuses to split Pupillus’ wealth with them. Fledwit goes off with Plod to study mischief while Mercutio resolves to live better and go sober to bed.

FLEER

Alternate spelling of the name taken by Antifront in Sharpham's The Fleire while in disguise and not otherwise disguised as someone else.

FLEIRE

A name taken by Antifront in Sharpham's The Fleire while in disguise and not otherwise disguised as someone else.

FLEMING

A law-officer employed, with Crosby, by Tresilian in the anonymous Thomas of Woodstock. (For details, see under Crosby.)

FLEMMING

His mispronunciation of bread and cheese is grounds for his execution in a brief scene that illustrates the quality of justice that the commoners administer in the anonymous Jack Straw.

FLESHHOOK

Fleshhook is a sergeant in London in Middleton's Anything for a Quiet Life. The flesh-hook is used to remove the meat from a pot and the name suggests a necessary and useful, if forceful, service. Outside the tavern "Man in the Moon" in Cheapside, Sweetball tells Fleshhook and Counterbuff to catch Franklin and punish him for having been a cheat. When Franklin pretends to be a "French gentleman," Fleshhook unknowingly assists in another scene of chicanery. Seeing that their services as law-enforcement officers are no longer needed, Fleshhook and Counterbuff exit, followed by Chamlet, Sweetball, and Ralph.

FLETCHER, JACKE

A fictional character in Edwards's Damon and Pithias. Aristippus parallels the impossibility of his friendship to the stupid Carisophus with the impossibility of friendship between Jacke Fletcher and his Bowlt (the arrow-maker and his arrow).

FLETCHER, JOHN **1641

Only mentioned in Wild’s The Benefice. Invention reads some praise for Beaumont and Fletcher (‘the Muses’ twins’) but Furor Poeticus finds fault in his works (‘a couple of cowards . . . one find rhyme, and another reason’) and calls for an imaginary Jailor to take them away.

FLEURY

A judge in Chapman's The Tragedy of Charles, Duke of Byron. He is one of the four judges in Byron's trial. He and the other judges deliver their sentence to Byron in his cell and also appear at the time of his execution to read the sentence again.

FLORA**1581

Flora, goddess of flowers, joins Pomona, goddess of fruits, in decorating the bower prepared for the visit of the goddesses Juno, Pallas, and Venus to Ida in Peele's The Arraignment of Paris.

FLORA**1631

The "renowned Queen" whom Iris and Violetta "importune" to bring an end to the "troublous broiles" in Knevet's Rhodon and Iris. Flora enters at the play's end and orders the soldiers to "put up those murdring blades on paine of [her] displeasure." She is immediately obeyed, and orders Rhodon and Martagon to "dismiss" their armed bands. She orders Martagon to "make an ample restitution" to the "wrong'd" Violetta as well as "entertaine a friendly league with Rhodon / Which [. . .] Cynosbatus must also condescend to." She sentences Eglantine to do "ten yeeres pennance" while "confin'd" in a "vestall Temple" for breaking "the sacred lawes of love," and banishes Poneria and Agnostus from Thessaly forever for their foul deeds. Finally, she "bestow[s]" Iris upon Rhodon and suggests that everyone "solemnize with mirth" the "nuptiall rites" of the title couple.

FLORAMELL

Floramell is Clynton's daughter, Old Fitzwaters's intended bride, King John's victim of harassment, the French Queen's source of murderous jealousy and last, but not least, Young Fitzwaters' true love in Smith's The Hector of Germany. Floramell regularly meets her suitor Young Fitzwaters in her father's garden, assisted by her Page and Young Fitzwaters's Steward. The Steward betrays the pair; as a result, Clynton and Old Fitzwaters find them together. The two fathers are infuriated since they had struck a bargain, without Floramell's consent, arranging a marriage between Floramell and Old Fitzwaters. Floramell escapes to the sea by dressing her Page in her wedding gown and sending him to the wedding in her place. Unfortunately, the lovers' ship sinks. They are both saved; however, they are separated and both fear that the other is dead. Floramell is offered refuge by the French court. At the court, she assumes the name Infortuna. She immediately suspects King John of inappropriate intentions. Her fears are well founded, as the King repeatedly accosts Floramell and asks her to become his mistress or new bride. He offers to kill the Queen in exchange for Floramell's love. The Queen suspects an affair and confronts Floramell. The Queen employs spies to watch the young woman. Spies are present when the King is able to coerce a single kiss from Floramell. The Queen takes the kiss as proof of adultery and hires an unsuspecting Young Fitzwaters to arrest Floramell. Floramell convinces Young Fitzwaters of her innocence and frees herself from doubt about Young Fitzwaters' relationship with the Queen. When confronted by the Queen with drunken travelers paid for deceitful testimonies, the King swears that Floramell is innocent, thereby clearing her name. At the end of the play, King Edward rules that Young Fitzwaters was betrothed to Floramell before his father and that Floramell should therefore marry Young Fitzwaters.

FLORELIA

Florelia is Bertoldi's mother and a widow in Shirley's The Imposture. She desires that her son Bertoldi be less of a coward, but she rightly disbelieves the tales of Bertoldi's valor as told by his acquaintances–all of whom have been offered Floralia's hand in exchange for their storytelling. Eventually donning male attire and participating in a tavern joke upon her own son, Florelia agrees to wed Hortensio.

FLORELLE

A shepherdess of Delos, sister to Damon and friend to her relative Florimène in [?]Queen Henrietta's Florimène. She is not involved in the romantic intrigues, but is in the end married off by Diana to Anfrize.

FLORELLI

Florelli is a noble English gentleman in Shirley's The Gentleman of Venice. He visits Venice with three companions. He wins several athletic events at the Academy; Florelli's prowess and nobility are characteristics that convince Cornari to kidnap the Englishman. Taken to Cornari's home, Florelli is presented with a paper that supposedly gives him permission to become intimate with Cornari's wife Claudiana. Though Cornari later threatens Florelli, the Englishman verifies that he and Claudiana did nothing together but pray. Florelli receives money from Cornari and is returned to his English companions.

FLORELLO**1629

Florello is the brother of Altamont and has been at war in Davenant's The Just Italian. He returns to see his brother badly treated by Alteza and is amazed. Altamont asks that he not appear before Alteza until he is more suitably garbed and gives Florello money to do so. Florello buys rich clothes himself, and his friends Molard and Rossa, as well as jewels, and presents himself to Alteza and Charintha as Dandolo. He succeeds in winning their favor, especially since he is lavish in his presents, and even convinces them that the real Dandolo is simply his bastard half-brother. However, Niente learns the truth and tells Charintha, who banishes him from her sight. Broke, Florello and his friends sell their rich clothes and resume their worn uniforms. Molard and Rossa, unrecognized, meet off-stage with Dandolo and his two champions who ask for their help in killing Florello. Instead, they fight and beat them, leading them bound to Florello, who releases them after being promised a ransom. Florello then confronts Charintha, with whom he has fallen in love, and wins her over. Just as she declares her love, Mervolle arrives to announce Altamont's death, and to tell Florello that he must leave Charintha for his mourning duties, which Florello does. However, all ends happily when Altamont reveals he is not dead and Florello and Charintha are united.

FLORELLO**1629

Florello is an officer under General Castracagnio in the Duke of Tuscany's army in Davenant's The Siege. He is the general's most trusted counsel. Most importantly, Florello is Bertolina's true love. When the general orders an attack on Pisa at the beginning of the play, Florello convinces Castracagnio to postpone the forced entry in respect of the many antiquities and historical sites within the city. Florello also argues that the general will show mercy upon his own soldiers by delaying what might be an unnecessary battle. Florello hopes that Pisa will surrender. His real motivation is a concern for the safety of his true love, Bertolina. As soon as Florello hears that Pisa has been condemned by the Duke of Tuscany, he plots to betray his own army and turn coat to fight for Pisa, more specifically, for Bertolina. He does not confide his aim to Soranzo, but has the young man help him make his way into the enemy city. Soranzo leads a disguised Florello to the front line. A perdue, or sentinel, from Pisa is hiding nearby. Florello confronts the sentinel and surrenders to him. Florello tells Foscari of the impending attack and promises to help in return for Bertolina's hand in marriage. Florello is stunned when Bertolina brands him a coward and rejects his suit. In a fury, Florello returns to the Tuscan force and surrenders to Castracagnio. He begs for death as just punishment for throwing his honor away for a woman. Surprisingly, Florello is pardoned. He leads an overwhelming offensive against Pisa and quickly subdues the city. Florello almost goes entirely insane when he mistakenly concludes Bertolina has given herself to Soranzo. Just as he is about to leave them to one another, Bertolina tells Florello she has always loved him alone. Soranzo is impressed with the two lovers' devotion and withdraws his suit for Bertolina's affection. Impressed with the young man's devotion to his love, Castracagnio and Foscari bless Florello's betrothal to Bertolina.

FLORENCE**1604

Florence is a courtesan with whom Sentloe is in love in the anonymous The Fair Maid of Bristow. She deserts him in favor of Vallenger but abandons him too when he is disinherited. She tries to suborn the supposed Blunt first to kill Sentloe and then to frame Vallenger for his death. The sight of Annabel's goodness leads her to repent at play's end, so the king commutes her death sentence and sends her to a house of convertites.

FLORENCE**1612

Florence is a character in "The Triumph of Honor," the first play within the play of Fletcher's Four Plays in One. She is the wife of Cornelius and the lover of Nicodemus.

FLORENCE**1615

This is the name Vaster gives Marre-Maid for his wife in S.S's Honest Lawyer. Since it is never used again, and since he also tells Marre-Maid that she is his sister, and sixteen, there is no reason to believe this is her real name.

FLORENCE**1638

The Duke of Florence is one of Valentia's suitors in (?)Brome's The Cunning Lovers. Betrayed by Valentia, Florence goes with Ferrara and Julio to tell the Duke about Antonio's visit to the tower. He will be conned on this occasion. However, in Act Five, his luck will change–or that is what he thinks–when the Necromancer confesses him how to go into the tower. He disguises himself as a Mason and he is arrested by the Clown and the Mantuan army.

FLORENCE, MISTRESS

A "ghost character" in Middleton's A Trick to Catch the Old One. When Hoard inquires of the Drawer in a London tavern whether a gentlewoman has arrived, he learns that only Mistress Florence has come in. The Drawer identifies her as a "Dutch widow" and glosses his own phrase, saying that she is "an English drab."

FLORENTINE MUSIC TEACHER

A "ghost character" in Davenant's The Cruel Brother. When Lucio comes to visit Foreste and Corsa, he hears music and is informed by Foreste that it is the Florentine, who instructs Corsa in music.

FLORENTIO

Florentio is the Castilian general in Habington's The Queen of Aragon. He fell in love with the Queen of Aragon during his time as ambassador there, and now leads the forces that have come to save her from her people. He is defeated and badly wounded in his first skirmish with the Aragonese forces, and very resentful of the fact that the Castilians then proceed to triumph under the supposed Ascanio. He challenges Ascanio to a duel, but he recognizes him as the King of Castile when he wounds him. Mortified that he has put his sovereign's life in danger, he renounces his claim to the queen, but is eventually given leave by Ascanio to press his suit again, and marries the queen.

FLORES

A jeweler in the anonymous Wisdom of Doctor Dodypoll. Procuring a love potion from Dodypoll, Flores gives it to his favorite daughter Cornelia with instructions that she should administer it to the Prince. Meanwhile he is offended by Lassinbergh's dishonest advances towards his other daughter, Lucilia, and insists that he marry her. Later, he is convinced by the Peasant that there is a store of treasure waiting to be found. In searching for it, he finds Lucilia and Lassinbergh in the spell of the Enchanter and frees them. Flores is arrested when it is revealed his actions led to madness in Alberdure. Later, Flores presents Katherine with a gift, leading Alfonso to forgive all past offenses.

FLORES de VALDES

A "ghost character" in Dekker's The Whore of Babylon. According to Como, he leads the third squadron of the Babylonian Armada sent to attack Titania.

FLOREZ

Florez is the true heir to the earldom of Flanders in Fletcher's Beggars' Bush. When Wolfort seizes control in Flanders, Florez is placed for safety in the custody of a merchant named Goswin who is living in England, and he grows up believing himself to be Goswin's son. Later in Bruges, where he known as Goswin, he succeeds in business, gains a reputation for generosity and honor, falls in love with Gertrude (who is in reality Bertha, the heir to the throne of Brabant, in disguise), and is engaged to be married. Unknown to him, his true father Gerrard has assumed the disguise of Clause and has become leader of the beggars in Bruges in order to keep a watch on him. When it appears that Florez will marry Gertrude, seemingly a merchant's daughter, Gerrard visits him. Because Florez has earlier sworn a favor, he is required to leave before the wedding. Gerrard then explains to him his true lineage and thus the inappropriate nature of a marriage to Gertrude. Just as Florez is about to plead for an exception to the social forms that would prevent his marriage, Wolfort sets them upon. The arrival of a party of armed merchants and beggars organized by the loyal lord Hubert rescues all involved, and the young lovers, now properly identified and restored to their rightful titles, are reunited and free to marry.

FLORIA

Floria, along with Silvia and Clarella in Ford's The Fancies Chaste and Noble, is one of the three Fancies, the nieces of Octavio, the Marquis of Sienna, whom he keeps concealed in the Bower of Fancies. They are widely supposed to be his mistresses. At the end of the play, the Marquis tells Camillo, Vespucci and Romanello that they are free to court Floria and her sister Silvia.

FLORIANA

Floriana is the friend of Cleantha in Habington's The Queen of Aragon. She is the wife of Sanmartino, to whom she is loyal despite his behavior, protesting that he would behave better if the queen would give him some role in the state.

FLORIDA**1603

Florida is a nymph in the anonymous Narcissus. She appears with Clois, and, as the latter, she also praises Narcissus's beauty. She woos him and declares her faithful love for him. When they are both turned down by Narcissus, she suggests that she and Cloris should go and die, "for poets of our loves shall write the stones." Curiosly, Flora (rather than Florida), according to Roman mythology, was the goddess of spring-time and flowers. She was identified with her Greek counterpart, Cloris.

FLORIDA**1606

Daughter of Antifront and sister of Felecia in Sharpham's The Fleire. Having lost their birthright, the sisters flee to England and become courtesans. In love with Sparke, but rejected by him, she plans revenge. She asks Piso, who is in love with her, to murder Sparke as a sign of his affection. Thinking the crime accomplished she testifies against Piso at the trial. When her part in the crime is revealed, she repents and begs forgiveness of Piso. Then, when Sparke is shown to be alive, she is united with Piso.

FLORIDA**1615

Antonio's long-time courtesan in Thomas Middleton's The Witch. Deeply wounded by his marriage to Isabella, she becomes Sebastian's instrument in his intrigue to win back his contracted wife. When Antonio discovers her in Isabella's chamber with the innocent Gaspero, his servant, she is subjected to her lover's jealous rage but remains faithfully enamoured of him to his death.

FLORIDA**1632

A young woman in Tatham's Love Crowns the End. Left for dead by a jealous Clinton who thought he slew her, she recovers and later finds Lysander bleeding to death in a field. Together, she and Claudia carry Lysander off to help, and when he recovers, he asks her whether she had seen Clinton since his rage had left her for dead. She said she wanted to see Clinton, whom she still loves deeply. Reunited in the final scene, Florida and Clinton seem on the verge of marriage as the play closes.

FLORIDA**1638

A nymph in Glapthorne's Argalus and Parthenia, friend of Aminta, Castalia and the shepherdess Sapho. She brings the assembled nymphs and swains news that they are to welcome Demagoras with pastoral songs and entertainment, thereby introducing the first musical sequence in the play. When Clitophon has twice failed to impress Aminta with his flirting, he turns to Florida and is also snubbed her. Strephon later pairs off the other couples for a lovers' dance (Clitophon with Sapho, Alexis with Aminta) and it is unclear whether Florida is included as his partner or ignored by him. His final scene, after Sapho's denunciation, leaves him ranting with fury and cursing all women. Florida last appears with the other maidens, accompanying Parthenia to her final combat. Florida is distinguished by wearing mourning; perhaps for Strephon, whom she possibly really loved after all, and who is either dead or has rejected her. The sub-plot's details are inadequately concluded.

FLORILLA

The young Puritan wife of Count Labervele in Chapman's An Humourous Day's Mirth. Despite her beliefs, she is seduced by Lemot's "testing" of her and arranges to meet him at Verone's tavern, while telling her husband that she plans to fast in her garden. When Lemot reveals that he has tricked her, she retreats to her home, then later returns to the tavern to deny her husband's suspicions of her. He believes her and their happy marriage resumes.

FLORIMEL

Also called Florimella in Day's Humour Out of Breath. Florimel is the daughter to Octavio, Duke of Venice. Her father, having completed the conquest of Mantua, invites his children to celebrate and asks what they should do next. Her brothers are for hunting or tournaments, but Florimel suggests that they set off in search of beauty and love. She wagers with them as to which will find the most beautiful lover, but vows that she herself will remain single. Her father doubts this and decides to disguise himself in order to observe his sons' wooing and assigns his deputy Hortensio to keep an eye on Florimel. Once in the countryside, Florimel leaves her brothers to their search and accompanied by her Page, rests under a tree. There she encounters Aspero, the son of her father's enemy the exiled Duke Antonio: they flirt but eventually part. Back in Venice she admits to her Page that she has fallen in love with Aspero. Aspero appears and they flirt some more while pretending to hate each other. Florimel falls aweeping, and when her guardian Hortensio threatens to imprison Aspero, she says she will bind him with her scarf and "imprison" him in her own chamber. Aspero, denied access to his lady, feigns death in order to sneak into Florimel's presence, surprising her when he starts up alive. Hortensio now recognizes Aspero as the son of the exiled Duke and hauls him off to real prison. Florimel and her Page convince Hortensio to let them view the prisoner, and while there they entice Hortensio into playing a game of Blind-man's Buff, blindfolding him and stealing his gown. Florimel helps Aspero to escape disguised as Hortensio, and they flee to Mantua. There the restored Duke Antonio blesses their betrothal, but word is brought that Duke Octavio is once again assaulting the city. However when Octavio sees his daughter Florimel in love with Aspero and his sons in love with the daughters of Antonio, the dukes are reconciled and all go in arrange for the weddings.

FLORIMELL**1606

A fairy in Dekker's The Whore of Babylon, and one of Titania's privy counselors. Titania appoints him head of her forces on land, suggesting that he figures Elizabeth I's favorite, Robert, Earl of Leicester, Lord General of her land forces in the war against Spain. Because he claims not to share Fideli's spirit, the foreign Kings who court Titania initially think that he favors their proposals; but in fact it soon becomes clear that he is even more opposed to a Babylonian match for Titania than is Fideli. Titania asks him to stay with her when she hears the suit of Paridel, returned from Venice. He later describes to her in glowing terms the Fairy army assembled to fight the Babylonian Armada, whereupon Titania creates him head of the camp at Beria (Tilbury). He fights bravely at Beria, and takes much of the credit for the eventual rout of the Armada.

FLORIMELL**1619

The older of Beaumelle's two trusted intimates (the other is Bellapert) in Field and Massinger's The Fatal Dowry. Florimell was formerly Beaumelle's mother's servant. She is the opposite of the unscrupulous Bellapert. Uninvolved in her mistress's adulterous adventure, she is declared innocent at the trial of Charalois.

FLORIMELL**1623

Florimell is the beautiful daughter of Franio the miller and the titular character of Fletcher and Rowley's The Maid in the Mill. Otrante lusts after her and persuades Florimell's brother, Bustofa, to take her with him when he goes to the court to perform in a play. Florimell performs the role of Venus, but is abducted onstage by Gerasto and taken to Otrante's house. She refuses to sleep with Otrante unless he marries her. Otrante exerts pressure by threatening to ruin her reputation. But Florimell wins through by pretending to be wanton and flirtatious, which Otrante finds repellent. King Philippo then arrives and demands that Otrante compensate Florimell. She refuses money, and Otrante agrees to marry her. It is then revealed that Florimell was a foundling, and that the aristocrat Julio is her real father.

FLORIMÈNE

Florimène, the heroine in [?]Queen Henrietta's Florimène, is a shepherdess of Delos. She is loved by both Filène and Anfrize. At first indifferent to love, she gradually falls for Filène and is finally paired off with him by Diana.

FLORINA

Florina is a lady of Cyprus in Cartwright's The Lady-Errant. Her husband is Philondas, and he is away at the Cyprus-Crete war. She remains loyal but—along with Malthora—indulges herself in exaggerated and almost hysterical grief.

FLORIO **1608

The King of Cyprus' marshal in Markham and Machin's The Dumb Knight. Florio is charged with constructing the arena for the double combat in which the king will attempt to win the hand of the Queen of Sicily; later, with Caelso, he conducts the formal questioning of the combatants before the contest. Meshant consults Florio for advice on bringing a suit to the King's attention. When Epire convinces the King that the Queen has been unfaithful, the King orders Florio to lead the guards who are to arrest the Queen.

FLORIO **1631

Florio is brother to both the virtuous Amidea and the hot-blooded Sciarrha in Shirley's The Traitor. He protects his sister and in turn is protected by his brother. When his sister dies rather than dishonor herself, Florio assists in the plan to avenge the family's honor, but he does not himself enact a culpable deed. By play's end he is offered a fair hearing. As he is spotless, one may assume that he will be exonerated.

FLORIO **1632

Florio, the father to the incestuous lovers, is relatively undeveloped in Ford's 'Tis Pity She's a Whore. He is a careful and proper father who wishes the best for his children. Their enormity kills him.

FLORIUS, JULIUS

Julius Florius, Archbishop of Mentz, Chancellor of Germany and Duke of Pomerland, is one of the seven Electors of Germany in the anonymous Alphonsus Emperor of Germany. He has cause to be grateful to Richard, having previously been captured by the Duke of Brunschweig and ransomed by Richard. However, bribed by Alphonsus, he fails to support Richard in council and instead backs Bohemia. Mentz draws the lot of jester in Fortune's Revels, and witnesses the arrest and killing of the Palsgrave. When Alphonsus feigns to be dangerously ill, Mentz incautiously declares that he would give his own life to make Alphonsus better, and Alexander stabs him to death on the spot as Alphonsus stages a miraculous recovery.

FLORIZEL**1599

Florizel is the name Antonio uses in Marston's Antonio and Mellida when he appears at Piero's court disguised as an Amazon.

FLORIZEL**1610

Florizel, son of Polixenes in Shakespeare's The Winter's Tale, is in love with Perdita even though she is believed to be the daughter of a lowly shepherd. He disguises himself as Doricles, a shepherd, to woo her. When Florizel's father Polixenes discovers the romance, the courtier Camillo advises the lovers to seek refuge in Sicilia. After a series of revelations, Perdita's true identity as Leontes and Hermione's daughter is revealed, and the lovers are united with the approval of their parents.

FLOSCULA

Friend to Tellus in Lyly's Endymion. She advises jealous Tellus to be flattered that only Cynthia, the moon herself, could prove a rival in her love for Endymion. She pities Endymion's state not because she loves him but because she loves his honor and virtue.

FLOWER

The family name of Phillis, her father ("Master") and mother ("Mistress") in [?]Heywood's The Fair Maid of the Exchange.
  • A merchant and the father of Phillis Flower is a humours character given to commenting upon what he terms "good conceits," i.e. interesting turns of phrase, circumstances, or ideas. His original intention is to see Phillis marry Ferdinand Golding, but when Frank produces a letter that appears to say Ferdinand wishes to withdraw his proposal, Flower decides to have Phillis marry Frank instead. He lends Racket (Bobbington in disguise) money, taking a diamond as collateral, and he is arrested by Wood, the diamond's rightful owner, at the end of the play.
  • Phillis's mother, Mistress Flower, at first favors Anthony Golding's proposal for her daughter, but when a false letter convinces her of Anthony's withdrawal, she decides to support Frank. She manipulates her husband by leading him to believe she still supports Anthony, and then in a great show of apparent submission to her husband's will, she acquiesces in his choice of Frank.

FLOWERDALE

Matthew Flowerdale is a prodigal son, spending his father's money on drink and gambling in The London Prodigal. He uses a fake will to trick Sir Lancelot into thinking he is rich enough to marry Luce. But although Flowerdale believes himself to be cunning, he is all the time being manipulated by his father, in the guise of Christopher. After the marriage, Flowerdale is threatened with imprisonment for debt, and descends into beggary, finally being accused of murdering his missing wife. He is shamed into repentance when Luce reveals that she was hiding in a disguise, and swears her undying love. Once he has repented and promised to improve, Flowerdale is showered with gifts from the other characters.

FLOWERDEW, MISTRESS **1630

Wife to a haberdasher of small-wares in Randolph's Muses' Looking Glass. One "of the sanctified fraternity of Blackfriars," she brings pins and looking-glasses to the playhouse. In the opening scene, Flowerdew and Bird rant at the iniquity of playhouses, employing many of the Puritan arguments. Flowerdew specifically attacks the Globe, Phoenix, Fortune, Blackfriars, Red Bull, and the Bear Garden (Hope) theatres. She and Bird attempt to convert Roscius from play-acting. Roscius persuades her to stay and witness a play to see that it is not lewd but rather morally improving. By play's end, she is convinced.

FLUD

Flud is the alias assumed by Matthew Shore in Thomas Heywood's 2 Edward IV when he returns to England from self-imposed exile.

FLUELLEN

Captain Fluellen, a Welsh officer in Henry's army in Shakespeare's Henry V, exhibits a keen interest in the "disciplines of the wars" and a fierce pride in the Welsh heritage he shares with his monarch. Henry acknowledges the kinship, and the value of his Welsh captain. Fluellen's ongoing dispute with Pistol often threatens to erupt into violence, but it ends comically when Fluellen forces Pistol to eat a leek, symbol of the Welsh identity.

FLUELLO

Fluello is a gallant in Dekker and Middleton's 1 The Honest Whore, one of the Duke's men, but apparently closer to Matheo and possibly Hippolyto than any of the others. He is part of the mock funeral procession the Duke stages to convince Hippolyto that Infelice is dead. Later, he agrees to attempt to make Candido angry. After Castruchio loses his bet that he can anger Candido, Fluello continues the charade by announcing that he is going to take Candido's silver and gilt beaker, which he does. The Constable forces him and the others to return to the shop and surrender the beaker. When he and the others go to visit Bellafront, Castruchio and Fluello argue over who will pay for the wine Roger is sent to fetch, but in the end both are gulled by the trickery of Roger pretending to spill the wine. When all three return to Bellafront's to find out why she did not come to dinner, and are in turn lectured by her, Castruchio stops a fight between Matheo and Fluello. The fight is over whether or not Bellafront is serious when she tells them to give up prostitutes. Castruchio, Pioratto and Fluello enter briefly with the Duke when he meets with the Doctor, but they are immediately dismissed. When Castruchio tells the Duke of Hippolyto's plan to marry Infelice at the Monastery, Fluello rides ahead to warn them and Matheo of the Duke's imminent arrival, and then joins the Duke when he arrives. With the others, he pleads with the Duke to accept the marriage and is overjoyed when he does.

FLUTE, FRANCIS

One of the rude mechanicals or clown figures in Shakespeare's A Midsummer Night's Dream, Francis Flute is a bellows mender by occupation. He is assigned the part of Thisbe in the clowns' theatrical production of Pyramus and Thisbe and performs the female role with flair despite his initial misgivings about playing the part of a woman.

FLY

Fly is a parasite and a factotum at the New Inn in Jonson's The New Inn. Host describes Fly as a creature of many faces, a man who enjoys drinking and is known by many names. Some call him Deacon Fly, some Doctor Fly, and some Captain or Lieutenant, but most call him quartermaster. Host says that Fly wears black and speaks a little Latin, and he guards the observance of discipline in the house, having set up a law-enforcement militia. Fly enters with Colonel Titpo, who calls him quartermaster and doctor. Fly admits he is no doctor yet, just a poor professor of ceremony, responsible with maintaining discipline in the house. When Tipto marvels at Fly's dubious scholarship, asking him how he came to stay at the inn, Fly responds he was arrested on suspicion of drink and the officers deposited him there. Host adds ironically that the school Fly likes to attend is located in the stables and the cellar, where he studies intensely cases of cups and jugs of beer. Fly pretends to be flattered when Tipto admires the order he has set up at the inn, but reminds the colonel that wine is the chief local preoccupation. Trundle/Stuff, Peck, Pierce, Jordan, and Jug enter. They are servants under Fly's jurisdiction of alcoholism, and they join Tipto and Fly in libation. The company of drunkards is organized according to the military hierarchy, with Fly as the quartermaster of the staff officers. When the whistle sounds for dinner, the merry party of drunkards disperses. Fly enters with Host, reporting on the mock marriage between Beaufort and Frank/Laetitia. When Beaufort enters with his bride, Fly joins in the merriment and mockery. In the final revelation scene, Host as Lord Frampul divulges that Fly was a gypsy, his fellow during his wanderings as a youth. Being reunited with his family, Lord Frampul makes Fly the master of the New Inn.

FLYLOVE, STEPHEN

Stephen Flylove is a reveller in Jordan's Walks of Islington and Hogsden, and leader of the young gallants whose drinking spree forms the main subject of the play. Before the start of the play, he has been betrothed to Bellaflora, but the betrothal has fallen through: he has also made Alice Drowzy pregnant. During the play he meets a woman called Mary Fair-Chaste, who unknown to him is Bellaflora in disguise. But while he is attempting to impress her at the Saracen's Head Tavern in Islington, Alice Drowzy arrives. Flylove, Bellaflora, and the other revellers decamp to the King's Head Tavern in Hogsdon. Egged on by Trimwell, Alice Drowzy has Flylove arrested and committed to the Wood-Street Counter. Ashamed, Flylove offers to marry Mary Fair-Chaste when she visits him in prison; then after his release from prison, he refuses to go through with the marriage, on the grounds this would be a betrayal of Bellaflora. However, in the end it is revealed that Mary Fair-Chaste is really Bellaflora in disguise, and Flylove and Bellaflora are free to marry after all.

FOGGE

Fogge is a companion of Master Rufford in Thomas Heywood's 2 Edward IV and appears with the latter in presenting counterfeit letters supposedly signed by Gloster and allowing foreign sale of English goods.

FOGGO

Foggo is the alias of Goffo when Filenio is disguised in the anonymous Wit of a Woman.

FOIX

A "ghost character" in Shakespeare's Henry V. He is reported among the French dead on the Agincourt battlefield.

FOLIO

Servant of Lepida in Richards' Messalina.

FOLLOWERS

"Two or three followers" of Grimsby in J.W.'s The Valiant Scot are with him when he takes Wallace to the English camp.

FOLLOWERS, FALLACY'S

Disciples of Fallacy in Zouche's The Sophister. Because Distinction thought to "requite a kindnesse Ambiguity did [him]," he sends a tainted drink around to Fallacy's followers and is disappointed when he realizes that Ambiguity is not "amongst them." This drink makes them mad, and they appear "singing, and at last fall together by the eares," and "disperse and fly" when Fallacy appears. Fallacy is disgusted with them and, at the play's end, Discourse orders that the "tumultuous frantick crew, / Which revell it so loosly in our streets, / Dragging our subjects basely by the eares" be "ship't away to Barbary, / And serve as gally slaves till they come there."

FOLLOWERS of LAERTES

An unspecified number of supporters enter the palace with Laertes when he returns from France to revenge Polonius' death in Shakespeare's Hamlet. They at first insist on coming in, but when Laertes asks them to wait outside, they obey.

FOLLY**1508

Folly is described (by the virtuous character Conscience in the anonymous Mundus et Infans) as a kind of synthesis of all the seven sins. He persuades Manhood (Infans in his prime of life) to drink, and after prodding him into all kinds of sinful revelry, re-christens him "Shame."

FOLLY **1515

Spelled Foly in the original. A fool in Skelton's Magnyfycence. One of the evil counselors who mislead Magnyfycence and bring him to ruin and despair.

FOLLY**1590

An allegorical figure residing in the court of Venus in Wilson's The Cobbler's Prophecy. Folly plays the fife, while Venus sings a lullaby to Mars accompanied by Niceness, Newfangle, Dalliance and Jealousy. It is Folly who informs Mars that Venus has run away with Contempt.

FOLLY**1605

A non-speaking role in Marston's Parasitaster, or The Fawn: one of the allegorical attendants in the Masque of Cupid's Council.

FOLLY**1638

Folly is an attendant of Discord in the masque with which Brome's The Antipodes concludes.

FOLLYWIT, RICHARD

A young London gallant in Middleton's A Mad World, My Masters. He is known for his wonton lifestyle and extravagant trickery. Follywit's schemes begin innocently enough when he determines to trick his grandfather, Sir Bounteous Progress, out of £10, justifying his deceit believing that it is all a portion of his inheritance anyway. Follywit, disguised as Lord Owemuch, a fictional country gentleman, urges his grandfather to bequeath his estate to himself. Along with his companions, Mawworm and Hoboy, he contrives to extort yet more from his overly generous grandfather. The gallants disguise themselves and rob Sir Bounteous outright and then bind themselves, thus appearing as victims of the robbery. They receive more money from Bounteous Progress for their losses and inconvenience. Again disguised, this time as a courtesan, Follywit gains admittance to his grandfather's house and uses the opportunity to steal several valuable gems, including the Gentleman Usher's chain. Follywit marries Frank Gullman, the frequent courtesan of Sir Bounteous, seeing it as a way to receive more of his grandfather's munificence. In one final trick, Follywit and his companions, posing as the players of Lord Owemuch, perform The Slip before Sir Bounteous' assembled guests. Under the guise of theatrical performance, the gallants, steal a number of Sir Bounteous' valuable personal effects in order to "outfit" the performance and immediately steal away after Follywit speaks the prologue. They are detained by a constable, but he convinces the audience that the constable is part of the play. The constable is tied to a chair and ridiculed by the audience as a poor performer thus allowing the rascals to escape. Follywit returns to his grandfather's party as himself, but his trickery is discovered when Sir Bounteous hears the ticking of his watch. He is forced to return the watch and the other goods stolen as "props." Claiming to have mended his trickster lifestyle, Follywit reveals that he is married to the courtesan and receives a gift of a thousand marks, again from Sir Bounteous, to mark the festive occasion.

FOND, MISTRESS

Mistress Fond and Mistress Gazer are two curious gossips of London in Jonson, Marston, and Chapman's Eastward Ho!. At the inn, the two chatterboxes watch the fuss created by Gertrude before taking the coach to Sir Petronel's fictional castle in the country. Mistress Fond calls Mistress Gazer to attend the boisterous event of the new lady's departure. Mistress Fond emits the malicious rumor according to which Gertrude is married to a fine castle in the country. The town gossip generates the ironic fiction in which the lady's knight killed all the giants in his hypothetical castle and therefore he was knighted. Mistress Fond's exaggeration regarding Sir Petronel's castle foreshadows the fact that the castle does not exist.

FONDLING, MISTRESS

Wife of Littlegood and mother of Lackwit, Aemilia, and Valeria in Marmion's A Fine Companion. Fondling's primary concern seems to be her son. She feels that he has grown sallow with too much learning and wants him to learn "breeding," which includes sowing a certain amount of wild oats.

FONTINEL

Fontinel is a French gentleman in the anonymous Blurt, Master Constable. He arrives in Venice as Camillo's prisoner, wins Violetta's love and marries her. The name suggests in medical terms the soft part of an infant's skull. The implication is of a vulnerable part, therefore an exposed person. At a banquet in his house, Camillo announces that he has taken the Frenchman prisoner in Violetta's name. Violetta wants to see the prisoner and, impressed by his gallantry and dancing skills, falls in love with him. In his turn, Fontinel admires Violetta's beauty and declares himself a captive to her looks. Outside a tennis court, Fontinel discusses his love with Violetta's page. When Camillo sees Fontinel wearing Violetta's colors, he has him disarmed and taken to prison. In the street before Hipolito's house, Fontinel expresses his undying love for Violetta in the sonneteering mode. When Camillo and Hipolito propose that Fontinel should leave Violetta and instead take Imperia as his mistress, Fontinel refuses, saying he prefers to die rather than leave his beloved Violetta. Camillo has Fontinel sent back to prison. In the street before an old chapel, Fontinel enters in Frisco's clothes, while the porter wears Fontinel's garments. This is meant to make possible Violetta's secret marriage to Fontinel. Violetta enters with the Friar, and Fontinel asks the Friar to proceed. In Imperia's house, Fontinel pretends to be in love with the courtesan. When the warning comes that somebody who claims to be Camillo is at the door, Fontinel hides in Imperia's closet. Violetta, who has claimed to be Camillo in order to gain entrance to Imperia's house, joins Fontinel in Imperia's bedroom. At the Duke's orders, Blurt arrests Fontinel under the charge of dishonoring a Venetian lady. Violetta is unmasked and reveals that she had devised the plot and that Fontinel only pretended to love Imperia in order to save her lover from Camillo's jealousy. Fontinel pledges his love for Violetta and declares himself her champion.

FONTINELL

Fontinell is one of Count Hippolito's gentlemen in Dekker's 2 Honest Whore. He belongs to the group that includes Carolo, Beraldo, and Astolfo.

FOOL

For named fools, such as Feste, use the "CNTL-F" function to search keywords such as "fool," "jester," and related concepts.

FOOL**1605

Officially serving in Shakespeare's King Lear as Lear's court jester, the Fool is also a sounding board and wise commentator upon many of the ironies and injustices present in various dramatic situations. The Fool plainly disapproves of Lear's kingdom division and renunciation of power. He sees Goneril and Regan for the evil-doers that they are, and he commiserates with Lear during the storm on the heath. The Fool disappears after the storm and his whereabouts are never clearly explained.

FOOL**1607

Appears with Apemantus in II.ii of Shakespeare's The Life of Timon of Athens. They both speak with the creditors' servants who besiege Timon's house.

FOOL**1617

The unnamed Foole appears throughout Fletcher's The Mad Lover, often providing the verbal fun and physical humor associated with jesters. With his Page (Picus), he exchanges banter with Chilax and Stremon, helps keep watch over the crazed Memnon, and participates in the masque of animals, taking the role of the Dog.

FOOL **1619

A “ghost character" in (?)Goffe’s Careless Shepherdess. Landlord describes a fool he’s seen in a play who holds out his chin, hangs down his hands, and twirls his bauble. He cried “Doodle, doodle, doo" beyond compare. Landlord would give a second shilling to see that fool play the Changeling again.

FOOL, WILL

A clown in ?Tarlton's Three Plays in One. Appears in the second playlet.

FOOLS, FOUR

Four fools in Fletcher and Middleton's The Nice Valour take part in a masque in which they enact the twinge, sowse, douse, justle, knee belly, kicksee buttock, and down derry illustrated in Lapet's book on beatings.

FOOL, KING'S

A "ghost character" in Fletcher's Love's Pilgrimage. Described by Philippo as the only one of the court to have a new coat.

FOOT–BOY**1610

Mammon's hypothetical foot-boy is a "fictional character" in Jonson's The Alchemist. Mammon imagines having a huge amount of money, which he gained because of the alchemical transmutation, and fantasizes that even his foot-boy will be well fed, dining upon pheasants, salmon, and lampreys.

FOOT–BOY**1637

Wallace's foot-boy is murdered offstage by Mentith in J.W.'s The Valiant Scot. Mentith then tells Wallace it was done by Robert Bruce.

FOOTBOY, IRISH

Lady Honour takes this disguise in Field's Amends for Ladies. As the footboy, she delivers a letter to Ingen and returns the gloves that he sent her.

FOOTMAN**1606

A servant to Lord Owemuch (who is really Follywit disguised) in Middleton's A Mad World, My Masters. The footman informs Sir Bounteous of his fictional master's present journey to London. The footman is instrumental in the scheme to defraud Sir Bounteous through the robbery while Owemuch is residing at his home. He binds Follywit (Owemuch) and his companions in order to create the impression that they too have been victimized.

FOOTMAN**1613

The messenger of Sir Gilbert Lambstone in Middleton's No Wit, No Help Like a Woman's. He appears only once, delivering a letter to Mistress Low-Water in Lambstone's unsuccessful attempt to court her.

FOOTMAN**1618

Unlike most of his servants, Creon's Footman (like his Coachman) is retained by Simonides when he inherits his father's estate in Massinger, Middleton and Rowley's The Old Law. This he does because the footman can win him wagers by winning races.

FOOTMAN **1628

This unnamed Footman in Shirley's The Witty Fair One accompanies Treedle and Whibble as they search for the Tutor.

FOOTMAN**1640

Supposed to be a servant of Sir Walter Littleland in Cavendish & Shirley's Country Captain. He brings a phony letter to Sir Francis, allegedly from Sir Walter, actually written by Dorothy. Eats and drinks heavily in the kitchen with Thomas, then disappears before he can be questioned about the letter.

FOOTMEN, FOUR

Four footmen in Dekker's The Whore of Babylon are sent in different directions by Titania's counselors to warn the denizens of Fairyland to be on the lookout for invasions by the Empress of Babylon's spies.

FOOTMAN of FAIRFIELD

He is sent from Hyde Park to a Tavern to buy alcoholic beverages in Shirley's Hyde Park.

FOOTMAN, OLD

A "ghost character" in Fletcher's The Captain. Franck mentions him as someone with whom Clora had become infatuated "for singing of Queen Dido."

FOOTMEN, TWO **1637

In Mayne’s City Match, one footman tells Frank that Madam Aurelia wishes to speak to him. The second footman announces and accompanies Timothy, fantastically dressed as a knight, into Aurelia’s presence. After the marriage, he returns to say the knight is in his wedding bed calling for his bride. After the faux marriage, they bring in two “night pieces" for the new bride, Dorcas. When Warehouse pulls the curtains aside the ‘pictures’ turn out to be Bright and Newcut.

FOOT–POST

The Foot-post delivers a letter from Captain Hardyman to his daughter Hannah in II.i of Brome's The New Academy. The letter contains a bill of charge for £100, which Hardyman instructs his daughter to pay to her half-brother, Valentine, at her discretion. He initially gives the letter to Rafe, whose refusal to look at it once he realizes that it is addressed to his wife dramatizes his lack of jealousy. He mocks Rafe for this faith in his wife.

FOOTWELL

Footwell is one of Crasy's disguises in Brome's The City Wit. As Footwell he cheats and robs his debtors of the money that they owe him. He teaches women courtly behavior.

FOP, GREGORY

Sir Gregory Fop is a rich fool, whom Sir Perfidious hopes will marry his Niece in Middleton and Rowley's Wit at Several Weapons. The Niece, however, prefers Sir Gregory's parasite, Cunningham. Along with Sir Perfidious, Gregory is gulled by Wittypate and the false 'beggars'. Sir Gregory attempts to woo the Niece by serenading her. But the Niece confuses him by hurling abuse whenever they are alone together, while speaking lovingly whenever Sir Perfidious is present. Sir Perfidious is thus irritated when Gregory complains of the Niece's indifference. While pretending to love him, the Niece drops her scarf as a favour. Gregory is angered further when Cunningham takes the scarf, claiming it was intended for Pompey. Gregory is then tricked twice by Cunningham: first, into delivering his love-letter to the Niece, and then into vowing marriage to Mirabell, while he thinks he is talking to the Niece. When he realises that he has been tricked, Gregory decides to marry Mirabell anyway, since she is less abusive than the Niece, and at the end of the play he tells Sir Perfidious that he has married Mirabell to spite him.

FORD

Family name of Francis (or Frank) and Alice in Shakespeare's The Merry Wives of Windsor.

FOREMAN **1638

A “ghost character" in Glapthorne’s Wit in a Constable. Clare suspects that her uncle wants to marry her off to his foreman, who’s recently been promoted to his cash-keeper. He is a limber fellow but fit only for his schoolmate, Nan, whom he takes out to Pimlico and spends ten groats in cakes and Christian ale. He courts her with fragments stolen from legends of knights errants like the Knight of the Burning Pestle.

FOREMAN, DOCTOR SIMON

Only mentioned in Jonson's Epicoene. Dr. Simon Forman was an Elizabethan occultist and alternative medical practitioner in London. He was a quack physician and surgeon, who spent time in jail for occult practices and prescribing dangerous potions, was banned from practicing medicine, and implicated in murder after his death. The London people held him in high regard, mainly because he bravely stayed in London during a plague outbreak, and cured himself and others of the disease. Truewit, Clerimont, and Dauphine discuss the behavioral characteristics of court ladies. While Truewit says that men should love wisely and all women and he shows unusual competence in describing the ladies' manners, Dauphine admires his friend's knowledge in these matters. Dauphine says that his friend has demonstrated excellent understanding of women, implying he should be very successful with them, as if he had the best love philter in the world. Dauphine says that Truewit could do better than Madam Medea or Doctor Foreman. Dauphine refers to the renowned Elizabethan magician and quack doctor. The implication is that Truewit's expertise could have procured him as much success with women as if he had taken a love philter from Simon Forman.

FOREST, MILES

Miles Forest hires Will Slawter and Jack Denten to serve James Terrell's plot in the anonymous True Tragedy of Richard III to murder Edward V and the Duke of York in the Tower of London. Forest is present for the killings and directs the men to bury the princes in the Tower.

FORESTE

Foreste is the title character and of common birth in Davenant's The Cruel Brother. He is a friend of Lucio's, despite his lower rank. He is exceptionally moralistic and in fact objects to Lucio's desire to marry Corsa, Foreste's sister, because she is not worthy of a Count. When Castruchio asks Foreste to help him win a monopoly, Foreste is so insulted that they begin a duel, during which Foreste disarms Castruchio. The entrance of the Monk stops the duel before blood can be shed. The Duke appoints Foreste his secretary because of his worth and, although it is never stated, it seems this overcomes Foreste's objections and allows Lucio and Corsa to marry. Despite his new position, Foreste still refuses to help a Gentleman gain an unwarranted captaincy. Foreste is next insulted by Lothario, who is set on by Castruchio, but once again Foreste is victorious and Lothario is put in jail. He is freed by Castruchio, and swears vengeance on Foreste. When Foreste finds the brooch that the Duke gave to Foreste's wife, Luinna, Foreste accuses her of infidelity and cruelly tests her by pretending to hand her over to a pair of rapists. He is satisfied by her protestations of innocence, but barely, and later drags her along to the Duke's bedroom to confront the Duke. When Foreste finds out about Corsa's rape, he decides that she must die immediately because, even if she were forced, she will lose her reputation. She agrees, and Foreste slits her wrist and declaims upon reputation and impure blood while she bleeds to death on stage. When Lucio returns and finds her dead, Foreste is surprised to find Lucio is not grateful for his service, and even suggests killing himself for having upset his friend. Instead, he suggests that they take revenge on the Duke. When they confront the Duke in his bedroom, Foreste presents Luinna and demands to know if the Duke has slept with her. The Duke's declaration that she was only a way to get to Corsa finally satisfies Foreste. He is disgusted that Lucio forgives the Duke, out of his duty to the sovereign, but accepts Lucio's decision. In the final fight scene, Foreste fights with Castruchio and wounds him, but is killed himself.

FORESTER**1595

A forester in Shakespeare's Love's Labour's Lost shows the Princess of France where she and her attendants can hunt deer and observe Ferdinand and his men, Berowne, Dumaine, and Longaville, unseen.

FORESTER**1601

A Forester in the anonymous Trial Of Chivalry discovers Pembroke and Ferdinand after their duel: he rescues Pembroke, intending to come back for Ferdinand, but finds Ferdinand has been rescued by the Fisherman. At Pembroke's instruction, he builds a tomb for Ferdinand.

FORESTER**1622

Hubert disguises himself as a forester in Fletcher's Beggars' Bush and pretends to arrange the capture of the loyal lords, but instead arranges a trap for Wolfort and Hemskirk. He thereby precipitates the happy ending.

FORGERY

A "ghost character" in Wilson's The Three Ladies of London. A guest at the wedding of Dissimulation and Love.

FORMAL

Formal is a punctilious servant in Cavendish's The Variety who tries to dissuade his mistress, Lucy, from loving Newman. He falsely accuses Newman of murder, but Lucy catches him in the lie. She is unmoved in her love and sends Formal to the tavern to extract Newman, but Newman plies Formal with drink. Newman then induces Formal to take off his shirt, and Formal decides to warm himself with the [Third] Wench. In a scene of considerable spectacle, Formal, seated beside the woman, is raised to the ceiling of the tavern on a mechanical throne and is literally left hanging as IV comes to an end. Newman jokingly offers the suspended Formal to the Drawer in payment for tavern charges.

FORMAL **1638

Servant to Alderman Covet in Glapthorne’s Wit in a Constable. He is circumlocutious. He also appears to be rather young as Sir Timothy calls him boy and he calls the knight father. He is in several scenes throughout the play but has few lines and adds little to the plot’s progression.

FORMAL, ROGER

Roger Formal is Justice Clement's clerk in Jonson's Every Man in His Humour. At Justice Clement's house in Coleman Street, Formal enters following the judge and Knowell. Formal attends on Justice Clement and acts as an intermediary between the judge and his clients, transmitting directives in a formal manner. When Clement gets angry at Cob for having spoken against tobacco, he asks Formal about the rascal's name. In his imperturbable manner, Formal asks Cob about his name and relays the information to the judge. When, finally, Justice Clement's whimsical decision turns out to be in Cob's favor, Formal exits with Cob to give him the warrant for Bobadill's arrest. In a street in the Old Jewry, Formal enters with Knowell. Brainworm/Fitz-Sword enters and sends Knowell off, allegedly to surprise his son during some fictional assignation with a lady. It appears that Formal had been observing the maimed soldier's pose during his conversation with Knowell and, when the old man exits, Formal invites him for a cup of sack. Attracted by the soldier's battered appearance, Formal wants him to tell the story of his war exploits. From his obscure position as a city clerk, Formal likes to live the adventures vicariously, through the soldier's narrative. Formal exits with Brainworm/Fitz-Sword to the Windmill Tavern, but it transpires that the trickster gets Formal drunk and deprives him of his cloak, using it as a disguise. In the final revelation scene, Formal cuts a ridiculous figure when he appears dressed in a suit of armor. He says he remembers nothing, only that he woke up at the tavern in his underwear and the armor was the next best thing he could find by way of apparel. Despite his gullibility, it is understood that Formal participates in the final merriment.

FORMIDON

Formidon is married to Artesio's vain, cruel daughter Rosia in Quarles' The Virgin Widow. Along with his brother-in-law Comodus, he acts as a voice of reason in Artesio's family.

FORMOSUS

Formosus marries Rosimunda and impregnates her in (?)Jeffere's The Bugbears, but these facts are kept secret from all but their personal servants and a few friends who conspire with him to trick his father, Amedeus, into allowing a public marriage ceremony. Formosus deeply loves Rosimunda but cares too much about his inheritance to tell Amedeus the truth. Instead, Formosus weakly stands by while his father contracts his marriage to Iphigenia, Cantalupo's daughter. His marriage to Rosimunda is saved only through a complex scheme masterminded by Biondello, Amedeus' servant, in which Formosus helps convince his father that spirits have entered their house to punish Amedeus for snatching Iphigenia from her true love, Manutius.

FORNICATION'S WIFE

A "ghost character" in Wilson's The Three Ladies of London. A guest at the wedding of Dissimulation and Love.

FOROBOSCO**1599

I.
A gentleman of Piero Sforza's court, one of five in Marston's Antonio and Mellida. He first appears in the play's Induction wherein the actors comment upon their parts (though the speech headings identify them only by their character names). Forobosco aptly describes his character in the Induction as possessing "brainless gentility" and mouthing "hyperbolic praise." He confirms to Piero that the reward for Andrugio and Antonio's heads had been proclaimed all over Italy.
II.
Forobosco is a gentleman of the Venetian court in Marston's Antonio's Revenge. He first appears on stage with Antonio and a group of gentlemen. When Piero initially charges his daughter Mellida with unchaste behavior, Forobosco attempts to calm the Duke. Later, Piero instructs Forobosco and Castillo to guard an imprisoned Mellida. Forobosco and Castillo attend Piero's young son Julio when the boy cannot sleep. They are sent to fetch Mellida for her trial. He is present at the masque when Piero is killed.

FOROBOSCO**1614

A non-speaking character in Webster's The Duchess of Malfi.

FOROBOSCO**1626

A mountebank who gulls his victims into believing that he has magical powers in Fletcher, Ford, Massinger and Webster's The Fair Maid of the Inn. He makes Bianca's suitors look foolish by ordering them to bow and dance for him, and he charges exorbitant fees when they request magical assistance for their various projects. He and his assistant, the Clown are captured when they try to steal from Prospero, and both are sent to the galleys.

FORREST

I.
A "ghost character" in Shakespeare's Richard III. Servant to Sir James Tyrell. Tyrell orders Forrest, along with Dighton, to carry out the murder of Prince Edward (now technically Edward V) and Prince Richard, Duke of York, in the Tower of London.
II.
Forrest is a hired murderer in Thomas Heywood's 2 Edward IV. He goes to the Tower with Dighton and with James Tiril. Upon the strength of Tiril's warrant signed by Gloster, Forrest and Dighton enter the Tower, and Forrest murders Prince Richard of York, son of the late King Edward IV.

FORREST, FRANK

Despite his poverty, and the pleading of his father, Frank is lured into a prodigal lifestyle by Rainsforth in Heywood and Rowley's Fortune by Land and Sea. But when Rainsforth insults his father, a fight ensues, and Frank is killed. His death is avenged by his brother, Young Forrest.

FORREST, MILES

Miles Forrest is a gentleman apparently in the service of Honorea, daughter of Morgan Earl of London in Haughton's The Devil and his Dame. He is also a friend of Honorea's lover Musgrave and Mariana's lover Captain Clinton. It is Forrest who suggests to Earl Morgan that he send for St. Dunston to cure Honorea's muteness. When Honorea and Mariana are tricked into marrying men they don't love, Forrest conspires with his friends to help them meet with their lovers in secret. Mariana is so lustful that she begins to seduce Forrest as well, but they are interrupted. In the penultimate scene, Forrest witnesses the "reawakening" of Earl Lacy and the disappearance into the bowels of the earth of Castiliano the Spanish doctor [actually the devil Belphagor).

FORREST, OLD

A poor gentleman, head of a decayed family, and father of Frank, Susan and Young Forrest in Heywood and Rowley's Fortune by Land and Sea. He tries to keep Frank from drinking, and is devastated when he is killed in a brawl. When Susan marries Philip Harding, and Old Harding forces the couple into servitude, Old Forrest begs Old Harding to show mercy, but to no avail. At the end of the play, the family's fortunes are restored by the endeavors of Young Forrest, and by Philip's inheritance of his father's estate.

FORREST, YOUNG

The brave, energetic brother of Frank in Heywood and Rowley's Fortune by Land and Sea. Young Forrest avenges his brother's death by killing Rainsforth in a duel. On the run from the law, he is hidden in a hay-loft by Anne Harding, who takes pity on him. Anne sends him in a trunk to her brother, the Merchant, who gives him passage on a ship to France. When the captain dies, Young Forrest leads the sailors in attacks on Spanish ships, and makes a fortune. He then attacks the pirates Purser and Clinton, claims the bounty, and rescues the Merchant. Returning to England, he is able to restore his family's fortunes, and, when he learns that Old Harding is dead, marries Anne.

FORRESTER

A "ghost character" in the anonymous Maid's Metamorphosis. Mentioned by Sylvio, when he first meets Eurymine. He asks her if she has seen a Forrester who has lost a deer in the forest. Later, Eurymine, looking for the said Forrester, will ask Apollo if he has seen him when she meets the god in the woods.

FORSA

Forsa [Sforza?] is Duke of Milan in the anonymous Knack To Know An Honest Man. He is at war with Florence because Florence did not pay the dowry promised when Milan married Orrelio. When Florence and Milan decide to settle the matter by single combat, Forsa chooses Brishio as his champion. When Brishio discovers the Duke of Florence's champion is his son-in-law, Lelio, they refuse to fight each other. Learning a lesson from this, the Dukes of Milan and Florence agree not to fight and to settle their differences according to the considered recommendation of Lelio and Brishio, which is that Florence pay the dowry.

FORSET

I.
Forset (or Fawcett) is a friend to both Bess and Spencer in Thomas Heywood's The Fair Maid of the West, Part One. He brings Bess word of Spencer's desire to see her before fleeing Plymouth. He informs Roughman of Bess's virtues, and he later accompanies Bess aboard her ship The Negro.
II.
In Thomas Heywood's The Fair Maid of the West, Part Two Forset has no lines assigned to him, but in III Bess inquires about him, implying that he has taken the long boat to fetch Spencer, and Clem reports seeing him as the boat approaches Bess's ship.

FORTINBRAS

Fortinbras, sometimes called young Fortinbras to distinguish him from his father, is first described as a threat to Denmark in Shakespeare's Hamlet; he is gathering an army to invade and take back the lands lost to Old Hamlet by his father. He is stopped by diplomacy, when Claudius sends ambassadors to inform Norway of what Fortinbras is planning. Fortinbras, sharply rebuked by his uncle, instead takes his army to attack Poland, and asks permission to cross the Danish lands. As Hamlet is dying, he hears drums and, on being told it is Fortinbras, voices his support for Fortinbras as the next king. Fortinbras does, in fact, almost immediately establish his right to the kingship, and takes on the role of organizing the dead and living as the play ends.

FORTINBRAS of NORWAY

A "ghost character" in Shakespeare's Hamlet. This is the father of the current Fortinbras, who fought with Old Hamlet, apparently in single combat, and was killed by him, thereby forfeiting his lands to the King of Denmark. Like his son, he was a warrior leader.

FORTITUDE

Fortitude accompanies Astraea in Marston's Histrio-Mastix.

FORTITUDE **1617

A mute character in the anonymous Pathomachia. One of the eleven virtues that regulate the affections. Temerity and Timidity are the extremes of Fortitude. One of the vanguard and rides with Charity in the war against the Vices. He becomes King Love’s general and puts the Vices in prison as Justice sees through their disguises.

FORTRESS, CAPTAIN FURIBUNDO **1636

A knight of the Twibill and Sconce’s cousin in Glapthorne’s Hollander. He has such titles as Lord of No Cloak; Viscount Ratan Cane and One Spur; Count Freese, Gray Felt, and Money-Lack; Duke of Timorbull, Bloomsbury, and Rotten-Row, etc. He reminds Sconce that he cannot marry Dalinea if he wishes to be a Twibill knight. The order takes only bachelors, as with the Knight of Malta, except a Twibill knight may marry after his election. The rules of his order, which he reads out, make clear that the Twibill knights are pimps and pickpockets.

FORTUNATE **1632

A fantasy character in Hausted’s Rival Friends. Neander says that Lucius and Pandora’s first child should be named Fortunate.

FORTUNATUS**1599

A poor knight who opens Dekker's Old Fortunatus wandering in the woods. Upon lying down to sleep, Fortune enters with a large party, including a Carter, a Tailor, a Monk and a Shepherd, all crowned as kings. After various members of the party praise Fortune as the true ruler of the world, Fortunatus wakes and mistakes Fortune for Queen Elizabeth. Fortune corrects him and offers to make him rich and powerful if he will worship her as the true Empress. After debating with himself, Fortunatus agrees to her deal. Fortune gives him a purse that promises to produce all the gold he could desire. After giving several bags of coins to his sons Ampedo and Andelocia and their servant Shadow, Fortunatus leaves for Babylon, where, through trickery, he receives the magic hat which allows the wearer and a companion to travel anywhere in the world. After returning to tell his sons of his adventures, Fortune enters and tells him he is soon to die, which he does after bequeathing his magic items to his sons–the purse to Andelocia and hat to Ampedo.

FORTUNATUS**1602

Fortunatus is Gripe's son, Lelia's brother, and Sophos's friend in the anonymous Wily Beguiled. He returns from war and in the woods overhears Robin Goodfellow explaining all that he and Churms are planning—in particular, Goodfellow's plan to dress up like a hob-goblin to frighten Sophos in the woods. Fortunatus swears that he will not rest until he has avenged the wrongs about to be done to Sophos. He finds Sophos sleeping in the woods and tells him that Churms is not to be trusted. He hatches a plan: the nurse is to have Lelia contact Churms to convince him that she loves him and that she will marry him if he can spirit her from her house, through the wood, and to a friend's house far away. The following night, Fortunatus and Sophos are in the woods waiting for Lelia and Churms. When Robin Goodfellow tries to terrify Sophos, Fortunatus forces him to stand on a stool and makes him confess his misdeeds practiced on great men and spouses. Fortunatus beats him, and he runs away. Immediately after, Fortunatus defends Lelia from Churms's wooing, and when Lelia makes it clear with a kiss that her love is for Sophos, not Churms, Fortunatus and Sophos beat Churms until he flees. Fortunatus observes of Churms that a crafty knave was never so beguiled. Having avenged himself on these two "imps" Fortunatus resolves to work to have his father consent to Sophos and Lelia's marriage. He does this when Gripe is persuaded that Lelia has eloped with Churms, the lawyer in whom he had placed all his trust, and then persuading him that he can win Lelia back only if he will allow her to marry Sophos. He returns with the two, and the wedding is agreed for the next day.

FORTUNE**1565

I.
Only mentioned in Edwards's Damon and Pithias. Trying to justify the fact that he is ruling with an iron hand, King Dionisius explains to Eubulus that Fortune, the Greek goddess of chance and prosperity, helps the tyrants gain absolute power. The counselor Eubulus reasons that this goddess is renowned for her inconstancy.
II.
The unpredictable goddess Fortune is the central figure of the fifth dumb show and the final choral ode in Gascoigne and Kinwelmershe's Jocasta.
III.
Debates with Venus as to who is more powerful in the anonymous Rare Triumphs Of Love And Fortune. Takes credit for the events of the second act, in which Fidelia and Hermione are separated by King Phizantius, and the fourth act, in which Armenio is cured of his dumbness, the lovers are reunited, and Hermione destroys his father's magic books and causes additional chaos. Along with Venus, he saves the lovers from Phizantius and Armenio and order them married. Fortune then explains that Fidelia's blood, when sprinkled on Armenio's tongue, will cure his dumbness and when sprinkled on Bomelio's face, will cure his madness. Along with Venus, blesses all the characters in the final lines of the play.

FORTUNE**1590

Fortune's character in Kyd's Soliman and Perseda appears in the first scene (induction), in scenes between acts, and in the final scene; Fortune, Love, and Death discuss their respective parts in the on-going events and serve as a chorus to the action.

FORTUNE**1599

Fortune gives Fortunatus a magic purse in exchange for his submission in Dekker's Old Fortunatus. She plants trees of Virtue and Vice, telling them she cares not which one flourishes or withers. She returns to tell Fortunatus that he is soon to die and refuses his pleas to live. Later, she refuses to shorten Andelocia's life, but she helps him plan a way in which he can use the fruit of the two trees to retrieve his magic items. She returns after the death of Andelocia and Ampedo and reminds all the members of the court that they are mortal and therefore under the dominion of Fortune. In the end, she acknowledges that the Queen (Elizabeth) has sole command of Fortune and Virtue, and which point Vice leaves in defeat.

FORTUNE**1599

Only mentioned in Jonson's Every Man out of His Humour. In Roman mythology, Fortune was the goddess of chance and riches. When Macilente observes the foolish but rich Sogliardo being instructed by Carlo Buffone in the ways of a gentleman, he shows envy and contempt. In Macilente's opinion, Sogliardo does not deserve his good luck, and Macilente is outraged at seeing such foolishness possessing such unmerited riches. Macilente says he cannot endure to see blind Fortune bestow her graces on such fools.

FORTUNE**1600

Family name of Sir Edward, Katherine, and Camelia in Marston's Jack Drum's Entertainment.

FORTUNE**1601

Fortune is an early goddess in the anonymous The Contention Between Liberalitie and Prodigalitie. She arrives richly attended by kings, and she points out her rivalry with Virtue, and how she despises her. She also announces that there will be a trial between them for sovereignty over men. When Vanity takes Tenacitie and Prodigalitie before Fortune, on hearing them beg her for money, the later states that she will make her decision when she hears them sing. Once they have sung, Fortune decides to commit her dear son, Money, to Prodigalitie. But when her son leaves Prodigalitie and comes back home, she grants him to Tenacitie, who had gone to visit her in order to beg her for Money once more. On learning this, Prodigalitie, incensed, comes to defy Fortune, and the goddess decides to take revenge on him who had offended her.

FORTUNE**1607

Only mentioned in Shakespeare's The Life of Timon of Athens. Fortune appears as a character in a work that the poet wants to dedicate to Timon. She is enthroned upon a high hill. One of her favorites looks like Timon and has almost reached the summit, when Fortune spurns him down. The painter thinks that the topic might have been more suitable for a picture.

FORTUNE**1610

Only mentioned in Jonson's The Alchemist. When Subtle disguised as a Priest of Faery plays a deceitful game on Dapper, he pretends to have a robe sent by the Queen of Faery. This robe is the petticoat of Fortune and it is meant to make its bearer exceptionally lucky. Subtle presents a rag as a scarf torn from Fortune's smock, which, Subtle says, is even closer to fortune's body than her petticoat. Subtle blindfolds Dapper with the rag. The false Priest of Faery claims this scarf can make its bearer fortunate forever.

FORTUNE**1612

In the opening sequence of The Valiant Welshman, Fortune calls forth the Harpers to awake the Bardh, whom she requests to sing about Caradoc.

FORTUNE**1632

Fortune, Penury, and Hoist are men deeply indebted to Sir John in Massinger's The City Madam. Fortune has gambled all his money on the shipping trade, but his luck is poor. Initially, Luke makes plea to Sir John to grant Penury and his fellow debtors mercy. Luke later arrests him for debt. The three are paraded in front of Luke, who denies them mercy. Sir John forgives his debt when he reassumes control of the household.

FORTUNE**1635

A character in Shirley's Coronation appearing in a masque that Polidora arranges to have performed for Arcadius.

FORTUNIO**1584

Fedele's friend in ?Munday's Fedele and Fortunio. In love with Victoria. After seeing a disguised Pedante leaving her home late at night, he falls for the plot laid by Pedante and assumes she is having an affair with someone else. After realizing that Victoria loves Fedele, he decides to marry Virginia in order to avoid being left alone and humiliated and enters into a plot devised by Medusa to help him steal her body and affections.

FORTUNIO**1594

Fortunio is the Duke of Venice's son in the anonymous Knack To Know An Honest Man. When the senators want a fair assessment of the case against Lelio, Fortunio tells his father to ignore them, saying they have proof enough. After the sentence against Lelio is announced he makes clear that he wants to seduce Lelio's daughter. He accepts Sempronio, disguised as a cynic, as his servant after the latter demonstrates to him that beauty has no lasting value. Fortunio, Marchetto and the guard force their way into Lelio's house searching for Lelio, and Fortunio tries to seduce Lucida. He tortures Franco, Brishio's servant, to get confirmation that Brishio had helped Lelio to escape, instructs Marchetto to break down Brishio's door to seize his goods, and then sends Sempronio with gold to seduce Lucida. The seduction fails so Fortunio orders Marchetto to gather his friends and they will surprise the women in their beds that night. When, that night, Annetta rejects Fortunio, Fortunio orders the doors to be knocked down but Orphinio and Zephyrius (Annetta's brothers), who have been waiting for this attack, fight Fortunio and Marchetto and Fortunio is injured, rather less than he claims. Sempronio brings him bound to the Duke's court where they are being tried to explain that the brothers were only defending the honor of their sister and niece and that Fortunio and Marchetto are the ones who should be punished. When his father asks him if this is true, Fortunio readily admits his vicious behavior and his father forgives him. Later, when Lelio has been sentenced to death, Brishio's two sons who have just arrived in Venice, offer themselves up for death on the ground that they had made Lelio surrender. The Duke sentences them both to death as well. Again Fortunio steps forward to point out that the two sons are innocent and should not be punished and Annetta forgives him his past behavior.

FORTUNIO**1604

Fortunio is the eldest son of Marc Antonio and is secretly in love with Bellanora in Chapman's All Fools. He agrees to play along Rinaldo's game and pretends to be married to Gratiana and forced out of the house by Marc Antonio. He and Gratiana take refuge in Gostanzo's house, where Fortunio pretends to take Gostanzo's advice on how to win back his father's approval. Meanwhile, he takes the opportunity to spend time with his actual beloved, Bellanora. Luckily, Gostanzo mistakes their discussion as an attempt by Bellanora to persuade Fortunio to obey his father. When Gostanzo first finds out that Valerio has secretly married, he announces that he is settling all his wealth on Bellanora, at which point Fortunio thanks him for making him wealthy, since they have secretly married. He then urges Gostanzo not to be angry since he himself invited Fortunio to his house and supported his supposed marriage to Gratiana.

FORTUNIUS

A "ghost character" in the anonymous Caesar and Pompey. mentioned by Caesar as having been implicated in Pompey's murder and as having himself been killed for it.

FOSCARI**1629

Foscari is the Governor of Pisa in Davenant's The Siege. In the beginning of the play, his city is besieged by a Tuscan army under the command of General Castracagnio. Foscari informs Castracagnio that Pisa has lost its patience with Tuscan oppression; as a result, Pisa has declared independence. Foscari refuses to allow Tuscan troops within his city. He also refuses to pay tribute to Tuscany. By refusing these demands, Castracagnio informs Foscari that the governor will be taken prisoner once the Tuscans enter the city. When Foscari's meeting with the general is over, Foscari confides to his colonel and daughter that he is afraid of the future. Foscari is thrilled when Florello abandons his Tuscan comrades and offers his services to Pisa in exchange for Bertolina's hand in marriage. The governor is eager to make the trade; unfortunately, Bertolina rejects Florello as a coward. By doing so, Bertolina severely angers her father. He needs to stay away from her to keep himself from killing her. Fortunately for Foscari, Florello and Bertolina reunite and Castracagnio promises to intervene on Foscari's behalf with the Duke of Tuscany.

FOSCARI**1629

Foscari is a noble count of Savoy and Cleona's lover in Shirley's Grateful Servant. Supposed dead, Foscari employs Dulcino as page, unaware that his new servant is really Leonora of Milan. Originally planning to reveal himself to Cleona, Foscari discovers the duke's interest in her and plans instead to join the church, allowing Cleona to wed the duke. When he arrives before the duke to receive a churchman's habit, however, he witnesses the discovery of Dulcino as Leonora, as well as the pledge made between Leonora and the duke. Foscari chooses to wed the joyous Cleona rather than enter the church.

FOSCARI**1631

Foscari is the Duke of Parma, disguised as court favorite Giotto in Shirley's The Humorous Courtier. He works in, about, and through almost all of the plots initiated by the various men who hope to be chosen as husband for the duchess; he is even commissioned by Contarini to first seduce, then to kill, Contarini's wife Carintha. At the end of the play he reveals his identity before all, promising never again to think of the plots and subterfuges that he learned of while disguised as Giotto.

FOSCARI, MENDOZA

Nephew to Amago, the Duke of Venice in John Marston's The Insatiate Countess. He seeks to seduce the virtuous widow Lady Lentulus. He falls from the rope ladder on which he attempts to climb into her bedchamber and is discovered, but pretends to have attempted to burgle Lady Lentulus in order to preserve her virtue. In order to extract the truth from him, his uncle has him arrested for the crime he did not commit.

FOSTER**1609

A dissolute gentleman, and friend of Rainsforth in Heywood and Rowley's Fortune by Land and Sea. He is present during the brawl with Frank, and the duel in which Rainsforth is killed. He acts as a witness when Old Harding plans to change his will. He is almost gulled by the Clown into lending money to Philip, but the scheme is undone by Philip's honesty. At the end of the play, Foster loses his estate to a swindler, which Philip sees as a fitting punishment for his lack of generosity.

FOSTER**1625

family name of Old Foster, Mistress Foster, Stephen and Richard in William Rowley's A New Wonder: A Woman Never Vexed.

FOSTER, AGNES

A "ghost character" in Heywood's 2 If You Know Not Me. A charitable woman whose portrait is admired by Doctor Nowell.

FOSTER, MISTRESS

Old Foster's shrewish wife is a former widow whom Old Foster married for her wealth in William Rowley's A New Wonder: A Woman Never Vexed. She is a friend of the eponymous Widow, who is never vexed. Mistress Foster is angered by Stephen Foster's prodigality and encourages Old Foster to disown Robert for helping him. She learns the error of her ways when Robert virtuously rescues Old Foster from Ludgate prison.

FOULEWEATHER, CAPTAIN

Fouleweather is Eugenia's suitor in Chapman's Sir Giles Goosecap. This French traveler is a Southern captain. He obtained his position by serving Lady Kingcob, who sent him to the Low Countries. However, in society he is considered to be quite boring. Nevertheless, he is invited for breakfast in Barnet by Lady Eugenia.

FOUL–WEATHER–IN–HARVEST

This character's limited function is to enter at the moment when Clod and Gettings would duel in Shirley's Contention for Honor and Riches. Foul-Weather-in-Harvest's entrance ruins Clod's appetite for fighting.

FOUNDER

The name that Pennyboy Junior calls, unawares, his disguised father, Pennyboy Canter in Jonson's The Staple of News.

FOUNTAIN

One of the Three Suitors to the Widow in Fletcher's Wit Without Money. None of them distinguishes himself as an individual. While important to the plot development as a group, they are treated in the play almost as a single personality.

FOURCHER

Fourcher is a lawyer in Marston's Histrio-Mastix and, initially, a patron of Chrisoganus (also spelled "Vourcher" and "Vourchier" in text). Along with the other characters, he follows the cycle that begins with the reign of Plenty and ends with Poverty.

FOWLE, ADAM

The landlord of the Fleur-de-luce, where Mosbie lodges in the anonymous Arden of Feversham. He along with Franklin and Bradshaw is one of the guests who becomes suspicious when he visits the Arden house after the murder.

FOWLER, JOHN

This wild young scamp's primary goal in Shirley's The Witty Fair One is to bed Penelope. He urges his suit to her unsuccessfully, eventually feigning illness in hope of gaining her sympathy. His plan backfires when she accepts his indecent proposal, only to trick him into agreeing to bed the chambermaid before being allowed access to Penelope. Fowler's friends join with Penelope in pretending that Fowler is dead. The wild gent witnesses his own funeral, and when he promises to be virtuous, Penelope and friends again recognize Fowler as living and now worthy of Penelope's love.

FOX, HARRY

The "bread and meat man" at the debtor's prison administered by Lodge in Cooke's Greene's Tu Quoque. Fox is disdainful of Spendall's condescending attitude while interred.

FOXE

Servant to the Duchess of Suffolk in Drue's The Duchess of Suffolk. Attends Duchess at start of play. Foxe announces the arrival of Northumberland and Erbaigh, then witnesses Duchess' surprising choice of Bertie for her next husband. Returns with Clunie and is shocked when the Duchess does not choose him to attend her in captivity; he vows revenge for the slight. Later, Foxe is brought before Gardner and Bonner for questioning concerning the Duchess' escape. In an aside, he vows not to betray the Duchess, despite his grievance against her. When a Post reports the Duchess' location, Foxe is compelled to accompany Bonner as he pursues her. Before leaving to join Bonner, advises the forgotten Jenkin to go home. Arrives at Goseling's home where, after initially threatening to reveal the Duchess' disguise, he does not reveal her identity to Bonner and Clunie. As the Duchess, Nurse, Susan, Cranwell, and Dr. Sands pass by on their way to the ship, Foxe creates a diversion by knocking Bonner into a well. After Bonner is pulled out and learns of the Duchess' escape, Foxe is sent with Clunie to pursue her in another boat. Foxe arrives at Perecell's home and warns Perecell, Bertie, Cranwell and Sands about the arrival of Paget, Clunie, Brunswick and their search party. With Clunie Foxe watches the Palsgrave's Captain and his soldiers attempt to apprehend the Duchess, Bertie, and their children. After Clunie hides in a tree, Foxe cuts the branch he is on out of his continuing loyalty to the Duchess. In the confusion of the fighting between Bertie and the Duchess and the Palsgrave's Captain, Foxe takes the children away for safety. He brings the children to Palsgrave's court, arriving just after news of Queen Elizabeth's ascent to the throne has been announced. When Clunie arrives and demands justice against Foxe, Foxe explains why he cut the tree branch and is pardoned by Palsgrave. Foxe returns to London with the Duchess, Bertie, Sands, and Cranwell, and is rewarded by the Duchess for his loyalty with a pension of 100 pounds per year.

FOXE, JOHN

Only mentioned in the anonymous Wit's Triumvirate. Foxe is mentioned by Narrowit, when he is explaining to Master Silence wherein his faith was shaken. He states: "in not believing all the stories in our beloved Foxe his Book of Martyrs." Later his also mentioned by Master Silence when he is giving Master Fright a cure for his fear: "then, to blow him up (your subtle enemy, the devil) do but take Foxe's Martyrs and read him over once a quarter and believe him, and I will warrant you the cure will be perfect." John Foxe (1516-1587), educated at Magdalen School and College (Oxford), became an extreme Reformer early in life. Thus, he had to flee to Germany when Mary reached the throne. When he returned to England in 1539, he devoted to his martyrology and published his Acts and Monuments or The Book of Martyrs round 1554. He also wrote sermons and translations and, despite his kind and charitable temper, he addressed harsh controversial attacks on Catholicism.

FOXSTONE, LADY

Invited guest of Walkadine Hoard, who wishes to show-off his new wife in Middleton's A Trick to Catch the Old One.

FOYES

Father of Martia in Chapman's An Humourous Day's Mirth. He plans her marriage to the fool Labesha. He accompanies Labesha to the tavern, where good gentlemen are reputed to gather. He learns from Labesha that Martia is also at the tavern, in the company of the King who is in love with her. He soon learns, however, that the King has not seduced his daughter and that Dowsecer is in love with her, and she with him. He then agrees to their marriage.

FRAILTY**1606

A servant to Lady Plus in Middleton's(?) Puritan.

FRAILTY **1630

A "ghost character" in Randolph's Muses' Looking Glass. A waiting-woman condemned by Justice Nimis of weakness, she is sentenced to be whipped.

FRAMPUL

Family name of Lord and Lady Frampul, Lady Frances Frampul, and also, presumably, of Laetitia.

FRAMPUL, LADY

Lady Frampul is Lady Frances Frampul's mother in Jonson's The New Inn. She is later revealed under the Nurse's disguise. From a discussion between Host and Lovel it emerges that Frances Frampul's mother was very distressed because she could not give her husband sons, only two daughters, Frances and Laetitia. Grieved at the loss of her younger daughter in infancy, Lovel reports that Lady Frampul just vanished from home and was not heard of since. In the final reunion scene, Nurse reveals herself as Lady Frampul, Lord Frampul's long-lost wife. She is happy to be reunited with her elder daughter, Frances. Lady Frampul also reveals that the presumed orphan boy, Frank, whom Host had adopted as his son, was actually her daughter Laetitia. When Host reveals himself as Lord Frampul, Lady Frampul is so happy she says she can only look and admire, but cannot say a word. Lady Frampul says she repents stealing her daughter Laetitia and going away with her, thus dividing the family. Lady Frampul is happy to be reunited with her daughter, Frances, and her husband, Lord Frampul.

FRAMPUL, LORD

Lord Frampul is father to Lady Frances Frampul in Jonson's The New Inn. He is finally revealed under the disguise of the Host. From a discussion between Lovel and Host, it emerges that Lord Frampul was a student at Oxford, married the daughter of Silly, and then traveled with the gypsies for half a year after his marriage. He is known as "mad" Lord Frampul, and Lovel reports that he had two daughters, Frances and Laetitia, but Laetitia was lost as a child. His wife left him, because she blamed herself for not being able to give him a son, and Lord Frampul went in search of her and was never heard of since. In the final revelation scene, Host discloses he is Lord Frampul and is happy to be reunited with his long-lost wife (the former Nurse) and younger daughter (Frank/Laetitia). Lord Frampul gives his daughter Frances in marriage to Lovel. He also grants two thousand pounds to Prudence as a well-deserved dowry. Happy to be reunited with his wife, Lord Frampul says he will marry her every hour of life hereafter, and he exits with the others in happiness.

FRANCELIA

Daughter of the rebellious Palatine of Mensecke in Suckling's Brennoralt. She is loved by both the discontented but loyal Brennoralt and the rebellious Almerin, to whom she is engaged. The disguised Iphigene, who loves Almerin herself, flirts with Francelia in order to split up their romance; her success results in Almerin's wounding her and killing Francelia, who dies declaring her continued love for Iphigene (now undisguised). Francelia is bunglingly avenged by Brennoralt, who kills Iphigene in the belief that she is a man and guilty of Francelia's death.

FRANCES**1606

The Widow's daughter in Middleton's(?) Puritan; she mourns her father and encourages her mother to remarry, while vowing to remain unmarried herself. At the end of the play she agrees to marry Sir Andrew Tipstaff .

FRANCES**1622

Frances is the daughter of the Flemish merchant Van-lock in Fletcher's Beggars' Bush.

FRANCES**1629

There are two characters named Frances in Jonson's The New Inn.
  • Frank, or Frances, is Host's adopted son. He is finally revealed to be Lord Frampul's long-lost daughter, Laetitia. See more under FRANK.
  • The younger Lady Frampul is also named Frances. See more under FRANCES FRAMPUL, LADY.

FRANCES**1635

Gabriella takes on the name Frances at the New Academy in Brome's The New Academy. Although she fears for her reputation and safety, she sees little option but to aid in Strigood's scam by teaching dancing, singing and courtly behavior. She falls in love with Galliard (Frances Lafoy in disguise).

FRANCES**1637

Frances is a young gentlewoman in Brome's The Damoiselle. She is Dryground's daughter and a whore that works in a bawd house. She is the Damoiselle that has come from France and who can teach court manners. She speaks French.

FRANCES**1638

Frances is Bellamy's daughter in Shirley's Constant Maid. She loves Hartwell and is dismayed when her mother urges the suit of the more financially stable yet foolish Startup. Frances' discomfort heightens as her mother claims affection for Hartwell; to express her point, when Hartwell is brought to her chamber wearing Startup's clothes, she treats him as though he were Startup and promises marriage, though she is aware of Hartwell's disguise. Actually, however, Frances would prefer death to watching Hartwell wed her mother; she is delighted to discover at the play's end that Bellamy has been merely testing the constancy of her daughter and Hartwell.

FRANCES CLARKE

The Porter enters when supper is over, and offers the master and mistress of the house, and their guests, some Christmas entertainment in the anonymous Narcissus. First, he lets in the choir boys, who sing a song. Then, when they finish, he does not let them go, and he even decides to keep their earnings for himself. As he realizes they are getting angry, he urges them to dance a morris dance. Furthermore, he invites them to offer a play to his master and mistress, and the play the boys choose to perform is the story of Narcissus. When the performance is over, the Porter is also responsible for the epilogue. At the end, he reveals his name is Frances. Frances Clarke was the Porter of St John's College, Oxford.

FRANCES FITZDOTTREL, MISTRESS

Fitzdottrel's virtuous but unhappy wife in Jonson's The Devil is an Ass. She is married to a fool who dresses her in expensive (second-hand) gowns and shows her off to gallants (such as Wittipol), but does not allow her to speak to anyone and keeps her shut away at home the rest of the time. She is wooed by Wittipol and allows his attentions, hoping he can rescue her from her marriage. She is able to converse with Wittipol in his disguise as the "Spanish Lady," and convinces him that she is looking for a friend and protector, not a lover. Her freedom from her husband's folly is secured by Wittipol's plot to convince Fitzdottrel to sign his estate over to Manly as security for the duel Everill has organized against Wittipol. With Manly and Wittipol, she is accused of witchcraft in Fitzdottrel's fake possession, but is vindicated when all is revealed.

FRANCES FRAMPUL, LADY

Lady Frances Frampul is daughter and heir to Lord Frampul in Jonson's The New Inn. Lady Frampul arrives at the New Inn with her entourage and, hearing that Lovel is also a guest at the inn, sends word through her maid that he is invited to keep her company. Lady Frampul enters with Frank disguised as Laetitia, followed by Prudence and Nurse. When Lovel enters to pay his promised visit, Lady Frampul kisses him, apparently at her maid's command. Lady Frampul is the defendant in the mock court of love set up at the New Inn. The appellant (Lovel) and the defendant (Lady Frampul) are called before the supreme judge (Prudence), and Host makes them take the oath on the book of love, Ovid's Ars amandi. Lady Frampul asks Lovel to define love and, at the end of his romantic disquisition in the Neoplatonic mode, she kisses him. In the second session of the love court, Lady Frampul demands that Lovel should define valor. After listening to Lovel's celebration of valor as the greatest virtue of mankind, Lady Frampul is impressed with Lovel's eloquence and she gives him a kiss. Since Prudence dismisses the court of love and Lovel exits dissatisfied, Lady Frampul reprimands her maid and shows that she really cared for Lovel, while Prudence thought she only dissembled. Host tells Lady Frampul that Lovel went to bed and suggests that she follow him there. Lady Frampul exits with Prudence to devise a plan to regain Lovel. In the final reunion scene, Lady Frampul is united with her mother, the former Nurse, and with her father, in the person of Host. When the recently disclosed Lord Frampul gives her hand in marriage to Lovel, Lady Frampul is speechless, but certainly happy.

FRANCES LAFOY

A Frenchman and son to Old Lafoy in Brome's The New Academy. Philip was raised with him in France. The two travel to London to see Philip's father. After arriving, they decide to assume false identities and visit the attractions of London. Frances takes on the name Galliard. At the New Academy, he falls in love with his sister Gabriella (who has taken the name Frances as a disguise). Although Stigood agrees to prostitute her to him, he insists on marrying her instead. The couple gives the impression that they have in fact been married in secret, but when it is revealed that they are brother and sister, they reveal that they have not yet actually carried out the marriage. In the end, Frances agrees to marry Joyce Matchil.

FRANCES SPURCOCK

Sir Lancelot's foolish daughter, who marries the equally foolish, but rich, Master Civet in The London Prodigal.

FRANCESCA**1604

A nun of the order of Saint Clare, an order known for strictness and self-discipline in Shakespeare's Measure for Measure. When Isabella becomes a novitiate in the order, Francesca explains the rules of the sisterhood to her.

FRANCESCA**1632

A prostitute, and maidservant to Dorcas in Brome's The Weeding of Covent Garden. She fights with her peer Betty over a Citizen lover and later, with her, assaults the Citizen for his slanderous rumors. She also serves to swell the martial throng in the therapeutic deception of Gabriel Crosswill.

FRANCESCHINA**1602

Wife to Quintiliano and cousin to Angelo in Chapman's May Day. She agrees to meet Lorenzo at Angelo's urging. When he arrives in disguise as a chimney sweep, she arranges an interruption and "thrusts him into [my] coal-house." Later she disguises herself in Aurelio's clothes to continue the deception of Lorenzo. At the May-night show, she appears to mistake her masked husband for another man, but he believes she knew who he was.

FRANCESCHINA**1604

Franceschina, the Dutch courtesan of Marston's Dutch Courtesan, entertained an impressive international clientele until she fell in love with one of her customers, the young Englishman Freevill. Although he returned her feelings at first, Freevill is now engaged to the virtuous Beatrice, and he slowly breaks away from Franceschina, who becomes more and more panicky with every lost kiss. When he offers in his stead the less interesting Malheureux and when he refuses to relinquish a ring that Beatrice gave him, Franceschina vows revenge upon her rival, her beloved, and his friend. She persuades Malheureux that she will sleep with him if, and only if, he kills Freevill and brings her the ring as a sign of his success. Ostensibly driven by lust, Malheureux accepts the offer. He later appears to Franceschina with the ring and confesses that he has killed his friend. Unfortunately for Malheureux, Franceschina has, in the meantime, gone to Freevill's and Beatrice's families, publicized their affair, told Beatrice that Freevill never loved her, and brought the entire group to her chamber to hear Malheureux's confession. Unfortunately for Beatrice, Freevill and Malheureux plotted together to stage Freevill's death. Not only is Freevill alive; he is the one who, disguised as a pander, has been escorting her everywhere her quest for revenge has taken her, watching her all the time. In the end, he reveals himself, and all of the characters are quick to place sole blame upon Franceschina, especially Sir Lionel Freevill, Young Freevill's father, who wants Franceschina to be severely whipped and sent to the worst prison imaginable.

FRANCESCINA

Maid to Angellina in Shirley's The Sisters. She escorts her modest mistress from the castle of Paulina to the house of Antonio, and there supports Antonio in his hopeless plan to introduce her to luxurious living.

FRANCESCO di GONZAGA**1607

A "ghost character" in Barnes's The Devil's Charter. He was the first husband of Lucretia Borgia.

FRANCESCO GUICCIARDINI**1607

Acts the part of chorus throughout Barnes's The Devil's Charter. The chorus speaks six times, once at the beginning of the play and again at the end of each of the five acts.

FRANCIS I

King of France in Chapman's The Tragedy of Chabot, Admiral of France. He gives his blessing to the reconciliation of Chabot and Montmorency in the opening scene. He initially appears to admire Chabot's integrity when he refuses to sign the suit he considers unjust, but in a confrontation scene, he challenges the Admiral's integrity. Though Chabot insists that he has always served justice in the King's name, the King's doubts encourage him to entrust the Chancellor with discovering some corruption in Chabot's past. He is surprised when Montmorency and the Queen come to him to plead Chabot's case and states that he believes the trial will prove Chabot's guilt or innocence. The Chancellor arrives to reveal the verdict of guilt; shortly thereafter, the Secretary and Treasurer arrive to reinforce the news. The King, who has already sent for Chabot, then invites the Queen, the Constable, and Chabot's wife and father-in-law back into his presence. Before them all, he pardons Chabot. Chabot, however, refuses to accept the pardon because he believes himself falsely condemned. The King then orders the Chancellor and the Judges to appear, and the Judges reveal what happened. He also calls in the Proctor-General for his version of events. Having learned the truth, he has the Lord Chancellor arrested. When he learns from Chabot's father-in-law of Chabot's illness, which apparently is due to the King's lack of faith, he vows to visit the Admiral. At Chabot's home, the King agrees to take Allegre into his service and promises Chabot half his kingdom if only he will get well. But Chabot is beyond reach, and his last request is that the King pardon the Lord Chancellor. The King ends the play with a lament over Chabot's death and his own loss.

FRANCIS

See also "FRANK."

FRANCIS**1597

I.
Francis is a tapster at the Boar's Head Tavern in Eastcheap in Shakespeare's 1 Henry IV. He becomes the butt of Prince Hal and Poins' joke as he is summoned over and over just to hear him reply "Anon."
II.
A "ghost character" in Shakespeare's 2 Henry IV. An employee of the Boar's Head Tavern in Eastcheap. Francis apparently does not appear on stage in the play but is called for on occasion by both Mistress Quickly and Falstaff.

FRANCIS**1608

Francis is a courtesan in Barry's Ram Alley. She is in love with William Smallshanks, who brought her to London from the country and introduced her to a bawd, Mistress Sell-smock. She vows to help him in his schemes, and he promises to find her a rich husband. Francis impersonates Constantia Sommerfield in order to fool Sir Oliver Smallshanks and Throat into thinking that William has made a profitable marriage. She is "persuaded" by Throat not to marry William, and sneaks away with Throat and Dash during an ambush by the First Gentleman and Second Gentleman. She "rejects" William, persuading Throat to return the mortgage that William forfeited. The still-disguised Francis tells Throat that she will go to see her "mother," Lady Sommerfield, and prepare the way for his meeting her, but she is arrested en route in order to avoid the visit. The Sergeant informs Francis, however, that a suit has been brought against her by Mistress Sell-smock, her former bawd, who claims that Francis owes her £8 in recompense for six weeks' board and five weeks' loan of a red taffeta gown bound with a silver lace. Francis tries to bribe the Sergeant to release her by offering him sexual favors, but is interrupted and carried off by Lieutenant Beard. Beard loses Francis to an ambush by Thomas Smallshanks and his men. The Constable brings Thomas and Francis to the house of Changeable Taffeta, and Lady Sommerfield denies that Francis is her daughter. Throat attempts to have his marriage to Francis dissolved, but is eventually reconciled with her.

FRANCIS**1615

An impoverished, but clearly noble, young gentleman in Fletcher's Monsieur Thomas, described by Thomas as "scholar, soldier, courtier: and all in one piece." After meeting Francis in Valencia, Valentine conceives a great affection for him, invites him home and offers to share his goods with him. Unfortunately he falls hopelessly in love with the only possession off limits to him: Cellide, his friend's betrothed. He becomes desperately ill and is tormented by the three Physicians, Apothecary, and Barber who attend him. Shocked when Cellide offers herself to him as a cure, he rejects her. He revives when she reveals that she was only testing him and that she loves him without hope of consummation. His recovery is completed when Thomas arrives with a supply of sack and throws the Physicians out. He then leaves Valentine's house without warning in the middle of the night and tries to take ship with some Sailors, but he is 'arrested' by Michael. Accused of having stolen some of Valentine's jewels, he reveals that he has had them since his orphaned childhood. When everyone realizes that he is actually Valentine's long lost son, Francis marries Cellide with Valentine's blessing.

FRANCIS**1617

A "ghost character" in Middleton and Rowley's A Fair Quarrel. A servant of Russell. Russell calls for him, but he does not appear.

FRANCIS**1623

Francis is a drawer in ?Dering's The History of Henry the Fourth. He delivers messages to Hal at the tavern from time to time. Francis is best known for being the object of Hal's most overtly cruel pranks. Hal keeps Francis occupied with dizzying questions while the innkeeper and Pins berate the drawer for ignoring the other clients. Hal tells Francis that he is a fool to remain in faithful service for the remainder of his five-year indentured term.

FRANCIS**1625

A "ghost character" in Sampson's The Vow-Breaker. King Francois II of France, husband to Mary Stuart. He is named in the peace articles ratified at Edinburgh as one of the founders of the peace, and along with the queens Elizabeth and Mary is celebrated by the soldiers at Leith.

FRANCIS ACTON, SIR

A Yorkshire gentleman in Heywood's A Woman Killed with Kindness. After a bloody quarrel with Sir Charles Mountford (q.v.), he gets his revenge by reducing his enemy to penury. In order to destroy Sir Charles's last remaining pride, he tries to persuade Charles' sister, Susan, to sacrifice her virginity in return for money. But when Sir Charles independently decides to offer her to him, Sir Francis is sufficiently moved that he lowers himself to marry Susan, despite her poverty. Sir Francis is a structural link between the play's two plots: he is the brother of Anne Frankford, and is present at both her wedding and her death.

FRANCIS BEAUMONT **1641

Only mentioned in Wild’s The Benefice. Invention reads some praise for Beaumont and Fletcher (‘the Muses’ twins’) but Furor Poeticus finds fault in their works (‘a couple of cowards . . . one find rhyme, and another reason’) and calls for an imaginary Jailor to take them away.

FRANCIS COINT

A "ghost character" in Shakespeare's Richard II. Although he does not appear on stage, he is a member of Bolingbroke's army, which, the Earl of Northumberland tells us at the end of II.i, is making its way to England.

FRANCIS COURTWELL, SIR

Sir Francis Courtwell is a friend of Sir Richard and Lady Huntlove in Cavendish & Shirley's Country Captain. He joins them in the country, bringing his nephew Master Courtwell. Sir Francis and Lady Huntlove make three attempts to have an affair, all of which are thwarted by circumstances. In the third attempt, he plans to feign an injury when falling from his horse on the way back to London, so he can go back and make love to Lady Huntlove while Sir Richard goes on. He really does dislocate his shoulder, and Sir Richard comes back with him. Sir Francis and Lady Huntlove take it as a sign that they should forget the affair.

FRANCIS CRESSINGHAM, SIR

Sir Francis Cressingham is a nobleman living in London, whose hobby is alchemy in Middleton's Anything for a Quiet Life. Left a widower but one month before, he takes a new bride, fifteen-year-old with expensive tastes. From the discussion with Chamlet it becomes apparent that Sir Francis is a gambler and excessively indebted to the merchant, especially after the expenses for the recent wedding. In a conversation with his son, Sir Francis asks George Cressingham to respect his stepmother, while Chamlet advises them to do anything for a quiet life. When Lady Cressingham tries to convince Sir Francis to give up his alchemy and to agree to sell his lands, Sir Francis yields to her wishes, lured by her vague sexual promises. At Sir Francis's house, Saunder presents Sir Franklin with the papers for the sale of the land. George is sent for to cosign the papers, but after discussion with his son, Sir Francis has second thoughts about depriving his children of their inheritance. When Lady Cressingham menaces him with withholding sex, Sir Francis agrees to sign for the sale of his land, and George Cressingham relents to his father's entreaties. Before his house, Sir Francis complains to his son about his impoverishment after the sale of the land. When Lady Cressingham enters and reprimands her husband for complaining, Sir Francis is cowed. After his wife condemns him for having intended to spend a lot of money on the campaign of becoming a sheriff, suggesting that he should instead retire to the country to lead a quiet life, Sir Francis becomes even more depressed. In the final reconciliation scene, it is revealed that George Cressingham has been the secret repository of all the money swindled from Sir Francis. Asking Sir Francis to hear the plea of the reformed Lady Cressingham, George Cressingham asks forgiveness of his father for having caused him so much pain.

FRANCIS de BARD**1595

A Lombard residing in London in Chettle, Dekker and Munday's Sir Thomas More. Francis de Bard tries to abduct Doll Williamson after having earlier enticed Sherwin's Wife to leave home. His villainous behavior contributes to the Londoners' hatred for foreigners and leads to the May Day riots of 1517.

FRANCIS DRAKE, SIR

I.
Only mentioned in Jonson's Every Man in His Humour. Sir Francis Drake (1543?-96) was the first Englishman to sail around the world. He also took a leading part in defeating the Great Armada sent by Spain to invade England. Drake's great voyage around the world, between 1577 and 1580, had the secret financial support of Queen Elizabeth I. On his return, he was warmly acclaimed, and Elizabeth honored him by dining on board his ship and by raising him to knighthood, though she knew this would infuriate the Spaniards. More than any other of England's bold privateers, Drake had helped to set England on the way to becoming the mistress of the seas. When Edward Knowell wants to persuade his cousin Stephen to accompany him to the Old Jewry in order to visit his gallant friends, he uses flattery to move the gullible Stephen. Thus, Edward Knowell says that a man of his cousin's stature should not conceal his resplendent qualities inside, but attempt to show them in society. Rather than let his cousin be discouraged by his natural shyness, Edward Knowell argues, Drake's old ship at Deptford may sooner circle the world again.
II.
Only mentioned in Jonson's Bartholomew Fair. Sir Francis Drake (1543-96) was the first Englishman to sail around the world. In the final revelation scene, Justice Overdo reveals himself under the Porter's disguise. He prepares to deliver his exemplary justice to the people at the Fair, and compares his grand discoveries to those of his countryman Drake.
III.
Only mentioned in the anonymous Wit's Triumvirate. Drake is mentioned by Sir Conquest Shadow when he is telling Doctor Clyster about his imaginary fights at sea: "Methinks I'm sailing about this our globe and do discover more than ever Magellan, Drake, or Cavendish did." Sir Francis Drake (1540-1596) was a navigator and privateer, and a great English sea-captain. Drake was the first Englishman to circumnavigate the globe. He represents the self-made Elizabethan privateer: a rapacious treasure-hunter–especially when those treasures were Spanish–and a daring and visionary explorer.
IV.
A "ghost character" in the anonymous Dick of Devonshire. Mentioned by the first Devonshire Merchant as a prime cause of the war by the example of his successful attacks on Spain.

FRANCIS FABULATOR

A "ghost character" in [?]Bower's Apius and Virginia. Enemy to Mansipulus who tries to get him in trouble with his lord.

FRANCIS FEEBLE

By occupation Francis Feeble makes women's garments in Shakespeare's 2 Henry IV. Recruited by Shallow for military service with Falstaff, Feeble's main concern is not a fear of battle but rather a desire that Thomas Wart serve with him. The implication is clear that Francis Feeble prefers the company of men to that of women.

FRANCIS FIRKIN

A "ghost character" in Mountfort's The Launching of The Mary. One of the workers in the shipyard. His name is called out by the Clerk of the Check.

FRANCIS FLUTE

One of the rude mechanicals or clown figures in Shakespeare's A Midsummer Night's Dream, Francis Flute is a bellows mender by occupation. He is assigned the part of Thisbe in the clowns' theatrical production of Pyramus and Thisbe and performs the female role with flair despite his initial misgivings about playing the part of a woman.

FRANCIS FORD

Also called Frank, he is the husband of Mistress Ford in Shakespeare's The Merry Wives of Windsor. Master Ford is apprised by Pistol of Falstaff's plot to seduce Mistress Ford. Furious and not trusting the fidelity of his wife, he disguises himself as "Mr. Brook" to trick Falstaff into being in his wife's chambers (where he hopes to humiliate the fat knight with a prearranged discovery). Falstaff manages to escape by hiding in a laundry basket. On a second occasion, Ford again fails to find Falstaff and in frustration beats "Mother Prat" (who is actually Falstaff in disguise). After helping to torment the fat knight in Windsor Park, Ford forgives him, realizing that his jealousy was unwarranted.

FRANCIS, FRIAR

Friar Francis officiates at the ill-fated wedding of Hero and Claudio in Shakespeare's Much Ado About Nothing. When the ceremony is cut short by Claudio's announcement that Hero has committed adultery, Friar Francis defends Hero's innocence and urges Leonato not to judge the situation too rashly. When Claudio has departed, he proposes spreading a rumor that Hero is dead, serving the dual purpose of making Claudio repent and, if the accusations prove true, of allowing Leonato to conceal her somewhere out of the public eye. The Friar's advice proves good, and the play ends happily with two weddings.

FRANCIS ILFORD, SIR

Sir Francis Ilford, called Franke by his two dissolute companions Bartley and Wentloe is a rogue and spendthrift in Wilkins's The Miseries of Enforced Marriage. He has not yet come into his inheritance and thus looks to sponge off William Scarborrow. He is tricked by the Butler into marrying Scarborrow's sister as revenge for depleting William Scarborrow's estate. His anger is subsequently turned to joy when the sister is provided with a dowry by a repentant Lord Falconbridge.

FRANCIS LEAKE, SIR

A "ghost character" in Sampson's The Vow-Breaker. With Sir Jarvis Clifton, one of the two English noblemen from whom Lord Grey of Wilton expects reinforcements for the Battle of Leith. He keeps the water-ports for the English side during the battle.

FRANCIS PICKBONE

Never appearing on stage in the play, Pickbone is mentioned as an old crony of Shallow's during the latter's law education in Shakespeare's 2 Henry IV.

FRANCIS QUICKSILVER

Francis Quicksilver is Touchstone's apprentice and a rebel youth in Jonson, Marston, and Chapman's Eastward Ho!. The name carries alchemical connotations and suggests instability, intelligence, and quick movements, being related to Mercury. Quicksilver comes drunk to his master's shop in the morning, which wins Touchstone's disapproval. Though he is always in debt and maintains a woman and an expensive horse in town, Quicksilver pretends he is the son of a gentleman and his motto is "Eastward ho!" When Touchstone dismisses him for suspected false dealings, Quicksilver goes to Security's house, where he meets his woman Sindefy. At Security's house, Quicksilver, Sindefy, and Security plot how to trick Gertrude out of her land. When Sir Petronel enters with his new wife, Quicksilver is introduced as a knight and Sindefy as a gentleman's daughter just arrived from the country. After Gertrude is tricked into signing the papers for the sale of her land, Quicksilver runs to Security's house to fetch Winifred, who is going to elope with Sir Petronel. At the Blue Anchor tavern, Quicksilver brings Winifred disguised in her own gown, pretending she is Petronel's cousin who comes to say good-bye. After having a lot to drink, Quicksilver embarks on the boat, together with Winifred, Petronel, and his crew, despite the storm warning. Following the boat's wreck, Quicksilver is cast ashore and meets Sir Petronel and Seagull, who are in the same lamentable situation. Quicksilver offers to take them to his woman's house in London. The Constable brings Petronel and Quicksilver before Golding, the new deputy alderman, saying that they were about to be shipped away to the Low Countries as vagrants. Touchstone confronts Quicksilver with his trickery and has him taken to prison. In prison, Bramble visits Quicksilver and Petronel, offering them legal counsel. When the penitent Quicksilver hears that Golding showed pity for their situation and sent him some money, he is impressed. He dismisses the lawyer and says he will put his fate into God's hands. In a gesture of magnanimity, the reformed Quicksilver tells Wolf to give the money to the other prisoners and ask them to pray for him. When Touchstone comes to prison, ostensibly to rescue Golding, the repentant Quicksilver sings a heart-breaking song of repentance. After Touchstone forgives him and Golding suggests that he should marry Sindefy, Quicksilver does one more penance. He wants to go dressed in rags through the streets of London, to give an example of humility to the people of Cheapside. Quicksilver speaks the play's Epilogue. He notices that the people of London are already crowding to see them exit the Counter and gathered in multitude, as is if when attending a pageant. Effecting the transition from the real world to the reality of the theatrical show, Quicksilver addresses the audience. He wants them to come to the show once a week, just as they are drawn to a pageant every year.

FRANCIS ("FRANK") WELBORNE

Frank Welborne is a prodigal and the protagonist of Massinger's A New Way to Pay Old Debts. He is the son of the late Old Sir John Welborne and Sir Giles Overreach's nephew by marriage. After having been manipulated by Overreach into deeding over his land when he was experiencing bad fortune, Welborne concocts a plan to be revenged upon him–a plan that requires the help of Lady Alworth. Banking on his longtime friendship with Lady Alworth's late husband, who was known to have experienced some particularly bad fortune in his past and was "set upright" by Welborne, to whom he remained forever indebted, the prodigal is the first man to be graced with Lady Alworth's presence since her husband's death. He is successful in convincing Lady Alworth to pretend to be romantically interested in him in order to fool Overreach into paying his "old debts" for him. With the help of Lady Alworth's servants, and using Marrall as a pawn in his charade, Welborne's plan is successful, and Overreach redeems his clothes and offers money to his nephew to pay off his debts. Welborne also successfully bribes Justice Greedy into revoking the tapping and drawing license of Tapwell and Froth, refusing to repay his debt to them while punishing their refusal to serve him at the play's beginning, but he does, however, repay his debts to the three Creditors who petition him. With Marrall's help Overreach is exposed and punished for his extortion, and Welborne's land is restored to its rightful owner. At the play's close the prodigal shuns the service of Marrall because, in his denial of Overreach, he has proven himself to be a "false servant." Instead, Welborne requests a military mission from Lord Lovell in order to reinstate his good reputation.

FRANCISCA

Antonio's unmarried sister in Thomas Middleton's The Witch. She has a child by the worthless Aberzanes. Fearing that Isabella, her sister-in-law, might reveal her disgrace to her brother, she tries to damage Isabella's reputation with her husband by leading him to believe that she is unfaithful. This plan fails and Francisca is forced to disclose her own secret to her brother. Antonio then forces her to marry to Aberzanes with the intention of murdering the couple during the wedding ceremony. Francisca and Aberzanes survive, however, when Antonio's servant Hermio defies his master's plan to put poison in the chalice that he offers to the couple.

FRANCISCO**1601

Francisco is the guard on duty who is replaced by Barnardo and Marcellus in Shakespeare's Hamlet. He says that he has had a quiet guard but is glad to be relieved, partly because he is cold and partly because he is sick at heart, the reason for the latter remains unspoken.

FRANCISCO **1604

A “ghost character" in Rowley’s When You See Me. Prince Edward’s Italian teacher.

FRANCISCO**1608

Francisco is one of the sons of Octavio, Duke of Venice and brother to Hippolito and Florimel in Day's Humour Out of Breath. Octavio, having just conquered Mantua and exiled his enemy Duke Antonio, invites his children to celebrate and asks them what they would like to do next. Francisco is in favor of hunting the lion and the stag, but his sister and father convince the brothers to set out in search of love and beauty. Francisco and Hippolito disguise themselves as shepherds for this purpose, but unbeknownst to them their father also dons a disguise in order to spy on their wooing efforts. Francisco and Hippolito encounter two beautiful country maids, who are really Hermia and Lucida, the disguised daughters of the exiled Duke, and the couples flirt extensively, Hermia with Hippolito and Lucida with Francisco. After further wooing the couples decide to wed and they obtain Antonio's blessing; but Octavio, who has been disguised as a servingman, thinks they are in love with real peasant girls and reveals himself, forbidding the matches, banishing the disguised Antonio and his daughters, and taking Francisco and Hippolito away. In the meantime loyal Mantuan Lords have retaken Mantua in Antonio's name. He and his daughters have re-entered their city when word is brought that Octavio and his army are on the way to attack Mantua. Francisco and Hippolito are in the advance guard but when they scale Mantua's walls they are met by Hermia and Lucida who they recognize as the shepherdesses they had loved. When Octavio arrives with the rest of his army he discovers his sons and daughter paired off with Antonio's daughters and son. Chastened by their loving example, the two Dukes reconcile and weddings are announced as the play ends. In this play Hippolito and Francisco are not very well differentiated-in fact they are virtually interchangeable (as are their lovers Lucida and Hermia]. This is demonstrated by what appears to be a confusion in speech prefixes that is perpetuated even in the heavily edited Mermaid edition. All through the early acts, it is Hermia with Hippolito and Lucida with Francisco, and this is the way they are paired off at the very end. But when the brothers scale Mantua walls (Bullen p.479; Mermaid 5.3), it is Francisco who speaks of a "goddesse in my Hermiae's shape."

FRANCISCO **1610

A pirate captain and rival to Ward in Daborne's A Christian Turned Turk. Has been pursuing Monsieur Davy's ship himself when it is taken by Ward instead. Sends an indignant message demanding half the proceeds as the custom of the sea, and is willing to challenge Ward to a duel for his share. Ward and Francisco meet and insult each other–Francisco reminds Ward of his low birth and infuriates him. They fight and Ward loses, to his own amazement, and cannot believe that his opponent has not used 'enchantments' to defeat him. The two pirates become allies, swearing brotherhood and co-operation henceforward. Accompanies Ward on the trail of their shared prize, to Tunis. [the following section is a debated scene–the quarto has FRANCISCO acting as dissuader, the Vitkus ed. argues for 'Fidelio' being the intended character. The note has duplicated the content, as the reallocation makes sense for two textual reasons–Ward calling the character 'boy', and Voada's fury at the 'boy's interference. The change significantly enhances Alizia's agency in the play, but there are doubts that it can be fully justified.] When Ward decides to turn Turk, Francisco pleads with him to reconsider, begging on his knees that Ward resist the temptation to sell his soul and deny his redeemer. His eloquence troubles Ward's conscience and he briefly recants his decision, before being quickly turned again by Voada, furious at the intervention and forcing Francisco from the room. He later intervenes in Ward's troubled marriage, angering him with the news that his wife is a whore. He does persuade Ward that his castle is under threat of occupation by the Janissaries, and that his conversion has gained him nothing but contempt. He flees when Janissaries arrive to arrest Ward–thanks to his warning, Ward manages to hide from them. Francisco returns and shows great loyalty, calling him brother. Ward fears that flattery, not pity moves him, but is persuaded his compassion is genuine. Ward repents his life of blood and blasphemy, regrets his lost life of simple content as a fisherman. Francisco warns him not to fall into the mortal sin of despair. (Some confused offstage plotting must be inferred from this point.) Ward blames (the absent) Francisco for the failure of his own plot to have Voada shoot Fidelio. The Governor of Tunis later reports that Francisco has been executed by the common hangman of the city, for crimes unspecified.

FRANCISCO**1611

A lord attendant to Alonso in Shakespeare's The Tempest. Francisco accompanies Alonso back from the wedding of Claribel, Alonso's daughter, to the King of Tunis, when they are stranded on Prospero's island. He tries to reassure Alonso that Ferdinand, Alonso's son, has survived the apparent shipwreck.

FRANCISCO **1612

Francisco de Medici has the right intentions at first, trying to reconcile his sister to her husband in Webster's The White Devil. But when that fails and she is killed, he becomes the marauding avenger who becomes entangled in his own revenge. That he appears in the last act painted entirely black is probably a good indication that he has fallen into the evil of his own revenge and become as bad as those he seeks to act his vengeance upon. Giovanni's promise to do justice against him indicates that he will not escape punishment for his crimes.

FRANCISCO**1614

Brother of Valentine, also referred to occasionally as "Frank" by Valentine in Fletcher's Wit Without Money. He is intellectual and honorable and lacks Valentine's calculating charisma. Francisco remains loyal to his brother even though Valentine has used up Francisco's money as well as his own. With Lance, Francisco confronts Valentine and asks for money, becoming impatient with him when Valentine has no money and claims neither he nor Francisco needs any. After accepting the money offered by Isabel, through Shorthose, he finds her attractive when he meets her and thanks her for the money.

FRANCISCO**1616

Francisco is the name taken by Leocadia in Fletcher's Love's Pilgrimage while she is disguised as a page.

FRANCISCO **1616

Francisco is a young gentleman who makes a daily practice of calling for warrants just so he can catch a glimpse of Philippa, the Justice Brandino's wife in Thomas Middleton's The Widow. He and Attilio hide themselves while their friend Ricardo tricks the Widow Valeria into a promise of marriage. Francisco and Attilio are then produced as witnesses to that pledge. Upon later entering Brandino's home, Francisco becomes enamored of Martia, a woman that Philippa believes to be a man dressed in women's clothing.

FRANCISCO**1620

Really Lysandro, the younger son Euphues, believed dead in May's The Heir. A young man in love with Luce, but likely to lose her in marriage to Shallow. Francisco is poor but devoted to Luce, and until the end of the play is believed to have made her pregnant, thus incurring her father's fury. The ingenious Francisco continues to plot to prevent Luce's threatened wedding. He engages a Sumnor to stand by to serve a writ of adultery on Shallow, on the grounds that he himself is already legally married to Luce, and, moreover threatens the Parson with legal action for perpetrating a bigamous marriage if the wedding proceeds. He fails to persuade the foolish Shallow that Franklin is abusing his credulity. (Shallow has been persuaded that the baby is his own.) The Sumnor in fact serves writs on bride and groom for pre-marital unchastity, evidenced by Luce's pregnancy. Francisco protests that his aim is not to disgrace Luce publicly but to force Franklin to accept their pre-contract. In this he fails. Luce then sends him news that Franklin plans a second, highly secret wedding to forestall a shameful public trial and is also planning to use bribery to smooth over a scandal. At this point, Francisco is amazed by the chance return to Sicily of Alphonso, his old tutor, after twenty years' absence and five years since they were parted in a storm at sea. Alphonso reveals Francisco's true identity as Lysandro, long-lost son of Euphues and younger brother to Philocles. The news gives Francisco fresh hope of rescuing Luce. Before the second ceremony, he exchanges costumes with the real Parson hired to perform the ceremony and succeeds in marrying Luce himself. He attends his brother's trial (without his new bride) and joins in the general rejoicing at the happy outcome.

FRANCISCO**1621

Francisco, Sforza's favorite in Massinger's The Duke of Milan, in love with the Duchess, and married to the Duke's sister .

FRANCISCO**1624

Francisco is a servant to Lodovico in Davenport's The City Night Cap. He is in charge of entertaining his wife Dorothea for whom he plays music, and reads poetry for forty crowns per annum. However, when he is left alone with her in Act One, he discovers that he is a gentleman of Milan, who had heard of her chastity and beauty, and who had fallen in love with her. Thus, Francisco has the intention of sleeping with her. In Act Two, he is invited to Dorothea's chamber thinking that Lodovico is asleep, but he is not and Francisco is betrayed by the faithful wife. Nevertheless, Francisco manages to convince Lodovico that nothing has happened and he is appointed Steward at Lodovico's.

FRANCISCO**1624

Francisco, a Jesuit, is confessor to both Vitelli and Paulina in Massinger's The Renegado. He acts as friend and physician to Grimaldi when the latter begins to go mad. He also plans the escape of Vitelli and Donusa.

FRANCISCO**1625

Antonio's "boy" and Constantia's lute teacher in Fletcher's The Chances. Francisco is implicated in Second Constantia's robbery of Antonio. He is overheard by Don John and Don Francisco when describing Second Constantia's fleeing and is incorrectly believed to be referring to Constantia. He is arrested along with Second Constantia and the Bawd, but the Duke reassures Antonio that Francisco was lured into it by Second Constantia.

FRANCISCO**1629

A servant to the Duke in Carlell's The Deserving Favorite. Before the duel with Lysander, the Duke calls for a servant to deliver two letters. Curiously, the stage directions specify that both Francisco and Bernardo enter, but the only servant's line ("My lord") is attributed to Francisco while the Duke's instructions for delivery of the letters are addressed to Bernardo, to whom no lines are attributed. It is therefore unclear whether Carlell intended both servants to be on stage or whether the stage direction follows a misattribution of the speech prefix to Francisco rather than Bernardo. If the latter is the case, Francisco may be a mistake for a character who does not appear at all in the play.

FRANCISCO**1632

He is of noble birth, but his estate has decayed in Brome's The Novella. He loves Flavia, to whom he was contracted, but she is forced to reject him by her father Guadagni. He disguises himself as the Peddler (who tells him to take Flavia to the Novella's) to gain access to Flavia's chamber. There, he prompts her to confess her love for him and her willingness to kill herself rather than marry Fabritio. The two narrowly escape the house in a gondola with the help of Astutta. At the Novella's, they are married by Paulo.

FRANCISCO**1632

Francisco loves Gloriana in Tatham's Love Crowns the End. Gloriana rebuffs him because she is in love with Lysander. After observing the couple kissing in "Lover's Valley," Francisco vows to separate them and get revenge. Disguised, he and two villains attack Lysander and Gloriana when they are out gathering flowers, stabbing Lysander and carrying off Gloriana. Later, feeling guilty and in despair, he worries about going to hell for murder, and later still, he meets Lysander whom he at first thinks is a ghost. Once Lysander assures him that he is alive, Francisco asks for and receives Lysander's forgiveness. At the end of the play, he reveals that he left the court when Leon, senior, was banished in order to woo Leon's daughter, Gloriana.

FRANCISCO**1641

The second of the two "brothers" in Shirley's The Brothers. Younger son of Don Ramyres and brother to Fernando. Francisco loves Jacinta, daughter to Don Carlo, but Don Carlo is anxious that she should marry his elder brother, and so Francisco, to gain access to her, pretends to love her poor cousin, Felisarda, the girl Fernando loves. Francisco is elevated to heir apparent when Fernando confesses his love for Felisarda to Don Ramyres, who disinherits him in favour of Francisco—an action he later reveals as a test of Fernando, carried out with Francisco's knowledge. Francisco's temporary status as Ramyres' heir reconciles Don Carlo to his love for Jacinta. When Ramyres reinstates Fernando, he makes a generous settlement on Francisco too, thus ensuring that Don Carlo remains reconciled.

FRANCISCO BUSTAMENTE, DON

Don Francisco Bustamente is Captain of Cadiz Castle in the anonymous Dick of Devonshire. He surrenders the fort but tries to defend the city, and is arrested for treason. He and Pike meet just prior to their trials, and express mutual respect. His trial at the hands of Don Fernando ends with a sentence of imprisonment, which is subsequently lengthened by the king.

FRANCISCO COLONNIA

Friend to the Ferneze family in Jonson's The Case is Altered. Courts Phoenixella. One of those who tries to dissuade Count Ferneze from hanging Jasper. (Sometimes spelled "Francesco" in text)

FRANCISCO de CARCOMO

Francisco de Carcomo is an old don and father to Don John in ?Middleton and ?Rowley's Spanish Gypsy.

FRANCISCO SORANZA

Francisco Soranza is a perfumer in Marston's What You Will who, because of his remarkable resemblance to Albano, is commissioned by Jacomo and Albano's brothers to impersonate him.

FRANCISCUS

Franciscus is a gentleman of Vermandero's household in Middleton and Rowley's The Changeling. He enters the madhouse disguised as a madman, in order to seduce Isabella. When playing the madman, he behaves wildly and speaks in absurd, poetic language. He writes Isabella a letter, concealing his declaration of love within a madly addressed envelope. But Isabella shows the letter to Lollio, who then tricks Franciscus into fighting Antonio for Isabella's love. When Alibius finds out about the infiltrators, he tells Vermandero, who assumes them to be the murderers of Alonzo. Fortunately, the truth is discovered before Franciscus can be hanged, and he shamefacedly admits before the assembled cast that he has been proven "stark mad" in truth.

FRANCISEI de RYVERS

Erasmus' Latin form of Perecell's alternate name, Feris De Ryviers in Drue's The Duchess of Suffolk.

FRANCISSINA

Francissina is a courtesan in Milan, who finally marries Mercer in Beaumont and Fletcher's The Woman Hater. When Julia refuses Pandar's proposal to have her married to the rich but gullible Mercer, she offers to pass on the proposition to Francissina. In a street in Milan, Francissina enters with Mercer and Pandar disguised as a scholar. Mercer is already Francissina's husband, and he tells his new wife he is expecting her at home, where he will be in his study. Pandar advises Mercer to clothe his wife well and let her come back with a food basket for the pretended scholar. When Mercer exits, Pandar instructs Francissina to give him what she promised (presumably money) for having made a city-dame out of her. Francissina promises to deliver and exits with Pandar.

FRANCK

Franck in Fletcher's The Captain attempts unsuccessfully to conceal from her teasing friend, Clora, that the object of her affection is a soldier, retaliating by revealing that she knew of Clora's former infatuation with the "old foot-man." Franck welcomes Jacamo, tries to defend him from Clora, praises him and hints broadly that she likes him, only to be repulsed. Later, when Jacamo enters drunk and announces his intention to kiss the women, Franck is happy when he kisses her and declares that he loves her, but laughs along with Frederick and Clora when Jacamo mistakes Frederick for a woman and kisses him. Franck mourns deeply for her loss when she believes that Jacamo has killed Frederick, then urges Fabritio to bring Jacamo back after discovering that it was a ruse. The following morning, Franck is not able to prevent Clora from enacting her idea of dumping a bucket of urine on Jacamo's head in an attempt to draw him into the house, then begs Fabritio to bring Jacamo inside so she will not have to pine away. When Jacamo chases Fabritio into the house and Frederick, Clora, and the Maid hold Jacamo in a chair, Franck apologizes for her boldness but confesses her love to Jacamo, then cries while he applauds her mockery. Clora reassures Jacamo that Franck has foolishly wasted lots of sleep over him, and Franck retorts that Clora has been in even worse shape over Julio. Franck finally convinces Jacamo that she is in earnest, and they kiss and go to get married. At the nuptial celebrations, Franck is distressed by the announcement that war is coming and worries that she will lose Jacamo, but he tells her that he will teach her how to be a soldier.

FRANCKFORD

A rich merchant, and brother-in-law to Woodroff in Webster and Rowley's A Cure for a Cuckold. Franckford wants an heir, but his wife Luce is infertile. He has therefore begotten a child on the apparently widowed Urse, and intends it to be his heir. When Urse's husband Compass returns from the dead, he demands his rights over the child. In a legal debate held in the Three Tuns, Franckford argues that the father of a child should always have custody of it. But Compass's argument for the mother's right convinces everyone, including Franckford, who then gives away the bride when Compass and Urse remarry.

FRANCO

Franco is Brishio's comic servant in the anonymous Knack To Know An Honest Man. Under threat of torture, he admits to seeing Lelio flee from Venice, hidden on Brishio's ship. Gnatto, Lelio's servant, tells him of the pleasures of begging which he has been reduced to. Franco decides not to copy him but to go to the Duke of Milan's camp where Brishio has fled.

FRANGIPAN**1637

Frangipan is the nephew of Corima and serves as comic relief in Glapthorne's Ladie's Privilege. He is regularly entering the scene to tell everyone news they already know. When Doria is sentenced to death, Frangipan brings the fifty year old Corima to the trial as a marriage partner in order to commute the sentence. Adorni gulls him out of a thousand ducats by promising to teach him French. When Frangipan discovers Adorni does not speak French, Frangipan at first refuses to pay, but when his choice is that or going to war with Adorni, Frangipan choses to pay triple. Frangipan also speaks the epilogue.

FRANIO

A miller in Fletcher and Rowley's The Maid in the Mill, husband of Gillian, father of Bustofa and pretended father of Florimell. Franio bans Bustofa from acting in a play before the aristocrats. When Bustofa disobeys and takes his sister with him, Florimell is abducted. Franio asks Julio for help, but only makes him miserable in remembrance of his own lost daughter. He eventually receives help from King Philippo. When Florimell is rescued, she decides to marry her abductor, Otrante; Franio and Gillian then reveal that she is an aristocratic foundling.

FRANK

See also "FRANCIS."

FRANK**1611

Frank is the younger brother of Ingen in Field's Amends for Ladies. He poses as his brother's wife after Ingen is rejected by Lady Honour. On the way to the duel with Lord Proudly, Ingen leaves his money and land to Frank, and asks him to take care of the footboy (Lady Honour in disguise). Frank attends to the injured Lady Honour while Ingen fights Lord Proudly. At the wedding of Lady Honour and the Count, Frank delivers a message from Ingen, who vows that he will never again trust a woman, and a letter to Lady Honour. As the Parson marries Ingen and Lady Honour, Frank draws his sword and prevents anyone from interrupting the ceremony and the consummation of the marriage.

FRANK**1614

Francisco nickname used by his brother, Valentine in Fletcher's Wit Without Money.

FRANK**1629

Frank, or Frances, is Host's adopted son in Jonson's The New Inn. He is finally revealed to be Lord Frampul's long-lost daughter, Laetitia. At the New Inn, Frank enters while Host discusses with Lovel and Ferret about joviality. At his father's request, Frank recites in Latin, which makes Host say he is very proud of his son. When Lovel asks Host if he would let his fine boy be his page, the father tells Frank to go down and get his breakfast, while he refuses Lovel's offer. In Lady Frampul's apartment at the inn, Frank enters shortly after his father to salute the guest. During the conversation, Lady Frampul is pleased with Frank's accomplishments. She goes along with Prudence's suggestion of disguising Frank as a girl and passing him for her waiting gentlewoman. Host agrees to the proposal and Frank is disguised as Laetitia, Lady Frampul's relative. When Beaufort asks her family name, Frank responds "her" name is Laetitia Silly. As Laetitia, Frank does not speak so much. During the second session of the love court, it is understood that Beaufort is silently courting Frank/Laetitia, and they slip away unseen. Fly reports to Host about the mock marriage between Beaufort and Frank/Laetitia, which took place in a stable. Frank/Laetitia enters with Beaufort, who proudly announces their marriage. Though the series of ensuing revelations concern him/her directly, Frank/Laetitia does not speak at all. Nurse reveals herself as Lady Frampul and informs everyone that Frank, whom Host thought to be a beggar boy and adopted him as his son, is actually her daughter, Laetitia. Since Host turns out to be Lord Frampul in disguise, Frank/Laetitia is reunited with both her parents, and her sister.

FRANK**1634

A courtier in Nabbes' Tottenham Court, friend of George and acquaintance of Changelove, in love with Cicely at the beginning of the play. He and George hatch a plot to cuckold Stitchwell, but their plot fails due to the tricks of Mistress Stitchwell. Later Frank is himself gulled by Cicely, who makes him think she will surrender her virginity to him but secretly abhors his "foule lust". She tells him she will hide in a trunk of feathers, but the trunk actually contains James when it is carried off by George. Frank and George eventually fight over the trunk that they think contains Cicely, but are surprised when James emerges from it. In the play's last scene, Frank confronts Bellamie over her trickery before leaving in disgrace.

FRANK**1637

He is Brookall's son in Brome's The Damoiselle. He is a student of Law. He traveled to France and he is thought to be dead. However, he sends money and a letter to his father to whom he tells that he had been kept by a master that takes care of him as his own son. At the end, he marries Alice.

FRANK AIMWELL

Frank Aimwell loves Violetta in Shirley's The Witty Fair One. His correspondence with her is partly hindered by Brains, but enough messages get through to allow Aimwell and Violetta to accomplish their wedding. Aimwell weds Violetta in her guise as a chambermaid named Sensible.

FRANK BARKER

Frank Barker is an admitted cynic in Shirley's The Ball who accompanies Lord Rainbow, answering variously to Cato and Diogenes when called same by his companion. He amuses us near the play's end when he dresses as a satyr and dances at the request of Honoria.

FRANK CANBEE **1600

Canbee is a cheat in the service of the Cardinal in Chettle and Day's Blind Beggar of Bednal Green. With Hadland and Snip, he steals Tom Strowd's cloak, but is forgiven. In disguise as a highwayman, he steals money from Tom and Swash, and then pretends to happen upon him and help him. Later, he meets Tom, again in disguise, but this time Tom recognizes him and beats him and Hadland while Swash handles Snip. They take back part of the stolen money, and Canbee suggests they can get the rest back by joining them and helping Young Plainsey. When Canbee and Hadland fight the disguised Mumford, they are soundly beaten. When the two sides fight in the final scene, Tom passes up any weapon but a cudgel and uses it to soundly beat the two again.

FRANK FEATHERBRAIN

A destitute prodigal in Jordan's Money is an Ass. After failing to renew his relationship with Money and Credit, he vows to get the better of them in their marriage prospects. To which ends, he joins forces with Captain Penniless. He counterfeits a letter of credit from Credit in order to get fine clothes, knowing that once they are well attired, they will gain admittance to Clutch's house. This plan fails, and the two prodigals resort to pretending to be Money and Cash's servants to enter the house. Once inside, he declares his love for Felixina, and she declares her love for him. She gives him gold to buy nice clothes, and these clothes allow him to pass as Gold, a kinsman of Money. In this disguise, he accompanies Money and Credit to Clutch's house. While there, he and Felixina again exchange love vows. However, he is dismayed by Calumny's report that she has already had sex with Money. When he confronts her with this allegation, she faints and persuades him that it is false. After convincing Penniless of this fact, the two prodigals force Money and Credit to renounce their claims to the daughters at sword point. He is then free to marry Felixina with half of Money's estate being offered by Clutch as a dowry. Prior to the wedding, he reveals his true identity, but Clutch sanctions the match anyway.

FRANK FORREST

Despite his poverty, and the pleading of his father, Frank is lured into a prodigal lifestyle by Rainsforth in Heywood and Rowley's Fortune by Land and Sea. But when Rainsforth insults his father, a fight ensues, and Frank is killed. His death is avenged by his brother, Young Forrest.

FRANK GERARD

Gerard begins Shirley's Changes as the beloved of the sisters Chrysolina and Aurelia. The ladies tell him he must choose between them; trying to relieve himself of that responsibility, he asks Thornay to select one lady so that Gerard may take the remaining sister. Though his machinations at one point lose him the trust of both sisters, Gerard has wed Aurelia by the end of the play.

FRANK GOLDING

Frank (often listed as "Franke" in the text) is the youngest of the three Golding brothers in [?]Heywood's The Fair Maid of the Exchange. Although at first dismissive of Ferdinand's and Anthony's infatuation with Phillis, he too is smitten with a passion for her. Disguised as "honest" John the Porter, Frank intercepts the letters of proposal from his brothers to Phillis, and on the advice of the Cripple, returns to them forged letters from Phillis rejecting their proposals. Knowing of Phillis's affection for himself, the Cripple encourages Frank woo the maid in the cripple's disguise. He does this, and in sight of Ferdinand and Anthony, Phillis vows that she can love only the Cripple, encouraging him to make suit to her father. After giving Master and Mistress Flower false letters indicating that his brothers are withdrawing their proposals, Frank finds himself the preferred alternative for Phillis. When Master Flower indicates he wants assurance that his daughter does indeed love Frank, the young man gets permission to be allowed to disguise as the Cripple once more and finish wooing the maid. When Frank arrives in disguise, Flower pretends that the Cripple is there to steal Phillis and orders him out. When Phillis faints (or pretends to) Flower pretends to be beside himself with concern for the girl, and urged on by Master Berry and Mistress Flower, Flower promises that Phillis may follow her own will in the choice of a husband. Following the arrival of Ferdinand, Anthony, and the real Cripple, Frank reveals to all how he has outwitted his brothers. When the brothers begin arguing, Flowers intrudes to reiterate that the decision will be Phillis's, and she then asks of each brother what it is he desires of her. Ferdinand claims her love, Anthony her life and love, and Frank her life, love, self, and all. Saying that each will have what is desired, she commits life and love to Ferdinand and Anthony, but only as friends. It is Frank who will have her in marriage, and Master Flower then publicly bestows his blessing upon the couple.

FRANK GOURSEY

Frank Goursey is the son of Master and of Mistress Goursey in Porter's 1 The Two Angry Women of Abingdon. While the Goursey family is visiting the Barnes family, he beats Phillip Barnes at bowls while their mothers are dicing and their fathers are walking in the orchard. Frank promises that when Phillip visits his house he'll give Phillip a chance to win the ten crowns he has just lost. Phillip then asks about Frank's horses and a lengthy discussion follows, with Frank being unwilling to divulge the whereabouts of a particularly fine horse the Boy has been boasting about. When Frank's permanently drunk and belligerent butler, Dick Coomes, arrives, Frank tries to dissuade Philip from talking to him and to keep Coomes quiet. He is a thoroughly decent young man. At home, Frank discusses Coomes, who got very drunk during the Gourcey family visit to the Barnes house, and talks about his mother's hatred for Mistress Barnes, and about how his father is concerned about it. Then Nicholas arrives with the letter from Master Barnes to Master Goursey proposing that Frank marry Mall. He takes the letter to his father and spends a long time dithering, seeking advice from father and Phillip (who had just arrived) as to whether he should marry and surrender his liberty to live in misery. Will he be another Daniel in the lions' den? Nevertheless he walks back to the Barnes house with Phillip and talks to Mall. They both admire the lack of extreme in each other and agree to marry. When his mother enters to prevent the match Frank caps every argument she presents with calm reasonableness. Then follow several scenes of chaos where characters cannot see each other in the dark and several mistaken identities occur of no importance to the plot. When Dick Coomes threatens to fight Frank, Phillip persuades Frank not to, telling him to slip away. Frank and his boy do so, to look for Mall who has already slipped away. They fail to find Mall but his mother nearly finds him. He runs off into the dark again, like all the other characters, and meets Sir Raph, a gentleman hunting throughout the night, who mistakes him for his woodsman Will (a matter of no importance at all to the plot). All the characters are hallooing to each other, trying to find each other when Master Goursey, Master Barnes and Phillip all meet and wonder where Frank is. Frank enters having failed to find Mall so Goursey and Phillip reprimand him for his failure. Later Frank watches and reprimands his elders as the two mothers and two fathers all argue. When the quarrel is patched up Sir Raph enters with Mall. The wedding of Frank and Mall will take place.

FRANK GULLMAN

She is a well–known woman about town in Middleton's A Mad World, My Masters. Occasionally referred to as Frank Gullman, she is employed by the wealthy Sir Bounteous Progress who, paradoxically, seems more interested in feasting than women. She is employed briefly by Penitent Brothel to corrupt Master Harebrain and arouse suspicion in his wife, a ploy that eventually serves to solidify that marriage and erase Harebrain's paranoid jealousy. Pretending to be pregnant with Sir Bounteous' child, she is able to extort money from her erstwhile employer who is obliged to pay her medical bills. At the urging of her mother who facilitates the match, Gullman clandestinely marries Follywit, and is again rewarded by Bounteous' munificence when the marriage is revealed.

FRANK HARTLOVE

Frank Hartlove is a suitor to Maria in Fletcher's The Night Walker. At her wedding to Algripe, he becomes drunk, and, at Wildbraine's bidding, attempts to seduce Maria in the cloister before she can lose her maidenhood to Algripe. Wildbraine then leads Algripe to the cloister, and, in the ensuing fracas, Maria apparently dies. Hartlove plans to kill Wildbraine in revenge but is stopped by Maria, pretending to be her own ghost. A repentant Hartlove goes to Maria's mother and meets Maria disguised as Guennith, the nurse's Welsh niece. Hartlove asks Maria's mother for permission to marry Guennith as a substitute for Maria but later recants his proposal. When he does so, Maria reveals herself to Hartlove, and the lovers are reunited. They become engaged when Algripe reveals that his marriage to Maria is void due to a previous engagement.

FRANK IERNINGHAM

The son of Sir Raph Ierningham, a student in the anonymous The Merry Devil of Edmonton. He should marry Milliscent according to the plans of his own father and Milliscent's father, Sir Arthur Clare. But he does not yet want to marry and so helps his teacher Peter Fabell and his friends Raymond Mounchensey and Henry Clare to organize Milliscent's escape from the convent and her marriage to Raymond.

FRANK MONOPOLY

The Earl's nephew, a debt-ridden courtier in Dekker and Webster's Westward Ho. He carries on an affair with Clare Tenterhook. Arrested by Tenterhook, he is relieved to learn that Clare intends to visit him. At Brainford, he and Linstock alone are sober enough to keep company with the wives, but they drive them from the room when they smoke tobacco. The wives then refuse to complete the assignation, and he is humiliated by Justiniano and arrested by Tenterhook.

FRANK (or FRANCIS) PLOTWELL **1637

Warehouse’s nephew in Mayne’s City Match. He is posing as a reformed man after being riotous while at the Temple and studied silkmen’s books more than the law. He promises to learn the trade while Warehouse is away but immediately rejects trade once Warehouse leaves. Warehouse wants him to marry Susan Seathrift for her dowry, but Frank has cast her off because though she his handsome and witty, her schoolmaster has made her a ‘rank Puritan.’ He engages in a war of wits along with Bright, Newcut, and Timothy, and she bests them. She asks Frank to remain behind. We learn from their conversation that she is actually his sister, Penelope, and he is furnishing her money from Warehouse’s coffers to maintain her disguise as a wealthy woman. The plan is to catch her a worthy, wealthy husband. He plots to marry her to Timothy, promising that she will be able to smooth his rough city edges. He is glad to learn that his uncle has drowned and made him an heir. He is shocked a moment later when his uncle unmasks and disowns him. To thwart his uncle’s plan to marry and get a child, he formulates a plan to have him marry Madam Aurelia. He is impressed when he learns his sister has changed the plan to include Dorcas marrying Warehouse and agrees that if she plays her part well he will marry Dorcas himself. After the faux marriage, he goes to Warehouse to warn him off of marrying Dorcas, saying that she is notorious. When the disguised Cypher brings news that Warehouse has lost two ships at sea, Frank gets Warehouse’s promise to enrich him if Frank can make all well again. He returns with Roseclap who tells Warehouse that Dorcas is already married. After Warehouse signs over three fourths of his ships in assurances, Frank reveals the trick. He has himself married Dorcas, who is actually Susan Seathrift to whom he was once betrothed. He is overjoyed to learn his father is alive and has been pretending to be Baneswright.

FRANK RIVERS

Frank Rivers is a companion of Flylove in Jordan's Walks of Islington and Hogsden. He has been flirting with Mrs Trimwell, although she is unwilling to be seduced by him. Rivers is joined by Mrs Trimwell and together they visit a series of taverns with the other gallants. In the King's Head, Rivers recognizes Mrs Trimwell's jealous husband, who has disguised himself as a musician, and escapes from him. Later, during the arrest of Flylove, Rivers is goaded by Mace (who is working under the instructions of Mr Trimwell) into drawing his sword. As a result, Rivers wounds the landlord and is arrested. Rivers continues to attempt to seduce Mrs Trimwell. He reveals at the end that he is really Frederick Brooks, returned incognito from exile in France, and therefore Mrs Trimwell's brother. He has only been testing hs sister all along.

FRANK the FALCONER

Frank the Falconer in Quarles' The Virgin Widow is the suitor of the chambermaid Cis, though she complains that he is more interested in his hawk.

FRANK THORNEY

A gentleman-servant of Sir Arthur Clarington in Rowley, Dekker and Ford's The Witch of Edmonton. He secretly marries the pregnant Winifred in the belief that he is the father of her child. His impoverished father then pressures him into a bigamous marriage with the rich Susan Carter. The demonic Dog then arrives on the scene, and invisibly provokes Frank into murdering Susan. Frank places the blames on Warbeck, but his guilt is revealed when a bloody knife is discovered in his pocket. He is executed for his crime, but dies a repentant man and is forgiven by the Edmonton community.

FRANK TRIER

'In the know', he tells Lacy (so, consequently, the audience) about the peculiar circumstances of Mistress Bonavent in Shirley's Hyde Park. He meets the young woman he is courting, Julietta, but leaves her in the company of Lord Bonville. He spies on Julietta and Bonville, seeing if she will succumb to the bawdy intentions of Bonville–he is 'trying' her character. He admits that he is in serious debt, and, through Fairfield, he manages to get a large sum of money from Carol. In the scenes set in Hyde Park, Trier is quite quiet. He speaks to Carol, only to tell her that he is not seeking more money. Later, he approaches Carol and Julietta when they are in conversation, and expresses surprise that Carol does not abuse him for his rudeness. Julietta drags him away, to allow private discourse between Carol and Fairfield. He asserts his delight that his 'trial' of Julietta has proved her moral, chaste character. But he is shocked when Julietta expresses her annoyance at his distrust. His application for Julietta's hand rebuffed, he is reduced to asking Julietta to think charitably about him. A willow is put on his head by Bonavent, symbolizing his single status.

FRANKE

A nickname for Sir Francis Ilford, called Franke by his two dissolute companions Bartley and Wentloe in Wilkins's The Miseries of Enforced Marriage.

FRANKFORD

John Frankford is a wealthy Yorkshire gentleman, who marries Anne in Heywood's A Woman Killed with Kindness. Although the marriage begins happily, Frankford is devastated when he discovers Anne's adulterous affair with his friend Wendoll. His first impulse is to kill Anne, but he resolves instead to 'kill her with kindness'. He banishes her to one of his estates, where she is so stricken with guilt that she starves herself to death. When he is certain that she is dying, Frankford forgives her, and erects a marble tomb to remember her by.

FRANKLIN**1591

Friend of Arden in the anonymous Arden of Feversham. He gives Arden some mithridate when it appears he might have been given poison in broth. Franklin is usually with Arden and the two men manage luckily and often unwittingly to avoid attempts on Arden's life. When attacked, Franklin succeeds in wounding Shakebag while Arden wounds Mosbie and thus sending the two of them an a third assailant, Black Will, fleeing. He along with Bradshaw and Adam Fowle is one of the guests who becomes suspicious when he visits the Arden house after the murder. It is the Franklin who informs the Mayor and Watch that Arden's body has been found at the Abbey. He accuses the Arden household and produces as evidence the towel and knife found on the body.

FRANKLIN**1620

An old, rich Gentleman, father of Luce in May's The Heir. He is intent on her imminent marriage to Shallow. Furious at the sudden revelation, on the planned wedding-day, of her pregnancy by Francisco, he rejects the claims of the impoverished young lover and ignores the couple's protestations of mutual love and respect. He banishes Francisco from his house. He first insists that his daughter continue to hide her pregnancy until the marriage is safely over, when he plans to outface the bridegroom with undeniable proof of pre-marital sex, which he plans to condone. Shallow is persuaded that the baby is his own and agrees to Franklin's plans for a quiet wedding to forestall scandal. Franklin is incensed at the interruption to the wedding contrived by Francisco, who brings a Sumnor to charge the couple with criminal unchastity. He decides to proceed with a quiet wedding before the couple's trial and humiliating public penance, and is prepared to bribe the Judges. He is outsmarted when Francisco trades costumes with the Parson engaged to perform a second ceremony and marries Luce himself. He denounces Francisco and disowns his daughter for this trick. He is then shown that his daughter's disgraceful pregnancy is merely a pretence, but he still refuses to acknowledge her. Alphonso and friend Euphues arrive at the wedding and announce the timely (if outrageous) revelation of the bridegroom's true identity. The sudden realization that his daughter has married Lysandro, the son of a rich lord, is precisely the information needed to appease Franklin and gain his blessing for the marriage.

FRANKLIN**1621

Franklin is a sea captain, son to Old Franklin and companion to George Cressingham in Middleton's Anything for a Quiet Life. At Sir Francis's house, Franklin reminds Lord Beaufort of his promise to rig out a ship for him to the East Indies. Franklin had an unfortunate experience in Guyana and was in the service of the Duke of Florence, who sent him against the Turk. Franklin has now been in London for two months, and he tells Beaufort that he has many expenses and needs the money. When Lord Beaufort offers him a position as gentleman's companion, Franklin readily accepts. He is a bit of a rascal and suggests to George Cressingham a plan to trick the gullible Water Chamlet. At Chamlet's shop in Lombard Street, Franklin pretends to be a gentleman, "Sir Andrew," who comes accompanied by his tailor, "Gascoyn" (Cressingham in disguise). As "Sir Andrew," Franklin selects a lot of cloth of gold and silver, pretending to buy it with the money borrowed from his "cousin," the barber Sweetball. In fact, Franklin had told the Barber that Ralph had a rash on his penis and needed his surgical services. Outside Sweetball's house, "Sir Andrew" takes possession of the cloth of gold without paying for it while Ralph is whisked inside for the operation (all the time thinking he is going in for the money). Later, when Franklin comes out of the tavern "Man in the Moon" in Cheapside, Fleshhook and Counterbuff try to arrest him, at the Barber's complaint, sustained by Chamlet. Franklin, thinking quickly, pretends to be a poor "French gentleman" and manages to trick his accusers. In this ploy Franklin manages to secure the help of Margarita, the French bawd, who vouches the man is a French gentleman from Lyons. To further escape his creditors, Franklin stages his own death. After the report of his alleged death, Franklin appears in disguise as an old man, accompanying his father, Old Franklin, who goes in the search of Franklin's creditors. Pretending to wish to clear his son's name "post mortem", Old Franklin pays Franklin's debts fifty to the hundred, and only when the debts have been discharged does he finally reveal Franklin's disguise. Franklin is then presented as a newly-born individual, purged through suffering. Franklin promises the Barber to return his much-missed new brush, and all proclaim themselves satisfied.

FRANKLIN, OLD

Old Franklin is a country gentleman and Franklin's father in Middleton's Anything for a Quiet Life. According to George, he is a Puritan from Scotland. Before Sir Francis's house, Old Franklin feigns mourning, because of his son's apparent death. It is all a ruse. While George Cressingham makes a show of consoling him for his loss, Old Franklin states that his son was his dearest and nearest enemy, and that he long feared that his dissolute ways were bound to lead him to a tragic end. Having been informed that Franklin cheated Chamlet, Old Franklin wants to pay his son's debts. In addition, he says he will buy Sir Francis's land. Old Franklin asks George to identify his son's creditors for him, so that they might be repaid. On hearing a very long fictional list, containing debts to a brewer, a hosier, and a tailor, Old Franklin concludes he will pay them all. Promising to try to explain to Sir Francis the injustice he had done his son, Old Franklin exits accompanied by George and young Franklin, who attends the discussion disguised as an old servant. Outside Lord Beaufort's house, Old Franklin enters with his disguised son and three creditors. Telling Beaufort that he intends to pay all his son's debts and clear his name, Old Franklin hears each creditor and promises to satisfy their demands. Hearing that Chamlet intends to leave for the Bermudas, Old Franklin promises to repay Chamlet for the goods his son had stolen from him. In the final agreement scene, Old Franklin removes his son's disguise. Intending to clear his son's name through the death trick, Old Franklin managed to eliminate Franklin's debts by negotiating to pay fifty percent in satisfaction of the full amount. Old Franklin announces his son has been newly born as a consequence of these events. The creditors forgive the father his little trick, saying he had "beguiled them honestly."

FRANSISCUS

Fransiscus is a merchant of Venice in J.D.'s The Knave In Grain New Vamped. A former fellow student of Julio's, he helps Julio financially on the latter's return to Venice. He idolizes his wife, Cornelia, and his admired by his father-in-law, Chrisippus. But Julio tricks Fransiscus into believing that Cornelia is having an affair with Antonio. Franciscus finds Antonio and stabs him to death (or so he thinks). He then disguises himself and although afraid for his life returns to the city. There, he meets Julio, who pretends to be friendly, but is in fact plotting to betray Fransiscus and claim the bounty on his head. Fransiscus is arrested and brought to trial before the Duke of Venice, and, to his astonishment, Julio acts as witness for the prosecution. But at the last minute Antonio, Cornelia and Phemone enter; Fransiscus explains to the court how Julio had tricked them all, and Antonio supports him. Julio is punished, and Fransiscus and Antonio make friends again.

FRANVILLE

Franville is a colonizer travelling on the ship captained by Albert in Fletcher and Massinger's The Sea Voyage. He protests against his 'clothes and necessaries' being thrown overboard to save the ship. When they reach the shore he echoes the complaint of Lamure that the Master has lost his goods deliberately. Franville, Lamure and Morillat demand a large share of the Portuguese treasure. The resulting fight results in the loss of the ship as Sebastian and Nicusa take their chance to escape the island. Lamure, Franville, Morillat and the Surgeon become so hungry that they plot to eat Aminta. They are beaten off by Tibalt, the Master and the sailors. Aminta forgives the gallants, and they are eventually given food by Albert. Franville, Lamure and Morillat squabble for the attentions of the same Portuguese woman. They are held prisoner by Juletta, and disgust her with their abject behavior. In an attempt to win more lenient treatment they inform Clarinda that Aminta is not Albert's sister.

FRAPOLO

Chief of the bandits in Shirley's The Sisters. An engaging character, he ends up with the hand of the heroine as both reward and punishment. The bandits begin the play by capturing Piperollo, who gladly betrays his parents to them for his own safety. They follow his instructions, but despise Piperollo for giving them and only take two-thirds of his parents' treasure. Disguising themselves as fortune-tellers, they then arrive at the castle of Paulina, and manage some successful pocket-picking before setting off to waylay her servants, who have just confided in them about a journey they are about to make to collect money. Finally, Frapolo disguises himself as Prince Farnese, and returns to the castle to court Paulina. He is successful once again, and marries her before she discovers the deception. In turn, he discovers that he has been deceived. She is not really an heiress but the daughter of an old nurse and her husband, Piperollo's parents, Morulla and Fabio. The bandit and the ex-chatelaine are confined to the castle, but Frapolo maintains his good humour. If he is not to be allowed to work, he explains, he needs money for his future family. The real Farnese agrees to provide it.

FRAPPATORE, HEROD

Also known as Baldanzozo in Marston's Parasitaster, or The Fawn. Sir Amoroso's younger brother, "a vicious braggart;" he boasts that he sleeps with many women but loves none. "Herod," "frappatore," and "baldanzozo" are names for ranting braggarts in the English and Italian traditions respectively. He gossips coarsely about everyone at court, including his lover, his sister-in-law, Donna Garbetza. He invites Faunus to gain a place at court, and brags about having gotten his sister-in-law with child. Accused of false love during the Masque of Cupid's Council, he openly and cheerfully admits it.

FRAUD

I.
Fraud carries "a sword and buckler like a ruffian" in Wilson's The Three Ladies of London. He meets Dissimulation, Simony and Usury on the way to London, as well as Simplicity, who annoys him by recounting his misdeeds. The four wicked characters fail to persuade Love and Conscience to hire them as servants, but they are accepted by Lucre, who makes Fraud her rent-gatherer. Lucre orders Fraud to rob Mercadore, which he does, aided by Tom Beggar and Wily Will. When Simplicity is whipped for presumed complicity in the robbery, Fraud refuses to help him.
II.
Since the end of The Three Ladies of London, Fraud has been banished while his mistress, Lucre, has been in prison, but now in Wilson's The Three Lords and Three Ladies of London, hearing that the three ladies may be released, he is back, and he meets his old friends Dissimulation, Usury and Simony, in the hope of renewing their "old entertainment." But the ladies, even Lucre, spurn them. Fraud disguises as a French artificer with a comedy accent, and he gulls Simplicity and Painful Penury into buying some shoddy goods. Then, Fraud, Dissimulation and Simony disguise as sailors in order to join with the Spanish invasion. After the lords have defeated the Spanish, Fraud, calling himself Skill, presents himself to Policy as a servant. The lords are not fooled, and order Diligence to take him to prison, but Fraud gulls Diligence into letting him escape. He and Dissimulation then disguise themselves to take part in the wedding parade, in which Fraud carries the lance and shield of Ambition. Then Simplicity recognizes him, and begs Pleasure and Conscience to help recover his money. The lords punish Fraud by tying him to a post and inviting the blindfolded Simplicity to charge at him with a burning torch. However, they direct Simplicity toward another post, so Fraud is unharmed. While everyone laughs at Simplicity, Dissimulation unties Fraud, and they escape. Simplicity believes he has burned Fraud to ashes.

FRAUNCE

One of Ferdinand's nicknames in Haughton's Englishmen for My Money.

FRAUNCES EMERFLEY

Fraunces Emerfley is the brother of Jane Shore in Thomas Heywood's 1 Edward IV.

FRECK SPANIARD

A "ghost character" in the anonymous Wisest Have Their Fools. A horse of the court that Silly wishes to praise before Urina to make her love him and believe he is a courtier.

FREDELINE

An aging follower of Theander in Davenant's The Platonic Lovers and the villain of the play. Fredeline covets the virtuous Eurithea, Theander's platonic mistress, and sets up a devious plot to corrupt her. He summons Buonateste to provide a drug to fill Theander with desire (on the theory that once Eurithea is used to physical love, she will be much more easily available to him). Once the drug has affected Theander, and he and Eurithea are married, Fredeline secretly confides in Buonateste, and asks him for a drug to make Eurithea love him. He backs up this plan by falsely accusing her of adultery with his own compliant follower, Castraganio. But the drug he is given turns out to be an anti-aphrodisiac for him rather than an aphrodisiac for her. Buonateste explains that it is impossible to create love through drugs if none exists in the heart. In agony with the drug, Fredeline confesses his treachery, and Eurithea's reputation and marriage are repaired.

FREDERIC, DON

Don Frederic is a Spaniard studying in Bologna with his friend, Don John in Fletcher's The Chances. He and John have just sworn off their search for Constantia, a woman whose beauty and virtue are renowned but who cannot be found. Frederic finds a woman (Constantia, but he doesn't know this) who begs his help to hide. She then further asks him to defend a man who is about to be ambushed, which he also agrees to do. Instead, he finds John, who has just defended a man in such a situation, and they return to their lodgings. When Gillian accuses Frederic of having a woman in his lodgings, he finally acknowledges this but denies that it is for immoral purposes and entrusts Constantia to Gillian. He goes with John and Petruccio to deliver the challenge to the Duke, and helps reassure the Duke and Petruccio that Constantia is safe. Frederic and John overhear Francisco accusing Constantia of being false and fleeing with a stranger; they accuse each other of being the seducer. Frederic finally realizes that the way to test this is to go to their lodgings and see if she is in fact gone. As she and Gillian are both gone, Frederic and John are worried that the Duke and Petruccio will think that they were dishonorable, so they decide to investigate Peter's report that he saw their landlady at a different house. There, they see the Bawd and Second Constantia but believe that they are seeing Gillian and Constantia drinking wine, performing music, and pledging themselves to pleasure. They also see Francisco, Constantia's lute teacher. John and Petruccio bring down Second Constantia, Bawd, and Francisco, at which point Frederic and John have to apologize to the Duke for appearing to mock him by bringing him to this house; the Duke gives them until the next day to produce the real Constantia and prove their honesty. Frederic and John go to Peter Vecchio's house as a supposed conjurer who could find Constantia for them. They, with the Duke and Petruccio, who are already there, watch the "summoning" of spirits.

FREDERICK**1589

Frederick is Emperor of Germany in Greene's Friar Bacon and Friar Bungay. He comes to England with the King of Castile to attend the marriage of Prince Edward and Elinor of Castile. He has the magician Jaques Vandermast with him, and when King Henry offers to send to Oxford for the prince, the Emperor asks instead that they all go to Oxford where Vandermast might try his skill against the English magician. Henry agrees, promising Vandermast a golden crown if he can defeat Friar Bacon in a combat of magic.

FREDERICK**1589

Lord of Buda and Bohemia in Marlowe's Tamburlaine the Great, Part 2. He comes with Sigismund to treat for peace with Orcanes. Once peace is settled, he advises Sigismund to attack Orcanes' flank as he goes to battle Tamburlaine. He likens the strategy to that of Saul and Balaam, who did the like at God's behest.

FREDERICK **1592

In the B-text only of Marlowe's Doctor Faustus, Frederick is a knight and courtier of German Emperor Charles, Frederick banters about Faustus with fellow knights Benvolio and Martino. He later joins them in seeking revenge for Benvolio by killing Faustus and is punished at Faustus' command with a bloody dragging by devils through mud and rough ground.

FREDERICK**1597

Appears in scenes 1, 3, 6, 7, 9, 10, 11, 13, 15, 18 of the anonymous plot of Frederick and Basilea; played by Richard Alleyn.

FREDERICK**1600

Frederick is true name of the son of Lodowick, Duke of Bullen, in the anonymous Weakest Goeth to the Wall. He is found on a riverbank as a baby and is brought up by Emmanuel, Duke of Brabant. Because of an "F" embroidered on the infant's cloth, he is given the name Ferdinand.

FREDERICK**1604

A "ghost character" in Shakespeare's Measure for Measure. A renowned soldier who is brother to Mariana. When Frederick drowns at sea with Mariana's dowry, Angelo breaks off his engagement to her.

FREDERICK **1604

A “ghost character" in Rowley’s When You See Me. Wolsey calls him bastard and fears his pretensions to the papacy. He has offered the cardinals threescore thousand pounds.

FREDERICK**1612

Frederick defends Jacamo when Lodowicke and Piso insult him in Fletcher's The Captain. Frederick forces Lodowicke and Piso to confess that they are rogues. Frederick plots with his friend Fabritio to unite Franck and Jacamo. When Jacamo gets drunk and returns to the house, Frederick is there with Franck and Clora, and is mistaken for a woman by Jacamo and kissed. Frederick, Franck, and Clora laugh at the mistake, but Jacamo draws his sword and attacks Frederick, who falls. When Fabritio and Servants arrive, Frederick reveals that he is unharmed and chose to feign death in order to avoid bloodshed. Later, Frederick once again attempts to unite Jacamo with Franck, but Frederick is unable to persuade Jacamo to come in the house until Fabritio provokes Jacamo, who chases him in. Frederick, Clora, and the Maid restrain Jacamo in a chair while Franck vows her love until Jacamo finally believes her. On his way to answering a summons from the Duke, Frederick discovers that Clora and Julio as well as Lelia and Piso are to be married along with Franck and Jacamo. He arrives at the nuptial celebrations to announce that war is imminent.

FREDERICK**1619

Son of Lodowicke in ?Cumber's Two Merry Milkmaids, Frederick expresses his displeasure at his hasty marriage to Dorigene and, believing that Saxony will become "ruled by women," chastises his brother for his continued encouragement of the two milkmaids while secretly pursuing Julia himself. He recovers the magic ring that provides invisibility to its bearer when Dorilus loses it. Invisible, he witnesses the marriage contract between Julia and Raymond and vows to put an end to it, advocating instead just punishment for Raymond. Although he eventually loses the ring to Smircke, his service is appreciated in the Duke's masque that concludes the play.

FREDERICK**1620

Son of the Duke of Saxony in the anonymous Costly Whore, he is present at the confrontation of Montano and Constantine. He resists with force his father's desire to marry Valentia, and although natural affection will not allow him to engage in single combat with his father he defeats a whole squadron of other adversaries and captures Valentia. He wants to kill her, but is dissuaded by the Duke's pleading, and agrees to disband his force if the Duke will pardon all of them. When his father breaks his word, Frederick is captured by Montano, at whose behest he is condemned to die. But Valentia gives him a sleeping potion rather than potion, and when the Duke's conscience is finally aroused by the heroism of Julia and Otho, Frederick is installed as rightful ruler of Saxony.

FREDERICK**1624

The dramatis personae of Fletcher's A Wife for a Month describes Frederick as a "usurper," but a speech of Camillo's suggests that Frederick "was chosen to inherit" the throne of Naples after his brother Alphonso, who suffered from a melancholy and resulting silence, was deemed incapable. In calling him a usurper, then, the dramatis personae suggests that Frederick may have had something to do with causing Alphonso's illness. From the beginning, the other characters describe Frederick as self-interested and libidinous. His desire is directed mostly towards Evanthe, one of his wife's waiting women and sister to Sorano, a wicked, ambitious lord. Sorano tries to force his sister to sleep with Frederick, and Frederick tries to seduce her by praising her beauty, promising to advance her, and even offering to divorce the queen and marry her, but Evanthe, in love with the valiant Valerio, will not be persuaded. Upon learning that he has a rival, and jealous of Evanthe's genuine affection for Valerio, Frederick delivers a curious sentence: Valerio is to marry Evanthe, but only for a month, after which time he will be put to death. Sorano suggests a harsher sentence, and Frederick relinquishes to him all authority in the matter. Meanwhile, Frederick talks to Valerio and Evanthe individually, claiming to each one that the other has been untrue. Neither is deceived by Frederick's lies. Frederick begins to worry that his ill, cloistered brother has too many supporters, and he engages Sorano to poison Alphonso. The poison proves an antidote to Alphonso, who is restored to health and takes the throne. Alphonso sentences Frederick and Sorano to live out their days at the monastery. Additionally, Frederick must mourn his father's death daily, as Alphonso has done.

FREDERICK**1634

Spelled "Fredricke" in the play, he is Wallenstein's older son, betrothed to Emilia to seal his father's alliance with hers, the Duke of Saxon-Waymar in Glapthorne's Albertus Wallenstein. Fortunately for them both, he falls in love with her at first sight, just as he is immediately impressed by her intelligence. He gains her confidence and they agree to spend more time becoming acquainted before rushing into their arranged marriage. At a later meeting, he politely asks Emilia if she has warmed to him, wooing her most poetically and winning her round to their marriage. Their decision pre-empts Wallenstein's anger at the delay, when he denounces Fredericke as degenerate and effeminate for prevaricating. He next encounters his brother and discovers to his horror that Albertus has proposed honourable marriage to Isabella. Her servant-status provokes him to crude insults as Albertus compares their respective brides: the brothers fight, Fredericke wounding Albertus before they are separated. Not seen afterwards, but said to have been put in charge of Saxon-Waymar's army after his marriage and with it to have been victorious over the Emperor's commander, Matthias Gallas.

FREDERICK**1635

Frederick is Lady Bornwell's nephew in Shirley's The Lady of Pleasure . He is called back from university, where he is having success, to be made a city fop. He embraces the role happily. His attempted seduction of his own aunt forces Lady Bornwell to realize the sorts of monsters the city creates.

FREDERICK**1640

A young gallant with no estate in Brome's Court Beggar. He is in love with Charissa, and to avenge the wrong done to her, he disguises himself as a doctor, gains access to Ferdinand and threatens to kill him. Whereupon, Ferdinand reveals that he is not mad and offers to help Frederick achieve Charissa. Ferdinand continues to feign madness but gives the impression that if he regains his senses he will marry Charissa. This persuades Mendicant to admit a priest and Frederick (disguised as a Doctor) to his house. There, Frederick and Charissa are secretly married.

FREDERICK**1640

Frederick is a nobleman of Norway in Burnell's Landgartha, loyal to the former king. Being in opposition to Frollo, he survives in the court of the tyrant with his friend Wermond. Meanwhile, he attends the masque with his servant.

FREDERICK, ARCHBISHOP of TRIER

Frederick, Archbishop of Trier and Duke of Lorrain in the anonymous Alphonsus Emperor of Germany, is one of the seven Electors of Germany, and Chancellor of Italy. He and Brandenburg are described as "simple men that wish the common good". He supports the election of Bohemia as co-Emperor; is Secretary in the revels; and fights for Alphonsus against Richard.

FREDERICK BROOKS

Frederick Brooks is the true name of the character known throughout Jordan's Walks of Islington and Hogsden as Frank Rivers.

FREDERICK, COUNT

Count Frederick is the choice of Sir John Worldly as a husband for his daughter Bellafront in Field's A Woman is a Weathercock. He is loved by Bellafront's sister Lucida. Count Frederick offers to be second for Strange in a duel against Captain Pouts. In the masque, Count Frederick takes Lucida for his partner; when Bellafront turns out to be married to Scudamore he asks Lucida to marry him instead.

FREDERICK, DUKE

Before the action of Shakespeare's As You Like It, Duke Frederick seizes power from his brother, Duke Senior, and begins a paranoid and short-lived reign. In the play his paranoia manifests when he banishes his niece, Rosalind, fearing she will become a popular reminder of her father. When he banishes Rosalind, Duke Senior's daughter, his own daughter Celia chooses to share in her cousin's banishment. Reacting to a report that Celia's attendant Hisperia had overheard Celia and Rosalind praising Orlando, Frederick orders Oliver to find Orlando in the hope that he will lead them to Celia. After a spate of banishments and threats, Frederick enters the forest of Arden himself, where it is reported he met a reverend father and repented, choosing to enter holy orders. The rightful duke is thereby restored to power.

FREDERICK, EMPEROR of GERMANY

Thanks John of Bordeaux for his faithful service in the defense of Germany against the Turks in ?Greene and Chettle's John of Bordeaux, and he makes John's son a royal cupbearer. He also extends his thanks to Friar Bacon, whose learning has proved useful to Germany's defense. With Bacon's trickery, he takes the crown and robes of the Turkish Amurath. After his conjured dream, he awakes and receives the forged letter, sent by Ferdinand at the suggestion of Vandermast, which accuses John of Bordeux of treason; he quickly has John banished from the kingdom, along with John's wife and son. During the second battle for Ravenna he becomes ill, and blames his illness on Bacon, who he captures and imprisons, with the treat of eventual execution unless he can find someone in the kingdom to defend him.

FREDERICK'S SERVANT

Sent by Frederick to tell Franck to stop her pining over love in Fletcher's The Captain.

FREDERICO

Frederico, a nobleman who pities Amidea when she is jilted by Pisano in Shirley's The Traitor. In the last scene he helps to capture Petruchio and place Cosmo on the throne.

FREDERICO **1635

Sometimes spelled Frederigo in Rider’s The Twins. He was banished for plotting against and causing Julio’s banishment ten years ago. As the last revelation in the play, all learn that he returned to court disguised as Lurco. See LURCO.

FREDERIKE

French gentleman in Daborne's A Christian Turned Turk traveling on Monsieur Davy's ship when Ward attacks it. Not speaking in early scenes, his status and relationship to Lemot's wedding-party is unclear. One of the few survivors of the raid, captured by Ward and brought to Tunis for sale to Benwash, together with Carolo and the disguised Alizia. He does not reappear.

FREDIGOND

Queen of France and arch-villainess of Hemming's Fatal Contract. She is cunning, ruthless and manipulative. Wife of Childerick, mother of Clotair and Clovis. Her adultery with Landrey and vendetta against the Dumain family are her ruling passions. When her son's rape of Crotilda was mistakenly blamed on her brother Clodimir, his wrongful death at the hands of the Dumain family provoked her revenge on the entire family. She believes Crotilda's brother is the last survivor: the play starts when Fredigond traces Dumain and his kinsman Lamot to the army, where they are disguised as common soldiers. She invites them back to court and frames them for her murder of the king, Childerick, who has just discovered her adultery. She intends to marry Landrey and make his future heirs kings of France, disinheriting her own sons and killing them if necessary. In all this she is aided and encouraged by her eunuch, Castrato (Crotilda in disguise). The murder succeeds but the intended scapegoats escape her vengeance. She next interrupts her sons fighting over Aphelia and feigns grief over Clovis's presumed death. Castrato sets the queen's bedchamber alight to allow Clotair an excuse to rush in and catch his mother with her paramour. She cunningly avoids exposure and contrives her lover's escape, disguising Landrey as Clovis's ghost to terrify Clotair. Clovis interrupts the lovers' next liaison, and she is terrified by his appearance disguised as her husband, Childerick's ghost. Imprisoned by Castrato, starved, then tormented by Landrey's death, she is poisoned, but lingers long enough to watch Aphelia's torture and Clotair's downfall before she dies.

FREDOCALDO

"An old Fisher" and Pas's "old rivall" in P. Fletcher's Sicelides. Fredocaldo is in love with Cosma and is repeatedly mocked by Conchylio. He enters the play reading a sonnet which he has composed for Cosma, and continually congratulates himself on his excellent health and fit mind. "Conchylio throws down his spectacles," "snatches his verses," and promises Fredocaldo a meeting with Cosma in return for gifts, although he never fulfills this vow. Pas, disguised as a Fury, "runs upon" Fredocaldo after the old man claims that "if furies should out-front" him he'd "out-stare them," and at this "hee falls and lyes." Immediately after, Conchylio (disguised as Cosma) "stumbles" upon him and, after being assured that the man is not dead, proceeds to execute his final prank upon him by inviting him to "the rocky cave" and then stealing away after Fredocaldo "was ready, all unready" and "'gan to put on his spectacles."

FREE EXCESS

A Spirit sent by Ormandine in Kirke's The Seven Champions of Christendom to tempt St. David. Free Excess, Desire and Delight "embrace him to a lazy tune, they touch him, he falls into their arms, so carry him away."

FREE WILL**1513

He is proud of doing what he likes in the anonymous Hick Scorner. He has a noble that he has won in a fight with a friar but he has lost it, he thinks, to Joan. He incites Imagination to fight by suggesting that Sir John has slept with Imagination's mother. He fetches fetters and rope to help bind Pity when Pity intervenes in the fight. He then goes with Hick Scorner and Imagination to commit robbery on Shooter's Hill. He returns, alone, and delivers a soliloquy telling of how he was arrested for theft of a wine goblet, sent to prison, but that Imagination (after enriching himself by robbing an apothecary's apprentice) managed to set him free. He is accosted by Contemplation and Perseverance and, after some saucy replies to their attempts, he is at last converted to righteousness. Contemplation gives him a new coat. He then helps them convert Imagination. He says that he will dwell now with Contemplation.

FREEDOM, LADY

A "ghost character" in Killigrew's Parson's Wedding. Jolly refers to her in the first act. Constant had tried to arrange a match between Jolly and Lady Freedom, but Jolly found her to be too liberal for his liking. Jolly describes her as a red-haired, religious-minded "Indepence Woman" whose charitable acts include caring for the "members" of "naked men" in the local congregation as well as orphans. Jolly thinks that Lady Freedom should divorce her husband and marry the "Man in the Almanack," so that she can "lick him whole." Clearly, Jolly's depiction and denouncement of Lady Freedom illustrates the anxieties about religious sectarian women in mid-seventeenth century England.

FREEDOM, SAM

The stepson of Pecunius Lucre in Middleton's A Trick to Catch the Old One. A clown, he is one of the suitors to Joyce, Hoard's niece, along with Moneylove. Sam is out-maneuvered when Witgood marries her instead.

FREEMAN

Father to Artemia, uncle to Euphues in May's The Old Couple. A thoroughly decent and hospitable gentleman and virtuous neighbor in the community. Although somewhat scandalized by the grotesque betrothal of the decrepit Sir Argent and Lady Covet, he takes his family and friends to pay their respects to the happy couple. Freeman agrees with Euphues that Lady Covet's earlier deed defrauding Scudmore of his entire estate was "foul," adding that Scudmore was too poor to prosecute her in law before his death. Freeman, with the other neighbors, witnesses the outcome of Lady Covet's disastrous decision to sign a pre-nuptial conveyance of her estates to trustees. Freeman manages to persuade the furious bridegroom, Sir Argent, not to depart in a rage. After Eugeny's arrest he comforts his daughter, assuring Artemia of his support and approval for her choice of husband. Meanwhile, Lady Covet's repentance, when she is suddenly deprived of her fortune, moves him to pity. He is present at the happy conclusion, but having already given his provisional blessing to Artemia's love, has nothing to add when the couple are reunited, to be married the next day. He tacitly defers to Earthworm's generous wish to host the double wedding celebrations of his daughter and the other's niece.

FREEVILL

The family name of Lionel and Young Freevill in Marston's Dutch Courtesan.

FREEWIT **1636

A young gentleman and suitor to the Lady Know-worth in Glapthorne’s Hollander. He wonders why Lady Know-worth would go to Artless, a famous impostor, for her cure. Lady Know-worth confronts Freewit with the knowledge that he once wronged his mother’s chambermaid, Martha. She requires him to restore Martha’s honor by marrying the girl. Later, he debates with Artless over the properties of his weapon salve and the impossibility of a cure by ‘sympathetic medicine.’ He again pleads with Lady Know-worth that he cannot find Martha, try as he might, but she remains firm that he must do right by her. She relents a little in telling him that if by tomorrow night he can find Martha and she will renounce her claim to him that Lady Know-worth will accept him again as her suitor. Unable to find Martha, he returns and nobly agrees to desist in his attentions to Mistress Know-worth. Know-worth, humbled by his honorable offer, says she will in turn marry her lowly man, Mr. Lovering. Freewit makes a show of forfeiting his claim to her in favor of Lovering but then pulls off Lovering’s wig to reveal ‘he’ is actually Martha. He placed her with Know-worth to test her resolve. Martha, he avows, is honest.

FREEWIT **1638

A scribal mistake for Thorowgood in Glapthorne’s Wit in a Constable. In act four, the name obviously intended to be Thorowgood changes to Freewit. Somehow this name, from Glapthorne’s The Hollander, was transposed into this play. He learns from “Luce" (Maudlin intended?) that Clare and Grace are secretly contracted to marry Sir Timothy and Jeremy. “Freewit," Jeremy, Clare, and Grace meet in the street and exchange insults bred of wounded feelings until the men realize that the women still love them. They offer marriage, but the women scorn them. “Freewit" thinks their best course is to visit Sir Timothy and Jeremy and geld them before they can wed. Busie has overheard and assures them that the women love them. Both “Freewit" and Valentine are to get marriage licenses and meet at Busie’s house at nine. They are successfully married to Grace and Clare. (To add to the textual confusion, once they are married, the text switches between calling this character Thorowgood and Freewit and even includes both names in two stage directions as if they are two characters (which is impossible unless both have married Clare.))

FRENCH AMBASSADOR

A "ghost character" in Davenant's The Cruel Brother. The Duke asks if the French Ambassador demonstrated discontent after meeting with the Duke. Foreste confirms that he was angry at the English-Leiger for opposing a proposed treaty.

FRENCH GENERAL

He appears aloft in Shakespeare's 1 Henry VI with the French forces of Bordeaux. He refers to Talbot as an "ominous and fearful owl of death." He defies Talbot, placing his reliance upon his fortifications and the advancing assistance of the Dauphin.

FRENCH KING**1600

Taking advantage of the old Earl of Boulogne's absence in Thomas Heywood's The Four Prentices of London, the French king seizes the Earl's estates. Failing to recognize Guy as the son of the dispossessed Earl, the King commissions him to command his crusading forces.

FRENCH KING**1623

A "ghost character" in Dekker, Ford and Rowley's The Welsh Embassador. Cornwall asks the disguised Edmond, Eldred and Penda if the French king fought in person.

FRENCH KING'S DAUGHTER

The French King's daughter (known in speech designations only as "The Ladie") falls hopelessly in love with the shipwrecked Guy in Thomas Heywood's The Four Prentices of London. Repulsed in her amorous advances, she decides to follow him to the Holy Land disguised as a page named Jack. Jealous that Bella Franca might favor Guy amongst her numerous suitors, she leaves the camp with the her and subsequently redisguises herself as a maidservant. In the final scene, amidst much gender joshing, she reveals her true identity to Guy and the two are betrothed.

FRENCH PEDLAR

In order to effect one of his many successful attempts to trick Mulligrub, a sneaky tavern owner, Cockledemoy, a city knave, assumes the identity of a French peddler in Marston's Dutch Courtesan. Wearing this disguise, Cockledemoy is able to witness Mulligrub buying an expensive gold cup from Master Burnish, the goldsmith. After the cup has been delivered to Mistress Mulligrub, Cockledemoy, this time pretending to be Burnish's servant, persuades her that Mulligrub wants it returned to Burnish's for engraving. Mistress Mulligrub gives Cockledemoy the cup, and Mulligrub is swindled yet another time.

FRENCH SERGEANT

In II.i of Shakespeare's 1 Henry VI he posts the Sentinels at Orleans and gives them instructions to be vigilent.

FRENCH SOLDIER

When Pistol captures a French soldier at the battle of Agincourt in Shakespeare's Henry V, Pistol's questions and the soldier's pleas for mercy work at cross purposes until the Boy arrives to serve as their translator. The Boy is able to explain that the soldier's name is Monsieur Le Fer, and eventually a ransom agreement is reached. Later, Henry orders his soldiers to kill their prisoners, so Pistol loses the ransom and Monsieur Le Fer loses his life.

FRENCHMAN**1586

He follows Derrick and takes him prisoner in the anonymous Famous Victories of Henry V. However, Derrick tricks him by telling him to lay down his sword so he can give him as many crowns as will lie it. When the Frenchman gives up his sword, Derrick takes hold of it and threatens the soldier, who narrowly escapes.

FRENCHMAN**1590

A knight in Kyd's Soliman and Perseda. He participates in the Governor's games.

FRENCHMAN**1609

The Frenchman, Philario's friend in Shakespeare's Cymbeline, participates in the conversation that leads to Iachimo's wager that he can seduce Imogen.

FRENCHMAN**1632

A disguise adopted by Horatio in Brome's The Novella. He goes to the Novella disguised as a Frenchman and argues that his own qualities are worth the 2,000 ducats she is asking, but she rejects him.

FRENCHMAN, COWARDLY

A "ghost character" and probably a fictional character in the anonymous Wisest Have Their Fools. The fourth soldier tells Musophilus how he once cut off a Frenchman's head in battle. The Frenchman was so cowardly that he ran away for fear of losing his life.

FRENCHMAN, FIRST, SECOND, and THIRD

Three Frenchman meet the citizens fleeing Crécy before the invading English Army in the anonymous King Edward III:
  1. The First Frenchman upbraids them for their fear of invasion, claiming that there is nothing to fear.
  2. The Second Frenchman is a mute character who arrives with the First Frenchman.
  3. The Third Frenchman enters to tell the citizens fleeing from Crécy and the other two Frenchmen that the English invasion has reached Crécy and they must all flee or be conquered.

FRENCHMEN in WOMEN'S CLOTHING

Seven French soldiers in Sampson's The Vow-Breaker who join Doysells and Mortigue in entering the English camp at Leith in women's attire, hoping to seduce the English soldiers and then to raid the camp. Mortigue describes the group as "nine manly wenches which will stand the squeak." Having succeeded in seducing Miles, Joshua and Bell, they raid the camp and kill one Englishman, whose head they hang from Leith's walls.

FRESCO

Cataplasma's servant Fresco attracts the attention of Levidulcia, and she attempts to have an affair with him in Tourneur's The Atheist's Tragedy. It is he who, under duress, informs Belforest of Levidulcia's assignation with Sebastian in the house of Cataplasma. After Sebastian and Belforest kill one another, Fresco is arrested with Cataplasma, Soquette, and Languebeau Snuff, and he is punished with them.

FRESCOBALD **1600

Also spelled Frescoball, Fryskiball and Friskiball in the anonymous Thomas Lord Cromwell. He is a merchant from Florence to whom Banister owes £1000 . When the broker Bagot has Banister arrested for his debt to Frescobald, Frescobald rejects Bagot and forgives Banister his debt until he can pay it. In Florence he finds Cromwell and Hodge his servant begging on a bridge, having been robbed. He gives them all the money he has on him, explaining that he loves England. Later Friscoball is penniless in London with no way of reclaiming what is owed him. He prepares to die but Hodge who is clearing the way for Cromwell's grand procession, makes him stand. Cromwell sees him and gets a servant to tell him to stay. At the banquet Cromwell remembers the exact sum he owes him and gives him far more than he owed, with a promise to settle all his debts.

FRESCOBALDI**1607

A hired assassin and braggart in Barnes's The Devil's Charter. Caesar Borgia hires Frescobaldi to murder the Duke of Candy. Frescobaldi, like his friend Baglioni, will do almost anything for enough gold. Frescobaldi and his fellow, Baglioni discuss the ways that they can make money through crime and call on a succession of mythological characters, alcoholic drinks, and whores, probably well known to the Jacobean audience, but now obscure and obsolete. They will both be hired by and subsequently die because of their relationship to Caesar Borgia. Borgia initially sets up his brother, the Duke of Candy, luring him out at night into the street where the armed Frescobaldi waits. Frescobaldi and Caesar attack and stab Candy to death, throwing his body over the bridge and into the Tiber River. Frescobaldi is then taken by surprise by Caesar Borgia who throws him into the river where he drowns alongside his own murder victim.

FRESHWATER, JACK

Jack Freshwater returns unexpectedly from travels abroad in Shirley's The Ball, immediately dunning Rainbow and Winfield, who owe him money, with interest. His stories of his travels are bogus; they are also fantastic, ridiculous, and full of errors. He ends by admitting he has not traveled at all and requires now only the principal amounts that he lent.

FRESOLIN

Son of the rebellious Palatine of Mensecke in Suckling's Brennoralt. He is preserved in battle by Brennoralt, who is in love with his sister, Francelia. Later, when Brennoralt is caught infiltrating the rebels' fort (he has come to pay a secret visit to Francelia), Fresolin saves his life by pretending to the soldiers in the fort that Brennoralt has come on a friendly visit to himself.

FRIAR

For named friars, look under the proper name, e.g. FRIAR BACON will be found under BACON, FRIAR, et cetera.

FRIAR**1513

A "ghost character" in the anonymous Hick Scorner. Free Will won a noble from the friar when he "gave him a fall," probably beat him up.

FRIAR**1588

An unnamed friar of Swinstead in the anonymous 2 Troublesome Reign of John joins the Monk in wishing John dead.

FRIAR**1593

The Friar volunteers to murder King Henry III for Dumaine in Marlowe's Massacre at Paris. He stabs the King with a poisoned knife and is stabbed by him in the ensuing struggle.

FRIAR**1597

Appears in scenes 13, 14, 15, 18 of the anonymous plot of Frederick and Basilea; played by Mr. Dunstann (James Donstone or Tunstall), who also played the Governor.

FRIAR**1601

The Friar performs the secret marriage between Violetta and Fontinel in the anonymous Blurt, Master Constable. Before an old chapel next to Saint Lorenzo's monastery, Violetta enters with the Friar, whom she has brought as instructed in the letter from Fontinel. In the dark, Fontinel inquires about the Friar, probably because he cannot see him beside Violetta. The Friar responds readily and exits with Violetta and Fontinel, presumably to celebrate the marriage ceremony.

FRIAR**1604

In the last scene of the anonymous The Fair Maid of Bristow Sentloe appears disguised as a friar until Harbert eventually reveals that he is alive.

FRIAR**1607

The rather anachronistic Friar appears in IV.i of Machin's(?) Every Woman in Her Humour. He delivers the oration at Philautus's funeral. His subject, appropriately, is man's mortality.

FRIAR**1607

The friar in Mason's Mulleasses presides over the feigned funeral of Julia.

FRIAR**1610

Count Roberto's alter ego after he turns his back to the world and takes holy orders in John Marston's The Insatiate Countess.

FRIAR**1611

The Friar in Dekker's If It Be Not Good arrives at the court because Bartervile has summoned him to hear his last confession. The King persuades the Friar to exchange clothing with him so that he can infiltrate Bartervile's house and escape from the city.

FRIAR**1612

The friar is a character in "The Triumph of Love," the second play within the play of Fletcher's Four Plays in One. In the dumbshow he marries Gerrard to Violanta.

FRIAR**1616

The Friar is one of the travelers robbed en route to Barcelona in Fletcher's Love's Pilgrimage. He is put in charge of the money Philippo gives them for relief, under the assumption that he will handle it most fairly, although Diego warns him against tithing the money.

FRIAR**1626

The dramatis personae of Dekker's Noble Spanish Soldier lists a Friar, apparently referring to Sebastian.

FRIAR**1631

The Friar, or Fryar, performs the secret marriage between Angelo Lotti and Fiametta in Dekker's Wonder of A Kingdom. He grants Angelo shelter after his escape from the Duke of Florence, but is subsequently taken to court after Angelo's discovery by Piero. The Friar agrees to be Fiametta's confessor and secretly marries her to Angelo, but only after she has threatened to commit suicide if she cannot marry him. In the final scene, the Friar recounts story of the secret marriage to the Florentine court.

FRIAR **1634

One of the disguises Paulo adopts to cure Don Martino of his melancholy in Fletcher and Massinger's A Very Woman.

FRIAR**1634

Two Friars figure in the action of Massinger's 1634 Cleander, or Lisander and Calista (a revision of Fletcher's 1623 The Wandering Lovers?).
  1. The Friar delivers news to Lidian of Clarange's supposed death. He also delivers the letter that entreats Lidian to return and claim Olinda as his. He helps Clarange find Lidian, who has taken a monastic life in the forest.
  2. It is also a disguise that Clarange adopts. As the friar, Clarange hopes to trick Lidian so that he will be forced to return to Olinda. Disguised as a friar, he accompanies Lidian back to court. Once there, however, Clarange decides that he prefers the monastic life and gives up Olinda. He asks that he be allowed to marry her to Lidian.

FRIAR**1640

The Friar finds Octavian seriously wounded in the anonymous Ghost. Believing he is dead, he decides to bury him out of charity. But he suddenly notices that there is still some life in him. The young man asks him to bring him his beloved Aurelia, and the Friar does so and marries them. But they decide to let people think Octavian has been slain, to take revenge on Babilas, and on other suitors of the lady (Pinnario, Procus and Valerio). When they learn that Philarchus is determined to marry Aurelia, the Friar, Rogat, Dauphine and Aurelia devise a plan to take revenge on Philarcus. The Friar prepares the funeral rites and makes everybody gather in his cave. There, he reveals the truth, and he will act as a mediator among the young men, encouraging reconciliation at the end of the play.

FRIAR**1640

Having just wed Hortensio to Florelia in Shirley's The Imposture, the Friar loses his habit to Flaviano as the latter tries to hide himself from the wrath of two dukedoms.

FRIAR, CARMELITE

A "ghost character" in the anonymous Thomas of Woodstock. The play begins with announcement by York and Lancaster that a Carmelite friar has just confessed a plot to poison them on behalf of Richard II.

FRIAR, FRENCH

A "ghost character" in Peele's Edward I. During her confession to the "French Friars" (Edward and Edmund in disguise), Queen Elinor admits that a French Friar was the natural father of her daughter Joan of Acon.

FRIAR or "FRERE"

A greedy and litigious Friar who, by feigning holiness and exalting poverty, tries to extort money from a congregation in John Heywood's The Pardoner and the Friar. He enters into competition with the Pardoner, who has gone into the church for the same purpose, and they fight. At the end of the play, however, the Friar joins forces with the Pardoner against the Curate and Neybour Pratte, who have tried to throw the two rascals out of the church.

FRIARS **1592

Unnamed Friars march and sing along with Cardinals, Bishops, and Monks in the Pope's victory parade and eat with them at the victory banquet in Marlowe's Doctor Faustus. When invisible Faustus speaks saucily to the Pope and steals his food and wine, the Friars search in vain to find him. When the exasperated Pope damns the invisible Faustus and flees his own banquet, the Friars sing a dirge of damnation with bell, book, and candle. In retort Faustus and Mephostophilis beat the friars and throw fireworks among them.

FRIARS **1604

Appearing only in dumb show in Heywood's 1 If You Know Not Me, these "Fryers" attempt to murder Elizabeth but are stopped by Angels.

FRIARS**1606

Many friars figure in Dekker's The Whore of Babylon:
  1. A number of friars, singing in Latin, follow the hearse of the dead Queen Mariana in the dumb show that begins the play; they clearly signify her Catholicism, and on the accession of Titania are routed by Truth and Time.
  2. In one of the later dumb shows, a Friar with a box appears alongside Campeius and the three Gentlemen, summoned by Falsehood's stamping on the ground. Time tells Truth that the box contains "a wild beast, a mad bull": that is, the papal bull deposing Elizabeth I which was affixed to the Bishop of London's gate by John Felton.

FRIARS, FRENCH

Disguises assumed by Edward and Edmund in Peele's Edward I. After her reappearance at Queenhith (Potter's Hive), Queen Elinor wishes to confess her sins, but fearing that members of the English clergy might not be able to maintain the seal of the confessional, she sends for friars from France. Edward and Edmund disguise themselves as the French Friars, and the king thereby learns that Elinor slept with Edmund the day before she married Edward, and that Joan of Acon is not Edward's natural daughter, but the result of her affair with an unnamed French friar.

FRIARS, IRISH

A pair of Irishmen in the anonymous Dick of Devonshire. They come to Pike in prison on the eve of his trial to give him auricular confession. He leaves the stage to forestall them by confessing directly to God, in good Protestant fashion; while he is gone they reveal that they have earlier spied for the Spanish on the English preparations for the raid on Cadiz.

FRIARS, THREE

After the marriage of Hippolyto and Infelice in Dekker and Middleton's 1 The Honest Whore, the two of them and Matheo disguise themselves as friars in an attempt to escape the madhouse unseen by the Duke. An apparently mad Bellafront unmasks them before the Duke and his followers.

FRIARS, TWO **1611

In a dumb show in Dekker’s Match Me in London, they prepare for the wedding of the king to Tormiella.

FRIEND**1589

The unnamed Friend in Greene's Friar Bacon and Friar Bungay accompanies Margaret's father, the Keeper of Fressingfield, in the attempt to dissuade the young woman from entering the convent at Framlingham.

FRIEND**1627

A "ghost character" in Hawkins's Apollo Shroving. Ludio recites to the Sexton a small part of his "Apology" which he had "a friend in a corner" draw up for him "in forme of Law, according to the stile of Apollos Court" (in return for lessons in gaming).

FRIEND, BENJAMIN'S DEAD **1615

A "ghost character" and possibly fictional in S.S's Honest Lawyer. Benjamin tells Nice a dream he had in which a dead friend came to him in a beautiful garden and asked him about many sad events. Nice is terrified of the dream and leaves him.

FRIEND, DORIDO'S

An unnamed and silent friend in Davenant's The Cruel Brother. He accompanies Dorido as he helps Foreste prove that Luinna is chaste. He and Dorido appear as rapists in masks while Foreste promises to hand over Luinna to them.

FRIEND, HORACE'S

A fictional character in Jonson's Poetaster. Horace's fabricated sick friend. When Horace wants to disentangle himself from Crispinus's irritating company, he pretends he is visiting a friend who lives on the far side of the Tiber, by Caesar's Gardens, and who is sick of the plague.

FRIEND, JAILER'S FIRST and SECOND

The Jailer who holds Palamon in Shakespeare's Two Noble Kinsmen has two friends:
  1. The First Friend of the Jailer describes Hippolyta and Emilia begging Theseus to have mercy upon Palamon and Arcite.
  2. The Second Friend of the Jailer bears news that Palamon's testimony has both cleared the Jailer of wrongdoing and acquired a pardon for the Jailer.

FRIEND of CAPTAIN AGER, FIRST and SECOND

Captain Ager has two friends that figure in Middleton and Rowley's A Fair Quarrel:
  1. The First Friend of Captain Ager quarrels with the First Friend of the Colonel over whether Ager is a better man than the Colonel is. Their argument inspires an abortive quarrel between Ager and the Colonel themselves. Ager's First and Second Friends support him at the dueling field. The First Friend believes wholeheartedly in the dueling code, and he is disgusted when Ager utters a Christian speech against dueling. He is bewildered when Ager promptly attacks the Colonel for calling him a coward, but he considers Ager redeemed. He accompanies Ager in the final scene.
  2. The Second Friend of Captain Ager is one of Ager's supporters during the duel, and he echoes the opinions of the First Friend.

FRIEND of the COLONEL, FIRST and SECOND

The Colonel has two friends that figure in Middleton and Rowley's A Fair Quarrel:
  1. The First Friend of the Colonel quarrels with the First Friend of Captain Ager over whether Ager is a better man than the Colonel is. Their argument inspires an abortive quarrel between Ager and the Colonel themselves. The Colonel's First and Second Friends support him at the dueling field, and they carry him off when he is wounded. The First Friend introduces Chough and Trimtram to the 'Roaring School,' and allows them to practice roaring at him. Along with the Second Friend, he attends the Colonel at his sickbed and supports him in the final scene.
  2. The Second Friend of the Colonel is a non-speaking role. Along with the First Friend, he supports the Colonel on the dueling field, at the Colonel's supposed deathbed, and in the final scene.

FRIENDS, CHORUS of CAESAR'S **1594

When in Kyd's Cornelia Mark Anthony warns Caesar that there is a conspiracy against his life, Caesar dismisses the threat by saying that his fate is in the hands of the gods. The Chorus of Friends praises, in rhymed couplets, the deeds of Caesar and his greatness as well as the benefits he has brought to Rome. The Chorus of Friends sadly condemns those who would allow envy and spite to destroy what is good for all of Rome.

FRIENDLY

Freindly is a Templer in Brome's The Damoiselle. In II.i, Brookall asks his if he has seen his son but he does not know.

FRIENDS

They are "ghost characters" within the song in Armin's The Two Maids of More–Clacke. They want to know what is wrong with the sad woman.

FRIENDS, ADRASTUS'

After the combat in Carlell's The Fool Would Be A Favorite, the Duke cautions them not to harm Philanthus, but Adrastus incites them to revenge him. Lucinda directs them to the house where they find Philanthus and discover his true identity. They tell Lucinda that he has killed Adrastus to justify their intended murder. Lucinda prevents them, pretending to murder him herself.

FRIENDS, AMIE'S

"Ghost characters" in Brome's A Mad Couple. They were abandoned by Amie when she left her town.

FRIENDS, ARVIRAGUS'S

"Ghost characters" in Carlell's 1 Arviragus and Philicia. Arviragus informs Philicia that he cannot stay and talk with her since "Guiderius with a friend or two waits with [his] horse without the Ports."

FRIENDS, FALSE

The names of Timon's false friends in Shakespeare's The Life of Timon of Athens are not given in the second banquet scene of III.vi. They likely are or include all or some of the false friends from the first banquet, viz. Lucius, Lucullus, Sempronius, and Ventidius as well as the Jeweler, Mercer, Merchant, Painter, and Poet who are given no proper names.

FRIENDS of ORMANDINE

Ormandine's friends are bewitched by his magic in Kirke's The Seven Champions of Christendom. When St. George defeats Ormandine, Ormandine asks him to release his friends, who have done no harm. The friends ensure that St. David is returned to favor with the King of Tartary.

FRIENDS, RODERIGO’S **1637

“Ghost characters" in Rutter’s The Cid. They convinced Roderigo to fight the Moors without leave from the king and seconded him in battle. They were at first a band of five hundred but grew to three thousand by the time Roderigo had reached the coast.

FRIENDSHIP

A part taken by one of the Roman soldier masquers performing in honour of Titus's Triumph in Hemminge's The Jews' Tragedy. They appear as Time, Piety, Temperance, Chastity, Friendship, Constancy and Patience. Their masque underlines the royal virtues of Titus and incites him to judgement of the prisoners-of-war.

FRIENDSHIP **1617

One of the sixteen banished Affections not otherwise listed in the dramatis personae but included in Madame Curiosity’s list of banditti in the anonymous Pathomachia. He and Enmity are to be placed in the vanguard of Pride’s attack. He complains that he was once counted amongst the Virtues as greater than marriage but has since fallen low. He disguises himself as King Love but is immediately detected because he is too tall. Justice forgives him, though, and takes him into the Virtuous camp along with Enmity.

FRIENDSHIP **1630

A "ghost character" in Randolph's Muses' Looking Glass. Mediocrity refers to her as her neice.

FRIGHT

Master Fright is a man afraid of darkness in the anonymous Wit's Triumvirate. He visits Doctor Clyster, seeking a remedy for his disease. He explains he is afraid of the dark, and of noises and possible spirits lurking in it, and he adds that his fear makes him see strange things, related to evil. When he hears Doctor Clyster's diagnosis that he has been "unseasonably catechized" and frightened with the devil, he decides he will also need the help of the church to get rid of the devil. He thanks and rewards the doctor and leaves content. Afterwards, he goes to see the doctor again and tells him about more of his episodes of fear of darkness–which turn out to be perfectly explainable in daylight. Then Doctor Clyster concludes he suffers from 'melancholy' and, hearing all his patient had to say, he explains that "it was more in a divine than a physician to cure" him, and he advises him to go and see Master Silence, whom he describes as "one of the rarest men in Europe." Thus, following the doctor's advice, he goes to see Master Silence. He also tells him about his fears and keeps blaming the devil for all the awful things he sees and hears at night, which, later on, in day light, are inoffensive. When he finishes with his account he implores to be cured, and the divine prescribes him to purge himself "of all profane histories and wicked poets" and to read pious works instead–a tedious cure for his illness. Then, he offers Master Silence some money for his services, and, though the latter seems to reject it at first, he then accepts it–pretending he will not keep it for himself. Later, when Master Fright finds out that he has been cheated, encouraged by Damme de Bois, he goes to see Doctor Clyster again, and accuses him of being a cozener, but the fake doctor threatens to raise "strange apparitions and ghosts" to haunt him, and his fearful victim ends up leaving. Afterwards, urged by Damme de Bois again, he and the other cozened victims siege the house of the three cheaters. Finally, Master Algebra, who was passing by, offers to act as a judge, and he actually solves the case satisfactorily for all the parties involved, cures the cozened people and he is recompensed both by the victims and by the cheaters.

FRIGOZO

Frigozo is a courtier and a spectator of the plays at the celebration of Emanuel and Isabella's nuptials in Fletcher's Four Plays in One.

FRION

Frion was once secretary to Henry VII in French affairs in Ford's Perkin Warbeck. He becomes secretary to Warbeck in the pretender's rebellion. He is all that remains of the Renaissance drama Machiavell by Ford's time. He is relegated to an interesting but subservient role in the play. He is the first follower captured during Warbeck's flight to Cornwall and has little effect on the play's outcome.

FRIPPER

A dealer of cast-off clothing in Chapman's Monsieur D'Olive. His friendship with Mugeron allows him to procure a place in the service of D'Olive.

FRIPPERY **1605

The broker-Gallant (pawnbroker) in Middleton's Your Five Gallants. One of Katherine's mercenary suitors. In addition to usurious dealings he is a dealer in stolen goods through out the play. He describes his early life as a poor serving-man, building a fortune by trickery and ruthless investments. He has dealings with Primero and knows him to be a fellow-rogue, but freely preys on the other Gallants in their guise as rich citizens. He visits Katherine's house with her other suitors; attends Primero's brothel and says little on either occasion. At the Mitre, he comes into his own, doing good business as the loaded dice game impoverishes the more gullible players and their goods and even clothes go into pawn. Later, wearing Fitsgrave's stolen cloak, pawned to him by Goldstone, he is beaten in the street by Pursenet in a case of mistaken identity. General recriminations between all the Gallants soon lead them to hug and join forces in their pursuit of Katherine- the winner to provide a safe house in perpetuity for all. By this stage, Katherine's stolen pearls have reached Frippery's possession: he unwittingly presents them to her as his own gift at the conclusion of the Gallants' masque, provoking a sensation. After their exposure in his masque, Fitsgrave gives all the Gallants the ultimatum of marrying the Courtesans to avoid further public justice for their crimes. They all concede.

FRISCO**1598

Frisco, Pisaro's servant, is a clown in Haughton's Englishmen for My Money. When Pisaro dismisses his daughters' philosophy teacher, Anthony, he sends Frisco to procure for them a Frenchman who speaks French, Dutch, and Italian and who also is a good musician. The three young English suitors mislead Frisco. At Anthony's instructions, they send him to St. Paul's where he finds and hires Anthony disguised as a Frenchman, Monsieur le Mouche, whom Frisco calls Master Mouse. Later, when Pisaro plans a trick which will replace the young men with the three foreign merchants (Alvaro, Delio and Vandalle) whom he wishes his daughters to marry, Frisco describes that trick to Mouche/Anthony. Frisco also plans a trick of his own. Supposedly leading Vandalle to Pisaro's house where he is to meet Laurentia, Frisco works him into such a sweat that Vandalle removes his cloak. Frisco runs off with it and pretends to be the Dutchman so that he can enter Laurentia's room. The three English suitors misdirect the foreign merchants, and Frisco arrives last of all imitating the Dutchman. Ferdinand convinces Frisco that this is not the house he wants (despite his living there). Frisco assumes he has had too much to drink, has made a mistake, and leaves. Frisco meets Delio and Alvaro, also lost and trying to follow the Englishmen's instructions. He decides to have fun at their expense. In the dark he leads them through London's dirty streets, identifying the roads by their foul smells, but himself becomes lost. Butterwicke the Bellman eventually takes the three to Pisaro's house where Pisaro asks Frisco about the absent Vandalle. Frisco points out "Mendall" hanging in a basket outside the house where the three daughters have left him. Frisco later brings in Marina, explaining that her Harvey is very sick and then mocks Vandalle because his Laurentia has run away. When Laurentia confesses to imitating Anthony in order to marry Ferdinand, Frisco is delighted and suggests that Mouche (Anthony) dress up like Laurentia and marry the Dutchman.

FRISCO**1600

Frisco is Silvio's son in the anonymous Maid's Metamorphosis. He is a merry boy, who soon becomes friendly with Mopso and Ioculo. His mission is to find his father's beloved shepherdess, Eurymine. When he is with his friends (who also have to find their masters' respective ladies), in the course of their quest, they meet some fairies, who convince the boys to sing and dance with them. Then he has a bright idea that may solve their problems: they will visit a wise man, Aramanthus, who lives in the forest. When he is in the presence of the old man, he asks him if his father will win the love of the fair shepherdess, and he learns, to his dismay, that his father will not get the girl. Therefore, he leaves the place to break the sad news to Silvio.

FRISCO**1601

Frisco is Imperia's porter in the anonymous Blurt, Master Constable. The name suggests a brisk movement in dancing, a caper. At Imperia's courtesan house in Venice, Doyt knocks and Frisco answers the door. At Imperia's orders, Frisco exits to hang Fontinel's picture at her bedside. Frisco and Simperina mock the old courtier Curvetto's avarice and lechery. Frisco later informs Hipolito that Imperia has fallen in love with Fontinel's portrait. When Camillo has Fontinel sent to prison, Hipolito sends Frisco after with the purpose of impressing Imperia's passion upon the Frenchman. While promising to Hipolito to do just that, Frisco notes, in an aside, that this is a good opportunity to free Fontinel. In the street before an old chapel, Frisco enters wearing Fontinel's garments, while the Frenchman wears Frisco's clothes. They have effected Fontinel's escape and have come to the chapel for his secret marriage to Violetta. At Imperia's house, following the courtesan's arrangements, Frisco watches Lazarillo slide down through a trapdoor into the sewers of Venice. At midnight, Frisco is at the window of Imperia's room while Curvetto tries to climb the rope ladder. Frisco calls for help against the "thieves," and Curvetto is arrested for attempted burglary. Having managed to escape from the Venetian sewers, Lazarillo wants to enter Imperia's house to reclaim his suit. Frisco will not let him in, however, and instead drenches Lazarillo with urine. While Fontinel pretends to court Imperia, Frisco enters with Trivia and Simperina, announcing that Camillo and Hipolito have arrived. Frisco thinks they seek to kill him for helping Fontinel escape from prison, but Fontinel declares they are looking for him and hides in Imperia's closet. However Frisco re-enters accompanied by Violetta, who has pretended to be Camillo and Hipolito to gain entrance to the house, Frisco facetiously wonders how two men are transformed into one woman.

FRISCOBALDO, ORLANDO

Orlando is Bellafront's father in Dekker's 2 Honest Whore. Estranged from her for years because of her career as a prostitute, Orlando learns from Hippolito of her reformation and her marriage to Matheo. Disguised as Pacheco, Orlando seeks service with his daughter and her husband in order to confirm the report of Bellafront's conversion and to offer her assistance. Her virtue is confirmed when she sends Hippolito's gifts and letters back, and Orlando gives them to Infelice, thereby informing her of her husband's waywardness. As Matheo's behavior and circumstances become more desperate, Orlando does what he can to help Bellafront, but he finds her too devoted to her worthless husband to accept his offers of aid. After arranging for Matheo to be involved in the robbery of two peddlers (actually two of his servants), Orlando goes to Gasparo Trebazzi, the Duke of Milan for help. The duke agrees to have Matheo arrested, his house searched (revealing, of course, the goods stolen from the peddlers), and the prodigal taken off to prison. Orlando hopes, by placing Matheo in danger and then rescuing him, his son-in-law might be receptive to changing his life. In the final scene in Milan's Bridewell, Matheo brazenly lies that Bellafront and Hippolito have been having an affair, and Orlando reveals himself to counter that change. He resumes a father's role, promising to support his daughter and her worthless husband, and ends by warning Matheo that he must amend his behavior.

FRISK, MONSIEUR le

Monsieur Le Frisk is a dancing master in Shirley's The Ball, frequenting the drawing rooms of the nobility and speaking in heavily French-accented English.

FRISKER

A "ghost character" in Jonson's Poetaster. Frisker is an actor playing the zany in Histrio's troupe. When Tucca invites himself for supper at Histrio's expense, he recommends the player not to invite certain actors. However, Tucca tells Histrio he may bring Frisker along because he is a good facetious boaster. Probably Tucca finds affinities with the actor interpreting the braggart since Frisker's acting is supposed to ridicule people like Tucca.

FRISKIN

A tailor to whom Rampino owes money in Davenant's The Unfortunate Lovers. He is promised that he will be employed by the new King, Heildebrand.

FRISSIT FALSE-MEASURE

A "ghost character" in Wilson's The Three Ladies of London. A guest at the wedding of Dissimulation and Love. She is the wife of Fardinando False-Weight.

FRISWOOD

Housekeeper to Will Striker, who nicknames her 'good Fid,' and nurse to his granddaughter, Annabel in Brome's The Sparagus Garden. She is also the aunt of Rebecca Brittleware. She is an expert eavesdropper, a skill that comes in handy when she hears Sir Hugh Moneylacks telling Striker about Annabel's forbidden love for Samuel. Livid at this report, Striker accuses her of being a witch; she, however, describes herself as having been Striker's "creature this thirty years, down lying and up rising" and reminds him that she crept into her mistress' bed even when Striker's wife was still alive. She becomes one in the confederacy to dupe Touchwood and Striker into allowing Samuel and Annabel's marriage, and tells Striker of Annabel's supposed pregnancy by Samuel. When he responds by threatening to throw her and her charge out of doors, she blackmails him by threatening to tell the town about his similarly cruel treatment of his sister, Mistress Hoyden. When she intervenes in her master's subsequent quarrel with Touchwood by offering the latter gingerbread for his wind, he kicks her and causes an escalating battle of fists. After helping Rebecca to break her husband of his insane jealousy, she participates in the denouement in which all scores are settled, all feuds righted—and Striker finally consents to make "an honest woman" of her.

FRITH

Frith offers to buy Simplo's land for £150 in the anonymous Two Wise Men and All the Rest Fools. But he withdraws the offer when Antonio uses the papers Simplo has given him to hold to suggest, falsely, that Simplo's title is suspect. The device allows Antonio to buy the land for only £100.

FRITH, MARY

Mary Frith, also known as Mistress Mary, Moll Cutpurse is the Roaring Girl in Middleton and Dekker's Moll Cutpurse, The Roaring Girl. Moll is based on the real Moll Cutpurse, named Mary Frith, and she is called the Roaring Girl because she behaved like the riotous gallants of the period, called "roaring boys." Moll is a scandalous figure because she dresses like a man and behaves like a man, and because she has no husband; she is also believed to be a thief and a prostitute. When Moll goes to Openwork's shop to buy a ruff, Mistress Openwork thinks she is having an affair with her husband. Laxton is enamored of Moll and pays her money to meet with him and have sex, but when she comes to their appointment she returns his money and attacks him with her sword for thinking women are whores. Moll saves Jack Dapper twice, first when Sergeant Curtilax and Yeoman Hanger come to arrest him and again when he is held ransom for his gambling debts. She explains to him and Sir Beauteous Ganymede, Sir Thomas Long, and Lord Noland the practice of canting and the profession of cutting purses. When Sir Alexander Wengrave forbids his son Sebastian from marrying Mary Fitzallard, Sebastian pretends that he wants to marry Moll Cutpurse in order to force his father into agreeing to his and Mary's wedding. Moll agrees to help them, and she dresses Mary in male attire so that she can more easily meet with Sebastian. Sir Alexander wants to have Moll imprisoned to separate her from his son. To that end he hires Ralph Trapdoor to spy on her and help entrap her. When Sir Alexander is informed that Moll will be meeting Sebastian in Sir Alexander's chamber, he leaves valuables out to tempt her into stealing them. Moll doesn't take the bait, though, so Sir Alexander gives her money that he later intends to claim she had stolen. In the end, she returns the money to him. Moll also provides the epilogue to the play, in which she says that if the play was not pleasing then the real Mary Frith would appear on stage a few days later to perform for the audience.

FRIVOLO

Frivolo is a soldier, a friend of Vasco, Altesto, and Tristan in Davenant's Love and Honor. He serves as part of the comic relief, but also provides the main exposition. In the first scene, he jokes about injuries and the captured general's plate, but when it is revealed that Evandra's life is in danger, Frivolo is the one sent to overtake Altesto and bring her back. He returns with the news that she has already been taken to town. Later, Frivolo enters with the news that it has been proclaimed that all female prisoners must be set free after a year, unless they consent to marry their captors, and that during that year, the men must maintain them at their own expense, while respecting the women's chastity. He then explains that the Duke plans to execute Evandra because of his brother's supposed death at the hands of the Duke of Milan. Frivolo comes up with the idea that Lelia can help persuade the Widow into accepting Vasco and, with the others, mocks the Widow's advanced age. He agrees to marry Lelia, since her mother is wealthy. He is present, with the others, when both Evandra and Melora are taken to prison on the Duke's orders, and objects to the job of being an executioner of a maiden. When the Duke tells Vasco to gather a guard, Frivolo says he will find a regiment that will be invisible to justice, but returns in the end to mock Vasco's marriage to the Widow, who refuses to die.

FRIZ

A "ghost character" in Shakespeare's Two Noble Kinsmen. Friz is mentioned as one of the women expected to join local men in performing morris-dances for the Duke of Athens.

FROG**1604

Frog is Sir Godfrey's man in the anonymous The Fair Maid of Bristow. He marries Douce.

FROG**1605

Also called "Leap-Frog", a servant of Featherstone in Dekker and Webster's Northward Ho. His colleague Squirrel tells him that Greenshield's "sister" is probably his wife, as she sleeps every night with him, and that she intends to cheat her husband with his master. Together they watch her when she pretends to be sleepwalking to get into Featherstone's room.

FROGMORTON

A "ghost character" in Heywood's 1 If You Know Not Me. Frogmorton is described as having been arraigned with the traitor Wyat and as not having implicated Elizabeth.

FROLIC

Frolic, along with Antic and Fantastic, is a page lost in the woods near Madge's cottage in Peele's The Old Wives' Tale. Invited home by the smith Clunch, he and Fantastic will be treated to Madge's "old wife's tale" of the sorcerer Sacrapant and the rescue of Delia by Eumenides and the Ghost of Jack. His interruption of Madge with mocking and overly literal questions about her story elicits from her the rebuke, "Nay, either hear my tale, or kiss my tail."

FROLLO

Frollo is the king of Sweland and the conqueror of Norway in Burnell's Landgartha. He has murdered and overthrown the former king of Norway. His courtiers, Hasmond and Gotar, advise him to attract Landgartha to their favor at the same time that they ask to be the commanders of some of his troops. Thus, he gives 30 soldiers to Hasmond, and 25 and Fatima as their leader to Gotar. When he is told that Landgartha and Reyner are coming against him, he tells Hasmond and Gotar to get ready to fight against their enemies. He is quite sure about his victory and does not want to escape. However, when Landgartha finds him, he has to offer her to be his wife in order to join their forces. She refuses such a position and he is defeated by her in a fight.

FROMAGA

The waiting gentlewoman to Felecia and Florida in Sharpham's The Fleire. When Petoune makes romantic advances towards her, she rejects him, but then relents when she learns he intends marriage. They are happily united.

FRONIA

In the first act of Hughes' The Misfortunes of Arthur, Fronia, a lady-in-waiting to Gueneuora, counsels the queen not to continue the affair with Mordred. She further urges her to seek reconciliation with her husband and to give up thoughts of assassinating Arthur upon his return to Britain.

FRONTO

"A ruined knave" in Chapman's Caesar and Pompey. He makes a deal with the devil Ophioneus in a brief comic scene at the beginning of Act II.

FROTH**1604

A foolish gentleman of Vienna of "fourscore pounds a year" and frequenter of Mistress Overdone's house in Shakespeare's Measure for Measure. He never willingly enters a tavern, but is "drawn in." Froth and Pompey are brought before Angelo and Escalus, where Pompey is charged with prostituting Mistress Elbow to Froth. Escalus releases Froth with a warning to avoid pimps and brothels.

FROTH**1625

Tapwell's wife, a bawd, and partner in his bawdy business in Massinger's A New Way to Pay Old Debts. Froth, along with her husband, refuses service to Welborne at the command of Marrall and is blamed by Tapwell for their troubles with the prodigal. Later in the play she and Tapwell approach Welborne for payment of a debt. Froth is hopeful of Welborne's mercy. Still, when they attempt to bribe Justice Greedy into forcing Welborne to repay them, Greedy (who is successfully bribed by Welborne) revokes their tapping and drawing license, and they are sent away with nothing. Although Froth is disappointed when Welborne is unmerciful, Tapwell admits that it is due punishment for being an "unthankful knave."

FROWARD OBSTINATION**1513

A "ghost character" in the anonymous Hick Scorner. One of "the devil's officers" among Hick Scorner's company on his recently returned ship. Listed among a large group of "thieves and whores" and "other good company" of "liars, backbiters, and flatterers . . . brawlers, liars [sic], getters and chiders, walkers by night [and] great murderers."

FRUGAL**1625

A "ghost character" in Massinger's A New Way to Pay Old Debts. Master Frugal is Overreach's neighbor and the future victim of his extortion. Because he will "nor sell, nor borrow, nor exchange" and his land is considered "a foul blemish" in the midst of Overreach's "many lordships," Overreach plans to, with the help of Justice Greedy, employ his corrupt tactics to "beggar" Frugal and force him to sell his land at half its value.

FRUGAL**1632

Family name of Sir John and Lady Frugal, Luke, Anne and Mary in Massinger's The City Madam.

FRUGAL, LADY

Lady Frugal is the wife of Sir John Frugal, mother to Anne and Mary in Massinger's The City Madam. She is a very proud and vain and given to fashion and is training her daughters to be the same. At the beginning of the play, she is arrogant and rude towards Luke, but easily flattered by Millicent and Stargaze. She spends money exorbitantly. She is blamed for Anne and Mary's refusal to marry Plenty and Lacy. She is also blamed for her husband's disappearance in Act III. After Luke inherits all his brother's money, he dismisses Lady Frugal's "bees" (Millicent and Stargaze), and denies her of her frivolous clothing, giving her instead in "course habit." Luke plans to send Lady Frugal and her daughters to Virginia, where they are to be sacrificed to the devil. When her husband reappears, she is uncharacteristically generous, begging mercy on Luke's behalf.

FRUGALE

A "ghost character" in Jonson's Every Man out of His Humour. Fastidious Brisk follows Sogliardo's advice in pretending that he has relatives in high places to show off as a grand gentleman. When he is introduced to Puntavorlo, Fastidious Brisk pretends to be well acquainted with Count Frugale at court, adding that he shares friendship with other grand personages.

FRUGALITY **1617

A “ghost character" in the anonymous Pathomachia. One of Liberality’s two attendants.

FRUITFUL

The name assumed in May's The Old Couple by the disguised Scudmore, supposedly slain, acting as Chaplain to the Lady Covet.

FRUMPTON

A "ghost character" in the anonymous Clyomon and Clamydes. One of Corin's neighbors who has a wench.

FRYERS

See "FRIARS."

FUB

Fubis Stultissimo's man in J.D.'s The Knave In Grain New Vamped. He delivers Stultissimo's poem to Dulciflora; Lodowick reads it out and they all laugh at it. Fub warns the Doctor that his Wife is up to something with Valentius. This done, the gallants go off to the Leaguer, and get so drunk that Julio tricks them into thinking they have eaten a banquet.

FUCATO

Fucato is servant to Falso in Middleton's The Phoenix. With Furtivo and Latronello, he robs the disguised travelers Phoenix and Fidelio.

FUGA**1636

Fuga is the daughter of Malevolo and waits on Fancie in Strode's The Floating Island. She is wooed by Timerous but does not return his affections. When Audax, egged on by Concupiscence, tries to rape the disguised Timerous, everyone believes that Fuga has been raped. She is mocked by Concupiscence and Desperato, and Amorous attempts to seduce her, saying that she should now agree to relations with any man. Fuga tells Malevolo what happened and he vows revenge against Audax. At Desperato's dinner, Fuga promises to stab herself, saying the knife will know she is a virgin. After Prudentius returns, he announces that she and Timerous will not marry.

FULCINIUS

Fulcinius is a senator in Massinger's The Roman Actor.

FULGENS

A Roman senator in Medwall’s Fulgens and Lucrece. Despite having no male heir, he delights in the intelligence, nature, and virtue of his daughter, Lucrece. His one wish s to see her well married before he dies. Though he is willing to counsel her, he refuses to take away her freedom to choose her own husband.

FULGENS’S WIFE

A ‘ghost character’ in Medwall’s Fulgens and Lucrece. A woman ‘of good condition and right comfortable to [her husband’s] intent,’ nevertheless, she has given Fulgens only one female heir.

FULGENTIO**1621

Fulgentio, Roberto's chief counselor in Massinger's The Maid of Honor, he wants to marry Camiola.

FULGENTIO**1636

Fulgentio is a Spanish colonel in Rawlins's The Rebellion who travels frequently with Alerzo and Pandolpho. Fulgentio praises Antonio for bravery and is accused by the Count of being a flatterer. When Antonio is accused of treason by the Governor and Machvile, Fulgentio protests Antonio's innocence. When Sebastian (disguised as Giovanno) promises to defeat Raymond, Fulgentio is skeptical and attacks Sebastian for his impudence. Even after Sebastian defeats Raymond, Fulgentio shows him disrespect. Fulgentio calls Raymond to Machvile for a meeting. Fulgentio returns to the stage near the conclusion to witness Machvile and Raymond's demises.

FULGOSO

An "upstart gallant" in Ford's The Lady's Trial. He is pretentious and foolish, tricked by Piero and Futelli into courting Amoretta. Finally, after the failure of his courtship, he offers his services to Auria, the returning hero—whether successfully or not is left unclear.

FULK **1605

Servant and accomplice to Goldstone, an old retainer to the family in Middleton's Your Five Gallants. Abets Goldstone in his lucrative scams at the Mitre, assisting in both a well-prepared exchange of precious goblets for fakes, and an elaborately-rigged dice-game.

FULLER

Tries to persuade Master Anselm to free himself from the bondage of love in (?)Heywood's How A Man May Choose A Good Wife From A Bad. The next day he again tries to dissuade Anselm, but when this fails he advises him to pursue his love aggressively and not to believe her if she refuses his advances. They arrive before Mistress Arthur's door and step aside when they hear Young Master Arthur, Mistress Arthur, Young Master Lusam, Old Master Arthur, Old Master Lusam, and Pipkin coming out. When Mistress Arthur is left alone, Fuller encourages Anselm to declare his love. As Anselm is speaking with Mistress Arthur, Fuller offers asides on Anselm's skill as a wooer. After Mistress Arthur rejects Anselm, Fuller suggests they try some other way to advance his love. Later, Fuller continues to discourage Anselm by telling him a tale of his mistress, who had sworn to name no other man but him, yet when he snuck up on her and covered her eyes, she named 20 other men before naming Fuller. Fuller agrees to continue helping Anselm so long as they work towards making Mistress Arthur hate her husband. When Mistress Arthur enters, Anselm and Fuller try to persuade her that Young Master Arthur is spending all of his time at Mistress Mary's house being unfaithful to her, and that she should divorce him. After she exits, Fuller again tries to persuade Anselm to abandon his frivolous love for Mistress Arthur. Anselm and Fuller then spy on Aminadab, in despair over the loss of his love Mistress Mary. Fuller tries to convince Anselm that love makes him appear as ridiculous as Aminadab, but Anselm will not believe it. Fuller then suggests that they jest with Aminadab and give him a sleeping potion, telling him that it is a poison. Aminadab spies Anselm and Fuller and asks them if they have anything he can use to rid his hosue of rats; Fuller then gives him the sleeping potion. After Aminadab exits, Anselm and Fuller encounter Young Master Arthur, who is in pursuit of Aminadab. Anselm invites himself to Young Master Arthur's house for dinner, and Young Master Arthur asks Fuller to come along as well. Master Anselm and Master Fuller arrive at Young Master Arthur's feast together. When Justice Reason asks the guests for a jest, Fuller tells a tale in which, after failing to woo a Puritan woman, he succeeds by disguising himself in Puritan costume and using Puritan forms of speech. As the feast ends and the guests begin to leave, Anselm finds his love for Mistress Arthur is even stronger due to her constancy and modesty, while Fuller again advises him to abandon his hopeless love for her. Pipkin then enters to them with the news of Mistress Arthur's supposed death: Anselm is devastated by the news while Fuller finds it intolerable that Anselm should swoon at the news of a woman's death. Later, Fuller meets Anselm who tells him of Mistress Arthur's recovery and how she is now hidden at his mother's house; Fuller in turn tells Anselm about Young Master Arthur's marriage to the prostitute Mistress Mary. When Mistress Arthur enters, Fuller goes over in detail the wrongs that her husband has committed against her, while Mistress Arthur listens in silence. After Fuller concludes, Mistress Arthur affirms her continued love for her husband, and wishes that his new wife will be better than she was. After she exits, Fuller is amazed at her purity. At the end of the play Master Anselm and Master Fuller attend Young Master Arthur's trial. When Master Fuller attempts to explain how Aminadab came into possession of the poison and Master Anselm attempts to justify Fuller's actions, Justice Reason wants them both charged as accessories to the crime. After Mistress Arthur enters and negates the murder charge against her husband, Master Fuller explains that the poison was in fact a sleeping potion, and Master Anselm explains his rescue of Mistress Arthur from the tomb.

FULL–MOON

Guardian in Bedlam (mental hospital) in Dekker and Webster's Northward Ho. Before they go to Ware, Bellamont, Maybery, Greenshield, Phillip, Leeverpool and Chartley go to "see the loonies". Full-Moon then presents two of the patients to them. Greenshield tells him that Bellamont is a dangerous lunatic who had to be brought hither on a pretense. Full-Moon takes him into custody, but releases him when the gentlemen admit that it was only a practical joke.

FULSOME, MADAME

Madame Fulsome is the governess of the maids in Mason's Mulleasses. She is primarily concerned with securing the company of Bordello. Bordello describes her as a court owl, while Eunuchus praises her musicality. Madame Fulsome is frequently accompanied by Phego, an usher. While waiting for Bordello, Fulsome and Phego are frightened off of the stage by the ghost of Timoclea.

FULVIA**1588

Fulvia is the daughter of Scilla in Lodge's The Wounds of Civil War. She is brought to Marius, with her mother Cornelia, after he takes Rome. At first, she complains that instead of marriage she will now face a funeral, but after her mother upbraids her for her weakness, she joins with Cornelia in insulting Marius and preparing herself for death. After Marius makes clear that he has no intention of harming them, Fulvia praises him and claims that Scilla will make peace because of Marius' graciousness, an idea Marius rejects completely. When Scilla is preparing to die, Fulvia focuses on how unlucky his death is for her.

FULVIA**1607

I.
A "ghost character" in Shakespeare's Antony and Cleopatra. Fulvia is Antony's first wife, and the cause of the early tension between Antony and Caesar because Fulvia made war in Italy to, as Antony believed, draw his attention. She dies early in the play.
II.
A "ghost character" in May's Cleopatra. First wife of Antonius, mentioned twice by Cleopatra.

FULVIA**1611

Fulvia is a Roman patrician matron, of high birth but with extravagant tastes in Jonson's Catiline. At her house, Fulvia enters with her woman, Galla. After admiring the precious pearl she has received from Caius Caesar, Fulvia instructs Galla to tell her former lover, Curius, that she is not in the mood to receive him. It seems that Curius has fallen into disfavor because he is broke and no longer able to lavish rich gifts on his mistress. Sempronia enters informing Fulvia about her role in the conspiracy of having Catiline elected as consul, asking for Fulvia's commitment to the cause. Fulvia is rather vague about her intentions, but when Curius is announced once more, she receives him, while Sempronia exits. When Curius enters, Fulvia seems to reject him at first, but then she accepts his attentions in order to find out about Catiline's plot. Fulvia exits with Curius to the bedroom. After Cicero's election as consul, Fulvia discusses with Cicero at his house. It is understood that Fulvia has reported her information about the conspiracy to Cicero. While Cicero implies that Fulvia has done a patriotic act by reporting on the plot, Fulvia reveals her real reason, feminine envy. Fulvia says she could not let Sempronia have supremacy in the situation. Fulvia and Cicero persuade Curius to act as a spy for the consul in Catiline's party. At Catiline's house, Fulvia participates in a secret nightly meeting of the women attached to Catiline's cause. When the meeting is over, Fulvia pretends she is not well and retires early, not before having received important information regarding the men's plot of murdering Cicero from Curius. Fulvia reports to Cicero and thus she is instrumental in the conspirators' arrest. It is understood that Fulvia and Curius are rewarded discreetly for their intelligence services.

FULVIA**1628

Poppaea's maid in May's Julia Agrippina.

FULVIO

Fulvio is a nobleman in Shirley's The Bird in a Cage. With Orpiano, he comments on the hypocrisy of court life and the Duke's folly.

FULVIO **1635

A lord and twin to Gratiano in Rider’s The Twins. Charmia confesses her love to Fulvio, who upbraids her sin. He nevertheless agrees to sleep with her once Gratiano is out of town if only to stop her from slaking her lust with another man. When she later chides him for delaying, Fulvio goes to Gratiano. He tells his brother of an anonymous woman who would to lie with him or else perish in a life of sin. Gratiano advises him to lie with the woman not knowing it is his wife. He is on hand when Clarinda learns of Alphonso’s ‘death’ and grieves with her. Gratiano must go to visit lord Fidelio for two or three days; Charmia plots with Fulvio to use this time to conduct their assignation. He affirms he is willing only to save her life in hopes that she will mend and prove a good wife to Gratiano after. When asked, he admits to Gratiano that he is about to lie with Charmia. They fight. He is thought killed until the final moments of the play when it is revealed that he bested his brother in the fight and convinced him of the truth. From that moment he works behind the scenes to help affect the happy ending. Gratiano confesses the good that transpires is due to having ‘a faithful brother.’

FULVIUS

One of the senators in Fletcher's Valentinian who aid and legitimize Maximus' rise to the throne.

FULVIUS NOBILIOR, MARCUS

Marcus Fulvius Nobilior is a knight of the equestrian order and a member of Catiline's conspiracy in Jonson's Catiline. At Catiline's house, Fulvius enters with the other conspirators. Fulvius remarks that the darkness falling over the city before the storm is dreadfully foreboding. After hearing Catiline's incendiary address, the confederates are invited to partake of fresh human blood as a symbolic seal of their pact. Fulvius takes an oath like all the others. After the ritual ceremony, the conspirators exeunt. After the plot has been exposed in the Senate, the conspirators gather at Catiline's house to elaborate their strategy. The plan is to set Rome on fire on the night of the Saturnalia, and remove all the enemies at once. After each conspirator has been allotted his task, all depart secretly. Eventually, when the confederates are sentenced to death, it is understood that Fulvius shares the conspirators' punishment.

FUMANDA

A "ghost character" in Sharpham's The Fleire. A Spanish gallant named by Antifront as one of the many customers of the prostitutes Felecia and Florida.

FUND–JONET

A bawd, attendant on Lady Sensuality in Lindsay's Satire of the Three Estates. Her name translates to "Foundling-Janet," a reference to her practice of turning orphan girls to prostitution. She attends Lady Sensuality to King Humanity's court and enjoys the revelry with his courtiers, but is banished along with her mistress and sits with her among the Spirituality.

FUNGOSO

Fungoso is Sordido's son and a student at the Inns of Court in Jonson's Every Man out of His Humour. Being a fop, Fungoso pumps his rich father for money to live in style. In Italian, fungóso means spongy like a fungus, and Fungoso absorbs money like a sponge in order to buy fashionable clothes. Before Puntavorlo's house, Fungoso enters with Sordido to pay a visit to their neighbor Puntavorlo. Fungoso admires Fastidious Brisk's suit. After having made the necessary calculations regarding the cost of such a costume, Fungoso asks his uncle Sogliardo to persuade his father to give him money to buy law books at a bargain price. At Deliro's house in London, Fungoso enters dressed like Fastidious Brisk, boasting his new suit to his sister. When Fastidious Brisk enters wearing another suit, Fungoso decides it is more fashionable than the previous one and wants to have his altered. At Deliro's house, Fungoso enters with Fallace. His sister gives him some money, asking him to find Fastidious Brisk and warn him that Deliro intends to claim his bonds. Fungoso judges that the money is just enough to borrow a new gown and exits. Cordatus informs his interlocutor that Fungoso did not heed his sister's request and used the money to buy another new suit. Fungoso is faced with the bills from his suppliers and manages to pay some, and get credit from others. At Puntavorlo's lodgings in London, Fungoso enters, apparently to deliver the belated message to Fastidious Brisk, but forgets about it and joins the Puntavorlo party to court. At the Mitre Tavern, Fungoso is in the Puntavorlo party. During the brawl, Fungoso hides under the table, for fear of being arrested. When Constable and the officers are gone, Fungoso creeps out, but he is charged with the entire bill for food and drink. Deliro settles the bill, and Fungoso asks for a capon's leg, now that he has paid for all the food. When Macilente sends him home to his sister to tell her that Deliro saved him financially, allowing him to live in fashion, Fungoso says he is out of those humors now. It seems that finally Fungoso has learned to appreciate the value of modesty.

FUNGUS

Servant in Lasso's household in Chapman's The Gentleman Usher. He plays the Rush-Man in the post-dinner masque and argues with Poggio over the appropriate costume. Bassiolo threatens to report him.

FUOCO, MARIA COROMBONA BUTTO **1627

A "ghost character" in Randolph's Plutophthalmia. "A Venetian courtesan bred up in London, an arrant whore." She has written one of the forty letters that Plutus has received today offering him marriage. Perhaps she is intended as an allusion to Webster's Vittoria Corombona from The White Devil.

FURBISHER, MARTIN

A "ghost character" in Heywood's 2 If You Know Not Me. An English officer who distinguishes himself in combat against Spain.

FURBO **1615

A thief in Tomkis’ Albumazar. Furbo has insinuated himself into Pandolfo’s house on pretense of tutoring Sulpitia but in fact is spying for Albumazar. He is a singer and has several songs. He entreats the courtesan Bevilona to entertain Trincalo (as Antonio) while they rob Pandolfo. Once Pandolfo’s goods are collected, Ronca, Harpax, and Furbo turn on Albumazar and refuse him a share, taunting him with his own counsels, and the astrologer vows to be revenged upon them. Offstage, Upon intelligence from Albumazar, Cricca takes a Constable to a tippling house where Ronca, Harpax, and Furbo are arrested and all of the stolen goods is recovered. Pandolfo, however, pardons them all because they brought about the right ending to the family’s difficulties.

FURIBUNDO FORTRESS, CAPTAIN **1636

A knight of the Twibill and Sconce’s cousin in Glapthorne’s Hollander. He has such titles as Lord of No Cloak; Viscount Ratan Cane and One Spur; Count Freese, Gray Felt, and Money-Lack; Duke of Timorbull, Bloomsbury, and Rotten-Row, etc. He reminds Sconce that he cannot marry Dalinea if he wishes to be a Twibill knight. The order takes only bachelors, as with the Knight of Malta, except a Twibill knight may marry after his election. The rules of his order, which he reads out, make clear that the Twibill knights are pimps and pickpockets.

FURIES

I.
Only mentioned in Edwards's Damon and Pithias. Pithias invokes the Greek goddesses who punish crime in his sad song on Damon's imminent death. Unable to live without his good friend, Pithias implores the Furies to torment and bury him alive because he cannot stand the sorrow of hearing about his friend's death sentence.
II.
Three Furies appear in the First Dumb Show of Hughes' The Misfortunes of Arthur. Although only one is later named, Alecto whose name means "Never Ceasing," there were only three Furies (or Erinys) in mythology according to Virgil. The other two are Megaira ("Grudger") and Tisiphone ("Avenger of Blood"). In the course of the First Dumbe Show
  1. The first carries a snake in her right hand and a wine cup with a snake across it in the left, signifying the banquet at which Uther Pendragon was smitten with lust for Igerna, the wife of Gorlois, and Uther's ultimate poisoning by the Saxons.
  2. The second Fury carries a torch in one hand and a Cupid in the other, signifying Uther's lust for Igerna.
  3. The third Fury carries a whip in her right hand and a representation of Pegasus in the other, signifying the cruelty and the political ambition that will contribute to Arthur's misfortunes and his death.
As three Nuns arrive, the Furies move to the place on the stage designated "Mordred's house," thereby indicating his fated role in the tragedy that follows.
III.
Only mentioned in the anonymous Blurt, Master Constable. Camillo is jealous of Fontinel because Violetta loves the Frenchman. In the hope of winning back Violetta's love, Camillo has a serenade played under her window. When Violetta refuses his offer of love, Camillo says he only plays music to her eye, while the Furies are raging in his breast. Camillo mentions the Greek goddesses of vengeance in order to demonstrate his desire to eradicate Fontinel.
IV.
Only mentioned in Jonson's Catiline. The Furies or Eumenides, in Greek and Roman mythology, were the goddesses who punished crime. Hovering over Catiline's head, Sylla's Ghost invokes the evil powers to help him inoculate the germs of destruction in Catiline's soul. Sylla's Ghost prophesies a series of murders and calamities befalling Rome, and then wills Catiline's conscience to die, leaving room only for lust, hatred, slaughter, and ambition. All these negative emotions will lead to Rome's ruin. In addition, the names of Catiline and his confederates will be remembered in Hell, where the Furies will torment them forever. When he describes the final battle between the Senate's army and Catiline's troupes, Petreius says that it looked as if the Furies were standing on hills, circling the battlefield and trembling to see men do more murders than they did.
V.
Mute characters in Haughton's The Devil and his Dame. The Furies, also known as the Eumenides, were in classical mythology minor female deities who punished crimes at the instigation of the victims. In Haughton's conflation of the classical underworld with the Christian Hell, they are apparently minor devils. They are mutes, but in the Induction not only do they guard Malbecco's ghost, but one is sent to fetch Belphagor. In the final scene they again mutely accompany Malbecco's ghost, and are invited by Pluto to "make holiday" at Belphagor's safe return to Hell.
VI.
Only mentioned in Jonson's Bartholomew Fair. When Quarlous and Winwife see Ursula angry, because Mooncalf has not brought her tobacco yet, Winwife says she looks like the mother of the Furies. Quarlous says she is too fat to be a Fury, and she rather looks like some walking sow. In Greek mythology, the Furies were the goddesses of vengeance.
VII.
The Furies appear to Algripe and threaten to drag him to hell for his evil actions in Fletcher's The Night Walker. They are chased away by Snap (Alathe in disguise), dressed as an angel, who offers Algripe salvation if he mends his ways.
VIII.
These dire figures attend on Prosperpine and Pluto in Heywood's Love's Mistress.
IX.
These dire spirits in Heywood's The Silver Age are among the mute onlookers in Hades during the attempt to rescue Proserpine.
X.
Summoned by Tragedie in Dumb Show I of (?)Heywood's A Warning For Fair Women to prepare for the "bloudy feast," the Furies "spread the table" and then dance in as ushers for Lust, George Browne, and Anne Sanders with Drewry pushing Chastitie aside and Roger following. When Lust drinks to Browne, he to Sanders, and she in turn pledges to him, the Furies "leape and imbrace one another."
XI.
Only mentioned in Burnell's Landgartha. Mythological characters to whom the Amazons are very often compared as they fight bravely as men.
XII.
Two non-speaking Furies in Randolph's Aristippus, as part of the Prologue, whip Show on stage, having accompanied him from his banishment in Hell. The Prologue dismisses them after Show promises to purge his act of malice.
XIII.
Companions of Persephone in Hemminge's The Jews' Tragedy. They accompany in her song and dance and drive Eleazer into his guilty insanity.
XIV.
Medaea, Mennippa, Sill, and Grulla (or Trulla) in the anonymous Wisest Have Their Fools. They are summoned by Edentula to chase away the foolish Mounsieur Silly. Mennippa is not capitalized in the manuscript.
XV.
Furies are masque characters in III.ii of Shirley's The Traitor. Sciarrha presents the masque to the Duke to dissuade him from his lust.
XVI.
Three Furies in Richards' Messalina, representing Pride, Lust and Murder, appear to Messalina.
XVII.
Megaera, one of the Furies, speaks the first part of the Prologue in May's Julia Agrippina. Caligula speaks the second.
XVIII.
Only mentioned in Goffe's Raging Turk. Selymus calls on the Furies (as "three furious twinnes of night") to aid him in overthrowing his father by inhibiting remorse.

FURIO**1600

An attendant to Gwalter in Chettle, Dekker and Haughton's Patient Grissil. He aids Gwalter in his plan to test Grissil, but feels for her suffering. Told to keep Grissil's new-born children away from her, Furio cannot stay his own compassion and allows her to nurse one of them. Later, he is sent to take away Grissil's children and though he hates the deed, he does it in obedience to Gwalter.

FURIOSO**1618

A "ghost character" in Holiday's Technogamia. Cheiromantes predicts that Choler will have two children, Furioso and Lacryma. The first will be a boy who will die at a young age, stabbed in the mouth in an ale house brawl.

FURIOSO

A blustering soldier and companion of Corraso and Phantastico in the anonymous Two Wise Men and All the Rest Fools. Furioso proclaims his unhappiness with the current peaceful state of the kingdom, which prevents him from following his calling.

FURIOUS INLAND

A quarrelsome gentleman in Davenant's News From Plymouth. He has been sent by his family into military service under Captain Seawit in hopes that "the discipline of the war might tame him." He claims to fight for the King so ferociously because he has been cured of the King's evil. Seawit convinces him to court Lady Loveright. On his way to do so, he quarrels with Bumble for drinking a toast to the King of England and with Warwell for giving English currency to the Dutch. Upon finding Loveright with Topsail, he agrees to be Topsail's second in a duel against Cable. He then agrees to be Cable's second in the same duel. When the dual does not take place, he is enraged and threatens to fight both Topsail and Cable. His rage is soon redirected by a challenge from Bumble to a combat at sea. However, he is unable to answer the challenge because he has no ship. He arrives after the duel between Seawit and Warwell has been broken up and offers to fight all of the men present for being cowards. After a brief confrontation, the men offer to make him their "admiral" and following him into battle against the King's enemies. The opportunity to do so is then provided by news that the wind has finally changed directions. Inland delivers the epilogue in which he warns the audience not to disparage the play or, "Good faith, I'll mow you off with my short sword!"

FURIUS CAMILLUS

In the introduction to Fisher's Fuimus Troes, Mercury enters with the ghosts of Brennus and Camillus. Brennus was the leader of the Gauls who crossed the Appenine in 391 AD, annihilated a Roman army of 40,000 men at the Allia in 390 AD, and then ransacked Rome. Marcus Furius Camillus was the Roman dictator who finally drew the Gauls under Brennus from the city (cf. Plutarch, Lives, "Camillus"). The two warriors are in complete armor, they have their swords drawn and want to continue their fight, till Mercury tells them that they can no longer kill each other because have already been dead for a long time. But now, so many years later, Romans and Britains are again at war, and the two ghosts should now incite their countrymen. In scene II.vii, the ghost of Brennus appears to Nennius and the ghost of Camillus to Caesar. Caesar later mentions that Camillus visits him every night, and after Nennius' death, Cassibelane mentions that Brennus has visited him. At the end of the play, the two ghosts comment on the braveness of their descendants, and Mercury convinces them to become friends at last.

FURNACE

Furnace, often referred to by Justice Greedy as "Master Cook," is Lady Alworth's cook in Massinger's A New Way to Pay Old Debts. Displeased with Lady Alworth at the play's beginning because, due to her grief over the death of her husband, she refuses to eat his elaborate dishes, Furnace also communicates his dislike for the insatiable Greedy. Furthermore, he plays a considerable part in Welborne's charade, receiving, along with Order, information from Lady Alworth concerning the prodigal's plan of which the other servants are ignorant.

FURNIFALL, LADY

Lady Furnifall is Lord Furnifall's wife in Chapman's Sir Giles Goosecap. She is often drunk and is afraid of her husband.

FURNIFALL, LORD

Lord Furnifall hosts the ladies with whom he has supper in Chapman's Sir Giles Goosecap. He tells his guests that he has met the Countess of Lancashire and her niece with an Italian gentleman with whom he spoke in Italian. He is thought to be a great warrior.

FUROR POETICUS **1603

Roused from his poetical dreams by Phantasmus in the anonymous 2 Return From Parnassus, Furor Poeticus, who personifies the genius of epic and satire and whose speech is larded with scraps of classical poetry, agrees to attend a drinking party at Ingenioso's invitation; there they devise their scheme to get money from Sir Raderick. Furor approaches Sir Raderick with bombastic compliments, but the usurer is unsusceptible, and Furor's mouth-filling curses are no more effectual. He joins the disconsolate scholars in their final lament before they scatter.

FUROR POETICUS **1641

A humorous poet and companion of Invention in Wild’s The Benefice. He appears in the first act, which has the structure of an induction. He grows angry speaking to Pedanto that no one will allow a poet his living. He has harsh words for a number of playwrights including Plautus, Jonson, Shakespeare, Beaumont, Fletcher, and Randolph before helping Pedanto write his play. He calls Comaedia slut and threatens to make her dance without her smock unless she rises up. She calls him her companion. He comments, spectator-like, upon the action of the play as it proceeds. In act four, he buys almanacs from Book–worm for two pence each. He refers to his place in the barn/playhouse as his ‘kennel.’

FURTIVO

Furtivo is a servant to Falso in Middleton's The Phoenix. He brings Falso the news that Falso's brother has died, and he is caught robbing Phoenix and Fidelio.

FURY**1599

Fury accompanies Warre in Marston's Histrio-Mastix.

FURY**1615

A disguise assumed by Pas in P. Fletcher's Sicelides. He is maddened and vows to "act a Devill" and "make or marre the sport" after overhearing Cosma's views on love and beauty, her plans to meet with Armillus, and her love for Perindus and intentions to win his love in return. Thus, at the meeting of Armillus and Cosma, the two are frightened apart by Pas, who is disguised as a Fury, and he "runs upon" Fredocaldo after the old man claims that "if furies should out-front" him he'd "out-stare them," which causes Fredocaldo to fall. Despite the fact that when Armillus meets Cosma again shortly after he claims that he would "rather dye, then leave [her] wisht embrace," he flees the "woods" when the disguised Pas returns. At this point, Pas reveals himself to Cosma and, after lecturing each other in the laws of love, the two go offstage together.

FUSCUS ARISTIUS

Fuscus Aristius is a friend of Horace in Jonson's Poetaster. He addressed an ode and an epistle to him. The mischievous character may be a stage representation of Thomas Nashe. On the Via Sacra in Rome, Aristius enters while Horace is trying to disentangle himself from Crispinus's tedious and exasperating conversation. After hearing Horace's complaint and his plea for help, Aristius says he will help him, but he adds in an aside that he must tell Maecenas first. Aristius exits, leaving Horace to lament his unfortunate situation.

FUSTE, LADY **1641

A “ghost character" in (?)Shipman’s Grobiana’s Nuptials. A widow and Grobian. She is on the list of invitees Oyestus is sent to cry into the Grobian feast.

FUSTIGO

Fustigo is Viola's brother and a braggart in Dekker and Middleton's 1 The Honest Whore. He has been at sea and lost all his money (apparently not for the first time). He wants to borrow money from Viola, and she agrees but wants him to help her test her husband, Candido's, patience. He agrees to come to the shop and, without revealing that he is her brother, address her with familiarity, kiss her and take her jewelry. Fustigo adds the detail of calling her "cousin" and "coz" which is slang for "lover." Fustigo carries off the plan, but his outrageous behavior does not upset Candido. It does, however, anger George and the Two Apprentices, who distract Candido and beat Fustigo until he bleeds. It is only then that he reveals that he is Viola's brother and describes the plan to try Candido's patience. Candido considers that the jest has been played against Fustigo and not himself. Fustigo then hires Crambo and Poh to take revenge on George, but they accidentally end up attacking the disguised Candido.

FUTELLI

A dependant of Adurni, witty and mischievous in Ford's The Lady's Trial. He brings Adurni the love-letter his mistress, Levidolche, has written to Malfato, thus ending Adurni's love for her. Then, together with his friend Piero, he sets up a plot whereby the foolish Amoretta will be courted by two fools, Guzman and Fulgoso. After showing Amoretta how absurd these two are, he ends up marrying her himself.

FUTILIA

Listed in the dramatis personae of the anonymous Philander, King of Thrace. Characteristics and actions not given in the surviving plot.

FYDELLA

Margaretta's Moorish servant in William Rowley's All's Lost by Lust. She acts as her confidante and encourages Margaretta's murder of Lazarello.

FYLE the SMITH

A blacksmith who tries to pawn his 'spare vice' in William Rowley's A Match at Midnight. Bloodhound exploits his poverty.