9 March 1615
An adaptation of Della Porta’s L’Astrologo
a synoptic, alphabetical character list
ABENEZRA
Only mentioned. Albumazar’s magical cant includes this allusion.
ALBUMAZAR METEOROSCOPICO
A cozening Astrologer. He is a fraud set on gulling Pandolfo of his wealth with the help of his assistant thieves Ronca, Harpax, and Furbo. He tells Pandolfo that he has read in the stars that Antonio is dead. He promises to use “Praestigiatory” to turn a servant into the very likeness of Antonio, so he might return and perform his promise to marry Fulvia to Pandolfo. He instructs Pandolfo to load a room in his house with all manner of rich hangings, plate, jewels, and food (three thousand pounds in sum) for the ceremony of transformation. When Pandolfo finds all his goods gone indeed, he cries out for constables until Albumazar scolds him, saying he has placed everything safely in a closet with the transforming Trincalo. He tells Trincalo that he looks like Antonio for a day but must avoid all looking glasses or the spell will disolve. 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, he goes to Lelio and Cricca and tells them where they may arrest Ronca, Harpax, and Furbo. Pandolfo pardons him.
ALCHABITIUS
Only mentioned. Albumazar’s magical cant includes this allusion.
ANTONIO ANASTASIO
An old widower. He promised his daughter to Pandolfo before going away to Barbary. As the play opens, he is believed dead as he has disappeared into Barbary for six months and was supposed to return after three. He and Pandolfo once agreed to swap and marry one another’s daughters. As act four begins, the real Antonio returns home from shipwreck and everyone believes him to be Trincalo transformed to look like Antonio. He is first abused by Cricca then hounded by Pandolfo for the three thousand pounds in riches Albumazar said he left with Trincalo. He goes to his house but Fulvia abuses him from the window and Armellina dumps a chamber pot on him. Lelio sends him away. Still outside his house, he meets Trincalo who (not knowing Antonio) tells him that he is himself Antonio. When Cricca and Lelio see them together, they discover the deceit. Antonio, angered at Pandolfo’s cheat to get his daughter, repents his earlier design and gives his blessing to marriages of Fulvia with Eugenio and Lelio with Sulpitia if only they can convince Pandolfo to agree. He agrees to Cricca’s plan to turn the table on the tricksters. He has Pandolfo (believing he is Trincalo) and the young lovers (who are in on the trick) swear to be guided by his judgment. He first decrees that Trincalo be married to Armellina with two hundred crowns for their portion, to which Pandolfo agrees. Pnadolfo betters this by granting Trincalo a lease of twenty pounds per year. He next bestows Sulpitia upon Lelio (Pandolfo believing this is Trincalo avoiding having to marry her as Antonio). He then matches Fulvia with Eugenio and Pandolfo, so he’ll not be cold in bed, with Patience. Offstage, he holds the arrested brigands locked in his cellar along with Pandolfo’s recovered treasure.
APOLLONIUS the MAGICIAN
Only mentioned. Ronca tells Pandolfo that Albumazar creates instruments of greater wonder than Apollonius.
APULEIUS
Only mentioned. Albumazar tells Trincalo that Apuleius was transformed from an ass to a man by the power of a rose and that a looking glass will dissolve Trincalo’s transfiguration to Antonio by the same power.
ARMELLINA
Antonio’s maid. She is at first charmed by Trincalo’s verbose wooing, but when she learns he wishes marriage she calls him fool and leaves. When the real Antonio returns, she believes it is Trincalo transformed and dumps a chamber pot over him. Later, when the tables are turned. She pretends he is Antonio long enough to entice him into the house and lock him up (at the same time confessing that she does want to marry him). She is promised to Trincalo by play’s end.
BEVILONA
A courtesan. The thieves hire her to pretend to be a gentlewoman and entertain Trincalo (believing himself transformed to Antonio) for two hours while they make off with all of Pandolfo’s wealth. She entertains “Antonio” at her house until her “husband” comes home unexpectedly (Ronca in disguise). She bids “Antonio” hide in an empty hogshead where he is nearly drowned when Ronca calls to have the barrel filled.
BRACHMAN
Only mentioned. Albumazar’s magical cant includes this allusion.
BROTHER, PANDOLFO’S
A “ghost character.” He is an officer of the wardrobe. Pandolfo gives Albumazar a ring to take him in token of borrowing all the costumes he will need for the transformation ceremony.
BUDDA BABYLONICUS
Only mentioned. Albumazar’s magical cant includes this allusion.
CABALISTS
Only mentioned. Albumazar’s magical cant includes this allusion.
CHALDEES
Only mentioned. Albumazar’s magical cant includes this allusion.
CHAM of TARTARY
A “ghost character.” Albumazar pretends he has been busy casting a horoscope for the nativity of the Cham of Tartary.
CORIATUS PERSICUS
A “ghost character.” When Pandolfo looks through Albumazar’s wonderful “Perspicill,” he believes he sees a man on Dover pier with two servants straining under the weight of papers, Ronca informs him that it is Coriatus Persicus with his observations of Asia and Africa.
CRICCA
Pandolfo’s servant and the play’s clever intriguer. He tries to dissuade Pandolfo from his desire to wed Flavia saying Pandolfo is too old and the girl will cuckold him. He scoffs at Albumazar’s power until Harpax and Furbo pretend to stab him (after Albumazar’s prediction of same) and Albumazar pretends to protect him with his art. He learns from Trincalo the plan to make a false Antonio and determines to thwart it to the benefit of all concerned. He tells all to Lelio and Eugenio and advises them, when “Antonio” arrives at the door, to abuse and beat him until he goes away. Meantime, Pandolfo regrets promising the astrologer his good chain and agrees to Cricca’s plan to hide some plate, pretend he’s been robbed, and promise the chain only if Albumazar can restore the plate to him. He is first to meet the actual Antonio but abuses him, thinking him Trincalo transformed. He is later with Lelio when they both see Antonio and Trincalo arguing and discover the deceit. He devises a plan to turn the tables on the tricksters. If the plan works, the young lovers have promised him an estate of forty pounds for life. All works, and more. Upon intelligence from Albumazar, Cricca took a Constable to a tippling house where they arrested Ronca, Harpax, and Furbo and recovered all of the stolen goods. He finishes by telling Trincalo that he has won Armellina and money.
DAUGHTER, KNIGHT’S
An imaginary character. Trincalo imagines matching his ungotten son, Transformation, to a Knight’s daughter.
DICK
A “ghost character.” Trincalo’s plow-boy. Trincalo wonders whether Albumazar can turn Dick into two guarded footmen to serve him now that he has turned into Antonio.
EPILOGUE
Trincalo delivers the epilogue, glorying in his good fortune and inviting everyone to come to his place in Tottenham four nights hence.
EUGENIO
Pandolfo’s son. He loves Flavia, the girl his father intends to marry and is best friends with her brother Lelio. He agrees to assist in Cricca’s plot to beat and drive away the false Antonio when he appears. Later, he conspires with the real Antonio and the other young lovers and wins Flavia in marriage.
FLAVIA
Antonio’s sixteen-year-old daughter. 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.
FURBO
A thief. 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.
GALILEO
A “ghost character.” Albumazar tells Ronca to send the planets he has newly discovered to Galileo at Padua to name as he pleases.
GEBIR
Only mentioned. Albumazar’s magical cant includes this allusion.
GENTLEMAN of ITALY
A “ghost character.” Antonio tells of being ship wrecked off Gibraltar and swimming with two mariners to the coast where moors made them prisoners and would have sold them into slavery but for a gentleman of Italy whom he had known before.
HALI
Only mentioned. Albumazar’s magical cant includes this allusion.
HARPAX
A thief. It is first Harpax’s job to second Albumazar in everything he says. After Ronca “returns” ten pounds to Trincalo (to convince him he is now Antonio), Harpax appears claiming that Antonio owes him ten pounds. He settles for five pounds now and a promise to return for the rest tomorrow. 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.
HERALD, WELSH
An imaginary character. Trincalo imagines buying a pedigree from a Welsh herald for his ungotten son, Transformation, and the Knight’s daughter he imagines marrying to the boy.
HIARCHA
Only mentioned. Albumazar’s magical cant includes this allusion.
HOMER
Only mentioned. Harpax says all poets plagiarize from one another and ultimately everything comes from Homer. Albumazar then says that Homer got his material from an Egyptian priestess.
JADES, FOUR
“Ghost characters.” Trincalo wonders whether Albumazar can turn his four jades into two Dutch mares as easily as he has turned Trincalo into Antonio.
JULIO
A “ghost character.” When Harpax importunes Trincalo/Antonio for ten pounds he lent before Antonio went into Barbary, he produces a letter for the debt witnesses by Antonio’s cousin Julio (doubtless forged).
LELIO
Antonio’s son. He has the keeping of Flavia now that Antonio is dead and has sworn Pandolfo shall not have her. He loves Sulpitia, the girl his father intended to marry and is best friends with her brother Eugenio. He agrees in Cricca’s plot to beat and drive away the false Antonio when he appears. When the real Antonio returns, Lelio (believing it is Trincalo transformed) is moved to pity at the remembrance of his father and sends him away, threatening to beat him ‘out of Antonio’s skin’ should he see him a second time. He is later with Cricca when they both see Antonio and Trincalo arguing and discover the deceit. He agrees with Cricca’s plan to turn the tables on the tricksters. Conspiring with the real Antonio and the other young lovers, he wins Sulpitia’s hand in marriage.
LUCIO
A “ghost character.” Antonio took four score and fifteen pounds with him to Barbary. Had Lucio kept his word, he would have taken a just hundred. Lucio, therefore, had promised but reneged on giving him five pounds for the journey. This information proves to Lelio that the Antonio before him is actually his father.
MAHOMET
Only mentioned. Albumazar pretends to have invented a perpetual motion machine with an alarm to tell the faithful of Mohamet’s return. He tells Ronca to deliver it to a Turkish factor to give to the Ottomans.
MARES, TWO DUTCH
Imaginary characters. Trincalo wonders whether Albumazar can turn his four jades into two Dutch mares as easily as he has turned Trincalo into Antonio.
MARINERS, TWO
“Ghost characters.” Antonio tells of being ship wrecked off Gibraltar and swimming with two mariners to the coast where moors made them prisoners and would have sold them into slavery but for a gentleman of Italy whom he had known before.
MERCHANT
A “ghost character.” Albumazar has a cheat working with a Merchant that he wishes to finish before he and the thieves make away with Pandolfo’s wealth.
MERCURIALS
Albumazar refers to the thieves Harpax and Ronca by this nickname.
MOORS
“Ghost characters.” Antonio tells of being ship wrecked off Gibraltar and swimming with two mariners to the coast where moors made them prisoners and would have sold them into slavery but for a gentleman of Italy whom he had known before.
OMAR
Only mentioned. Albumazar’s magical cant includes this allusion.
OROMASUS
Father of Zoroastres. Only mentioned. Albumazar’s magical cant includes this allusion.
PANDOLFO
A wealthy old foolish widower of fifty (according to Cricca) or nearly three score (according to himself) or seventy winters (according to Antonio), who believes in Necromancy and Astrology, whom Albumazar intends to cozen of his riches. He is in love with Flavia and intends to bribe her brother Lelio by offering him Sulpitia. He and Falvia’s father (Antonio, who has since disappeared into Barbary) once agreed to swap and marry one another’s daughters. At Albumazar’s urging, he convinces Trincalo to allow the astrologer to transform him magically into Antonio in order to bestow Fulvia on Pandolfo. He regrets promising the astrologer his good chain and agrees to Cricca’s plan to hide some plate, pretend he’s been robbed, and promise the chain only if Albumazar can restore the plate to him. When he finds all his goods gone indeed, he cries out in earnest until Albumazar scolds him, saying he has placed everything safely in a closet with the transforming Trincalo. He meets the real Antonio in the street and, taking him for the transformed Trincalo, demands his three thousand pounds in plate and jewels. Soon, the real Antonio comes to his house and has the young lovers called together. Pandolfo (believing he is Trincalo) and the young lovers (who are in on the trick) swear to be guided by Antonio’s judgment. When Antonio first decrees that Trincalo be married to Armellina with two hundred crowns for their portion, Pandolfo agrees, believing that this is Trincalo taking care of himself first. Pandolfo betters this by granting Trincalo a lease of twenty pounds per year. When Antonio next bestows Sulpitia upon Lelio, Pandolfo believes this is Trincalo avoiding having to marry her himself as Antonio. But when Antonio matches Fulvia with Eugenio and Pandolfo, so he’ll not be cold in bed, with Patience, Pandolfo is enraged and believes Lelio and Eugenio have tricked him by suborning Trinculo to their wills. He vows revenge and, upon finding Trincalo freshly escaped from Antonio’s cellar, beats him until Trincalo tells him what has really happened and that the plate and gold have been stolen indeed. Upon intelligence from Albumazar, Cricca took a Constable to a tippling house where they arrested Ronca, Harpax, and Furbo and recovered all of the stolen goods. Pandolfo, restored to his right senses, pardons the thieves as they were instrumental in bringing about the right ending.
PATIENCE
A fantasy character. Antonio declares Pandolfo must marry Patience so not to be cold in bed. As there is no such character in the play otherwise mentioned, this “character” is probably meant to be understood metaphorically and Pandolfo is to bear his disappointment with patience.
PETER
A fantasy character. Antonio, completely confused by meeting Trincalo swearing that he is Antonio, and terrified by Trincalo’s threat to stab him if he maintains the fantasy that they are both the same man, tells Trincalo that he must be Peter, Thomas, or William, what you please. Aside, Antonio considers it a strange negligence to have lost himself.
PRIESTESS, EGYPTIAN
Only mentioned. Albumazar then says that Homer got his material from an Egyptian priestess.
PROLOGUE
The Prologue acknowledges the king’s presence in the audience and says he feels braver rather than amazed by the king. He apologizes for speaking the “foreign language” of English as Latin is the scholar’s language and hopes the audience likes the play.
RONCA
A thief. It is first Ronca’s job to praise Albumazar’s astrological skill to Pandolfo. He shows Pandolfo some of Albumazar’s wonderful instruments: a “Perspicill” that allows the old man to see an audience in Cambridge and an “Otacousticon” (a pair of ass’s ears that allows him to hear them laugh from fifty miles away). After the transformation ceremony, Ronca pretends to recognize Trincalo as Antonio and gives him ten pounds to “repay” a bail that he says Antonio stood for him before going to Barbary. Disguised in a beard and eye patch, he greets Trincalo as Antonio and cuts his purse containing the remaining five pounds that Harpax did not get. When Trincalo/Antonio goes to Bevilona, Ronca pretends to be her husband and upon discovering “Antonio” at his home feasts him. 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.
SULPITIA
Pandolfo’s daughter. She loves Lelio and fears that Antonio may one day return and claim her for his bride. She conspires with the real Antonio and the other young lovers and wins Lelio in marriage.
THESPION GYMNESOPHIST
Only mentioned. Albumazar’s magical cant includes this allusion.
THOMAS
A fantasy character. Antonio, completely confused by meeting Trincalo swearing that he is Antonio, and terrified by Trincalo’s threat to stab him if he maintains the fantasy that they are both the same man, tells Trincalo that he must be Peter, Thomas, or William, what you please. Aside, Antonio considers it a strange negligence to have lost himself.
THOMAS TRINCALO
Pandolfo’s farmer who has rented a farm in Tottenham for ten pounds these last thirteen years. He loves Armellina and woos her with words learnt at the Fortune and Red Bull playhouses and presents a parody of several famous lines including “O lips, no lips, but leaves besmeared with mildew.” He agrees to allow Albumazar to transform him into Antonio with the purpose of bestowing Fulvia upon Pandolfo. In exchange, Pandolfo is to urge the false Antonio to bestow “his” maid Armellina on Trincalo and give them two hundred crowns and free rent on the Tottenham farm. Unable to keep the secret, he tells the plan to Cricca. After the ceremony, Albumazar tells Trincalo that he looks like Antonio for a day but must avoid all looking glasses or the spell will disolve. He is duped when Ronca pretends to recognize him as Antonio and gives him ten pounds to “repay” a bail that he says Antonio stood for him before going to Barbary. Trincalo puffs himself up and wants great men to call him Tony. Harpax comes to claim ten pounds from “Antonio” that he lent him, but Trincalo gives him only five. Ronca then returns in disguise and cuts his purse for the remaining five. Trincalo/Antonio is taken to Bevilona’s house to carouse, but when her “husband” comes home (Ronca in disguise), he must hide in an empty hogshead. Ronca calls to fill the barrel, nearly drowning Trincalo. Ronca pretends a jealous rage until he discovers it is “Antonio” and feasts him instead. He goes to Antonio’s house to do his work and there meets the real Antonio. Not knowing him, he tells Antonio that he is Antonio. Not knowing the tables have been turned, he believes the trick is working when first Lelio and then Armellina call him Antonio. She tricks him inside and locks him in the cellar. Upon Trincalo’s escape from Antonio’s cellar, he comes upon Pandolfo, who beats him until Trincalo tells him what has really happened and that Pandolfo’s plate and gold have been stolen indeed. He learns from Cricca that he’s been given Armellina in marriage with two hundred crowns as his portion and twenty pounds per year for three lifetimes. He delivers the epilogue, glorying in his good fortune and inviting everyone to come to his place in Tottenham four nights hence.
THOMAS up WILLIAM up MORGAN up DAVY up ROGER &c.
A disguise character. Bevilona’s husband. Bevilona tells Trinculo/Antonio that her husband is away and so “Antonio” may be master in his place. Moments later, Ronca knocks at Bevilona’s door while she entertains Trincalo/Antonio and gives this as his name.
TIMOTHY
A fantasy character. After Antonio cannot rightly tell Trincalo his name (as Trincalo has threatened him if he calls himself Antonio again), Trincalo calls him Timothy.
TONY
After Trincalo is gulled into believing he has been transformed into Antonio, he puffs himself up and wants great men to call him Tony.
TRANSFORMATION TRINCALO
An imaginary character. Trincalo imagines naming his and Armellina’s first born Transformation Trincalo because he will be got after Trincalo transforms himself (through Pandolfo’s magic) into Antonio. Later, Trincalo imagines getting a Knight’s daughter for the boy’s bride and buying him a pedigree from a Welsh herald.
VIRGINS
“Ghost characters.” Trincalo opines there aren’t a dozen in all of London.
WILLIAM
A fantasy character. Antonio, completely confused by meeting Trincalo swearing that he is Antonio, and terrified by Trincalo’s threat to stab him if he maintains the fantasy that they are both the same man, tells Trincalo that he must be Peter, Thomas, or William, what you please. Aside, Antonio considers it a strange negligence to have lost himself.
ZOROASTRES
Son of Oromasus. Only mentioned. Albumazar’s magical cant includes this allusion.