MAB **1632

An informal disguise, or persona, or impersonation that Asotus proposes to bestow upon Phryne while roaring at Ballio's house in Randolph's Jealous Lovers.

MAB, QUEEN

I.
A fictional character invented by Mercutio in Shakespeare's Romeo and Juliet to illustrate the fruitlessness of dreams. Queen Mab is a minuscule fairy who inspires dreams appropriate to the dreamer.
II.
A "ghost character" in Habington's The Queen of Aragon. She is mentioned by Sanmartino as the probable employer of the Dwarf's supposed mistress.
III.
Only mentioned in Hausted's Rival Friends. Queen of the fairies. Anteros mentions her several times in relation to the 'magic tree' to which he ties Stipes and Merda, saying that Oberon may need to consult with her before making them a gentleman and woman.
IV.
Only mentioned in Glapthorne's Wit in a Constable. Thorowgood teases Jeremy Hold–fast that all his learning is fit only to wear a strip of lining proper only for some of queen Mab's gentlemen ushers.

MABEL WAFER

Wafer's frequently pregnant wife in Dekker and Webster's Westward Ho. She and Judith Honeysuckle invite Clare Tenterhook to share their "schoolmaster," from whom they are learning to write. She agrees to meet the gallants at an afternoon tavern-party. There, she agrees to the assignation at Brainford, and to pretend that her youngest child is sick to cover up their absence. Left alone at Brainford with the other wives, she agrees to Clare's suggestion to abandon the gallants. She and the other wives ungratefully condemn Birdlime for enticing their husbands, and then forgive and reconcile with the men.

MACABEUS, JUDAS

A "ghost character" in Bale's God's Promises. Mentioned by John Baptist as an example of a virtuous man.

MACARIUS

Macarius is a noble of Epire and uncle of Arcadius in Shirley's Coronation. Macarius bears an old grudge toward Eubulus but is agreeable to reconciliation when Eubulus' supposed son Seleucus would fight Arcadius to settle the families' feud. Macarius' nephew Arcadius is later proven to be the younger son of the deceased king Theodosius.

MACBETH

Son of Sinel and husband to Lady Macbeth in Shakespeare's Macbeth. Macbeth is initially the Thane of Glamis and is, with Banquo, a captain of the Scottish army that puts down Macdonald's and the Thane of Cawdor's rebellion against Duncan. After ending the rebellion, Macbeth and Banquo encounter the Witches, who predict that Macbeth will be made Thane of Cawdor and will become king. When Angus and Ross arrive to escort Macbeth and Banquo to Duncan and confirm that Macbeth has indeed been named Thane of Cawdor, Macbeth speculates how he might fulfill the second part of the Witches' prophecy and become king. Lady Macbeth persuades him to murder Duncan, which he does, causing Duncan's sons Malcolm and Donalbain to flee Scotland thus allowing Macbeth to assume the throne. To secure his kingship, Macbeth becomes a tyrant, ordering Banquo and his son Fleance murdered, along with Macduff and his household. Finally, English and Scottish forces fight a revolt against Macbeth until he is killed in battle by Macduff and his severed head is delivered to Malcolm, who is then named king.

MACBETH, LADY

Wife of Macbeth in Shakespeare's Macbeth. When Macbeth writes to her regarding the Witches' claim that he will be king, Lady Macbeth urges him to murder Duncan. She would do it herself, she says, except that Duncan resembles her father. She drugs Duncan's Chamberlains to allow Macbeth to kill him without witnesses. After the murder, when Macbeth brings the bloody daggers with him instead of leaving them at the scene, she returns them and smears the Chamberlains with Duncan's blood to implicate them. From this point, Macbeth and Lady Macbeth grow apart, he becomes cold and tyrannical while she grows troubled and guilt-ridden over their crimes. Her guilty conscience causes her to sleepwalk, trying to wash invisible blood from her hands. She dies off-stage, reportedly a suicide.

Mac BREEAN

"Ghost characters" in Dekker, Ford and Rowley's The Welsh Embassador. Family name of Morrogh, the King of Leinster, and Teague.

MacDERMOND

A "ghost character" in Dekker, Ford and Rowley's The Welsh Embassador. King of Connacht. Edmond recalls drinking whiskey with him after a battle in Ireland.

MacDONALD

A "ghost character" in Shakespeare's Macbeth. Along with the Thane of Cawdor, Macdonald leads a rebellion against Duncan's rule. A wounded Captain relates to Duncan how Macdonald was killed in battle by Macbeth.

MACDUFF

The Thane of Fife in Shakespeare's Macbeth. Loyal to Duncan, Macduff discovers the murder when he comes to Macbeth's castle to escort Duncan back to court. After Malcolm and Donalbain flee from Scotland and Macbeth is named Duncan's successor, Macduff refuses to attend the coronation or the banquet that follows, causing Macbeth to grow suspicious of him. Macduff follows Malcolm to England to persuade him to return to Scotland and claim his rightful throne. While Macduff is away, Macbeth has Macduff's household, wife and son killed. Macduff, with Malcolm and Siward, leads the English forces in the revolt against Macbeth, and finally confronts Macbeth. Initially, Macbeth does not fear Macduff; while one of the Apparitions told him to beware of Macduff, another claimed that Macbeth cannot be harmed by one born of woman. However, Macduff, as he informs Macbeth, was delivered from his mother by Caesarian section, and therefore was not born to her. The two battle with each other, and Macduff prevails, decapitating Macbeth and delivering his head to Malcolm, who becomes king.

MACDUFF, LADY

Wife to Macduff in Shakespeare's Macbeth. When Macbeth is warned by the first apparition to beware of Macduff and is informed that he has fled to England, Macbeth orders Macduff's household murdered. A messenger goes to Lady Macduff to tell her to flee with Macduff's Son, but the Murderers arrive before she can do so. Consequently, she and the boy are killed.

MACDUFF'S SON

The young son of Macduff in Shakespeare's Macbeth. He is murdered with Lady Macduff at Macbeth's order.

MACE

Mace is an assistant to Tripes in Jordan's Walks of Islington and Hogsden, and he is probably the second Sergeant who assists Tripes in his arrest of Mercurio. Mace and Tripes then arrest Flylove. Trimwell instructs Mace to use the occasion of the arrest to provoke Rivers to violence, so that he can be arrested as well.

MACE BEARER **1604

He ushers in King Henry's retinue at play's end in Rowley's When You See Me.

MACER

Macer is a Roman lieutenant in Fletcher's Bonduca. He has no function in the plot aside from carrying messages and bringing news. He accompanies Judas in his successful mission to kill Hengo.

MACHAAS

Machaas, king of Gath, assists the Ammonite king Hanon at Rabbah against David's army in Peele's David and Bethsabe. Presumably, he dies in the conflict.

MACHAETES

Name assumed by Timon's servant Laches, while he is disguised as a soldier in the anonymous Timon of Athens. Hermogenes wants him to be his servant in II.3.

MACHAVIL

See also MACHIAVEL, MACHEVIL, and related spellings.

MACHAVIL

Machavil is a Florentine nobleman in Cokain's Trappolin. He is made co-governor of Florence with Barbarino in Lavinio's absence. He is generally in concurrence with Barbarino's decisions, and is arrested with him for criticizing the disguised Trappolin's decision regarding the marriage the marriage of Prudentia and Horatio. Released from prison upon the return of the true Duke Lavinio, Machavil and the other nobles think their Duke is mad, since he has no recollection of 'his' actions during the previous scenes. When the disguised Trappolin encounters Barbarino and Machavil, he orders them imprisoned once again, claiming to have been drunk when he ordered their release. These alternations between Trappolin's will and that of the true Duke continue, as Trappolin seeks an opportunity to transform the Duke. When the transfomation is accomplished, Machavil believes Trappolin to be the Duke, and vice versa, and he ignores the pleas of the true Duke. When the truth is at last revealed, he forgives Trappolin.

MACHESSA

The lady-errant of Cartwright's The Lady-Errant. She has taken a vow to protect men: Ganyctor, Iringus and Lerinus, among others, find her very helpful. She is more than a little like Don Quixote, and somewhat in the swaggering Miles Gloriosus soldier vein; in one scene she muses over what she will do when she is queen of the Amazons and her page, Philoenus, is queen of the Pygmies. She is entrusted with the rebellion's treasure, but Eumela is able to convince her to send it to the King instead by pointing out that she has sworn to protect men, and besides, that this will owe her the thanks of the entire kingdom, not just the female half of it.

MACHIAVEL

See also MACHAVIL, MACHEVIL, and related spellings.

MACHIAVEL **1589

Spelled Machevill in the original. Machevill serves as the Prologue to Marlowe's The Jew of Malta. He announces that he is not dead, as the world thinks, but instead travels to visit his friends. He describes his philosophy—religion is a childish toy and might makes right—and then apologizes for lecturing, when his purpose in England is to present the story of the Jew. He closes by asking the audience not to be prejudiced against Barabas just because he resembles Machevill.

MACHIAVEL**1599

Only mentioned in Jonson's Every Man out of His Humour. Mitis criticizes the scene that involves Deliro, Fallace, and Fastidious Brisk, implying it lacks "construction." Cordatus replies that the characters' defects are not oversized, but rather they are applied as foils to their virtues. Cordatus rises against generalizations in literature. He presents a situation in which someone writing of Machiavel would imply that all statesmen are like him. Machiavelli was an Italian Renaissance political writer, but his writings have been seriously misinterpreted. Therefore, the term "Machiavellian" refers to an unscrupulous, cunning, cynical, and unprincipled person. Cordatus speaks against such generalizations, implying that if Machiavelli was thought to be unprincipled, it does not mean that all statesmen are like him.

MACHIAVEL**1637

Only mentioned in the anonymous The Wasp. Varletti calls Katherine "my she-Machevill."

MACHVILE

Machvile is a Spanish count in Rawlins's The Rebellion who is insanely envious of the heroic and popular Antonio. Machvile engineers Antonio's downfall by convincing the Governor that Antonio has entered into league with the enemy French. As a result of the Governor's death, Machvile has a passable excuse to arrest Antonio and banish Evadne. Machvile, along with his equally ambitious and murderous wife Auristella, seize control of the city after the Governor is killed by Antonio. Machvile, not Antonio, is the character who creates a secret alliance with Raymond, the French general. Machvile also banished Sebastian, disguised as Giovanno. When Philip arrives to restore order to the region, Machvile accuses the King of treason. Before Machvile can seize the Spanish crown, Machvile is mortally killed by a dying Raymond. In a final act of cruelty, a dying Machvile mortally wounds Antonio.

MACILENTE

Macilente is an envious villain in Jonson's Every Man out of His Humour. In Italian, macilènto means exhausted, and the character is described as an emaciated scholar. In the country, Macilente enters with a book, saying that he cannot praise the Stoic pleasures of the mind when he sees that others are rich and famous. At Deliro's house, Deliro entertains Macilente, but the guest observes in an aside that he envies Deliro's fortune. At Deliro's house, Macilente enters and reports that Fastidious Brisk is only an imitation of a courtier. Seeing that Fallace reacts strongly to Fastidious Brisk's criticism, Macilente insinuates to Deliro that he suspects Fallace's honesty. At Puntavorlo's lodgings in London, Macilente enters with Deliro, but he has frequent asides expressing his envy at these shallow people. Macilente joins the Puntavorlo party to court. At court, Macilente enters with Sogliardo and sees Puntavorlo's precious Dog, carelessly guarded by Groom. Macilente takes the opportunity to poison Dog out of spite. In an apartment at court, Macilente enters with Sogliardo and conducts the conversation in such a way that Sogliardo and Saviolina look like fools. When Puntavorlo notices that Dog is missing, Macilente blames Shift for the theft. At the Mitre Tavern, when the Puntavorlo party enters, Macilente incites the spirits and everything ends in a brawl. Before Constable arrives at the scene, Macilente manages to run out. At Deliro's house, Macilente tells Deliro to pay Fungoso's bill at the tavern. When Deliro exits, Macilente tells Fallace to go to prison and save Fastidious Brisk. Thus, Macilente's machinations create a situation in which Deliro surprises Fallace in flagrante with Fastidious Brisk. When Deliro repudiates his wife and Fastidious Brisk is confronted with a disastrous financial situation, Macilente's malevolence triumphs. Macilente has the final word in the play, saying that his envy has been appeased and he is therefore out of humor. Macilente also speaks the Epilogue.

MACILENTO

Surdato's servant in Wilde's Love's Hospital. Macilento delivers the "Moore" Nigella to Facetia as a gift from his master and takes advantage of Surdato's deafness throughout the play, insulting him on many different occasions and often complaining about being starved and treated poorly during what he claims is the "4 or 5 yeares of [his] youth" he has spent in Surdato's service. Macilento persuades Surdato that Piscinus is his rival and abusive of him and accompanies his master to rescue Nigella from Caecilius and his accomplices at Facetia's request, following Surdato's instructions that he conduct Caecilius home and helping, thus, to prevent the wedding of Nigella and the blind man. Along with Surdato he is fooled into believing that the First and Second Sergeants mean to arrest the deaf man and, when Nigella escapes from their sight, Macilento sets out with his master to find her again. Refusing to inform Surdato of the task which Facetia claims that her husband-to-be must perform before he attains her as his wife, Macilento is blamed by Surdato when the deaf man realizes that Comastes and Facetia have been married but is welcomed by Lepidus to live in commons with the Lord for his good service at the play's end.

MACKBETH

A Scottish lord in J.W.'s The Valiant Scot who joins Wallace's revolt.

MacKENER, NEAL
An Irish soldier, secretary of Shane O'Neil in the anonymous Captain Thomas Stukeley. He flees after his master is attacked and eventually killed by Gilam Buske.

MacMORRIS

Captain Macmorris is an Irish officer in Henry's army in Shakespeare's Henry V. He is a comic hothead skilled in mining and is displeased when he is recalled from the mines at Harfleur, where he says he could have blown up the town within the hour.

MACRINA

Macrina is a lady who attends Euphemia in Shirley's The Duke's Mistress. Her beauty draws no interest from Horatio, who prefers ugly women.

MACRINUS

Macrinus is friend and confidant to Antoninus in Massinger and Dekker's The Virgin Martyr.

MACRINUS **1638

A 'tottered' (tattered) common soldier with a cock feather in his hat in Mayne's Amorous War. Macrinus, Lacero, and Serpix tell Callias, Neander, and Artops that they are going to complain to the king how the captains use up all the regiment's money and finery to deck themselves while the common soldiers are left in squalor. They earn 'four and eight pence weekly.' The soldiers threaten to mutiny, but their captains turn a deaf ear to them. They play a trick by disguising themselves as Thracians and capturing their cowardly captains whilst Callias, Neander, and Artops dally with the "Amazon" warriors in their tent. Callias, Neander, and Artops are blindfolded and led away and made to exchange clothes with their soldiers (still believing them to be Thracians), and Macrinus, Lacero, and Serpix tease and taunt them with visions of slavery and gelding in Thrace. Callias begs to be hanged instead.

MACRO **1603

Macro (Sertorius), prefect, creature of the Emperor Tiberius in Jonson's Sejanus His Fall. When Tiberius realizes Sejanus has designs on the throne, he showers favors onto Macro in order to destabilize Sejanus' position. When Sejanus saves the Emperor and gains renewed favor, Macro sees that he must act quickly to undermine his rival. He conspires with Laco and Regulus to have the Senate meet at night and lulls Sejanus into believing the Tiberius is going to give him high office. Instead, Tiberius accuses Sejanus of treason and has him executed. Arruntius fears at play's end that Macro will prove a greater monster than Sejanus.

MACRO**1607

Macro, officer of the Emperor in the anonymous Tragedy of Tiberius. He warns Agrippina that Tiberius means to poison her with an apple. He stands by helplessly while she is strangled to death. He joins forces with Caligula, the son of his commander Germanicus. Macro speaks to the legions and raises them in support of Caligula after the death of Tiberius.

MACROS

One of the four worthy knights of Tartar in Verney’s Antipoe. In the first soliloquy of the play calls down a curse upon Dramurgon. Mercury sends him a prophetic dream that all will be well. He remains on the stage throughout act one, and various characters reveal themselves by their reactions to his sleeping form. He awakes at the end of act one having dreamt of a ghost who told him of his fortunes and ultimate death. He agrees with his friends Liperus, Dabon and Sapos that Dramurgon has dishonoured them by refusing to fight the kings of Bohemia, Corinth and Thrace and believes that he will find some trick to avoid the fight on Thursday next. He goes to the Jailor’s Wife disguised as Sorcam and offers to be her servant. As Sorcam he sings a duet with the Jailor’s wife which begins, ‘Come mourn, come weep, come lower’. He rescues Antipoe from jail and later stands beside Antipoe to kill the men Dramurgon sends to compel the fallen Bohemia from him. He and the other three knights appear before the President of Tartar identifying the four daughters of Bohemia as their ‘contracted wives’ and all go in to supper. Macros attempts to persuade Antipoe to usurp Dramurgon and take his crown, but, although he hates the man, Antipoe is loyal to the crown. In the battle with Dramurgon, Macros captures Drupon and ties him to a tree, instructing his page to watch the knave. The page leaves, but Macros hides and overhears Dramurgon planning to promise Antipoe anything to regain the crown and then return to his villainy; Macros comes from hiding and kills Dramurgon while he is pleading on his knees. He later submits to Antipoe, who views that act as traitorous. Antipoe condemns him not only to death but torture and death. He stands boldly to his execution, but when Antipoe begs the people to allow himself to die in Macros’ stead, Macros says that it is he who should die and not noble Antipoe until the People speak and say that both should live. Saved from his fate, Macros says that they should kill Drupon (still tied to the tree) and then he does so. When Antipoe kills himself for failing to avenge the murder of Dramurgon, Macros delivers a eulogy praising Antipoe’s great worth, and then commits suicide with his sword. He is later seen as a ghost, clad in white, ascending to the throne with the others at the behest of Brutus.

MACROS’ PAGE

After Macros has defeated Drupon in Verney’s Antipoe, the page is told to stand watch and kill him if he attempts escape. The page, however, disobeys and goes off to see his mates. He returns later to taunt Drupon during a musical interlude.

MacTEAGE, BRIAN

This is one of the two names to which Edmond answers in his disguise as an Irishman in Dekker, Ford and Rowley's The Welsh Embassador.

MADAM

A fictional character in Jonson's Cynthia's Revels. In an apartment in Cynthia's palace, Phantaste, Philautia, Argurion, and Moria are expecting the miracle water from the fountain of Self-love, so much publicized by Amorphus. While waiting, the vain nymphs discuss fashion, their admirers, and fantasize on what they would like to be. While Moria and Philautia imagine they could be extremely powerful women, Phantaste fantasizes that she could impersonate many women and do various things. As a Madam, Phantaste imagines that she could invent new love schemes and go visit courtiers, probably with love messages.

MADAN

Son of Gwendoline and Locrine in the anonymous Locrine.

MADCAP–GENTLEMAN

The young madcap-gentleman in Jonson's Bartholomew Fair is supposed to marry Dame Purecraft according to the prophecy is a "fictional character." Mistress Littlewit announces Winwife that her mother believes the cunning-man's prediction that she must marry a madman very soon and she even went to the madhouse in search of one. Littlewit observes that the prediction might be equivocal, and it might mean that Dame Purecraft is to marry a young madcap-gentleman. Littlewit believes that Quarlous fits the description. Ironically, Dame Purecraft ends up married to Quarlous, who conquers her disguised as the madman Trouble-all.

MADDEN upon IENKIN

A "ghost character" in Dekker and Webster's Northward Ho. Captain Jenkins' cousin.

MADDOCK

A "ghost character" in Peele's Edward I. Mentioned by Lluellen, Maddock had led an earlier uprising of the Welsh against the English.

MADEMOISELLE D'ENTRAGUES

A non-speaking character in Chapman's The Tragedy of Charles, Duke of Byron. The King's mistress. She appears in the second act Masque of the Virtues, along with the King's wife, Marie de Medici.

MADEVILLE or MENDWELL **1638

The name of the third watchman in Glapthorne's Wit in a Constable.

MADGE**1570

A "ghost character" in the anonymous Clyomon and Clamydes. Corin's wife, she goes on Sunday in a gray gown. Corin claims that "Jack" (Neronis in disguise) is even grander that Madge on Sunday.

MADGE**1590

The title character in Peele's The Old Wives' Tale. Madge, married to the smith Clunch, tells the tale of the sorcerer Sacrapant and the rescue of Delia by Eumenides. As she begins her story, its characters appear on stage and the plot unfolds as the old woman, Frolic, and Fantastic look on.

MADGE**1596

One of Audrey Turfe's bridesmaids in Jonson's A Tale of A Tub.

MADGE**1608

Madge asks Toures, disguised as a Tinker boy, to sing in front of the Lady, Sir William and his daughters in Armin's The Two Maids of More–Clacke. Later, Madge comes back and tells Sir William that Mary has run away with Toures.

MADGE**1609

A Milk-maid in Beaumont and Fletcher's The Coxcomb. After Viola enters the employ of Mercurie's mother, she meets Madge and Nan. The maids offer Viola some milk and, in return, Viola gives them a jewel from her father's house. Viola asks them if they know of a place where she might find lodging and work and Madge, along with Nan, leads her to the Country-woman. They hesitate to leave Viola because she is with two strange men.

MADGE**1615

Presumably a servant in Valentine's household in Fletcher's Monsieur Thomas. She is called in when Thomas tries to climb up to Mary's window. By leaning out in a devil's mask, roaring, and trying to kiss him, she succeeds in knocking him back down to the ground.

MADGE**1632

A bawd, in partnership with Damaris (the disguised Dorcas) in Brome's The Weeding of Covent Garden. She is later an actor in Mihil's attempt to dupe his father into allowing him to marry Lucy. Her reward, from Mihil, is the wherewithal to become an honest landlady in a tavern well distant from Covent Garden.

MADGE**1637

Quicksands' maidservant in Brome's The English Moor, fired as part of the cover-up of Millicent's "disappearance."

MADGE**1641

Madge, a chambermaid, is in love with Antony in Quarles' The Virgin Widow. She has already rejected him once because her mother taught her always to say "Noforsooth," but they are eventually reconciled.

MADGE CARO

Madge Caro is a stutterer in (?)Johnson's Misogonus. She is one of two old women who learn from their crony, Alison, that Misogonus has a twin brother. The other is Isbell Busby. When Madge seeks relief for a toothache from a passing physician, who is actually Cacurgus in disguise, the latter tries to persuade Madge and Isbell not to corroborate the existence of the second child, claiming that the latter is really the offspring of a fairy. Although Madge and Isbell promise to keep silent, their desire for a reward and jealousy of Alison and Codrus lead them to tell the truth.

MADGE the SOUSEWIFE

A "ghost character" in Greene's George a Greene. Madge is the beloved of Jenkin, and Jenkin describes how they were together one day when Clim arrived and told Jenkin to watch after his horse while he went off with Madge.

MADIDO

From the Latin for "drunk" or "tipsy." When Philomusus and Studiosus meet Madido in Logic Land in the anonymous Pilgrimage To Parnassus, he is reading Horace's Epistles and drinking wine. The pair invite Madido to join them on their journey to Parnassus, but he declines, since "there is scarce a good taverne or ale house" between Logic Land and Parnassus. Madido tells Philomusus and Studiosus that Parnassus and Hellicon are "but the fables of the poetes, there is noe true Parnassus but the third lofte in a wine taverne, noe true Hellicon but a cup of browne bastard." Though he tries to persuade the pilgrims that drink will inspire them more than Parnassus ever can, they resist Madido, and continue on their journey.

MADMAN

Overdo is disguised as a Madman at the Fair in Jonson's Bartholomew Fair. While the people at the Fair begin to erect their booths, Overdo overhears the argument between Leatherhead and Trash, in which the hobbyhorse man threatens the gingerbread woman to report her to Justice Overdo. Overdo is glad that his name spreads terror among the people of the Fair. Though he attends many events at the Fair, Overdo/Madman is susceptible to gross misrepresentations and false reports. When he hears Ursula calling Knockem a cutpurse, he asks information from Mooncalf, who says that Ursula is just joking. Similarly, Overdo/Madman thinks Edgworth is an honest young man, a report corroborated by Mooncalf as well. However, Overdo does not see the three robberies happening before his eyes, all conducted by Edgworth, and he is in fact accused of two them himself. The first is during a fight, provoked by Knockem as a diversion, so that Edgworth could pinch Quarlous and Winwife's purses. This robbery did not succeed, because the two young men did not carry money. While Overdo/Madman delivers his anti-tobacco speech, Edgworth pinches Cokes' purse. Wasp thinks the mad orator is an accomplice of the thieves and starts beating him. In another part of the Fair, Overdo/Madman enters alone, admitting that he deserved the beating because he has been the cause of Cokes' purse being lost. When another diversion is created for the Cokes party, during which Edgworth pinches Cokes' second purse, Overdo/Madman anticipates that he is going to be accused of the theft and steals away. However, Mistress Overdo observes that the madman is trying to escape and draws the others' suspicion upon him. He is taken away and put into the stocks next to Busy, but the prisoners manage to escape when the officers are distracted by Trouble-all.

MADMAN, FIRST, SECOND, and THIRD

There are three madmen in the asylum where Infelice and Hippolyto are secretly wed in Dekker and Middleton's 1 The Honest Whore:
  1. The First Madman was a wealthy citizen who went mad from losses at sea and now wears only a fishing net and rants about being unable to catch anything. Anselmo instructs the Duke to question the First Madman alone because he will not speak in Anselmo's presence unless very angry. When questioned, the First Madman, accuses Pioratto of being his eldest son, whom he says is a fool, and claims that the Duke is his second son. He then accuses all of them of being the pirates who undid him, forcing Anselmo to step forward and order him restrained.
  2. The Second Madman was a married man who went insane from jealousy, despite doubts from others that his wife ever cheated on him. He rails against the shoemaker, the tailor, the doctor and the schoolmaster who all, in his mind, slept with his wife. He attacks the Second Madman, which causes Anselmo to call for the Attendants to bring whips to control them. When the Third Madman declares himself to be dead, the Second Madman promises to answer for it in the courts if his wife is burnt for adultery at the same time.
  3. According to Anselmo, the Third Madman loved a maiden who died, and he became mad when she was buried. He keeps demanding that the Second Madman give him porridge and goads the Second Madman into attacking him, which causes Anselmo to call for the Attendants to bring whips to control them. He then declares himself to be dead and asks that the bells be rung for him and that he be buried in a good pit-hole.

MADMAN, WELSH**1621

A madman in the madhouse in Signoria in Fletcher's The Pilgrim. When he appears before Alphonso, the Master describes him as "a mountaineer, a man of Goatland." By his own testimony, his name appears to be Owen. He is said to have run mad "because a rat ate up's cheese."

MADMAN, WELSH **1622

The inmates of Alibius's asylum in Middleton and Rowley's The Changeling include a Welshman who was driven mad when a mouse ate his parmesan cheese. Lollio says there is no hope of his recovery.

MADMEN**1614

Madmen are sent to torture the Duchess in IV of Webster's The Duchess of Malfi. They succeed only in proving to her that she, so unlike them, is not mad for all of her brothers' plotting. They comprise an Astrologer, Broker, Doctor, English Tailor, Farmer, Gentleman Usher, Lawyer, and Priest.

MADMEN**1622

The madmen in Alibius's asylum make frightening noises behind the walls in Middleton and Rowley's The Changeling. At one point, they interrupt Antonio's attempted seduction of Isabella by bursting onstage and acting like birds and beasts. They rehearse before Alibius the "madmen's morris" that he intends to stage at Beatrice-Joanna's wedding.

MADMEN of GOTEHAM

During a comic interlude in the anonymous A Knacke To Knowe A Knave a Smith, a Miller and a Cobbler decide to deliver a petition to the king. They want a license to brew strong beer three times a week.

MADNESS

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

MADONA LUSSURIOSA

A "ghost character" in Davenport's The City Night Cap. Madona Lussuriosa is a lady that is thought to have supported the appointment of Father Anthony as Dorothea's confessor.

MADRIGAL

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. An incompetent poet, he is exposed as a mere "canter" or jargonist by Pennyboy Canter.

MADWOMAN

A disguise taken on by Isabella in Middleton and Rowley's The Changeling when she accosts Antonio in the madhouse.

MAECENAS**1601

I.
Maecenas is a patron of the arts in Rome and a friend of Horace in Jonson's Poetaster. In an apartment at the palace, Maecenas enters with Horace following Caesar and his train. The angry Caesar cannot believe his eyes on seeing his daughter Julia participating in a debauched party, and he asks Maecenas and Horace for confirmation of his senses. At some point, Maecenas tries feebly to intervene in the poets' favor, asking Caesar to forgive and be like the gods, but he has no success. Maecenas exits with Caesar's train. In an apartment in the palace, Maecenas follows Caesar and his company of poets, formed of Tibullus, Gallus, and Horace. When Caesar announces he has pardoned Gallus and Tibullus, Maecenas acknowledges his gratitude and addresses Caesar in flattering verses. Maecenas attends the public disgrace of the foolish Lupus and the braggart Tucca, as well as the arraignment of the poetasters Crispinus and Demetrius. When justice is served, Maecenas joins the chorus of poets praising Caesar's justice and generosity, and exits with the court.
II.
Only mentioned in Jonson's The New Inn. Gaius Maecenas (73-8 BC) was a wealthy Roman patron of Horace and Virgil. His name is proverbial as that of a liberal patron of letters. When Host reveals himself as Lord Frampul, he invites everybody to go to bed. As the recently revealed Lord Frampul has just been reunited with his long-lost wife, he says he himself will burn incense to the god of love. Since, like Maecenas, he has but one wife, Lord Frampul argues, he will marry her every hour of life hereafter.

MAECENAS**1607

Maecenas is a follower of Caesar in Shakespeare's Antony and Cleopatra. After the meeting between Caesar and Antony, Maecenas states to Enobarbas that Antony must leave Cleopatra, but Enobarbas responds that this will never happen. He is with Caesar when the latter reports that Antony has set himself up as Emperor in Egypt, and Maecenas responds that Rome will not stand for such behavior. He also welcomes back Octavia, claiming that all of Rome feels sympathy for her. After winning the first battle, Maecenas urges Caesar to push his advantage, and not give Antony time to recover. When Antony's death is reported to Caesar and his followers, Maecenas says that his greatness and weaknesses were equally balanced.

MAERSCHALCKE, LAURENCE de

A "ghost character" in Mountfort's The Launching of The Mary. One of the underlings of Harman van Speult, listed by Sheathing-Nail.

MÆSTIUS

Mæstius is the actual son of Memphio, the supposed son of Vicinia and supposed brother of Serena in Lyly's Mother Bombie. Disturbed by the incestuous desires he feels for his sister, Serena, Mæstius agrees with her that they must not act on their love. Together they consult the cunning woman Mother Bombie, who prophesies that they will be lawfully married tomorrow, and that they will each displace a fool and become wealthy in the process. Believing such events to be impossible and viewing the prophecy as a cruel joke, they hurl insults at Mother Bombie and leave dejected. Only when Vicinia reveals the baby-switching plot in the final scene do Mæstius and Serena discover that not only are they not brother and sister, but they are also the children of the wealthy Memphio and Stellio—a revelation that fulfills Mother Bombie's prophecy and allows them to marry.

MAFFE

Maffe is the Duke of Alencon's steward in Chapman's Bussy D'Ambois. At the beginning of the play, he is sent to deliver one thousand crowns to Bussy. When Maffe sees Bussy, he first resolves to give the young officer one hundred crowns instead of the full payment. Essentially, Maffe does not see much merit in Bussy: he mistakes Bussy for a poet before learning he is a soldier. After conversing with him for a while, Maffe concludes that Monsieur plans on using Bussy as a jester. In addition to his low opinion of Bussy, Maffe is offended by what he terms as disrespectful behavior on the part of Bussy. Maffe instructs Bussy that he, Maffe, is the head servant; consequently, Bussy should treat with more respectfully. Although Maffe claims not to fear Bussy's "wooden sword", he eventually offers Bussy the full one thousand crowns and sends him to court. Maffe is sent by Monsieur to fetch Montsurry so that the two noblemen can plot Bussy's downfall.

MAGDALEN **1635

Magdalen serves as an intermediary between Lady Marlove and the other characters in ?Glapthorne's The Lady Mother, informing them of her whereabouts and actions. She participates in the search for Belisia and Bonville after they elope.

MAGDALEN**1637

Magdalen is Bumpsey's wife in Brome's The Damoiselle. She contributed 1,000 pounds to her marriage with Bumpsey. Now, she will support Valentine in his marriage to her daughter, opposing the doubts that her husband may have about the economic status of the young gentleman. Nevertheless, she does manage to make her husband forget about the test. However, she is upset when she finds out that her son-in-law has taken 500 pounds. Later, being told by her daughter of the presence of a Damoiselle in town, she wants her to teach her daughter and herself court manners. They meet Alice in the brothel. They want to learn how to dance and how to court but they find out that it is a bawd house and become worried about their honor.

MAGELLAN

Only mentioned in Jonson's Bartholomew Fair. The first European to sail across the Pacific Ocean and the first to discover a route by which ships could sail a complete circle around the world, Ferdinand Magellan was the Portuguese navigator for whom the Strait of Magellan is named. In the final revelation scene, Justice Overdo discovers 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 Magellan.

MAGELLAN, FERDINAND

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.

MAGI**1590

All but one of the Magi are mute characters in Greene and Lodge's A Looking Glass For London And England. In service to Rasni, the group of allegedly wise and magically gifted men is called upon to build the pleasure bower in which Remilia is later killed by lightning.

MAGI**1636

Three Persian priests in Cartwright's The Royal Slave.

MAGICIAN**1588

The Magician in the anonymous Wars of Cyrus assures Araspus that his charm will break down Panthea's chastity, but her virtue proves too strong.

MAGICIAN **1590

Also called "Old Man," the disguise George a Greene assumes in Greene's George a Greene in order to fool Kendall and the other rebel lords.

MAGICIAN**1619

The Magician is instructed by Antigonus to create a love potion that causes anyone who drinks it to fall violently in love with the king in Fletcher's The Humorous Lieutenant. While Antigonus intended to use the potion to force Celia to love him, the Lieutenant is given the potion by accident.

MAGICIAN**1639

He warns Ferochus and Endarius about the extent of the King's rage over their father's conversion to Christianity in Shirley's St. Patrick For Ireland. Probably one of the two magician/priests below

MAGICIAN/PRIEST, FIRST and SECOND

Two magician/priests figure in Shirley's St. Patrick For Ireland:

MAGISTRATE

A "ghost character" in Jonson's The Alchemist. He is the civil magistrate in charge of the Anabaptists' case. Tribulation tells Ananias that one of the reasons for seeking Subtle's services is to obtain aurum potabile, liquid drinkable gold. Tribulation argues that an elder of Scotland told him that this medicine, taken daily, is the only cure for the magistrate's disease, and it might make him feel inclined towards the Cause.

MAGNANIMITY **1617

A "ghost character" in the anonymous Pathomachia. A former Virtue, once one of Fortitude's captains, he has fled to the banditti where he is much in demand.

MAGNETES

A Median lord in Marlowe's Tamburlaine Part 1. He along with others, including Zenocrate, is captured when Tamburlaine attacks their retinue.

MAGNIFICENCE or "MAGNYFYCENCE"

The king in Skelton's Magnyfycence. Misled by six evil counsellors (Fansy, Counterfet Countenaunce, Crafty Conveyaunce, Clokyd Colusyon, Courtly Abusyon and Foly), he becomes prey to lust and anger and is economically ruined. He is saved in extremis (when he is on the point of stabbing himself) thanks to the intervention of Good Hope, Redresse, Cyrcumspeccyon and Perseveraunce.

MAGNIFICENCE **1617

A "ghost character" in the anonymous Pathomachia. One of Liberality's two attendants. Magnificence, once counted as a Virtue in itself, is in truth only a lesser type of Liberality.

MAGNUS, HANNO

Hanno Magnus, the Carthaginian captain in Marston's Sophonisba, conspires with Bytheas and [H]asdrubal[l] to betray Massinissa.

MAGO**1615

A "ghost character" in P. Fletcher's Sicelides. He was "begot by Saturne, on a Sea-borne witch," Mago is Thalander's rival for Olinda's love and is described by Perindus as "all blacke and foule, most strang and ugly fram'd." Because Olinda "affected" Mago and "banisht" Thalander in order to "shew how much he [Thalander] was neglected," the fisher left Sicily and took refuge in the woods. Since Alcippus makes a reference to "Magoe's charmes," he seems to be the same character who is referred to as "Nago" at the play's beginning–a "deformed enchanter" and "subtill witch" who takes on the "shape and habit" of Glaucilla in the garden near "Neptunes temple" and tempts Olinda to take one of the "golden apples" from the "Hyperian tree" situated in the "sacred garden" (a deed for which she is sentenced to die at the hands of the sea monster, Malorcha).

MAGO**1633

A Conjurer in Cokain's Trappolin. He offers Trappolin an opportunity to magically disguise himself as the right Duke of Tuscany in order to return to Florence after having been banished for pandering. Mago also gives Trappolin a powder that will transform whomever it touches into the image of Trappolin, in order to help him maintain his disguise. Mago turns up at the end of the play to reveal the situation and set the confusions and inversions right again. He extracts a promise from Duke Lavinio to forgive all transgressions in exchange for the return to his proper identity. He reveals himself to be Trappolin's actual father in the closing moments of the play.

MAGO, W.

A "ghost character"? Listed in the dramatis personae, but does not appear in the play in Rowley, Dekker and Ford's The Witch of Edmonton. Like W. Hamluc, this is probably the name of an actor, rather than a character.

MAGPY

One of the gossips in Sampson's The Vow-Breaker who attends Ann at the birth of her child. Barren comments that she had two children before she was married. Despite Ann's pleas, she gets drunk and falls asleep, allowing Young Bateman's ghost to enter the room. She then joins in the search for Ann after Ann disappears from her childbed.

MAGUS

The unnamed Magus serves as spokesman for his fellow Magi in Greene and Lodge's A Looking Glass For London And England. After Radagon is consumed by a pillar of flame, the Magus assures Rasni that the phenomenon is natural and then encourages the king to enjoy himself with Aluida. When the Priest of the Sun describes for Rasni the evil portents he and his colleagues have observed, the Magus again soothes the king by labeling the events merely natural occurrences which, if they have any significance at all, might be interpreted as warnings for Rasni's enemies.

MAGUS**1618

Magus is a magician in Holiday's Technogamia. He offers to use magic to help Geometres win Astronomia, but Geometres is too frightened. He then gives Astrologica a powder to put in Astronomia's drink, but this makes her ill rather than in love with Geometres. Warned by a bad dream that they may be caught, Magus provides magic rings to Astrologia, Physiognomus and Cheiroantes which will allow them to become invisible. However, Geometres reveals the rings to Polites and they are captured.

MAHAMET, MULY

See MULY MAHAMET, MAHOMET, and variant spellings.

MAHARBALL**1635

A Carthaginian captain under Hannibal in Nabbes' Hannibal and Scipio. At the play's outset, he and Himulco are praising the hedonistic pleasures of Capua, which Hannibal's army has just conquered, but then Hannibal comes in and rebukes them for being soft. Played in the original production by William Sherlock, who doubled as Prusius.

MAHOMATES **1618

One of Baiezet's seven sons in Goffe's Raging Turk, Mahomates shares with five of the others resentment that his youngest brother Corcutus has been made emperor. After slaying Mohamet, Trizham, and Achmetes Baiazet assigns him to rule Amasia and Manesia. He returns to Constatinople in disguise, and recruits the Monk to assassinate his father; when the attempt fails, at Baiazet's behest he is murdered by his supposed friend, Asmehemedes.

MAHOMET

See also MAMET and related spellings.

MAHOMET**1587

I.
Speaks from a brazen head in Greene's Alphonsus, King of Arragon. He announces that he will no longer prophesy on Amurack's behest since Amurack refuses to heed his advice. He reluctantly agrees, however, to one more prophecy, and sends the soldiers off to Naples to fight Aragon, telling them that they will be wear crowns in victory. What he does not tell them, however, is that they will only wear those crowns in a mock display put on by the victorious Alphonsus.
II.
The prophet Mohammed, residing in heaven and treated as a deity by the Arabs in Percy's Arabia Sitiens. He is furious at reports of rampant sinfulness in Arabia and threatens to annihilate the Arab people. The angels persuade him to confirm the reports before acting, and he sends Maroth and Haroth, in disguise, to Arabia to investigate. Sings the fifth song–a debate about the relative importance of the virtues–along with the Chorus of Spirits, Gabriel, Adriel, and Metraon. When Maroth and Haroth fail to return, he sends Gabriel, Adriel and Metraon to search for them. When Epimenide arrives in Heaven, he takes her for some sort of beast or witch and he orders his executioners, Guavequir and Mongir to take her into custody. Her charms effect him though, and he realizes he has fallen in love with her. He orders the executioners to release her and then attempts to woo her. He offers to give her anything, and she asks him to clean her shoe. He does so, and after this humiliation, she rejects him. He orders the executioners to jail her. He gathers Adriel, Gabriel and Metraon to pass judgment on Epimenide, Maroth and Haroth. The judgment is interrupted by the arrival of Sergius and his supplicants and Belpheghor and his disputing parties. Mahomet betroths Tubal to Nabatha and Caleb to Shebe. He banishes Epimenide into the moon and orders Maroth and Haroth to support the moon as it turns. He orders Chiause to toil carrying water for eternity and Friar Dervis to plod by his side preaching holiness. He orders Belpheghor and Sergius whipped for bringing mortals into Heaven. He finishes the judgment session by praising God.
III.
Only mentioned in Jonson's Every Man out of His Humour. Carlo Buffone mentions the Islam prophet Mohammed when he sees that Puntavorlo's temper is about to burst, after realizing that he is unable to continue his journey because of Dog's death. Carlo Buffone tells the knight to hold his fury, and thus he will be honored more than the Turk honors his Mohammed.
IV.
Only mentioned in Fletcher's The Knight of Malta. Mahomet is mentioned three times in the play, once by name and twice as the Prophet. The first reference is by Abdella, in reference to the Basha's letter to Oriana, the second a mocking reference by Norandine to describe his battle against the Turks and the third by Collonna, when he tells Lucinda to thank her Prophet for Miranda's nobility.
V.
Only mentioned in the anonymous Wit's Triumvirate. Mahomet is mentioned by Master Fright when, on his second visit to Doctor Clyster, he explains he sold his hangings, which frightened him, "to a Puritan upholster, that would have bought Mahomet's history at an easy rate." Mahomet (570-632) was the founder of the great religion of Islam. He started as a prophet who claimed that, after meditating in the desert, God had revealed many truths to him concerning life. These revelations came from the angel Gabriel. Mahomet's revelations were written shortly after his death and they are now called the Qur'an. After his experiences in the desert, he claimed to be a prophet of God whose mission was to guide others by God's message. But that message, asserting the lordship of Allah to those literally worshipped a black stone–Ka'aba–was not well received at first and he was forced to flee Mecca. However, eight years later, he captured Mecca and became its ruler, implementing the divine orders he believed he was called to carry out. He never claimed to be a revolutionary or innovator, he just meant to complete the work of the Jewish Christian prophets
VI.
Only mentioned in Goffe's The Courageous Turk. The chief Muslim prophet Mahomet is mentioned throughout. Amurath worries that the Christians will scoff at Mahomet if he becomes subject to Eumorphe's charms and fails to pursue glory on the battlefield, and he regularly prays for the prophet's aid and blessing.
VII.
Only mentioned in Marmion's Holland's Leaguer. In praising Autolicus, Agurtes claims that had Autolicus lived during the time of Mahomet, Autolicus would have been chosen as the Islamic founder's sole advisor.
VIII.
Only mentioned in Tomkis' Albumazar. 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.
IX.
Only mentioned in the anonymous Pathomachia. Pride boasts of how he aided him amongst the apostates.
X.
Only mentioned in Carlell's Osmond. Several of the Tartars call upon their prophet in the course of the play.

MAHOMET**1592

Prince of Natolia in ?Greene's Selimus I. Son of Alemshae and grandson of Bajazet. Discusses with Belierbey how to react to Acomat's impending attack. While Belierby counsels him to flee, Mahomet refuses, vowing to stay and fight. When Acomat and his forces arrive, Mahomet appears on the wall for a parley. He refuses to surrender and is captured when Acomat's forces scale the castle walls. Acomat orders that he be thrown off of the castle wall on to a group of upturned spears. After being murdered by Acomat, Mahomet's and Zonara's coffins are brought before Bajazet by the wounded Belierbey and two soldiers.

MAHOMET **1618

One of Baiezet's seven sons in Goffe's Raging Turk, Mahomet shares with five of the others resentment that his youngest brother Corcutus has been made emperor. His father deputes him, along with his brother Trizham, to prevent Zemes from escaping after their battle. When he tries to dissuade his father from the war against Rome, Baiazet, Selymus, and Isaack strangle him on the pretense that he let Zemes escape.

MAHU MAHOMET

A "ghost character" in William Rowley's All's Lost by Lust. The brother of Muly Mumen, he is reported to be fighting in the battle.

MAIA

A "ghost character" in Wilson's The Cobbler's Prophecy. The mother of Mercury.

MAID**1561

She is also called Daughter in the anonymous Pedler's Prophecy. The Maid wants to buy pins and needles from the Pedler, but they get into an argument because she refuses to buy without first seeing the wares. He attempts to seduce her but fails. She remains unimpressed by him, even when her parents are awed by his prophecies, but obediently follows the Mother home to prepare dinner when the Father invites the Pedler to stay.

MAID**1593

A servant to the Duchess of Guise in Marlowe's Massacre at Paris.

MAID**1594

Hears Winchester's dying groans in Yarington's Two Lamentable Tragedies and calls for help, attracting the attention of the Neighbour. He asks her if she saw anyone leave the shop and she thinks she saw two people; she also hopes that Beech did not kill the boy.

MAID**1598

A "ghost character" in (?Chettle and) Munday's Downfall of Robert Earl of Huntington. Richmond tells the story of how Leopold of Austria had Richard thrown into a lion's den. Richmond describes how Richard wound a scarf given him by a maid around his right hand, and then thrust it down the lion's throat and pulled out its heart.

MAID**1602

Works for Mistress Arthur in (?)Heywood's How A Man May Choose A Good Wife From A Bad and assists her in preparing for the feast arranged by Young Master Arthur.

MAID**1603

A non-speaking, but significant role in Heywood's A Woman Killed with Kindness: she stays Frankford's hand when he is about to stab Wendoll and Anne, and therefore saves his soul from damnation.

MAID**1604

Serving at the home of the Jeweler's Wife in Middleton's The Phoenix, this unnamed Maid mistakes Phoenix for her mistress' Knight and takes him to her mistress' bedchamber.

MAID**1606

The Maid is looking after the youngest son in A Yorkshire Tragedy. The Husband throws her down and attempts to kill the baby.

MAID **1607

A "ghost character" in the King of Moldavia's house in The Grocer's Honour portion of Beaumont's Knight of the Burning Pestle. Rafe gives this character a groat (4d) by way of Pompiona so as not to be beholding to the king. As there is truly no such person, one must imagine that the actor playing Pomponia keeps this money for himself.

MAID**1608

A maid in Armin's The Two Maids of More–Clacke strews the room with flowers for the wedding of the Lady.

MAID**1608

The Maid serves Bacha in Beaumont & Fletcher's Cupid's Revenge. She announces the arrival of Leontius at her house.

MAID**1611

Lady Honour is also called 'Maid' in speech heads of Field's Amends for Ladies.

MAID**1612

An otherwise unnamed character in Fletcher's The Captain. She is designated to pour the pot of urine on Jacamo. She also helps to hold Jacamo as Franck declares her love for him.

MAID**1620

A maid in Lopez' household with only one line in Fletcher's Women Pleased. Unlisted in the dramatis personae, so possibly Jaquenet erroneously identified.

MAID**1624

A resident of the poor lodgings where Michael Perez stays in Fletcher's Rule a Wife and Have a Wife. She tells him the truth about Estifania.

MAID**1624

Servant to Lady Averne in Heywood's The Captives. Called Mistress Millicent by Friar John. Delivers Friar John's letter to Lady Averne. Later, she is instructed to deliver Lady Averne's reply, composed by the Duke, to Friar John, instructing him to meet Lady Averne that evening. After delivering the letter, the Duke instructs her to let the Friar in and lead him to Lady Averne's chamber. She accompanies Lady Averne at the end of the play when she delivers the King's pardon to her husband.

MAID **1626

This unnamed Maid comes to Sharkino in Shirley's The Maid's Revenge bearing a urinal. She feels she may have lost her maidenhead because she found breeches upon her bed; she is certain that Sharkino can determine the maidenhead's status by examining her "water."

MAID**1627

Cremulus's maid, possibly Unice in the anonymous Wisest Have Their Fools. She leads the blind Cremulus in towards play's end. It is possible that this is not Unice because Unice enters only six lines after this unnamed maid's exit to announce that she has been to the physician and learned what will cure Cremulus.

MAID**1635

Rosara is referred to as 'Maid' in all stage directions and speech prefixes in Heywood's A Challenge for Beauty.

MAID**1638

The maid is an Antipodean, a character in the inset play of Brome's The Antipodes. She accompanies the old woman and upbraids her for her addiction to bear baiting. The maid attempts to seduce the young gentleman. When he resists, she kicks him and his old servingman. When the Constable arrives, she accuses them both of attempted rape.

MAID behind the HOPPER

A "ghost character" in Sampson's The Vow-Breaker. A denizen of the mill at Ruddington for whom Miles in nostalgic when in Scotland. He asks Young Bateman to commend him to her on his return to Nottinghamshire.

MAID, BUSIE'S **1638

A "ghost character" in Glapthorne's Wit in a Constable. When Busie has Covet and Sir Geoffrey arrested, he tells the watch to take them to his house under arrest and have his maid look after them.

MAID, COUNTRY

When the Country Maid and the Country Man meet Alexander Brett outside Cambridge in Dekker and Webster's Sir Thomas Wyatt and discover that Lady Jane Grey has been proclaimed the new queen, the Country Maid expresses her dismay at the choice.

MAID, COUNTRY**1600

Appears briefly in Marston's Jack Drum's Entertainment carrying eggs but Pasquil breaks them and she runs away very distressed that she has lost her wares.

MAID, FIRST and SECOND**1601

The Maids are servant slaves at Albius's house in Jonson's Poetaster. The First Maid enters with Second Maid, following Chloë with perfumes and flowers for the expected guests. They help Chloë arrange and perfume the house. When Chloë first notices Crispinus in her house, she asks who he is, and First Maid says she does not know; the Second Maid says Crispinus wants to speak with his cousin Cytheris. It appears that First Maid and Second Maid set cushions in the parlor windows and the dining chamber, which displeases Albius. He says that the arrangement is tavern-like and suggests they should have the cushions laid one upon the other in some corner of the dining chamber. The maids disregard his instructions, because Chloë commands her husband not to meddle in household matters. First Maid exits with Second Maid to prepare the banquet room for the guests.

MAID, FIRST and SECOND**1604

Two Maids figure in the anonymous Wit of a Woman:
  • The First is otherwise called Figga (see under separate listing).
  • The Second is an imaginary character: Veronte's sister has a maid who is referred to in passing.

MAID, FIRST and SECOND**1615

Two Maids figure in Davenport's New Trick to Cheat the Devil:
  • Maide 1 enters the haunted chamber where Slightall is spending the night at the Changeables, with "banquet and lights," and she and Maid 2 "fetch in Anne, and place her at the table against him."
  • Maide 2 enters the haunted chamber where Slightall is spending the night at the Changeables, with "banquet and lights," and she and Maid 1 "fetch in Anne, and place her at the table against him."

MAID, FIRST and SECOND**1615

There are two maids in Fletcher's Monsieur Thomas:
  1. The First Maid is a domestic in Valentine's household. She likely serves Mary, whom she calls "good Mistress." Mary bids her do something to repel Thomas when he starts his midnight caterwauling serenade; the Maid invites him to climb up to the window and then calls in Madge, who pops out of it in a devil's mask and prompts him to fall down.
  2. The Second Maid is Dorothy's maid. She helps to dress Thomas in her mistress' clothes and then goes ahead of him to warn Mary of his disguise and intention to gain access to her
.

MAID, FIRST and SECOND**1627

The two Maids are servants to Semele in Heywood's The Escapes of Jupiter; their role is limited to a short exchange of bawdy innuendo concerning their mistress's preparations for a visit from her lover, Jupiter. (The scene is heavy with dramatic irony, since this, Jupiter's final visit, will result in Semele's death.)

MAID, HODGES'S

A "ghost character" in the anonymous Clyomon and Clamydes. The shepherd Corin recounts to the disguised Neronis that this maid "had a clap." He warns "Jack" not to meddle with her because she has "eaten set leekes."

MAID–IN–WAITING

The Maid serves the Queen, Anne o' Beame in the anonymous Thomas of Woodstock. She tells Cheney about the Queen's charity towards the poor.

MAID, KITCHEN

Alfrida must dress as the kitchen maid when King Edgar comes to see her in the Anonymous A Knacke To Knowe A Knave. Kate is the family's actual kitchen maid, but it is also a disguise assumed by Alfrida at Ethenwald's request.

MAID, LAMIA'S

Finds Lamia and tells her that a client named Hippolito is waiting at her house in Whetstone's 1 Promos and Cassandra.

MAID–MARIAN

I.
Only mentioned in Peele's Edward I. In the Robin Hood role-playing among the Welsh rebels, Elinor de Montfort styles herself Maid Marian.
II.
Only mentioned in Marmion's The Antiquary, Maid-Marian was the lady friend of Robin Hood. Veterano uses the name to refer to Petro when the latter becomes drunken and Julia and Baccha dress him in women's clothes.
III.
Only mentioned in Shirley's The School of Compliment. Maid Marian was a female friend of Robin Hood. Gasparo mentions the name in assuring Gorgon that the part of Phillis can be played by following Maid Marian's example. See "MATILDA" for more complete listings for this character.

MAID MARIAN**1618

In act four of Holiday's Technogamia, Musica plays Maid Marian in a Morris entertainment with the four humors characters.

MAID MARRION

The character assumed by Iocastus, in drag, during his Morris dance in Randolph's Amyntas.

MAID, MINIONA'S

This Maid is servant to Miniona in ?Clavell's The Soddered Citizen. She mocks Modestina when she thinks that Sir Wittworth is in love with her mistress. Later, when they meet Brainsicke and Fewtricks, she is kissed and wooed by the latter. But if, initially, she responds to his advances to her, afterwards, considering his intentions are not completely noble, she seems to turn him down.

MAID, MODESTINA'S

This Maid is servant to Modestina in ?Clavell's The Soddered Citizen. She cannot believe her eyes when she sees Sir Wittworth courting Miniona, and she warns her lady about his behaviour.

MAID, ONÆLIA'S

The stage directions before Onælia's first entrance in Dekker's Noble Spanish Soldier specify that she is accompanied by a maid to whom no lines in the scene are attributed. However, a song requiring two parts precedes the scene and is presumably sung by Onælia and the maid. See JUANNA.

MAID, POLINA'S

A mute character in Whetstone's 2 Promos and Cassandra. She accompanies Polina and Cassandra as they bid Promos farewell when he goes to execution.

MAID, PYTHIAN

A "ghost character" in P. Fletcher's Sicelides. Perindus informs Glaucilla that the Pythian maid whom he visited at his "father's shrine: / Comming to Delphos" imparted to him a promising prophecy.

MAID, SECOND

The Widow's second maid finds Alexander under her mistress's bed in William Rowley's A Match at Midnight. The first maid is called Mary but no proper name is given for this second maid.

MAID, TEPHIS'S

This character may be one of the Four Servants from Act Three of T.D.'s The Bloody Banquet. In Act Four, the Maid attends to the Queen.

MAID with a BROOM

A maid with a broom is seen chiding Bragardo when he arrives at the wedding in the anonymous Wit of a Woman.

MAIDEN of HONOR

An attendant in Wilmot's Tancred and Gismunda. In a dumb show the maiden of honor attends Lucrece, who enters her niece's chamber with a golden goblet. In another dumb show the maiden appears in a procession led by Cupid: at the front are Gismunda and Guiszard, then Julio and Lucrece, then Renuchio and herself.

MAIDENS, CHRISTIAN

Mute characters in Goffe's The Courageous Turk. During the wedding feast for Hatam and Baiazet, the Turkish captain Eurenoses brings the Six Christian Maidens, each the daughter of a king, to Amurath and tells him that these are the only survivors from the Christian cities he has devastated. Amurath then gives them as slaves to Hatam.

MAIDS **1611

Although listed among the women characters in the dramatis personae in Fletcher's The Woman's Prize, the Maids are not mentioned as such in the text but presumably mix in with the City Wives and Country Wives in protest against overbearing husbands. See CITY WIVES.

MAIDS**1611

A pair of chambermaids in Heywood's The Silver Age make bawdy comments about Semele and her woodland lover just before the princess's catastrophic encounter with Jupiter in his majesty.

MAIDS**1615

Four maids of Sebastian's household in Fletcher's Monsieur Thomas, from among whom he declares that he will choose a new wife so that he can beget a new son that will inherit his mad ways. Unfortunately it turns out that Thomas has already "had copulation" with all of them. His father gives up his plan on the grounds that it would be a mistake to "mix genealogies" with his son.

MAIDS**1619

The maids assist the bawd Leucippe in obtaining young women for the court in Fletcher's The Humorous Lieutenant.

MAIDS**1620

Servants of Valentia in the anonymous Costly Whore, they dance to help her entertain the Duke.

MAIDS, A DOZEN **1607

"Ghost characters" in Tomkis' Lingua. Tactus intended to have a show of a gentlewoman being caressed by her lover, but the dozen maids attiring the boy took so long about it that he is not ready in time for the show.

MAIDS, COUNTRY

Hermia and Lucida live as "country maids" with their father Anthonio the exiled Duke of Mantua, himself now a humble fisherman in Day's Humour Out of Breath. As they seem not to have taken new names or identities per se, these are not strictly disguises, but their wooers Francisco and Hippolito have no idea that they are the daughters of a Duke, but assume they are courting peasant girls. In fact Duke Octavio forbids his sons to marry the girls because he too assumes they are mere country maids and their father a simple fisherman.

MAIDS, FOUR**1591

Four maids constitute the Chorus in Wilmot's Tancred and Gismunda. They accompany Gismunda when she first enters the stage and silently listen as she laments the death of her husband. Then they join her in song to cheer her spirits. They also sing after Lucrece reports to her niece Tancred's decision not to allow her remarriage. After the execution of Guiszard, the Chorus questions Renuchio about the deed and hears him praise the victim of Tancred's revenge. When Gismunda announces her intention to follow her lover by killing herself, the Chorus brings the news to Tancred. At the end of each act except the last, each maid speaks individually, commenting on events.

MAIDS, FOUR**1608

"Ghost characters" in Beaumont & Fletcher's Cupid's Revenge. The four maids are reported to take part in the ceremony of Cupid, which is led by the Priest of Cupid.

MAIDS, LIVELY'S TWO **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.

MAIDS, OMPHALE'S**1611

A number of maids serve Omphale alongside the enthralled Hercules in Heywood's Brazen Age.

MAILLARD

A captain who is part of the conspiracy to capture Clermont in Chapman's The Revenge of Bussy D'Ambois. He lures him from his sister's home to view Baligny's troops, which ultimately leads to his capture. He is one of the group accompanying the captive when Baligny arrives with orders for his release.

MAJESTY

Majesty is the false name of Pride in Wilson's The Three Lords and Three Ladies of London.

MAJOR**1586

Officer of the law and brother to the sheriff in the anonymous Famous Victories of Henry V. When Prince Henry and his wild companions cause a riot outside one of the taverns, he orders the prince to be taken away to prison, an action which is reprimanded by Henry IV.

MAJOR**1625

A "ghost character" in Sampson's The Vow-Breaker. Miles is offended when Ball suggests him as a possible rival to Miles for the coveted role of the hobby horse in the festivities for Queen Elizabeth.

MAKESHIFT, HOLOFERNES **1636

One of the knights of the order of the Twibill in Glapthorne's Hollander. He is on hand at Sconce's initiation into the order.

MAKEWELL

Makewell is "a Doctor of Phisicke", neighbor to Undermine in ?Clavell's The Soddered Citizen. He is allied to Sir Wittworth, who is in love with Modestina, which makes the wealthy man fear that the doctor's influence on the young man might be pernicious for his plans, since he sees the young gentleman as a good match for his daughter, Miniona. Actually, when Undermine reprimands Sir Wittworth and Modestina for their indecent behavior, Makewell tries to intercede, and encourages his friend telling him that, despite her uncle's opposition, he will have the girl he loves. But when Modestina is raped, the doctor worries about Sir Wittworth, because the later is really suffering for his beloved one's misfortune. Later, he is announced his friend's madness by Sly, and blames Modestina for it, since she left him. Afterwards, when he learns that the girl had only left him because she loved him dearly, and she could not bear his suffering the shame of her having been dishonored, he devises a plan to cure the young gentleman and to help them to be together again. With that aim in mind, and since his friend believes himself dead, the doctor disguises himself a Charon, to be able to communicate with Sir Wittworth in his underworld. Although, at the beginning, the plan seems to fail, it works in the end.

MALACHI

A "ghost character" in Bale's God's Promises. Mentioned by John Baptist as an example of a prophet.

MALATESTE**1614

A Count in Webster's The Duchess of Malfi. Ferdinand suggests that the Duchess should marry him, but she refers to him as "a stick of sugar candy." Later, Malateste delivers the news to the Cardinal that the Emperor has agreed to give the Cardinal a soldier's commission. We learn through Silvio and Delio that he is a soldier in show only and is in fact a coward. He later witnesses Ferdinand's lycanthropy. Malateste, Grisolan, Pescara, and Roderigo are the lords whom the Cardinal orders not to enter his chambers even if he should cry out. Their observance of his orders leads to the Cardinal's death.

MALATESTE**1626

Count Malateste is a Florentine who accompanied Queen Paulina to Spain in Dekker's Noble Spanish Soldier. He informs her that support for Onælia is increasing and advises her to pretend that she is pregnant to further endear herself to the King and help coalesce support for herself. He also advises her to pressure her husband to have Onælia and her son killed, to which end he and Paulina attempt to employ Balthazar. The Queen persuades Malateste to poison Onælia at her wedding feast, but the cups are accidentally switched, and he poisons the King instead. He reveals the mistake to the King and is killed (apparently by the King, though the stage directions are unclear).

MALBECCO'S GHOST

In the Induction of the framing story to Haughton's The Devil and his Dame, Malbecco's Ghost brings before the court of Hell a complaint against his wife Hellena. While alive he was a wealthy Lord, but his wife drove him to distraction with her difficult behavior, and after she ran off with a band of thieves, Malbecco lost his mind altogether and committed suicide by throwing himself down "head-long on a rock." He appeals to Pluto and the judges of Hell to rule that his death was his wife's fault. In the very last scene Pluto finds for Malbecco and decrees that he shall have his revenge by being transformed into a spirit of Jealousy who will plague both women and men forever.

MALBY

A friend of Sir Francis Acton in Heywood's A Woman Killed with Kindness. He tries to dampen Sir Francis's desire for Susan, but also assists him in attempting to bribe her.

MALCHIO

A "ghost character" in Marmion's Holland's Leaguer. Malchio is the father of Trimalchio and does not appear in the play.

MALCHUS

A "ghost character" in Shakespeare's Antony and Cleopatra. One of the kings listed by Caesar as joining Antony's side of the war. He is the king of Arabia.

MALCOLM**1606

Eldest son of Duncan's and brother to Donalbain in Shakespeare's Macbeth. After Duncan rewards Macbeth by making him Thane of Cawdor, he makes Malcolm the Prince of Cumberland, the heir apparent. Upon the discovery of Duncan's murder, Malcolm and Donalbain, believing their own lives in danger, flee Scotland, Malcolm goes to England and Donalbain to Ireland. This flight causes suspicion to be cast on them as the masterminds of the murder. When Macduff joins him in England, Malcolm tests Macduff by falsely claiming to be a greater tyrant than Macbeth. Satisfied that Macduff sincerely wants what is best for Scotland, Malcolm explains that he has raised an army. They, along with Siward, lead the English forces in the revolt against Macbeth. After Macduff defeats Macbeth, he delivers Macbeth's severed head to Malcolm, who is pronounced king. As his first official act, he transforms the Scottish thanes into earls.

MALCOLM**1617

Malcolm is a Scot in Brewer's The Lovesick King. He accompanies his king during the assault on York.

MALEFORT, JUNIOR

Malefort, Junior, is the son of Malefort in Massinger's Unnatural Combat. He turns to pirating in an attempt to dishonor the father he despises. He dies in single combat with his father.

MALEFORT, SENIOR

Malefort, Senior, is the admiral of Marseilles in Massinger's Unnatural Combat. He poisoned his first wife, killed his son (Junior, who hates him), and lusts after his daughter, Theocrine He is struck down by lightning at play's end.

MALENA

A bawd, whom Lothario hires to persuade Jacinta to yield to King Roderick's lusts in William Rowley's All's Lost by Lust. Malena's attempt at corrupting Jacinta fails.

MALEVENTO, ANDRADA **1611

Tormiella's father in Dekker's Match Me in London. He awakes to find his daughter missing. He sends Bilbo to see if Gazetto has stolen her. Discovering she is not with Gazetto or in Cordova, he decides to look in Seville with Gazetto. He meets Cordolente there and is quickly reconciled to the situation. After the king takes Tormiella to court, he offers to make Malevento Vice Admiral of the Navy. He loses the title at play's end when the repentant king likens him to a bawd who sold his daughter for gain. He does not care, however, because he had been "like a Lord in a play, and that done, my part ends."

MALEVOLE

Malevole is the malcontent in Marston's Malcontent. He entertains the usurping Duke Pietro by railing against the members of the court, including Pietro himself. Malevole is actually the deposed Duke Altofronto who has remained in Genoa in disguise in order to seek revenge upon Pietro. Malevole reveals to Pietro Aurelia's affair with Mendoza, and helps Ferneze recover in secret after Pietro and Mendoza try to kill him. Mendoza pays Malevole to kill Duke Pietro, but Malevole reveals the plot to Pietro, who goes to court disguised as a hermit and reports his own death. After Mendoza banishes Aurelia from court, he asks Malevole to deliver a ring and a declaration of love to his own wife, the former Duchess to Duke Altofronto, in the citadel. Mendoza tries to arrange for the hermit and Malevole to poison each other in the citadel. When Pietro expresses regret for his actions as Duke, and declares his support for Duke Altofronto, Malevole reveals to Pietro his true identity. Malevole tells Mendoza the hermit is dead, and tricks him into thinking that he (Mendoza) has poisoned Malevole. During a masque celebrating Maria's return to court, Malevole arrives with Celso, Pietro, and Ferneze disguised as Genoan dukes. Malevole ultimately reveals his identity, is reunited with Maria, and is restored as Duke of Genoa.

MALEVOLO **1636

Malevolo is the chief plotter and seems mainly interested in turning the Passions against each other in Strode's The Floating Island. He agrees with the other Passions to overthrow or kill Prudentius, although he does not actually enter Prudentius' bedroom. At Fancie's coronation, he bears the septre and is appointed chief counselor. With Memor, he seeks for ways to control Fancie but is foiled by Livebyhope and vows revenge. He also vows revenge when his daughter Fuga tells him that Audax tried to rape her. When Irato and Audax want to duel to decide who will be general, Malevolo turns them against Livebyhope, and they wound him much to Malevolo's delight. He is further pleased when the supposed killing of Livebyhope upsets Fancie. Her attack on Irato and Audax also delights Malevolo. However, when everyone hates Malevolo, he finds he does not like it and asks Desperato for poison. He is willing to die but declares that it is because everyone else is committing suicide, too, leaving him with no object for his hatred. When Prudentius returns, Malevolo is one of the first to repent, although it seems likely he is just eager to see everyone else kneel before Prudentius. In the end he offers Prudentius his hate, which he says is more useful than others' love.

MALFATO

Cousin of Spinella and secretly in love with her in Ford's The Lady's Trial. He is furious at receiving the love-letter from Levidolche, assuming that Adurni is trying to push his old mistress onto him. When Spinella is insulted by Aurelio, she runs away to Malfato's house. He begins to declare his love for her, but quickly stops when she shows that she dislikes it. He accompanies her back to Auria and defends her indignantly during her "trial." Malfato is finally reconciled with Adurni, but beyond that there is no happy ending for him.

MALFORT

Malfort, a steward of Cleander in Massinger's 1634 Cleander, or Lisander and Calista (a revision of Fletcher's 1623 The Wandering Lovers?). He entreats Leon to aid him in his pursuit of Clarinda. Fooled into believing that Clarinda may have feelings for him, he dresses in armor in order to fight off "a man" who also lays claim to Clarinda. After Leon kills Cleander, he and Clarinda frame Malfort for the act. When Malfort faints, Clarinda places Lisander's sword in his hands. Malfort is subsequently arrested for the murder of Cleander and tortured. He is removed from court when he cannot retain his composure.

MALGO

A lord at one time faithful to King Archigallo in the anonymous Nobody and Somebody, Malgo turns against his sovereign when the king resolves his title dispute with Lord Morgan by claiming the land in question for the crown. Because of this injustice, he joins the feudal lords and the king's brothers in plotting the sovereign's deposition. He is willing to support, at Elydure's urging, the reinstallation of Archigallo as king after he repents of his tyranny. In the civil war ensuing from Archigallo's sudden death, he supports Urgenius' claim to the throne and helps overthrow Elydure.

MALHEUREUX

Malheureux is Young Freevill's initially self-righteous friend in Marston's Dutch Courtesan. At the beginning of the play, he describes himself as a virtuous "man of snow" and upon first seeing Franceschina is overwhelmed with sexual desire. Franceschina tells him that before she will sleep with him he will have to kill Freevill. Malheureux promises to kill his best friend, but he does not keep his vow. Instead, he tells Freevill everything. Freevill comes up with a plan: at Freevill's pre-wedding masque, the two men will pretend to duel; Freevill will go into hiding; Malheureux will tell Franceschina that he killed Freevill; and, after Malheureux has enjoyed the promised reward, Freevill will emerge from hiding. If Malheureux should get into trouble with the authorities, he only has to send to the jeweler's, Master Shatewe's, where Freevill promises he will be hiding. But Freevill does not keep his vow; instead, he disguises himself in order to teach both Malheureux and Franceschina a lesson. In Franceschina's chamber, Malheureux confesses to having killed Freevill. Unbeknownst to him, the local authorities and Freevill's and Beatrice's families are placed where they can overhear Malheureux's confession. He is arrested, and when his protest that Freevill is waiting for him at Shatewe's proves to be untrue, he is sentenced to death. At his execution site, Malheureux castigates Franceschina, and at that point Freevill reveals himself, and Malheureux is, of course, set free.

MALICE **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.

MALICE **1617

One of the twenty-five vices that are the extremes of the eleven virtues in the anonymous Pathomachia. Malice, Self-Love, and Jealousy are extremes of Charity. Pride and Malice are the 'interlocutors' of the play's opening. Pride calls him his Parmenio. He tells Pride that all is not well with the affections now that Love is old and Hatred tries to rule in her own name. He fears the Virtues will side with the Affections in the oncoming war. He collects together the banditti to side with Pride in the war. He takes charge of the cavalry in the army. He advises Pride to keep the Virtues squabbling with King Love because, should they reconcile, the Vices cannot win. Justice forces him to confess the plot and sends him off to prison.

MALIGO**1638

A clownish Spanish merchant in Nabbes' The Bride, who always appears with his Dutch counterpart, Rhenish. The two merchants have been hired by Goodlove to provide the wine for his wedding, and when the wedding is cancelled he promises them double pay if they will stay around until the next day. The merchants later show up at the house of Horten to see his antiquities, but when the Bride arrives, they are lovestruck and fight over which one will get to escort her on a walk. They are both left empty-handed when Kickshaw escorts her off instead.

MALINGUA

A lawyer affiliated with Mureto and Granato in the anonymous Two Wise Men and All the Rest Fools. Malingua bemoans the fact that current customs have increased his difficulties at earning a legitimate living. His name translates "bad/evil tongue/language."

MALIPIERO

Malipiero is the nasty-tempered and profligate nephew of Cornari in Shirley's The Gentleman of Venice. He is extraordinarily vain, rude in speech and manner, and irresponsible. With his companions Bernardo and Marcello, Malipiero plots to kill the English gentleman Florelli, fearing that Florelli might be favored by Thomazo. His plot discovered, Malipiero ends up imprisoned. He writes to his uncle Cornari, asking only that Cornari pray for him and try to forgive his waywardness. Thanks to Cornari's pleas, Malipiero receives a pardon and is sent abroad for several years to work toward penance.

MALKIN

A cat-like spirit accompanying Hecate in Thomas Middleton's The Witch.

MALL

See also MOLL, MARIE, MARY, and related spellings.

MALL

An alternative name for Marina in Haughton's Englishmen for My Money.

MALL BARNES

Mall (Mary, Marie) Barnes is the daughter of Master and Mistress Barnes and sister of Phillip in Porter's 1 The Two Angry Women of Abingdon. Her father proposes she should marry Frank Goursey, the son of Master Goursey his friend and of Mistress Goursey, the woman whom his wife despises. Her reaction at first is lukewarm but after describing at length the history of her attitude to marriage from the time she was 14, she decides she wants a husband quickly. When her mother tells her she is too young she vehemently rejects her mother's notion explaining that when alone young girls think of ways of losing their maidenheads. Phillip tells her she is to marry Frank. Her father contacts Master Goursey to get Frank's father's permission before going any further with the business. When Phillip and Frank go back to the Barnes house that night Frank and Mall talk, each discovering and admiring the lack of extreme in the other. They kiss and after she agrees to marry him. Then Mistress Barnes enters to stop the relationship getting any further, Mistress Goursey enters prepared to fight with Mistress Barnes, and Master Barnes and Master Goursey enter looking for their wives. It is pitch dark. When it becomes clear that Mistress Barnes will not remove her objection to the marriage, Phillip, at his father's instructions, tells Mall to run to the rabbit green where she is to wait for Frank. She does so, describing her state of mind in a speech full of sexual ambiguity (that she seems unaware of). Her mother follows her, but she refuses to return and keeps running away. After many scenes in which the male characters have crossed and recrossed each other in the dark, looking for each other and for Mall, Mall appears, without Frank and lost. She expresses her wish to run through briars if she could only meet him, the lord of her desires. Sir Raph, a local gentleman who has chosen to hunt throughout the night, finds her and tries to seduce her. When, however, he discovers who she is, he swears he will do everything he can to help her find Frank. Meanwhile Mistress Barnes and Mistress Goursey meet each other and quarrel, their husbands arrive and threaten to fight each other, and Phillip persuades all four to make up. Sir Raph arrives just as the quarrel has been patched up. Sir Raph hands her to Frank and all agree they should be married immediately. Mall ends the play talking about her wedding feast and addressing the audience, appealing to it not to hiss the performance.

MALL BERRY

Mall (or Moll) Berry is the sharp-tongued daughter of Master Berry, the merchant and money lender in [?]Heywood's The Fair Maid of the Exchange. For much of the play, she indicates that she secretly loves Humfry Bowdler, and she finally agrees to marry him. Eventually, the Cripple convinces her that her real affection is for Barnard (although it is not quite clear why that should be the case), and she consents to marry him, thereby rescuing Barnard him from her father's threat of debtors' prison.

MALL CUTPURSE **1627

Only mentioned in Randolph's Plutophthalmia. Blepsidemus would rather fight Mall Cutpurse and Lady Sands at quarterstaff than keep company with Penia-Penniless. Later, Caradoc compares Penia-Penniless with several great Amazons, including Mall Cutpurse.

MALL SPENCER

A maidservant and witch in Heywood and Brome's The Late Lancashire Witches, Mall Spencer is the ex-girlfriend of Lawrence, current girlfriend of Robin, and sometime companion of Mrs. Generous. She first appears in the play when Robin visits her on his way to Lancashire to fetch wine for Master Generous. When Robin confesses that his master's favorite wine is only available in London, Mall offers to spirit him to London to fetch the wine, first demonstrating her magical powers by levitating her milk pail into a nearby field. She is also a guest at Lawrence and Parnell's wedding celebration; in addition to garnering the amorous attentions of many of the male guests, Mall also gives her ex-lover Lawrence a bewitched lace point that renders him impotent and conjures up a piper to play music when the bewitched fiddlers cannot. Mall is one of the witches who attend the Sabbat celebration and who harass the Soldier at the mill. In the meantime, Mall also aids Mrs. Generous in exacting revenge on the gallants on behalf of her nephew Whetstone. The two women conjure spirits in the form of the Pedant, the Tailor, and Robin in order to cast aspersions on the paternity of Master Bantam, Master Shackston, and Master Arthur respectively. Mall attends Mrs. Generous after the Soldier has wounded her, and when Master Generous arrives she realizes the danger she is in but the Soldier takes her into custody before she can escape. She is among the witches brought on stage in the final scene, and one of those who refuse to confess.

MALLICORNE

Mallicorne is a merchant in Fletcher's The Honest Man's Fortune. He takes advantage of Montaigne's financial naivety and straitened circumstances. He first bilks Montaigne out of money and then attempts to have him arrested for unpaid debts. He also is a rival for Lamira's hand. In the end, he is forced to apologize and make restitution.

MALLORY, WILL
A "ghost character" in the anonymous Captain Thomas Stukeley who allegedly spreads rumors concerning Stukeley and his wife.

MALORCHA

A "ghost character" in P. Fletcher's Sicelides. Olinda is sentenced by Neptune to die at the hands of Malorcha (the Orke who is described by Atyches as "more monstrous then the seas that bred him") for taking one of the "golden apples" from the "Hyperian tree" situated in the "sacred garden." When the Priest overseeing Olinda's execution "proclaimes" that anyone who "conquer[s]" the "monstrous beast" will gain Olinda as "his prize forever," Malorcha is "loos'd" and "hungry posteth to his ready feast" only to be blinded and killed by Atyches. Because Cancrone and Scrocca are unaware that the Orke has been slain, they are afraid of being eaten by him. Conchylio takes advantage of this to scare them by pretending that the Orke is near and convincing them to hide under their boats. Even though they later discover that Atyches killed the Orke, they take some credit for the deed.

MALORY

Family name of Sir Robert and Lady Malory in ?Brewer's The Country Girl.

MALORY, LADY

Lady Malory is Sir Robert's wife in ?Brewer's The Country Girl. She tries to convince Lady Mosely to marry again to honor the memory of her dead husband. Later, when she is told about her husband's infidelity, she decides to find it out by disguising herself as a beggar. After discovering herself, she pretends to be Old Trashard's wife and kisses him in front of her real husband, who stops flattering Margaret. In Act V, she goes to the hospital with her husband to visit the Captain.

MALOTIN

A courtier accompanying Pontalier in Field and Massinger's The Fatal Dowry, but otherwise without particular dramatic significance.

MALRODA

Malroda, a mistress of Vitelli, learns that Vitelli has switched his affections for Clara in Fletcher, Beaumont, and Massinger's, Love's Cure. She cannot believe that this is so. But when proof comes, she decides to toy with Vitelli's affections. When he promises to be faithful to her, and hands over his jewels, she abandons him for Piorato. Everyone except Vitelli and Piorato considers her a worthless whore.

MALTHORA

A lady of Cyprus, married to Poestanus in Cartwright's The Lady-Errant. Like Florina, she remains loyal but in a state of exaggerated grief.

MALVOLIO

Malvolio is Olivia's steward in Shakespeare's Twelfth Night. He is described as a Puritain and is a social climber. He sneers at Feste's wit and is contemptuous of the drinking and revels of Sir Toby, trying to use his position to intimidate Olivia's uncle. Olivia gives him a ring to give to Cesario, claiming that Cesario gave it to her. Malvolio returns the ring and refuses to believe the disguised Viola when she says it is not hers. The next day, Malvolio finds the fake letter planted by Maria and Sir Toby and is easily led to believe that it is by Olivia and that she is in love with him. He imagines himself as Olivia's husband, with power over everyone, a reverie that so enrages Sir Toby that he almost reveals himself. Malvolio follows the directions in the letter, appearing to Olivia in cross gartered yellow stockings, and continually smiling; these actions cause Olivia to believe he has gone mad and to order him confined. While there, Malvolio is visited by Feste, who pretends to be a priest, Sir Topas. When Malvolio says his cell is dark, Feste contradicts him and claims Malvolio is possessed by a devil, and insists that Malvolio agree to the theories of Pythagoras. In his own voice, Feste does agree to bring Malvolio paper and ink so he can write to Olivia. Malvolio is released after the revelation of the twins, because Viola remembers that the Captain, who has her female clothes, has been put in prison by Malvolio. Malvolio is, of course, furious and shows Olivia the letter she has supposedly written as proof that he was only following her direction, not mad. She recognizes it as written by Maria, and Malvolio storms off, threatening revenge on everyone.

MAMET

See also MAHOMET and related spellings.

MAMET **1604

Only mentioned in Rowley's When You See Me. In Will Sommers's fooling, he says that Mamet's tomb in Mecca has fallen on a sow and seven piglets, so the faithful believe pork is sanctified. Sommers opines the Jews, too, will soon be eating pork.

MAMILLION

The familiar of the witch Peg (or Meg) Johnson in Heywood and Brome's The Late Lancashire Witches, Mamillion is the familiar most often referred to in the play. Mamillion, along with the other familiars mentioned, is not solely under the "command" of Meg, however, as he is one of the spirits borrowed by Mall Spencer and Mrs. Generous to wreak mischief on the gallants (Masters Arthur, Bantam and Shackston). When the witches are brought into custody at the end of the play, Meg plaintively wails for Mamillion to aid her, but he does not appear, having abandoned her to the authorities.

MAMILLIUS

Mamillius is the son of Hermione and Leontes in Shakespeare's The Winter's Tale. He dies from grief when his father accuses his mother of adultery.

MAMMON

Only mentioned in Davenport's New Trick to Cheat the Devil. Mammon is mentioned by the Divell: "Am I not Mammon too, the god of gold, / Soveraigne of all Exchequors, treasures, mints, / And those rich Mines that set the World at odds?" The word "mammon", in Aramaic, means "riches." Mammon (or, rather, the Greek word 'mamonas') is cited in the New Testament as opposed to the Christian god–in the Sermon on the Mount (Matthew vi 24) and in the parable of the Unjust Steward (Luke xvi 9-13). As regards this passage in Luke, Nicholaos de Lyra states: "Mammon est nomen daemonis" (Mammon is the name of a demon). However, no Syriac god of such a name exists. In fact, the identification of that name with a god of covetousness or avarice stems, in the Middle Ages, from Piers Plowman, and later, in the Renaissance, from Edmund Spenser's The Faerie Queene.

MAMMON, SIR EPICURE

Sir Epicure Mammon is a lecherous London knight in Jonson's The Alchemist. The name Epicure suggests one who enjoys the pleasures of life, and Mammon suggests a love of wealth. Face as Lungs admits Mammon and Surly into the house. Mammon fantasizes about the immense riches and exceptional sexual prowess he will acquire when in possession of the Philosopher's Stone. He chances to see Dol Common and is told she is the sister of a nobleman and that she has gone mad with too much studying. Mammon wants to meet the lady and Face as Lungs promises to arrange a meeting. Mammon gives Lungs money for his pandering, but in a room upstairs, Dol enters in a fit of talking, and Mammon is exasperated. Face tells Mammon that he should not have mentioned Hebrew, for that throws the mad lady into a talking seizure. Subtle enters complaining that Mammon's licentiousness has compromised the alchemical project. Menacing him with the imminent arrival of the lady's furious brother, Subtle makes Mammon give him more money and flee. Later, Mammon arrives with Surly, being convinced now that he has been gulled. When Face as Jeremy refers them to Lovewit, the master of the house, Mammon and Surly believe all of them are part of the confederacy and go to get a warrant. Mammon and Surly return with a group of dissatisfied dupes, accompanied by the officers. When Lovewit tells the authorities that the knaves have fled, Mammon searches the house and agrees that they are gone. Mammon is unable to recover his goods because Lovewit says that, by the law, Mammon can produce no evidence that the goods are his. Mammon says he will turn preacher and prophesy the end of the world before he leaves with Surly.

MAMON**1600

A money-lender or "Usurer with a great nose" in Marston's Jack Drum's Entertainment; Mamon is described by Jack Drum as a "yellow-toothed, sunk-eyed, gowtie-shanked usurer." Drum warns Sir Edward about allowing a man such as Mamon into his confidence. He recognizes the predatory nature of Mamon and understands that Sir Edward's beneficent nature will not allow him to judge Mamon, even though Mamon wants to marry Katherine, Sir Edward's daughter. Katherine, however, is clearly not interested and so Mamon attempts to convince her by pointing out that, although he looks old, he is a great lover. Since Mamon has an admittedly poor singing voice, he has his servant Flawne serenade Katherine. She remains unimpressed. He hires John fo de King to kill his rival for Katherine, Pasquil, but fo de King is unable to carry out the assigned mission. When Pasquil is not murdered, Mamon decides to kill Katherine himself. If he can't have her, he'll make sure no one else can either. He follows her and pours poison on her and then he disappears into the night. Pasquil pursues Mamon and overtakes him, destroying his financial papers (the papers that record his debtors' names and the amounts they owe him),and leaving Mamon in despair crying over and over that he is "undone." At that point Flawne enters the scene to tell Mamon that his house is burning to the ground with all of Mamon's property. No one tries to extinguish the fire, but instead, they are happily warming their hands. Mamon ends up in Bedlam, mad and alone.

MAN**1599

A "ghost character" in Shakespeare's Henry V. A "poor wretch" who apparently took too much wine and railed against the king. Cambridge, Scroop, and Grey advise the king to punish this petty traitor. Henry orders the man released but uses the arguments of Cambridge, Scroop, and Grey against them when their own high treason is discovered.

MAN**1613

This unnamed character is the assistant to the Porter in Shakespeare's Henry VIII; the two converse about revelers who throng about at the time of Princess Elizabeth's christening.

MAN**1615

One of Michael's servants in Fletcher's Monsieur Thomas. He reports Cellide's entry into St. Katharine's Nunnery to his master.

MAN**1634

A fictitious character in Rutter's The Shepherds' Holiday. Eubulus claims that he was looking to deliver the king and queen's baby to a plain honest man that would be careful of it, when he was frightened by outlawed thieves and forced to abandon the child.

MAN, BLIND

This is a disguise taken by Fitzwater in (?Chettle and) Munday's Downfall of Robert Earl of Huntington when he has been banished and heads to the forest in search of Robin Hood and Marian.

MAN, BLIND, UNDER BRIDGE

A "ghost character" in (?Chettle and) Munday's Downfall of Robert Earl of Huntington. When Robin Hood plans to rescue Scarlet and Scathlock, he says he will change clothes with the blind man who lives under the bridge, and go in that disguise.

MAN, COUNTRY

When the Country Man and the Country Maid meet Alexander Brett outside Cambridge and discover that Lady Jane Grey has been proclaimed the new queen, the Country Man indicates that he does not like the news.

MAN, COUNTRY **1635

He comes upon Corbo in Alphonso's clothes and bows to him as if he were a courtier in Rider's The Twins.

MAN, FIRST and SECOND **1593

Two otherwise unnamed men figure in Marlowe's Massacre at Paris:
  1. The First Man is sent to dispose of the body of the Lord Admiral.
  2. The Second Man accompanies the First to dispose of the body of the Admiral. Fearing infection from the dead heretic's body, the Second Man suggests hanging the body from a tree rather than burning it or dumping it in the river.

MAN, FIRST and SECOND**1605

Two otherwise unnamed men figure in the anonymous Nobody and Somebody.
  1. The First Man accuses his wife of cheating on him. When she replies that she was with "nobody," Nobody refutes this claim and, rightly, charges that she was sleeping with Somebody.
  2. The Second Man accuses his apprentice of being drunk in an alehouse. When the apprentice replies that he was drunk with "nobody," Nobody refutes this claim and, rightly, charges him of carousing with Somebody.

MAN from CRUMENA VACUA **1607

A fantasy character created by Tactus in Tomkis' Lingua. Tactus tells Gustus and Visus that this man dropped the rich robe he has found and that it has given him the plague because plague often infests Crumena Vacua.

MAN in DEVIL'S ATTIRE

Recognizing that all of Nineveh is on edge over the evil portents that have followed Jonas's preaching and wishing to play a practical joke on the Clown in Greene and Lodge's A Looking Glass For London And England, the Man in Devil's Attire attempts to frighten the Clown as he accompanies the Smith's Wife through the darkened streets. After the Clown fails to drive the apparition away by mumbling snatches of church Latin, the Man tells the Clown he has come to carry him to hell and orders him to climb upon his back. The Clown insists on seeing if the Man is well-shod, and while examining his shoes, notices there are no cloven hooves. He then beats the practical joker with his cudgel.

MAN, JOAN’S

A ‘ghost character’ in Medwall’s Fulgens and Lucrece. After characters A and B fight over Joan, and B wins, she informs them that she is already promised in marriage to this other man.

MAN, LEAN

A dancer in Heywood's Love's Mistress, one of Love's Contrarieties.

MAN, LUCRECE’S

A ‘ghost character’ in Medwall’s Fulgens and Lucrece. The character A reports to B that he has overheard this servant saying that Lucrece will meet with her two suitors and tell them which she has chosen.

MAN, MERCER'S

Sent to meet with Julio to collect payment for some silk in J.D.'s The Knave In Grain New Vamped. Julio tricks a Barber into thinking that the Mercer's Man needs treatment for the clap, but is too shy to ask. Confusion ensues.

MAN, OLD**1592

As Faustus' death and damnation approach in Marlowe's Doctor Faustus an Old Man enters and urges Faustus to repent to escape "the pains of hell." He pleads unsuccessfully for Faustus to ask for mercy and accept grace.

MAN, OLD **1598

The Old Man is a disguise assumed by Robin Hood when he rescues Scarlet and Scathlock in (?Chettle and) Munday's Downfall of Robert Earl of Huntington. He tells Warman that the pair killed his own son and therefore he wants to be the one to kill them, in revenge. He announces that he will sound his horn just as they did when they killed his son, but this is, in reality, a signal to Little John and Much, who help rescue Scarlet and Scathlock.

MAN, OLD **1599

Begs money from Harpool, who angrily dismisses him in Munday, Drayton, Hathaway, and Wilson's Sir John Oldcastle.

MAN, OLD BLIND

A disguise assumed by Fitzwater after he is banished by John and searching the forest for his daughter in (?Chettle and) Munday's Downfall of Robert Earl of Huntington. When he meets with Marian and Robin Hood, he does not reveal himself, even after he is greeted kindly and cared for.

MAN, PETRUCCIO'S

A "ghost character" in Fletcher's The Chances. He is possibly one of Petruccio's three gentlemen; he brings a message to John from Petruccio.

MAN, RELIGIOUS

A "ghost character" in Shakespeare's As You Like It. Near the end of the play, Jaques de Boys announces that Duke Frederick had been on his way to the forest intent on killing Duke Senior, but met an old religious man in the woods and was persuaded to renounce his dukedom and the world in favor of a rustic life. The man does not appear on stage.

MAN, RICH

A "ghost character" in Wilson's The Three Ladies of London. Usury hides at the home of a rich man after murdering Hospitality.

MAN, SACRIPANT'S

By disguising himself as a shepherd in Greene's Orlando Furioso and spreading the rumor that Angelica and Medor are in love, he helps Sacripant in his attempt to trick Orlando. Orlando attacks him, tears off his leg, and wears it.

MAN, SALTER'S

The first Neighbour fetches Salter's man, who sold the bag that contained Beech's head and legs to Rachel in Yarington's Two Lamentable Tragedies. He remembers selling the bag to a maid and is taken from house to house by the Neighbours, Loney, and the Gentleman to search for the maid. When he arrives at Merry's tavern, he fails to identify Rachel as the buyer.

MAN–SCOLD

The man-scold is an Antipodean, a character in the inset play of Brome's The Antipodes. He is husband to the Buffwoman and teaches needlework and other "womanish" arts. For his scolding tongue, he is dunked repeatedly by three women.

MAN, THIRD KING'S

The third King's servant in Dekker's The Whore of Babylon, he helps his master by finding and bringing him the many and varied suits of clothes that help the King to function as a Master of Disguise haunting Fairyland as an agent for the Empress of Babylon. (See also under "SAILOR").

MAN, TROJAN

The first Trojan in Heywood's 2 The Iron Age to observe the Greeks' nocturnal assault, he flees and is presumably killed.

MAN, WILLIAM VERGIR'S

He takes a letter from Humil to Sir William in Armin's The Two Maids of More–Clacke. In the letter, Humil writes of how he has seen James sleeping with the Lady.

MAN with BASKET, FIRST and SECOND

Two men with baskets of meat figure in Middleton's A Chaste Maid in Cheapside.
  • The first man has his Lenten meat confiscated when the two Promoters catch him with the contraband.
  • The second man is allowed to pass with his contraband meat when the two Promoters recognize him as one who paid them bribes.

MAN, YOUNG

A dancer in Heywood's Love's Mistress, one of Love's Contrarieties.

MAN, YOUNG GUDGEN'S

A hand on the Gudgen farm in Carlell's The Fool Would Be A Favorite. He admonishes Young Gudgen for mistreating Cut the plow horse. He accompanies Young Gudgen to court. He delivers Young Gudgen's mock challenge, comically mangling it. He plays one of the characters in the play written by the Second Courtier.

MANASSES**1538

A "ghost character" in Bale's God's Promises. Mentioned by John Baptist as an example of a sinful man.

MANASSES**1606

Manasses is the second-in-command of Dametas in Day's Isle of Gulls and assists him in controlling access to the court. He 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. Manasses has taken orders, and agrees to marry Mopsa to Dorus, wearing the Amazonian disguise of Lisander. Basilius and Gynetia think that he is Lisander, and Manasses's Wife finds him with Mopsa and thinks that he is having an affair with her. Manasses eventually reveals to Basilius and Gynetia that he is not Lisander.

MANDANE**1611

Mandane is a waiting woman in Beaumont and Fletcher's A King and No King seemingly in Arane's service.

MANDANE**1636

Lady in waiting attendant on Atossa in Cartwright's The Royal Slave.

MANDEVILLE, or MANDERVILLE, SIR JOHN

I.
Only mentioned in Jonson's The New Inn. Sir John Mandeville was the fourteenth century alleged author of a collection of travelers' tales from around the world, The Voyage and Travels of Sir John Mandeville, Knight, generally known as The Travels of Sir John Mandeville. The tales are selections from the narratives of genuine travelers, embellished with Mandeville's additions and described as his own adventures. When Host discovers himself as Lord Frampul, he relates the story of his adventures with the nomads, composed of pipers, fiddlers, puppet-masters, jugglers, and gypsies. Lord Frampul commends his wife's courage in going in search of him, comparing her to a she-Mandeville, a brave woman who ventured to travel all over the world seeking her husband.
II.
Only mentioned in the anonymous Wit's Triumvirate. Sir John Mandeville is mentioned by Master Fright when, on his second visit to Doctor Clyster, he tells him about more episodes of fear of darkness he suffered. He describes the monsters he sees are those which appear "in Purchas' Pilgrimages or Sir John Mandeville." Sir John Mandeville was, in the early fourteen century, the most popular writer in England. In fact, Shakespeare, Milton and Keats were influenced by him. In 1322 he announced he was leaving on a journey to find the holy city of Jerusalem–he returned to England in 1356 and revealed that during that time he had visited Jerusalem, India, China, Tibet, Java and Sumatra. He reported his experiences in his book The Travels (c. 1356), which was printed by Pynson in 1496 as The Book of John Mandeville, Knight.
III.
Only mentioned in Tomkis' Lingua. Mendacio claims he is three thousand years old and helped many writers and philosophers pen their lies.

MANDEVILLE QUICKSANDS

A Jewish moneylender in Brome's The English Moor who, at the play's beginning, has married Millicent. When she exhibits an apparent sexual voraciousness, he is frightened into postponing the consummation of their marriage. This causes gossip, and Millicent then proposes to him that, in return for his promise to let her remain celibate for a month, he might claim she has run away while she remains in his house in disguise. He chooses for her the disguise of a Blackamoor. A month passes, during which he has declared Millicent dead; he plans to hold a great feast to which he will invite the rakes (in order to expose their malice) and at which he will unmask and re-possess Millicent. He welcomes his guests to the feast, presenting the disguised Millicent as a blackamoor servant, Catalyna. He presents a masque of blackamoors, unaware that Phyllis has assumed Millicent's disguise and appears in the masque as the "Queen of Ethiopia." In the masque, he is named as the "Queen's" white bridegroom, but the ceremony is interrupted when Buzzard appears disguised as his idiot bastard. Quicksands is forced to acknowledge him. Learning that the "Queen of Ethiopia" has been caught with Nathaniel, he laments that it is his wife who has been debauched. In Testy's court the next morning, he publicly divorces the "Moor," supposed his wife. In quick succession, he loses Millicent, her jewels, and the debts of Nathaniel, Vincent, and Edmond.

MANDRICARD

King of Mexico in Greene's Orlando Furioso. Sides with Sacripant, Brandimart and Rodamant in their bid to revenge themselves on Marsilius. However, after being moved by the goodness of Marsilius, he abandons Rodamant's cause and repents, sending his troops back to Mexico and joins with Marsilius.

MANDUBRACE

According to Caesar's De Bello Gallico (V.20) Mandubrace's father Imanuentius had been King of Troynovant and had been killed by Cassibelane. We first hear from Mandubrace in Fisher's Fuimus Troes as a kinsman with whom Hirildo intends to go hunting. He first appears on stage when Androgeus and Themantius plan to join Caesar against Cassibelane. He says that his father has been "butchered" by Cassibelane and that he himself has now been banished. Androgeus and Themantius send him to Caesar, where he then appears "wounded and bloody" with Androgeus's son as hostage. At the end, Caesar gives him Troynovant.

MANDUBRATIUS

Latin form of Mandubrace in Fisher's Fuimus Troes.

MANDUD

Duke of Loegris 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 helps to put down the rebellion, but must then take arms against Fergus, Duke of Albany, who means to take over the kingdom.

MANES

Manes is Diogenes' servant in Lyly's Campaspe.

MANFREDI, ASTOR **1607

Captive of Alexander VI in Barnes's The Devil's Charter, who lusts after the young man and makes no secret of his sexual intentions. One of the territories that Alexander bargains for in making a truce with Charles is the territory known as the Faventines, the home country of the Manfredi nobles. Astor and Philippo are taken captive and brought to Rome where Astor attracts the unwanted attention of Alexander. He delays a meeting in Alexander's private rooms by claiming that he has to go to Mass. Alexander cannot argue this point and allows him to go. In the meantime, Alexander has his manservant Bernardo prepare the papal chambers for the upcoming night with Astor-he has already sent Astor a ruby ring to entice the young man to his chamber. Later in the play, Alexander orders Bernardo to put poison in the wine served to Astor and Philippo after their game of tennis. Alexander himself then enters the chamber where Astor and his brother are lying unconscious and places asps on their bare chests. The snakes deliver their deadly venom and both men die. Alexander quickly leaves the chamber and Bernardo announces that they died after exhausting themselves at tennis and then drinking wine, overheating their bodies and causing them both to die. Alexander whispers that he did them a favor by sending them to a better place.

MANFREDI, PHILIPPO **1607

The brother of Astor Manfredi in Barnes's The Devil's Charter; Philippo is brought to the Vatican after his lands are seized by the Pope. He is murdered along with his brother when Alexander decides to eliminate any competition for the lands and titles of the Faventines. Philippo tells Astor that he would rather drown himself in the Tiber River than submit to the lechery of the Pope. Right before he loses consciousness, Philippo calls for music.

MANFROY

Manfroy is a lord of Mantua in Massinger's The Bashful Lover. He is ordered to fortify St. Leo against the foe. Traveling there with Matilda, who is in disguise as a peasant, he loses his charge when Alonzo and Pisano capture her.

MANGO

A "ghost character" in Jonson's Poetaster. Mango is an actor playing the fool 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 Mango along, but not let him beg rapiers nor scarves, in his over-familiar playing face, nor roar out his barren bold jests with an agonizing laughter, between drunk and dry.

MANGO CHAM

A character in the anonymous Tamar Cam. Historically, this was Mangu Khan, the Mongol ruler of China who reigned 1251–1259. He was grandson of Ghengis Khan and the elder brother of Khublai Khan. The original plot indicates that this was a smaller by vital role.

MANHOOD

The name for Infans once he has reached adulthood in the anonymous Mundus et Infans. It is in this incarnation that the representative mankind figure spends the bulk of the play. Here he first encounters godly instruction in the guise of Conscience. He is impressed (and intimidated) by the lessons of this mentor, but he lapses when he later encounters Folly.

MANHURST

Manhurst is a friend of Ferrars in Heywood's A Challenge for Beauty. They are captured by a Turkish captain and sold as slaves in Spain. Ferrars refuses to go anywhere without Manhurst, who has saved his life many times, but Valladaura buys them both and then releases Manhurst, sending him home to England. There, Manhurst has many debts, so he dons a disguise and offers himself as a servant to Ferrars's sister, Hellena, and guides her and Rosara back to Spain. They arrive in time to see Bonavida on the scaffold and rescue him by revealing the truth about Hellena. When Hellena needs to prove her virtue to Ferrars, Manhurst reveals his identity, and Ferrars trusts his word.

MANLEY, MASTER

At the beginning of Cavendish's The Variety, when discussing Sir William's courtship of Lady Beaufield with Sir William, Manley suggests that money is more important than love. After a brief encounter with the empty headed Jeers, Manley confess to Sir William that he likes to dress up in the "habit of Leister." Sir William agrees to meet the costumed Manley later in the evening. Sir William, without saying so to Manley, plans to bring along Lady Beaufield in order to entertain and amuse her with the sight of Manley. In fact, many characters are on stage when Manly appears looking like the ghost of Leicester, and much hilarity follows. Manley rather than being humiliated rises to the occasion and appeals to nostalgia for the age of Elizabeth by singing old ballads. The stage audience is impressed and Lady Beaufield begins to show an interest in him, thus annoying Sir William. Sir William decides to drop his suit to Lady Beaufield, but Manley and Lady Beaufield's budding courtship is nearly spoiled by Manley's humour, anger. When she flirts with Simpleton, Manley draws a sword. In the end, however, Manley and Lady Beaufield are destined for each other, and she simply gives herself to him in marriage, a gift he unhesitatingly accepts.

MANLIUS **1636

Disguised pirate of Silvander's party in Killigrew's Claricilla. He had loved Claricilla and was helping her to escape when Silvander's guards arrested him. Tullius's mercy for a fellow Rhodian saved him from slavery. He has taken into slavery the men who betrayed him to Silvander. Impressed by Philemon's honor, he releases him from slavery but is surprised when Philemon joins with Melintus against him and Tullius. He struggles with Melintus and would be killed but Philemon interposes and saves him. When Melintus and Philemon reveal their true identities, he kneels and begs their pardon, reminding him that he was the one who tried to save Claricilla from Silvander. He laments that Philemon has struck down Tullius, for he owes Tullius his gratitude, and asks that they help take Tullius onto the galley to have his wounds tended. He pretends to be in charge of three slaves who are actually Melintus, Philemon, and Ravack in disguise and goes to the garden to give Claricilla a letter from Melintus. He next takes the letter to the king and, pretending to turn traitor to Melintus and Philemon, asks a pardon for his piracy in return for betraying the location of the two men. Manlius secretly tells Seleucus that he can win him both the crown and Claricilla if Seleucus will trust him, and Seleucus agrees. He tells Claricilla that the plan is working and reveals that Olinda is a traitor to her. He returns to Melintus and Philemon to set the trap for the king and Seleucus. He plays his part as Seleucus's instrument until the time is ripe and he joins his friends in turning the tables on Seleucus and watches as Seleucus stabs himself to death with hatred on his lips for them.

MANLIUS, CAIUS

Caius Manlius is a lictor, a minor official who carried the fasces and cleared the way for the chief magistrates in Jonson's Catiline. He had formerly fought in the Cimbrian war and enlisted in Catiline's conspiracy. During the secret nightly meeting in which the conspirators devise their strategy of retaliation, Catiline informs his fellows of his plans. He says he has already sent Manlius to the province of Fesulae to raise an army to help the conspirators on the fated day, when they intend to set Rome on fire and kill Catiline's enemies at once. In his address against Catiline in the Roman Senate, Cicero accuses him of having sent his lictor, Caius Manlius, to raise an army and attack Rome on the calends of November, with the precise purpose of slaughtering all the Senate members.

MANLIUS VALENS

A Roman tribune who is involved in the second Roman attempt at invading Britain in The Valiant Welshman. When Caradoc is captured, Manlius Valens takes him to Rome.

MANLY**1616

Manly is Wittipol's friend and confidant in Jonson's The Devil is an Ass. He allows Wittipol the use of his lodgings, next to Fitzdottrel's, to woo Frances. He is a suitor of Lady Tailbush's and almost becomes involved in a fight with Everill over her. Recognizing Wittipol in his "Spanish Lady' disguise, he gets to overhear hear him encourage the women in vile gossip and leaves, disgusted. Meanwhile Wittipol convinces Fitzdottrel to sign his estate to Manly as security for the duel organized by Everill. Manly, convinced by Wittipol that his intentions toward Mistress Fitzdottrel are friendship rather than seduction, agrees to hold Fitzdottrel's estate in trust for his wife. With them, he is accused of witchcraft in Fitzdottrel's fake possession, but when all is revealed, Manly is given the moralizing final speech.

MANLY **1628

A gentleman in Shirley's The Witty Fair One. Manly is a friend of Aimwell, Clare, and Fowler. He pretends to be Fowler's physician in an attempt to deceive Penelope. He later witnesses the wedding of Aimwell and Violetta.

MANNERING, SIR NICHOLAS

Sir Nicholas Mannering is one of the rebel lords in Greene's George a Greene. He is sent by Kendall to demand provisions from the towns. When he meets with the townspeople of Wakefield, Justice Woodruffe tells him that they will not help the rebels. Mannering threatens them, but George steps in and tears his commission and then forces Mannering to eat the three seals.

MANOPHES

Children of the King of Lydia in T.D.'s The Bloody Banquet. In Act One, hidden in a forest, they are protected by their wronged Mother, the Queen of Lydia. By the end of Act Two, one of the two has died. The other survives, being presented in Act Five, named as Manophes, as the rightful heir to the throne of Lydia.

MANSFIELD**1604

A "ghost character" in the anonymous Alphonsus Emperor of Germany. Mansfield is mentioned as having been captured, along with Mentz, by the Duke of Brunschweige. Unlike Mentz, Mansfield was not ransomed, and was put to death by the Duke.

MANSFIELD**1608

A Nobleman in the Archduke's court in Chapman's The Conspiracy of Charles, Duke of Byron. He is one of several who flatter Byron during his embassy.

MANSIPULA

A servant in [?]Bower's Apius and Virginia. Called Maud by Mansipulus. Argues and then brawls with Mansipulus, claiming that he has made her late in attending her lady, then joins with him and Haphazard in a song in praise of chance:
Hope so, and hap so, in hazard of thretninge,
The worst that can hap, lo, in end is but beating.
She returns later in the play to sing a song in praise of keeping good company even if it means hazarding a beating, then tells how she arrived late to attend her lady in church. She earned her lady's wrath while renewing rushes in the pew, but she defused her lady's anger by telling a lie about a prank she perpetrated upon Margery Mildon and Stainer the Stutterer. The prank is not described.

MANSIPULUS

A servant in [?]Bower's Apius and Virginia. Argues and then brawls with Mansipula, claiming that she has made him late in attending his lord, then joins with him and Haphazard in a song in praise of chance:
Hope so, and hap so, in hazard of thretninge,
The worst that can hap, lo, in end is but beating.
He returns later in the play to sing a song in praise of keeping good company even if it means hazarding a beating, then tells the other servants and Haphazard how he defused his lord's anger by claiming to be out surveying his lord's lands, but his enemy Francis Fabulator suggests that Mansipulus overlooked things.

MANTAN

A "ghost character," Mantan does not appear in [?]Queen Henrietta's Florimène. He is named as the supposed father of Lycoris.

MANTLE BARON

Accompanied by other Welsh Barons in Peele's Edward I, the Mantle Baron swears allegiance to the infant Edward of Caernarvon on behalf of the loyal Welsh and presents the child the "mantle of frieze" that indicates their recognition of his status as Prince of Wales.

MANTLE, THOMAS

A mute character in (?Chettle and) Munday's Downfall of Robert Earl of Huntington. Thomas Mantle is one of the actors in the frame who enters to put on the play. He is pointed out to Little Tracy as the actor who plays Robin Hood. (See "ROBIN HOOD").

MANTO

Tyresias' daughter in Gascoigne and Kinwelmershe's Jocasta, Manto leads the blind soothsayer onto the stage, and then offers the sacrified goat to Bacchus.

MANTO

Manto, servant to Donusa and then Paulina in Massinger's The Renegado. She betrays Donusa to Mustapha by telling him of her mistress' deflowering and revealing Vitelli as the paramour. In order to redeem herself, she delivers the meat, which has a corded ladder in it, to Vitelli in prison that allows him to escape. At play's end she leaves with the escapees on Grimaldi's ship.

MANTUANS, LOMBARDY

Only mentioned in Cokain's Trappolin. The Mantuans are the enemy against whom Tuscany has just triumphed.

MANUEL

Don Pedro's older son in the anonymous Dick of Devonshire. He accompanies his father to France. When Eleanora's letter accusing Henrico of rape arrives, he is sent to investigate the complaint, and if it seems true to insist on an immediate marriage. Henrico accuses him of murdering their father; at the trial, Manuel offers trial by combat, but instead is sent off by Macado to be racked. Rather than face the agony Manuel appeals to Henrico in vain, then gives a false confession. Sentenced to die, he asserts that his confession was elicited by fear, not guilt, and when the supposedly dead father appears, Manuel's willingness to forgive his errant brother brings on the happy ending.

MANUEL de SOSA**1620

The Governor of Lisbon, brother to Guiomar and long-suffering uncle to Duarte in Fletcher and Massinger's Custom of the Country. With his sister, he fails to curtail Duarte's arrogance and brawling behavior. He welcomes the Count Clodio and Charino to Lisbon, offering his support and permitting their continuing search for the missing refugees in disguise. He first learns of Duarte's miraculous survival when attending the execution for theft of the unknown Arnoldo, deciding to keep the secret of his nephew's cure both publicly, and specifically from his sister, for unspecified reasons. He releases the condemned prisoner on Hippolyta's confession of framing him; reproving her near-fatal false allegation but pardoning her on account of her previous generous loan to civic funds. He leads Clodio and Charino to Hippolyta's house, where Zenocia is saved from strangulation and freed by him, as the citizen of an allied nation, together with her husband. Next seen, the Governor is lamenting with his foreign guests the sudden illness of Zenocia, which they do not know has been magically procured by Hippolyta. He advises patience, offers his own doctors and gives is opinion that in cases of true love, as seems to be happening, both partners will sicken and die of an illness afflicting either. He calmly receives the sudden news that his recently bereaved sister is to marry, and as calmly receives Guiomar's demand for justice against her prospective bridegroom, the presumed and self-confessed killer of his nephew. He is delighted when Duarte's timely reappearance permits his sister's wedding to proceed, and on the successful cure of Zenocia and Arnoldo, is quick to offer to host a reception for all the happy couples and their friends.

MANUTIUS**1564

Manutius loves Iphigenia, Cantalupo's daughter in (?)Jeffere's The Bugbears. He despairs like her to the brink of suicide when Cantalupo betroths her to Formosus. In costume Manutius portrays one of the spirits that haunts Amedeus' house, a rouse which helps persuade old Cantalupo to call off the engagement and betroth Iphigenia to him.

MANUTIUS**1635

Servant of Lepida in Richards' Messalina.

MANVILE

An English courtier, beloved of Em in [?]Wilson's Fair Em, the Miller's Daughter. Manvile woos Em in the guise of a countryman. He overhears Valingford and Mountney 'ruminating' on Em, and becomes jealous when he learns that she has been talking to them. But when Em pretends to be blind and deaf, Manvile rejects her and instead woos Elner, a citizen's daughter. Before King William, Em explains that she feigned blindness in order to dissuade her unwanted suitors and assuage Manvile's jealousy. Realizing his mistake, Manvile tries to return to her, but Em rejects him for his inconstancy, and Elner rejects him too. Manvile resolves to detest "such idle love."

MAQUERELLE

Maquerelle, a bawd in Marston's Malcontent, tricks Aurelia into abandoning Mendoza, and encourages her to adopt Ferneze as a lover instead. Maquerelle accompanies Malevole when he delivers Mendoza's ring to Maria in the citadel.

MAR–PUDDING, JOHN **1641

A cotquean and nephew to Marchurch in Wild's The Benefice. He reads books on housewifery to learn how to keep the staff in line and complains that they call him cotquean and other vulgarities when he looks over their shoulders and denies them money and proper ingredients for their dinners. He brings his uncle news that the parson is dead. When he sees Ursley is pregnant, she threatens to tell everyone the child is his. To keep her from spreading such a rumor, he agrees to give her the pantry keys.

MARANIA **1639

Moronzo's daughter and Clara's sister in Sharpe's Noble Stranger. She pledges not to marry without her father's consent. She accepts Callidus as her wooer but resents his flattery. When at play's end Callidus is revealed to be a scoundrel, she begs and receives the right to punish him. She refuses to marry him but rather than torment him by going to another man she becomes a vestal virgin. Her father counts himself blessed to have such a daughter and the court choruses their approval of her as "the mirror of her sex."

MARBA

Daughter to Bohemia and sister of Clapa, Nama and Reba in Verney’s Antipoe. Along with her sisters, they love the Tartar knights, Dabon, Liperus, Macros and Sapos and agree to be wooed by them once the strife has ended, hoping noble Antipoe will be freed from prison. She climbs into the masquers’ chariot when they arrive to take her and her sisters away to Egypt. She and her sisters appear before the President of Tartar identified as their ‘contracted wives’ of the four worthy knights of Tartar. Upon learning of her husband’s death, she is last to kill herself after Cleantha, Clapa, Reba and Nama. She is later seen as a ghost, clad in white, ascending to the throne with the others at the behest of Brutus.

MARC ANTONIO

Marc Antonio is the father of Fortunio and Rinaldo in Chapman's All Fools. He is a gentle, quiet man; when Gostanzo tells him that Fortunio is secretly married, he plans to forgive him, saying that one word from his son would completely destroy his anger. Gostanzo is appalled by this lack of authority and lectures him severely on how he should treat his son, and the consequences if he does not. Marc Antonio is involved in further plots when Gostanzo tells him that they are all to pretend that Valerio and Gratiana are married (neither of the older men realize this is the truth), so that Gostanzo can show how a wayward son should be treated. Marc Antonio agrees to all the tricks without complaint, but when all is revealed, he mocks Gostanzo for being too wise and ending up caught in his own traps.

MARCADE

Marcade and Boyet are lords attending the Princess of France in Shakespeare's Love's Labour's Lost. During the Pageant of the Nine Worthies, Marcade arrives with the news that the princess' father, the King of France, is dead.

MARCELLA**1562

Tells Gorboduc that Videna has murdered Porrex in Sackville and Norton's Gorboduc.

MARCELLA**1621

Marcella, Duchess and wife to Sforza in Massinger's The Duke of Milan.

MARCELLINA **1604

The wife of Vaumont and friend to Vandome in Chapman's Monsieur D'Olive. Accused by her husband of infidelity, she refuses the company of men altogether and vows never to go out in public. When she hears that her sister Eurione has been wronged, however, she breaks her vow, and is entreated to forgive all.

MARCELLINA**1614

One of Lucina's two bawdy waiting women in Fletcher's Valentinian. Together with Claudia she accompanies her mistress to the court but is separated from her. While Lucina is raped by Valentinian, Marcellina and Claudia are possibly seduced by Valentinian's panders Balbus, Chilax, Lycinius and Proculus.

MARCELLINUS

A senator in the anonymous The Faithful Friends, Marcellinus recruits soldiers for the war and serves as one of the witnesses of the denouement of the play.

MARCELLO **1612

Marcello is a soldier loyal to Francisco in Webster's The White Devil. He is Cornelia's good son. The other two children, Vittoria and Flamineo, are bawds, killers, and liars. He is murdered when his brother, Flamineo, stabs him in front of their mother.

MARCELLO**1639

Marcello is one of Malipiero's companions in Shirley's The Gentleman of Venice. Along with Malipiero and Bernardo, Marcello plots to murder Florelli. He also visits the home of Rosabella the courtezan.

MARCELLUS**1601

Marcellus is one of the guards to see the Ghost in Shakespeare's Hamlet. He is terrified, but not quite as much as is Barnardo. He and Barnardo have seen the apparition twice before and have invited Horatio to come see it. When the Ghost appears the first time in the play, Marcellus urges Horatio to speak to it, and after it leaves, turns the conversation to the current war preparations. When the Ghost appears again, he is willing to strike at it, although he is ashamed of his violent impulses afterwards. He goes with Horatio and Barnardo to find Hamlet and tell him what they have seen, and, unlike Barnardo, watches for the Ghost with Hamlet and Horatio the next night. He attempts to hold Hamlet back when the Ghost asks him to follow, and then urges Horatio to follow Hamlet rather than obey his order to stay behind. With Horatio, he swears on Hamlet's sword not to reveal what he has seen.

MARCELLUS**1605

A Roman noble; a non-speaking part in Chapman's Caesar and Pompey. This is probably Caius Claudius Marcellus; he was one of the two consuls, though Chapman seems to have two consuls in addition to him. Or it might be his brother, Marcus Claudius Marcellus. As the character says nothing, it is impossible to tell.

MARCELLUS**1614

Marcellus is a Roman captain in the anonymous The Faithful Friends, second-in-command to Tullius in the war against the Sabines.

MARCELLUS**1620

A "ghost character" in Fletcher and Massinger's The False One. Marcellus is the consul who pronounced Caesar an enemy to Rome. Photinus refers to the incident, and Caesar's defiant crossing of the Rubicon, when defending his attack on Caesar.

MARCELLUS**1631

Marcellus, the Proconsul of Sicily in Massinger's Believe As You List, is the one who can finally prove that Antiochus is who he claims to be. Although a Roman, he has no loyalty to Flaminius.

MARCELLUS, CAIUS

A "ghost character" in Shakespeare's Antony and Cleopatra. Menas identifies him as the previous husband of Octavia, although no mention is made of what has happened to him.

MARCHETTO

Marchetto is a senator of Venice in the anonymous Knack To Know An Honest Man. After the sentence against Lelio is announced he makes clear that he wants Lelio's money, although when he and Fortunio enter Lelio's house he also tries to seduce Annetta, Lelio's wife. When Lucida, Lelio's daughter, refuses Fortunio's advances, he advises Fortunio to use force against her. Later he and Fortunio seize the goods of Brishio, Lelio's father-in-law, when they learn that Brishio had helped Lelio to flee from Venice. In a third incident, Marchetto arrives at night with Fortunio to seduce Annetta and Lucida while Brishio's two sons are waiting to protect the women. When the women reject their advances, Marchetto orders Annetta to be seized. The brothers appear and in the ensuing fracas wound Fortunio. Marchetto informs Servio of this, who has them arrested. When Marchetto and Fortunio bring in the brothers for punishment, Sempronio speaks out against Fortunio who agrees that he and Marchetto should be exiled for what they attempted to do to Annetta and Lucida. The Duke forgives Fortunio but exiles Marchetto.

MARCHMOUNT

Marchmount, a herald from James IV. He carries the challenge of single combat from his king to Surrey in Ford's Perkin Warbeck.

MARCHURCH **1641

The patron of a living (the benefice) and Mar–pudding's uncle in Wild's The Benefice. The old parson is finally dying, and Marchurch has the benefice of his hundred-pound-per-annum living. He looks forward to having a crowd of 'learned creature in black coats' begging him for the place. He promises to provide for Ursley and his bastard that she carries. Christmas is coming, and he ensures the Watchmen are ready to bring him his capons and pullets because he intends to be mayor next year. He practices his mayoral speech before the Watchmen. Mar–pudding brings him news that the parson is dead. Marchurch turns Book–worm out when he hasn't money to bribe him for the living. Marchurch once promised Sir Homily the living in exchange for his testimony at the assize, and when Homily comes to collect upon that promise Marchurch takes away his current living and beats him away. He tells Hob–nail that Sir Homily criticized him and sets the Scotsman to whipping the curate. Later, when Ursley delivers her bastard, Marchurch sells the babe to a gypsy beggar woman for twenty shillings. He does not see through Hob–nail's disguise when he sells him the benefice. He initially asks fifty pieces for the benefice but allows Hob–nail to talk him down to twenty with ten more to follow in two years. He plans to marry Ursley to him, too. The Watchmen come with their basket of Christmas capons for him. He accepts it heartily and pays them, not realizing that Homily has hidden his bastard baby there for him.

MARCIA

A mute character in Edwards's Damon and Pithias. Marcia is a citizen of Syracuse. Stephano sees him conducted to execution and reports that the allegation against him was based on the suspicion of having dreamt to kill the king.

MARCILIUS

A servant of Cato in Chapman's Caesar and Pompey.

MARCO, FRIAR

Friar Marco, along with Rugio in Fletcher's A Wife for a Month, watches over Alphonso, usurped King of Naples, who before the play begins has been stricken with a melancholy silence. Alphonso's illness had occurred at the very second that his father died, and the play suggests that the melancholy was a result either of grief or possibly having been drugged by his ambitious brother Frederick, who assumed the throne, and Frederick's wicked helper, Sorano. When, in IV.i, Sorano comes to the monastery that houses Alphonso, claiming to have an antidote to heal Alphonso, Rugio and Friar Marco refuse to let him in, knowing that Sorano is trying to kill the usurped king. When Sorano sneaks in anyway and gives the poison to Alphonso, Rugio and Friar Marco blame themselves. However, the potion that Sorano had intended to kill Alphonso actually does prove to be an antidote, and Rugio and Friar Marco rejoice when Alphonso is restored to health and to his throne.

MARCUS

Only mentioned in Fletcher's The Knight of Malta. Mountferrat tells Valetta that he is like the Roman Marcus because he does not spare a traitor, even if she is his sister.

MARCUS AEMILIUS LEPIDUS

See more complete listing under LEPIDUS.

MARCUS AEMILIUS LEPIDUS

Lepidus is the third member of the triumvirate, with Caesar and Antony, but functions more as Caesar's second in command in Shakespeare's Antony and Cleopatra. When Antony and Caesar agree to meet, it is Lepidus who reconciles them. When the three make peace with Pompey and dine on his ship, Lepidus becomes completely drunk, and is made fun of by both Antony and the servants. Eros reports that after the wars with Pompey, Caesar had Lepidus thrown in prison on trumped up charges of treason.

MARCUS AGRIPPA

Agrippa is the right-hand man of Caesar in May's Cleopatra. He warns Caesar, after the Battle of Actium, how difficult it will be to get Cleopatra into a triumph. Historically, this was Marcus Vipsanius Agrippa.

MARCUS ANDRONICUS

Marcus Andronicus is a Roman tribune, and the brother of Titus in Shakespeare's Titus Andronicus. Marcus urges the Romans to support Titus as a candidate for Emperor before Titus arrives and pledges his own support for Saturninus. Marcus opposes Titus's decision to give Lavinia to Saturninus, but ultimately reconciles with Titus. It is Marcus who discovers Lavinia after she has been raped and mutilated by Chiron and Demetrius. Marcus is also present when Lavinia reveals the names of her attackers. When Marcus kills a fly, Titus expresses grief and delivers a speech against murder, though when Marcus remarks that the fly looks like Aaron, Titus becomes vengeful. When Titus urges his family members to shoot arrows containing messages to the gods at the sky, Marcus suggests shooting the arrows into Saturninus's courtyard. Marcus consoles Titus and shares his grief throughout his ordeal, encourages Titus's desire for vengeance, and mourns his death at the end of the play.

MARCUS ANTONIUS

I.
Antony is one of Caesar's captains in Fletcher and Massinger's The False One. He does not, in this play, demonstrate any of the characteristics of his later career. He is loyal to Caesar, admiring him for weeping at Pompey's death, and defending his infatuation with Cleopatra, although wishing he would abstain. He is appalled by Septimus' rich appearance, and suggests that if he were armed he would make Septimus "blush" for his behavior. After the revolt begins, Antony counsels Caesar to kill both Ptolemy and Cleopatra, but Caesar is not sure if Ptolemy is treacherous and is sure Cleopatra is not. When the fight is going badly, Antony suggests they die nobly on each other's swords (suggesting his ultimate end), but Caesar does not believe the battle is lost. Along with the others, he rejects Septimus' attempt to hide them in a cave, assuming it is treachery. Although he is part of the party who rescues Cleopatra and kills Photinus and Achillas, he has no lines in the last scene.
II.
Marcus Antonius, or Mark Antony in Shakespeare's Julius Caesar. He eulogizes Caesar in such eloquent terms that the Roman citizens rebel against the conspirators. Part of the triumvirate governing and battling after the death of Caesar, Antony expresses little faith in the abilities of co-triumvir Marcus Aemilius Lepidus. Antony gets a taste of things to come when Octavius will not allow Antony to dictate who assumes what battlefield on the plains of Philippi. Significantly, Antony's are not the last words of the play; those go to Octavius, though Antony's final speech is memorable in its commentary about Brutus: "This was the noblest Roman of them all."
III.
Marcus Antonius is the hero of May's Cleopatra; famous Roman general now dangerously besotted with the exotic Cleopatra and outmaneuvered by his younger rival, Caesar. May makes his besotted state much softer than does Shakespeare: talked into agreeing to her participation in the Battle of Actium, he never reproaches her with its disastrous outcome, but instead retreats into generalized melancholia and assumes the identity of Timon the misanthrope (a Plutarchan scene that Shakespeare omits). He makes little objection to her meetings with Thyreus, the messenger of Caesar, and does not blame her (as in Plutarch and Shakespeare) for his final defeat at Tarentum. After this, he fails to persuade his freedman Eros to kill him, and succeeds, with some difficulty, in killing himself; May omits Plutarch's scene between Cleopatra and the dying Antonius, so the relationship, never very emphatic in this play, fades away in silence.
IV.
Mark Antony is a triumvir of Rome, and the lover of Cleopatra in Shakespeare's Antony and Cleopatra. His men, and he himself, are worried that he is too influenced by the sensual life of Egypt, and after he hears of the death of his wife, Fulvia, Antony declares that he must break free of Cleopatra. He travels to Rome to meet with Caesar, and is reconciled with him by Lepidus and Agrippa. The latter suggests that to cement the reconciliation, Antony should marry Caesar's sister, Octavia, which Antony agrees to. However, he quickly returns to Egypt and Cleopatra, setting himself up as Emperor. Caesar declares war on him for this. Despite protestations by Enobarbas and Canidius (and the Soldier), Antony agrees to fight at sea, which turns out to be a mistake. Not only are the Romans superior, but when Cleopatra runs from the battle, Antony follows her, and therefore the battle is lost utterly. Antony becomes depressed, but is brought around by Cleopatra. When Caesar sends Thidias to Cleopatra to offer her safety if she will turn against Antony, Antony has Thidias soundly whipped, but then turns on Cleopatra and accuses her of treachery. She soon convinces him of her loyalty, and a second battle is joined. Antony at first triumphs on land, but then loses at sea and Antony believes again that Cleopatra has betrayed him. He viciously accuses her, and she locks herself in her monument and sends Mardian to tell Antony that she has died. Antony believes the lie and decides that he too should die rather than lose Cleopatra and surrender to Caesar. He first asks Eros to stab him, but Eros chooses instead to kill himself. Antony then stabs himself, but botches the job. He asks his soldiers to finish the job, but no one will. Mardian then returns and tells him that Cleopatra is not dead. Antony has himself carried to her monument, where she and her maids haul him up to safety. He dies in her arms.
V.
Antony is a devoted follower of Caesar in Chapman's Caesar and Pompey. Before the war, he supports Caesar's bid to have his army admitted; once the fighting has started, he encourages his commander when he is depressed at his early tactical mistakes, and, later, urges him to go on after Pompey has refused peace. He is assigned a co-command with Caesar for the final battle.
VI.
Only mentioned in the anonymous Wit's Triumvirate. Antony is mentioned by Doctor Clyster, when he explains the parts each of the cozeners had in their 'triumivrate' (sic): "One strives to be Augustus, the other Antony; I shall be Lepidus." Marc Antony (C. 83 B. C.–30 B. C.) was a Roman politician and soldier who belonged to a very distinguished family, being related to Julius Caesar through his mother. It was when Antony returned from Gaul with Lepidus that Augustus joined them to establish the Second Triumvirate. Thus, Antony obtained Gaul, Lepidus, Spain, and Augustus, Africa, Sardinia and Sicily. They made their power absolute by massacring all those who were unfriendly to them in Italy, and by their victories over the republican army in Macedonia, under Brutus and Cassius.
VII.
A "ghost character" in Markham's Herod and Antipater. According to Hillus the centurion, Antony has died in Egypt after losing his battle with Augustus.
VIII.
A "ghost character" in May's Julia Agrippina, mentioned as a great Roman of the past.
IX.
Only mentioned in Marmion's A Fine Companion. In decrying a separation from Aurelio, Valeria compares their state to that of Antony and his Egyptian Queen.

MARCUS BRUTUS

I.
A young aristocrat in Chapman's Caesar and Pompey. He is a follower of Pompey, whom he sees as the strongest hope for the survival of Republican Rome. He finally surrenders to Caesar, surprising his father-in-law, Cato. When asked his opinion of Cato's suicide, Brutus condemns it, and is reprimanded for this by Caesar. He takes charge of the execution of Achillas, Salvius, and Septimius.
II.
Marcus Brutus is part of the plot against Julius Caesar in Shakespeare's Julius Caesar. Though he loves and is trusted by Caesar, he believes Caesar will eventually accept the crown, and Brutus cannot tolerate the thought of tyranny in Rome. Brutus does not feel Caesar-or anyone-should be chosen king and fears dissolution of the Roman republic, yet it takes a fair amount of convincing from the other conspirators before Brutus joins the group and assists in planning Caesar's murder. He is the last to stab Caesar. It is Brutus' argument that keeps Mark Antony from being murdered with Caesar, and Brutus' ill judgment that allows Antony to eulogize Caesar. Brutus becomes embroiled in the war against the triumvirate after Caesar's death. Visited by Caesar's ghost twice upon the battlefields of Sardis and Philippi, Brutus foresees failure of the conspirators' ultimate aim. He chooses to die rather than be captured, and is refused assistance by three companions (Clitus, Dardanius, and Volumnius) before his servant Strato holds the sword so that Brutus might run upon it.
III.
A "ghost character" in Shakespeare's Antony and Cleopatra. Brutus was one of the Senators who assassinated Julius Caesar. Pompey refers to their attempt to keep Rome a republic as reason for his own war.

MARCUS CATO

Cato [the Younger] is an heroic patriot in Chapman's Caesar and Pompey. He is devoted to the Republic, and a Stoic, with a keen interest in philosophy (he defends at length the surprisingly Christian argument that the body, like the soul, survives death). He favors Pompey, in the hope that he can save the Republic from Caesar. Unlike his son-in-law, Brutus, he stabs himself, at Utica, after Caesar's victory.

MARCUS CLODIUS

Marcus Clodius is a conniving devil closely associated with Appius in John Webster's Appius and Virginia. It is Clodius who suggests to Appius that the best way to obtain Virginia as wife is to withhold supplies from her father, Virginius, and his Roman troops. When that scheme fails, Clodius first tries wooing Virginia with letters signed by Appius. He then arranges for false testimony to demonstrate that Virginia is a bondwoman and not freeborn. Tried before Appius, Virginia asks her father to kill her rather than allow her to live disgraced. Virginius complies. Clodius is finally imprisoned for his treachery when Virginius and his army march upon Rome. Clodius attempts to exculpate himself by arguing that he had only acted under orders. He is offered the chance to commit an honorable suicide; when he refuses, he is sent to die by hanging.

MARCUS CRASSUS

A "ghost character" in Shakespeare's Antony and Cleopatra A member, with Julius Caesar and Pompey the Great of the first triumvirate, treacherously killed by Orodes. Ventidius claims his death is revenged by the death of Parthia.

MARCUS FULVIUS NOBILIOR

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.

MARCUS GALLICUS

Son of Ostorius Scapula in The Valiant Welshman. Marcus Gallicus assists his father in the Romans' second attempt at invading Britain. He acts as legate from Rome to Caradoc, and falls in love with Voada. With the aid of Cornwall's treachery, he abducts Voada, but Gald and Bluso rescue her from him. Gallicus fights Constantine in the final battle, and both are killed.

MARCUS JUSTEIUS

A "ghost character" in Shakespeare's Antony and Cleopatra. Canidius lists him as one of the soldiers who is to fight by sea.

MARCUS LEPIDUS

See more complete listing under LEPIDUS.

MARCUS LEPIDUS

A "ghost character" in May's Cleopatra. Formerly one of the three masters of the Roman world, along with Antonius and Caesar. Like his historical opponent Sextus Pompeius, he is mentioned in II i. as "ruined." Historically, this was MARCUS AEMILIUS LEPIDUS.

MARCUS LICINIUS CRASSUS

Marcus Licinius Crassus is a Roman general and politician in Jonson's Catiline. Some people believed that Crassus was acquainted with Catiline's conspiracy because he hated Pompey and was for anyone who should rise against Pompey's increasing influence. Crassus enters the Roman Senate with the others senators and hears Cicero's address of gratitude for having been elected consul. Crassus doubts Cicero's honesty and alludes to Caesar that he would secretly support Catiline's plot. At Cicero's house, Cicero tells his brother to summon a number of senators and tribunes he could trust, among whom he mentions Crassus. When Cornelius and Vargunteius try to gain access into Cicero's house under the guise of friends, but with the purpose of murdering him, Crassus is in the group of Cicero's friends and clients who witness the scene. When the conspirators flee and the remaining senators advise Cicero to follow the assassins and bring them to justice, Crassus is silent and prefers to observe the events. After Cicero has accused Catiline of conspiracy in the Senate, he mentions to his friends that he will not implicate Caesar and Crassus because they are powerful men and it is dangerous to stir too many serpents at once. Before the final confrontation between the Senate's army and Catiline's troupes, Crassus and Caesar discuss the situation. Seeing that Catiline's boat is sinking, Crassus and Caesar desert Catiline. After the depositions against the conspirators in the Senate, the Consul rules that Gabinius should be placed in Crassus's private custody. Though a report comes that a witness implicates Crassus in the conspiracy, Cicero pretends not to believe it, and Crassus is called noble, just, and loyal.

MARCUS, LORD

Lord Marcus is the son of Edward IV's queen in the anonymous True Tragedy of Richard III. At the beginning of the play, Marcus and Hastings are brought before Edward on account of their ongoing feud. Edward and Marcus' sister both plead for Marcus to bury his ill will toward Hastings. Marcus refuses to make amends at first, but is finally coerced into a peace. Marcus shakes Hastings' hand and embraces him. Marcus also vows to Edward that he will not break the peace. When Gloucester becomes Lord Protector, he flees England until Henry VII assumes the throne.

MARCUS MANITIUS

A "ghost character" in Marmion's Holland's Leaguer. The Bawd states the Marcus Manitius, who does not appear in the play, is the Lord of her house.

MARCUS OCTAVIUS

A "ghost character" in Shakespeare's Antony and Cleopatra. Canidius lists him as one of the soldiers who is to fight by sea.

MARCUS OVIDIUS

Alternate name for Ovid's father, otherwise known as Ovid Senior in Jonson's Poetaster.

MARCUS PETREIUS

Marcus Petreius is Caius Antonius's lieutenant in Jonson's Catiline. When the Roman Senate decided to send an army against the self-exiled Catiline, because it had become obvious he was the instigator of the conspiracy, the two consuls, Cicero and Antonius were responsible for leading the army. Caius Antonius wanted to avoid any confrontation with Catiline, while at the same time not being able to oppose Cicero, who had bribed him with a province. Therefore, Antonius pretended to be affected with the gout and sent his lieutenant, Marcus Petreius, to lead the senatorial army. According to Cicero, Petreius was a much better soldier than Antonius was because he had been a tribune, prefect, lieutenant, and praetor in Sylla's war, thirty years before. Cicero says that Petreius manages the army so well that he knows the soldiers by their names, and they will fight zealously next to him. Before the confrontation between the Senate's army and Catiline's troupes, Petreius addresses his soldiers. Describing the corruption of the members of Catiline's party, Petreius inflames their spirits and incites them to fight. After the battle, Petreius reports the victory to the Senate, announcing Catiline's death. Cicero thanks Petreius in the name of the Roman Senate, commending his modesty.

MARCUS PORCIUS CATO

Marcus Porcius Cato, or Cato the Younger, is a Roman legislator and philosopher, great-grandson of Cato the Elder in Jonson's Catiline. As a senator in republican Rome, he was a violent opponent of Caesar and, outdoing Cicero in vituperation of Catiline's conspiracy in 63 BC, Cato tried to implicate Caesar in the plot, although maintaining his fairness to all. In the Roman Senate, Cato enters with the other senators. Following the election of Cicero and Caius Antonius as consuls, Cicero delivers a speech of thankfulness. From Cato's remarks addressed to Caesar, it is evident that the two men are in conflict. When Catiline pretends to congratulate Cicero, Cato expresses his distrust and tells Catiline he should expect the gods' judgment for his despicable actions. At Cicero's house, Cicero tells his brother to summon a number of senators and tribunes he could trust, among whom he mentions Cato. When Cornelius and Vargunteius try to gain access into Cicero's house under the guise of friends, but with the purpose of murdering him, Cato is in the group of Cicero's honest friends and clients who witness the scene. When the conspirators flee, and the remaining senators advise Cicero to follow the assassins and bring them to justice, Cato is very vocal in counseling Cicero to go after the murderers. In the Senate, just before Cicero accuses Catiline of conspiracy, Cato says he will not stay beside Catiline. When the conspirators are tried in the Senate, Cato tries to implicate Caesar in Catiline's conspiracy, but with no success. However, his speech against the conspirators is influential in the Senate's pronouncing the death sentence.

MARCUS PORCIUS LECCA

Marcus Porcius Lecca is a member of Catiline's conspiracy in Jonson's Catiline. According to Catiline, he is ambitious and he is among those to whom Catiline has promised a rich Roman province as a reward for his fidelity. At Catiline's house, Lecca enters with the other conspirators. After hearing Catiline's incendiary address, the confederates are invited to partake of fresh human blood as a symbolic seal of their pact. 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. When the plot is exposed in the Senate, Cicero says that huge quantities of arms and supplies have been amassed at Lecca's house, one of the headquarters of the conspiracy. When the conspirators are arrested and tried before the Senate, it is understood that Lecca shares their punishment.

[MARCUS SALVIUS] OTHO

Otho is the lover and subsequently the husband of Poppaea in May's Julia Agrippina. When Nero himself desires Poppaea, Otho is sent as governor to Lusitania, though Seleucus prophesies that he will return and will one day be Emperor.

MARCUS SILANUS

A "ghost character" in May's Cleopatra. Roman who defects from Antonius to Caesar; mentioned at IV i. Historically, this was Marcus Junius Silanus.

MARCUS TITIUS

Follower of Antonius in May's Cleopatra, but, like Plancus, disaffected from the very start through disapproval of Antonius's infatuation with Cleopatra. He defects to Caesar even before Antonius's defeat at Actium.

MARCUS TULLIUS CICERO

Marcus Tullius Cicero is a consul in republican Rome in Jonson's Catiline. He is a forceful speaker whose eloquence has raised him to the highest office in the Roman republic, the consulship. Cicero enters the Roman Senate with the other senators, delivering his address of gratitude for having been elected consul, despite his humble origin. It is inferred that word had transpired about Catiline's plot to become consul, and the citizens elected Marcus Antonius and Cicero instead of Catiline. At Fulvia's house, Cicero persuades Fulvia and Curius to spy for him in Catiline's party. Concurrently, Cicero sends his brother for Caius Antonius, whom he wants to bribe with a rich province in order to prevent him from siding with Catiline. At his house, Cicero enters with Fulvia and his brother. Fulvia has warned him about Catiline's plot of assassination, and Cicero sends for his trusted friends and clients to act as witnesses for him. Cicero confronts the conspirators sent to murder him with their guilt in front of witnesses, inviting them to repent, but the attempting murderers steal away. In the Senate, Cicero addresses his discourse against Catiline, indicting him for the conspiracy. Since Catiline denies the allegations and goes to exile, Cicero sets out to obtain material proof against the conspirators. Having been informed that Catiline's allies intended to enroll Allobroges in their party, Cicero instructs the ambassadors to request letters explaining their designs. The praetors intercept the incriminating letters and thus Cicero is able to bring proof of the conspiracy before the Senate. Since the conspirators deny all evidence, they are placed in private custody. When reports come that the conspirators continued their seditious actions, Cicero summons the Senate urgently and the death sentence is pronounced. Cicero is awarded the Civic Garland for services rendered to the nation. Cicero has the final oration in the Senate, thanking the gods for having given him the opportunity to save Rome.

MARDIAN

Mardian is a eunuch who serves Cleopatra in Shakespeare's Antony and Cleopatra. After Antony leaves, Cleopatra says she wants nothing to do with eunuchs, but asks Mardian if he has lustful thoughts, which he admits to. After the second battle, Cleopatra sends Mardian to Antony with the false report that she is dead. He describes her as dying speaking Antony's name, and so convinces Antony that he stabs himself. Although he is listed in the stage directions of the final scene, he does not die with Cleopatra and her maids.

MARDIO

Eunuch slave of Cleopatra in May's Cleopatra. After Actium, he brings the melancholic Antonius the news that Cleopatra (in fact engaged in negotiations with Caesar at the time) is desperate to see him. At the end, when Antonius is dying, Mardio informs him that Cleopatra, contrary her previous false report, is still alive, and wants him to come to her. Like Glaucus, Mardio accompanies Cleopatra to her refuge in the tomb, but she sends him away for her suicide (which is attended only by her maids, Charmio and Eira).

MARDOCHEUS

Mardocheus is a Jew and Hester's uncle in the anonymous Godly Queen Hester. He introduces the girl to King Assuerus. After Aman's fall and death, Mardocheus is appointed in his place.

MARDONA

Mardona is an attendant to Eugenia in Shirley's The Bird in a Cage. She voluntarily follows her into imprisonment by the duke. She takes the role of Acrisius in the inset play.

MARDONIUS

Mardonius is a brave honest soldier and chief counselor to Arbaces in Beaumont and Fletcher's A King and No King. Throughout the play, Mardonius repeatedly upbraids Arbaces for the latter's immature actions. In this way, Mardonius is a true father figure to the young distempered king. Mardonius sees through Bessus's alleged bravery, recognizing him as a coward. Instead of revealing Bessus's weakness, as Bacurius longs to do, Mardonius tortures Bessus by forcing him to deal with the obligations and burdens of a glorious reputation. When Arbaces confesses his incestuous desires to Mardonius, the honest counselor condemns the passions and threatens to leave Arbaces. Mardonius is the voice of reason and the moral center of the play. He repeatedly risks his own life by giving his master the frank advice he needs.

MARE

A "ghost character"(?) in Shirley's Hyde Park. Ridden by Venture in the Hyde Park horse race. If Lord Bonville's account of the race is to be believed, the mare deliberately throws Venture off her. When Samuel Pepys saw a performance of Hyde Park in 1668, he noted that there were real horses on stage. So, the Mare may well have figured as a 'character' onstage as well as offstage as well.

MARE, WHITE

A "ghost character" in Middleton's A Chaste Maid in Cheapside. When Kix is told he must stir constantly after taking Touchwood Senior's water, he orders his white mare saddled and goes on a five-mile ride.

MARE, WHITE **1632

A "ghost character" in Hausted's Rival Friends. A horse that Mongrel may borrow whenever he please though she cost his uncle thirty pieces.

MARES, TWO DUTCH **1615

Imaginary characters in Tomkis' Albumazar. Trincalo wonders whether Albumazar can turn his four jades into two Dutch mares as easily as he has turned Trincalo into Antonio.

MARGARELON

Bastard son of Priam in Shakespeare's Troilus and Cressida. A meeting with Thersites on the battlefield occasions comic badinage on the theme of bastards.

MARGARET**1589

Daughter of the Keeper of Fressingfield in Greene's Friar Bacon and Friar Bungay. Margaret is the fair maid who catches the eye of Prince Edward as he is hunting in her neighborhood. When the prince sends his friend Edward Lacy, the Earl of Lincoln, in disguise to woo her on his behalf, Margaret instead falls in love with the messenger, and Lacy is instantly smitten by her. After Friar Bacon uses his magic to prevent Friar Bungay from marrying the couple, Edward rushes to Fressingfield to confront the pair. When he threatens to have Lacy executed as a traitor, Margaret pleads with the prince not to kill someone who is in fact his loyal friend, and she swears she will die with him if she must. The prince is so moved by her appeal that he drops his intention of having her as a mistress, and he gives his consent to their marriage. A short time later, Lacy attempts to demonstrate his beloved's constancy by sending her a letter indicating that he is being forced to marry the chief lady-in-waiting to Elinor of Castile, Prince Edward's bride-to-be. Thinking herself abandoned, Margaret determines to enter a convent, and even the appeal of her father seems to no avail. Finally, Lacy arrives, reveals the truth, and the couple go to court, there to be married alongside the Prince and Elinor.

MARGARET**1593

Wife of Henry VI and mother of the Lancastrian Prince Edward in Shakespeare's Richard III. Margaret fought during the Wars of the Roses to ensure that her son inherited the crown of England. After Clifford murdered Rutland, she soaked a handkerchief in the boy's blood and gave it to his father York when he was captured in battle. She placed a paper crown on York's head before Clifford killed him. When Edward IV became king, Margaret was banished to France. When Edward is on his deathbed, though, Margaret returns and curses the Yorkist court of Edward for deposing her and killing her son. She returns to France, but not before teaching Edward's queen Elizabeth how to curse Richard III.

MARGARET**1598

Margaret, Hero's attendant in Shakespeare's Much Ado About Nothing, is used as a decoy in Don John's plot to defame Hero. When Claudio is led to Hero's window, ostensibly to observe Hero's illicit tryst, what he really sees is Margaret and Borachio. Borachio later exonerates Margaret of complicity in the plot.

MARGARET**1602

Daughter of Lasso, in love with Vincentio in Chapman's The Gentleman Usher. She nonetheless plays along with Alphonso's suit. She suggests Bassiolo to Vincentio as their go-between. When Bassiolo delivers Vincentio's letter and urges her to reply, she suggests that he do so on her behalf. Unhappy with his efforts, she dictates her own reply. Bassiolo delivers the letter, then brings her to Vincentio and they exchange vows of eternal love. She leaves him as Poggio arrives with news of Strozza. When her father asks about her coolness to the Duke, she says she wants to marry someone she loves. She meets again with Vincentio, a meeting that is disrupted by their elders. She is confined in Cortezza's chamber. When Cortezza tells her Vincentio is dead, she contemplates various forms of suicide, then accepts an ointment from her aunt that will destroy her beauty and applies it to her face. In the final scene, she attempts to reject Vincentio's pledge of love, insisting that their souls will be united after death, but the doctor applies a mask that will restore her beauty so the marriage may proceed.

MARGARET**1622

Margaret is the wife of the Flemish merchant Van-dunk in Fletcher's Beggars' Bush.

MARGARET**1632

Margaret is a country girl, daughter of Old Trashard in ?Brewer's The Country Girl. She tells her father that she has been flattered by Sir Robert with words, letters and gifts. Knowing that Sir Robert is coming, she wants to hide herself and have her father tell the nobleman that she is gone for London. However, she has to stay because her brother has told him the truth. She rejects Sir Robert's advances because Margaret hates the person he has made of her. Being visited by a beggar, she confesses that she distrusts Sir Robert because he is old and rich. She thinks that he is mischievous and that her honor is in danger. Thus, when she is harassed by the nobleman, Margaret calls "her mother," causing Lady Malory to come and embarrass Sir Robert. Finally, she visits Lady Mosely and meets Captain George, who fancies her.

MARGARET, COUNTESS of HENNEBERG**1636

Only mentioned in Strode's The Floating Island. According to legend, Margaret insulted a peasant woman who had twins, saying they must have different fathers. She was punished by God and gave birth to 365 children on Good Friday, 1276. Memor describes Concupiscence as having more children than Margaret.

MARGARET, LADY

Lady Margaret is Henry Richmond's mother in the anonymous True Tragedy of Richard III. It is Margaret who convinces young Richmond that, as direct heir to King Henry IV, he is obligated to challenge Richard III for the throne.

MARGARET of ANJOU

I.
Margaret of Anjou, daughter of Reignier in Shakespeare's 1 Henry VI, is captured by Suffolk, who gives her to King Henry for a wife. In the later Henry VI plays, Margaret is a powerful figure, but in 1 Henry VI Shakespeare only suggests the character that he will develop more fully in the other plays.
II.
The new queen in Shakespeare's 2 Henry VI. At the end of 1 Henry VI, Suffolk had concocted a plan to have Margaret marry King Henry, believing that he would be able to control the king through her. 2 Henry VI opens with Margaret's transfer from Suffolk to Henry, and as the first act continues we learn that Margaret and Suffolk are in league against Eleanor and Gloucester, Cardinal Beaufort, and the Duke of York.
III.
Margaret is the wife of King Henry and mother of Edward, Prince of Wales in Shakespeare's 3 Henry VI. When Henry negotiates an entente with the Duke of York, by which Henry will remain king during his lifetime succeeded by York, Margaret vows to defend her son's right to inherit the throne from his father. At the helm of an army of northern nobles, Margaret captures Richard Plantagenet, Duke of York, and torments him before ordering his death. In his response to her, York enumerates the female virtues and basic human qualities which she lacks, characterizing her among other things as a 'tiger's heart wrapped in a woman's hide.' After Lord Clifford avenges his father by stabbing York, Margaret takes her turn, recommending that York's severed head be hung on the gates of York. Margaret journeys to France seeking French support, and her cause is assisted when Edward insults the French king by marrying Lady Grey while Warwick is in France negotiating Edward's marriage to the French queen's sister Lady Bona. Later, Margaret fights on Henry's side at the helm of a French contingent, but she is captured by Edward's forces. When Margaret is ransomed and sent back to France, the Yorkists believe that they have seen the last of her, but in Richard III she will return to curse them.

MARGARET of BURGUNDY

A "ghost character." Margaret of Burgundy sends the pretender to Scotland with her full assurance that he is who he claims to be in Ford's Perkin Warbeck. She does not appear in the play in her own person.

MARGARET ("MEG") OVERREACH

Margaret is the daughter and only heir of Sir Giles Overreach in Massinger's A New Way to Pay Old Debts. Although she is in love with Alworth, she is instructed by her father to seduce the Lord Lovell at any cost and secure his marriage proposal to her. Meg, with Alworth and Lovell's help, tricks Overreach into assisting her marriage to Alworth and, at the play's end, is appointed guardian (along with her new husband) over her "distracted" father.

MARGARET PAGE, MISTRESS

The wife of George Page, who calls her "Meg," mother of William and Anne in Shakespeare's The Merry Wives of Windsor. Furious at having discovered that she and Mistress Ford have received the same letter from Falstaff, she plots with Alice Ford to "cozen" Falstaff by agreeing to his wooing. First, Falstaff is humiliated at her home (in three laundry basket incidents) and then at Herne's Oak, by a myriad of "pinching" fairies. Margaret also does not want Fenton to marry Anne and conspires with Dr. Caius, telling him Anne will be dressed in green and that he should take her away from Herne's Oak and marry her. This plan is spoiled, however, by the machinations of the Host and Mistress Quickly.

MARGARET TUDOR

A "ghost character." Margaret Tudor is used to lure James IV back to Henry's side in Ford's Perkin Warbeck. By marrying her to the Scots king, Henry VII undermines the pretender Warbeck's Scottish support. Margaret does not appear in the play in her own person.

MARGARETON

One of Priam's youngest sons in Heywood's 1 The Iron Age, Margareton announces that Paris has brought Helen to Troy. When Achilles seeks Hector in the field, the Greek hero encounters Margareton, and learning that he is Hector's brother, kills the young man. It is the death of Margareton that prompts Hector to return to the battlefield where he will be set upon by Achilles's troops and killed.

MARGARETTA

Margaretta is an orange-selling wench who marries, with some misgivings, the Lord Antonio in William Rowley's All's Lost by Lust. Antonio is then immediately posted to the wars. Margaretta becomes jealous and suspicious. She sends her brother Jaques to spy on him, and, learning of his bigamous marriage to Dionyzia, plans to murder him on his returns. Unfortunately, she mistakenly murders Lazarello instead, who has hidden in her bed disguised as Antonio. Margaretta begs Muly Mumen to execute her for her crime. Seeing Antonio alive, she realises her mistake, but she is pleased to see that Antonio has been wounded to death by Muly Mumen. Angered by Dionyzia's 'merry' response to the events, she stabs herself, and embraces Antonio as she dies.

MARGARITA**1621

Margarita is a French bawd in Middleton's Anything for a Quiet Life. Outside the tavern "Man in the Moon" in Cheapside, Franklin, who is about to be arrested for confidence trickery, pretends to be a "French gentleman." On seeing Margarita approach, Franklin says in French that she is from his country and could vouch for him. Margarita speaks French to Franklin and learns from him that he is about to be arrested. Agreeing to help Franklin for a reward, Margarita pretends to carry on the conversation with the "French gentleman," whom she recognizes as being from Lyons. Telling Franklin, in French, that he can go safely now, Margarita reminds him that she will be paid for her service later, announcing that she will send him one of her girls, who speaks a little French, to meet him at a tavern in Turnbull Street. Telling the others in broken English that she knows a place where the "French gentleman" would be taken care of, Margarita manages to obtain Chamlet's gratitude for having helped him, as well as his invitation to visit his shop in Lombard Street for a reward. Margarita exits with Franklin. In Chamlet's shop, Margarita receives money in exchange for what Chamlet believes to be her services as an interpreter, and shows her petticoats to Chamlet in order to have new ones made. Rachel enters and thinks Margarita is her husband's intended wife, a woman Rachel knows only as "French Hood." Rachel attacks Margarita fiercely and forces her to run away, swearing she must never come to her shop again.

MARGARITA**1624

Donna Margarita is a proud heiress with a reputation for wanton behavior in Fletcher's Rule a Wife and Have a Wife. She desires to marry a 'lusty' husband whom she can easily rule, and chooses Leon. When Leon turns out to be a domineering husband, she is initially furious and demands that he learn his place. But she eventually decides that she prefers to be ruled, and resolves to be obedient in the future. She redeems herself when she helps Leon gull the lecherous Duke Medina into repentance.

MARGERIE

See under "MARGERY."

MARGERY**1520

A "ghost character" in J. Heywood's Johan Johan, the Husband; Tyb, His Wife; and Sir Johan, the Priest. Margery does not appear on stage, but Tyb reports that in fact she has paid for the baking of the pie that the wife and Sir Johan will consume. Given Johan Johan's reference to Margery as a notorious procurer, her placement within a group that includes Tyb, Anne (the daughter of a neighbor), and the philandering village priest Sir Johan, implies an obvious layer of illicit but generally known sexual license in the community.

MARGERY**1591

Oliver's daughter, William's sister in the anonymous Locrine. When Strumbo does not want to marry her, she beats him until he agrees. He fears she will be even stronger than his former wife Dorothie, who died when the Scythians burnt down their house.

MARGERY**1596

A "ghost character" in Shakespeare's Merchant of Venice. Margery is Lancelot's mother. Both Lancelot and Gobbo make reference to her to reestablish their kinship after Lancelot has fooled his father into believing that he was dead.

MARGERY **1631

Margery is maid to Milliscent, daughter of Agurtes in Marmion's Holland's Leaguer. She is set up as a gentlewoman and is courted by Capritio as part of a scheme to gull Trimalchio. She ends the play by wedding Capritio.

MARGERY EYRE

Wife to Simon Eyre in Dekker's Shoemaker's Holiday. She dreams of rising socially and puts on airs when she does. It is she who suggests to Rafe Damport, one of her husband's journeymen who has returned from the war in France, that his wife might have absconded.

MARGERY HOWLET

The full name of the bawd Madge in Brome's The Weeding of Covent Garden. (See "MADGE").

MARGERY JOURDAIN

A witch in Shakespeare's 2 Henry VI. At Eleanor's behest, the duplicitous priest Hume arranges a séance in which he, Roger Bolingbrook, the priest Southwell, and the witch Margery Jourdain conjure a spirit who will ostensibly help Eleanor to become queen. Hume is working for Cardinal Beaufort and Suffolk, who plan to use Eleanor to discredit her husband, the Duke of Gloucester. With Hume's collusion the séance is interrupted and the participants arrested. King Henry condemns the three men to the gallows, Margery Jourdain to Smithfield where she will be burnt as a witch, and Eleanor to the Isle of Man where she will live in exile after a public humiliation.

MARGERY MILDON

A "ghost character" in [?]Bower's Apius and Virginia. Maid of the milk house mentioned in a lie that Mansipula tells her lady to defuse her anger.

MARGERY MUMBLECRUST

Margery Mumblecrust is Dame Christian Custance's old nurse in Udall's Ralph Roister Doister. Usually addressed as "Madge," it is she who is first impressed by the braggart Ralph Roister Doister and delivers his love letter to the widow. For this, she is scolded and ordered by Dame Custance not to accept anything else that might be sent. Mumblecrust participates with the other servants in the comic attack on Roister Doister's party late in the play.

MARGET

She is Lelia's nurse and mother of the rebellious Pegge in the anonymous Wily Beguiled. See under NURSE.

MARIA**1589

A "ghost character" in Marlowe's The Jew of Malta. Maria is one of the nuns who is poisoned by Barabas. She sends for Jacomo to confess her.

MARIA**1595

Rosaline, Maria, and Katherine are ladies attending the Princess of France in Shakespeare's Love's Labour's Lost. At the end of the play, when the death of the princess' father, the King of France, summons the ladies back to France, Maria like the other ladies imposes conditions on her lover. If Longaville wants to win Maria, he must wait one year.

MARIA**1600

Alvero's daughter, Hortenzo's sister and Eleazar's wife in the anonymous Lust's Dominion. When her husband is banished by Cardinal Mendoza for his affair with the Queen Mother, Maria goes to the new King Fernando. Because Fernando loves Maria, he reinstates Eleazar's position at his court. When the Cardinal and Philip escape assassination at Eleazar's palace, King Fernando sends Eleazar in pursuit. During her husband's absence he hopes to seduce Maria. Eugenia, the Queen Mother, wants to kill Maria because she stands between her and Eleazar. Maria refuses Fernando. She wants to stay a true and loyal wife. Eleazar does not care about her life, but he does not want to be cuckolded. He therefore gives Maria a poison to administer to Fernando. Fernando, with his rapier drawn, forces Maria into a room, where he offers her a banquet and music. She takes her husband's drug herself, and Fernando falls asleep after kissing her. In her dream, Oberon and his fairies come to warn her of the Queen Mother's plan to kill her. The Queen Mother, Alvaro, Roderigo and Verdugo find her. They think she has murdered the King and determine to strangle her, but she dies in front of them. The King awakes and laments that they have killed virtue and chastity. Eleazar returns, holds the King responsible for his wife's death, and stabs him.

MARIA**1600

Maria is Duchess of Genoa, Andrugio's widow and Antonio's mother in Marston's Antonio's Revenge. At the beginning of the play, Maria is in route to Venice to join her husband and son for the wedding between Antonio and Mellida. She travels with her servant Lucio and her nurse Nutriche. As she moves toward Venice, Maria is unsure whether her husband and Piero have truly reconciled. She is eager to reach Andrugio and heads out to finish the last leg of the trip at five o'clock in the morning, much to her nurse Nutriche's comic chagrin. After Andrugio's funeral, Maria is persistently seduced by Piero until she finally agrees to grant his suit. A dumb show suggests that Maria's servant Lucio and nurse Nutriche were bribed to forward Piero's cause. The night before Maria is to wed Piero, she wanders around the castle with Nutriche. Balurdo arrives to play Maria some soothing music. Maria dismisses them both and laments over the death of Andrugio. Her husband's spirit then arrives to soundly scold her for even thinking of marrying Piero. The ghost instructs his wife to assist Antonio in revenging the family upon Piero; Maria obeys his request. Antonio arrives in Maria's chamber to kill her, but is stopped by the ghost. It is Maria that tells Piero of Mellida's death. In a dumb show, Maria and Alberto pull knives on Piero while Galeatzo informs senators of Piero's crimes. She is present at the masque when Piero is killed.

MARIA**1600

Maria is Olivia's waiting-gentlewoman and apparently in love with Sir Toby in Shakespeare's Twelfth Night. Despite her official connection to Olivia, she is more often seen in company with Sir Toby. When Sir Toby, Sir Andrew and Feste are drinking late and are scolded by Malvolio, she stands by them, despite Malvolio's threat to tell Olivia of her behavior, and is the chief author of Malvolio's downfall. She is the one who comes up with the plan of the forged letter, and the one who does the actual letter writing. She directs Malvolio to wear yellow stockings cross gartered because she knows Olivia hates the color and the fashion. She then tells Olivia, before Malvolio appears, that she believes he is possessed, which Olivia agrees to once she has seen him. Finally, she encourages Feste to pretend to be a priest to futher torment Malvolio. Maria is rewarded for her actions, as we are told by Fabian that Sir Toby has married her.

MARIA**1602

Glister's neice in Middleton's The Family of Love. Maria is in love with Gerardine. She remains true to him while he, through an elaborate plan, tricks Glister into endorsing the marriage.

MARIA**1604

Maria is the Duchess to the deposed Duke Altofronto of Genoa in Marston's Malcontent. After Mendoza banishes Aurelia and takes control of the dukedom, he reveals his plan to marry Maria and sends Malevole, her husband in disguise, to deliver her from the prison. At a masque celebrating Maria's return to court, Malevole reveals his true identity, is restored as Duke of Genoa and reunited with Maria.

MARIA**1609

Antonio's wife and the object of Mercurie's love in Beaumont and Fletcher's The Coxcomb. When she is introduced to Mercurie by her husband, she does not reveal that she knows Mercurie. She wakes in the middle of the night when Mercurie tries to leave and she compels him to stay. Mercurie asks Antonio to send her back to bed and Maria obediently complies. Later, Maria is confronted by Antonio who is disguised as an Irish footman. He taunts her and suggests that her husband is a fool. She berates him and tells him that she will not allow her husband to be made a cuckold—she tells her servant to arrest the footman and she leaves to report to his master. Maria makes her way to Mercurie's house. She confronts him about the letter he sent but he denies knowing anything about it. However, he does confess his love for her. She believes him and retracts her previous accusations. When a servant enters to tell Maria that her husband's belongings were found in a brothel, she is convinced that she has lost him; he may, in fact, be dead since there is no trace of him to be found. Mercurie offers to take her to his mother's house in the country and she goes with him. Antonio (who had been locked up in his disguise of the Irish footman) is released and follows his wife to the country where he delivers a second letter. When Antonio is said to be missing, Maria and Mercurie come under suspicion of murder, but once Antonio reappears, the charges are dropped and husband and wife are happily reunited.

MARIA**1611

Despite her love for Frank Hartlove in Fletcher's The Night Walker, Maria marries Justice Algripe at her mother's insistence. Before she can go to bed with her new husband, Hartlove attempts to seduce her, and the two are discovered. In the ensuing commotion, Maria faints and is taken for dead. Her body is accidentally stolen by Lurcher and Snap, and she wakes to find herself in a cemetery at night. She prevents Hartlove from killing Wildbraine by pretending to be her own ghost. Maria returns to her mother's house disguised as the nurse's niece, Guennith, a Welsh country girl. Her mother sees through the disguise but encourages Maria to maintain her ruse before Frank Hartlove. Hartlove is amazed by Guennith's resemblance to Maria and asks for permission to marry her as a substitute for Maria. Later he retracts his request, vowing to never marry, at which point Maria reveals herself. Her marriage to Algripe is found to be void; Hartlove proposes, and Maria accepts.

MARIA **1611

Livia's sister, Biancha's cousin, and Petronious' daughter in Fletcher's The Woman's Prize, Maria has just become the second wife of Petruchio, the celebrated tamer of his first wife, Katherina, the shrew of Shakespeare's comedy. Seemingly obedient to society's expectations, Maria surprises everyone by refusing to come to the marriage bed, locking herself in her rooms instead and staging a sex strike to tame Petruchio. She and Biancha debate with Petruchio, Petronius, and the other men, rejecting their demands that she submit like a good wife. After mass marches by City Wives and Country Wives in her support, Maria extracts promises of respect and contentment from Petruchio. While surrendering her fortress she retains her virginity, going on costly sprees of clothes buying and redecorating in an effort to tame her recalcitrant husband. She declares that Petruchio has the plague, confining him to his room and emptying the house of people and furnishings. Still seeking equality in her marriage, she flirts with Sophocles, making Petruchio jealous, and then supports Petruchio's plan to travel. He sets off on a journey, returning soon in a coffin, pretending to be dead. After Maria's oration against his foolish life, he sits up in his coffin, and Maria declares him tamed. He orders Jaques to arrange a celebratory feast and announces that he is "born again," now opposed to husbands who were stern or jealous.

MARIA**1612

Maria is a character in "The Triumph of Death," the third play within the play of Fletcher's Four Plays in One. She is a servant to Gabrielle. She helps Gabrielle plot Lavall's death and commits suicide with her.

MARIA**1613

Daughter of Old Lord Wealthy, sister of Young Lord Wealthy, and in love with Carracus in Tailor's The Hog Hath Lost His Pearl. Awaiting Carracus' arrival one night in order to elope with him, Maria calls out to Albert, thinking that he is Carracus, and invites him to climb up the ladder and join her in her bedchamber. After surrendering her virginity to Albert, thinking he is Carracus, she tells Albert as he descends the ladder to hurry with the preparations for their departure. When Albert returns with Carracus, she descends the ladder to join them as they exit to find the horses. Later, after Maria and Carracus have been married about a month, she enters to Carracus and tries to console him over Albert's seeming neglect. She identifies the ring she is wearing as the one Carracus left behind in her bedroom on the evening of their escape; Carracus, though, identifies it as Albert's and they both uncover Albert's treachery. Maria faints and is taken away by the Nurse. She recovers but tells the Nurse to inform Carracus that she is dead, so that she can banish herself to the woods and hide her shame. She disguises herself as a page and flees Carracus' house just as Young Lord Wealthy arrives. She next appears in the woods faint with hunger. She finds one of Albert's carvings on a tree and reads it out, thereby discovering Albert's penitence for his treachery. She wishes that she could live and tell Carracus of Albert's penitence; she also forgives Albert and then faints. She is revived by the disguised Albert, whom she does not recognize; Albert convinces her to live with him in the woods and promises to help her find the Albert who has been carving his story into the trees. Later, Maria wanders in search of Albert and, after witnessing a dance by a group of satyrs, encounters the disguised Albert with Carracus. She hears Albert disguised as a hermit ask Carracus to forgive Albert, whose complaints Carracus has read on the trees. When Carracus forgives Albert, Maria steps forward and reveals herself, explaining how her shame caused her to flee, and how the hermit had helped her to avoid starvation. She joins Carracus and Albert and returns to civilization. They appear at Old Lord Wealthy's, where they are greeted warmly and the marriage of Carracus and Maria receives Old Lord Wealthy's blessing. Maria greets her brother Young Lord Wealthy when he enters, and at the end of the play joins Carracus and Albert at Old Lord Wealthy's feast.

MARIA**1623

Maria is the wife of Don Pedro de Cortez and mother of Clara in ?Middleton and ?Rowley's Spanish Gypsy.

MARIA**1626

Lady Marine's servant in Fletcher's The Noble Gentleman. She entraps Bewford into marriage by pretending to be pregnant by him.

MARIA **1636

Maria has been rejected by Alonzo in Massinger's The Bashful Lover. She is also daughter to the banished Octavio. She goes to court and disguises herself as a page and calls herself Ascanio. Ascanio is in the pay of Galeazzo, himself in disguise as Hortensio. She supplies him with information on Matilda, whom he loves. Hortensio leaves the captured Alonzo in her custody, but, without revealing herself, she asks him to recall his actions at old Octavio's house, and lets him go. Hortensio takes Ascanio to Octavio's house where she is immediately recognized as his daughter, Maria. He gives her an elixir to restore her failing health. Later, father and daughter will meet the dying Alonzo, who has been wounded in the forest. They steal his purse. The father asks his daughter what she wants to do with him. Alonzo did sleep with Maria, and then broke his promise of marriage. No one would deny her revenge. Yet, she asks her father to save him, and further asks that she be allowed to tend him. Both are hopeful that, should Alonzo recover, he will marry Maria because she still loves him. As he recovers, Maria enters as an apparition in white, but cannot go through with the charade. She reveals herself, and all is forgiven. For her dowry, Octavio gives Alonzo back his money. Alonzo then marries Maria.

MARIA**1639

A "ghost character" in Hemming's Fatal Contract. Named by Fredigond as a member of the Dumain family already killed in her vendetta.

MARIA**1642

The fair-but-poor object of Pamphilus’ love in Salusbury’s Love or Money. She kisses him for loving her though she is poor. She rejects the peculiar wooing of Juristis and refuses to listen to Medico’s claims that Pamphilus is impotent. Maria tells Pamphilus that both Juristis and Medico send her love tokens and seek to woo her behind his back and devises a stratagem for Pamphilus to wear a disguise and observe their behavior. When Orlando appears (rather suddenly) and professes his love for her, offering to kill her husband to be with her, she has him promise to meet her again at 3 o’clock. She makes Medico promise to shave off his beard as a disguise so none should know that he is courting her. When it appears that her husband has returned, she has Medico hide in a trunk of dirty linens in the next room. When Orlando returns with news of the trick’s success, she thanks him by giving him a few shillings. When he complains, she calls out Pamphillus to hear him and so silences Orlando with her virtue.

MARIA COROMBONA BUTTO FUOCO **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.

MARIA CRESSINGHAM

Maria is Sir Francis's child, raised with her brother Edward in Chamlet's house at the request of the new Lady Cressingham in Middleton's Anything for a Quiet Life. At Chamlet's shop, Maria and Edward overhear Rachel accusing her husband that the two children are his bastards. When Maria inquires whether the allegation is true, Chamlet responds his wife meant his two apprentices, George and Ralph, who confirm the report readily. Maria and her brother, whom she calls Ned, say they would not be a cause of discord in Chamlet's house. When Rachel threatens to leave her husband and get a divorce because of the children's presence in the house, Chamlet charges George with taking the two children back to their father. At Sir Francis's house, Maria says she is glad to be there because she disliked her life in Chamlet's house. At Lady Cressingham's request that the children should be taken out an given some sweets, Maria thanks the lady and calls her a "kind mother." In an aside, George Cressingham says these poor children are unaware how dear they should pay for that sugar, referring to Lady Cressingham's plan to sell their inheritance. In his impoverishment, when Sir Francis thinks his wife has deprived him of all his money, he sends Edward and Maria out as apprentices. In the final scene of Lady Cressingham's repentance and profession of obedience to her husband, Edward and Maria enter with their reformed stepmother. The children are dressed elegantly as a sign of their newfound prosperity.

MARIA, HENRIETTA

Only mentioned in the anonymous Wit's Triumvirate. Mary is mentioned by the Prologue before the King and Queen. The Prologue is here addressing to Queen Henrietta Maria (1609-1669), wife to Charles I, who is a member of the audience.

MARIAN**1589

Marian is daughter to the Earl of Chester and the Countess in Munday's John a Kent and John a Cumber. Her father promised her to Pembrooke but she prefers her former betrothed, Powesse. When the two future bridegrooms are received at the court of Chester, Marian looks sullen and far from pleased with Pembrooke. When John a Kent arrives disguised as a Hermit and manages to persuade the Countess to accompany the young ladies to a secret meeting in the woods, ostensibly to go to a sacred spring, Marian and Sydanen accept readily. In a private conversation with the false Hermit, Marian and Sydanen show their preference for Powesse and Sir Griffin and agree to follow their lovers to Gosselin's castle. At the castle, however, due to John a Cumber's deceit, Marian and Sydanen fall once more under their fathers' influence. When Chester announces that Marian is to be married to Pembrooke, Marian warns Sydanen privately to refrain from speaking her mind. The ladies are sent back to Chester in the company of Oswen and Amery. On the way, Sir Griffin and Powesse lure the ladies away from their guardians and they return to Gosselin's castle. On the lawn before the castle, Marian is part of the play within the play in which the ladies act as themselves together with the lords. While pretending to act, Marian tells her father she loves Powesse, to whom she was betrothed. Marian speaks her mind before her father only when she plays the role of herself. At Chester Abbey, where the marriages of Marian to Pembrooke and of Sydanen to Moorton are to be celebrated, Marian is married to Powesse (disguised as Pembrooke) and Sydanen to Sir Griffin (disguised as Moorton). Faced with a fait accompli, the fathers are forced to consent to the marriages.

MARIAN**1591

I.
Only mentioned in Peele's Edward I. In the Robin Hood role-playing among the Welsh rebels, Elinor de Montfort styles herself Maid Marian.
II.
Maid Marian complains to Robin Hood in Greene's George a Greene that all the current songs area bout George and Beatrice, who is said to be fairer than Marian. She swears that she will not sleep with Robin until he goes to Wakefield and defeats George. He agrees to go, and she decides to go with him in order to see just how fair Beatrice is. She is present for the fight between George and Robin, although she makes no comment on the proceedings. She also enters with Beatrice at the end of the play, when Grimes gives permission for Beatrice to marry George. Again, she has no comment.
III.
Marian's character is the most fragmented of those affected by the incomplete revision of (?Chettle and) Munday's Downfall of Robert Earl of Huntington. Through II.i, she is called Marian and is the daughter of Lord Lacy. In II.ii she is named Matilda and it becomes clear that her father is now Fitzwater. In III.ii, she takes on the name of Maid Marian, to signal her chastity, even as Robert of Huntington becomes Robin Hood. Marian follows Robin out of the dinner where he will be declared an outlaw. When he tells her that he is outlawed and she is as good as widowed, she faints, but recovers and agrees to play her part in Robin's charade. When Robin announces that he knows of his banishment and leaves, Queen Elinor appeals to Marian, claiming that she wants to help. Marian agrees to change clothes with Elinor, but tells Robin of the switch, thereby foiling Elinor's plans to run off with Robin herself. Robin and Marian escape while a confused John woos his mother, believing it is Marian. While Robin and the others rescue Scathlock and Scarlet, Marian goes to the Widow Scathlock to fetch her. When Robin decides to become an outlaw, she accepts the name of Maid Marian, and it is while using that name that her father, Fitzwater, meets with her, disguised as an old blind man. She brings him meat and drink, and recognizes him, but agrees not to press the question of his identity when he asks her not to do so. Marian runs to fetch Robin when Fitzwater finds Warman about to kill himself, and comforts him. Later, she recognizes the man Tuck is fighting as John, and again fetches Robin to settle matters. When Richard appears, Robin presents her last as his best gift to Richard, and Richard of course returns this "gift" to Robin.
IV.
Marian is the name of Matilda, daughter of Fitzwater, when she is in the forest with Robin in Munday and Chettle's Death of Robert, Earl of Huntington. Her name abruptly shifts back to Matilda during Robin's death scene, when King Richard gives her, in her own right, Robin's lands and title. (For a complete character listing, see "MATILDA").
V.
Fitzwater's daughter and kin to the Bruces in Davenport's King John and Matilda. She is the unwilling object of the King's passion. She has sworn chastity after the death of her true love, the murdered Earl of Huntington. All the King's attempts to seduce her fail. She must at one point defend herself from him at knifepoint, after which she flees to her father's castle. The King's party later takes the castle. Queen Isabel attacks her in a jealous rage, but she persuades Isabel that she is innocent of courting the king's attentions. She remains a hostage until her cousin, Young Bruce, rescues her from the Earl of Oxford. When masquers arrive to entertain the Queen (present as the King's envoy to the rebels) she is innocently persuaded by her father to join the dance. It is a trick, however, and the King who is in disguise as a masquer abducts her. She is taken away and again entrusted to the Queen and Hubert. She seems to relent to Hubert's persuasion to accept the King, but persuades him instead to deliver her to sanctuary at Dunmow Abbey, where she takes vows as a nun. Here the Lady Abbesse defends her, but they are tricked into allowing the King's Confessor to meet Matilda. Thus gaining admittance, Brand murders her on the King's orders. He proffers her a poisoned glove, which she kisses by way of accepting the King's apology. Young Bruce avenges her death by killing Brand. The King rescinds his order to murder her too late. Her funeral cortège is brought at last to Windsor where she is mourned in song and praised for her piety and chastity. (She is cognate with Maid Marian, as Robert, Earl of Huntington, her late love, is a traditional alias of Robin Hood.)
[See also "MATILDA."]

MARIAN**1592

A "ghost character" in Shakespeare's Comedy of Errors. Marian is one of several serving women for Adriana at the Phoenix Inn of Ephesus. Dromio of Ephesus calls to her and the other serving women to open the door to him and their master. Inside, Dromio of Syracuse responds "capon" (i.e. cuckold) to this name.

MARIAN–MAY–BE–GOOD

Hob's wife in Preston's Cambises, she reconciles Hob and Lob. She beats up and chases off Ambidexter.

MARIAN SORROW**1615

The name Vaster's wife assumes after Benjamin rescues her from the brothel in S.S's Honest Lawyer.

MARIANA**1590

A Swedish princess held hostage in the Danish court in [?]Wilson's Fair Em, the Miller's Daughter. She and Lubeck are in love. But when Lubeck brings King William in disguise, to woo Blanch, William falls for Mariana instead. Mariana is not interested, even when William reveals his true identity. She is offended when Lubeck tells her that he would prefer she married William rather than force him to break his bonds of friendship. Mariana and Blanch conspire to resolve the situation with trickery. Mariana tells William that she agrees to elope with him, but it is really Blanch, in a veil, whom William takes back to England. Zweno imprisons Mariana on suspicion of complicity in Blanch's disappearance. In the conclusion it is Mariana who explains to William how he abducted the wrong woman. Her behavior causes William to reject all women as inconstant and it is not until he witnesses Em's constancy that he changes his mind.

MARIANA**1599

The pseudonym of Ariadne when she lives among the shepherds in [?]W. Rowley's The Thracian Wonder.

MARIANA**1600

Mariana (also Marian), is called "waiting-maid" to Honorea in Haughton's The Devil and his Dame, but she seems to be of gentle stock (she is Musgrave's cousin), as opposed to the lower-class maid-of-work, Nan. When Morgan Earl of London wants to work a "bed-trick" and needs a substitute maiden for Castiliano the Spanish Doctor to bed so that Honorea can be married to someone else, he asks Mariana's help. Thinking that Honorea will marry Musgrave she consents, for the sake of her mistress becoming the Devil's Dame of the title; but she really hates Castiliano and is interested only in his status and his money. She shrewishly drives away Castiliano's manservant, Robin (the devil Akercock in disguise), and arranges adulterous trysts between her cousin Musgrave and his love Honorea, as well as with her own lover, Captain Clinton. She is so lustful that at one point she tries to seduce Clinton's friend Miles Forrest. She tries to get Castiliano to poison Earl Lacy, but he substitutes a sleeping potion. At the same time Mariana and Clinton decide they must kill the doctor, so she sends him off to set an ambush, while she herself poisons the doctor's food. When she sees the earth swallow Castiliano/Belphagor, she rejoices in her widowhood, and in inheriting the doctor's estate. Belphagor reports to the court of Hell that his wife Mariana was "born for a scourge to man"–of "loose demanour, and dishonest life," with a sharp tongue, and a murderous way with poison.

MARIANA**1602

A woman of Florence in Shakespeare's All's Well. She is neighbor to the Widow of Florence and warns Diana of Bertram and Parolles, whom she says are notorious seducers.

MARIANA**1604

A woman betrothed to Angelo in Shakespeare's Measure for Measure. When her brother Frederick drowned at sea with her dowry, Angelo forsook her. After Angelo propositions Isabella, the disguised Duke Vincentio devises the "bed trick," in which Mariana is substituted for Isabella. In the end, the Duke forces Angelo to marry her.

MARIANA **1608

Attendant to the Queen of Sicily and sister of the Duke of Epire in Markham and Machin's The Dumb Knight. Mariana is loved by Philocles but does not initially return his affection, delivering instead a bitter assessment of marriage. When Philocles asks her to assign him a difficult task in return for a favor, she agrees; in exchange for a single kiss, the knight must remain silent for one year. Mariana is triumphant because she will no longer have to listen to Philocles' importunities. When the King offers a huge reward to anyone who can restore Philocles' speech, Mariana accepts the challenge, although the penalty for failure is death. She orders Philocles to break his vow, but he refuses despite Mariana's increasingly desperate pleas. Led to her execution, Mariana gives a rousing speech asserting her innocence; Philocles speaks just as the execution is about to take place. Mariana swoons, then confesses her love for Philocles who rejects her. When the Queen desires entertainment in the King's absence, Mariana delivers an oration to prove a fair woman must be proud. When Philocles and the Queen are jailed due to the King's false suspicions that they are lovers, Mariana bribes the jailer, visits Philocles, and exchanges clothes with him, enabling his escape. As the Queen is being led to her execution, Mariana suggests she challenge the law, and the Queen's honor is successfully defended by Philocles, to whom the King praises Mariana for her loyalty.

MARIANA**1621

An English Courtesan in Fletcher's Wild-Goose Chase. A beautiful woman with whom Mirabel, Pinac and Belleur are immediately taken, much to the jealousy of Lillia-Bianca and Rosalura. In reality she is a prostitute, and when this is revealed, Pinac immediately loses his interest in her.

MARIANA**1626

Wife of Alberto, and doting mother of Caesario in Fletcher, Ford, Massinger and Webster's The Fair Maid of the Inn. When Alberto is reported dead, she reveals to the court that Caesario is not her natural son, but the adopted son of a falconer's wife. She is appalled when the Duke suggests that she restore Caesario's gentility by marrying him, but, lacking a better solution, recommends to Caesario that they marry but never sleep together. When Caesario turns down this offer, Mariana refuses his alternative suggestion that he marry her daughter Clarissa. The crisis is solved when Alberto turns up alive, and Caesario marries Bianca after she has been revealed to be an aristocrat.

MARIANA**1629

Sister to Lysander and servant to Cleonarda in Carlell's The Deserving Favorite. In the first scene, she talks to Lysander about the new obstacle to his love presented by the Duke. She also chides him for failing to accept Cleonarda's invitations to visit them at the lodge. Later, she and Cleonarda discover Lysander wounded and the Duke apparently dead. They care for Lysander. She insists to Cleonarda that Lysander is unworthy of her love and chastises Lysander for seeming to forget Clarinda by doting on Cleonarda. When it appears that Lysander will be executed, Cleonarda insists that Mariana should kill herself, but Mariana objects that "we must not go until the Gods do call us."

MARIANA, QUEEN

A "ghost character" in Dekker's The Whore of Babylon. Although she is never seen in propria persona, her hearse is brought on during the dumb show at the beginning of the play. The attendance of friars and cardinals at her funeral shows that she was a Catholic, and the fact that Titania immediately replaces her shows that she represents Mary Tudor. Time and Truth are overjoyed by her death, which results in the rout of the friars and cardinals. In later discussions between Titania and her counselors, the dead queen is referred to as 'Mariana.'

MARIANUS**1637

Roman Prorex of Britain in the anonymous The Wasp. When confronted by the British barons Conon, Elidure, and Devon (forewarned by Archibald) he declares war against them. When they supplicate, he banishes Varletti for his audacity in wishing to marry Marianus' sister and also Tom Archibald for failing to sign his document unread. Hunting later in the forest, he is almost assassinated by the disguised Varletti and Gerald (who falsely claim that they are acting for Archibald). Archibald overhears and rescues Marianus. Marianus, however, receives a message from Varletti falsely claiming that Archibald stage-managed the rescue to curry favor, and Marianus sends Archibald to work like a horse in the mill. He calls for Varletti and Gerald, believing that they have behaved nobly in warning him. He dispossesses the supposed traitorous barons and gives their titles to Varletti and Gerald. He presides over the grievance hearing between Countess Claridon and The Wasp and witnesses The Wasp reveal his true identity as Gilbert, Baron of Claridon. When the rebels intrude to dethrone him, he calls for help from Conon, Elidure, and Devon, forgetting that he has sent them away. Beaten, he gives his crown to the disguised Archibald. Only then does he realize how he has plucked down "true nobility and rais[ed] boys and upstarts." He watches as his loyal, disguised barons defend him and trick the traitors into renouncing their designs upon the throne. He then receives him crown back from Archibald, and pardons the barons.

MARIA'S GHOST

Twice someone pretends to be Maria's ghost in Fletcher's The Night Walker.
  • Maria, after awakening in the cemetery, prevents Hartlove from killing Wildbraine by pretending to be her own ghost.
  • Snap (Alathe in disguise) also pretends in the cemetery to be the ghost of Maria and chastises Algripe.

MARIA’S MOTHER

A ‘ghost character’ in Salusbury’s Love or Money. Juristis claims to have loved Maria in her mother’s womb when first she announced her pregnancy.

MARIA’S SISTER

A ‘ghost character’ in Salusbury’s Love or Money. When Juristis claims to have loved Maria in her mother’s womb when first she announced her pregnancy, Maria points out that she was not the first daughter, and he must have fallen in love with her elder sister.

MARIE de MEDICI

Queen of France in Chapman's The Tragedy of Charles, Duke of Byron. She appears in the second act masque, along with the King's mistress, Mademoiselle D'Entragues; she has no lines. In IV, she enters with Byron and others. She plays cards with Byron, Epernon, and Montigny until the King stops the game, at which point all but Byron and Henry leave the room.

MARILLIA

An old servant woman in Davenant's The Spanish Lovers, whom Androlio has known from his childhood, and to whom he brings Claramante after abducting her from Orgemon. Androlio's attitude to Marillia is one of teasing insult; he claims, among other things, that she tried to seduce him when he was in infant—a claim which outrages her. She appears at the end with Androlio's defected servant (q.v. under "Servant, First, Second, and Third"), whom she is charging with rape; it seems, though, that this charge is not accurate when she confesses that she "yielded, As they say, to prevent harm."

MARINA **1598

Marina, also called Mall and Moll by Harvey, is, along with Laurentia and Mathea, one of Pisaro's three daughters in Haughton's Englishmen for My Money. She loves Harvey, a young man whose inheritance his father has pawned to Pisaro. But Pisaro chooses the Italian merchant, Alvaro, for her. Marina complains that her Italian suitor is boring, bawdy, and lewd. She mocks Alvaro to his face. Pisaro intercepts a message from his daughters to their English suitors inviting them secretly to Pisaro's house that night, he tells the foreigners to take the place of the Englishmen, but his daughters intercept his plan. When Vandalle arrives claiming to be Heighton (Ferdinand) and calling out for Laurentia, Marina recognizes him and formulates a plan. With her sisters, Marina pulls the fat Dutchman half way up in a basket and then leaves him hanging. When Harvey, Ned, and Ferdinand arrive, the unseen Pisaro announces his presence. Their plans have been discovered. Marina weeps and Laurentia reprimands her. Anthony has a plan to thwart their marriages to the merchants. Laurentia is told to disguise herself as Antony, and Marina is eager to do something too. Anthony has Frisco announce that Harvey is sick, not knowing the illness is feigned. Marina says she will make him well with a kiss. Alvaro encourages a marriage, thinking that Harvey's death will leave Marina a wealthy widow. Pisaro, also believing that Harvey is close to death and that he will benefit from the marriage, announces that he freely gives Marina to Harvey as his wife. Harvey thanks everyone, marries Marina, and instantly recovers. Later, Marina and Harvey mock Vandalle when they learn that Laurentia has escaped Pisaro's locked house.

MARINA**1608

The daughter of Pericles and Thaisa in Shakespeare's Pericles. She is born on board a ship during a violent storm–a birth that supposedly kills her mother. She lives in the care of Cleon and the Dionyza until, just as she is about to be murdered, she is abducted by pirates. The pirates sell her to bawds who intend to make her a fresh whore in their disease-ridden brothel. Marina's virtue, however, is so great that would-be customers are inspired to reform and renounce the brothel altogether. She becomes a teacher and, because of her reputation as an inspiring soul, is called upon to ease the melancholy of a visiting monarch. That king, unbeknownst to her, is her own father, Pericles. Father and daughter are happily reunited, and Pericles promises Marina's hand in marriage to the reformed Lysimachus. Following Pericles' vision of Diana and consequent journey to Ephesus, Marina is also reunited with her mother.

MARINA**1621

Marina, wife of Francisco in Massinger's The Duke of Milan, and sister of Sforza, hates the Duchess.

MARINA**1641

Marina is Artesio's daughter and the wife of Comodus in Quarles' The Virgin Widow. She and her sister Rosia are cast much in the mould of Cinderella's ugly sisters.

MARINE**1612

Marine is a character in "The Triumph of Death," the third play within the play of Fletcher's Four Plays in One. He is the father of Hellena.

MARINE**1626

Family name of Monsieur Godfrey and Madam Marine in Fletcher's The Noble Gentleman.

MARINE, MADAM

Monsieur Godfrey Marine, the Noble Gentleman's wife in Fletcher's The Noble Gentleman. She is referred to as "Lady" in the play text. She wheedles money from the Gentleman (Godfrey Marine) and spends it on clothes and lovers. In order to remain in the City, she and her gallants conspire to make the Gentleman believe that the King has made him a Duke. She assists Shattillion's Love in making Shattillion believe he is under arrest in her house, and arranges an interview between the Gentleman and Shattillion for the entertainment of her gallants, after which he escapes. She advises Cleremont's Wife in fashionable behavior. Dismayed to learn that her husband plans to return to the country to announce his preferment to his tenants, she has her gallants bring word that the King has rescinded his title. She convinces him that he will escape charges of treason by keeping his "title" a secret shared only by herself and Jaques; she exacts his promise that he will let her make all household decision henceforth.

MARINELL

Officer under Brennoralt in Suckling's Brennoralt, and friend of Grainevert, Stratheman, and Villanor.

MARINER**1561

The Mariner in the anonymous Pedler's Prophecy enters complaining about the lack of good sailors. He is met by the Traveler and then the Artificer, who tells them both about the Pedler and his rebuke of the Mother's secret Catholicism. The Mariner is at first suspicious of the Pedler's gift of prophecy, even accusing him of being possessed by the devil and in need of hanging. However, he is convinced in the end and invites him to have dinner with the Mariners.

MARINER**1585

Shipwrecked with Dick, Rafe and Robin in the beginning of Lyly's Gallathea, he quickly has enough of their company and their foolish questions and leaves both them and the play.

MARINER**1605

The mariner in Heywood's 2 If You Know Not Me brings news that Gresham's portraits, destined to decorate the Exchange, have been lost.

MARINER**1610

A mariner in Shakespeare's The Winter's Tale deposits Antigonus and the newborn baby Perdita on the Bohemian shore, before setting off in a raging storm. The clown's report of a wreck at sea seems likely to be a description of the mariner's demise.

MARINER, FIRST and SECOND

Two mariners assist the king and Perillus to cross from England to Gallia in the Anonymous King Leir. When they arrive, they discover that their passengers have no money to pay them:
  1. The First Mariner demands that Leir switch gowns and caps with him to pay for his passage to Gaul. When Perillus offers his doublet if the Mariner will give Leir back his gown, the First Mariner objects to any attempt to alter the bargain already concluded.
  2. The Second Mariner asks that Perillus exchange cloaks in order to pay for his passage to Gaul. Perillus offers to give up his doublet as well if only Leir can keep his gown. When Leir and Perillus argue over this, the Second Mariner believes that they are about to ask for their clothes back and persuades the First Mariner to rush off.

MARINER, FRENCH

The Mariner in the anonymous King Edward III is a French subject who brings word of the approaching English navy and of the French navy going out to meet them. He returns to tell King John that the English navy is victorious and that the English have landed on French soil.

MARINERS**1606

A number of Fairy mariners in Dekker's The Whore of Babylon follow Florimell in the battle against the Babylonian Armada.

MARINERS**1609

Two sailors on Young Forrest's ship in Heywood and Rowley's Fortune by Land and Sea: they are so impressed with his seamanship that they make him captain.

MARINERS, TWO **1615

"Ghost characters" in Tomkis' Albumazar. 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.

MARINO

Marino is an honorable courtier in Shirley's The Gentleman of Venice. He is commissioned by the duke to accompany the duke's son Thomazo and report on the young man's behavior. Receiving jewels that Thomazo has stolen from the duke, Marino reports the theft, and Thomazo is taken to prison.

MARIO**1600

An attendant to Gwalter and Pavia in Chettle, Dekker and Haughton's Patient Grissil. He is one of many who urge Gwalter to marry, but like the others, he is scandalized by Gwalter's choice of the low-born Grissil. After the marriage, Mario admits Grissil's remarkable virtue but still favours and assists with her banishment. Ultimately, he and Mario are denounced as black-hearted flatterers.

MARION

See "MARIAN."

MARIUS**1588

Marius is one of the two former generals vying for control of Rome in Lodge's The Wounds of Civil War. He is present during the initial debate and when it appears that he has been elected, he reminds the Senate that he has been a consul six times and promises that, despite his age, he will continue to serve Rome. When Scilla enters with an army and demands the position of general, Marius promises to fight him and leaves the Senate with his followers. In a stage direction in the next scene, he chases Lucretius over the stage. However, he loses the first battle, and must flee to Minturnum, and asks to stay there. The magistrates of Minturnum are fearful of Scilla, and, despite Marius' attempts to convince them otherwise, they decide to have him killed in order to ingratiate themselves with Scilla. They hire a Frenchman, Pedro, to kill Marius while he is sleeping, but Pedro has a vision and runs off. When Marius wakes, the magistrates ask him to leave. He retreats to the Numidian mountains, where he talks to an Echo, using it to convince himself better times are at hand. He is discovered there by his son, Young Marius, who tells him they are ready to march on Rome. Marius takes Rome, and most of Scilla's followers flee or change sides. When Cornelia and Fulvia, the wife and daughter of Scilla, are found and brought to him, he gives them jewelry and lets them go free, despite their fears that they will be put to death. However, he refuses to consider peace with Scilla, telling them that Scilla is his foe. Marius sends soldiers to find and kill Anthony, and immediately after the Captain has done so, Lectorius enters, announcing that Marius has been visited by seven eagles, signifying the end of his life, and that Marius has in fact died.

MARIUS**1614

Marius is Tullius' faithful friend, and faithful lover of Tullius' sister, Laelia in the anonymous The Faithful Friends. Having been banished to colonial service on the frontier because of the feud between his father and old Tullius, he returns having won much honor at the beginning of the play and is authorized by the emperor, Martius, to marry Laelia. But she has disappeared-in fact, she is in disguise as Philadelpha's page, Janus-and before her real identity can be revealed he agrees to join Tullius at the front in the war against the Sabines. When Tullius receives Rufinus' letter accusing Philadelpha of unchastity and leaves the army to return to Rome, Marius assumes Tullius' armor and identity, parlays with the Sabines and receives their duplicitous offer of surrender, discharges the army, approaches the citadel, is treacherously assaulted, falls, and is left for dead. But concealed armor saves his life, and he is reunited with Laelia. He devises the plan whereby he, Tullius, and Armanus participate in Martius' birthday masque, disguised as women, and shares in the general rejoicing at the end.

MARIUS, CAIUS

Only mentioned in Jonson's Catiline. Caius Marius (155–86 BC) was a Roman general and political leader, who acted as a praetor or consul. He led victorious campaigns against Cimbri and Teutoni, but his rivalry with Sylla led to civil war. Sylla was an adherent of the senatorial party and marched with troupes on Rome. However, as soon as Sylla and his regions were safely out of the way to the war in Asia, Marius seized Rome with his army and massacred many of the senatorial leaders. Hovering over Catiline's head, Sylla's Ghost invokes the evil powers to help him to inoculate the germs of destruction in Catiline's mind. Sylla's Ghost makes an incursion in earlier Roman history, implying that Marius, his former political rival, was motivated by the same type of destructive ambition that he wanted to instill in Catiline's spirit.

MARIUS, YOUNG

Young Marius is the son of Marius in Lodge's The Wounds of Civil War. After he and Marius are forced out of Rome, he and Cethegus and Lectorius retreat to the Numidian Mountains, where Young Marius complains about his state and his desire to die in battle. They are alerted by a message from Cinna that they should find Marius and march on Rome. Accordingly, they set out in search of Marius. They find Marius in the mountains, but not before Young Marius has again complained about Fate and his losses. Being reunited with his father raises his spirits and makes him eager to march on Rome. When they have entered Rome, Young Marius wants to take immediate vengeance on Octavius and offers to kill him where he sits, but Cinna has a soldier do it instead. Young Marius is then sent by his father to Praeneste to prevent Scilla's approach. After his father's death, Young Marius continues to hold Praeneste, but returns to his moaning, first leaving the battle to complain about Fortune and his losses, and then leading his soldiers in a mass suicide in an attempt (vain, as it turns out) to convince Lucretius to spare the women and children of the town.

MARK ANTONY

I.
Antony is one of Caesar's captains in Fletcher and Massinger's The False One. He does not, in this play, demonstrate any of the characteristics of his later career. He is loyal to Caesar, admiring him for weeping at Pompey's death, and defending his infatuation with Cleopatra, although wishing he would abstain. He is appalled by Septimus' rich appearance, and suggests that if he were armed he would make Septimus "blush" for his behavior. After the revolt begins, Antony counsels Caesar to kill both Ptolemy and Cleopatra, but Caesar is not sure if Ptolemy is treacherous and is sure Cleopatra is not. When the fight is going badly, Antony suggests they die nobly on each other's swords (suggesting his ultimate end), but Caesar does not believe the battle is lost. Along with the others, he rejects Septimus' attempt to hide them in a cave, assuming it is treachery. Although he is part of the party who rescues Cleopatra and kills Photinus and Achillas, he has no lines in the last scene.
II.
Marcus Antonius, or Mark Antony in Shakespeare's Julius Caesar. He eulogizes Caesar in such eloquent terms that the Roman citizens rebel against the conspirators. Part of the triumvirate governing and battling after the death of Caesar, Antony expresses little faith in the abilities of co-triumvir Marcus Aemilius Lepidus. Antony gets a taste of things to come when Octavius will not allow Antony to dictate who assumes what battlefield on the plains of Philippi. Significantly, Antony's are not the last words of the play; those go to Octavius, though Antony's final speech is memorable in its commentary about Brutus: "This was the noblest Roman of them all."
III.
Marcus Antonius is the hero of May's Cleopatra; famous Roman general now dangerously besotted with the exotic Cleopatra and outmaneuvered by his younger rival, Caesar. May makes his besotted state much softer than does Shakespeare: talked into agreeing to her participation in the Battle of Actium, he never reproaches her with its disastrous outcome, but instead retreats into generalized melancholia and assumes the identity of Timon the misanthrope (a Plutarchan scene that Shakespeare omits). He makes little objection to her meetings with Thyreus, the messenger of Caesar, and does not blame her (as in Plutarch and Shakespeare) for his final defeat at Tarentum. After this, he fails to persuade his freedman Eros to kill him, and succeeds, with some difficulty, in killing himself; May omits Plutarch's scene between Cleopatra and the dying Antonius, so the relationship, never very emphatic in this play, fades away in silence.
IV.
Mark Antony is a triumvir of Rome, and the lover of Cleopatra in Shakespeare's Antony and Cleopatra. His men, and he himself, are worried that he is too influenced by the sensual life of Egypt, and after he hears of the death of his wife, Fulvia, Antony declares that he must break free of Cleopatra. He travels to Rome to meet with Caesar, and is reconciled with him by Lepidus and Agrippa. The latter suggests that to cement the reconciliation, Antony should marry Caesar's sister, Octavia, which Antony agrees to. However, he quickly returns to Egypt and Cleopatra, setting himself up as Emperor. Caesar declares war on him for this. Despite protestations by Enobarbas and Canidius (and the Soldier), Antony agrees to fight at sea, which turns out to be a mistake. Not only are the Romans superior, but when Cleopatra runs from the battle, Antony follows her, and therefore the battle is lost utterly. Antony becomes depressed, but is brought around by Cleopatra. When Caesar sends Thidias to Cleopatra to offer her safety if she will turn against Antony, Antony has Thidias soundly whipped, but then turns on Cleopatra and accuses her of treachery. She soon convinces him of her loyalty, and a second battle is joined. Antony at first triumphs on land, but then loses at sea and Antony believes again that Cleopatra has betrayed him. He viciously accuses her, and she locks herself in her monument and sends Mardian to tell Antony that she has died. Antony believes the lie and decides that he too should die rather than lose Cleopatra and surrender to Caesar. He first asks Eros to stab him, but Eros chooses instead to kill himself. Antony then stabs himself, but botches the job. He asks his soldiers to finish the job, but no one will. Mardian then returns and tells him that Cleopatra is not dead. Antony has himself carried to her monument, where she and her maids haul him up to safety. He dies in her arms.
V.
Antony is a devoted follower of Caesar in Chapman's Caesar and Pompey. Before the war, he supports Caesar's bid to have his army admitted; once the fighting has started, he encourages his commander when he is depressed at his early tactical mistakes, and, later, urges him to go on after Pompey has refused peace. He is assigned a co-command with Caesar for the final battle.
VI.
Only mentioned in the anonymous Wit's Triumvirate. Antony is mentioned by Doctor Clyster, when he explains the parts each of the cozeners had in their 'triumivrate' (sic): "One strives to be Augustus, the other Antony; I shall be Lepidus." Marc Antony (C. 83 B. C.–30 B. C.) was a Roman politician and soldier who belonged to a very distinguished family, being related to Julius Caesar through his mother. It was when Antony returned from Gaul with Lepidus that Augustus joined them to establish the Second Triumvirate. Thus, Antony obtained Gaul, Lepidus, Spain, and Augustus, Africa, Sardinia and Sicily. They made their power absolute by massacring all those who were unfriendly to them in Italy, and by their victories over the republican army in Macedonia, under Brutus and Cassius.
VII.
A "ghost character" in Markham's Herod and Antipater. According to Hillus the centurion, Antony has died in Egypt after losing his battle with Augustus.
VIII.
A "ghost character" in May's Julia Agrippina, mentioned as a great Roman of the past.
IX.
Only mentioned in Marmion's A Fine Companion. In decrying a separation from Aurelio, Valeria compares their state to that of Antony and his Egyptian Queen.
X.
A Roman commander in Kyd's Cornelia; loyal to Caesar, Mark Anthony stands by his commander and warns him that there are men in the Senate who see him as a threat to Rome, who envy his military brilliance and his success with the people of Rome. He begs Caesar to set a guard and keep a vigilant watch about his person. Mark Anthony is convinced that the threats to Caesar are real and vicious and that the conspirators will eventually kill Caesar if Caesar is not more careful. Caesar leaves his life in the hands of the gods.

MARK–ANTONIO

Mark-Antonio is the son of Leonardo and beloved of both Theodosia and Leocadia in Fletcher's Love's Pilgrimage. After secretly engaging himself to both women, he deserts them both to sail to Barcelona and join in the war. During a conversation with Rodorigo, Mark-Antonio declares that war is his mistress and he means to tame her. Asked about real women, he claims that he loves all equally and none steadfastly. He pretends that he is only speaking for argument's sake, but when he is in the streets of Barcelona, he insists on accosting Eugenia and trying to lift her veil, despite warnings that it is a capital offence to do so. During the resulting brawl, Mark-Antonio is wounded and helped to Rodorigo's cabin by several Soldiers. He is brought to the Governor's house and, after a brief struggle with his conscience, attempts to seduce Eugenia. Appalled by his behavior, Eugenia plots with Leocadia to convince Mark-Antonio that his wound is actually fatal. He is easily convinced and confesses his betrayal of both Theodosia and Leocadia, although he makes clear that Theodosia was first. He is then assured that he is not dying and reconciled with Theodosia. When his father arrives, Leonardo approves of his engagement, although he scolds his son for not having asked Alphonso's permission before becoming engaged to Theodosia.

MARKE**1609

A clerk (or scribe) for the court, particularly the Justice in Beaumont and Fletcher's The Coxcomb.

MARLE

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

MARLOVE

Family name of Belisia, Clariana, Lady and Young Marlove in ?Glapthorne's The Lady Mother.

MARLOWE, CHRISTOPHER**1603

Only mentioned in the anonymous 2 Return From Parnassus. Christopher Marlowe receives extensive praise from Iudicio and Ingenioso, as gifted in writing but unfortunate in life.

MARLOVE, LADY

Lady Marlove encourages the suit of Bonville in ?Glapthorne's The Lady Mother. She warns him that if he isn't careful another suitor will displace him in her affections. She laments her unrequited love, leaving the object of affection unnamed, and presses Thorowgood to take up her latest commission, after which, she has promised, she will respond to his request for her hand. In the meantime, she receives word that her son will arrive the next day. In an offstage conference with Thorowgood, she informs him that her daughter Belisia is a whore, and bids him tell Bonville, Belisia's suitor. Bonville leaps to defend her honor, drawing on Thorowgood, until Thorowgood informs him that the information comes from Lady Marlove herself. Bonville approaches Lady Marlove to inquire about Belisia's chastity, and Lady Marlove affirms that her daughter is unchaste. When Bonville shifts his suit from Lady Marlove's putatively wayward daughter to the Lady herself, and presses a marriage suit, Lady Marlove leads him on briefly, then chastises him for his mutability, and reveals that she invented Belisia's unchastity to test his devotion–a test he has clearly failed. When Thurston, rebuffed by Clariana, seeks an explanation from Lady Marlove about her daugher's behavior, she offers condolences, refuses to force her daughter to accept him against her will, and praises Thurston's devotion and virtue. In an apparently mad passion, he offers to shift his suit to her, and insists he sees signs of interest in her treatment of him. She agrees to his suit and seals the contract with a kiss, at which point he reveals that he finds her willing response loathsome, and could never imagine loving her. She is heartbroken at his rejection, and wonders if she has imagined the entire episode. She is immediately accosted by Sir Geffery and Crackby, who complain of their treatment at the hands of her daughters, who have, they say, uncivilly rejected their suits. She summons her daughters and insists that they accept the two unworthy suitors, threatening to disinherit them if they refuse. Lady Marlove summons her daughter Clariana, and confesses her love for Thurston, her daughter's former suitor, whom Lady Marlove instructed her compliant daughter to reject. When she learns of her mother's love for Thurston, Clariana steps aside and submits to her mother's superior right to this suitor. Her mother then commissions her to win Thurston's heart for her. She makes a concerted attempt to win Thurston for her mother, then exits to die of grief. When the hopeful Lady Marlove approaches him, Thurston reveals that he is unable to keep his promise to Clariana, and aggressively condemns and rejects the mother. In anger, she sends for her son, Young Marlove, and insists that he defend her honor. When Thorowgood informs her that Belisia and Bonville have drowned trying to elope, she haunts the river and threatens to kill herself. Young Marlove enters, claiming to have killed Thurston, egged on by Alexander Lovell. Disgusted with herself for all the harm she has caused, she offers herself in his place to the Constable, claiming that accessories are as guilty as the murderer in such cases. At the trial, she claims full responsibility for the crime, and begs the judge, Sir Hugh, to allow her son to go free while she suffers punishment. The Recorder sympathizes with her, but judges her, her son, and her Steward all guilty in the death of Thurston. At the end of the trial, Grimes, Timothy, Clariana, Belisia, Bonville, and Thurston enter in disguise and offer to perform a masque to instruct the condemned Lady Marlove. They perform a dance, then reveal themselves to her, explaining that Thurston and Young Marlove had concocted the plot to reveal Lady Marlove's error to her. Thurston informs her that he and Clariana are married, and Lady Marlove accepts the inevitable. She agrees at last to marry the faithful and devoted Thorowgood.

MARMADUKE**1605

Servant in Middleton's Your Five Gallants to Mistress Newcut, who reviles him as a 'foolish, dreaming lad', and threatens him with dismissal in her husband's absence. Sent to invite her country-cousin Bungler to dinner. Back home Newcut criticizes him for slacking in his domestic duties: it becomes clear that he is failing to provide sexual compensations for his master's absence, which his mistress must seek outside her home. He is also innocently blamed for the loss of the stolen salt-cellar.

MARMADUKE JOSHUA

A self-described "painter-stainer by art, and a limner by profession" in Sampson's The Vow-Breaker. He objects strenuously to being pressed into service by Sir Jarvis Clifton on the grounds that he "do[es] fructifie among the brethren"–which, judging from his later behavior, may be a reference not only to his undoubted Puritanism, but also to rather more bawdy activities. He is shocked to hear that men are killed in the wars without time say their prayers, and is convinced that guns were invented by evil Papists. His greatest concern in the wares is for his cat, Tybert; he is offended when Miles suggests that he tie the cat behind him so that it will take the bullet if he runs. He fights valiantly at the Battle of Leith, and is one of the Englishmen cozened by Mortigue and Doysells' force of Frenchmen in women's clothing, trying hard to convert one of them to "live among the familists." His strict Calvinism causes him to become incensed with his beloved cat for killing a mouse on the Sabbath day, and he is only dissuaded from hanging her when Lord Grey declares her pardoned. He gets thoroughly drunk after peace is concluded, and sings a song in praise of the conduct of the English at the Battle of Leith. After the soldiers' return to Nottinghamshire, Ball suggests him as someone who can speak in the nose and who could thus lead a puppet play for Queen Elizabeth, but Miles dismisses this suggestion on the grounds that a Puritan cannot speak a play.

MARMADUKE MANYMINDS

Sir Marmaduke Manyminds is a guest at Bloodhound's 'wedding' in William Rowley's A Match at Midnight. He is a Justice of the Peace, and escorts Mistress Coote and Sue to Bridewell.

MARMADUKE TRAVERS

Like fellow suitor Lamount in Shirley's The Ball, Sir Marmaduke Travers is made foolish by the tricks of Lady Lucina and sets off to court anew. Again like fellow Lamount, Travers is fooled by the joking and trickery of Rosamond and Honoria.

MARO, VIRGILIUS

Alternate name for Virgil in Jonson's Poetaster.

MAROTH

An angel of Mercy in Percy's Arabia Sitiens. Mahomet sends him and Haroth to spy on the people of Arabia, whom he suspects of rampant sinfulness. Disguised as traveling minstrels, Maroth and Haroth find sin and vice in every city they visit. They decide to search the desert for virtuous people. They join Epimenide's retinue and both fall in love with her. In the presence of her waiting women, they implore her to answer their suits, but she mocks and rejects them. When she tells them she would only take angels as lovers, they reveal their true identities and teach her the prayer that leads the way to Olympus/Heaven. Once he and Haroth arrive in Heaven, Maroth confesses to Mahomet that they fell in love with Epimenide and taught her how to reach Heaven. Mahomet banishes Epimenide into the moon and orders Maroth and Haroth to support the moon as it turns.

MARPISA

Marpisa is the widow of Altomarus and mother of Haraldus in Shirley's The Politician. Recently wed to the king, Marpisa suffers the dislike and mistrust of many, including Duke Olaus and the king's son Turgesius. She plots with Gotharius, her lover, in different power plays, but she turns on Gotharius when she learns that it was his commission that urged Helga and Sueno to get Haraldus overly intoxicated. By the end of the play, Marpisa has poisoned herself rather than allow rebels to take her, and the so-called "curative" she has provided Gotharius has poisoned him as well.

MARQUES of DÆNIA

Kinsman to Onælia in Dekker's Noble Spanish Soldier. He is present when the contract is burned and sides with Medina's faction. He attends the wedding of Onælia and Cockadillio.

MARQUES DORSET

The Marques Dorset carries the gold scepter in the processional for Anne's coronation in Shakespeare's Henry VIII.

MARQUESSE DORSET **1604

He plays tennis with Prince Edward in Rowley's When You See Me.

MARQUESSE of VILLA NOVA del RIOS **1611

A "ghost character" in Dekker's Match Me in London. Alphonso de Granada gathers grapes in her garden.

MARQUIS of MONTFERRAT

A "ghost character" in Shakespeare's Merchant of Venice. Apparently a friend of Bassanio. The two visited Portia's father when he was still alive.

MARRALL, JACK

A "term-driver," or lawyer in Massinger's A New Way to Pay Old Debts. Marrall is Overreach's pupil in extortion and evil deeds until he unwittingly becomes a pawn in Welborne's charade, which causes his relationship with Overreach to deteriorate. Switching his loyalty from Sir Giles to Welborne, Marrall punishes Overreach for his corrupt deeds by making a deed between the two become "nothing" through the use of some "quaint means." Although he has high hopes of being adopted permanently into Welborne's favor as his bailiff for this act he is, instead, completely dismissed from Welborne's service because he has proven himself to be a "false servant."

MARRE–MAID, MISTRESS **1615

Mistress Marre-Maid is a brothel owner in S.S's Honest Lawyer. Vaster turns his wife over to her when he believes she is unfaithful, and Vaster's wife is so loyal that she will not leave the brothel with Benjamin until after gaining Marre-Maid's consent (which Benjamin gains with money). She also brings a suit against Valentine for breaking a pot over the Tapster's head. However, her suit is denied when Gripe believes Valentine is a physician.

MARRIAM

Queen of Judah, Marriam is wife to Herod and daughter to Alexandra in Markham's Herod and Antipater. Already Herod has been responsible for the deaths of Marriam's father and grandfather, so she is glad when Alexandra and Aristobulus the Elder try to escape Herod's court and chagrined when the escape attempt fails. Falsely accused of infidelity to Herod, Marriam is executed on Herod's order; those viewing her execution speak of her as seeming saintly and glorified immediately prior to death.

MARRION, MAID

The character assumed by Iocastus, in drag, during his Morris dance in Randolph's Amyntas.

MARROW–BONE MAN

The early-rising marrowbone man selling his wares in the marketplace is a "ghost character" 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 the marrowbone man would have been up at such an early hour.

MARS**1566

I.
A "ghost character" in Gascoigne and Kinwelmershe's Jocasta. Mars is extensively invoked in the second choral ode, along with Venus and Jove.
II.
Mute character in the anonymous Rare Triumphs Of Love And Fortune.
III.
Mars, the god of war, attends the arraignment of Paris as a member of the Olympian panel hearing the case in Peele's The Arraignment of Paris.
IV.
Mars is the god of war in Wilson's The Cobbler's Prophecy. He is in love with Venus, and spends his time dallying with her and wearing fashionable garments instead of engaging in more manly pursuits. Mercury sends Raph Cobbler to give Mars a 'prophecy.' Raph arrives before Mars accompanied by Sateros the soldier, who seeks preferment. Mars will not grant Sateros's petition, and is alarmed by Raph's prophecy, which predicts that he will be cuckolded. Venus calms Mars's fears, and lulls him to sleep. Mars becomes suspicious when he wakes and finds Venus gone; Folly informs him that she has run away with Contempt. Mars spurns women and embraces war once more, and puts on the garb of a soldier to be revenged. A war ensues, and Contempt is routed. In the final scene, Mars, Sateros and Mercury enter together.
V.
Only mentioned in the anonymous Blurt, Master Constable. When Blurt asks Lazarillo to introduce himself, the Spaniard says he is a servitor to god Mars, referring to his soldier activity. When Blurt asks him for money, Lazarillo responds he depends on Mars for his money, meaning that he has it only in time of war. At Imperia's house, Lazarillo invokes "Mars armipotent" to give power to his sword and let him deal with the courtesans vigorously. The parallel of war and sex is evident here. In expectation of Imperia's sexual favors, Lazarillo swears that a woman can make him surrender, while Mars could not do so. When Frisco pours urine on Lazarillo's head from Imperia's window, the Spaniard menaces that Mars cannot save the porter from punishment. Lazarillo and Hipolito often swear by the god of war.
VI.
Only mentioned in Jonson's Cynthia's Revels. In Roman mythology, Mars is the god of wars, corresponding to Ares in Greek mythology. When Cupid enumerates Mercury's famous actions of legerdemain, he says that Mercury stole Mars's sword out of his sheath. Reporting that Mercury stole Mars's most treasured and symbolic possession Cupid emphasizes his cousin's ability as a deceiver.
VII.
Only mentioned in Jonson's Catiline. Second in importance only to Jupiter among the Roman gods, Mars was the god of war. Believed to be the father of Romulus, the legendary founder of Rome, Mars was worshipped with great honor. When he discloses his plans of becoming a consul, Catiline addresses Rome as the symbol of world power and corruption. Considering himself as a stepson to the great city, Catiline intends to dig himself a seat in her stony entrails and be re-born out of her great womb, an offspring greater than all the monsters she had engendered ever since her coupling with Mars. By contrast, Chorus invokes Rome's great fathers, Mars and Jove, to see the city's deplorable state of corruption.
VIII.
Only mentioned in Jonson's The Alchemist. Mammon boasts to Surly that he can make a potion that would turn an old man potent. If the fictional old man took a small quantity of Mammon's magic potion, he could become a stout Mars, strong like the Greek god of war. Face as Ulan Spiegel mentions Mars in a hermetic work of the alchemical experiment. He reports to Subtle, for Mammon's benefit, that he set the liquor of Mars, which is an alchemical metaphor for molten iron, in circulation in the heat of the Athanor, the furnace.
IX.
Only mentioned in the anonymous The Faithful Friends. The Roman god of war is repeatedly invoked, especially in his character as the enemy of love.
X.
The warrior god joins his fellows in Heywood's The Silver Age to judge the dispute over custody of Proserpine.
XI.
A mute character in Goffe's The Courageous Turk. The Roman war god Mars appears dancing with the goddess Venus in Lala Schahin's first masque.
XII.
God of war; a role played by Gerasto in the play-within-the-play in Fletcher and Rowley's The Maid in the Mill. He uses this guise as an opportunity to abduct Florimell.
XIII.
Only mentioned in the anonymous Wit's Triumvirate. Mars is mentioned by Doctor Clyster when he is talking to Master Algebra about the planets. When the latter states that, as for Venus–referring to the planet–"her changes and horns can plainly be seen," the former–ironically changing subject to the Roman goddess–replies that "Venus did change indeed! Mars knew that." According to Roman mythology, Mars was the god of war.
XIV.
Only mentioned in Haughton's The Devil and his Dame. Castiliano, who is being cuckolded, has a picture in his gallery of Vulcan taking the adulterous Mars and Venus is his net. In a later scene when Mariana is chiding her lover Captain Clinton, she jests that Cupid's bow has overcome Mars, god of war.
XV.
Only mentioned in Randolph's Praeludium. When the hungry Captain actor performs to the Gentleman for food and clothing, he uses references to classical mythology to demonstrate the extremity of his hunger. The Captain declaims that he is a disciple of Mars, the god of war, who will attend him in his aggressive take-over of the piece of pastry he wants to eat.
XVI.
Only mentioned in the anonymous Ghost. Procus mentions Mars when he identifies himself with a "childe of Mars." Philarchus also mentions Mars later, metaphorically identifying himself with the Roman god of war, when Procus and Pinnario, disguised as women, arrive at his closet.
XVII.
Only mentioned in Carlell's 2 Passionate Lovers. Mythological character that is named by Clindor to show that women favor different men depending on the occasion. Mars was the Roman god of agriculture and war identified with the Greek Ares. He was married to the goddess Venus, who was unfaithful to him with several mortals and gods.
XVIII.
Only mentioned in Kyd's Cornelia. Cornelia compares Pompey to Mars, "whose haughty renowne / And noble deeds were greater than his fortunes."
XIX.
Mars is the god of war in Heywood's Brazen Age. He has an affair with Venus. The pair is caught by Apollo and exposed by the jealous Vulcan. Because he does not have his sword with him, Mars cannot fight Vulcan.
XX.
A fantasy character in Tomkis' Lingua. Mendacio claims to have seen Mercury and Mars playing tennis with rackets made of spheres and stars for their balls.

MARS**1593

Mars is one of the planets who, jealous of Pandora's beauty, take it in turn to rule her behavior in Lyly's The Woman in the Moon. Mars causes Pandora to be aggressive with her suitors, whom she strikes.

MARS**1601

Captain Tucca is disguised as Mars at the masquerade banquet at court in Jonson's Poetaster. Second in importance only to Jupiter among the Roman gods, Mars was the god of war. Believed to be the father of Romulus, the legendary founder of Rome, Mars was worshipped with great honor. In early times, he was a god of nature and fertility as well as of war, and the month of March, when winter ended, was named after him. The Romans identified their god of war with the Greek god, Ares. The Greeks, however, looked to Ares as a quarrelsome god, who sent war and pestilence and delighted in destruction. Tucca's personality is similar to the Greek version of the god of war, and his disguise as Mars alludes to Tucca's pugnacious spirit. Tucca/Mars plays the game of courting Chloë/Venus. When Ovid/Jupiter pretends to court Chloë/Venus himself, Tucca/Mars is jealous and inflamed. When Caesar enters and rails at the ribald party, banishing Ovid, Tucca makes himself scarce.

MARS **1632

An informal disguise, or persona, or impersonation adopted in jest by Asotus in Randolph's Jealous Lovers while roaring at Ballio's house with Phryne, Hyperbolus, Thrasymachus, Bomolochus, and Charylus.

MARS**1633

Mars is a character in the masque performed in Cokain's Trappolin to celebrate the nuptials of Lavinio and Isabella.

MARSHAL

See also MARSHALL.

MARSHAL

Only mentioned in Medwall’s Fulgens and Lucrece. In the induction, B tells A that he intends to see the play provided the marshal (of the banquet hall wherein it is played) shall give him leave to do so.

MARSHAL

An officer of Simonides in Shakespeare's Pericles. He leads Pericles to the place of honor after the tournament in Pentapolis.

MARSHAL, FIRST and SECOND

Two Marshals figure in Fletcher's The Knight of Malta.
  • The First Marshal asks if the combatants in Oriana's trial are ready, and if the field is cleared. He hopes that Oriana will prosper.
  • The Second Marshal confirms that the combatants in Oriana's trial are ready, and that the field is ready. He expresses sympathy for Oriana, but feels sure that if she is innocent, justice will win out.

MARSHAL, LORD

A "ghost character" in Jonson's The Alchemist. The Lord Marshal enforces the Law in London. When Surly hears from Face (as Lungs) that a certain Captain Face is expecting him in the Temple church, Surly observes that this Don Face is a renowned bawd. Surly anticipates that he will catch the pimp and wishes that the Lord Marshal could thank him for it.

MARSHALL

See also MARSHAL.

MARSHALL**1578

An agent of the King in Whetstone's 2 Promos and Cassandra. Ulrico presents him with Promos' death warrant and orders him to oversee the beheading. He escorts Promos to his execution.

MARSHALL**1596
Escorts Stukeley in chains in the anonymous Captain Thomas Stukeley for an audience with Don Herando, his captor.

MARSHALL**1602

The King's Marshall is fervently loyal to his King in Heywood's Royal King. He saved the King's life during a battle, and so the King makes him his second-in-command and heir. During a hunt, the Marshall even gives up his horse's shoes when the King's horse loses one. But the other lords are jealous, and Chester and Clinton persuade the King that the Marshall is merely a sycophant. The King believes them, and humiliates the Marshall by stripping him of his office, keys and staff, which he is forced to give to Chester and Clinton. The Marshall bears this patiently until his staff is taken, at which point he breaks down and calls the King "unkind." For this, the King banishes him. The Marshall travels to the country, to be with his two daughters. But the King then demands that the Marshall send his fairest daughter to him. The Marshall chooses his eldest daughter, Isabella, and they decide that if the King gets her pregnant she should humiliate him by telling him that she is not in fact the fairest of the two after all. So Isabella is sent to the court, along with a dowry. The King makes Isabella his Queen, and the Marshall admires his noble treatment of her. But then Isabella carries out the plan, and the King sends her back, demanding Katherine instead. The Marshall says that Katherine is sick and her beauty is decayed, but that he'll send her to the King when she's better. Instead, he waits three months, then sends Isabella back, in expensive regalia, with Katherine as a handmaid, and with the dowry doubled. The King is moved by this generosity, and decides to outdo the Marshall: he keeps his Queen, and allows Katherine to marry the Prince. He does not believe the Marshall can give him a better present than this: but the Marshall then enters and presents the King with the greatest treasure of all: the baby boy that Isabella has given birth to. The Princess then decides to marry the Marshall, and everyone dances joyfully. But when the King gives the Marshall and his new wife a dowry, the Marshall becomes depressed. He decides to return the dowry, and accept the Princess purely for her virtue. This annoys the King, and the Marshall is brought to trial. The King sentences him to death, and the Marshall virtuously bequeaths all his goods to others. But he is saved when Isabella, Katherine, the Prince, and the Princess beg the King to remember his familial ties. The King realizes his folly, and eulogizes the Marshall as "the substance of all perfect loyalty." Note: If in another draft this character were named Osric, then this is probably the lost Heywood/Smith play called MARSHAL OSRIC in Henslowe's notes.

MARSHALL**1617

An official at the duel between Ercole and Romelio in Webster's The Devil's Law Case.

MARSILIUS

Emperor of Africa in Greene's Orlando Furioso. As the play opens, Marsilius has called the Soldan of Egypt and the Kings of Cuba, Mexico, and the Isles, as well as Orlando, to his palace in order that each may make his most passionate plea for the hand of his daughter, Angelica. After she chooses Orlando, Marsilius is threatened by Rodamant, the King of Cuba, Mandricard, the King of Mexico, and Brandimart, King of the Isles, with war. Finding Orlando mad with jealousy in the garden, he too believes the evidence planted by Sacripant and banishes his daughter from his kingdom and condemns Medor to death. Along with Mandricard, he dresses as a Palmer and meets the Twelve Peers of France, who have come seeking revenge on Angelica. After revealing himself to them, he agrees to help them find her. Once he learns the truth from Orlando in the play's closing lines, he agrees to marry his daughter to Orlando and to bestow his crown to him.

MARSISA

Marsisa is a humorous gentlewoman, cousin to Fatima in Burnell's Landgartha. In Act Three, she attends the play with Hubba wearing an Irish gown, a sword, "broags" on her feet and spurs. She has just arrived in the city and she receives the flattering of the brave Hubba. When Hubba leaves with Reyner, she regrets having said no to such a warrior as she loves him. She promises that she will love him when he comes back.

MARSTON, JOHN**1603

Only mentioned in the anonymous 2 Return From Parnassus. John Marston's trenchant satire earns several lines of commendation from Ingenioso.

MARTAGON

Cynosbatus's friend, Violetta's foe, and a "Tyrant" and "usurper" in Knevet's Rhodon and Iris. Martagon "command[s] the mountaines proud, and humble plaines / Of happy Thessaly" with his "imperiall power." His "state and power" have been recently "diminish'd," and he and Cynosbatus discuss "change" at the play's beginning, reveal their interests in Rhodon's relationships, and talk about coming up with "some Stratagem" to separate Iris and Rhodon. After Rhodon receives Violetta's letter concerning her mistreatment by Martagon, the shepherd makes an attempt "to bring th'usurper to a restitution" by "a friendly treaty." However, the conference set up to address the issue fails to bring about a satisfactory result and, thus, Rhodon vows to have revenge on Martagon "arm'd with a scourge of steele." Because of Rhodon's and Acanthus's "zealous"ness over Violetta's "cause," Martagon and Cynosbatus decide that they will not be able to win the battle fairly and, thus, must resort to underhandedness. For this reason, while Rhodon and his friends rally their armies, Martagon and Cynosbatus approach Poneria for help. The witch agrees to assist them by providing Eglantine with poison rather than a love potion to offer to Rhodon, which results in Rhodon's near death. Poneria prophesies the death of Rhodon and his army's disbandment, and claims that she would not "leave any villainy undone, / To be [Martagon's] slave." Martagon is identified by Acanthus (along with Agnostus and Poneria) as a likely culprit in the attempted murder of Rhodon and, due in large part to Poneria's lies about her sidekick's war experience, the General makes Agnostus a Colonel. Eglantine sends Martagon a letter in which she sends her well wishes to the General and entreats him to give Gladiolus a place in his army. Martagon grants her request and bestows "a Captaines place" on the Page, in the hopes that Eglantine will return "a greater curtesie than this" to him. Acanthus is sent by Rhodon to invite Martagon "to a bloudy breakfast to morrow morne," through which message Martagon discovers that Rhodon is not actually dead. He identifies Agnostus as an "Impostor," banishes both Poneria and her slave from his "Dominion," and he and Cynosbatus ready themselves for battle. The armies on both sides are prevented from fighting when Flora appears with Iris, Eglantine, and Panace and stops the battle. Flora orders Rhodon and Martagon to "dismiss" their armed bands and commands 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."

MARTELL**1617

Follower and loyal friend to Theodoret in Fletcher and Massinger's Thierry and Theodoret. He encourages him to take the moral course as befits a ruler. He accompanies Theodoret to Thierry's court, where, despite the reconciliation of mother and sons, he remains both skeptical of Brunhalt. In order to expose Protaldy's cowardice to Thierry, he arranges to take his sword in a public demonstration to dishonor him. Martell supports Thierry's plan to sacrifice an innocent subject according to the advice given to him by the magician Le Forte (really Lecure in disguise) and accompanies him to the Temple of Diana. He takes charge of the situation when Ordella reveals her identity and Thierry flees in horror. He persuades her not to commit suicide and begins to suspect that Brunhalt is to blame. He further persuades her to conceal herself and then proclaims her death. He tells Thierry that Ordella is dead and prevents Thierry from committing suicide. He effectively takes charge when Thierry falls ill. When De Vitry brings him proof of Brunhalt's guilt, he denounces her evil-doing. He forces her confession but is unable to persuade her to be reconciled with her dying son. He restores Ordella to Thierry in time for them to be reconciled. He commands Protaldy's execution and orders Brunhalt to witness his death by torture. With his dying words, Thierry appoints him king, and gives him the hand of his niece, Memberge, to preserve his line. Martell rewards De Vitry for revealing Brunhalt's treason and commands a private burial of the disgraced Brunhalt.

MARTELL**1639

One of the noblemen exiled with Bourbon and Lanove, friends of Dumain and opponents of the corrupt monarchy in Hemming's Fatal Contract. They welcome him and Charles Brissac to the campaign to depose the king. Their revolution is later taken over and led to victory by Clovis.

MARTEXT, SIR OLIVER

A foolish country parson in Shakespeare's As You Like It. When Audrey insists on marriage as a necessary precursor to copulation, Touchstone enlists Sir Oliver Martext to perform a secret marriage ceremony (one that Touchstone might later deny). Jaques arrives on the scene just in time to recommend a more conventional wedding, which eventually occurs when Audrey and Touchstone make up one quarter of the quadruple wedding at the end of the play.

MAR–TEXT

A "ghost character" in Shirley's The Witty Fair One. Mar-Text is mentioned by Treedle as being Treedle's chaplain.

MARTHA**1602

Mother of Otho in Chettle's Hoffman. She later adopts Hoffman as her heir. Although she knows that he is the murderer of her son, she orders that her servants pretend that Hoffman is really Otho. In recompense, Otho tries to rape her. She convinces Lorrique to betray Hoffman.

MARTHA**1613

Martha is the sister of the Lady in Beaumont and Fletcher's Scornful Lady. She sympathises with Welford after his harsh treatment at the Lady's hands, and she and Abigail Younglove carry him a posset. When Elder Loveless appears to have rejected his masked betrothed (really Welford in disguise) in order to marry the Lady, Martha takes pity on 'her' and invites the masked woman to share her bed for the night. Welford takes the opportunity to seduce Martha, and the next morning refuses to return to his women's clothes in order to preserve her honour. Instead, he persuades Martha to marry him.

MARTHA**1635

A Low Country woman in Brome's The Sparagus Garden and wife to the Gardener of the 'sparagus garden,' who calls her 'Mat.' She is the (very canny) business manager of the garden and organizes the dinners and short-term room-rentals that are the real source of its popularity.

MARTHA **1636

A chambermaid who is disguised as Mr. Lovering in Glapthorne's Hollander. She was chambermaid to Freewit's mother, and Freewit wronged her. In fact, she is honest and disguises in order to test Know-worth's resolution in love for Freewit. She has, in fact, married Sconce.

MARTHA**1638

Martha is the wife of Peregrine in Brome's The Antipodes. She is subject to abrupt mood swings–extreme weeping followed by fits of uncontrollable laughter. Her disorder is caused by sexual deprivation; she has been married for three years without consummation. She is cured when Peregrine takes her to bed, thinking her to be the daughter of the Antipodean king.

MARTIA

Sesse's daughter in Fletcher and Massinger's The Double Marriage. Snatched from her nurse by her father Duke Sesse, who was forced to flee Naples after killing the tyrant Ferrand's minion, Martia is raised at sea for fourteen years. Dressing as an Amazonian, Martia is a skilled fighter, which she demonstrates when the ship is attacked by Virolet and other Neapolitans attempting to rescue King Ferrand's beloved nephew Ascanio. Despite being wounded in the fighting, Martia, accompanied by haunting music, visits Virolet and Ascanio in their prison cell. There she confesses her love for Virolet who promises to marry her; in return, she helps the men escape from the ship. Aware of the extent to which she has betrayed her father, Martia nonetheless pursues Virolet, insulting his devoted wife Juliana. Virolet divorces Juliana and marries Martia, as promised, but then refuses to consummate the marriage, enraging Martia. Martia hires Ronvere to assassinate Virolet, then discovers her husband talking to his former wife Juliana, whom Martia insults. Accompanying the lustful tyrant Ferrand, Martia is captured by her father and executed by the Boatswain.

MARTHESIA **1638

Thalaestris' woman in Mayne's Amorous War. She is captured by the Thracians and led in with Orythia, Thalaestris, and Menalippe like Amazons in golden fetters pinioned with silken cords. As part of Barsene's plan, Menalippe and Marthesia dress as Amazon warriors and act as ambassadors to the Bithynians. Orythia, Thalaestris, and Marthesia tease Callias, Neander, and Artops by pretending they are prepared to bed them, but at the crucial moment an alarum sounds (by prearranged sign) that the camp is up in arms and the three men are "captured" by their own soldiers, Macrinus, Lacero, and Serpix, in disguise. Menalippe and Marthesia, still as Amazons sing "Time is a feathered thing" in act iv to lull to sleep Orythia, Thalaestris, Theagenes, and Meleager (who still believe the women they bed are Amazons rather than their wives). Callias, Neander, and Artops capture the four of the "treasonous" Amazons and lead in Orythia, Thalaestris, Menalippe and Marthesia wearing helmets over their heads. When the women remove their helmets (having also removed their Amazon make up), the captains are again made fools.

MARTIA**1596

A beautiful young Egyptian woman, vowed sister to Samathis and Elimine in Chapman's The Blind Beggar of Alexandria. She consults Irus the fortune teller, who predicts she will find a husband by standing at her father's door with herbs in her bosom. She follows his suggestions and weds the Burgomaster (who is in reality Pego, Irus's man, in disguise). In the play's final scene, she is with child, and begs her husband not to go to war (although the war appears to be over). The Burgomaster requests that King Cleanthes (formerly Duke, another of Irus's disguises) be the child's godfather, and he agrees.

MARTIA**1597

Daughter of Foyes, wooed by Labesha, apparent companion to the Countess in Chapman's An Humourous Day's Mirth. She visits the Count and Countess Moren, where the Count attempts to woo her on behalf of his cousin Colinet. She engages in witty banter with Lemot when he arrives with the other gallants (including Colinet), but leaves with Labesha after the Countess accuses her of flirting with the Count. She is part of the group that secretly observes Dowsecer's melancholy. From this observation, she falls in love with him. She then agrees to accompany Florilla (apparently to her garden to fast, but in fact to go to the tavern). In the final scene, the King and her father, Foyes, approve her marriage to Dowsecer.

MARTIA **1616

Martia is the daughter of the widow's First Suitor in Thomas Middleton's The Widow. She is disguised as Ansaldo, robbed by Latrocino, dressed like Brandino by Philippa, accused of being a cut-purse by Latrocino, and finally dressed again by Philippa, this time in women's clothing. In this attire Martia wins the love of Francisco, who never thinks her to be anything other than a beautiful woman. His would-be mistress Philippa believes Martia is a cross-dressed man with whom Francisco has fallen in love.

MARTIAL**1609

Only mentioned in Jonson's Epicoene. The Roman poet Martial (AD 40–104?) was a master of the epigram, a short, poetic statement that often has a moral. His poems give a vivid picture of life during the early Roman Empire. He seems to have become acquainted with the chief literary figures of Rome, including Seneca, Lucan, Pliny the Younger, and Quintilian. At his house in London, the self-conceited Daw boasts his learning and poetic talent, while Clerimont and Dauphine deride his pompousness covertly. Daw shows his contempt for many great minds of classical antiquity. When Clerimont asks him about the classical poets, Daw refers to them in a deprecating manner, including Martial in the long list of unworthy poets.

MARTIAL**1617

The Martial of the Queen's prison guards Theonor and his confederates (including Crates, Neanthes, Eraton and Sosicles) on the night before Theanor's trial for rape in Fletcher's Queen of Corinth. He reports to Euphanes that while the other gentlemen behaved gaily and confidently in prison, Theanor showed signs of deep repentance. The Martial is then present at the Prince's trial.

MARTIANUS

One of Britain's feudal lords in the anonymous Nobody and Somebody. For the injustices done to many of his subjects, Martianus, along with Cornwall, leads the plot to overthrow King Archigallo and install the former sovereign's brother, Elydure, in his place. After becoming treasurer in the new government, he is willing to support, at Elydure's urging, the reinstallation of Archigallo as king after he repents of his tyranny. In order to avert continued civil strife, he reluctantly supports the joint reign of Peridure and Urgenius after their usurpation of the throne from their brother. Recognizing that no gain will come from further bloodshed, he desists in his political quarrel with Cornwall, and both men arrange Elydure's third coronation.

MARTIN**1599

A young boy who, with his sister, Lenchy, is trying to escape the aftermath of the battle in the anonymous A Larum for London. Initially, he suggests that the two should hide in a neighbor's orchard. When surrounded by Spanish soldiers, he tries to protect sister but is killed along with his entire family despite the pleas of his mother and blind father.

MARTIN**1641

Martin is a clerk to Justice Clack in Brome's A Jovial Crew. He runs off with Amie, Clack's niece, thus ruining Clack's plan to marry her to Tallboy. Martin hopes to be married to Amie by Patrico. Cowardly, covetous, and generally clownish, he abandons Amie, leaving her with Springlove, Meriel, Rachel, Hilliard, and Vincent. Although at the end Martin tries to disprove the contract between Amie and Springlove, Sentwell serves as witness to it.

MARTIN, ADRIAN **1595

A "ghost character" in Chettle, Dekker and Munday's Sir Thomas More. Adrian Martin is one of the foreign residents of London who becomes a target of the rioters in the uprising of May Day in 1517.

MARTIN FURBISHER

A "ghost character" in Heywood's 2 If You Know Not Me. An English officer who distinguishes himself in combat against Spain.

MARTIN LUTHER

I.
Only mentioned in the anonymous Wit's Triumvirate. Luther is mentioned by Master Bead when he is revealing his Roman-Catholic religious scruples to Silence: "Sir, that lodging where the pictures of Luther and Calvin hang did so much trouble me that I was once in mind to have broken them, for I doubt that for the sin of us Romans, suffering those heretic pictures, we were after punished by the fall of Blackfriars House." Martin Luther (1483-1546) is responsible for the symbolic blow that initiated the Reformation when he nailed his Ninety-Five Theses to the door of the Wittenberg Church. That document attacked both papal abuses and the sale of indulgences by church officials. But, for Luther, the Reformation went beyond a mere revolt against ecclesiastical abuses: it was a fight for the gospel.
II.
A "ghost character" in Rowley's When You See Me. Wolsey and Gardner fear the death of Queen Jane may sway the king towards Luther's doctrines again. Martin Luther has written tracts condemning Henry for siding with Pope Julius. He later writes a series of letters to Henry attempting to convince him of the correctness of the Protestant position.

MARTIN POLECAT

Original name of Pol-Marten, Lady Tub's gentleman-usher in Jonson's A Tale of A Tub–changed by Lady Tub to a name less explicitly verminous.

MARTIN YELLOW, SIR **1636

A jealous knight in Glapthorne's Hollander. He send Popingay to test why his wife has gone to Artless' house. He sees her speaking French to Sconce and, when the Dutchman kisses her, he runs mad and stabs Sconce in the arm. He will listen to no excuses but rather storms away certain of his wife's infidelity. When he comes to his senses, later, Lady Yellow forgives and kisses him, but her kiss is so luscious that he grows jealous anew. He agrees to Urinal's plan to sneak into Artless' house in disguise and see if she will be seduced in her bed (in a type of reverse bed trick). He accidentally enters Mrs. Mixum's room. When she reveals his visit to everyone, he is filled with shame and promises never to be jealous again if his wife forgives him, which she does.

MARTINE

Martine is a friend of Antonio but also his secret rival for Ismenia's love in Fletcher and Rowley's The Maid in the Mill. When Antonio admires the countrywoman Isabella (who is really Ismenia in disguise), Martine, hoping to gain Ismenia for himself, encourages Antonio to marry 'Isabella', and tells her that Antonio loves her. When Ismenia reveals her disguise, Martine is shamed, but he then informs Bellides about the ensuing marriage of Antonio and Ismenia. His plan backfires when Bellides and Julio make friends and decide secretly to support the marriage. As Antonio and Martine travel toward Ismenia's house, Martine suggests they swap clothes in order to confuse anyone who attacks them. But when they are attacked, Martine slips away to Ismenia's window, hoping to trick her into marrying him. But it is Aminta he discovers at the window, not Ismenia - and they both marry in the belief that the other is someone else. Antonio attacks Martine in anger, but is arrested. When Martine's mistake is revealed, he makes friends with Antonio, and accepts his new wife.

MARTINES CAZALLA de BARAMEDA **1611

Courtier in Dekker's Match Me in London. His saucy manner to the king betrays him as one of the queen's spies. He brings the king a heart-shaped jewel from the queen as token of her love. The king tricks him into appearing the queen's lover and has both sent to prison.

MARTINO**1592

In the B-text only of Marlowe's Doctor Faustus, a knight and courtier at Emperor Charles' court, Frederick banters about Faustus with Benvolio and Frederick. Later, when Benvolio seeks revenge, Martino tries to dissuade him but fails and joins him in killing Faustus. He is punished at Faustus' command with a bloody dragging through mud and rough ground.

MARTINO**1595

A "ghost character" in Shakespeare's Romeo and Juliet who, along with his wife and daughters, is invited to the Capulet feast.

MARTINO**1597

Serving-man to Count Ferneze in Jonson's The Case is Altered. Plays a game of cudgels with Onion and injures him slightly.

MARTINO **1616

Martino clerks for Justice Brandino in Thomas Middleton's The Widow. He is pleased that Francisco appears so frequently with a need for warrants, bringing more funds into Martino's purse. That purse is stolen while the thief-medico named Occulto is pulling his tooth.

MARTINO**1636

Martino is Lorenzo's officer and guards Uberti in Massinger's The Bashful Lover. After Farneze wounds him, and frees Uberti, he knows that he has to do something brave if he is to save his own head. He captures Matilda and Hortensio, but he is ill rewarded for his efforts.

MARTINO **1638

A Genoese citizen, uncle of Levidolche in Ford's The Lady's Trial. He is appalled by her loose behaviour and reproaches her over it. When he learns that she has just married a rough-looking outlaw, he despairs, but is delighted when she tells him that her new husband is really her old, divorced husband, Benatzi.

MARTINO CARDENES, DON

Don Martino Cardenes, referred to throughout Fletcher and Massinger's A Very Woman as either Don Martino or Cardenes, is the son of the Duke of Messina. Originally, he is in love and engaged to Almira. When he hears that Antonio also seeks Almira's hand, he fights Antonio for his honor, but is seemingly killed in the confrontation. Antonio is taken away and does not see Cardenes' unexpected recovery. When revived, his father promises a fortune if the surgeons can fully restore him. However, his greatest change is not physical, but rather it is spiritual. Having survived a deadly encounter over the lusts of the flesh, Don Martino Cardenes swears an oath to forsake woman forever. Paulo attempts to cure him of an exaggerated melancholy by taking a series of disguises. When cured, Cardenes swears to be honorable and thoughtful. This opens the way for Antonio to take Almira for his own, without Don Martino Cardenes objecting. Instead, Cardenes offers his apologies for wishing to settle their dispute with violence.

MARTIRO

Martiro is the son of Romero, a lord of Navarre in Montague's The Shepherd's Paradise. He is a member of the Shepherd's Paradise and is in love with Bellesa. His name, which suggests the word "martyr," also hints at his function in the play. He represents the most extreme extent of Platonic love: love is all suffering with no fulfillment, and is not compatible with consummation or marriage.

MARTIUS**1589

Martius is a gentleman of the court and an advisor to the King in Lyly's Midas. When Bacchus makes his offer to Mydas, Martius urges the King to ask to be made 'monarch of the world.' Martius constantly pushes Midas into unnecessary wars and, when the King isolates himself, Martius determines to find out the cause.

MARTIUS**1594

Martius, a son of Titus Andronicus, and his brother Quintus are falsely charged with the murder of Bassianus in Shakespeare's Titus Andronicus. They are later executed and their heads are delivered to Titus on a platter.

MARTIUS**1608

Coriolanus is identified in the text as "Martius" until the surname "Coriolanus" is bestowed in Shakespeare's Coriolanus, and other characters often address him thus.

MARTIUS**1612

Martius is a character in "The Triumph of Honor," the first play within the play of Fletcher's Four Plays in One. He is a Roman general who conquers Athens. Martius commands Sophocles, the Duke of Athens, to bow before him; when Sophocles refuses, Martius commands his execution but yields to the pleas of Dorigen, Sophocles's wife. He falls in love with Dorigen and attempts to seduce her; she says she will not yield to his desire until "these rocks be moved." Martius' brother Valerius ceates the illusion that the rocks have been moved. Martius repents of his lust when Dorigen vows to kill herself rather than sacrifice her virtue.

MARTIUS**1614

Titus Martius is emperor of Rome in the anonymous The Faithful Friends. He is the patron of Tullius, whom he appoints as general of the army sent to put down the Sabine threat. But he secretly lusts after Tullius' bride, Philadelpha, and while Tullius is absent strives to seduce her, asking both Armanus and Rufinus to help. She remains faithful, however, until on Rufinus' advice he invites her with many others to his palace to celebrate his birthday, planning to rape her if she will not yield, and plots with Rufinus to have Tullius killed by the Sabines. When Tullius returns secretly to Rome, he gains access to the palace disguised as a woman, and he and Marius overhear Martius' last attempt to overcome Philadelpha's honor. When they reveal themselves, Martius insists that he intended only to make trial of Philadelphia's constancy; Tullius scorns the claim as a lie, but Martius succeeds in transferring the blame to Rufinus, and all are reconciled. No so-named emperor ever ruled Rome.

MARTIUS, YOUNG

Like his father in Shakespeare's Coriolanus, Coriolanus's son would "rather see the swords and hear a drum than look upon his schoolmaster." He accompanies Volumnia, Virgilia, and Valeria to the camp of Aufidius on the mission to beg Coriolanus to spare Rome.

MARULLUS

Marullus is a Roman tribune in Shakespeare's Julius Caesar who, with Flavius, accosts a cobbler in the streets and asks why the man is not working. Marullus and Flavius go about Rome removing celebratory scarves from statues and images of Caesar.

MARWOOD

Marwood is a friend of Beauford in James Shirley's The Wedding. He tells his friend that Gratiana is false; Marwood claims to have slept with her himself. Wounded when dueling with Beauford, Marwood is nursed to health. Beauford and others think Marwood is dead. By the end of the play Marwood has become the dupe, for it was not Gratiana with whom he slept but Lucibel, daughter of Cardona, disguised as Gratiana. Marwood agrees to wed Lucibel.

MARY I

I.
The daughter and eldest child of Henry VIII and Catherine of Aragon in Dekker and Webster's Sir Thomas Wyatt, Mary finds herself in isolation as the play begins, but when the royal council reverses its decision to support Lady Jane Grey, she quickly moves to assert herself. Ordering the Roman Catholic clergy and liturgy to be restored, she promises to build fine new churches at her own expense, and in a move politically shrewd enough for any Tudor monarch, she abates a portion of the taxes on the commons. When Sir Thomas Wyatt and the Duke of Norfolk urge her to show mercy to Guildford Dudley and Lady Jane Grey, she responds coolly that she will be most merciful to those of mean estate, but most harsh with those who would usurp her throne. Her enthusiastic embrace of the marriage proposal from Phillip II of Spain incites Wyatt to rebel in an effort to keep England out of the hands of the Spanish.
II.
As England's Catholic sovereign in Heywood's 1 If You Know Not Me, Queen Mary is determined to establish her power and has Elizabeth sent to the Tower along with other rebels against the crown. Influenced by her husband Philip, however, the Queen eventually speaks with Elizabeth and sets her free. She becomes ill and dies near the play's end, leaving the path clear for Elizabeth's succession.
III.
A "ghost character" in Drue's The Duchess of Suffolk. Returns England to Catholicism after Edward VI's reign, ordering Bonner and Gardner to cleanse the land of heresy. Issues the warrant for the arrest of the Duchess, Bertie, Cranwell, and Sands carried by the English Captain.
IV.
Only mentioned in Randolph's Plutophthalmia. Anus misses the days of Queen Mary (some seventy-nine years before this play) because women back then could get sexual gratification from a "lusty friar in auricular confession."

MARY**1600

An alternative name for Maria, used occasionally by Sir Toby and Malvolio in Shakespeare's Twelfth Night.

MARY **1606

The Widow's daughter in Middleton's(?) Puritan; she mourns her father and encourages her mother to remarry while publicly promising her mother not to marry. In the meantime she launches her own plan to marry Pennydub, a plan she goes forward with despite the warnings of Pyeboard.

MARY**1608

Mary is Sir William's eldest daughter in Armin's The Two Maids of More–Clacke. She is looking for the glove for the Lady. Mary is in love with Toures whom she wants to marry, and with whom she will run away. She hides in a trunk until she is discovered by her uncle. She is thought to be dead by her father, but she finally shows up in the party with the Governor.

MARY**1608

A "ghost character" in Markham and Machin's The Dumb Knight. Prate and Lollia's servant who is summoned but never appears during the near-discovery of Lollia and Alphonso's assignation.

MARY**1615

Valentine's niece in Fletcher's Monsieur Thomas. She loves Thomas, Sebastian's madcap son, but refuses to see him because she disapproves of his wild behavior. The swearwords he uses in a "debauched" love-letter to her confirm her resolve. She is briefly touched when he pretends remorse, but realizes that he is disingenuous and rejects him again. When he brings a very bad Fiddler to serenade her, she and her maids mock him, cause him to fall from the balcony, and eventually lock the door in his face. Warned of his plan to gain access to her by dressing up in his sister's clothes, she plants her maid, Kate, in her bed in a Moor's disguise, once again amusing herself at Thomas' expense. In the end, however, she consents to kiss him, and promises to "do more" once they are married.

MARY**1632

Mary and Anne are daughters to Sir John and Lady Frugal in Massinger's The City Madam. Like her mother and her sister, she is given to extravagance, and mistreats Luke. She also abuses her suitor, Plenty, on the advice of her mother and Stargaze. When Luke takes control of the family finances, she is stripped of all finery and is to be shipped to Virginia for Satanic sacrifice. She sees the error of her ways close to the end of the play, and reunited with Plenty.

MARY**1635

Only mentioned in the anonymous Wit's Triumvirate. Mary is mentioned by the Prologue before the King and Queen. The Prologue is here addressing to Queen Henrietta Maria (1609-1669), wife to Charles I, who is a member of the audience.

MARY AMBREE **1638

A "ghost character" in Glapthorne's Wit in a Constable. Valentine claims that, if he wishes, he can dress as a woman and pass for a bouncing Mary Ambree.

MARY AUDLEY, LADY

Lady Mary Audley is modest, chaste, and virtuous in Heywood's Royal King. She is teased by the Princess for her lack of a husband, but then the Captain enters and reveals that they are betrothed. Mary accepts the Captain despite his poverty, and says she'll use her wealth to raise him to the place he deserves. She tries to send him money via the Clown, but the Captain will not accept it: he wants to make his way by merit.

MARY BEARMBAR

Mary Bearmbar is the wife of the Mayor of London in Peele's Edward I. Early in the play, she incurs the wrath of the proud Queen Elinor, who objects to the Mayoress being accompanied through the streets by musicians as she goes to have her son christened. Later, Elinor summons Mary and inquires if the woman would wish to become a royal laundress or the nurse to Edward, Prince of Wales. When Mary chooses the latter, the queen has her bound to a chair and poisonous snakes affixed to her breasts in order to determine what kind of a "nurse" Mary will be.

MARY BLOODHOUND

The proper name of Moll, used only by Randall in William Rowley's A Match at Midnight. She therefore confuses her with Mary the Widow's maid.

MARY, DUCHESS of LANCASTER

A non-speaking character and likely a mistake in Peele's Edward I. When Edward meets Queen Elinor after the birth of Edward of Caernarvon, a stage direction lists Mary, Duchess of Lancaster, as being present. Because neither of Edmund's wives was named Mary, editors suspect that the character intended should be Mary Bearmbar, Mayoress of London.

MARY FAIR–CHASTE

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

MARY FAUGH

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.

MARY FITZALLARD

Sometimes called Moll, Mary is the beloved of Sebastian Wengrave in Middleton and Dekker's Moll Cutpurse, The Roaring Girl. Mary and Sebastian had been betrothed to each other, but their fathers Sir Guy Fitzallard and Sir Alexander Wengrave had a disagreement and Sir Alexander forbade Sebastian from marrying her. Mary and Sebastian still love each other, though, and when Mary goes to Sebastian disguised as a seamstress, he explains his plan to force his father into allowing their marriage. Sebastian intends to let his father think that he is in love with Moll Cutpurse and plans to marry her. Because Moll Cutpurse is so undesirable, Sebastian feels, Sir Alexander would be relieved for him to wed Mary. Mary consents to the plan, and Moll agrees to help them, having her tailor dress Mary as a man so that she can visit Sebastian more easily. In the end, Mary and Sebastian do wed, and his father is relieved and happy to take her as his daughter-in-law.

MARY, LADY **1604

Henry's second sister in Rowley's When You See Me. Wolsey has arranged to have her married to the aged French king. She attends the pregnant queen. She brings news that the queen is gravely ill and presents Henry with the choice to save the mother or the baby. She goes to France and marries the king and is crowned queen there. When the French king dies, Henry recalls her to England.She marries Bradon, who was sent for her, at Dover as they are returning from France. Henry at first pretends he will send her to the Fleet but then approves the match as a good English choice.

MARY, MISTRESS**1602

Young prostitute in (?)Heywood's How A Man May Choose A Good Wife From A Bad, employee of Mistress Splay, loved by Aminadab and Young Master Arthur. Has been courted by many men, and is advised by Mistress Splay to seek a rich husband above all else. Accepts the courtship of Young Master Arthur, but asks about his wife. After Arthur promises to do something to get rid of his wife, she tells him to leave her as Aminadab enters; she hides as Aminadab, armed with a bill and headpiece, promises to fight off any suitors. She watches him hide as Brabo enters and then comes forward to exit with Brabo. Later, she arrives at Young Master Arthur's feast with Young Master Arthur and Young Master Lusam. Young Master Arthur orders Mistress Arthur to attend to Mistress Mary, and Mistress Mary thanks her, while also secretly regretting the harm she is doing to Mistress Arthur. She initially resists taking Mistress Arthur's place at the table, but accepts when Mistress Arthur insists. She offers a toast to Young Master Arthur and, after the reconciliation of Young Master Arthur and Mistress Arthur, accepts Aminadab's offer to escort her home. Later, Brabo proposes to her, claiming to have loved her for a long time; she rejects him and tells him her aim is to entrap Young Master Arthur. When Young Master Arthur enters, Mary complains that his seven hour absence has seemed eternal to her and she questions his love for her. Her love for Arthur revives when he tells her that he has a license and plans for them to be married this evening, but in an aside she comments that her love for Arthur will decline with each day of the marriage. Later, after she is married to Young Master Arthur, she insists that she have her will, refusing to acknowledge his authority or even his affection for her. To further torment Arthur, she uses his money to support Mistress Splay and Brabo, and also dismisses Pipkin. After Mistress Splay and Brabo exit to leave her alone with Arthur, she refuses to explain why her feelings for him have apparently changed. When Arthur admits to poisoning Mistress Arthur for her sake, she calls him a murderer and fears for her own life. After Arthur flees, Mary sends Brabo for an arrest warrant, hoping that once Arthur is arrested and executed she will have free access to his wealth. At the end of the play she appears with Young Master Arthur, Brabo, Mistress Splay, and Hugh before Justice Reason to press her charge of murder against Young Master Arthur. Despite Arthur's confession, Mistress Mary continues to press for his execution for the crime. When Mistress Arthur appears and nullifies the murder charge, Mistress Mary sees that her malice against Arthur has been in vain. She ends the play standing on stage as Young Master Arthur's example of a bad wife in his final speech to the husbands in the audience, telling them how to choose a good wife from a bad.

MARY, MISTRESS **1608

Alternative name of Moll Cutpurse in Middleton and Dekker's Moll Cutpurse, The Roaring Girl. Moll's real name is Mary Frith.

MARY of GUISE

A "ghost character" in Sampson's The Vow-Breaker. Mary of Guise, the mother of Mary Stuart. At war with Queen Elizabeth of England, she sends her trumpeter, Trumball, to enquire as to the English Queen's grievance. She vows to sue for peace if she finds that the grievance is legitimate, but her French troupes attack the English forces before the parley takes place. Mary Stuart sends her legate, Monlucke, into Scotland to speak with the Queen Regent and to try to article a peace with England.

MARY, PRINCESS **1604

A "ghost character" in Rowley's When You See Me. Wolsey sees to it that her tutors keep her obedient to the papacy in Rome. The princess writes to Prince Edward, pleading with him to pray to the saints and follow the Catholic faith.

MARY PRINCOX

Mary Princox is the name used by Bold in his disguise as an elderly waiting-gentlewoman in Field's Amends for Ladies.

MARY, QUEEN of FRANCE

A "ghost character" in Dekker and Webster's Sir Thomas Wyatt. Mary, Queen of France, was the youngest daughter of Henry VII of England and the sister of Henry VIII. Although forced to marry the ailing Louis XII of France, she was in love with Charles Brandon, the first Duke of Suffolk, and having demanded the right to marry as she wished if Louis were to die, she secretly married Brandon after Louis's death. Wyatt asks the newly installed Queen Mary (Tudor) to pity Lady Jane Grey on the grounds of their close blood relationship: the queen's own aunt is Lady Jane's grandmother.

MARY, SAINT

Only mentioned in Medwall’s Fulgens and Lucrece. The character called A uses her name as an exclamation.

MARY SPARK

A seaman's wife in Mountfort's The Launching of The Mary. She and Isabel Nutt are unlike Dorothea: they are happy when their husbands go to sea, and enjoy the opportunity to take lovers. Later, they meet and discuss bawdy gossip. Mary claims to be carrying in her basket some children's clothes to work on; but when Thomas Trunnel gets the women drunk he reveals that she is in fact carrying painted cloths.

MARY STUART

A "ghost character" in Sampson's The Vow-Breaker. Daughter of the Queen Regent of Scotland. Also referred to as "the Dowager of France," although the action of the play takes place before the death of her husband, King Francois II of France. Sir Jarvis Clifton incenses Mortigue by asserting that Queen Elizabeth surpasses her in beauty and virtue. She sends her legate, Monlucke, into Scotland to try to reach a peace with Queen Elizabeth.

MARY the MAID

The Widow's maid is called Mary in William Rowley's A Match at Midnight. This creates confusion when, traveling across London to collect a ruff for her mistress, Mary is met in the dark and seduced by Randall, who mistakes her for Mary Bloodhound. When the truth emerges at the end, Randall and Mary find that they are attracted to each other anyway, so they decide to marry.

MARY TUDOR

A "ghost character" in Shakespeare's Henry VIII. Mary is mentioned as the daughter of King Henry and Queen Katherine.

MASISTES

A Persian lord like Hydarnes in Cartwright's The Royal Slave.

MASK

See also MASQUE.

MASK

Non-speaking character(s) in Carlell's 2 Arviragus and Philicia. The Witch conjures a "Masque" in order to lift her "sadnesse" which her Spirit, Eglon, sends away.

MASKERS

Six Maskers in Fletcher's Queen of Corinth, among whom Eraton, Neanthes and Sosicles may be included, abet Theanor and Crates' abuse of Merione after her rape. They sing and dance before her to "horrid music," and sprinkle water on her face. Presumably it is also they who are later reported to have played a masque of the rape of Proserpine before Merione.

MASON**1589

Mason is an Oxford scholar in Greene's Friar Bacon and Friar Bungay. Along with Clement and Burden he meets Friar Bacon. Because he believes that advanced mathematics may hold the key to controlling nature in ways inexplicable to the uneducated, Mason credits the possibility that Bacon may succeed in his researches. Mason also clearly takes delight in Burden's embarrassment when the latter's affair with the Hostess of the Bell Tavern is revealed by the friar.

MASON**1595

A "ghost character" in Chettle, Dekker and Munday's Sir Thomas More. The actor playing Inclination the Vice in The Marriage of Wit and Wisdom compliments More's ability to substitute for Luggins in the role of Good Counsel without any preparation and comments More could "uphold" any acting troop better than "Mason among the King's players."

MASON**1631

One of the craftsmen who constructed the secret pit for Offa in Brome's The Queen's Exchange. He and the other craftsmen return disguised as devils to steal the money they assume Offa has hidden in the pit. Instead, they end up freeing the outlaws and escorting Mildred and Edith out of the house.

MASON**1638

Two masons figure in (?)Brome's The Cunning Lovers.
  • The real mason takes part in the construction of the tower. In Act One, the Clown tells him to make a large post in the entrance not to let anybody–but the princess–go inside nor outside the tower, and some windows whose glass would not enable anyone to see inside nor outside the fortress. He is thought to be an expert in squaring stone.
  • The mason is also a disguise that Florence uses to visit the tower in Act Five.

MASQUE

See also MASK.

MASQUE

A "dancing masque of six" enters in Fisher's Fuimus Troes after Nennius' funeral, and two bards sing Britain's victory.

MASQUERS**1604

The Masquers dance in the anonymous The Fair Maid of Bristow on the occasion at which Vallenger first sees Annabel.

MASQUERS**1607

During the first banquet in Shakespeare's The Life of Timon of Athens (scene I.ii) a group of ladies performs a Masque of Cupid and the Amazons, a masque that might also represent the five senses. After their performance they dance with the guests, and then they all are entertained. Apemantus describes them as prostitutes.

MASQUERS**1620

Dancers in the wedding masque for Silvio and the hag in Fletcher's Women Pleased; among them are Bartello, Lopez, Claudio, Isabella, Rodope, Soto, Penurio, and Jaquenett.

MASQUERS**1629

Four couples (four men, four women) in Brome's The Northern Lass who arrive at Mistress Fitchow's house to perform a masque in celebration of her marriage to Sir Philip Luckless. Among them, the first two couples are actually Constance and Tridewell, Mistress Trainwell and Anvil. Constance's song at the masque expresses her pain at the loss of Sir Philip and causes him to reconsider his over-hasty marriage.

MASQUERS**1636

Six ladies who perform a masque before Cratander in Cartwright's The Royal Slave.

MASQUERS, FOUR **1604

In Verney’s Antipoe they perform for the King and Queen of Bohemia, presumably sent by the king of Egypt, they might be the four worthy knights, but the text is unclear upon this point. They enter in a ‘chariot’ with Antipoe in their midst wearing a crown and dressed as a blackamoor. They inform Bohemia that Egypt requires his four daughters, and, after they dance, he allows them to be taken away in the chariot.

MASQUERS, SIX WOMEN

Six women masquers in Fletcher and Middleton's The Nice Valour take part in a masque devised by the Passionate Lord's lover, the pregnant lady disguised as Cupid. The first masquer enters "singing and playing."

MASQUING LORD 1

A fourth person, listed only as "a lord" and not otherwise identified, who joins with Vindice, Hippolito, and Piero in the masque of revengers who kill Lussurioso at the banquet celebrating his rise to Duke in [?]Middleton's The Revenger's Tragedy.

MASQUING LORD 2

A fourth person, listed only as "a lord" and not otherwise identified, who joins with Ambitioso, Supervacuo, and Spurio in the second masque of revengers who mean to kill Lussurioso at the banquet celebrating his rise to Duke in [?]Middleton's The Revenger's Tragedy. When they arrive, however, they find the deed has already been committed. He stabs Spurio, who proclaims himself Duke after both Ambitioso and Supervacuo have been stabbed. Masquing Lord 2 is the only person left living at the end of the bloodshed, and Antonio orders him to be executed for the murder of the ducal family.

MASSINISSA

I.
Massinissa is the heroic Libyan king and ally of Carthage who is granted Sophonisba's hand in marriage in Marston's Sophonisba. He is called away on his wedding night by news of Scipio's attack; he leaves without complainint and fights, only to be warned by Gelosso that the Carthaginian senators have conspired against him. He is noble even in betrayal, pardoning Gisco, who had been sent to poison him. He then allies with Scipio. He is finally reunited with Sophonisba only to be told by Laelius that Scipio wishes him to sacrifice Sophonisba to Rome. Sophonisba's suicide takes the decision out of his hands and leaves him the accepted ally of Rome.
II.
Numidian prince in Nabbes' Hannibal and Scipio, former lover of Sophonisba, who betrays Carthage and allies himself with Rome. He captures Syphax, Sophonisba's new husband, and marries her despite the fact that Syphax is still alive. But he is scolded by Scipio for being ruled by his passions and refusing to turn over Sophonisba, whereupon he gives his new bride poison and she dies. Later, in act four, he observes Scipio's example in giving the Young Lady back to Lucius, and finally realizes that "Passion's the noble soul's worst enemy." Played by Theophilus Bird in the original production.

MAST COURTIER

Mast (or Master) Courtier is a derogatory nickname Valerio uses for Dariotto in Chapman's All Fools after discovering that the latter has made fun of him.

MASTER**1591

The ship's master in Shakespeare's 2 Henry VI is allotted a prisoner, the First Gentleman, and demands one thousand pounds in ransom or else he will behead him.

MASTER**1596
Shipmaster of the Pelican, a merchant vessel bearing cloth from London to Spain in the anonymous Captain Thomas Stukeley. After happening on Vernon, he agrees to give him passage to Spain, but the ship sinks and all souls are lost with the exception of Vernon and himself who are conveyed by Lantado to King Phillip of Spain.

MASTER**1610

The Master of a gambling house in London is a "fictional character" in Jonson's The Alchemist. When Face wants to introduce to Kastril the magician's infallible methods of helping one gain at games, he gives the example of a fictional young gentleman. Face says that this young man, who is comparatively poor, will be able to buy a barony. Face creates a sophisticated fiction of, possibly, Kastril as an enriched young gentleman, enjoying the best attendance and the best drink of Canary wine gratis. In Face's narrative, the young man will have the Master of the gambling house pray him to name what he likes to eat, and his favorite food will inevitably be buttered shrimps, an expensive delicacy.

MASTER **1620

A loyal member of the pirate Duke Sesse's crew in Fletcher and Massinger's The Double Marriage. The Master helps defend the ship against Virolet, then assists Sesse in his efforts to pursue Martia when she flees the ship to marry Virolet. The master disguises himself as a Switzer to help Sesse overthrow the tyrant Ferrand.

MASTER**1621

The Master of the madhouse in Segonia runs the asylum with the help of two keepers in Fletcher's The Pilgrim. Although a strong disciplinarian, he is a humane and kindly man who feels pity for the mad Scholar and shows compassion to Alinda when she appears at the madhouse in the guise of the distracted Boy. He is tricked by Juletta into incarcerating Alphonso as a madman, but is convinced of his mistake by Curio and Seberto and lets the old man go.

MASTER**1622

The Master is master of Albert's ship in Fletcher and Massinger's The Sea Voyage. He is a brave and experienced sailor who criticizes his sailors for their cowardice during the storm. The Master orders that the ship's cargo should be thrown overboard in order to save the ship, annoying the colonizers Lamure, Franville and Morillat. He helps Tibalt to save Aminta from the cannibalistic attentions of Lamure, Franville, Morillat and the Surgeon. Tibalt allots Crocale to the Master, much to her disappointment as he is older than the other men. The Master and Tibalt are placed in the custody of Crocale, who is impressed by their fortitude in captivity. They are the first to come to the banquet, and the Master tries to moderate Tibalt's consumption of food and wine.

MASTER**1624

Master, a friend of Grimaldi in Massinger's The Renegado. With the Boatswain, he saves Grimaldi from suicide and aids in the escape of Paulina, Vitelli and Donusa.

MASTER**1625

A "ghost character" in Webster and Rowley's A Cure for a Cuckold. The Master of Woodroff's ship is killed in a Spanish attack. Rochfield takes over command and saves the ship.

MASTER **1635

During the act four storm in Killigrew's The Prisoners, he along with Zenon and Gillippus barks orders to right and save the foundering ship.

MASTER**1637

A "ghost character" in Brome's The Damoiselle. As it is explained in the letter Frank sends to his father, he has taken care of Brookall's son as if he were his own.

"MASTER CRINGE"

Master Cringe is a name used by the Soldier to refer to the Courtier in Shirley's Contention for Honor and Riches.

MASTER, DANCING

A master of dancing and fencing in Carlell's The Fool Would Be A Favorite. He attempts to train Young Gudgen.

MASTER, GRAMMAR–SCHOOL

The Grammar-School Master is a strict teacher in the anonymous July and Julian. He punishes Dicke for arriving late at school. Later, he will have to obey July, when he asks him to dispense his brother Dicke from his scholarly duties for the rest of the day.

MASTER GUNNER of ORLEANS

He has laid a trap for the English in Shakespeare's 1 Henry VI. Having learned that the English have been using a nearby tower to spy down into the city, he has placed a charge on the tower to destroy it the next time he sees the English spies there. He has been watching for three days and must leave his son in charge of watching.

MASTER GUNNER of ORLEANS'S SON

A boy in Shakespeare's 1 Henry VI. He is left in charge of watching the tower that the English spies are using and manages to kill both Gargrave and Salisbury with a single shot.

MASTER, HOSPITAL

A fictional character in Wilde's Love's Hospital. Lysander compares himself to "a master of an hospitall" where, even if he could pick and choose, he would not be able to create a complete man out of Facetia's many suitors.

MASTER of BRIDEWELL, FIRST

During the duke's visit to the Milanese Bridewell in the last act of Dekker's 2 Honest Whore, several Masters of the prison appear, but only the First Master speaks. He explains to the duke the history of the prison (actually, the description is that of London's Bridewell, once a palace, later a workhouse, and finally a prison). He explains to the duke that many prisons are designed for specific types of offenders (some for thieves, some for traitors, still others for debtors) and that Bridewell is set aside for bawds, rogues, and whores. Later, the First Master describes for the duke the types of work and punishments used to encourage reformation in the prisoners, and he provides information about each of the new inmates (Catherina, Dorothea, Penelope, and Mistress Horseleech) as they are brought before the duke.

MASTER of CEREMONIES

A "ghost character" in Fletcher's Love's Pilgrimage. Incubo mentions the Master of Ceremonies as his former employer, when he was only a squire in Madrid.

MASTER of FLORIMEL'S GONDOLA

A "ghost character" in Day's Humour Out of Breath. In 3.4 Florimel bids her page to have the "master of my Gundelo" stand ready. A little later the Page reports that he is ready, but the gondola is never used.

MASTER of STE. KATHARINE'S

The Master of Ste. Katharine's in Thomas Heywood's 1 Edward IV, arriving to present a five hundred pound war donation from his parish, unwittingly betrays the disguised king to Hobs the Tanner.

MASTER of the CHAPEL**1604

A "ghost character" in Rowley's When You See Me. Cranmer calls on a servant to convey Browne to the Master of the Chapel to have him whipped for drawing the young prince into playing tennis when he should be at his studies.

MASTER of the COLLEGE

The Master of the College in which the Husband's brother is studying theology comes to visit the Husband and tells him that his brother is in prison because he stood surety for the Husband in A Yorkshire Tragedy. The Husband seems moved by his account. He tells the Master to wait while he tries to raise the money.

MASTER of the FEAST

Not a character proper in Medwall’s Fulgens and Lucrece and sometimes referred to as ‘my lord’ he is the host of the banquet (where the play is being performed).

MASTER of the HABITS and MANNERS

Master of the Haits and Manners, Patriarch, Informer, Projector, and Minion of the Suburbs all approach Theodosius with grievances in Massinger's The Emperor of the East, but Pulcheria dismisses them all for being petty and unimportant.

MASTER of the REVELS

A "ghost character" in Jonson's Bartholomew Fair. The Master of the Revels was the official of the Court whose duties included licensing all plays. Busy interrupts the puppet-show, ranting against all forms of entertainment, including the theatre idol. Lantern/Leatherhead replies he has the official approval of the Master of the Revels to put on the puppet-show. Busy distorts the reference, calling the Court official the "Master of the Rebels," enforcing his idea that all actors are rebels against the good faith.

MASTER of the SHIP

See also SHIPMASTER and related concepts.

MASTER of the SHIP**1611

An officer on the ship that is carrying Alonso and his train back to Naples in Shakespeare's The Tempest. During the storm conjured by Prospero, he barks orders to the Boatswain, who tries to maintain order on the ship's main deck and keep the ship from foundering. He reappears at play's end, having been charmed to sleep during the main action. Although he enters with the Boatswain at play's end, it is the latter that reports the ship is whole and undamaged by the storm.

MASTER of the SHIP**1616

The Master of the Ship does not appear on stage, but speaks "within" when called by Rodorigo in Fletcher's Love's Pilgrimage. Rodorigo gives him orders to bring the fleet together and head for Barcelona, and the Master promises to do Rodorigo's pleasure.

MASTER RECORDER

Thomas Urswick in Thomas Heywood's 1 Edward IV holds the post of Master Recorder to the Mayor of London and is knighted by the king for meritorious service in the defense of London.

MASTER, SINGING

He attempts to train Young Gudgen as a singer in Carlell's The Fool Would Be A Favorite.

MASTER'S MATE

The shipmaster's mate in Shakespeare's 2 Henry VI is allotted a prisoner, the Second Gentleman, and, following the master's example, demands one thousand pounds in ransom or else he will behead him.

"MASTER VOICE"

Master Voice is a name used by the Courtier to refer to the Soldier in Shirley's Contention for Honor and Riches.

MASTIGOPHORUS

A "ghost character" in Marston's What You Will mentioned by Quadratus as a satirist whose opinion he would respect.

MAT

Nickname for the Low Country woman in Brome's The Sparagus Garden who is wife to the Gardener of the 'sparagus garden.' He calls her 'Mat.' (See "MARTHA").

MATCH**1602

Match is one of the band of ragged soldiers in Heywood's Royal King. He leaves the Captain when his rich friends spurn him. Later, when the Captain becomes rich, Match and Touchbox try to return to him, but the Captain fobs them off with some spare change.

MATCH**1606

A "ghost character" in Sharpham's The Fleire. A gunner named by Antifront as a frequent customer of Felecia and Florida.

MATCHIL

Family name of Old Matchil, his late wife, daughter Joyce, son Philip, and (later) his new wife Rachel (née Maudlin) in Brome's The New Academy.

MATER **1537

Thersites's mother in Udall's? Thersites. When Thersites is decked out in his new armor, he boasts of his future heroic exploits to her. Although fearing he will attack her, Mater tries to persuade him not to leave home. He mocks her to the audience. Later, Thersites hides amongst her skirts when he runs from the soldier, Miles. When Ulysses sends his son to Thersites, asking him to get his mother to cure him of worms, she at first refuses but Thersites bullies her into curing Telemachus, a cure she effects using comically elaborate spells.

MATER**1564

Wife of Virginius and mother of Virginia in [?]Bower's Apius and Virginia. As she heads to the temple with Virginia, she urges Virginia to resist lust and to look after Virginius after she is dead. After Virginius appears and praises her virtue, she joins with him and Virginia in a song praising family harmony.

MATHEA

Mathea is, along with Marina and Laurentia, one of Pisaro's three daughters in Haughton's Englishmen for My Money. She is in love with Ned, a young man whose inheritance his father has pawned to Pisaro. But Pisaro has chosen the French merchant, Delio, for her. Mathea encourages Ned to spend money because he will get back his lands after marrying her. Mathea, along with her sisters, refuses to talk to the foreigners. Mathea scorns the manners and conversation of her French suitor, and when the daughters are alone with the three strangers, Mathea openly mocks Delio. Frisco introduces Monsieur le Mouche, actually Anthony disguised as the ladies' new French tutor. When Delio speaks to him in French, Mathea changes the subject by criticizing Delio's shoes. Pisaro intercepts their plan to meet their English suitors that night and tells the foreigners to take the place of the Englishmen, a plan which in turn the daughters intercept. Vandalle arrives at Pisaro's house claiming to be Heighton/Ferdinand. Mathea, on the balcony with her sisters, recognizes him. The girls draw him up in a basket and leave him suspended. The young suitors arrive and Ned reminds them of the parson who is waiting to join them. Pisaro overhears and thwarts their plans. Mathea insists that nothing will make her marry someone she cannot love. Anthony has a plan to thwart their marriages to the merchants. Mathea is eager to do something to further the plan. That night, she marries Ned when he is allowed into the house disguised as Susan Moore.

MATHEMATICALS **1619

Latorch's name for Norbrett, LaFiske, Russe, DeBube, and Pippeau in Fletcher's Bloody Brother.

MATHEO

I.
Matheo is the best friend of Hippolyto in Dekker and Middleton's 1 Honest Whore, but he is of an entirely different character. He restrains Hippolyto from attacking the Duke at Infelice's supposed funeral. Later, when Hippolyto swears he will keep Monday sacred to her memory, Matheo responds that on he hopes Tuesday morning will find Hippolyto in the arms of a woman. In that vein, he takes Hippolyto to see Bellafront, a prostitute whom Matheo deflowered. He talks Bellafront into having dinner with him and the other men and when, after her conversion, she does not appear, he and the others go to her house to find out why. Matheo is convinced that her lecture on the evils of prostitution is a joke on her part, and stays behind when the others angrily depart. Even when Bellafront tells him to leave and that she hates him for taking her virginity, Matheo continues to believe it is only a joke. He is not convinced of her sincerity until she asks him to marry her for recompense. Then he becomes furious and leaves. When he learns from Hippolyto that Infelice is alive and they plan to marry, Matheo swears secrecy, but he does tell Castruchio, who immediately tells the Duke. Fluello arrives early at the Monastery to warn them that the Duke is coming, and Matheo is amazed that Castruchio broke his word, although, as Hippolyto points out, he had done the same. After the Duke is reconciled to the marriage, Bellafront, apparently mad, tells the Duke that Matheo took her virginity, and the Duke demands that Matheo marry her. Matheo objects that he cannot marry a mad woman, but agrees to marry her if ever she regain her sanity. At that point she reveals that she is not mad. Matheo is at first upset, but he then accepts the match.
II.
Matheo is a friend to Hippolito and the unworthy husband to Bellafront in Dekker's 2 Honest Whore. Imprisoned for the murder of the younger Giacomo when the play begins, he is released when Bellafront intercedes for him with Hippolito, but he shows no gratitude for his wife's efforts. On the contrary, Matheo returns to his life of gambling, drinking, and whoring, and his fortunes decline steadily. He uses Bellafront to borrow money from his friends, spends the money that Pacheco has left in his care, and even sinks to threatening his wife with violence. After he carries out the robbery of two peddlers (actually two servants sent by Orlando), he is arrested and taken to Bridewell. There, he outrageously claims that Bellafront and Hippolito have been having an affair, in further demonstration of his rank unworthiness. He is included in the comic conclusion, however, when Orlando drops his disguise as Pacheco, reveals the robbery to have been arranged so that Matheo might be arrested, with the hope that his being freed from the charges might bring about a change in his behavior. Orlando then accepts Matheo as his son-in-law, but he warns him to correct his ways.

MATHEO'S PAGE

The disguise taken on by Bellafront in Dekker and Middleton's 1 The Honest Whore so that she will be admitted to see Hippolyto.

MATHEW

Master Mathew is a town gull in Jonson's Every Man in His Humour. In a lane before Cob's house, Mathew enters looking for Captain Bobadill's house. When he exits, Cob informs the audience that Mathew is the son of an honest fishmonger but he likes to spend his time with the city gallants in the Old Jewry district. According to Cob, Mathew is in love with Bridget, Kitely's sister, whom he calls his mistress and showers with flowery verses. At the Windmill Tavern in the Old Jewry, Mathew enters with Bobadill and Wellbred, continuing a discussion about honor. After much drinking and swearing, Mathew exits with the gallants. At Kitely's house, Mathew enters with his friends but soon retires from the room. He re-enters with Bridget and Bobadill, followed at a distance by the gallants. Mathew is courting Bridget, reciting romantic verses to her, which Edward Knowell identifies as having been plagiarized from Marlowe's Hero and Leander. During the brawl initiated by Downright, Mathew disappears. At Moorfields, Mathew enters with Edward Knowell, Bobadill, and Stephen. He narrowly escapes a beating from Downright, but hopes to take revenge. In a street in the Old Jewry, Mathew enters with Bobadill. Seeing Brainworm disguised in Formal's clothes, the two ask him to procure them a warrant for Downright's arrest. After pawning his earring to pay the false clerk, Mathew exits with Bobadill, hopeful that Downright will be punished. Later, Mathew and Bobadill see Brainworm disguised as a sergeant and witness what they think to be the scene of Downright's arrest. When the situation becomes confused, Mathew and Bobadill go before the judge to present their complaint. In the final revelation scene, when Brainworm's multiple disguises are disclosed, Mathew's stupidity becomes clear. Introduced by Wellbred as his sister's poet, Mathew's plagiarized verses are discovered and burned. Reduced to ashes, Mathew's pride, like his poetry, disappear in shame.

MATHEW MERRYGREEK

A parasite in Udall's Ralph Roister Doister. Patterned after the parasite of Roman comedy, Matthew Merrygreek attaches himself to the braggart Ralph Roister Doister early in the play. He encourages Roister Doister to pursue the virtuous widow Dame Custance and even visits her on the braggart's behalf to find out if the love letter and gifts have made an impression. The report of the widow's contempt for Roister Doister's proposal sends the braggart into such a state that he swears he will die, and Merrygreek takes delight in performing a parody of the Roman Catholic service for the dead over him. When Roister Doister drops his pose, the parasite urges him to confront Dame Custance in person and he agrees. When the suitor reminds the widow of his gifts and love letter, Dame Custance allows Merrygreek to read the letter aloud, and the parasite takes delight in following the mangled punctuation in such a way that the missive is deliciously insulting. Later, Merrygreek bears threats from his sponsor to the widow, but always ready to engage in trickery, he allies himself with Dame Custance. He stage manages the final, comic battle in front of the widow's house in such a way that he may repeatedly hit the braggart even as he is pretending to strike at Dame Custance. At the end of the play, he offers apologies for himself and Roister Doister, is invited by Gawin Goodluck to the feast, and participates in the concluding tributes to Queen Elizabeth.

MATHEW MINIKIN

A musician in Shakespeare's Romeo and Juliet hired to play at Juliet's wedding to Paris. He quarrels with Peter.

MATHIAS**1538

A "ghost character" in Bale's God's Promises. Mentioned by John Baptist as an example of a virtuous man.

MATHIAS**1589

Mathias is the son of Katherine in Marlowe's The Jew of Malta. He is in love with Abigail and she with him. Barabas pretends that he is willing for Mathias to marry Abigail, while at the same time allowing he to become engaged to Lodowick. Once she is promised to both, Barabas sends a forged challenge to both, and they meet and fight to the death.

MATHIAS**1602

Mathias is brother to Lodowick and in love with Lucybel in Chettle's Hoffman. Jerome challenges him to a duel, which he never fights. Hoffman, disguised as Otho, convinces him that Lucybel has run off with a Greek. Angry that his brother has been betrayed, he stabs both the Greek lover (really his brother Lodowick in disguise) and Lucybel, who recovers from her wounds but loses her sanity.

MATHIAS**1629

Mathias, a Knight of Bohemia in Massinger's The Picture, he is married to Sophia. While away at the wars, he gauges her chastity by the turning colours of his magic picture. He is sexually tempted by the Queen.

MATHLAI

Only mentioned in Jonson's The Alchemist. Mathlai, Tarmiel, Barborat, Rael, Velel, and Thiel are the names of spirits taken from Elementa Magica by Pietro d'Albano. Subtle recommends to the gullible Drugger the best solutions for the location of his shop. He suggests that Drugger should write the names of Mathlai, Tarmiel, and Barborat on the eastern side of his shop, and Rael, Velel, and Thiel on the northern part. Subtle claims these are the names of the Mercurial spirits, meant to frighten flies from the boxes of tobacco. Implicitly, the god of commerce, Mercury, was supposed to protect the shop.

MATHO**1620

A lawyer in the King's service in May's The Heir. He is summoned by the King to find a loophole in the law, however devious, to resolve the King's dilemma regarding his oath. Having repented his rash moment of tyrannical lechery, the King feels he can depend on the corrupt cunning of a lawyer to resolve matters. Matho disappoints the King, however, by being unexpectedly honest.

MATHO**1639

Servant to Stratocles in Brome's Love-Sick Court. After Eudyna faints, he is sent to learn of her health from Doris. Later, he disguises himself and delivers a forged challenge to Philargus from Philocles and vice versa. He then waits for the brothers at the place appointed in the challenge, planning to wait until they are weary from combat and kill both of them. When they refuse to try to kill each other, Matho confronts them both and is quickly disarmed and captured. In hopes of saving his life, he tells them of Stratocles's plan to capture and rape Eudyna. He is held in custody by six rustics who happen by.

MATILDA**1598

I.
Matilda is an alternate name for Maid Marian in (?Chettle and) Munday's Downfall of Robert Earl of Huntington. She is first introduced as Matilda in II.i, afterwards she is called Marian in two earlier scenes, indicating incomplete revision. Matilda is renamed Marian by Robin Hood after they rescue Scarlet and Scathlock, and definitively move to the forest. (For a complete description of the character, see the listing under "MARIAN").
II.
Matilda is the daughter of Fitzwater and, although chaste, the wife of Robin Hood in Munday and Chettle's Death of Robert, Earl of Huntington. She is known as Marian while they are still in the forest, but her name shifts back to Matilda during Robin's death scene. She is first seen preparing dinner for Robin, King Richard, and their followers, and scolding Jenny for her lack of neatness. When Robin is poisoned, she exhibits great grief, and barely has the strength to perform his last wish, which is to close his eyes after his death. She is given all Robin's lands by Richard in her own right, but this seems to matter little, since she continues to mourn for Robin and refuses to remarry. She is wooed, by proxy, by William Wigmore, but despite the urging of her father and the Bruces, she refuses to contemplate marriage again. She even tries to reject dancing in the masque, and has to be ordered by her father to participate. In the first battle of the civil war, Matilda is captured by two soldiers, who drag her by her hair, and then her face is scratched by Queen Isabel, who is jealous of her because John still lusts for her. However, when Matilda is freed and Isabel is captured, Matilda nobly lies to Leicester and states that soldiers scratched her face, and that the Queen protected her. This convinces the Queen that Matilda is innocent of John's lust and she repents her jealousy. In the next battle, Matilda is found by Hubert, but she manages to convince him to take her to Dunmow Abbey to become a nun. She is visited there by her father, who has been banished by John, and he urges her to resist the lures of wealth and privilege and remain chaste. This hardly seems necessary, since it is clear that Matilda intends to remain removed from the world. John attempts to talk to her, but is thwarted by the Abbess. He then bribes the Monk, who is the Abbess' lover, and the Abbess, to have them convince Matilda to submit to him. Their attempts are futile, and Matilda in fact is convinced first that they are testing her and then that they are devils in human form. Brand then informs Matilda that he has been sent to poison her, but instead of fear, Matilda displays gratitude that John would allow her to die as Robin did. She willingly drinks and dies. Her corpse is brought to Windsor, where John mourns her extravagantly, barely noticing that a new attempt to unseat him is barely averted.
III.
Fitzwater's daughter and kin to the Bruces in Davenport's King John and Matilda. She is the unwilling object of the King's passion. She has sworn chastity after the death of her true love, the murdered Earl of Huntington. All the King's attempts to seduce her fail. She must at one point defend herself from him at knifepoint, after which she flees to her father's castle. The King's party later takes the castle. Queen Isabel attacks her in a jealous rage, but she persuades Isabel that she is innocent of courting the king's attentions. She remains a hostage until her cousin, Young Bruce, rescues her from the Earl of Oxford. When masquers arrive to entertain the Queen (present as the King's envoy to the rebels) she is innocently persuaded by her father to join the dance. It is a trick, however, and the King who is in disguise as a masquer abducts her. She is taken away and again entrusted to the Queen and Hubert. She seems to relent to Hubert's persuasion to accept the King, but persuades him instead to deliver her to sanctuary at Dunmow Abbey, where she takes vows as a nun. Here the Lady Abbesse defends her, but they are tricked into allowing the King's Confessor to meet Matilda. Thus gaining admittance, Brand murders her on the King's orders. He proffers her a poisoned glove, which she kisses by way of accepting the King's apology. Young Bruce avenges her death by killing Brand. The King rescinds his order to murder her too late. Her funeral cortège is brought at last to Windsor where she is mourned in song and praised for her piety and chastity. (She is cognate with Maid Marian, as Robert, Earl of Huntington, her late love, is a traditional alias of Robin Hood.)
[See also "MARIAN."]

MATILDA **1619

Sophia' daughter and sister to Rollo and Otto in Fletcher's Bloody Brother. She appears to side with Otto and advises her mother to meet Rollo's fire with fire. She is on hand when Rollo murders Otto. She agrees to assist Edith in her plan to assassinate Rollo. She arrives with Aubrey and Sophia in time to see that Hamond has killed Rollo. She praises Hamond for the deed and, with Rollo's life paying for his sin, she forgives Rollo. The lords suggest that she marry Aubrey, the new duke, to strengthen his ties to the throne, and she accepts.

MATILDA**1636

Matilda is the daughter of Gonzaga, Duke of Mantua in Massinger's The Bashful Lover. When we first meet her, she is depressed over the coming war with Florence. It seems the Duke of Tuscany wants to marry Matilda, but her father will not be forced into a match and would prefer to have the law of arms decide the matter. She is introduced to Hortensio, presumably because his melancholy lovesick expressions will amuse her. Instead, she is attracted to him and allows him access to the palace as long as he swears to be honorable, virtuous, and brave. Her father notes that Hortensio's behavior is presumptuous, but Matilda counters by suggesting that honorable love can do only good service. She takes the disguise of a peasant and travels with Manfroy to St. Leo, but is captured by Alonzo and Pisano, who fight over which of them will rape her. Rescued by Hortensio, they are both captured by Martino, who presents them to Lorenzo, who frees them.

MATILDA**1636

A virtuous young woman in May's The Old Couple. She is grieving for the supposed death of her lover, Scudmore. She is first overheard singing a lament in the forest by Eugeny and Theodore. Theodore reports that she is as beautiful as her voice; Eugeny then recognises her with horror and guilt as the bereaved lover of the man he has killed. Her story is deeply tragic: her father long dead, her mother died two years ago and now she has lost her betrothed. She lives, not rich but respectable, a lonely orphan in the next village. They leave to avoid her, although she heard their voices and comes to investigate the intrusion into her solitude. She is unafraid, however. She believes that sorrow has made her bold and she wanders the forest alone, safe in her innocence. After Earthworm repents his avarice and recalls his family duties, he remembers a long-lost niece, his sister's orphaned child, whom Theodore realizes must be Matilda. Theodore finds her again and the cousins are reunited. She is at first unwilling to return home with him, to bring her desperate grief into their lives, but is persuaded by Theodore's wise words that her solitary life is prolonging her sadness to no point. She accepts his invitation to make her home with them, to find comfort in their hospitality and cherish her memories while letting go of her despair. Theodore brings her to join the final celebrations of the happy resolution and she is reunited with Scudmore to be married in a double ceremony with Artemia and Eugeny.

MATON, ANCIENT

Posthumous Leonatus' mother is identified only as "an ancient Matron" in a stage direction in Shakespeare's Cymbeline. She died giving birth to Posthumous Leonatus. She appears in the play as one of the Leonati, the familial ghosts who visit Posthumous Leonatus.

MATREVERS

A non-speaking character in Peele's Edward I. Matrevers is one of the veterans of the crusade Edward recognizes publicly upon his return from Palestine.

MATREVIS

In the employ of Mortimer in Marlowe's Edward II. On Mortimer's command Matrevis writes a letter for Mortimer to sign charging Berkeley to hand imprisoned Edward II over to Matrevis and Gurney. Queen Isabella asks Matrevis to take her ring to Edward, and Matrevis takes it. Matrevis joins with Gurney in the torture and assassination of Edward, described in the entry for Gurney. Matrevis reports the death of Edward back to Mortimer at court and then flees for his life.

MATTEMORES

Mattemores is a Spanish Captain in Cokain's Trappolin. He has led the Tuscan troops against the Mantuans. A man devoted to martial honor and glory, he loathes the peace that reigns in Tuscany. In the absence of military action, he falls in love with Hipolita, but hates himself for his weakness and wishes she were a man or an Amazon, so he could challenge her. He condemns himself for being conquered by a woman. Having overheard the love pledges between Prudentia and Horatio, whose identity remains a secret to all but Prudentia, Mattemores reveals their love to Barbarino and Machavil. They are outraged at the inappropriateness of the match and the indiscretion of Prudentia, and attempt to prevent the elopement by imprisoning Brunetto (Horatio). Trappolin returns to Florence magically disguised as Duke Lavinio, and chastises them, riding into Florence on Barbarino's back and commanding Mattemores to run at his side in place of his lackey. Still disgusted with his love of Hipolita, Mattemores overhears her claim to favor liberty over love, and her hope that she will not be wooed. He suddenly sees winning her love as a worthy challenge, and vows to devote himself to the difficult endeavor. Her rejection of his suit only enflames his desire, and his pursuit in the face of this refusal seems to hold all the dangers of the greatest martial challenge. Her harsh rejections drive him to beg Cupid to drive her mad with love of a bestial man who doesn't appreciate or acknowledge her, and transformed by his passion, she admits to having been conquered by him. He pledges his love for her in return. With the return of the true Duke Lavinio, Mattemores and the other nobles think the Duke is mad, since he has no recollection of "his" actions during the previous scenes. Mattemores reveals the betrothal of Prudentia and Horatio, and points them out to Lavinio, encouraging the Duke to eavesdrop on the lovers. Having been transformed by Trappolin's magic powder, when Mattemores enters the Duke inquires about his Lords, and Mattemores rebuffs him, believing him to be Trappolin.

MATTHEW GOFFE

When, in Shakespeare's 2 Henry VI, the Lord Mayor sends word to Lord Scales asking for reinforcements to protect London from Jack Cade's rebels, Scales sends Matthew Goffe, who is slain by the rebels.

MATTHEW HULVERHEAD

A "ghost character" in Brome's The English Moor: the guardian with whom Quicksands placed his idiot bastard. Arnold pretends to be his fictional brother, John.

MATTHEW SHORE, MASTER

I.
A "ghost character" in Shakespeare's Richard III. A London goldsmith; Shore's wife, Mistress Shore, is the lover of Edward IV and later of Lord Hastings.
II.
Called cousin by the Lord Mayor of London in Thomas Heywood's 1 Edward IV, Matthew Shore is perhaps one of the saddest husbands in all of Renaissance drama. Extremely devoted to his beautiful wife Jane, Shore is crushed when she voluntarily enters King Edward's court and the courtesan life. Before leaving England in self-imposed exile after his wife's desertion, Shore successfully leads two companies of troops against the rebel Falconbridge yet refuses the king's proffered knighthood, feeling unworthy of such a reward.
III.
Matthew Shore was husband to Jane Shore in Thomas Heywood's 2 Edward IV. Returning to England after his self-imposed exile, Shore assumes the name of Flud and is imprisoned because he was passenger upon a ship that attacked a French vessel during peacetime. Still in love with Jane, Shore notes the irony in repeatedly being saved via her efforts, even though his disguise keeps him unknown to her until play's end. Stabbed by Tiril, Shore receives help at the home of Mistress Blages. Caught ministering to Jane, Shore is granted reprieve by Gloster upon the condition that Shore receive Jane again as wife. Unwilling to accept her despite his continuing affection, Shore dies at the side of Jane and is buried in the same grave with her.

MATTHIAS GALLAS

Appointed by the Emperor to replace Wallenstein in command of the army in Glapthorne's Albertus Wallenstein. Formerly Wallenstein's Field Marshall, his promotion is discussed with derision by Wallenstein's allies. Gallas knows that he has taken over an army who preferred his predecessor. He advises the Emperor that using force against Wallenstein will be useless, that he should proceed by policy instead. At the point when the King of Hungary arrives with reinforcements for the Emperor, Gallas has levied 60,000 men to his army, but fears that they lack adequate training. Throughout, his caution may be indicative of cowardice or plain incompetence. Last mentioned having suffered a severe defeat against the army of Saxon-Waymar, now led by Wallenstein's surviving son, Fredericke.

MATZAGENTE

I.
The Duke of Milan's son 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). The boastful Matzagente comes to Venice to sue for Mellida's hand. Rossaline describes him to Mellida as "an o'er-roasted pig," but his belligerent remarks in the Induction fit his name, roughly equivalent in Italian to "people killer." He dances with both Mellida and Rossaline but impresses neither of them, and Rossaline rebuffs his advances. He comes as a glowworm to the masque.
II.
Matzagente is the son of the Duke of Milan in Marston's Antonio's Revenge. He first appears on stage with Antonio and a group of gentlemen. Alberto and Balurdo tease Matzagente's red face.

MAUD**1564

Name given to Mansipula by Mansipulus in [?]Bower's Apius and Virginia.

MAUD**1570

Maud, also spelled Mawd, is a city woman, wife to Chremes, and mother to July, Nane and Dick in the anonymous July and Julian. She is a bossy woman, who wants her daughter to obey her, and she does not hesitate to box her on the ear when the occasion requires it. She overhears her elder son arranging to meet her maid, Julian, at night, to speak about marriage. Incensed at the thought that her son should marry a servant, as soon as she sees her husband, she reveals what she overheard to him, and they both plan to punish the lovers. Then she talks to Julian, and puts her to a test, explaining to her that she would like her son to marry a worthy lady. When, in reply, she hears, from her honest maid, the truth about the date she and July had arranged for that night, she praises her honesty, but devises a cruel and wicked plan: she asks Julian to tell Fenell to bring Misis, Menedemus's rich and worthy daughter, to go to the date instead of her. Actually things do not turn out as Maud had expected, and her son misleads her into believing that he felt no affection whasover for Julian, insulting the lady who attends the date, and, thus, putting a sharp end to his mother's hopes to marry him to their wealthy neighbor's daughter. When, later, she learns that her husband hesitates when he is offered to have his debts met, plus a large sum of money, by a Merchant who wants to buy Julian as a slave, she eagerly encourages him to sell her. Nevertheless, she will later regret having sold the young lady, when she realizes how much July is suffering for her love.

MAUD**1592

A "ghost character" in Shakespeare's Comedy of Errors. Maud is one of several serving women for Adriana at the Phoenix Inn at Ephesus. Dromio of Ephesus calls to her and the other serving women to open the door to him and their master. Inside, Dromio of Syracuse responds "Mome" (i.e. blockhead) to this name.

MAUD**1611

Yellowhammer's nickname for his wife Maudlin in Middleton's A Chaste Maid in Cheapside.

MAUD**1634

A witch, and apparent mistress to the familiar Puckling in Heywood and Brome's The Late Lancashire Witches, Maud is one of the witches responsible for the turmoil in the Seely household. She sings the song to call the witches' familiar spirits in the first "witch scene." Maud is among the witches who revel at the Sabbat feast and it is she who decides that their next meeting will be at the mill, where they harass the Soldier. Maud is also one of the arrested witches brought on stage in the final scene, and one of the group that refuses to confess. Like most of the other witches in the play, she speaks almost exclusively in rhyme.

MAUDLIN

A mute character in Haughton's Englishmen for My Money. Maudlin is Pisaro's servant and also his daughters' maid. Pisaro tells Maudlin to lock the doors and rake the fires, and to put giblets in pastry for the wedding. Frisco jokes that when Alvaro kisses her he slavers enough grease from her lips to have provided London's kitchens for a year.

MAUDLIN **1638

Servant to Clare and Busie's daughter in Glapthorne's Wit in a Constable. In the street, she keeps up her lady's pretense of not knowing Thorowgood in his disguise. She brings word to Valentine that both Clare and Grace desire to see him. Her name apparently changes to Luce in act four (by authorial mistake?) and Maudlin does not appear in the text again. See LUCE for a description of what this character does after act three.

MAUDLIN, RACHEL

Servant to Old Matchil, later his wife in Brome's The New Academy. As a servant, she is obsequious and fearful of Matchil, leading him to believe that she will make a perfect wife. Once they are married, however, she is emboldened and rebukes Lady Nestlecock for calling her "drudge and droile." At first this change pleases Matchil, but when he criticizes Sir Whimlby for crying over his dead wife rather than laughing, which is "the manlier passion," Rachel scolds him. She rebukes him for being officious and tells him that now that they are made equal through marriage she will not abstain from criticizing his behavior. Erasmus and Valentine try to make peace between the couple, but Rachel, claiming that she has not been herself since Matchil made her rich through marriage threatens to make Matchil poor by spending excessively. She also threatens to cuckold Matchil, to which end, she agrees to be "mistress" to Valentine who asks to be her "servant." After Matchil repents, she agrees to let him maintain the appearance of dominance in public so long as she remains dominant in private. Later, she sneaks away with Valentine and Erasmus to the New Academy. There, she bickers again with Lady Nestlecock but the two end up reconciling in a parody of the courtly speech that the Academy proposes to teach. At the end of the play, she kneels to Matchil and humbly asks for his forgiveness.

MAUDLIN YELLOWHAMMER

The goldsmith's wife in Middleton's A Chaste Maid in Cheapside. She spends much of the play supporting her husband's plans to marry their daughter to Whorehound and their son to Whorehound's Welsh niece. When it appears that Moll has died of grief over the supposed death of Touchwood, Jr., she accompanies her husband and they sneak away to have Tim quietly married to the Welsh woman.

MAUDLINE

A "ghost character" in Shakespeare's Two Noble Kinsmen. Maudline is mentioned as a woman who plans to perform morris-dances for the Duke.

MAURICE, GRAVE, PRINCE of ORANGE

The hero of Fletcher and Massinger's Sir John Van Olden Barnavelt and opponent of Barnavelt. Modest despite his great military victories, Maurice at first refuses to take the political power his relatives and followers insist that he has deserved, and accepts his exclusion from the States' assembly with humility. Incited by Barnavelt, one of the towns of Utrecht closes its gates against him, but the soldiers are on his side and he is peacefully admitted despite Barnavelt's efforts. He still continues to be generous to his enemy and resists his friends when they urge him to try Barnavelt for treachery, though he arrests his friends Leidenberch and Modesbargen. At last, convinced that Barnavelt is too dangerous to forgive, he pushes through the sentence of death against him. [In their rosy picture of Maurice, as in their dark picture of Barnavelt, Fletcher and Massinger were following the prejudice of the Calvinist pamphlets they read.]

MAURICE LACY, SIR

Lacy is a suitor to Anne in Massinger's The City Madam. He is the son of Lord Lacy. Rejected by Anne, he scuffles with Plenty during which weapons are drawn. Latter, he appears disguised as one of three Indians (he is accompanied by Sir John and Plenty), and participates in an elaborate scheme to test Luke's goodness. He is engaged to marry Anne at the play's close.

MAURITIO

Mauritio, also called Mauricio in Shirley's The Young Admiral, is a Neapolitan captain serving under Vittori, Mauritio wagers with the courtier Fabio concerning the latter's survival in time of war. The wager is that if Fabio survives, Mauritio will gain half of Fabio's land. Mauritio wins his wager.

MAURITIUS

A character from the badly deteriorated plot of the anonymous 2 Fortune's Tennis. At one point in the action he is described as "bleeding." Because of the state of decay, nothing more can be deduced regarding the character's function in the otherwise lost play.

MAURON

A son of Cadallan who fights in all the battles with his brother Caradoc, and is taken to Rome with him in The Valiant Welshman.

MAURUCIO

A foolish and vain old courtier in Ford's Love's Sacrifice (his age given at one point as 70, later as 60), much mocked for his pretensions to romantic love he should long ago have outgrown. Ferentes amuses the Duke with gossip about his 'dotage' and he is made a figure of satirical fun by the cynical younger courtiers for his inappropriate and hopeless passion for the Duke's sister. Maurucio is humored but teased by his loyal servant Giacopo and spied on by the Duke and courtiers, preening himself and practicing love-poetry intended to woo Fiormunda. Like Malvolio, his romantic fantasies are hopeless and he is severely mocked by the onlookers. Fiormunda is outraged and disgusted to be the object of his desires. The Duke is too amused to be offended by Mauricio's foolish ambitions to marry his sister: he forgives Maurucio and invites him to dinner as a reward for the amusement he has provided, which has temporarily lifted his melancholy. Seduced by this advancement, he is made to believe by Ferentes that Fiormunda secretly loves him in return. Fernando also uses his infatuation, presenting to him the gift of a Fool (Roseilli in disguise), whom he then passes on to Fiormunda as a love token. He is delighted by her return gift, of a toothpick. He participates in the masque and, though innocent of any part in Ferentes's murder, is unjustly imprisoned by the Duke. Fernando, Biancha and Morona later plead for his release, and Giacopo weeps to see his master freed. The Duke consents to his marrying the disgraced Morona, but exiles them from court. D'avolos spitefully suggests that they start a new life running a brothel in Naples. The episode disturbs Fernando, who expresses concern about the Duke's immoderate decision to banish them.

MAUTADO, SIGNIOR BALTAZARO CLERE

Diego claims this to be his full name in Shirley's The Maid's Revenge; he answers to Diego "for brevity's sake."

MAVIS, DOL

Dol Mavis is a member of Haughty's college of society ladies in Jonson's Epicoene. They live at their husbands' expense and who entertain the wits in town. At Morose's house, Mavis enters with Haughty, Centaure, and Tusty. During the ensuing party, the fashionable ladies ridicule Morose's horror of noise and welcome the loud musicians. As the party continues, the revelers interact, and the ladies retire at some point to debate Mistress Otter's doubtful right of membership in their select club. At Morose's house, Mavis enters with the other ladies. When Mistress Otter enters rather ruffled for having been chased away by Morose, Mavis dispenses her invaluable advice regarding a woman's most efficient methods of taming a husband. Regarding the matter of extramarital affairs, Mavis recommends that a wife should take lovers. She says that a women are like rivers that cannot be called back and she that now excludes her lovers may live to lie a forsaken old woman in a frozen bed. After the debate on the advantages of women having lovers as the best cure for melancholy, Mavis exits with Haughty's party. Mavis and the collegiate ladies witness the scenes of La-Foole and Daw's humiliation. When they come forward, all the ladies admire Dauphine's looks and ingenuity. When Morose enters furiously chasing everybody away, Mavis and the ladies run off. In a room at Morose's house, Mavis enters while Centaure is ardently courting Dauphine. When Centaure exits, Mavis gives Dauphine a letter that she pretends to be an Italian riddle for Dauphine to translate. In fact, it is a letter of amorous assignation, inviting Dauphine to her chamber. Mavis re-enters with the collegiate ladies and attends the final revelation scene.

MAVORS

Only mentioned in the anonymous Narcissus. Clinias mentions Mavors when, praising Narcissus's beauty, he claims that his breath is sweeter than "the sweat hot breath of blowing Mavors." According to Roman mythology Mavors or Mars was son to Jove and Juno. His Greek equivalent is Ares, the god of war and masculinity, son to Zeus and Hera.

MAVORTIUS

Mavortius is a lord who chooses to pursue music but forsakes the discipline during the reign of Plenty in Marston's Histrio-Mastix. He discharges his servingmen so that he may more freely pursue fleshly pleasures during the reign of pride. Envy drives him into war, which leads in turn to poverty. At the end of the play, he allows himself to be guided in virtue and wisdom by Chrisoganus.

MAWSY

One of the witches' familiars in Heywood and Brome's The Late Lancashire Witches, Mawsy is mentioned, along with Puckling, Suckling and Mamillion, in the witches' song in II.i. Mawsy presumably appears on stage but does not speak.

MAWWORM

A lieutenant in Middleton's A Mad World, My Masters. Along with Hoboy, he is a frequent comrade to Follywit. Posing as one of Lord Owemuch's coterie, he participates in the robbery of Sir Bounteous as well as the ploy to pose as victims of the robbery and to receive payment for their losses and inconvenience. He also poses as one of the players of Lord Owemuch and, in a performance of The Slip at the home of Sir Bounteous, he helps to steal certain valuable personal affects from their host in order to outfit a play. The false players immediately leave with the stolen goods under the guise of theatrical performance (leaving the constable who would arrest them tied to a chair, ridiculed by the audience as a poor actor).

MAXIMILIAN **1604

A "ghost character" in Rowley's When You See Me. Progenitor of Charles, the Holy Roman Emperor. Henry reminds Wolsey that Maximilian marched with under an English standard with the English Cross on his breast.

MAXIMILIAN

A braggart soldier and guest of Count Ferneze, suitor to Aurelia in Jonson's The Case is Altered. Leads a battalion, which includes Lord Paulo Ferneze, into a war against Chamont in which Paulo is captured. Takes Chamont and Jasper prisoner and brings them to Ferneze's court, unaware that they have switched identities. He offers to trade Chamont and Jasper for Lord Paulo, but "Chamont" (actually Jasper) apparently finds this insulting. Maximilian admires his sense of honor. He agrees with Count Ferneze to send "Jasper" to France for his captured son, Lord Paulo, and invites "Chamont" (actually Jasper) to remain behind as an honored guest. When it is revealed that Jasper and Chamont have switched identities, Jasper hastens to assure Count Ferneze that Maximilian was unaware of the switch, and that Chamont will surely return with Lord Paulo as promised. Count Ferneze, furious, does not believe him and quarrels with Maximilian, who is dissuaded from dueling with the Count by Aurelia. He reconciles with the Count and tries to dissuade him from hanging Jasper. He is only slightly disappointed when Aurelia is given to Chamont in marriage.

MAXIMINIAN

Diocles' nephew and a melancholy man in Fletcher and Massinger's The Prophetess. Skeptical of Delphia's prophecy that his uncle will become emperor, Maximinian decides to test the prophetess's powers by trying to shoot her with an arrow. She detects this plot and paralyzes his arm. After Diocles kills Aper and become co-emperor, Maximinian speaks a soliloquy about his envy of his uncle's new glory and power. Delphia has used a spell to make Maximinian discontent, and uses another to force him to fall in love with Aurelia. A similar spell forces Aurelia to fall in love with Maximinian, much to the dismay of Diocles. In the dumb show, the Persian soldiers capture Maximinian. Freed after a battle led by his uncle, and jealous of Diocles' new honors, Maximinian watches dumbfounded as Diocles receives and then rejects Rome's highest honors. Diocles gives the empire, and his rights to Aurelia, to Maximinian. The Chorus arrives to provide a compressed account of Maximinian's ambition-driven transformation into a tyrant. Maximinian reveals to Aurelia his terror of being overthrown by his uncle Diocles or her brother Charinus; Aurelia agrees to disown her brother and dismisses Diocles as harmless. Meeting Charinus, Maximinian exchanges accusations and insults with his co-emperor. Deciding that to rule in peace he first needs to kill his uncle Diocles, Maximinian travels with soldiers to Diocles' country estate. He is chastised by his uncle, yet remains determined to kill him until Delphia produces thunder, lightning, and an earthquake, rendering Maximinian's soldiers useless. Maximinian repents and is forgiven by Diocles.

MAXIMINUS**1608

Joint emperor of Rome, with Dioclesian in William Rowley's A Shoemaker a Gentleman. Maximinus resides in Britain, administering the purges of Christians. He orders the arrest of Albon, Amphiabel and Winifred, and administers their execution. Although angered by Leodice's escape, he forgives Crispinus after his brother's triumph, and decides to end the persecution of Christians.

MAXIMINUS**1620

Maximinus, an Emporer of Rome in Massinger and Dekker's The Virgin Martyr, is offered Artemia after she renounces her love of Antoninus.

MAXIMUS**1589

Advisor to the governor of Babylon in Marlowe's Tamburlaine the Great, Part 2. After the wall is breached, he advises that they treat for peace with Tamburlaine.

MAXIMUS**1607

Maximus, Germanicus' messenger in the anonymous Tragedy of Tiberius. He brings the cremated remains of Germanicus back to Agrippina. He reports that Germanicus' dying words were that Piso had poisoned him.

MAXIMUS**1614

A noble soldier and husband of the chaste and virtuous Lucina in Fletcher's Valentinian. During a game of dice he loses his ring to the Emperor Valentinian, who uses it to lure Lucina to the court, where he rapes her. She later dies from her shame and grief. Distraught by his wife's death and guilty over having been made unwitting pander to her violation, Maximus begins his vendetta against Valentinian and everybody who stands in the way of his revenge. His irrational anger alienates him from his stoic friend Aëtius, whose loyalty to the Emperor causes Maximus to plot his death. To make Valentinian suspicious of Aëtius, he circulates a forged letter about Aëtius' traitorous intentions, and the Emperor duly hires the discontented soldier Pontius to kill him. Maximus' plans to murder Valentinian, however, are preempted by Aretus and Phidias. Made Emperor after Valentinian's death, Maximus is inaugurated in a grand ceremony during which his new wife, the widowed Empress Eudoxa, poisons him.

MAXIMUS' SOLDIER

Soldier of Maximus in the anonymous Tragedy of Tiberius. He tells the mob of Germanicus' murder and leads them in their murderous assault upon Piso.

MAY LORD **1607

Rafe appears between IV and V in Beaumont's Knight of the Burning Pestle, at the grocer George's behest, to deliver a May Day speech above the conduit to the honor of London. During the speech, he identifies himself as the May Lord.

MAYBERY

A rich merchant in Dekker and Webster's Northward Ho. He is told by Featherstone and Greenshield that his wife has slept with both of them. Greenshield says that he had lost the ring she gave him in her bed, and that Featherstone had found it there. Maybery believes this story, but his friend, the poet Bellamont, convinces him that the two are liars and slanderers. To take his revenge, he invites them to his house. It soon becomes clear that they have lied, but Maybery and his wife go on pretending to be friends with them. They also take up Greenshield's wife Kate, who pretends to be Greenshield's sister. Maybery's servant Squirrel informs his master that Kate is actually Greenshield's wife, and that she will elope with Featherstone to Ware. Maybery now tells Greenshield that Mrs Maybery has gone to Ware to meet a gentleman from the court. Greenshield wants to go there with Maybery to catch them in the act. Maybery wants as many people as possible present when Greenshield discovers his own wife together with Featherstone, so he asks Bellamont, Philip, Leverpool and Chartley to join their party. At Ware they cannot find Mrs Maybery, because Bellamont has told her to hide. Greenshield is told that she is in Puckridge, and he wants to go there immediately, but Maybery pretends to be tired and melancholy and does not want to go any further. Greenshield should provide a prostitute for him to make him happy. 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 believes to be Maybery's niece, and Greenshield and Kate remain together.

MAYBERY, MISTRESS

Although she is not given a proper name, she is one of the main characters in Dekker and Webster's Northward Ho and an absolutely virtuous lady. Greenshield and Featherstone have in vain tried to get her love during the last two years. As a revenge, they tell her husband that Greenshield has slept with her and lost a ring in her bed, which Featherstone has found there immediately afterwards. Maybery first believes this story, but Bellamont can prove that it is not true. Bellamont and Maybery now plan their own revenge on Featherstone and Greenshield, and Maybery's wife, whose virtue has been restored, helps them by following their instructions and pretending to be secretely in love with Greenshield and with a gentleman of the Court.

MAYOR

For specific titles, such as LORD MAYOR, LORD MAYOR of LONDON, MAYOR of NOTTINGHAM, et al, and for named Mayors, such as CATESBY, LORD MAYOR, look under those listings.

MAYOR**1578

I.
Mayor of the city of Julio in Whetstone's 1 Promos and Cassandra. Openly submits to Promos' authority and presents him with the city's "sword of justice" in the opening scene.
II.
Mayor of Julio in Whetstone's 2 Promos and Cassandra. He greets the king with a short speech of welcome. Through exposition, we learn that the King chastises him for all the crime and corruption in Julio and, in response, the Mayor orders a round-up of all wrongdoers.

MAYOR **1591

He and the Watch come to the Arden home just after the murder in the anonymous Arden of Feversham. The Mayor has a warrant for the arrest of Black Will, who has been seen at the house. While there, the Franklin comes to inform them that Arden's body has been discovered at the Abbey.

MAYOR **1641

A "ghost character" in (?)Shipman's Grobiana's Nuptials. A Grobian. He is on the list of invitees Oyestus is sent to cry into the Grobian feast.

MAYOR of BRISTOL

A supporter of the queen in Marlowe's Edward II. Queen Isabella tells Mortimer that the Mayor of Bristol supports her in her effort to remove Baldock and the Spencers from Edward II's service. He is with Rice ap Howell when the two present Spencer Senior to the Queen and Mortimer, but the mayor says nothing.

MAYOR of COVENTRY

A non-speaking role in Shakespeare's 3 Henry VI. He is seen with Warwick as the latter awaits reinforcements.

MAYOR of FOY

Recognizing Bess's combination of virtue, beauty, and business acumen, the Mayor of Foy in Thomas Heywood's The Fair Maid of the West, Part One seeks a marriage between her and his only son.

MAYOR of HEREFORD **1599

Along with the Sheriff and Bailiff of Hereford in Munday, Drayton, Hathaway, and Wilson's Sir John Oldcastle, he attempts to break up the fight between the Powis and Herbert factions.

MAYOR of LONDON**1592

I.
In Shakespeare's 1 Henry VI the mayor of London begs King Henry to intervene in the stone-throwing skirmish between Gloucester's and Winchester's factions.
II.
A "ghost character" in Shakespeare's 2 Henry VI. When Jack Cade storms London and takes over London Bridge, he sends a messenger to ask assistance from the king in repulsing the rebels. The First Citizen carries the plea to Scales.

MAYOR of LONDON**1593

The Lord Mayor of London in Shakespeare's Richard III. The Mayor comes to meet the Yorkist Prince Edward when he is brought to London to be crowned. Because Richard III and Buckingham need the Mayor in order to gain support from the citizens of London, they later get him to excuse the illegal execution of Lord Hastings by claiming Hastings had plotted to attack them. Finally, in a staged event, the Mayor comes to implore Richard to take the crown.

MAYOR of LONDON **1604

The Mayor of London presents a purse and an English Bible to Queen Elizabeth in Heywood's 1 If You Know Not Me.

MAYOR of NOTTINGHAM

A tanner by profession, and a "merry man" in Sampson's The Vow-Breaker who calls Queen Elizabeth "Bess" to her face. Having welcomed her to Nottingham, he asks her to arrange to return the river Trent to the course it followed before Owen Glendower stopped it.

MAYOR of PLYMOUTH

The Mayor of Plymouth in Thomas Heywood's The Fair Maid of the West, Part One appears accompanying the Earl of Essex as he receives the Petitioners in the dumb show in the first act.

MAYOR of ROCHESTER

The Mayor, also spelled Maior, of Rochester comes to Butcher Browne's house with Master James and the Pursuivant in (?)Heywood's A Warning For Fair Women, where he charges George Browne with murder and arrests him. At James' urging he directs his officers to take Browne to John Bean at Master Barnes' residence. After Bean identifies Browne, the Mayor of Rochester conducts Browne first to Court and then to the Justices in London.

MAYOR of ST. ALBANS

He is fooled when Simpcox pretends to have been cured of blindness at St. Albans in Shakespeare's 2 Henry VI. He presents Simpcox to the King. Shakespeare is mistaken here. St. Albans was not incorporated before the reign of Edward VI and therefore had no mayor during the period of the play. The chief officer would have been a bailiff.

MAYOR of ST. ALBANS **1599

He searches in Munday, Drayton, Hathaway, and Wilson's Sir John Oldcastle for the escaped Harpool and Oldcastle when he discovers the Irishman, who is dressed in Harpool's clothes, and arrests him for heresy. Later he arrests Harpool for the murder of the young Richard Lee since Harpool is now wearing the Irishman's clothes. He then mistakenly arrests Club and Kate, assuming them to be Lady and Lord Oldcastle.

MAYOR of YORK

When Edward's forces attempt to enter the gates of York in Shakespeare's 3 Henry VI, the mayor proclaims his city's allegiance to Henry and prevents their entry. Edward reminds the mayor that he is Duke of York, entitled to enter the city regardless of the mayor's views about who should be king. The mayor is convinced, and opens the gates.

MAYORESSE

A "ghost character" in Thomas Heywood's 1 Edward IV. This wife of the Lord Mayor of London is briefly mentioned and dies during the course of the drama.

MAYORESS, LADY**1595

After More is named Lord Chancellor in Chettle, Dekker and Munday's Sir Thomas More, the Lord Mayor of London, his wife the Lady Mayoress, and others pay More a surprise visit at his town house in the City. As everyone prepares to watch The Marriage of Wit and Wisdom performed by the Lord Cardinal's men, Lady More invites the Lady Mayoress to sit by her, but the latter objects on the grounds that, given More's new position, she should be seated further away. Lady More insists, saying that when she and More visit the Lord Mayor's house, then the Lady Mayoress can order things as she wishes.

MAYORESS of LONDON**1591

Mary Bearmbar is the wife of the Mayor of London in Peele's Edward I. Early in the play, she incurs the wrath of the proud Queen Elinor, who objects to the Mayoress being accompanied through the streets by musicians as she goes to have her son christened. Later, Elinor summons Mary and inquires if the woman would wish to become a royal laundress or the nurse to Edward, Prince of Wales. When Mary chooses the latter, the queen has her bound to a chair and poisonous snakes affixed to her breasts in order to determine what kind of a "nurse" Mary will be.

MAYORESS of LONDON**1609

A "fictional character" in Jonson's Epicoene. When Mistress Otter intends to show her psychic qualities in front of the collegiate ladies, she narrates a dream she had the other night. She says she dreamt of the Lady Mayoress of London, which is always very ominous to her. Although Mistress Otter does not reveal the exact content of her dream, she interprets it as a bad omen because every time she dreams of the city a bad accident happens.

MAZERES

Mazeres is constructed as a parasite–the "Court flye" in T.D.'s The Bloody Banquet. In Act One, he urges Armatrites to proceed with his usurpation of the Lydian throne. He is jealous of Tymethes, as he himself seeks the hand of the Cicilian Princess, Amphrodite. In Act Two, he jealously observes Tymethes' discourse with Amphrodite. In Act Three, he bribes Roxona to assist in the killing of Tymethes. He tries to kill Tymethes with poisoned wine, but fails. Seeing the lushness of the banquet, he resolves to bring down Tymethes. He thinks that the veiled women is Amphrodite (it is actually her Mother, the Queen of Cicilia). In Act Four, he informs the infuriated Armatrites that Tymethes and Amphrodite have been having open and secret meetings. It then becomes apparent to Mazeres that the Queen has been having an adulterous relationship with Tymethes. He is joyous when the disgusted Amphrodite places him in her affections in place of the shamed Tymethes. In disguise as Roxona, he tells the incensed Armatrites of his Queen's adultery with Tymethes. He then kills the real Roxona, to the consolation of the Queen. In Act Five, his downfall comes after he narrates the tale of the banquet–Armatrites realizes that Mazeres could have prevented the adulterous affair from escalating.

MAZZAGENTE

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

McPHELAN, BRYAN
This "ghost character" in the anonymous Captain Thomas Stukeley is mentioned as an Irish soldier defending Dundalk.

McSURLY, ALEXANDER
A Scot in league with the Irish forces in the anonymous Captain Thomas Stukeley. He fights with O'Neal for command of the force; O'Neal eventually retreats.

MEAGER

A soldier newly home from Holland in Davenant's The Wits. He is desperately poor. The younger Pallatine gives him money and new clothing in exchange for his assistance in his (the younger Pallatine's) schemes, which include convincing both the elder Pallatine and Thwack to wait for a wealthy lady in a deserted room and taking off all of their clothes. He, along with Pert, then proceed to rifle the clothing for their expensive hatbands, jewelry, and money.

MEANDER

A Persian lord in Marlowe's Tamburlaine Part 1. He advises king Mycetes. He works to keep peace between the unstable king and the king's brother, Cosroe. He takes charge of the armies of Mycetes when Cosroe joins Tamburlaine. He sets a price on Tamburlaine's head (the province of Albania) and on Theridamas' (the government of Media), but instructs that Cosroe is to be forgiven. Believing the Scythian hoard to be no better than a band of thieves, he plans to throw gold upon the battlefield and have them slaughtered as they scramble to collect it up. When Meander loses the battle, Cosroe forgives him and makes him his advisor. He expresses his disgust when Tamburlaine proves treacherous to Cosroe.

MEANEWELL

Littleworth's name while in disguise throughout Cartwright's The Ordinary.

MEANWELL

(Originally spelled "Meanewell" in Brome's The English Moor.) Father of Arthur and Dionisia, he has been missing (and presumed dead) for a year at the beginning of the play, apparently having ridden away to France with Rashly to fight him in a duel over a game of bowls. They appear in Act Five to reveal that their duel and disappearance were counterfeited. Having redeemed Winloss (Phyllis' father) from debtors' prison to atone for having ruined him in a lawsuit, they have returned to London. He arrives with Rashly just in time to prevent Dionisia from murdering Theophilus. The families are re-united and he gives his blessing to the marriages of the various children.

MEASURE

At the beginning of Skelton's Magnyfycence, Measure is appointed by Magnyfycence to control Felycyte and Lyberte, but when the king falls under the influence of the evil counselors, Measure is expelled from court.

MEAUTIS**1595

A "ghost character" in Chettle, Dekker and Munday's Sir Thomas More. John Meautis is a wealthy Picard whose house near St. Martin-le-Grand is pointed out by Lincoln during the May Day riots of 1517.

MECHANICALS, RUDE

A title that Puck gives to the Athenian swains who intend to present their play of Pyramus and Thisbe before Theseus and Hippolyta's nuptial celebration in Shakespeare's A Midsummer Night's Dream. There are six of them:
  • Nick Bottom, a weaver, takes the role of Pyramus.
  • Francis Flute, a bellows mender, is given the part of Thisbe.
  • Peter Quince, a carpenter, is script master and director. Originally casting himself in the part of Thisbe's father, Peter Quince ultimately assumes the part of Prologue.
  • Tom Snout, a tinker, is originally cast as Pyramus' father but ultimately portrays Wall.
  • Snug, a joiner, takes the role of the Lion.
  • Robin Starveling, a tailor, plays the part of Moonshine although he is earlier allotted the role of Thisbe's mother.

MECHANICKS, CAPTAIN of the

Leader of the mutiny against priestly authority in Jerusalem in Hemminge's The Jews' Tragedy. A carnivalesque rioter given to exaggerated rhetoric. He is flattered by Zareck into attending the proclamation of anarchy by the Seditious captains.

MEDAEA

A fury in the anonymous Wisest Have Their Fools whom, along with Mennippa, Sill, and Grulla (or Trulla), Edentula summons to pinch Silly when he foolishly woos Urina.

MEDEA**1562

I.
A queen who had slain her own children, driven before the furies Alecto, Megera, and Ctesiphonein the fourth act dumb show in Sackville and Norton's Gorboduc.
II.
A "ghost character" in Lyly's Gallathea. She is mentioned by Diana as a possible cause of the love plague, but does not appear in the play.
III.
In the dumb show introducing V of the anonymous Locrine, Jason enters with Creon's daughter (Creusa). Medea follows with a garland, puts it on her head, sets it on fire, kills Creusa and Jason, and leaves. Creon's Daughter, according to Ate's commentary, stands for Estrild, Medea for Gwendoline, Jason for Locrine.
IV.
Only mentioned in Jonson's The Alchemist. In an attempt to convince the skeptical Surly of the benefits of alchemy, Mammon claims that the parable of Medea's charms exposed the secret principles of alchemy. The legendary sorceress who helped the Argonauts seize the Golden Fleece went away with Jason. Her magic has been connected with alchemical practices.
V.
Only mentioned by the Fairies invoked by the Magician in Fletcher's The Humorous Lieutenant during the creation of a love potion that Antigonus intends to use to make Celia fall in love with him. In classical mythology, Medea, a sorceress, is the lover of Jason of the Argonauts.
VI.
Only mentioned in Goffe's The Courageous Turk. Shortly before Amurath is surprised by the wounded captain Cobelitz, the Turk brags about being better shielded from his enemies than Jason was by the witch Medea.
VII.
Medea of Colchus is the daughter of King Oetes and sister to Absyrtus in Heywood's Brazen Age. Medea is a witch who possesses the magic of Hecate. Medea betrays her father by assisting Jason in his challenge for the Golden Fleece. Medea subdues the dragon and bulls that guard the Fleece. After Jason succeeds, Medea disobeys Oetes's order that she kills Jason. Instead, Medea helps Jason escape. She goes so far as to take her brother Absyrtus hostage and kills him at sea to throw off pursuing Colchian forces.
VIII.
Only mentioned in Randolph's Jealous Lovers. Ballio says, had he Medea's charms, he would make Simo young again.

MEDEA **1587

An enchantress in Greene's Alphonsus, King of Arragon, she conjures the ghost of Calchas in order to foretell the outcome of Amurack's war. Puts Amurack into a dream state, in which he dreams of the slaughter of his own men. Convinces Fausta and Iphiginia to travel to Naples and marry Alphonsus, thus saving Turkey.

MEDEA **1602

Only mentioned in Percy’s A Country Tragedy in Vacunium. Rhodaghond swears that never was Medea revenged upon Jason as she will be upon Fulvia for striking her in front of Sir Jeptes.

MEDEA, MADAM

Only mentioned in Jonson's Epicoene. Madam Medea must have been an Elizabethan wise woman and occultist in London. Unlike Doctor Forman, who kept records of his cases, it seems that Madam Medea's existence is mentioned only in the contemporary texts. 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. The implication is that Truewit's expertise would have procured him as much success with women as if he had taken a love philter from Madam Medea or the quack doctor.

MEDESA

Medesa, [Medici?] Duke of Florence, in the anonymous Knack To Know An Honest Man. He has refused to pay the dowry owed to the Duke of Milan when the latter married Orrelio. When the two states go to war they agree to settle their differences by single compact. Medesa chooses Lelio as his champion for the contest against the Duke of Milan's champion, Brishio, Lelio's father-in-law. When Lelio and Brishio discover the other's identify and refuse to fight, Milan and Florence agree to settle their differences similarly, and agree to act on what Lelio and Brishio recommend, which is that Florence pay the dowry.

MEDICE

Favorite of Duke Alphonso in Chapman's The Gentleman Usher. Strozza considers him base, and Vincentio resents him. He is illiterate but agrees to make a wooing speech on the Duke's behalf. In Alphonso's pageant at Lasso's, he forgets his lines and Vincentio mocks him. He attempts to learn from Cortezza why Margaret appears cool to the Duke's suit by plying her with drink and flirting. After the masque, he asks his servant to shoot his enemy Strozza during the next day's hunt. He and Alphonso leave the house early and return to Lasso's where Cortezza reveals that she has discovered that Margaret's lover is Vincentio. Later Medice (along with Alphonso, Cortezza, and Lasso) spies on the meeting between Vincentio and Margaret. He enters with the group to confront the lovers, then is sent in pursuit of Vincentio. Against Alphonso's orders, he seriously wounds Vincentio. In the final scene, when threatened with death, he confesses his crimes, reveals his true identity, and is banished.

MEDICI

Only mentioned in Jonson's The Alchemist. In his ironic humor, Face instructs Mammon to converse with the lady he was courting (Dol Common in disguise) about her noble origin. Eager to ingratiate himself with the lady, Mammon tells her she looks like the Medici family, while Face says in an aside that her father was an Irish costermonger.

MEDICI, ROSIMUNDA di

A "ghost character" in (?)Jeffere's The Bugbears. Rosimunda, referred to once in Buggbears as Rosimunda di Medici, is married to and pregnant by Formosus, facts unknown to her father, Brancatius, who contracts her in marriage to the elderly Cantalupo. Although a key figure in the plot, she does not appear in the play.

MEDICO

A doctor in Salusbury’s Love or Money. He assures Antius that Xanthippi cannot live long, for her lungs are wasted away with chiding and she has fretted half her heart away. She will soon expire and so enrich Antius. He claims to be wounded when Xanthippi accuses him of conspiring with Antius against her life. He tells Corinna at the end of Act I that he cannot dance. He turns his attention to Maria, lying to her that she would never be happy with Pamphilus because, as his doctor, he knows that Pamphilus is impotent. When he returns to court her again, he meets Pamphilus who is disguised as a servant; Pamphilus informs him that Maria is alone as his master is thirteen miles away on special business. He hires the ‘servant’ to help him to win Maria. He agrees to Maria’s request to shave off his beard to disguise himself so no one will recognize him as he courts her. Fearful that Pamphilus has returned, he agrees to hide in a trunk of dirty linens. Discovering the trick only after a long, weary lug to a country house in the trunk that nearly ‘crushes’ his bones, and being taunted by Orlando, Juristis and Medico are duly chastened and agree to slink away and avoid the company of men.

MEDICO de CAMPO

A quack doctor and braggart, Wildeman's neighbor in Randolph's Aristippus. He chances to arrive when Wildeman has been converted to wine and repented his attack on Aristippus. He offers to help, with lengthy tales of his exotic career and his miraculous cures of foreign dignitaries. He diagnoses massive injuries to Aristippus and administers a powder in sack, which is an immediate cure. He is praised by all, and Aristippus promises him any fee he names. His fee is for Wildeman to be forgiven and formally admitted as Aristipppus's newest disciple. This done, he joins the others to drink healths inside while Simplicius speaks an epilogue.

MEDICO, LORENZO

Lorenzo is a gentleman of Verona, husband to Abstemia in Davenport's The City Night Cap. He asks his friend Philippo to court Abstemia one more time to know if she is truly virtuous. Lorenzo thinks that, as any other woman, she is a smooth flatterer and a cunning injurer. Thus, despite not having any evidence, Lorenzo believes that Abstemia has slept with Philippo as Lorenzo is the best representative of the proverb Crede quod habes et habes, which governs the development of the events in the play. So, Lorenzo plans to take her to the Duke of Verona to administer justice. He is to bring two slaves to him, who will bear witness against his wife at a trial in front of the Duke of Verona and other lords and authorities. They are to say that they saw Abstemia having sex with Philippo. He is granted divorce from his wife. But, in Act Three, when the Duke of Venice comes to avenge his sister, Lorenzo is founded guilty and expelled from the two dukedoms and his own family. He will go to Milan, where he finds his wife, who has not forgotten him, and he makes up with her.

MEDICUS**1618

Medicus tries to treat Astronomia after she is poisoned in Holiday's Technogamia, but she will not listen to his advice.

MEDINA**1606

A "ghost character" in Dekker's The Whore of Babylon. According to Como, he is Captain General of the Babylonian Armada sent to attack Titania. When the Armada is attacked by Fairy fire, he hides under hatches and dares not show his head.

MEDINA**1619

A Spanish nobleman and warrior who advises King Roderick against breaking into the mysterious locked room in William Rowley's All's Lost by Lust. He fights in the wars against the Moors, and joins Julianus in his insurrection against Roderick.

MEDINA**1621

Medina, a captain of the Emperor along with the other captains Hernando and Alphonso in Massinger's The Duke of Milan.

MEDINA, GOMES de

A "ghost character" in Dekker's The Whore of Babylon. He leads the seventh squadron of the Babylonian Armada sent to attack Titania. Como likens him to the god of war.

MEDIOCRITY **1630

Roscius in Randolph's Muses' Looking Glass characterizes her as "the mother of all virtues" by which it is evident that she is to be taken as "the golden mean" rather than the current use of the word. She presides over the dance of her daughters, the moral virtues, and alludes to her five other daughters, the intellectual virtues, and her niece, Friendship.

MEDLAY, IN–AND–IN

A cooper/joiner turned puppet-master, and a Constable along with Clench, Scriben, and To-Pan in Jonson's A Tale of A Tub. Though the son of a weaver, he claims to be a true "architect." One of the "Council of Finsbury" that serves as a kind of Chorus to the fortunes of High Constable Tobie Turfe, he is commissioned to design Squire Tripoly Tub's masque for Audrey's wedding, and provides a fifth-act "motion" or puppet-show depicting the events of the play, which he narrates. An apparent satire on Inigo Jones, he replaces the character of Vitruvius Hoop in the original version of the play.

MEDLER, JANE

Disguised as a widow in Middleton's A Trick to Catch the Old One, Jane Medler is supposedly possessed of an annuity of £400 per year. She strikes a bargain to pose as Witgood's betrothed for their mutual financial advancement. The rivalry and jealousy that this potentially lucrative match arouses in Witgood's creditors, his uncle Lucre (who holds Witgood's mortgage), and especially his rival Walkadine Hoard makes her such a sought after commodity that she is "haunted by suitors" upon her arrival in London with her husband-to-be. Hoard is so attracted to the prospect of the easy wealth that marriage to her would provide that he persuades her to marry him rather than the spendthrift Witgood. In order to dissuade this match, Lucre, desirous for a portion of Medler's alleged wealth and to outdo his rival Hoard, promises to nullify Witgood's mortgage and make him his heir in order to improve his estates in the impending marriage. Agreeing to the latter proposal, she marries Hoard anyway, thereby guaranteeing herself an "equal share" of Hoard's wealth. It is only after this marriage that her true identity as Witgood's former whore is revealed by Kix, Lamprey, and Hoard's brother, Omnipherous, who have traveled to London at Walkadine's behest. (See also "COURTESAN" for additional information).

MEDOR

Angelica's confidant in Greene's Orlando Furioso. He is framed by Sacripant who tricks Orlando into thinking that Angelica is in love with him.

MEDORUS**1614

The widowed father of Silvia in Daniel's Hymen's Triumph. He regrets having engaged his daughter to marry Alexis, apparently for his property, when she was in love with the worthy Thyrsis. On learning that Thyrsis remains faithful to her memory, he tells Thyrsis' father, Medorus, he would not again keep the young lovers apart.

MEDORUS**1630

Father to Laurinda in Randolph's Amyntas. Initially, he seems to be a typically irascible overbearing father, suspicious of Laurinda's conduct concerning her rival suitors. His thorough exposition of the island's curse on marriage however explains his paternal concern: he would prefer to protect his daughter from falling in love until the curse on marriage is lifted. When Laurinda finally chooses Alexis, Medorus again advises the eager couple to postpone their wedding until the execution of Claius, which will lift the curse. They respect his wishes, albeit briefly, for the happy resolution comes quickly after this.

MEDULLA

Mistress Medulla is a country gentlewoman in Shirley's The School of Compliment. She is seemingly a regular at the Compliment School. She is well-known there, and she rehearses a dialogue with Gasparo upon a theme of a widow responding to a suitor's advances.

MEDUSA**1584

She brings a box with magic potion to Victoria in the hopes of forcing Fortunio into Victoria's arms in ?Munday's Fedele and Fortunio. After being interrupted by Pedante, she throws her ceremonial candles into the tomb which hides Crackstone, who emerges and frightens them away. Later agrees to help Fortunio marry Virginia by switching him for Fedele, whom Virginia has made arrangements to meet with that night. The plan involves Fortunio having his way with the unsuspecting Virginia, and then tricking Virginia's father into discovering them and forcing them to marry. The plan works and after Fortunio and Virginia agree to marry, she admits her role in the plot.

MEDUSA**1611

Only mentioned in Jonson's Catiline. In Greek mythology, Medusa was a she-monster whose eyes turned everyone looking at her into stone. When he describes the final battle between the senatorial army and Catiline's troupes, Petreius alludes to the mythological conflict between the gods and the titans, when Minerva appeared armed with Medusa's head, which turned all enemies to stone. Likewise, Petreius reports, Catiline's fearlessness froze dead when he saw the Romans' bravery, and thus he was killed.

MEEKNESS**1513

A "ghost character" in the anonymous Hick Scorner. A true, virginal maiden. 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.

MEG

See also "MARGARET."

MEG**1617

Meg is a bawd in Middleton and Rowley's A Fair Quarrel who, along with Priss, is angry with her pimp, Captain Albo, for failing to defend her from boorish customers. When Chough and Trimtram humiliate Albo by roaring and then farting at him, Meg is delighted and sings a song to celebrate.

MEG**1634

One of the witches in Heywood and Brome's The Late Lancashire Witches, she is addressed interchangeably as Meg or Peg.

MEGADORUS

A "ghost character" in the anonymous Timon of Athens, Gelasimus' father, who left him a fortune when he died. His son also calls him "Rubicunde of the Islands."

MEGAERA

I.
Sent from hell by Pluto in Wilmot's Gismond of Salerne. The fury announces that she will throw a snake into Tancred's breast; she will throw another snake into Gismond's.
II.
The non-speaking furies in Peele's The Battle of Alcazar–Alecto, Megaera, and Tysiphone–are summoned by Nemesis to cry, conspire, complain and moan until Abdelmunen's grieved ghost gains revenge for his murder.
III.
A fury in Wilmot's Tancred and Gismunda. To the accompaniment of thunder and lightning, Megaera rises from hell, accompanied by Alecto and Tisiphone, and the furies dance. Megaera then sends her two companions back to hell and announces that the remainder of the tragedy belongs to her. Entering the palace, she meets Tancred leaving his daughter's chamber and hurls her stinging snake at him.
IV.
Megaera, one of the Furies, speaks the first part of the Prologue in May's Julia Agrippina. Caligula speaks the second.

MEGAIRA

One of the Three Furies appearing in the First Dumb Show of Hughes' The Misfortunes of Arthur. Although only Alecto (whose name means "never ceasing") is named, and named only later in the play, the other two Furies (or Erinys) are Megaira ("Grudger") and Tisiphone ("Avenger of Blood"). See under "Furies."

MEGARA **1617

A "ghost character" in Goffe's Orestes. Whilst being stabbed, Agamemnon awakes and imagines his enemy Megara has clothed himself in the skin of Clytemnestra to do this deed.

MEGERA

One of the three furies who, in the fourth act dumb show, rise from under the stage driving before her kings and queens who have murdered their children in Sackville and Norton's Gorboduc.

MEGERA**1594

Only mentioned in Kyd's Cornelia. Cornelia states that her fate is worse than that of Megera. In Roman mythology, Megera is married to Hercules but Juno causes him to murder Megera and their three children in a fit of madness.

MEGRA

Though circulating among ladies and courtiers, Megra is nonetheless a bawd in Beaumont and Fletcher's Philaster, or Love Lies A-Bleeding. She has a wide reputation for loose behavior that is matched only by the sexual suggestiveness of much of her speech. Caught almost "in the act" with Pharamond, Megra threatens to reveal what is actually a false story of illicit relations between Arethusa and Bellario. She does indeed eventually tell her tale in public, only to be banned from court when her deceit is discovered. The plot suggests that Megra may accompany Pharamond as he returns to his own country, for Philaster has offered her that option.

MELA**1630

A prostitute in Romilia's brothel in Wilson's The Inconstant Lady. Mela helps prepare the house for Busario's visit, noting that his money keeps them in food and drink. In the midst of the orgy that the whores stage for Busario, Mela sings a wanton song declaring that she prefers old lovers to young ones.

MELA**1635

[Annaus] Mela is the virtuous brother of Seneca in Richards' Messalina. He befriends Montanus and persuades him to flee to Corsica to escape Messalina.

MELAMPUS

A "ghost character" in Daniel's The Queen's Arcadia. Melampus is the dog of Amyntas, and is described by Mirtillus as sharing in Amyntas" distress when he thinks that Cloris is false.

MELAMPUS **1635

He, Melampus and others were hired by Timeus to kill Pallantus but the shipwreck prevented them in Killigrew's The Conspiracy. When they assault Pallantus on the shore, he kills them.

MELANCHOLICO**1618

The only one of the four humor characters who becomes a courtier in Holiday's Technogamia. Melancholico serves Poeta at first, but then marries Musica (music was considered an appropriate treatment for melancholy) and is raised by Polites to the rank of courtier.

MELANCHOLIO**1636

Melancholio plays a minor part in the rebellion against Prudentius in Strode's The Floating Island. He agrees to the revolt but does not participate actively. At Fancie's coronation, he brings a painting of her crowned with a gold crown. He later complains to Desperato, who tries to practice medicine on him, but Melancholio rejects him. Concupiscence decides she wants to marry him and pretends to be reformed. This fools Melancholio,. He marries her but is miserable after and seeks for divorce. At Desperato's dinner, he decides to hang himself. After Prudentius returns, he learns that his marriage must stand.

MELANCHOLY

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

MELANTIUS

Melantius is leader of the army of Rhodes and Amintor's best friend in Beaumont and Fletcher's The Maid's Tragedy. He is delighted to learn that his friend has married Evadne, his sister, instead of Aspatia, to whom Amintor had been betrothed. When he learns that the wedding is a ruse to disguise the King's fornication with his sister, Melantius plans the King's assassination. He enlists the aid of his brother, Diphilus, and Evadne, who actually kills the King in his bed. He also wins the aid of his one-time enemy Calianax, who provides them a fort for their escape. Once the killing is completed, Melantius acquits the deed to the new King, Lyssipus, and wins a full pardon. When he finds that his friend Amintor has committed suicide, Melantius determines to starve himself to death.

MELCHISEDEC

A "ghost character" in Bale's God's Promises. Mentioned by Moses as an example of God's mercy and guidance.

MELCHISUA

A "ghost character" in Peele's David and Bethsabe. King Hanon of the Ammonites likens the deaths of Saul's sons Melchisua, Jonathan, and Abinadab to the fate he thinks is in store for David at Rabbah.

MELCOSBUS **1637

Emperor of Tartary in Carlell's Osmond. He has taken the Christian city where the greedy Christians preferred to fight and die rather than give up their wealth to succor the poor and starving. He intends to make all Asia the subject of his victories. He is pleased to take Despina as a gift from Osmond. In his love of Despina he offers her all power, but she wants only her liberty. He goes to her and almost rapes her, but she talks him into trying to win her love rather than making a base conquest of her. He grants her requests to free his Christian prisoner and order Osmond to do what she asks of him. When Despina finally yields to Melcosbus, he is transported with joy and offers Osmond to be partner with him in ruling the kingdom. Calibeus comes to him for justice over Orcanes' 'rape' of Ozaca, but Melcosbus refuses to punish the prince. Odmer comes to him and pleads with him to become his former self, having grown lax luxuriating with Dispina. Melcosbus is incensed at him but forgives him and swears to govern his passion. He determines to send a signal to his people by punishing Orcanes for the rape of Ozaca. He sentences his son to have his eyes put out. When the prince admits that Ozaca was a willing participant, Melcosbus believing it a lie has the prince taken out to be strangled to death. He then goes before Haly, Odmer, the captains and soldiers to prove he is himself. He shows them Dispina and wins their agreement that she is rare enough to make a man forget his most urgent business. To prove his warlike mettle, he murders her before them and orders her entombed but cannot look upon her body. Lost in grief, he prays to her for forgiveness in his private arbor where he says he will raise an altar to her. Haly and the captains fall on him and wound him but Osmond kills them and saves him. In his final moments, he explains why he had to kill Dispina and that she allowed it to save his majesty. She died a martyr, he claims, and will become a saint. In his dying breath he prophesies that, if lovers meet in Elysium, Osmonds virtues will win Dispina in eternity.

MELEAGER

I.
Only mentioned in Percy’s A Country Tragedy in Vacunium. Rhodaghond swears that never was Althaea revenged upon Meleager as she will be upon Fulvia for striking her in front of Sir Jeptes.
II.
Only mentioned in Fletcher's The Humorous Lieutenant. Celia sees Demetrius returning from hunting and compares him to Meleager. In classical mythology, Meleager is a young gallant hunter identified with the Calydonian hunters.
III.
Son to King Oeneus and Queen Althea of Calidon in Heywood's Brazen Age. Brother to Deianeira. The sisters of Fate made a prophesy at Meleager's birth that he would die at the moment a particular fiery brand was completely consumed. Throughout his life, Meleager's mother has kept the brand. After Hercules wins Deianeira's hand in marriage, Meleager offers to prepare the wedding. He voices his support for Hercules and celebrates Deianeira's good fortune at having such a heroic husband. Meleager organizes the hunt for the Caledonian Boar. He takes a special interest in Atlanta, the virgin huntress. After Meleager and the group kill the boar, Meleager, over the objections of his male companions, seeks to award Atlanta a majority of the glory for the hunt. During an argument on the matter, Meleager kills his uncles Toxeus and Plexippus. Once order is restored, Meleager regrets the violence and takes Atlanta as his fiancé.

MELEAGER **1607

A "ghost character" in Tomkis' Lingua. According to Mendacio, the last war the five senses fought was against Meleager and his wife Acrasia. They might easily have lost the fight except Meleager was sick and Acrasia drunk.

MELEAGER **1638

A young Bithynian lord, son to Polydamas and husband to Thalaestris in Mayne's Amorous War. He reports to his king that intelligence has been gathered on the Thracian plan of attack. He reports that their camp is more like a colorful city than a warlike preparation. When he learns that his wife has been captured by the Thracians, he despairs that he may never see her again without little Thracian babies that will call her mother but him captain. Theagines and Meleager are quickly convinced by the arguments of Callias, Neander, and Artops that the Amazon warriors require and desire the Bithynian men to service them and get them children, including the two 'princesses.' They therefore go quickly when the Amazon princesses call them to their tent, justifying themselves that, should the ever meet their wives again, they can then exchange mutual forgiveness. In a twist on the 'bed trick,' Theagines and Meleager take Orythia and Thalaestris to bed believing they are Amazons rather than their wives. After sex, Theagines and Meleager compare notes. They are surprised that the Amazons had both of their breasts and were "complete women." Theagines and Meleager learn from Orythia and Thalaestris that the Amazons intend to turn traitors and side with Thrace now because Archidamus has refused to choose between the two princesses and will remain true to Roxane. When the truth is revealed, Orthia and Thalaestris laugh at their husbands for having committed innocent fornication and made themselves cuckolds with their own wives.

MELEANDER

Meleander is the father to Eroclea and Cleophila, brother to Sophronos and a former councillor of Palador's father, Agenor, in Ford's The Lover's Melancholy. Before the action of the play, Agenor negotiated a marriage between Palador and Eroclea, but became enamoured of Eroclea himself and threatened to rape her. Meleander rescued her and conveyed her away from Cyprus. Accused of treason by Agenor and stripped of his lands and titles, Meleander is now confined to his castle and has become distracted. Cared for only by Cleophila and by his servant Trollio, he has not shaved since the loss of Eroclea and sleeps and eats only fitfully. When confronted by his old servant, Rhetias, and by Eroclea disguised as Parthenophill, he distresses both by failing to recognize them. Corax and Rhetias plot together to cure his distraction, and Corax hints to him that Eroclea will soon return, but he remains sunk in grief. After Eroclea reveals herself to Palador, Corax drugs Meleander, has him shaved and cleaned, and then awakes him. Meleander is joyfully reunited with his daughter and with his role as councillor, ushering in a new Cyprian golden age.

MELEBEA

A beautiful maiden in ?Rastell's Calisto and Melebea, Melebea is made miserable by Calisto's incessant assault on her chastity, but resolves never to yield to him. Initially beguiled by Celestina, she rebuffs the old bawd in fury when urged to appease Calisto's pain by yielding to him, but then relents when Celestina enumerates the young man's virtues, and gives her girdle as a healing token. When she hears her father Danio's account of his dream, however, she is horrified at her folly, and falls to her knees to beg his forgiveness for abandoning, even for a moment, the virtuous ways in which he has educated her.

MELEBEUS

The name is used twice in Lyly's Gallathea:
  1. Melebeus is a shepherd and the father of Phyllida; he instructs her to disguise herself as a boy. He correctly suspects that his neighbor Tityrus has done the same thing with his daughter. At the end of the play, he is not happy about his daughter possibly being transformed into a boy but cedes to his daughter and Venus's wishes.
  2. It is also the name taken by Phyllida when she disguises herself as a boy.

MELECHUS

A freedman and still servant to Scevinus in the anonymous Tragedy of Nero. Ungrateful and disloyal to a good master, he spies on the conspirators to advance his own career. He decides to betray them directly to Nero after the fire and when the momentum of revolt gains pace. The conspiracy is seen to fail because of his treachery.

MELESIPPUS**1638

Melesippus is the father of Artemone and Theocles in Mead's Combat of Love and Friendship. He wants Artemone to marry Philonax, but wants her to make the choice herself. He is delighted when she chooses him and is satisfied with the outcome of the play.

MELETZA

Meletza is the sister of Celia in Marston's What You Will. Quadratus, Simplicius Faber and others court her.

MELIBOEUS

Meliboeus is an "ancient Arcadian" in Daniel's The Queen's Arcadia. He discusses with Ergastus the state of their country; they see its increasing corruption reflected in the "disloyalty" of the nymphs and shepherds and the spread of lies and slander. They agree to watch and try to discover the source of the "contagion" and remain in their hiding place, emerging at the end of each act to comment on what they have seen. At the end of the fourth act they decide that they have seen enough, and plan to put things to rights. They arrive at the shepherds' assembly, bringing with them Montanus, Acrysius, Alcon, Lincus, Colax, Techne and Pistophoenax. The wrong-doers are displayed to the assembled shepherds. Montanus and Acrysius regret that they were deceived by Lincus and pledge their reconciliation. Ergastus reveals the ugly face of Pistophoenax beneath his mask, and Meliboeus reveals that Urania has successfully cured Amyntas and that they have sent search parties to find Silvia and Palaemon. Silvia and Palaemon enter with Mirtillus, Carinas, Dorinda, Amarillis, Daphne, Cloris and Amyntas. Colax tells Silvia and Palaemon that he has abused them, and that his stories about Palaemon and Nisa and Silvia and Thyrsis were untrue. Palaemon and Silvia are reconciled. Ergistas welcomes the betrothal of Cloris and Amyntas, and urges Dorinda to accept the suit of Mirtillus, which she does. Meliboeus then asks Carinas to look favorably on Amarillis, and they are also betrothed. Ergistus sees that Daphne looks sad, and warns her to be careful in future. The outsiders are banished and Ergistus and Meliboeus urge that the shepherds and nymphs take care to protect themselves from such exploitation and disruption in future.

MELIDOR

Councillor to King Sigismond in Suckling's Brennoralt. He is the only one to recommend mercy at the beginning for the captured rebels. He does so because he alone knows that young Iphigene, heir to the councillor Miesla, is in fact a woman and in love with the captured rebel Almerin. At her request, he devises a plot to have Iphigene caught by the rebels, to be used as a hostage for Almerin; Almerin in fact escapes on his own, but the presence of Iphigene in the rebels' camp precipitates the tragedy between her, Almerin, and Almerin's fiancee, Francelia.

MELIDORO

Melidoro is a member of the Shepherd's Paradise and is in love with Camena in Montague's The Shepherd's Paradise. His name, which is evocative of the words "honey" and "gold," also suggest his function in the play. He, with Camena, represents the golden mean in love, and he argues, successfully, for marriage as the fulfillment of love and for mutuality in marriage.

MELINA

A "ghost character" in Daniel's The Queen's Arcadia. Melina has been treated by the doctor Alcon.

MELINDA

Melinda is a lady attending the Duchess Urbino in Shirley's The Opportunity. She and Laura note how the duchess is emotionally affected by Aurelio, who poses as Borgia.

MELINTUS **1636

Nephew to the king and lover of Claricilla in Killigrew's Claricilla. He is described as fair haired. Although Melintus and Philemon are described in the dramatis personae as "both sons to the king's brother" they refer to one another throughout as friends rather than brothers. It is not made clear why Melintus wears a disguise until the final act when Claricilla mentions in passing that both Melintus and Philemon have long had the king's hatred, but why this is so is not revealed. He wears an eye patch for his disguise. He wears the disguise in the siege of Silvander's villa and kills Silvander but refuses to pity him his unrequited love. He follows Claricilla and, removing his disguise for her, discovers she loves him. He replaces his disguise before Seleucus and Appius find them. When Seleucus says that this lowly man is unworthy such a reward as Claricilla, he agrees. He declines to give his name or country when the king asks for them, saying they would give him no honor. He later tells Claricilla how he was parted from her and lost Philemon at Rhodes and fears him dead. He confesses to her that Philemon also loved her. When Seleucus barges into their conference, Melintus braves him and Seleucus challenges him to duel but Claricilla convinces him to put off the fight until she can convince her father that Seleucus aims at her because he envies the crown. He plans to go to Messina and have Claricilla meet him there later, but they are prevented when Seleucus discovers them to the king. The king banishes him before the sun sets on the next day. Melintus is enraged, challenges Seleucus, and they go to the haven by the town to duel. He defeats Seleucus and, seeing Timillus fall, fights and defeats Carillus as well. Timillus insists that Melintus run from justice and change his disguise so he can return to court. Running from capture, Melintus must kill a soldier in which act he is discovered by Manlius, Tullius, and the newly freed Philemon. He gives Philemon the soldier's sword and together they vanquish the two pirates. Overjoyed to be reunited with Philemon, he forgives Manlius who once attempted to save Claricilla from Silvander, and carries the wounded Tullius to the galley to have his wounds tended. He disguises as a slave along with Philemon and Ravack as Manlius appears to lead them into the city. He sends Manlius to the garden to speak to Claricilla. Disguised as slaves, Melintus, Philemon, and Ravack pretend to assist Seleucus in capturing Claricilla, the king, and Appius, but they turn the tables, rescue them instead, and watch as Seleucus stabs himself to death with hatred on his lips for them.

MELIPPUS

Melippus is Alexander's chamberlain in Lyly's Campaspe. He is told to bring the Theban philosophers before the King.

MELISSA**1570

Melissa is a courtesan visited by Misogonus, Oenophilus, Orgelus, and Sir John for an evening of drink, dice, and dance in (?)Johnson's Misogonus. She calls Misogonus husband, and argues on his side against Philogonus when the father appears at her brothel to admonish his son.

MELISSA**1591

An enchantress in Greene's Orlando Furioso. With her wand, she charms the maddened Orlando and puts him to sleep. She conjures satyrs who dance around Orlando as he sleeps. She then conjures a dream for Orlando which fills his sleep with fearful thoughts and images. Upon waking, she informs Orlando of the truth of Angelica's faithfulness and reveals the trick played upon him by Sacripant.

MELISSA **1635

Also spelled Mellissa in Killigrew's The Conspiracy. One of Hianthe's maids. She passes by Clearchus, as do a drunken and a fat courtier, leading Clearchus to believe he is being neglected. Hianthe believes she has broken free, but Melissa returns to her. She tells of seeing the king's cold greeting of Clearchus and brings a Poet to entertain the ladies. Upon Aratus' recommendation, she takes Pallantus as her servant. She appears in later scenes as a spectator.

MELISSEUS

A "ghost character" in Heywood's The Escapes of Jupiter. Spelled Mellisaeus or Mellisaevus in the original. King of Epirus, who sends an embassy, headed by Jupiter, to King Lycaon of Pelagia. Jupiter claims to be Melisseus's adopted son. [This character is the Melisseus whose daughters protected the infant Jupiter; the Classical authors usually locate him in Crete, but in The Golden Age, Heywood calls him King of Epirus.]

MELITUS

A gentleman from Cyprus in ?Ford's The Laws of Candy. Melitus complains to Gaspero about Erota's treatment of Philander and suggests that Candy's problems arise from harboring a monster like Erota.

MELLACRITES

Mellacrites is a gentleman of the court and an advisor to the King in Lyly's Midas. When Bacchus makes his offer to Midas, Mellacrties urges the King to ask for the ability to turn everything he touches into gold.

MELLIDA

I.
Piero's daughter and Rossaline's cousin in Marston's Antonio and Mellida. The Venetian Princess Mellida loves the Genoan Prince Antonio, but her father hates his family and seeks to annihilate them. She rebuffs her sanctioned suitors, Galeatzo and Matzagente, and escapes from the palace disguised as a page when she learns that Antonio has survived the Venetians' bloody naval victory over Genoa. She spends a few loving moments in Italian with Antonio, but leaves to protect him and is seized by her father's searchers. Piero dismisses her pleas by calling her a "whimpering harlot" and declares that she will marry Galeatzo. At the prenuptial banquet Piero relents, and Mellida is poised to marry Antonio as the play ends. Mellida's name implies "sweet" in the sense of mellifluous.
II.
Mellida is Piero's daughter and Antonio's true love in Marston's Antonio's Revenge. She is falsely accused of indecent behavior with young Feliche by her father Piero. Piero plans to disrupt her impending marriage to Antonio so that he can force her to wed a Florentine lord. While imprisoned, Mellida briefly speaks to Antonio through her cell door. She tells him she will surely die the next day. Mellida never falsely confesses to the charge and she never loses the trust of Antonio. When she hears the false rumor that Antonio is dead, she falls into a fatal swoon. She dies in her chamber with Antonio by her side.

MELORA

Melora is the daughter of the Duke of Parma and the sister of Leonell in Davenant's Love and Honor. She is captured by Altesto, who declares to his friends that he is in love with her, but when Prospero asks that Melora be handed over to wait on Evandra, he agrees at once. Melora helps Evandra lock Alvaro and Prospero in the cave so that they will not sacrifice themselves for Evandra. However, Melora then tells Calladine that she is actually Evandra, hoping to die in her place because Alvaro is in love with Evandra. Calladine is so impressed with her beauty and bravery that he when she asks him to escort her friend, "Melora" out of the town, he instead asks her to pretend to be Evandra and go to the Duke. The real Melora, meanwhile, persuades the Servant to take her directly to the Duke, rather than waiting for Calladine's return. Both women claim to be Evandra and so the Duke decides to have them both executed. They are visited in their prison by Alvaro, Leonell and Propsero, and then prepared for execution. Before they can be killed, Leonell reveals himself as the Duke of Parma's son and the Duke agrees to let him take their place. At this point the Ambassadors reveal themselves as the Duke of Milan and the Duke's lost brother. In joy at his brother's return, the Duke forgives everyone and offers to marry Alvaro to Evandra, but Melora steps forward to press a prior claim. She reminds Alvaro of his visit to her court five years ago and his promise to marry her if the war between their fathers was ever settled. Alvaro declares that although her beauty has changed, it is not lost and he is content to marry her.

MELOS

Melos is one of the shepherds who ask Nature to create a woman so that they can procreate in Lyly's The Woman in the Moon. He courts Pandora and quarrels with the other shepherds. After Stesias marries Pandora, Melos continues to press his love. Pandora, under the influence of Venus, tells Melos that she now loves him; when the shepherds discover Pandora has professed love to each of them in turn, they denounce her to Stesias. Now under the influence of Mercury, Pandora gets her revenge–she sends a napkin soaked in lamb's blood to Melos, persuading him to meet with her. By professing her love once more, Pandora manages to make Melos go back on his story to Stesias; Pandora agrees to meet the shepherd at midnight, but Stesias arrives instead and beats Melos. Eventually, Melos and the other shepherds tell Stesias the whole story of Pandora's manipulations.

MELOUN

Viscount Meloun accompanies Lewes to England in the anonymous 2 Troublesome Reign of John. He is told of the French prince's intention to dispose of the English lords once they have made him king. Fatally wounded during the Bastard's sally at Dover, he discloses Lewes' intended treachery to the English, and urges them to renew their fealty to John.

MELPOMENE

I.
Melpomene is the Muse of Tragedy in Wilson's The Cobbler's Prophecy. She is idle because there are no longer any wars in Boetia, and thus no tragedies.
II.
Only mentioned in the anonymous Timon of Athens. The muse is the addressee in Gelasimus's song (V.4.25ff) "Come, come, o come Melpomene Singe dolefull Elegies with me."
III.
One of the nine Muses in Greene's Alphonsus, King of Arragon, bemoans the attention Calliope gets from modern scholars and poets.
IV.
Only mentioned in Jonson's Poetaster. In Greek mythology, Melpomene was the muse of tragedy. When Tucca enters Albius's house as his guest, he names Albius after several noble celebrities of classical antiquity, and he gives Chloë the names of mythological goddesses. Among others, he calls Chloë a Melpomene. By pretending that Chloë inspired poetry, Tucca wants to place the jeweler's wife on the same plane as the other Roman ladies who inspired the poets of Ovid's school. Since Albius commissioned to Crispinus a poem in his wife's honor, which the poetaster plagiarized from Horace, the parallel of Chloë with the poets' muses is ironic.

MELUN**1596

Count Melun, or Meloone, is apparently the liaison between the Dauphin and the rebellious English lords, since they speak of meeting with him in Shakespeare's King John. He is present when the lords swear to support the Dauphin and when Pandolf brings word of John's reconciliation with the church, but does not speak. In the battle that follows, he is given a mortal wound and because he is dying he tells the English lords that the Dauphin plans to have them killed after the battle, causing them to return to John.

MELUN**1597

The true name of Jaques de Prie in Jonson's The Case is Altered. This was his name when he was steward to Chamont's father, Chamont.

MELVIA**1609

Viola's disguise in Beaumont and Fletcher's The Coxcomb. When she runs away from home to elope with Ricardo, Viola disgraces her father but rather than ruin the family name, she changes hers to Melvia and passes herself off as a lady's maid in the Country-woman's house.

MELYNELL

Melynell is a French courtier and Bussy's friend in Chapman's Bussy D'Ambois. After Bussy forced the Duke to back down temporarily, Barrisor, D'Alou and Pyrhot confront Bussy, Brisac and Melynell. The six resolve to settle their differences via the blade. According to Nuntius, Melynell faces off against Pyrhot in battle. Barrisor initially offers to fight Bussy alone, but L'Anou and Pyrhot insist upon joining the fight against D'Ambois' comrades. Melynell is slain in the battle.

MEMBERGE

Daughter to Theodoret in Fletcher and Massinger's Thierry and Theodoret. She accompanies her father to Thierry's court after Brunhalt's flight and is there offered as a hostage to her uncle. Brunhalt's feigned repentance and the reconciliation make this unnecessary, and she attends the marriage celebrations of Thierry and Ordella. She dances reluctantly at the revels, and her premonitions of her father's death are proved right. After his murder, she demands justice from the king her uncle. Thierry, believing her to be no blood-relation, proposes to marry her. This is forestalled by the return of Ordella, believed dead, and Thierry's own murder. With his dying words, Thierry gives her in marriage to Martell, to be the next king and queen of France, so that her children will preserve his dynastic line.

MEMNON**1614

Only mentioned in the anonymous The Faithful Friends. Martius invokes the legendary king's palace in an extended image to show Philadelpha how her presence at his celebration will round out its splendors.

MEMNON**1617

Memnon is the commander of Astorax's military forces, the brother of Polidor, and the "mad lover" of Fletcher's The Mad Lover. Rather like Shakespeare's Othello, he has spent most of his life on campaign, and when he is summoned to Paphos following the victory over Diocles at Pelusium, he is largely ignorant of the courtesies and language expected at court. Upon seeing the princess Calis, he falls madly in love with her, but his extraordinary behavior and his strange mannerisms frighten her. Desperate to communicate his love to her, Memnon finally determines to have his heart cut out and sent to Calis as witness to his affection, but his friends Eumenes, Siphax, Stremon, and the two Captains (Polybius and Pelius) are at pains to prevent him from carrying out his plan. In an effort to cure Memnon of his love madness, Stremon and others present a masque of animals which purports to show the foolishness of dying for love, and the two Captains join Eumenes in procuring the Whore in an attempt to relieve the general's "heat." All efforts at remedy fail, however, until Memnon witnesses what appears to be the funeral of his brother Polidor. When Polidor rises from his coffin to prevent Memnon from committing suicide, the general finally regains his wits, recognizes that Calis and Polidor are in love, and requests a return to his military command.

MEMNON **1635

Banished Chief Priest of Sardinia, father of Eucratia and Hipparchus, and Theagines' brother in Killigrew's The Prisoners. The ancient Sardinian law forced him and Theagines to refuse to aid Sicily for Sardinia may take up arms only for its own defense. He and his brother conspired to subvert Sardinian law by sending their sons abroad to study to be princes. They were discovered and banished. When he was separated from Theagines, he became a holy hermit by the sea. It is not revealed how the hermit got another son. At play's end, the hermit reveals that he is in fact Memnon.

MEMOR **1636

Memor is a lawyer and the court recorder in Strode's The Floating Island. When Timerous complains about being kicked by Irato, Memor reports the new law, that each Passion may follow his humor, and then says there is actually no law. He conspires with Malevolo to place some limits on Fancie's power, but is stymied by Livebyhope. When Prudentius returns to the throne, Memor reports how Henry III dealt with rebellion and kneels before Prudentius.

MEMORIA **1607

Spelled Memorie in the text of Tomkis' Lingua. Attendant to Common Sense, who calls him Master Register. He is an old man, decrepit, wearing a black velvet cassock, furred taffeta gown with white "grogaram," a white beard, velvet slippers, a watch and staff. He is largely unimportant in the progress of the play. He has many lines but only one joke. He babbles about the past and all the things he remembers (often ribald tales of gods and heroes) that have little to do with the present situation.

MEMORY

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

MEMORY **1617

Only mentioned in the anonymous Pathomachia. Laughter remembers how Memory, the old dunce, knew no virtue in a scholar but time and seniority.

MEMPHIO

Memphio is a wealthy landowner, supposed father to Accius and actual father to Mæstius in Lyly's Mother Bombie. Troubled by a shrewish wife and idiotic son, Memphio wishes to wed his dim-witted son Accius to Stellio's daughter Silena. Such a match would simultaneously rid him of one burden and also cozen Stellio out of his farm. Determined to keep his son's foolishness a secret, he enlists the aid of his witty servant Dromio to help him negotiate the marriage without the children meeting. Dromio and the other servants concoct a different plan, however, and arrange for Silena and Accius to meet face to face, revealing their mutual dim-wittedness. Tricked by the servants, Memphio and Stellio agree to have their children marry anyway. When this plan is prevented in the final scene with Vicinia's disclosure of the baby-switching plot, Memphio is elated to discover that Mæstius is his real son. He happily consents to his marriage to Stellio's actual daughter, Serena Memphio also offers to maintain the foolish Silena in the household of his newlywed children, and bails his servant Dromio out of trouble by agreeing to pay his debt to the Hackneyman over a hired horse.

MEMPHIO'S WIFE

A "ghost character." The only spouse of the four fathers mentioned in Lyly's Mother Bombie. Memphio's wife does not appear in the play, but she is described on several occasions as a shrewish woman who is somewhat coddling of her foolish son Accius. Her scolding nature is partly what motivates Memphio's secrecy concerning his plan to marry Accius to Stellio's daughter Silena, and Memphio has his servant Dromio arrange for her to vacation in the country while the marriage negotiations take place.

MEMPHONIUS

Memphonius is one of the Nobles who supports the Tyrant's usurpation of Govianus in [?]Middleton's The Second Maiden's Tragedy. He regrets his actions when the Tyrant's necrophilia becomes apparent. He and the other Nobles release Helvetius from prison, and support Govianus' return to the throne.

MEN**1591

A number of men in the anonymous True Tragedy of Richard III come across the stage the evening before the battle at Bosworth Field. The men tell the page of mass desertions over to Richmond's camp.

MEN**1611

In Act Two of Beaumont and Fletcher's A King and No King, three men confront Philip and two citizens' wives. They challenge Philip to a fight.

MEN**1620

Three men, exhausted former employees of Sulpitia's brothel in Fletcher and Massinger's Custom of the Country. Jaques, Sulpitia's servant, previously describes four former resident prostitutes as variously a Frenchman, a Dane, a Rutter (German) and an Englishman; the three could be any of these four, or otherwise. They appear wearing night-caps to stress their invalid status. The unnamed victims of Sulpitia's debilitating régime, now pox-ridden and feeble with their exertions, who come briefly to visit their successor, Rutillio, at the point when his own labours as a prostitute are beginning to undermine his health and strength. Their appearance confirms to Rutillio his urgent need to escape his fate as Sulpitia's prize stud.

MEN and MAIDS, YOUNG

Offstage in [?]Wilson's Fair Em, the Miller's Daughter, Young Men and Maids are heard to harass the clown Trotter by calling for grist.

MEN, CHRISTIAN

Mute characters in Goffe's The Courageous Turk. After the defeat of Lazarus of Servia and Sesmenos of Bulgaria, a number of Christian Men are taken prisoner. Lala Schahin suggests they be sent to Amurath to be trained as janissaries.

MEN, FOUR YOUNG

"Ghost characters" in Beaumont & Fletcher's Cupid's Revenge. The four young men are reported to take part in the ceremony of Cupid, which is led by the Priest of Cupid .

MEN, POOR

Three Poor Men confront Gaveston as he returns from exile in the opening scene of Marlowe's Edward II, asking him for work. The First Poor Man tells Gaveston he "can ride"; the Second Poor Man says he is "A traveller"; the Third, "A soldier." Gaveston dismisses them sharply, then relents, but ultimately tells himself that he no longer needed by have poor men as servants.

MEN, TWO

Two unspecified men bring in the body of Muly Mahamet, the Moor, and give to Muly Mahamet Seth an account of his shameful death in Peele's The Battle of Alcazar.

MEN, WHITEHALL

According to the English soldiers in the anonymous Dick of Devonshire, the company consisting of men of Whitehall distinguished themselves during the assault by discharging 4,000 bullets on Cadiz Castle.

MENALAUS

He is identified in the play as brother of Clytemnestra in Pickering's Horestes. He is one of the Greek kings who come to Athens to discuss Horestes's action against his mother. He opens the discussion, lays out the issues, asks for their aid, but suggests that Horestes be exiled from Mycenae. He is persuaded otherwise by Nestor and Idumeus and agrees to let his daughter marry Horestes. It is unclear whether by "brother" the next intends "brother-in-law," which is accurate as he was Agamemnon's brother.

MENALCAS**1589

Menalcas is a shepherd in Lyly's Midas. He and the other shepherds learn that Midas' ears have been transformed into those of an ass. The reeds overhear the shepherds talking about Midas.

MENALCAS**1605

A "ghost character" in Daniel's The Queen's Arcadia. Menalcas is in love with Daphne, but she has been seduced by Colax. With Mirtillus and Tytirus he finds Amyntas, who has taken poison. They send for Urania, whose skill with herbs they hope can cure him. In the scene of general reconciliation, in which Menalcas does not appear, Ergistus sees that Daphne looks sad, and warns her to be careful in future. Their future is thus left uncertain.

MENALCAS**1617

A messenger of Senator Vincentio in Daborne's Poor Man's Comfort. He goes to the shepherd Gisbert informing him of state affairs in Thessaly.

MENALCHAS

A fictional character in Day's Isle of Gulls. In his disguise as a woodsman, Demetrius claims that his father's name was Menalchas.

MENALCHUS**1594

Menalchus [Menalchas?] is a shepherd living outside Venice in the anonymous Knack To Know An Honest Man. With Antimon and Coridon, he watches Lelio apparently kill Sempronio in a duel.

MENALCHUS**1599

The name taken by Radagon when he lives as a shepherd in [?]W. Rowley's The Thracian Wonder.

MENALIPPE **1638

Orythia's woman in Mayne's Amorous War. She is captured by the Thracians and led in with Orythia, Thalaestris, and Marthesia like Amazons in golden fetters pinioned with silken cords. As part of Barsene's plan, Menalippe and Marthesia dress as Amazon warriors and act as ambassadors to the Bithynians. Menalippe and Marthesia, still as Amazons sing "Time is a feathered thing" in act iv to lull to sleep Orythia, Thalaestris, Theagenes, and Meleager (who still believe the women they bed are Amazons rather than their wives). Callias, Neander, and Artops capture the four of the "treasonous" Amazons and lead in Orythia, Thalaestris, Menalippe and Marthesia wearing helmets over their heads. When the women remove their helmets (having also removed their Amazon make up), the captains are again made fools.

MENALLO

Menallo is a former soldier in Fletcher's A Wife for a Month. Along with his fellow noblemen Camillo and Cleanthes, he laments that Alphonso, rightful king of Naples, has been usurped by his wicked brother Frederick. He reasons that since his wife is "ugly" and "honest" she and he are safe from Frederick's libidinous desires. He participates in the ultimately successful plot to restore Alphonso to the throne.

MENALLO'S WIFE

A "ghost character" in Fletcher's A Wife for a Month. Because she is "ugly" and "honest" she and Menallo are safe from Frederick's libidinous desires. Menallo takes comfort in this.

MENDALL

Mendall is the name Frisco mistakenly uses for Vandalle in Haughton's Englishmen for My Money.

MENANDER

I.
Only mentioned in Jonson's Every Man out of His Humour. When Mitis asks Cordatus about the comedy they are about to see, whether its author observes the classical rules regarding the unity of time, place, and action, Cordatus embarks upon a lengthy and learned incursion into the history of comedy. Cordatus mentions Menander next to Philemon as the writers who improved the structure of comedy. According to Cordatus, they have utterly excluded the Chorus, altered the characters' properties and names, and invented several structural features. Menander is a fourth-century B.C. Greek dramatist known for his comedies. Only one complete play still exists. Menander's comedies are kind and sympathetic, but rarely humorous in a boisterous sense. Menander is considered a representative of the New Comedy.
II.
Only mentioned in Jonson's Poetaster. Menander is a fourth-century BC Greek dramatist known for his comedies. Only one complete play still exists. Menander's comedies are kind and sympathetic, but rarely humorous in a boisterous sense. Menander is considered a representative of the New Comedy. When Ovid praises the immortality of poetry, he says that Menander will live forever through his work, as long as the slaves be false, fathers hard, bawds whorish, and harlots flatter.

MENAPHON**1587

A Persian lord and confidant of Cosroe in Marlowe's Tamburlaine Part 1. Mycetes orders him into Scythia to support Theridamas in routing the upstart Tamburlaine. Cosroe advises instead that he be made pro-rex of Africa and so win the Babylonians' hearts. He advises Cosroe to regain Persia's honor by driving the Europeans from Greece as Cyrus once did. He brings Cosroe a good report of Tamburlaine's virtues and hears Cosroe proclaim Tamburlaine regent of Persia once Mycetes is slain.

MENAPHON**1628

A young Cyprian nobleman in Ford's The Lover's Melancholy, the son of Sophronos and thus nephew to Meleander and cousin to Eroclea and Cleophila. Before the play begins, he falls madly in love with the proud and haughty Thamasta, who refuses to entertain his suit. To try to cure his passion, his father send him to Athens for a year. While there, Menaphon hears the handsome and lonely youth, Parthenophill, singing so beautifully that he outdoes the nightingale; charmed, Menaphon becomes close friends with Parthenophill and convinces him to return with him to the court of Cyprus. On his return, Thamasta's brother, Amethus, Menaphon's dearest friend, promises to try to convince his proud sister to return Menaphon's affection. Menaphon is pleased when Thamasta shows favour toward himself and his new friend, Parthenophill, allowing them to call her 'mistress.' His pleasure turns to anger when Kala tells him that Thamasta loves Parthenophill; he eavesdrops on their conference and repudiates Thamasta for her ingratitude to him. When he complains to Amethus of Thamasta's cruelty, Amethus too turns against his sister. However, Cleophila's intervention and Thamasta's realization of her own folly bring about a reconciliation, and in the play's final scene Menaphon and Thamasta seal their marriage contact with the blessing of Prince Palador.

MENAS

Menas is a follower of Pompey in Shakespeare's Antony and Cleopatra. He is disgusted that Pompey agrees to a peace with Caesar and Antony, saying Pompey's father would not have done so. During the celebration of peace on board Pompey's ship, Menas secretly suggests to Pompey that they set sail and kill Caesar, Antony and Lepidus. When Pompey responds that he is too honorable to do such a thing, and that Menas should have done the deed without asking, Menas decides to leave Pompey.

MENDACIO **1607

Lingua's page in Tomkis' Lingua. He wears a taffeta suit of a light color 'changeable' like an ordinary page, gloves, and 'hamper.' He lies to the five senses for Lingua as well as fetching her robe and crown and locking up Veritas. Mendatio tells Gustus and Visus that Mercury left the robe and crown that in truth Lingua left to trap them. When the first trick ends happily for the senses, he goes at Lingua's request to obtain wine from Acrasia that will enrage men with one another. His plan is nearly spoiled, however, when he finds that Crapula has beaten Appetitus out of doors for giving the five senses new appetites after each course at the banquet until their guts nearly burst. He convinces Appetitus to return with the wine as a peace offering. When Common Sense learns of his perfidy, he sentences Mendacio to a whipping.

MENDICANT, ANDREW

A knight in Brome's Court Beggar. After the death of his wife, he sold his country house along with all of his land and livestock to finance a series of projects designed to make quick money. Because of his reliance on court suits he has been dubbed the "court beggar." At the beginning of the play, he rejects new projects, but he believes that the only way to regain his money will be to marry Charissa to Ferdinand, a royal favorite. Mendicant persuades Lady Strangelove to allow the supposedly mad Ferdinand to convalesce in her house, but he also begs his estate in case he does not recover. When Raphael is unable to secure a jointure equal to the £10,000 with which Mendicant hopes to supplement Charissa's dowry from Ferdinand's estate, he forbids Frederick from seeing her. Enraged that Gabriel should allow the two lovers to meet, he wounds him and throws him out of the house. Believing that his daughter will be married to Ferdinand, he admits a priest to the house who actually marries her to Frederick. When the trick is revealed, he flies into a fit, covers himself with patents, petitions, suits and projects and wears a windmill on his head. These adornments are stripped from him in a culminating dance, and he returns to his senses and blesses the marriage.

MENDICE

Medice's real name in Chapman's The Gentleman Usher.

MENDOSO**1642

Antius refers to him as a captain in Salusbury’s Love or Money, and he has recently returned from campaigns in Scotland. He runs Nano away, claiming that Corinna is his wife. He salutes her with a kiss and promises more. When she asks if he can dance, he replies that he can dance all night long then demonstrates by leaping upon the bench and dancing very well. When he again finds Nano courting Corinna, he calls him a ‘libidinous monkey’ and succeeds in scaring him off even though Nano has drawn his sword. He comes with Corinna to Antius’ dance in honour of Xanthippi. When later Corinna tells him that Nano means to steal her from him at the church, Mendoso boasts of all he has endured in the Scottish campaign and that he is therefore not frightened by the posturings of such a ‘jackanapes.’ At the wedding, however, he is frightened away by Nano disguised as a Turk in a turban and thereby loses Corinna.

MENDOZA**1604

Mendoza is a minion of Aurelia in Marston's Malcontent. He has helped Pietro's rise to power by orchestrating his marriage to Aurelia, thus establishing a political alliance between Genoa and Florence. Mendoza cuckolds Pietro until Ferneze displaces him as Aurelia's favorite. When Pietro accuses Mendoza of cuckolding him, Mendoza claims to be innocent and shifts the blame to Ferneze. Pietro makes Mendoza his heir, and they plan to kill Ferneze in a way that makes it appear as if Mendoza is actually defending Ferneze so that Mendoza can regain Aurelia's trust and thereby discover any plans she might have to seek revenge upon Pietro. After regaining Aurelia's confidence, Mendoza (on her instructions) pays Malevole to murder Pietro, and Malevole reveals the plan to Pietro. After Pietro, disguised as a hermit, reports his death to the court, Mendoza banishes Aurelia from court and reveals his plan to marry Maria, the imprisoned wife of Duke Altofronto. Mendoza also plans to have Malevole and the hermit (the disguised Pietro) poison each other in the citadel in a way that casts suspicion on Maria, and thereby helps Mendoza coerce her into marriage. After Malevole reveals his true identity and is restored as Duke of Genoa, Mendoza is banished.

MENDOZA**1606

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

MENDOZA**1614

Mendoza is a murderous henchman in service to the Bastard and partnered with Vandome in Smith's The Hector of Germany. The Bastard reports that Mendoza can "poison, stabs and lie in wait" expertly. Mendoza agrees to travel to France to assist in a plot to assassinate King Edward of England and the Palsgrave. Mendoza and Vandome meet Artoise in France and bribe the French Lord to offer them a center for their treacherous operations. Artoise reports that Mendoza and Vandome are suspected of killing the last emperor. Mendoza and Vandome are paired with Artoise and Young Fitzwaters in the plot to assassinate King Edward and the Palsgrave. Mendoza and Vandome are double-crossed and killed by Artoise and Young Fitzwaters.

MENDOZA**1625

Mendoza, a patcher, Pachieco, a cobbler, Metaldi, a smith, and Lazarillo, a hungry servant, all work together to help Alguazier steal in Fletcher, Beaumont, and Massinger's, Love's Cure. The Assistant tries them. They are sentenced to a whipping and an unspecified time in the galleys.

MENDOZA**1638

Mendoza is Leonario's general in Shirley's The Doubtful Heir. He brings seasoned soldiers to the cause. His identity is later usurped by Alfonso.

MENDOZA, CARDINAL

After the death of King Philip, Mendoza becomes the Protector of Fernando in the Anonymous Lust's Dominion. Prince Philip accuses his mother of having a relationship with Eleazar, and Mendoza then deprives Eleazar of all his privileges and banishes him from the court. When Fernando reinstates Eleazar, Mendoza becomes angry. When Fernando takes his protector's staff and gives it to Eleazar, the Cardinal is ready to raise an army against his King and have him excommunicated by the Pope. The Queen Mother arranges peace between her two lovers and her son. Fernando makes him Duke of Salamanca. Fernando invites everybody to Eleazar's palace where Eleazar plans to have Mendoza and Philip murdered. The assassination fails when the Friars Cole and Crab help them to escape. Mendoza joins Prince Philip with his troops, but when it comes to a battle against Eleazar's army, he favors a political solution and suggests retreat. The Queen Mother then uses her charms and convinces Mendoza to leave Philip. Once more, Mendoza makes peace with Eleazar. Eleazar promises to resign in order to allow Mendoza to marry the Queen and become King. When Mendoza meets Philip and his soldiers, he first wants to run away, but Philip's soldiers are no longer prepared to fight. Mendoza returns with Alvero, Christophero and Soldiers. Though he promises peace, he arrests Philip when he lays down his arms. Eleazar resigns and Mendoza asks for a new election: Philip, who is falsely proclaim a bastard, can not attain the crown. The Queen Mother is instructed to reveal the name of Philip's father. It is suggested that he might marry her and legalize the offspring, but the lords decide that he should die, whoever he is, Spaniard or Moor. The Queen Mother says that it was Mendoza who raped her while her husband was away in Barbary. Believing this to be part of the plot, Mendoza confesses his guilt and offers to marry her, but the Queen insists on justice and revenge, and Mendoza is arrested. He is placed in chains and under a yoke together with Hortenzo, the Queen Mother, and Philip. With the help of Isabella, who bribes the guards Balthazar and Zarack, they are all set free.

MENDOZA FOSCARI

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.

MENDPRICK, MILES

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.

MENDWELL or MADEVILLE **1638

Alternate forms of the name of the third watchman in Glapthorne's Wit in a Constable.

MENECRATES

Menecrates is a follower of Pompey in Shakespeare's Antony and Cleopatra. He tries to bolster Pompey's spirits by claiming that the gods may delay reward, but not deny it.

MENEDEMUS

A "ghost character" in the anonymous July and Julian. Menedemus, also called Menedem, is an old wealthy man, father to Misis and neighbor to Chremes. Maud mentions him when she explains Julian her plan to send Fenell to Menedemus's house, in search of his daughter. Later, Julian also mentions him when she tells Fenell about Maud's orders.

MENELAUS

I.
Only mentioned in Jonson's Poetaster. In The Iliad, Menelaus was the king of Sparta, husband to Helen. When Paris carried her off to Troy, Menelaus swore vengeance. He called upon the kings and princes of Greece to help him to lead an expedition against Troy, which started the Trojan War. When Tucca enters Albius's house as his guest, he calls Albius noble Menelaus, asking him about his wife, Helen. Tucca's allusion seems to refer to the jeweler's leading position among the tradesmen in Rome, but also to his situation of a cuckold, since Helen committed adultery.
II.
Only mentioned in the anonymous Narcissus. Florida mentions him when, declaring her love for Narcissus, she refers to her faithfulness in the following terms: "As true as Helen was to Menela / So true will be thy Florida." According to the Iliad and the Odyssey, Menelaus, son to Atreus, and younger brother to Agamemnon, was king of Sparta. He married fair Helen, who, one day, in her husband's absence, was abducted by Paris, Prince of Troy. Then, Menelaus, accompanied by the other Greek kings, led an expedition against Troy, thus beginning the Trojan War. When Troy fell, he became reconciled with his wife, but a long series of adventures were still awaiting them before they could finally reach Sparta. See HELEN.
III.
Also spelled Menalay in Chettle and Dekker's Troilus and Cressida. He first appears early in the play in a badly damaged section of the fragment. He does not apparently reappear until the middle of the play, when he is again to be found in a badly damaged section, paired with Diomede. Two scenes later he appears with Diomede, Ulysses, Achilles, and Ajax in Achilles' tent when Patroclus is brought in "on his back." He next enters at play's end with Ajax and Ulysses as the Trojans descend from their walls.
IV.
Brother to Agamemnon, husband to Helen, and cuckold to Paris in Shakespeare's Troilus and Cressida. He eagerly seeks a kiss from Cressida when she comes to the Greek camp and is outwitted in the process.
V.
Menelaus is the king of Sparta, brother to Agamemnon, and husband of Helen in Heywood's 1 The Iron Age. When Menelaus is offered the throne of Crete, he goes to the island leaving Helen to entertain the visiting Trojan prince Paris, thus providing the two lovers an opportunity to flee. At Troy, Menelaus wishes to accept Hector's challenge to single combat, but Agamemnon overrules him. At the banquet that Priam hosts for the Greeks, Menelaus tries to convince Helen to return to Greece by reminding her of the mother, father, and daughter she has left behind, but this family tactic is no match for the sweet kisses of Paris. In battle, Menelaus is brought down by Paris, but the Trojan spares his life, remarking that he has already stolen Menelaus's honor by taking Helen. Menelaus last appears among the Greeks who escort the body of Hector as it is being exchanged for that of Achilles.
VI.
The King of Sparta participates in the various council scenes prior to the nocturnal attack on Troy in Heywood's 2 The Iron Age. Initially prepared to kill his unfaithful wife Hellena, Menelaus is persuaded by his brother Agamemnon to take her back. He is present at the Trojan massacre but is not one of the killers. Having returned home to Mycene, he offers his daughter Hermione, beloved by his nephew Orestes, to Pyrhus. At the wedding, however, during the fight initiated by Orestes, he is killed by the vengeful Cethus.
VII.
Only mentioned by Humfry Bowdler in [?]Heywood's The Fair Maid of the Exchange. Bowdler likens himself to the Spartan king Menelaus whose Helen (Mall Berry) has been taken from him by Paris (Barnard), a more desirable lover.

MENENIUS AGRIPPA

A patrician and orator in Shakespeare's Coriolanus. Menenius serves as political mentor and substitute father to Coriolanus. He attempts to manage the effort to make Coriolanus consul and tries unsuccessfully to repair the damage caused by Coriolanus's open contempt for the plebeians and his disgust at the political concessions made to them. He follows Cominius in an attempt to dissuade Coriolanus from attacking Rome. Like the hero's former general, however, he is unsuccessful.

MENESTER

An actor in Richards' Messalina who catches Messalina's eye while playing Troilus. Initially he resists her but he succumbs after being racked.

MENETIADES

Only mentioned in Burnell's Landgartha. In the masque, he is described as a friend of Achilles.

MENETIUS**1566

Creon's son in Gascoigne and Kinwelmershe's Jocasta, Menetius fetches Tyresias to observe the sacrifice and advise his father, stands by to learn that only by being sacrificed himself can the city be saved from destruction, evinces a high-minded willingness to die, but is sent by Creon to Thesbeotia before Tyresias can tell others of his prophecy. Instead, however, the boy goes to Eteocles, announces the prophecy, and kills himself in order to save the city.

MENETIUS**1634

Petrea's husband in Heywood's Love's Mistress, he accompanies Admetus and his daughters to Delphi.

MENETIUS **1635

He attends the usurping king in the first scene but does not speak in Killigrew's The Conspiracy. In act four, he appears in his tent as a captain. Polyander, Menetius, and Comastes are together in their tent where they drink wine and jest about killing the enemy. When news arrives that the usurper and the prince are dead, Polyander and Menetius agree to commit suicide. The timely arrival of the prince, Timeus, restores their courage. When the battle is lost, Timeus, Menetius, Poliander, Comastes, and a captain take refuge in a fort. Pallantus treats peace with the usurpers and convinces them of the new king's mercy. They follow him.

MENIPPUS**1596

Serving man to Elimine in Chapman's The Blind Beggar of Alexandria. His duty is to keep her from wanton talk and dalliance. He reveals to her that Hermes (a disguise assumed by Irus) is betraying her with Samathis.

MENIPPUS**1619

Servant to Antigonus, along with Timon and Charinthus, and the husband of the bawd Leucippe in Fletcher's The Humorous Lieutenant. Menippus assists the king in learning about Celia and is instructed to test her virtue.

MENNIPPA

A fury in the anonymous Wisest Have Their Fools whom, along with Medaea, Sill, and Grulla (or Trulla), Edentula summons to pinch Silly when he foolishly woos Urina. The name is likely suggested by the verb "to nip," which the playwright uses in the stage direction for "pinch." This is the only name of the four furies not capitalized.

MENTEITH

A thane of Scotland in Shakespeare's Macbeth. Loyal to King Duncan's son Malcolm, Menteith joins Angus, Caithness and Lennox in leading the Scottish forces in the revolt against Macbeth.

MENTHE

When Eumorphe expresses her fear in Goffe's The Courageous Turk about the future with Amurath, her waiting woman Menthe urges her to concentrate upon their current good fortunes. Taken as prisoners in Greece, they now enjoy the conquering Amurath's favor.

MENTITH

Mentith and Coming are supporters of Wallace throughout his campaign in J.W.'s The Valiant Scot. But when, after the battle, they hear of the price on Wallace's head, they ambush him and take him to the English. Before he is dragged away to execution, Wallace manages to kill Mentith with his fist.

MENTIVOLE

A Florentine gallant, son of Baptista and secret lover of Clarissa in Fletcher, Ford, Massinger and Webster's The Fair Maid of the Inn. His quarrel with Clarissa's brother, Caesario, brings about a division between their two families, and Caesario refuses to let Clarissa marry Mentivole. This refusal becomes more serious when Caesario's true (lowly) birth is revealed, and he decides to marry Clarissa himself. Mentivole threatens to kill himself if he is prevented from marrying her, but the crisis is solved by Prospero's revelation that Bianca is an aristocratic foundling. Caesario marries Bianca, and Mentivole and Clarissa are therefore free to marry each other, unifying the houses.

MENTZ, ARCHBISHOP of

Only mentioned in Ford's Love's Sacrifice. The masque arranged for him by the Duke of Brabant is the inspiration for the revenge of the pregnant court ladies on their seducer, Ferentes.

MENTZ, JULIUS FLORIUS, ARCHBISHOP of

I.
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.
II.
Bishop Mentz in Smith's The Hector of Germany. He enters into league with the Bastard and Saxon against Palsgrave and the Duke of Savoy at the beginning of the play. Mentz encourages the Bastard's imperial ambitions. After The Bastard and Saxon struggle for power within the rebellion, Mentz attempts to reconcile the two collaborators. The Bastard strikes Mentz for seeking peace between himself and Saxon. The Palsgrave, Peter and Cullen beat Mentz off the stage. After the rescue, Mentz and Trier give up trying to foster peace between the Bastard and Saxon and decide to let the men fight instead. King John of France sends Mentz with Trier to the English court. John warns Edward not to interfere in the battle between Savoy and the Bastard. When the ship he is on finds the castaway Young Fitzwaters, Mentz suggests that the young man is from a noble house and should be saved. Near the conclusion of the play, Palsgrave's cohorts, disguised in costumes from a masque, ambush Mentz and his fellow rebels. Mentz is imprisoned and condemned.

MEO

Meo is a devil along with Areo and Eo conjured by Mago in Cokain's Trappolin. He delivers a magic looking-glass to Trappolin. The looking-glass itself is called Meo, and contains the demon of this name. Trappolin is warned to keep the looking glass with him at all times, and to wear the cape and hat, in order to maintain his disguise.

MEONRIADES **1617

A "ghost character" in Goffe's Orestes. Whilst being stabbed, Agamemnon cries out piteously that he will not be able to tell Orestes of what he saw in Troy, including the death of Meonriades.

MEPHISTOPHILIS, or MEPHISTOPHELES

I.
Mephistophilis in Marlowe's Doctor Faustus accepts Faustus' request to become a follower of Lucifer and then becomes Faustus' personal servant for the 24 years of pleasure and power that Faustus received in return for eternal damnation. Mephostophilis warns Faustus of the horrors of hell, but follows his every command and satisfies his every wish. All the conjuring and magic credited to Faustus is actually performed by Mephostophilis.
II.
Only mentioned in the anonymous Blurt, Master Constable. When Hipolito realizes that Violetta has been exchanging love-letters with Fontinel using Truepenny as an intermediary, Hipolito calls the page "Sirrah Mephistophiles" from Marlowe's Faustus. Hipolito refers to Truepenny's double dealing, in his opinion, a devilish game.
III.
Only mentioned in (?)Brome's The Cunning Lovers. Literary character in Christopher Marlowe's Doctor Faustus (1588) to whom Faustus sells his soul for complete human knowledge, and to whom the Necromancer is compared due to his knowledge.
IV.
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.
V.
Only mentioned in Randolph's Muses' Looking Glass. Roscius wishes the Deformed Fellow to play Mephistopheles in the play.

MEPHISTOPHILUS

This is the name taken by Flavia in Shirley's The Young Admiral. On Didimo's suggestion she dons a witch's guise and helps convince Pazzorello that bewitchment has made him nearly invulnerable in battle. The witch name used here is that of Dr. Faustus' familiar.

MERCADORE

An Italian merchant with a comedy accent in Wilson's The Three Ladies of London. He bribes Dissimulation to prefer him to Lucre, who hires him to smuggle foreign goods into England and flood the country with overpriced trinkets. Mercadore reports to Usury that Hospitality has said bad things about him. In Turkey, he borrows money from Gerontus the Jew and does not pay it back. Gerontus takes him to court, but Mercadore outwits him by converting to Islam; under Turkish law, converts do not have to repay any debts they have incurred. On his return to England, Mercadore is robbed on the orders of Lucre.

MERCATIO

A "ghost character." Although he does not appear on stage in Shakespeare's The Two Gentlemen of Verona, Lucetta and Julia discuss him. Mercatio is one of several suitors to Julia. He is wealthy, but Mercatio is not the suitor that Lucetta believes Julia should accept.

MERCENARY

Orlando disguises as a mercenary late in Greene's Orlando Furioso. He saves Marsilius and Mandricard from Sacripant, and kills Sacripant in the ensuing battle, during which he is disguised as a mercenary. Still disguised, Orlando saves Angelica as she is about to be put to death by the Twelve Peers of France.

MERCER**1606

Mercer is a dupe and an affected admirer of learning in Beaumont and Fletcher's The Woman Hater. In a street in Milan, Mercer enters with Pandar, disguised as a scholar, negotiating the circumstances enabling Mercer to become a learned man. Pandar promises Mercer to see him within the hour at his shop and the merchant exits. At his house, Mercer expresses his admiration of learning and then receives Pandar as a pretended scholar, intending to ask his advice regarding his marriage. Mercer inquires about the heiress the scholar had promised as his bride, and Pandar tells him she will be at his house in St. Mark's street, which is actually a brothel. As for the fish-head received from Gondarino, Mercer has it sent to Pandar's house as a gift, in exchange for the matchmaking with the woman whom he thinks an heiress. In a street before the brothel, Mercer enters in the hope of meeting his intended bride. After a lengthy discussion about learning and clothes, Mercer follows Pandar into the house. In a street in Milan, Mercer enters with Pandar and Francissina, who is now his wife. Before he exits, Mercer tells Francissina he expects her at home, where he will be in his study. Mercer has been duped to take a whore for a wife, while Pandar advises Mercer to clothe his wife well and give her money.

MERCER**1607

One of Timon's false friends in Shakespeare's The Life of Timon of Athens, a flatterer. He appears in the first scene, together with the jeweler, the merchant, the poet and the painter, but he never talks.

MERCER**1635

The victim of a trick with the Surgeon, during which he is fooled out of the price of the substantial bill that the "complices" have run up in Cartwright's The Ordinary.

MERCER**1639

A "ghost character" in Brome's A Mad Couple. He is paid by Lord Lovely to make a dress for Alicia.

MERCER**1639

The Mercer in J.D.'s The Knave In Grain New Vamped tries to sell silk to Julio, but Julio gulls the Mercer's Man.

MERCER, JOHN ALLEN

A "ghost character" in Heywood's 2 If You Know Not Me. A former mayor of London whose portrait is admired by Doctor Nowell.

MERCHANT **1528

Spelled Marchaunt in the original. A suitor in John Heywood's The Play of the Wether. The Marchaunt asks Jupiter to have weather that is neither stormy nor misty, and to have measured winds that would be favorable to ships.

MERCHANT**1540

Speaking for the Burgesses in Lindsay's Satire of the Three Estates, he and the Lord ask Good Counsel to help them find a way to improve the commonwealth. Supported by the Temporality, he accuses the Spirituality of simony.

MERCHANT**1570

A "ghost character" in the anonymous July and Julian. The Merchant intends to buy Julian, as a slave, meeting Chremes's debts and paying him an extra large sum of money. He sends a Messenger to make the corresponding dealings with Chremes.

MERCHANT**1590

The Merchant discusses the state of the nation with the Lawyer and the Divine in Greene's James IV.

MERCHANT**1590

The Merchant buys Protea from her father, Erisicthon, who has been forced to raise money in Lyly's Love's Metamorphosis. However, Protea prays to Neptune for the ability to change her shape and, with this power, escapes the merchant, who is at sea before he realizes the deception.

MERCHANT**1607

One of Timon's false friends in Shakespeare's The Life of Timon of Athens, a flatterer. He appears in the first scene, together with the jeweler, the mercer, the poet and the painter.

MERCHANT**1608

Disguise that the Auditor uses to look for his son and Mary in Armin's The Two Maids of More–Clacke.

MERCHANT**1609

A rich shipping merchant, and the brother of Anne in Heywood and Rowley's Fortune by Land and Sea. Old Harding has a major investment in the fortunes of one of the Merchant's ships. When Anne decides to help Young Forrest, she sends him in a trunk to her brother, who generously gives Young Forrest money, and passage on a ship. Later, pirates attack the Merchant's ship, and he is captured. News of the vessel's capture causes Old Harding to die of shock. But Young Forrest attacks the pirates, rescues the Merchant, and returns the stolen goods. The Merchant returns to England, and brings the good news to Anne.

MERCHANT**1614

Friend to Uncle in Fletcher's Wit Without Money. He commiserates with Uncle as he bemoans the irresponsibility of his nephew Valentine and plots with Uncle to get Valentine and the rich Widow together.

MERCHANT**1615

A "ghost character" in Fletcher's Monsieur Thomas, dead before the play begins. He rescued Francis after the boy was taken in a sea-fight and became a foster father to him. Sadly, he could never find Francis' true parents, and he died a poor man.

MERCHANT **1615

A "ghost character" in Tomkis' Albumazar. Albumazar has a cheat working with a Merchant that he wishes to finish before he and the thieves make away with Pandolfo's wealth.

MERCHANT**1633

A "ghost character" in Shirley's The Gamester. He is never seen on stage, but is reputed to have entered the ordinary with the intention of gambling with huge amounts of money that he has earned through shipping deals.

MERCHANT**1638

He tells Clarimant about Agenor's marriage to Austrella in Carlell's 1 The Passionate Lovers.

MERCHANT**1641

An alternate designation for City in Brome's A Jovial Crew. City is a branch of the commonwealth (Utopia) represented in the aborted masque following the beggars' wedding. It is to be played by Springlove. City vies for superiority with Country and Court.

MERCHANT, CHRISTIAN **1637

A "ghost character" in Carlell's Osmond. Dispina has Melcosbus free the merchant and his ship with a view towards stealing onto it in disguise with Osmond and so escape to be married.

MERCHANT, DUTCH

As a well-traveled merchant in Middleton's No Wit, No Help Like a Woman's. This Dutchman verifies that he has seen Lady Twilight in Antwerp and that she is not dead, as the family has been led to believe. Although Savorwit denies this information and uses the unintelligible Dutch of the merchant's boy to verify this, upon further inspection, Twilight believes the merchant. Later, the merchant also confirms the supposed parentage of Grace as Twilight's daughter, alarming Philip who married her in Antwerp two months prior unaware that they were siblings.

MERCHANT, ENGLISH

The English Merchant in Thomas Heywood's The Fair Maid of the West, Part One agrees to take the wounded Spencer aboard his ship and return him to England after he completes his voyage. His ship is taken first by the Spanish, and then in turn by Bess. He and his vessel later appear in Morocco, having been seized by Mullisheg, the King of Fez and Morocco, for failure to pay tariffs. His goods and ship are returned to him when Spencer intercedes with the King.

MERCHANT, FIRST and SECOND**1589

Two merchants figure in Marlowe's The Jew of Malta:
  1. The First Merchant arrives to tell Barabas that his ships have come home full of rich merchandise. When Barabas asks why they have not come ashore yet, the Merchant says that the duties are more than his personal credit. Barabas laughs and tells him to simply mention the name the Jew of Malta. Barabas also asks after his argosy, but the First Merchant has had no word of it, and admits that many sailors believe the vessel was unseaworthy.
  2. The Second Merchant arrives at Barabas' house in the first scene to inform him that his argosy has arrived from Alexandria, loaded with silks, gold and pearl. He also reports that a Spanish fleet (probably that of Bosco) sailed with them. Barabas sends him to see to the unloading.

MERCHANT, FIRST and SECOND **1592

Two Ephesian merchants figure in Shakespeare's Comedy of Errors:
  1. The First Merchant of Ephesus advises Antipholus Erotes of Syracuse that he should pretend to be from Epidamium while he is exploring Ephesus. The Merchant does not wish Antipholus to suffer the fate of the Syracusan merchant (Egeon) who will be executed unless someone comes forward to pay the requisite ransom.
  2. The Second Merchant of Ephesus duns Angelo the goldsmith for monies owed. He is present at the priory to testify of events as he sees them, compounding the confusion among the two Antipholus characters and the two Dromios.

MERCHANT, FIRST and SECOND**1605

Two merchants figure in Heywood's 2 If You Know Not Me:
  • The first is a merchant doing business with Gresham.
  • The second is a merchant and jeweller who attempts to sell a valuable pearl to the Russian ambassador.

MERCHANT, FLEMISH

The Flemish Merchant happens to meet the courtier Herman in the opening action of Fletcher's Beggars' Bush. His having been away on business for five years and his curiosity about recent events provides an occasion for Herman to reveal the whole story of the conflict between Brabant and Flanders. They discuss Wolfort's usurpation of the earldom of Flanders, and the resistance to the usurper maintained still by the city of Bruges.

MERCHANT, FRENCH

The French Merchant in Thomas Heywood's The Fair Maid of the West, Part One has had his ship and goods seized by Mullisheg in Morocco. They are returned by the King's order after Clem intercedes on his behalf.

MERCHANT, ITALIAN

I.
The Italian Merchant, a Florentine, prevails upon Clem in Thomas Heywood's The Fair Maid of the West, Part One to plead for the release of some of his crew who have been sentenced to the galleys by Mullisheg. As in the case of the French Merchant and his goods, Clem is successful.
II.
When Bess is rescued from the bandit Captain by the Duke of Florence in Thomas Heywood's The Fair Maid of the West, Part Two, the Florentine Merchant is present and recognizes her as the Englishwoman whose influence with Mullisheg was so great that her servant Clem could prevail upon the king to spare members of the merchant's crew. The crew had been sentenced to the galleys. The Merchant then praises Bess to the duke and gives her one thousand pounds for the good she has done him.

MERCHANT of DEVONSHIRE, FIRST and SECOND

Two such merchants figure in the anonymous Dick of Devonshire.
  • The First is an expositor, who expresses the anxiety of the British before the battle and explains later the events-the Reformation, the accession of Elizabeth, the defeat of the Armada-that have led up to it.
  • The Second is the on-stage audience for the first Devonshire merchant's exposition.

MERCHANT of THARSUS

The Merchant of Tharsus, along with his companions in Greene and Lodge's A Looking Glass For London And England, books passage home with the Ship's Captain, and he promises the latter that he will provide a feast for him and his crew when they arrive safely. After the storm at sea nearly costs him his life, the Merchant follows the Ship's Captain and the crew in accepting the Hebrew God.

MERCHANTS **1598

All except one are mute in Haughton's Englishmen for My Money. They are present at the Exchange when Pisaro is there. When Moore explains that Pisaro's losses are considerable, a merchant expresses his sympathy.

MERCHANTS**1631

Merchants (the first, second and third), former subjects of Antiochus in Massinger's Believe As You List. They work in conjunction with Berecinthius to reestablish Antiochus. The first Merchant dies with Berecinthius in the streets of Callipolis. The second and third Merchants deliver the letter that leads to the demise of Flaminius.

MERCHANTS **1639

"Ghost characters" in Sharpe's Noble Stranger. They plead, through Philomusus, for the Portuguese ships captured in the war to recompense them for their merchant ships destroyed by the Portuguese.

MERCHANTS, FIRST, SECOND, and THIRD

Merchants in Jonson's Volpone. They help Peregrine in his plot against Would-Be.

MERCHANTS, TWO **1604

"Ghost characters" in Rowley's When You See Me. Two merchants of the Stillyard, they are strangers to the city who have been murdered and found floating in the Thames.

MERCHANTS, TWO

Involved in Lugier's final plot to trick Mirabel in Fletcher's Wild-Goose Chase.

MERCHANTS of BRUGES, FOUR

The Four Merchants in Fletcher's Beggars' Bush appear early in IV to demand that Goswin (Florez in disguise) pay what he owes them. Their refusals to grant him even a small extension in time are accompanied by remarks indicating their perverse pleasure in Goswin's desperate situation.

MERCHANTS of BRUGES, YOUNG

The Young Merchants of Bruges in Fletcher's Beggars' Bush are guests attending what is supposed to be the wedding of Goswin and Gertrude at Van-dunck's house. Their conversation as they arrive indicates how Goswin's straight dealing and sense of civic responsibility have inspired the best sentiments in the young generation of merchants.

MERCHANT'S WIFE

A disguise adopted by Lady Marrian Faukenbridge 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. Her husband, 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.

MERCURIALS **1615

Albumazar refers to the thieves Harpax and Ronca by this nickname in Tomkis' Albumazar.

MERCURIE**1609

Antonio's best friend and fellow traveler in Beaumont and Fletcher's The Coxcomb. Also spelled "Mercury" in the text. Unknown to Antonio, Mercurie is in love with Maria, Antonio's wife. Antonio invites Mercurie to stay overnight at his home, but the temptation of having Maria so close is too much for him to bear and rather than seduce Maria and make Antonio a cuckold, Mercurie decides to leave. He summons a servant to help him out but the noise of his departure wakes Antonio and Maria, who beg him to stay. Maria is dismissed so that Mercurie can talk to Antonio alone and just as he's about to confess his love for Maria, Viola knocks on the door. Antonio refuses to even consider that Viola, a gentlewoman, would be out alone at night and sends the fugitive away. Mercurie then admits his love for Maria to Antonio. Amazingly, Antonio does not object and even offers to help Mercurie gain the love of Maria—that their male friendship is much more important than the love of his wife. Antonio sends Maria a letter in the name of Mercurie, but when she questions Mercurie, he denies that he wrote the letter, although he does, indeed, love her. She believes him and accepts his friendship. He brings her to his mother's country home where he is accused of Antonio's murder, but when Antonio reappears he is exonerated.

MERCURIO

Mercurio is in love with Splendora Nice, although her father disapproves in Jordan's Walks of Islington and Hogsden. He meets Splendora at a secret assignation, but is arrested there at the suit of Mr Nice, who falsely claims Mercurio owes him money. Mercurio is taken to prison in the Wood-Street Counter. There he feigns his own death and funeral, whereupon Mr Nice sees the error of his ways. As a result Mercurio is permitted to marry Splendora.

MERCURIUS **1627

God of theft in Randolph's Plutophthalmia. He arrives at Chremylus' door telling Carion that Jupiter is angry. Now that Plutus has regained his eyesight no one sacrifices to Jupiter anymore. They are all to be thrown into Barathrum, "Pluto's boggards." In truth, Mercurius is more worried about his own fortunes than those of the other gods. He and Carion engage in lengthy foolery. Mercurius sings and picks Carion's pocket. He returns Carion's purse and asks, in turn, to be made the family's porter, merchant, fool, juggler, and poet. Carion rejects each offer but the last, and Mercurius is admitted as the household poet because "household chaplains are out of date."

MERCURY**1581

I.
The messenger god Mercury, accompanied by several Cyclopes, arrests Paris on the charge of "partiality" and during the arraignment itself is given the task of formally charging the Trojan prince in Peele's The Arraignment of Paris.
II.
Only mentioned in the anonymous Blurt, Mercury is the messenger of the gods in Wilson's The Cobbler's Prophecy. He has a prophecy to deliver to Mars, and decides to make a messenger out of the first person he meets. That person is the henpecked shoemaker, Raph Cobbler. Mercury punishes Raph's wife, Zelota, by sending her mad. He then charms Raph to sleep and teaches him the prophecy. Later in the play, Mercury reports the decree of the godly synod that Venus should no longer be a goddess, and that Greece is at war with Contempt. He also tells Mars about Ruina the baby. He enters with Mars and Sateros in the final scene.
III.
Only mentioned in the anonymous Timon of Athens. Hermogenes prays that the god Mercury may come from heaven and help him, when Laches beats him. Mercury does not appear as a character in this play. (In the source, in Lucian's dialogue Timon, Mercury appears as a character.)
IV.
Commanded by Jupiter to bring in the ghosts of those slain by Venus and Fortune in the anonymous Rare Triumphs Of Love And Fortune, and the ghosts appear in five dumb shows: Show Of Troylus And Cressida, Show Of Alexander, Show Of Queene Dydo, Show Of Pompey And Caesar, Show Of Leander And Hero
V.
Only mentioned in the anonymous Blurt, Master Constable. Camillo finds Frisco giving his report to Hipolito about what happened in Imperia's house. Camillo asks Hipolito if this Mercury brings him intelligence about the courtesan. The messenger of the gods becomes here the paid spy conveying information to a gallant from a brothel. Frisco takes over the reference to classical mythology by saying that he may be a Mercury for the running of errands, but he is certainly Imperia's Cerberus for guarding her gate.
VI.
Only mentioned in Jonson's Bartholomew Fair. Quarlous compares Edgworth to Mercury. This is an appropriate nickname for the cutpurse since the messenger-god was swift of foot and thieving.
VII.
At Cynthia's court, Mercury is disguised as a page, but to Cupid he speaks as himself in Jonson's Cynthia's Revels. In the valley of Gargaphie, near the Fountain of Self-love, Mercury enters on one side and Cupid on the other. From the gods' conversation, it is inferred that Mercury and Cupid intend to disguise themselves as pages at Cynthia's court. When Cupid exits, Mercury summons Echo. When Echo's voice responds from below, Mercury says he was sent by his father Jove to restore her body now, after three thousand years of being a disembodied voice. Echo laments the death of her lover, Narcissus, and proclaims the fountain of Self-love as a place generating self-conceit in whoever might drink of its waters. Mercury sends Echo back to the underworld and he decrees that Echo will forever rebound but the last words that are spoken. When Echo retires, Mercury says that he is ready for the merriment that Cupid suggested and he exits. At court, Mercury enters with Cupid. Both gods are disguised as pages and they observe the vain courtiers and the nymphs interact, all the while making comments on them. Mercury and Cupid see how the narcissistic nymphs and courtiers drink of the miracle water from the fountain of Self-love and become even more self-conceited than they already were. Mercury disguised as a Frenchified Gentleman and as a Page contributes to the discrediting of the pompous revelers. In the end, when the revels are ended, Cynthia discovers that Mercury is disguised as a Page. She suspects that Mercury is responsible for the pranks and misunderstandings and orders him to stay and hear Crites's judgment on the vain courtiers and nymphs. When Cynthia exits followed by her train, it is understood that Mercury leads the party of courtiers to do their penance. They invoke the god Mercury to defend them from the hazard of self-conceit. Mercury was the Romans' name for the fleet-footed messenger of the gods called Hermes by the Greeks.
VIII.
Mercurius, also "Mercury" is son to Iupiter in the anonymous Birthe of Hercules. He is responsible for the second 'Prologus' of the play, apart from being one of the characters in the play. He describes himself as "merry Mercury." He appears before Sosia, unexpectedly, frightening him, since the latter believes he is a constable who comes to question him for travelling at that time of night. Mercurius listens to Sosia's report of the battle between Thebans and Teleboians, and then decides to tease him, taking the messenger's shape and manners, and accusing the real Sosia of being an impostor, in order to distract him while his father, Iupiter, is seducing Alcumena. Thus, he misleads Sosia to such an extent, that the latter hesitates whether, after all, there could be some truth in what that man who is exactly like him says, and leaves without delivering Amphitruo's message to Alcumena, in the belief that the other Sosia has already done it. Mercurius knows that Dromio is also bringing a message, plus a ring, to Alcumena from her husband. Therefore he will try to mislead him as well. This time, he takes the shape of Sosia again, and waits for Dromio at his mistress's door. When the latter arrives, the former explains to him that he had delivered the message five hours before, but Amphitruo's wife would not believe him unless he gave her a token from her husband. Thus, he had gone back to his master, and he told him to ask Dromio for a ring he had entrusted him as a token for his lady. But Dromio is reluctant to believe that story, and replies that he will not give him the ring because he does not trust him. However, on Mercurius insistence, Dromio finally gives him the ring. Then Mercurius reveals to the audience that Alcumena will give birth to two sons at the same time–despite the fact that they were conceived on different dates–, and that one of them is going to be Hercules–son to Alcumena and Iupiter. Realizing that his father has been with the lady too long, and that her husband is about to arrive, he enters to warn Iupiter, but he is asked by the god to prevent Amphitruo from entering the house. Therefore he is going to pretend that he is Sosia and that he is drunk, and he will not let Amphitruo in. Furthermore, when Dromio arrives Mercurius/Sosia will explain that their master is inside the house, and that the man knocking outside is a thief they have to keep out.
IX.
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. M. 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, they comment on the braveness of their countrymen, and Mercury has the two ghosts become friends at last.
X.
Mercurie is a character in "The Triumph of Time," the final play within the play of Fletcher's Four Plays in One. He acts as a messenger for Jupiter.
XI.
On Ceres' behalf Mercury vainly searches the heavens for the missing Proserpina in Heywood's The Silver Age, and joins with the other gods to decide the dispute over Proserpine.
XII.
Only mentioned in the anonymous Wit's Triumvirate. Mercury is mentioned by Sir Cupid Phantsy when he is explaining, to Doctor Clyster, the effect love had on him. He "could not dance, but my heels were as nimble as if Mercury has put his wings there; and my head so witty in composing as if I had had Mercury's cap on." According to Roman mythology, Mercury was, originally, the god of the trade in corn, but, eventually, he became the god of commerce and profit, of merchants and travelers. As time went by, he was identified with the Greek cunning and shrewd god Hermes–the god of shepherds, land travel, merchants, weights and measures, oratory, literature, athletics and thieves–who was also the messenger of the gods. He is represented with winged sandals (talaria) and a winged hat (petasus).
XIII.
The Prologue at the beginning of Zouche's The Sophister is "spoken by Mercury to the Academicall Auditors," and Definition claims that their country was previously "called Decaphylia, till afterward subdued by Mercury, was by him called Hermenia."
XIV.
The god Mercury witnesses the shame of Mars and Venus in Heywood's Brazen Age.
XV.
A fantasy character in Tomkis' Lingua. Mendatio tells Gustus and Visus that Mercury left the robe and crown that in truth Lingua left to trap them. Mendacio claims to have seen Mercury and Mars playing tennis with rackets made of spheres and stars for their balls.

MERCURY**1585

A mute character in ?Tarlton's Three Plays in One. Appears in the dumb show at the end of the third playlet.

MERCURY**1593

Mercury is one of the planets who, jealous of Pandora's beauty, take it in turn to rule her behavior in Lyly's The Woman in the Moon. Mercury makes Pandora scheming and false; under his influence, she plans to have her revenge on the shepherds after they denounce her to Stesias.

MERCURY **1600

Mercury, the Duke of Anjou, first appears in a dumb show at the start of the anonymous Weakest Goeth to the Wall. In it he kills the old Duke of Bullen. He next appears when the king of France leaves the country and appoints Anjou and Lodowick, the new duke of Bullen, joint regents. Mercury feigns repentance for his actions, but, after embracing Lodowick before the king, he leaves immediately on some business. This business turns out to be the invasion of Burgundy (Bullen). Lodowick manages to escape him, making Anjou angry, but also making him sole ruler in France. When a messenger announces that a Spanish force under Hernando is invading France, Anjou leaves, eager to fight them. He meets Hernando but is easily beaten. Later Mercury, disguised, plots with Hernando and Ugo to assassinate the French general, Epernon, by getting close to him while they are all in parley. The aged Epernon arrives at the parley carried in a chair. When Mercury is discovered with a poniard in his hand, Epernon recognizes him. Hernando offers that if the treacherous Mercury is handed back to him he will leave France with his army. All the French soldiers volunteer to tear Mercury to pieces. Epernon will not allow it, and when he accuses Mercury of disloyalty to himself and to Lodowick, Mercury proudly replies that as a peer of the realm he should not be so insulted. Epernon agrees, pointing out that because he is a peer of the realm Mercury is entitled to be tried by his peers. For that reason Epernon refuses Hernando's suggestion that he be dealt with immediately. At such a sign of proper action, Hernando announces a truce for the day. At the end of the play, a messenger announces that the French king has returned from his pilgrimage. Lodowick greets this news by recognizing that now Anjou can be sentenced.

MERCURY**1601

Crispinus is disguised as Mercury at the masquerade banquet at court in Jonson's Poetaster. In Roman mythology, Mercury was the name of the Greek Hermes, a subtle schemer. Mercury was the messenger of the gods and one of his duties was to conduct the ghosts of the dead to the lower world. Among men, he became the patron of merchants and the god of eloquence, good fortune, and prudence, as well as cunning, fraud, and theft. Crispinus's disguise as Mercury alludes to his pretended eloquence, but also to his dissimulating and sycophantic manner. Crispinus/Mercury plays the herald of the supreme god, Ovid/Jupiter. In his usual ingratiating style, Crispinus/Mercury tries to flatter the powerful, in this case Ovid/Jupiter. At the master's command, Crispinus/Mercury sings a duet with Hermogenes/Momus celebrating the feast of sense and the beauty of the eye. Ovid/Jupiter commands Crispinus/Mercury, in jest, to go to Caesar and order him to sacrifice his daughter, Julia. In her turn, Julia/Juno gives him another order, to ask Caesar to permit his daughter to love the well-nosed poet, Ovid. The messenger does not get to carry out his mission because Caesar enters in person, railing against the debauched party and punishing Ovid. Crispinus/Mercury says meekly that he is only a poor poet and asks for mercy.

MERCURY**1601

Only mentioned in Percy’s Cuckqueans and Cuckolds Errants. When Nim arrives to steal the ‘Bolle’, he calls upon Master Mercury to help his fingers be nimble.

MERCURY**1604

In Verney’s Antipoe he tells Macros that all will be well and places him in a sleep whereby Jove’s prophesy, by Apollo, will be revealed.

MERCURY**1604

Mercury in Marston's Malcontent is the presenter of the masque celebrating Maria's return to court.

MERCURY**1633

Mercury is a character in the masque performed in Cokain's Trappolin to celebrate the nuptials of Lavinio and Isabella.

MERCURY**1634

Commissioned by Venus in Heywood's Love's Mistress to find Psiche and bring her to the goddess, the swift god comes upon the girl in her misery and places her before her vengeful mother-in-law. He takes pity on the wretched Psiche, however, and with Cupid helps her sort the grain. At Jove's behest, he summons the other Olympians, including Proserpine, to join Ceres in celebrating the coming of spring.

MERCURY**1637

Masque character in Brome's The English Moor, prologue to the wedding mummers, who offers a speech critical of loveless marriage.

MERCURY**1638

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

MERCUTIO**1595

A friend of Romeo and kinsmen to the Prince and to Paris in Shakespeare's Romeo and Juliet. When Romeo refuses to fight Tybalt, Mercutio challenges Tybalt in his place and is slain when Romeo intervenes. Mercutio dies cursing both the Capulets and the Montagues. His death shames and enrages Romeo who quickly avenges the death of his friend by killing Tybalt.

MERCUTIO**1634

Mercutio is the father of Cornelia and of the banished Borgia in Shirley's The Opportunity. Not recognizing that Aurelio is not Borgia, Mercutio accepts Aurelio as his son and is made comptroller of the duchess' household. Originally aghast that his "son" would even consider marriage with the duchess a possibility, Mercutio later agrees that his son should accept whatever preferment and opportunity come his way. Consequently, when the Duke of Ferrara dons Borgia's cloak, Mercutio mistakes the duke for Borgia and allows entrance to the duchess, who has forbade entry to all save Borgia.

MERCUTIO **1639

A poet in Sharpe's Noble Stranger. He assists Philomusus devise a masque. He accepts the fool Pupillus as a student of wit primarily for the money. He secretly proposes to marry the fool off to Flavia, the prostitute. He enlists the aid of Fledwit and Plod in helping to gull Pupillus. In order to 'inspire' Pupillus, he makes him eat paper with witty writings on them. He invokes the goddess Minerva to inspire the fool. 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. Mercutio counts his losses and resolves to live better and go sober to bed.

MERCY

Mercy enters with Justice in Dumb Show III of (?)Heywood's A Warning For Fair Women, takes a seat, refuses to listen to Chastitie.

MERCY **1617

A "ghost character" in the anonymous Pathomachia. A captain of Charity's in the war against the Vices.

MERDA **1632

The eighteen-year-old daughter of Stipes and Placenta in Hausted's Rival Friends. Her father's pet names for her are chuckin and goldilocks. Her mother calls her Madam Gillian when she is found tied to the 'magic tree.' She's a simpleton who argues childishly with Ursely and plays with dolls to her father's chagrin. When Stipes finds Contantina disguised as a boy, Merda takes a liking to 'him' and begs a kiss, which she does not receive. When Stipes hires Geoffrey (not knowing it is Anteros in disguise) she takes a liking to him, tries to dance with him, and later talks about him in her sleep in such a manner as to make her father believe they've lain together. She insists to her father that nothing has happened. Later, Stipes insists that she be tied to the magic tree with him, and she lends 'Geoffrey' her garters to do it and has a cloak thrown over her and her father to protect them from crows. A long time later, at play's end when the trick is quite forgotten, she humorously calls out to ask if she is a gentlewoman yet. Placenta unties her and calls her Madam Gillian. Believing she is a gentlewoman, she would call her mother a country woman and 'sweetlips' until her mother beats her and drives her off.

MERDURINOS, DOCTOR

"Doctor Merdurinos" in the anonymous Wit's Triumvirate is an insulting name–meaning dung-urine–used by Master Silence to address to Doctor Clyster, once Damme de Bois has gone away: "Now, Doctor Merdurinos, is not this better than your eightpence a day in the Low Countries?"

MERECRAFT

Merecraft is a "projector," or con-artist in Jonson's The Devil is an Ass. He attracts investors for fraudulent schemes, most involving the promise of royal monopolies. With the help of Engine, he convinces Fitzdottrel to invest in a scheme to buy and drain swampland, increasing its value. Merecraft uses Fitzdottrel as a source of cash for floating loans to and from others, such as Gilthead and Everill. He hires Wittipol to play the "Spanish Lady," an instructor in fashionable etiquette, and asks Wittipol to help him in his scheme to get Lady Tailbush, the hostess of the Spanish Lady's classes, to invest in a "fucus," (cosmetic) for court ladies. His most ambitious con is a scheme to entice Fitzdottrel to sign over his estate as security for a duel to be fought by Everill in his name against Wittipol. However, the suspicious Fitzdottrel signs it to Manly (at the "Spanish Lady's"/Wittipol's suggestion) instead, leaving Merecraft with no funds. Threatened with arrest for failure to pay rent to his landlord, Sledge the Constable, he convinces Wittipol to fake demonic possession (making him non compos mentis when he signed the deed). He and Everill preside over a scene of possession that almost convinces the Justice, Eitherside, but the scheme is revealed when Fitzdottrel confesses after learning that Pug was a real devil. Merecraft is thus confounded, but not punished.

MEREDITH, SIR OWEN ap **1600

A Welsh knight who courts Gwnethyan in Chettle, Dekker and Haughton's Patient Grissil. He marries her but finds that unlike the well-known Grissil, his new wife is loud and trying. When she humiliates him by ruining a dinner to which he has invited the Marquess and others, he is outraged and hopes for some way to tame her. In the end, he is relieved to find that her behaviour was merely an act and that she will be more obedient in the future.

MERETRIX

A courtesan in Preston's Cambises, she offers herself to the soldier with the most money, and then fights with Ambidexter, Ruf, Huf and Snuff when the four soldiers refuse to leave her alone. She concludes with Ruf agreeing to be her servant.

MERIDIAN

Only mentioned in Jonson's Cynthia's Revels. Meridian is a character in a comedy by Pedro Calderón de la Barca, entitled El Castillo de Lindabrides. This play deals with the chivalric world and prince Meridian is a gallant, brother to the lady Lindabridis. When Amorphus instructs Asotus in the art of being a courtier, Asotus says he will call his fictional lady "my dear Lindabrides." Since Amorphus wants details about this exotic-sounding name, Asotus explains that Lindabrides is the emperor Alicandroe's daughter and the Prince Meridian's sister in The Knight of the Sun. It seems that Asotus collates two chivalric romances, taking the title from one and using the badly distorted characters' names and plot from the other.

MERIEL

Meriel is the daughter of Oldrents and sister of Rachel in Brome's A Jovial Crew. A fortuneteller has told their father that Rachel and Meriel will become beggars. Weary of their father's melancholy over this forecast, the sisters decide to fulfill it by leaving their father's house to go begging. They enlist the aid of their childhood sweethearts, Hilliard and Vincent, and Springlove, their father's steward and a sometimes beggar. The sisters must conceal their misery as beggars, and they are nearly raped by Oliver. When Sentwell breaks up the beggars' wedding, they disclose their identities and are brought to Master Clack's house, where they reunite with their father and where Meriel plays herself in the inset play before Oldrents.

MERILLA

Apparently an alternate name for the character otherwise known as Lodovica in the anonymous Wit of a Woman.

MERIONE**1617

Merione is a beautiful Corinthian noblewoman, sister to the general Leonidas in Fletcher's Queen of Corinth. She has been courted successfully by Prince Theanor, but at the beginning of the play her brother chooses to give her instead to the Prince of Argos, Agenor, as part of the peace treaty between Corinth and Argos. Although initially doubtful and regretful about this enforced shift in her affections, Merione accepts her brother's will and is rewarded with an adoring new fiancé in Agenor. On the eve of their marriage, however, she is captured and raped by the disguised Theanor, who refuses to marry her despite her pleas and abandons her, drugged and wounded, outside the door of her house. When she awakens, she remembers her rape but is unable to identify her rapist. She sees herself as a despoiled whore and refuses to marry Agenor despite his protests; she believes that she is now unworthy, and wishes to live as a nun until death takes her. Sunk in melancholy, she is even more distressed when her friend Beliza shows her a ring stolen from her during the rape, which now appears to have been sent Beliza by Euphanes. This convinces her that Euphanes was her rapist, and she tells her brother and Agenor so, causing a near-rebellion. When it is finally discovered that Theanor was in fact the rapist and that he has new designs on Beliza, Merione agrees to disguise herself as Beliza and in this guise is raped a second time. When Theanor is arrested and tried for the two rapes, Merione asks that he be punished by being forced to marry her, while Beliza demands his death. Finally, Merione's disguised part in the rape of Beliza is revealed, and Theanor agrees to marry her in expiation for his crimes, claiming that they were caused only by his love for her.

MERIONE**1619

A "ghost character" in Fletcher's The Humorous Lieutenant. Merione is one of the young women pursued by the bawd Leucippe for the pleasure of the king.

MERIONES

A "ghost character" in Heywood's 1 The Iron Age. Meriones is a Greek who accompanies his uncle Idomeneus to Troy. After the death of Margareton at the hands of Achilles, Hector reenters the battle to take revenge for the killing of his younger brother. Driving Achilles's troops before him, he claims to have killed three princes and to have cowed a great number of Greek warriors, including Meriones.

MERLIN

I.
Only mentioned in Chapman's Sir Giles Goosecap. Character of the Arthurian literature to whom the pages are compared. He was thought to have great visionary powers and, as the messengers, he could tell what was to happen.
II.
The child of Joan and the Devil in William Rowley's The Birth of Merlin: or, The Child Hath Found His Father. Absurdly precocious, he is born with a beard and the power of prophecy. He prophesies the downfall of Vortiger, and the future of Britain, and also defeats the Devil, his father, in order to save his mother's soul.
III.
A "ghost character" in Hughes' The Misfortunes of Arthur. The famous magician changed Uther Pendragon's shape, making Igerna believe that Uther was her husband, Gorlois, and thus paving the way for the birth of Arthur and his twin sister Anne.
IV.
Only mentioned in (?)Speed’s The Converted Robber. Jarbus tells of how Merlin brought ‘bricks of art’ onto Salisbury Plain without the use of a cart.
V.
Only mentioned in Randolph's Plutophthalmia. Caradoc the Welsh soldier suggests that Merlin is Penia-Penniless' cousin and countryman.

MERLINUS ANGLICUS **1627

Only mentioned in Randolph's Plutophthalmia. Pond, Booker, Allestree, Jeffry, Neve Gent, and Merlinus Anglicus were good astronomers, according to Carion, who nevertheless cannot predict so well as Chremyla's corns.

MERMAID MEN

The men hanging about the taverns Three Cranes, Mitre, and Mermaid are "ghost characters" in Jonson's Bartholomew Fair. When Littlewit admires his wife's fashionable dress, he says there is no man in the diocese that ever had the fortune to win such a Win. The pun is on his wife's name, and Littlewit observes he has used a conceit. He blames himself for it and condemns all the pretenders to wit, such as the Mermaid men. According to Littlewit, these men are tasteless, no salt and mustard to them all. They may pretend to be witty, but they are not, and cannot stand the challenge of a "justice of wit" as he is. Since Mermaid Tavern was Jonson's particular haunt, the reference can be taken as self-ironic.

MERRIDOCK, SIR GRIFFIN

Sir Griffin Merridock Prince of South Wales is a Welsh nobleman betrothed to Sydanen in Munday's John a Kent and John a Cumber. Near Chester, Sir Griffin and Powesse debate the crisis created by the imminent marriages of their ladies. Marian, Powesse's sweetheart, has been promised to Pembrooke and Sydanen, Sir Griffin's lady, has been promised to Moorton. Sir Griffin suggests they should use force to abduct the ladies from Chester castle. Sir Griffin and Powesse engage the help of Gosselin and Evan, who have a small army of men ready for them in the woods. John a Kent promises to help Sir Griffin and Powesse by luring the ladies outside Chester castle. In the woods outside the castle, Sir Griffin and Powesse meet Sydanen and Marian and confess their marital intentions to them. When the ladies consent to follow their lovers, the party retires to Gosselin's castle. At dawn in Gosselin's castle, Sir Griffin and Powesse are up very early, eager for their upcoming weddings to Sydanen and Marian. The lords know that John a Kent is preparing an entertainment for the ladies, so they are not suspicious when John a Cumber (disguised as John a Kent) introduces a pageant of Antiques. Only when they see that the rival party is already in the castle do Sir Griffin and Powesse realize that they have been tricked. Because the ladies have been sent to Chester, Sir Griffin and Powesse lure them away from their guardians on the way through the woods while their guardians are put to sleep with hypnotic chimes. During the performance on the lawn before Gosselin's castle, Sir Griffin acts as himself and tells Llwellen how he resents being rejected in his suit for Sydanen. Thus, Sir Griffin makes Llwellen see his side of the story. At Chester Abbey, Sir Griffin and Powesse enter disguised as Moorton and Pembrooke, the expected bridegrooms. John a Cumber is deceived and lets them inside the church, where they are married to Sydanen and Marian.

MERRY, THOMAS

Tavern keeper in Yarington's Two Lamentable Tragedies. At the start of the play, Merry laments his lack of financial prosperity. Beech and the Neighbour visit his tavern and drink a can of his beer, which they praise as the finest in London. They console him by saying his fortunes will improve with time. After Beech boasts of his own modest prosperity and savings, Merry begins to plan how he might acquire the money Beech is not using. Alone, Merry plans how to murder Beech. He realizes he will also need to murder Beech's boy, since the boy will know that Merry called Beech away from his shop, as well as ensure the silence of Rachel and Harry Williams. He goes to Beech's shop and persuades Beech to return to Merry's tavern, on the pretext that friends have asked for him. As Beech ascends the stairs, Merry strikes him on the head fifteen times with a hammer, killing him. When Rachel and Harry Williams investigate the disturbance and discover what Merry has done, Merry makes both vow to keep the murder a secret. He discusses with Rachel the dangers that Williams and Winchester pose to them; he then vows to kill Winchester in order to ensure his silence. He goes to Beech's shop and finds Winchester sitting outside. He orders the boy to go into the shop and then strikes him seven times on the head with his hammer, leaving the hammer embedded in Winchester's head. Merry flees, worried that the clamour the boy raised may endanger him. Merry, plagued by growing guilt, enlists Rachel to help him hide Beech's body and decides to conceal it in the tavern until he can find a more permanent hiding place. They take the body to a lower room in the tavern and cover it with sticks. Merry tells Rachel to clean up the blood and then burn the cloths. Later, Merry meets Harry Williams and asks if he has kept Merry's crime a secret. He gives Williams money and his cloak and promises further help so long as Williams remains silent. He notes the commotion outside Beech's shop and, to avoid suspicion, goes over and asks questions about Winchester's condition. Back at the tavern, Merry receives a bag from Rachel and prepares to dispose of Beech's body. He tells Rachel to fetch him a knife so that he can cut off Beech's head and legs and carry them away in the bag, and then return for the remainder of the corpse. Rachel returns with the knife but cannot stay as Merry begins to cut the body, binding the arms with Beech's garters. After Truth addresses the audience, Merry prepares to depart with Beech's torso to dispose of it in a ditch by the waterside. He asks Rachel, when she reenters, to help him put the torso in a bag and to clean up the blood from his butchery. Having disposed of Beech's torso, Merry along with Rachel uncovers Beech's hidden head and legs, places them in his bag, and leaves again to dispose of them, warning Rachel not to reveal anything. Later, Merry asks Rachel about the Neighbours' searches and she tells him about their attempt to discover the purchaser of the bag. Merry is relieved that Salter's man failed to identify Rachel as the bag's purchaser and that the hammer's owner does not remember who borrowed it. Merry tells Rachel that he met Williams earlier but Williams could not be persuaded to join them for dinner; he did vow to keep their secret, though. That evening, Merry is awakened by the Constable and Watchmen, who arrest him for the murders of Beech and Winchester. Merry confesses to the murders but claims that Williams and Rachel are innocent; the Constable reveals that Williams has confessed what he knows about the murders, though. Merry is led to execution with Rachel by Officers and the Hangman. At the top of the Hangman's ladder, Merry publicly confesses Rachel's innocence in relation to the murders and asks God to forgive him for his part in the murders, confessing that he never hated Beech but only desired Beech's money. The Hangman then turns him off the ladder.

MERRYGREEK, MATTHEW

A parasite in Udall's Ralph Roister Doister. Patterned after the parasite of Roman comedy, Matthew Merrygreek attaches himself to the braggart Ralph Roister Doister early in the play. He encourages Roister Doister to pursue the virtuous widow Dame Custance and even visits her on the braggart's behalf to find out if the love letter and gifts have made an impression. The report of the widow's contempt for Roister Doister's proposal sends the braggart into such a state that he swears he will die, and Merrygreek takes delight in performing a parody of the Roman Catholic service for the dead over him. When Roister Doister drops his pose, the parasite urges him to confront Dame Custance in person and he agrees. When the suitor reminds the widow of his gifts and love letter, Dame Custance allows Merrygreek to read the letter aloud, and the parasite takes delight in following the mangled punctuation in such a way that the missive is deliciously insulting. Later, Merrygreek bears threats from his sponsor to the widow, but always ready to engage in trickery, he allies himself with Dame Custance. He stage manages the final, comic battle in front of the widow's house in such a way that he may repeatedly hit the braggart even as he is pretending to strike at Dame Custance. At the end of the play, he offers apologies for himself and Roister Doister, is invited by Gawin Goodluck to the feast, and participates in the concluding tributes to Queen Elizabeth.

MERRYTHOUGHT **1607

The family name of Charles (also known as "Old Master Merrythought"), Mistress Merrythought, Jasper, and Michael in The London Merchant portion of Beaumont's Knight of the Burning Pestle.

MERRYTHOUGHT, MISTRESS **1607

Mother to Jasper and Michael and wife to Charles in The London Merchant portion of Beaumont's Knight of the Burning Pestle. She is vexed that Jasper has lost his position with Venturewell and fears he threatens the "little" portion that she has saved up for Michael, whom she prefers. When her merry husband gives Jasper ten shillings and announces that he has twenty shillings left, she takes Michael and leaves him, fearing he will begin dipping into Michael's portion. In Waltham Forest, Rafe startles her, and she flees, dropping her purse (or chest, it is variously described) containing the one thousand pounds of Michael's fortune. Coming upon Rafe again, after Jasper has found and taken the lost fortune, she appeals to the Knight of the Burning Pestle for assistance. After a night at the Bell Inn, she and Michael bid the Knight of the Burning Pestle farewell to return to her merry husband. She finds Charles merrymaking with friends and refusing to let her in the house. She goes then to Venturewell for a letter of recommendation for Michael, but her refuses to assist her. She says she will go to Michael's nurse and eke out a living knitting socks, but instead she returns to her husband and begs him to reclaim her. She sings, at her husband's request, and he accepts her back.

MERULA

Merula is a consul and a supporter of Marius in Lodge's The Wounds of Civil War. He speaks for Marius in the initial debate and, when Marius and Scilla have left with their followers, Merula points out to Anthony that Rome will be torn apart because those who should protect it are now fighting each other.

MERVOLE

Mervole is Captain Piracco's ensign under General Castracagnio in the Duke of Tuscany's army in Davenant's The Siege. He is known as a duelist. He is a bullying extortionist who demands protection money from a number of his fellow soldiers, including Ariotto, Lizaro and even his commanding officer Piracco. He is a task-oriented bully who really does not take pleasure in tormenting his victims. He simply wants their money and food and weapons and clothing. Mervole agrees at first to sign a sheet of paper promising to Ariotto and Lizaro never to reveal their subservience to him. On the sheet he would also promise to never call the men cowards for obeying him. He puts off the signing after the men require the signature before they pay him. After subjugating Piracco by aggravating the abscess on his leg, Mervole begins to think he might indenture his entire company. When Piracco learns that Lizaro has given all his money to Mervole, the captain demands payment from the ensign. The ensign refuses to pay. Instead, he demands Piracco's money, cuffs and sword. Mervole overreaches by challenging Soranzo to a duel. In their fight, Soranzo wounds Mervole's hand, rendering him a functional southpaw. After seeing Ariotto and Lizaro appear to fight valiantly against one another as the duel's doubles, Mervole gives up his hold on the men and professes his respect for them. At the end of the play, Mervole, Ariotto and Lizaro report his abuse of power to General Castracagnio.

MERVOLLE

Mervolle is a friend to Altamont in Davenant's The Just Italian. He agrees with Altamont that Alteza's wealth and relationship with her uncle, the Duke, are to blame for her disdain for him, and agrees to help teach her a lesson. Mervolle then talks to Florello about Charintha, stating that she had been a modest and quiet maiden until her sister changed her, and also that she has been wooed by letter by a Milanese Count Dandolo. Mervolle confronts Sciolto and when Altamont does not believe that Alteza has not yet slept with him, Mervolle agrees to help kill both of them. With Altamont, he sees Sciolto and Scoperta together, and then helps Altamont capture Sciolto. After Altamont's supposed death, Mervolle delivers the news to Alteza and Florello, setting up the tests that prove they, as well as Sciolto and Scoperta, are true and honorable.

MERY REPORTE

Defined as 'the vyce' in the dramatis personae of John Heywood's The Play of the Wether, Mery Reporte is chosen by Jupiter among the audience to act as a porter. Mery Reporte introduces to the King of Gods all the suitors of superior social rank (the Gentylman and the Marchaunte, but not the Gentylwoman) and reports the claims of the other suitors. He is a licensed fool and a braggart.

MESHANT

A Sicilian lord and client of Prate's in Markham and Machin's The Dumb Knight. He is punished by having his land confiscated because the Queen of Sicily is convinced Meshant has helped the King of Cyprus pursue her. After winning the Queen's hand, the King is too distracted to help Meshant who then appeals to Florio, Alphonso, and Epire before threatening rebellion. Prate's clerk President ignores Meshant's requests to see the orator. When Meshant next visits Prate's house, he vows to make Prate a cuckold and is overjoyed to discover the assignation between Lollia and Alphonso. Meshant witnesses and comments wittily on the turmoil caused by Prate's unexpected return home. During Epire's plot to accuse the Queen of infidelity, Meshant summons the Watchmen who are to prevent anyone from visiting the King. After the King and Queen reconcile, Meshant confirms that Alphonso's effort to seduce Lollia was unsuccessful, and the King restores Meshant's confiscated property.

MESITHES

A court Eunuch in Glapthorne's Revenge for Honor. An attendant to Abilqualit, but secretly loyal to Abrahen. Abrahen names him as a conspirator long before his first entrance; when he appears, in conversation with the loyal but garrulous Selinthus, the audience already knows he cannot be trusted. He endures teasing by both Selinthus and Caropia's maid, Perlinda, but says little to reveal the cause of his treachery to his master. Abrahen exploits his status as a loyal servant, in his lie to Caropia that Abilqualit's father has approved the rape alibi for her honor without risk to the prince. Believing Mesithes to be the messenger, Caropia acquiesces. He acts as messenger between Abrahen and the evil Simanthes instead. He is not seen to play any significant part in Abrahen's plotting beyond this, but is last mentioned by the dying Abilqualit as one of the guilty left to punishment by Tarifa.

MESITHES **1618

Mesithes, a bassa in Goffe's Raging Turk, receives Selymus' gifts and offers his allegiance in return, advising the prince to flee the court for a time, then return to overthrow Baiazet. He plots with Isaack and Mustupha, and eventually joins them in forcing Baiazet to abdicate. When Selymus goes to confront Achomates, Mesithes joins the other conspirators at a midnight rendezvous during which, victims of ambition and darkness, they kill the two brothers and each other.

MESSALA

Messala is a friend of Brutus and Cassius in Shakespeare's Julius Caesar. He brings news to Brutus that Octavius, Antony, and Ledipus have put one hundred Senators to death, and he appears with Octavius and Antony at the play's end as they find the body of Brutus and give over Strato into Octavius' service.

MESSALINA

I.
[Valeria] Messalina is the libidinous third wife of the Emperor Claudius in Richards' Messalina. When the play opens, she has already won a wager that she can couple with more men than the prostitute Calphurnia. In her libidinous frenzy, she drugs Silius and threatens him [anachronistically] with a pistol until he agrees to kill his wife, has Menester racked until he agrees to sleep with her, and seduces Montanus. She eventually marries Silius but is arrested by Claudius' troops. Evodius is sent to kill her, but she seizes the sword herself and commits suicide.
II.
A "ghost character" in May's Julia Agrippina. Messalina was the previous wife of Claudius, whom he executed for infidelity, and the mother of Britannicus and Octavia.

MESSALINUS, COTTA

A "ghost character" in May's Julia Agrippina, mentioned as the uncle of Lollia Paulina.

MESSENGER

See also NUNTIUS, POST, and related concepts.

MESSENGER**1495

The messenger in the anonymous Everyman speaks the prologue warning audience members to heed the message of the play: the dangers of sin and inevitability of death with its consequent reckoning before God.

MESSENGER**1517

Introduces the Interlude and its subject matter in Rastell's Four Elements.

MESSENGER **1550

Citing Solomon's advice not to spare the rod with children in the anonymous Nice Wanton, the messenger delivers a prologue explaining the importance of strict discipline.

MESSENGER **1567

The messenger in Pickering's Horestes announces to Egistus and Clytemnestra Horestes's message to them that they should surrender.

MESSENGER**1570

The Messenger is a servant to the Merchant in the anonymous July and Julian. The Merchant intends to buy Julian, as a slave, meeting Chremes's debts and paying him an extra large sum of money. The Messenger manages to make Chremes agree to sell the lady to his master. However, he is tricked by Wilkin into believing Julian is his own daughter. Then, the messenger agrees to marry Bettrice instead. But, later, Bamford, Bettrice's father, appears, claiming for his daughter, who had been sold without his permission. Finally, the Messenger realizes that he has been cheated, and he has to give the lady back to her father, and return to his master empty-handed.

MESSENGER**1578

A messenger in the service of King Corvinus in Whetstone's 2 Promos and Cassandra. He notifies Promos that the King is coming to Julio.

MESSENGER**1585

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

MESSENGER**1587

Two messengers figure in Marlowe's Tamburlaine Part 1.
  • The first messenger reports to Tamburlaine that Mycetes' force is in the field and ready to charge.
  • The second messenger reports to the Soldan of Egypt that Tamburlaine has 300,000 mounted men in armor and 500,000 foot soldiers. This messenger, in IV.i first refers to Tamburlaine's colors:
    • white to signify amity and mildness to the enemy for two days;
    • red to signify death to all enemy combatants;
    • black to signify complete annihilation of the enemy–men, women, and children.

MESSENGER**1588

The Messenger in Lodge's The Wounds of Civil War brings the news that Cinna has let Marius into Rome by the Via Appia, and that Marius and his army are on the way to the Senate House.

MESSENGER**1589

The Messenger is a servant of the Lord who announces the coming of the players in the anonymous The Taming of a Shrew.

MESSENGER**1589

After the Turks have taken Malta and Barabas made governor in Marlowe's The Jew of Malta, the Messenger brings Calymath an invitation to dinner from Barabas. He assures Calymath that Barabas is able, despite the recent siege, to seat and feed all of the Turkish soldiers. After Calymath accepts, the Messenger returns to Barabas with the news.

MESSENGER**1589

A messenger appears in Act I of Peele's The Battle of Alcazar to warn the Moor of the threat of his uncle Abdelmelec and Amurath's soldiers.

MESSENGER**1590

He enters to Tesephon and Allgerius, perhaps under Urganda's watchful eye in the anonymous Dead Man's Fortune. His purpose is obscure owing to the sketchy state of the surviving plot. There is a conjecture that he was played by Richard Burbage, but W.W. Greg doubts this, preferring Urganda's part for Burbage.

MESSENGER**1590

The Messenger in the anonymous King Leir is originally sent by Cornwall to Cambria to see if Leir has traveled there. Before the Messenger leaves, Gonorill intercepts him. When she opens the letters, he asks for her protection against Cornwall. She not only promises that but also gives him money, causing the Messenger to swear loyalty to her. He agrees to carry her letters instead of Cornwall's and to affirm the content of the letters to Ragan and Cambria. He also promises Gonorill to help Ragan kill Leir or Cambria if she wants. When he arrives in Cambria, he delivers the letter to Ragan and says (when she cannot bring herself to say out loud) that he will kill either Leir or Cambria at her request. His response to her request to also kill Perillus is to state that he has two hands, one for each murder, at which she gives him two purses, causing him to wish he had ten hands. The Messenger (now also identified in stage directions as the "Murtherer") finds Leir and Perillus asleep in the countryside, where they have traveled to meet Ragan. They at first believe that he is a robber and offer their purses, which he takes. Then Leir is convinced that the Messenger is sent by Cordella, but the Messenger is indignant at the idea that he is French. He shows them Gonorill's letter and swears by heaven, earth and hell that they must die, but Leir's response along with the thunder and lightning that echo his rage frighten the Messenger, and the pleas of both Leir and Perillus move him. In the end, he flees rather than kill them.

MESSENGER**1590

A messenger in the anonymous Mucedorus tells Mucedorus that the King of Aragon has decided to banish him. Later, a messenger announces that the King of Valencia has arrived.

MESSENGER**1590

The Messenger in Greene's George a Greene, presumably a Scot, arrives to tell King James that Musgrove is attacking.

MESSENGER**1590

Announces to Erastus that the Princess has called him to the games in I.ii of Kyd's Soliman and Perseda.

MESSENGER**1590

The Messenger in Wilson's The Cobbler's Prophecy warns the Duke of the invading army, and later announces the victory of Sateros.

MESSENGER**1590

Brings a letter to Mariana from 'Robert of Windsor' in [?]Wilson's Fair Em, the Miller's Daughter. The jealous Blanch snatches it from him.

MESSENGER**1591

A messenger in the anonymous Jack Straw brings news that the commoners have begun their rebellion in Kent both to the Lord Treasorer, Lord Archbishop, the Secretary, and to King Richard II and the Queen.

MESSENGER**1591

A confusion of two unnamed Messengers figure in Peele's Edward I.
  • The First Messenger brings Edward news of Lluellen's defeat in the same scene where Sir Thomas Spencer reports Queen Elinor's "sinking" at Charing-Green and her reappearance at Potter's Hive.
  • When the First Messenger reports Lluellen's defeat to Edward, the stage direction indicates the presence of the Second Messenger. In fact, the second messenger is Sir Thomas Spencer who comes with the news of Queen Elinor's "sinking" at Charing Cross.

MESSENGER**1592

A Messenger from Scotland, also described as "a Post" in Marlowe's Edward II. He brings letters to Mortimer that his Uncle Mortimer has been taken prisoner. Later, a Messenger from Killingworth brings a letter to Mortimer that Edward II had abdicated and reported to Queen Isabella that the former king was "in health."

MESSENGER**1592

The Messenger in Shakespeare's Comedy of Errors informs Adriana that Antipholus and Dromio have escaped from jail. He also brings this news to the priory, where he learns from Adriana that supposedly the two escapees have taken refuge inside with the Abbess.

MESSENGER**1594

The messenger in Shakespeare's Titus Andronicus delivers Titus's hand and the heads of Martius and Quintus to Titus on a platter and expresses his sympathy for Titus's suffering.

MESSENGER**1594

Scipio's servant in Kyd's Cornelia who has witnessed the deaths of many mighty men in battle, while he himself has managed to stay alive. The Messenger reports the battle between Caesar's army and Scipio's troops in a long, detailed and somewhat gruesome description. He tells Cornelia that Caesar led Scipio's army into a trap where Caesar's troops waited. The fighting was fierce and brutal but Scipio and his army fought valiantly, in spite of overwhelming odds. The dead and wounded lay everywhere, "No place was free from sorrow." Scipio thinks that he can get to his ships and sail to Spain to raise another army, but a storm at sea blows him back to Africa, where Caesar's Naval forces spot him and attack. After another bloody battle against overwhelming forces, Scipio, seeing that the day is lost, draws his sword, vowing that he will not die a slave, he stabs himself, and throws himself into the sea. The Messenger is helpless to stop him. On hearing this tale, Cornelia is driven to despair; she begs the gods to let her die. But in her lamentations, she realizes that Pompey's house and hard-won treasures will be taken away and her father will die unremembered and unlamented. She owes it to her husbands and her father to tell their story, to bury them, and to mourn them. One day she will die and join them, but for now, she will perform her duties. It is only through her that these dead men will be remembered.

MESSENGER**1596

A minor character in the anonymous Tamar Cam whose particular role is unrecoverable.

MESSENGER**1596

The Messenger appears twice in Shakespeare's King John. The first time is immediately after John's second coronation, and he brings news that the Dauphin has drawn up a great power and is ready to invade France. When John asks how an army could have been mustered without intelligence from Eleanor, the Messenger reports that she died on April first, news that shakes John badly. The Messenger also reports that Constance died three days previously, although he admits this may be a rumor. He returns during the war with the news that the Dauphin's supplies were wrecked and the French are not fighting well.

MESSENGER**1596

The Messenger arrives in Shakespeare's Merchant of Venice to describe the landing of Bassanio and the rich gifts he is distributing.

MESSENGER**1597

Appears in scenes 5, 6 and 9 of the anonymous plot of Frederick and Basilea; played by Thomas Hunt.

MESSENGER**1597

This Messenger brings important news to Hotspur that his father is ill and cannot send support troops to Shrewsbury in Shakespeare's 1 Henry IV. He also reports that the king has been advised of all of the rebels' activities.

MESSENGER **1597

This unnamed messenger brings news to the Archbishop of York about the proximity and number of King Henry's troops in Shakespeare's 2 Henry IV.

MESSENGER**1598

The Messenger is sent by Ely to Prince John, asking for him to come attend to matters of state in (?Chettle and) Munday's Downfall of Robert Earl of Huntington. John is insulted by Ely's presumption in sending for him, and tells the Messenger that he will not come. He also strikes the Messenger, causing him to bleed.

MESSENGER**1598

The Messenger enters twice in Munday and Chettle's Death of Robert, Earl of Huntington. First to tell Salisbury that Bruce and Young Bruce have joined together to attack John. The second time he enters to tell John that Young Bruce has taken Windsor Castle and is displaying the bodies of Lady Bruce and her son to rouse the people against John.

MESSENGER**1599

A messenger to Alfonso in the anonymous Wisdom of Doctor Dodypoll.

MESSENGER**1600

The Messenger in the anonymous Weakest Goeth to the Wall announces to the Duke of Anjou, now sole ruler of France, that a fierce Spanish force under Hernando is invading the country. When citizens warn Lodowick that the help he was expecting in his struggle with Anjou is actually fighting for Anjou, the Messenger (probably a different character, but not identified as such) persuades Lodowick to flee. The Messenger announces that the king has returned from the Holy Land at the end of the play.

MESSENGER**1600

A Messenger arrives just after the trial of Strowd is disbanded in Chettle and Day's Blind Beggar of Bednal Green, to tell Gloucester that the Cardinal is attempting to steal the Lady Ellanor by force from her castle.

MESSENGER**1601

A Messenger in the anonymous Trial Of Chivalry brings to the King of Navarre the news of Ferdinand's duel and supposed death.

MESSENGER**1601

The Messenger in Shakespeare's Hamlet appears urging Claudius to run from Laertes and his followers, who have overrun the guard and are rapidly approaching. He later brings Claudius the letters from Hamlet, and tells Claudius that they were given to him by Claudio (a mistake for Horatio?)

MESSENGER**1602

In V of Chapman's May Day, the messenger announces the arrival of the masquers at Honorio's house.

MESSENGER**1602

At the beginning of Chapman's Sir Giles Goosecap, he announces the arrival of Wynnifred to Lord Monford. Later, in the last scene, he announces, the arrival of the doctor with Clarence.

MESSENGER**1602

A servant of Bertram in Shakespeare's All's Well. He carries a message to the French Lords.

MESSENGER**1604

A messenger reports the arrival of the army led by Richard in the anonymous Alphonsus Emperor of Germany.

MESSENGER**1604

He comes in the anonymous First Part of Jeronimo to announce to the King that the Portuguese army is approaching.

MESSENGER**1604

The messenger in Daniel's Philotas summons Philotas to the presence of Alexander.

MESSENGER**1604

After the disaster at Ludgate in Dekker and Webster's Sir Thomas Wyatt, the unnamed Messenger informs the Duke of Norfolk and the Earl of Arundel that the wounded Sir Thomas Wyatt is coming to surrender to them

MESSENGER **1604

He comes to the king in Rowley's When You See Me as Henry is rebuking Rooksbie and earns a cuff of the ear for interrupting. He leaves his message with Dudley. It informs the king that his sister Mary, former queen of France, has married Brandon without the king's consent.

MESSENGER**1606

When Macbeth orders the murder of Macduff's household, the Messenger warns Lady Macduff to flee with her son in Shakespeare's Macbeth. It is unknown who the Messenger is or whom he serves.

MESSENGER**1606

A messenger in Sharpham's The Fleire who announces that the usurping Duke of Florence is dead.

MESSENGER**1607

Brings the Great Turk the news of Robert Sherley's offer to exchange prisoners of Thomas Sherley Jr in Day, Rowley and Wilkins's The Travels of the Three English Brothers.

MESSENGER**1608

He announces to Sir William and the Auditor that the court has been taken from Richmond to Whitehall in Armin's The Two Maids of More–Clacke.

MESSENGER**1608

He announces the arrival of President Janin in Byron's camp at Dijon in III of Chapman's The Tragedy of Charles, Duke of Byron.

MESSENGER**1608

In 5.2 of Day's Humour Out of Breath (Bullen p. 477) a Messenger enters and delivers two speeches of two lines each, warning Duke Antonio and the lovers that Duke Octavio and his forces are approaching Mantua. The messenger apparently goes in with them for he re-enters with them above, but is given no more lines.

MESSENGER**1608

A messenger of Antioch in Shakespeare's Pericles. He informs Antiochus that Pericles has fled Antioch.

MESSENGER**1609

A messenger in Shakespeare's Cymbeline announces Caius Lucius' arrival in II.iii. In V.v, when Posthumous Leonatus is preparing for death, a messenger summons him to see Cymbeline.

MESSENGER**1611

A messenger in Beaumont and Fletcher's A King and No King brings greetings and a letter to Arbaces from Gobrias near the beginning of the play.

MESSENGER**1611

He informs Bartholemew Bubbles in Cooke's Greene's Tu Quoque that his usurious uncle has died and that he has become the heir to his fortune.

MESSENGER**1612

Sent by the Duke to summon Frederick in Fletcher's The Captain.

MESSENGER **1613

This unnamed Messenger in Shakespeare's Two Noble Kinsmen details for Theseus the knights that are to stand with Arcite in the forthcoming challenge.

MESSENGER**1614

A messenger appears on stage in Smith's The Hector of Germany to present King Edward with a letter from Palsgrave. The letter details Savoy and Bavaria's defeat by the Bastard and Saxon.

MESSENGER**1615

The Messenger in S.S's Honest Lawyer tells Curfew (whom he believes is the Abbot) that Judge Surly is ill, and that therefore the Abbot should take his place.

MESSENGER **1618

A nameless messenger in Goffe's Raging Turk brings Alexander the news that Zemes has died.

MESSENGER**1619

Traveling attendant of John Earnest, Duke of Saxony, in ?Cumber's Two Merry Milkmaids.

MESSENGER**1619

Brings the news in ?Ford's The Laws of Candy that Candy has defeated Venice in war and that Cassilane and Antinous are returning in triumph.

MESSENGER **1619

A messenger tells Aubrey that Sophia requests his presence in Fletcher's Bloody Brother.

MESSENGER**1621

After Armusia is imprisoned for being a Christian in Fletcher's The Island Princess, Ruy Dias comes to rescue him, this Messenger announces the happenings to the King of Sidore and the Governor of Terna. He tells the king that Dias will not leave a stone standing unless Armusia is released.

MESSENGER**1622

A disguise adopted by Sinew in the anonymous Two Noble Ladies and the Converted Conjurer. After his trick to lure Caro to him fails and she returns to Blood, Sinew, in disguise, brings a fake letter to Blood saying he has been sent for by his master. The trick angers Caro, but Cantharides then makes a fool out of Sinew by biting him so that "he runs up and down crying sa sa sa tarararara."

MESSENGER**1624

A messenger in Drue's The Duchess of Suffolk. He brings Bonner and Gardner news that the Duchess has escaped the search organized by Clunie but also brings along Foxe for questioning.

MESSENGER**1629

After Jacomo has been sent to the galleys in Carlell's The Deserving Favorite, a messenger returns to announce that the discovery that Jacomo is really Count Orsinio's brother.

MESSENGER**1631

Delivers a letter from Violetta to Rhodon concerning Violetta's mistreatment by Martagon in Knevet's Rhodon and Iris.

MESSENGER**1631

A "ghost character" in Zouche's The Sophister. 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. At this accusation, Fallacy points out the fact that messengers are "oft-false-proved [. . .] Ever to be suspected, lying fame." Fallacy then proceeds to give his own description of the company that he keeps and the places which he frequents which, obviously, paints the "base born" son in a much better light than the Messenger had previously done.

MESSENGER**1633

This unnamed Messenger in Shirley's The Young Admiral brings Naples news of a large Sicilian fleet touching ashore.

MESSENGER**1634

At the Emperor's court in Glapthorne's Albertus Wallenstein. He simply announces the arrival of the treacherous Scots, Lesle, Gordon and Butler and delivers Lesle's later correspondence.

MESSENGER**1635

Reports the death of Arbasto to Almeno and Lenon in Kirke's The Seven Champions of Christendom.

MESSENGER**1635

A messenger in Nabbes' Hannibal and Scipio arrives in act two to tell Syphax and his counsellors that Scipio has arrived, and later arrives to tell them and Hannibal that Sophonisba has arrived.

MESSENGER**1636

He informs Philicia and Artemia in Carlell's 2 Arviragus and Philicia that Arviragus is "taken by the Danes" and "design'd for sacrifice" and that Guiderius "strives with Arviragus which should dye," which he claims he heard from an imprisoned Danish Centinel.

MESSENGER**1637

From Varletti in the anonymous The Wasp. He runs his horse to death to deliver a supposed warning from Varletti that Archibald and the barons are traitors against Marianus.

MESSENGER **1637

Several messengers bring news of various characters' arrivals in Carlell's Osmond.

MESSENGER**1640

Announces the arrival of Euarchus in Shirley's The Arcadia.

MESSENGER**1642

He enters late in Salusbury’s Love or Money to invite Pamphilus and Maria to the wedding of Mendoso and Corinna.

MESSENGER, ARVIRAGUS'S

Delivers the news of Eugenius's and Guiderius's "revolt" to Arviragus in Carlell's 1 Arviragus and Philicia.

MESSENGER, DAUPHIN'S

The Dauphin's Messenger in Shakespeare's King John. He arrives to tell the Dauphin that Count Melun has revealed the Dauphin's plans to kill the English lords after the battle, and that they have therefore returned to John's side.

MESSENGER, FIRST and SECOND**1589

Two messengers figure in Marlowe's Tamburlaine the Great, Part 2:
  • The first messenger delivers the warning to Orcanes that Sigismund is treacherously attacking from behind.
  • The second messenger informs Callapine that Tamburlaine is at Aleppo with a mighty force.

MESSENGER, FIRST and SECOND **1593

Two messengers figure in Marlowe's Massacre at Paris:
  1. The First Messenger brings news to Navarre.
  2. The Second Messenger brings news to King Henry III.

MESSENGER, FIRST and SECOND **1599

There are two messengers in Thomas Heywood's 1 Edward IV:
  1. The First Messenger brings news that Falconbridge stirs rebellion and hopes to rescue the deposed Henry VI from the Tower of London.
  2. The Second Messenger brings Lord Mayor Crosby news that the Lieutenant of the Tower has spotted Falconbridge's rebels.

MESSENGER, FIRST and SECOND**1607

Two messengers appear in Shakespeare's The Life of Timon of Athens:
  1. The First Messenger is a spy who informs the senators in scene V.ii about the size and location of Alcibiades' army.
  2. The Second Messenger (probably the courier who has informed the messenger in V.ii and the soldier in V.iii) informs Alcibiades at the end of the play that Timon has died. He brings a copy of Timon's epitaph.

MESSENGER, FIRST and SECOND SCOTTISH

Two messengers arrive outside of Roxbourgh during the Scots siege of that castle in the anonymous King Edward III:
  1. The First Messenger arrives to tell King David and Douglas that the English army is within a four-hour march.
  2. The Second Messenger arrives to inform King David and Douglas that they have been overtaken by the English army and must fight or flee immediately.

MESSENGER, FIRST, SECOND, and THIRD**1591

There are two messengers who bring intelligence to the king in Shakespeare's 2 Henry VI.
  • The First Messenger arrives at the palace in London to warn the King that the rebels are in Southwark. He also tells the king that Jack Cade is calling himself Lord Mortimer, descended from the house of the Duke of Clarence, and has proclaimed Henry VI a usurper.
  • The Second Messenger arrives shortly after to report that Cade has taken London Bridge. He also brings a message from the Mayor of London craving the king's aid in repulsing the rebels.
Later, another messenger reports the Duke of York's return from Ireland, accompanied by an army.

MESSENGER, FIRST, SECOND, and THIRD**1595

A messenger in the anonymous Edmond Ironside tells Canute that his forces are dispersed in II. Another messenger tells him that Edmond's army is approaching in III, and yet another messenger warns Edmond in IV that Canute's army is approaching.

MESSENGER, FIRST, SECOND, and THIRD**1607

Several messengers appear in Shakespeare's Antony and Cleopatra. Although it is not clear that it is always the same character, the Messenger appears a number of times, in the camps of both Antony and Caesar. He first appears to Antony with news from Rome, and is put off by Antony. When Antony finally does listen to his message, the Messenger tells him that Fulva has begun a war against Rome, and has been joined by Antony's brother Lucius. He then appears in Rome to tell Caesar that Pompey is strong at sea and gaining friends of those who feared Caesar. After Antony marries Octavia, the Messenger has the unwelcome task of telling Cleopatra, for which she beats him, although he wins her favor later by reporting that Octavia is short, ugly and slow of speech. The Messenger next appears to Antony before the first battle to inform him that Caesar has taken Toryne, and finally to tell Caesar that Antony has taken the field. The Second Messenger reports to Antony that the Third Messenger–a man from Sicyon–wishes to speak to him. Although it may be a different character, the Second Messenger appears to Caesar to tell him that that the pirates Menecrates and Menas are roaming the seas unhindered. The Third Messenger reports to Antony that Fulvia is dead, and gives him a letter with the details of her last illness and death.

MESSENGER, FIRST, SECOND, THIRD, and FOURTH

Three messengers arrive during the opening of Shakespeare's 1 Henry VI.
  • The first messenger brings 'sad tidings' that France has regained many of its towns and cities, including Paris, Rheims, and Orleans.
  • The Second Messenger announces that Charles, erstwhile Dauphin, has been crowned king of France.
  • The third messenger reports a 'dismal fight' between Talbot and the French forces, which had been going well for the English until Falstaff 'play'd the coward'; Talbot has been taken captive.
A fourth messenger, a servant to the Countess of Auvergne, attempts to delay Talbot while the Porter locks the doors in a vain attempt to imprison the English hero.

MESSENGER, FRENCH

A Frenchmen in the anonymous Famous Victories of Henry V who conveys to King Charles the news of Henry V's successful siege on the "distressed town of Harfleur."

MESSENGER from MORTIMER

Near the end of Peele's Edward I, the messenger from Mortimer informs Edward of the victory over Lluellen and of Baliol's renewed offensive in Northumberland. The text at this point appears corrupt because Edward remarks upon the appearance of two messengers, and it is likely that one was to report the Welsh news, the other the rebellion of the Scots.

MESSENGER, HEAVENLY

After the Destinies decree in Tatham's Love Crowns the End that the sleeping Lysander and Gloriana "must bleed," the Heavenly Messenger, dressed in white, intervene briefly to counteract the Destinies' spell. Singing that for "love's sake" they "must not bleed," the Heavenly Messenger wakes Lysander and Gloriana in time to confront Francisco's brutal attack..

MESSENGER, KING'S

Referred to merely as "one" in Carlell's 1 Arviragus and Philicia, this character informs the King that Arviragus's army, lead by Eugenius, is "up in armes" and is "a thousand strong." He also claims that "upon the way [he] met Prince Arviragus" and, for not attempting to capture or kill him, he is deemed a traitor by the King who orders that he be "hang[ed]."

MESSENGER in DUMB SHOW THREE

The Messenger delivers letters to the final pair of Gentlemen in Dumb Show Three of Hughes' The Misfortunes of Arthur. After the Gentlemen (symbolizing Arthur and Cador) read the letters, they throw away the food on the banquet table, grab the swords that were placed there, and exit in haste. This represents Arthur's decision to defy Mordred's attempt at usurpation.

MESSENGERS**1588

At least three different messengers bring news of various successes and disasters to both the English and the French in the anonymous 2 Troublesome Reign of John.

MESSENGERS**1591

There are several messengers in the anonymous True Tragedy of Richard III:
  • A messenger reports to Richard that the Peers at Nottingham and Scotland had decided that Elizabeth should marry Richmond.
  • Another messenger is sent by the Queen and Lady Stanley to report to Richmond that noblemen are on the way to offer support at Bosworth Field.
  • Another messenger reports to Richmond that he is outnumber four to one against Richard.
  • Two more messengers accompany George Stanley on stage to his brother after the battle. The messengers announce a union between the Houses of York and Lancaster.
The messengers, along with Elizabeth and the Queen, serve as a final Chorus for the play. They tell of the great dynasty founded by Henry Tudor and Elizabeth of York.

MESSENGERS**1591

Several Messengers figure in Shakespeare's 3 Henry VI.
  • A messenger announces that the northern nobles, led by Queen Margaret, have arrived at Sandal Castle in pursuit of the Duke of York.
  • Another messenger informs the Duke of York's sons that Lord Clifford and Queen Margaret have killed their father.
  • At the moment when York's sons vow not to give up in the face of their father's death and Warwick's defeat at Saint Albans, a messenger sent by the Duke of Norfolk arrives to ask how the Yorkist forces should respond to Queen Margaret's imminent attack.
  • Later, as Henry's son Edward, Prince of Wales is vowing to fight to the death for his right to the crown, a messenger announces that the Yorkist forces, led by Warwick, are marching toward them.
  • An apprehensive messenger seeks King Edward's special permission to utter the disdainful words he has borne from France in response to news of Edward's impolitic marriage to Lady Grey.

MESSENGERS**1592

They bring news in ?Greene's Selimus I of Selimus' alliance with Ramurchan's daughter and news of Selimus leading a force of Tartars and followers of Trebizond against Bajazet. Later, messengers deliver Mustaffa's warning to Aladin and Amurath.

MESSENGERS**1595

Two messengers figure in Chettle, Dekker and Munday's Sir Thomas More:
  • An unnamed Messenger reports to More and the Lord Mayor that the May Day rebels have broken into Newgate and released numbers of dangerous criminals.
  • An unnamed Messenger informs the Sheriff of London that the Privy Council has directed him to erect a scaffold in Cheapside for the immediate execution of John Lincoln, Doll Williamson, and the rest of the chief leaders of the uprising against the foreigners in London.

MESSENGERS**1598

Shakespeare's Much Ado About Nothing opens with Leonato speaking to a messenger who reports that Don Pedro and his soldiers are on their way to Messina for a holiday following their victory. At the end of the play, a messenger interrupts the double wedding festivities to announce that Don John has been apprehended and returned to Messina.

MESSENGERS**1599

Two Messengers in (?)Heywood's A Warning For Fair Women enter with the Lords at Court when the Lords are taking testimony in preparation for issuing warrants for George Browne's arrest. After hearing all the news, the Lords tell the Messengers that they will not need to spread word of George Sanders' killing because the "hew and cry" would spread it. Later, when the Lords at Court are preparing indictments, two messengers tell the story of Browne's capture and positive identification as the murderer. Finally, as Browne is executed, a messenger arrives to tell the Sheriff that the Council wanted Browne's body hung in chains on Shooters Hill, the murder spot.

MESSENGERS**1599

Aside from Montjoy, Shakespeare's Henry V includes several unnamed messengers. One announces the arrival of Exeter, who serves the function of Henry's ambassador in II.iv. In IV.ii. A messenger also informs the French leaders that the English are ready for battle.

MESSENGERS **1600

Several messengers figure in the anonymous Thomas Lord Cromwell:
  • When the Governor of Bononia is talking to Hodge (Cromwell's comic servant) thinking him to be the surrendered Earl of Bedford, the messenger announces that Cromwell and the Earl are safe in Mantua. He conveys the message that Hodge is to be released or Mantua will renege on their truce with Bononia.
  • Another announces that Wolsey, More and Gardiner have arrived at Sir Christopher Hales's banquet.
  • Another arrives at the house in Bononia to tell Bedford the French have hired a Neopolitan who has promised to deliver Bedford into their hands without shedding a drop of blood.
  • And another tells Bedford that Gardiner, Suffolk and Norfolk have s summoned him to Lambeth Palace. He leaves with and delivers Bedford's warning letter to Cromwell, a letter which Cromwell doesn't open until after he has been condemned to death.

MESSENGERS**1604

Two separate messengers in the anonymous The Fair Maid of Bristow bring Vallenger a letter from his father and fetch the prisoners at the end.

MESSENGERS**1623

There are a number of messengers who appear on stage throughout ?Dering's The History of Henry the Fourth. One intriguing instance is immediately before the battle of Shrewsbury. As Hotspur goes off to fight, a messenger arrives with a batch of letters. Percy shuns the messenger and does not read the letters. It is never revealed who sent the letters or what was enclosed within them.

MESSENGERS **1635

Many messengers figure in Killigrew's The Conspiracy.
  • A messenger tells Clearchus that Aratus and his train are coming to meet him on the shore.
  • "Ghost characters." The usurper speaks of two traitors taken in the court and later Aratus tells Pallantus that two of their messengers were taken. One was so emotional in delivering their message that the king took his words for threats and had him beheaded. The second messenger was sent back with the king's scorn.

MESSENGERS, THREE**1604

In Verney’s Antipoe, the first messenger reports to Dramurgon that Bohemia, Corinth, and Greece have revolted, and Dramurgon has him stabbed on the spot for the news. The second messenger reports that Dramurgon’s treasure city has been looted, and Dramurgon has his tongue pulled out on the spot. The third messenger later announces to the king of Bohemia that a masque sent from the king of Egypt is toward and begs his permission for them to perform.

METALDI

Metaldi, a smith, Mendoza, a patcher, Pachieco, a cobbler, and Lazarillo, a hungry servant, all work together to help Alguazier steal in Fletcher, Beaumont, and Massinger's, Love's Cure. The Assistant tries them. They are sentenced to a whipping and an unspecified time in the galleys.

METAPHOR, MILES

Clerk to Justice Preamble in Jonson's A Tale of A Tub. Posing as Pursuivant, he "arrests" Squire Tripoly Tub, but, when threatened by Basket Hilts, quickly reveals Justice Preamble's plot to marry Audrey. He tells Preamble he was threatened by a large group, to excuse his betrayal. After Tobie Turfe is falsely accused of conspiracy to protect the "thief," John Clay, Metaphor is sent to pick up both Tobie Turfe's restitution payment to the pseudonymous "Captain Thumb," as well as (unbeknownst to Turfe) Audrey, and deliver them both to Canon Hugh's. However, he meets Squire Tripoly Tub and Basket Hilts and once again is easily frightened into revealing Preamble's plot. Tub proposes that Metaphor bring Audrey and the money to him instead, and Metaphor and Hilts can split the money. Metaphor agrees willingly.

METAPHYSICUS**1618

A "ghost character" in Holiday's Technogamia. Old and retired, Metaphysicus is represented by Ethicus in the action. Ethicus refers to him as a sovereign in the final scene.

METELLUS**1588

After Scilla retakes Rome in Lodge's The Wounds of Civil War, he sends Metellus to kill Sertorius of Iberia. Metellus promises to kill him or die himself.

METELLUS**1605

A tribune in Chapman's Caesar and Pompey. He supports Caesar in his confrontation with the Senate in Act I. His full name was Lucius Caecilius Metellus. Lucan describes his attempt to prevent Caesar from robbing the treasury in the Temple of Saturn: The Civil War III 114 ff.

METELLUS**1631

Metellus, the Proconsul of Lusitania in Massinger's Believe As You List, aids Flaminius in his pursuit of Antiochus.

METELLUS CELLER

A "ghost character" in Jonson's Catiline. Metellus Celler is a praetor, a member of the senatorial army. When the Senate of Rome decides to send an army against the self-exiled Catiline, whom they suspect to have been the instigator of the conspiracy, Petreius is named the general of this army. At the same time, Cicero says that Metellus Celler will cut the retreat of Catiline's army for Gallia. Metellus Celler is expected to lead three legions to the north, stop Catiline's retreat, and arrest the army's leaders.

METELLUS, SCIPIO **1594

Cornelia's father in Kyd's Cornelia; Scipio becomes the rebel Commander after Pompey's assassination. Scipio reassembles the army and occupies Northern Africa where he allies himself with Juba, the Numidian King. Scipio's legions fight Caesar's troops at Numidia, but they are roundly defeated. Scipio tries to follow Pompey's legions to Spain, but his ships are stopped by a storm at sea and he is driven back to Africa. There he stabs himself and throws himself into the sea rather than submit to surrender and capture.

METEOROSCOPICO, ALBUMAZAR **1615

A cozening Astrologer in Tomkis' Albumazar. 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.

METHEGLINS

A "ghost character" in Sharpham's The Fleire. A Welsh gallant named by Antifront as one of the many customers of the prostitutes Felecia and Florida.

METHOD

A "ghost character" in Zouche's The Sophister. Mercury claims in the play's Prologue that "troubled Method" is "fled." Invention claims to have met her in his search for Intellect, and recounts his interaction with her for Description. He describes how he "overtooke a weary fainting voyce" which he discovered was hers as he approached nearer. Though Description claims that Method was "too impatient and unkinde to forsake" Discourse, and that her "presense might have yeelded him especiall assistance" in his madness, Invention claims that the "distressed Queene" should be both pardoned and pitied. Method claims to have been "long since banished / From the disordred Regions of the world" and contented" only with "old Discourse, [her] till now loving lord." She maintains that "cruell discourse doth rudely cast [her] off, / And threatens [her] if [she] come neer to him." Invention describes how he tried to console her, and the way in which his failed attempts were remedied at the arrival of Division and Definition who "are minded closely to return with her." At the play's end, Discourse hopes that his "Queene and banish't friends" will return safely before the "Nuptialls" of Demonstration and Topicus to Scientia and Opinion.

METREZA AURIOLA

A "ghost character" in Middleton's The Phoenix. Metreza Auriola does not appear in the play but is described by the Jeweler's Wife as a female acquaintance in Ferrara who keeps a lover for less than what the Jeweler's Wife spends to keep her Knight.

METRAON

An angel in Percy's Arabia Sitiens. Sings the fifth song–a debate about the relative importance of the virtues–along with Mahomet, Gabriel, Adriel, and the Chorus of Spirits. On Mahomet's order, Metraon goes eastward in search of Mahomet's missing agents, Haroth and Maroth. When Epimenide arrives in Heaven, he takes her for some sort of beast.

METRON

Metron is the Master of the armoury of Alexander in Daniel's Philotas. Metron is approached by Cebalinus and tells Alexander about the conspiracy against him by Dymnus and others. He later testifies before Alexander, and at the trial of Philotas.

MEULTER, HANS

The pseudonym in Dekker's Shoemaker's Holiday under which Rowland Lacy becomes one of Simon Eyre's journeymen so as to pursue and marry his middle-class lover, Rose Oatley.

MEZENTIUS

Only mentioned in ?Brewer's The Country Girl. Historical king of the Etruscan Caere with whom Lady Mosely is compared when she refuses to marry any of her suitors. Mezentius was the father of Lausus. Because of Mezentius's cruelty, he was exiled from Caere and he fled to Turnus whom he helped in his resistance against the Trojans when they were invading Latium. He was killed in battle by Aeneas.

MICAS

A "ghost character" in Bale's God's Promises. Mentioned by Isaiah as an example of a God's mercy and power.

MICHAEL **1591

Arden's servant in the anonymous Arden of Feversham. He promises Alice to kill Arden in return for the hand of Susan, Mosbie's sister. In London, he falls into league with Green, Black Will, and Shakebag. His attack of conscience saves Arden at least once. It is Michael who locks the doors during the backgammon game so his master may be murdered. It is Michael, in his fear, who forgets to throw the knife and bloody towel down the well. Instead he leaves it on the body for the Franklin to find. Michael and Bradshaw are sentenced to die in Feversham.

MICHAEL**1591

Dick the butcher, John Holland, Smith the weaver, a Sawyer and Michael are all followers of the rebel Jack Cade in Shakespeare's 2 Henry VI.

MICHAEL **1607

Mistress Merrythought's second and favorite son in The London Merchant portion of Beaumont's Knight of the Burning Pestle. He goes with his mother when she leaves his father in order to protect his fortune. He follows his mother and shares her fate. His mother sometimes calls him Mick. When at play's end his mother asks him to help her sing to appease Old Merrythought, the boy knows only one song, "A Lady's Daughter of Paris," which they sing.

MICHAEL**1615

Valentine's neighbour in Fletcher's Monsieur Thomas. He perceives that Francis' dangerous illness is due to his hopeless love for Cellide and breaks the news to Valentine. He later pretends to have dreamt of Cellide's entry into St. Katharine's Nunnery, but on learning that she has indeed disappeared from Valentine's house he admits that his Man had described seeing her at the convent gate. In order to induce the fleeing Francis to return to Valentine's house, he pretends to arrest him for theft. His insistence that Francis explain how he came to have Valentine's jewels leads to the revelation that Francis is Valentine's long-lost son.

MICHAEL DALTON

Only mentioned in the anonymous Wit's Triumvirate. Dalton 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." Michael Dalton (d. 1648) wrote The Countrey Justice: Containing the Practice of the Justices of the Peace Out of their Sessions: Gathered for the BetterHelpe of Such Justices of Peace as Have Not Been Much conversant in the Studie of the Lawes of This Realme (1618) and Officium vicecomitum: The Office and Authority of Sheriffs (1623). He co-authored–with Richard Crompton and William Lambarde–The Complete Justice, published in 1636.

MICHAEL, PAOLO

The Venetian ambassador in ?Ford's The Laws of Candy. Paolo Michael arrests Gonzalo for treason and asks Candy either to punish him or to extradite him to Venice for punishment.

MICHAEL PEREZ

Don Michael Perez is a 'copper Captain' in Fletcher's Rule a Wife and Have a Wife. Although he claims to be rich, his jewelry is fake. He is in fact poor, as well as lecherous, and longs for a rich, obedient wife. He marries Estifania when she promises obedience to him. But she has tricked him into believing that she is rich, and 'rules' Michael by continually gulling him. Estifania is also disappointed when she steals Michael's jewels and discovers them to be fake. They are reconciled when Estifania gulls money from Cacafogo, and when Leon and Margarita offer them lodgings in their house.

MICHAEL WILLIAMS

Michael Williams is a soldier in Henry's army in Shakespeare's Henry V. On the eve of the battle at Agincourt, when Henry puts on Sir Thomas Erpingham's cloak and wanders among the soldiers incognito, he speaks with Williams, Bates, and Court about his responsibilities in battle and their own. Still unrecognized, Henry quarrels with Williams about the king's promise not to be ransomed if the English lose, Williams mistrusting the vow and Henry defending it. They agree to resume their argument after the battle if they both survive, but Henry tricks Fluellen into fighting on his behalf, then recompenses Williams with gold.

MICHAELMAS TERM

An allegorical personage representing the fall (and patron) term at the Inns of Court in Middleton's Michaelmas Term. He is featured in the play's induction where he discloses the tendency of legal procedures to procure money (especially from the poor). He informs the audience that the six weeks of this law term marks the "circumference" of the plays action.

MICHAEL'S BROTHER

A "ghost character" in the anonymous Arden of Feversham.In addition to killing Arden and winning Susan, Michael plans to kill his elder brother knowing that will win him the farm in Bolton.

MICHAELS, MASTER

A "ghost character" in (?Chettle and) Munday's Downfall of Robert Earl of Huntington. When the colliers take Ely, disguised as a woman, the Second Collier claims that this must be the thief that robbed Master Michaels.

MICK **1607

Mistress Merrythought's nickname for her son, Michael, in Beaumont's Knight of the Burning Pestle.

MICROPREPES **1630

Roscius in Randolph's Muses' Looking Glass characterizes him as one "in glorious works extremely base and penurious."

MICROPSYCHUS **1630

Roscius in Randolph's Muses' Looking Glass characterizes him as "a base and low-spirited fellow, that, undervaluing his own qualities, dares not aspire to those dignities that otherwise his merits are capable of." His opposite is Chaunus.

MIDAS

I.
Midas is King of Phrygia in Lyly's Midas. After enjoying Midas' hospitality, Bacchus offers to grant a wish to the King. After consulting his advisors, Midas asks for the ability to turn everything he touches into gold. However, this gift soon becomes a burden, so Midas seeks advice from the oracle, who instructs the King to go to Pactolus and bathe in the waters there. Having done this, Midas is overjoyed. He goes hunting in the woods, where he encounters Apollo and Pan arguing about which of them is the better musician. They seek Midas' opinion by playing before him–but when Midas praises Pan, Apollo becomes angry and gives Midas the ears of an ass. Midas retreats from his court, which is now run by advisors who start needless wars, and orders that anyone who refers to his ears should have their own cut off. Returning to the oracle once more, Midas realizes that his pride and his needless wars have offended the gods. On the condition that he end his wars, return the crowns that are not his, and pay homage to Apollo, his true ears are restored.
II.
Only mentioned in Jonson's The Alchemist. In an attempt to convince the skeptical Surly of the benefits of alchemy, Mammon claims that the ancient story of Midas is an alchemical parable. In Greek mythology, Midas was a Phrygian king who owned legendary riches drawn from his mines of gold. He received from Dionysos the power to turn everything he touched into gold.
III.
Made churlish by his experience with the golden touch, when Apuleius asks him for directions to Helicon in Heywood's Love's Mistress he scorns the Muses, and is invited to watch the story of Cupid and Psiche as an instance of the Muses' power to delight and instruct. Partway through the story, he dismisses it as rubbish. Restored to humor by the comic antimasque, he listens patiently enough to Apuleius' explanation of the allegory. He interrupts a second time, presents a rustic dance, then hears more of the allegory. In a third interlude, he agrees to judge the singing contest between the representatives of Pan and Apollo; when he casts his vote for the Clown, Apollo curses him and all like him to live in ignorance and disgrace. He enjoys the dance of Love's Contrarieties, the Clown's comical praise of Amarillis, and the dance of Vulcan and the Ciclops. Apuleius' instruction making no impression on him, he persists in his dismissal of the arts, and is condemned by Cupid to wear ass's ears forever.
IV.
Only mentioned in the anonymous Wisest Have Their Fools. Musophilus compares his miserly father, Cremulus, to Midas and says that both men found music only in the clink of coins.

MIDDLETON, SIR HUGH **1627

Only mentioned in Randolph's Plutophthalmia. Carion believes that Plutus must have been begot in the silver mine that Middleton found in Wales. Middleton is mentioned several times in different contexts by different characters throughout the play.

MIDNIGHT, MOTHER

She is the mother of Lelia's Nurse and grandmother of Pegge in the anonymous Wily Beguiled. She has been looking after Pegge in her own home but finds her so disobedient that she wants to return her to her mother. The nurse persuades her to let her daughter, Pegge, stay another week. Mother Midnight invites Pegge and Wil to her house for a bag barley pudding and some beer so that he will know how to find their house another time. Later she promises Pegge a variety of pots and dishes for setting up house with Wil and then invites them back for more bag pudding. She is present at the end of the play when Wil and Pegge agree to marry the following day, and in this way she rids herself of Pegge.

MIDO

Mido is a little boy and Isaac's servant in ?Udall's Jacob and Esau. He leads Isaac everywhere. He reacts with alarm at Isaac's gratitude to God for making him blind, but accepts that he already knows how to cope as a blind man and imitates Isaac's groping. Isaac reprimands him for tempting God to act prematurely. He laughs with Ragau about the way the starving Esau scoffs Jacob's red rice pottage after the two brothers have agreed on their contract and Esau has at last got something to eat. He adds comic comments as Jacob explains to Rebecca how Esau ate. When Rebecca announces that Jacob has been appointed the eldest son by God, in a piece of banter with Apra, Mido objects to the order in which Rebecca mentions him and Abra. He leads in the blind Isaac to meet and bless Esau. He goes along with Jacob to carry back the goat Jacob fetches from the fold to give to his father. Mido tells him that Isaac had heard the goat bleat and that Mido, who insists on being truthful, had explained that Jacob had brought it from the fold to serve a particular purpose. When Jacob leaves, Mido explains to Isaac that he has blessed Jacob, not Esau. Mido announces that Jacob is now master of the whole household but that no one is upset because everyone likes him and dislikes Esau. When the vengeful Esau hurls threats at the servants, Mido insults Esau and runs off.

MIDWIFE**1611

She brings the new Allwit child in to be viewed at the christening in Middleton's A Chaste Maid in Cheapside.

MIDWIFE**1635

One of the false witnesses in Brome's The Queen and Concubine called to testify at Eulalia's trial that she had an adulterous affair. She is hired (with the Doctor) by Flavello to approach Eulalia in the guise of a suffering pilgrim and murder her, but is prevented when Eulalia instantly recognizes her. At Eulalia's request, she is pardoned by King Gonzago at the end of the play.

MIESLA

Councillor to King Sigismond in Suckling's Brennoralt. He is father to Iphigene, whom he wrongly supposes to be a young man.

MIHIL CROSSWILL

Younger son to Crosswill and agent of universal reconciliation within Brome's The Weeding of Covent Garden. Despite being eager to give the impression to his father that he is a diligent student of the law, Mihil leads a riotous life with Nicholas Rooksbill. He is also in love with Nicholas' sister, Lucy. Imbued with fraternal solicitude, Mihil takes Gabriel to the Paris Tavern intending to sluice his puritanical zeal with sack. Here, they both encounter Damaris, the Venetian courtesan, whom they quickly discover to be their lost cousin, Dorcas, in disguise. Mihil hatches a plan to shame the reprobate Nicholas, the scoundrel who had ruined his cousin. Surprised in his cups by his father, however, Mihil is deemed a newly transformed rake, and, in a last ditch effort to secure Lucy, declares his intention of marrying a wealthy, though old and four-times married, widow; Mihil assumes that his father will cross his will and, instead, will foist Lucy upon him. Mihil's brinksmanship prevails, and he and Lucy Rooksbill supplement the happiness of the wedded couples and the reconciled elders.

MILANES, ANGELO

A respected gentleman and friend of Leandro and Arsenio in Fletcher and Massinger's Spanish Curate. Milanes assists Leandro in his plan to seduce Amaranta, helps Lopez and Diego pull a practical joke at Bartolus's expense, and suffers through Bartolus's revenge breakfast. His name is sometimes rendered "Millanes" in the text.

MILCHO

A great officer in Shirley's St. Patrick For Ireland. He follows the King's orders to keep the Queen under house arrest in his house. He tells Emeria to marry Corybreus, because he is closer in line to the throne–her opinion or feelings are of no interest to him. He is embarrassed when Corybreus dies on his property, and cannot explain why. He plans to place the blame on either Conallus or the Queen. Following an order from the King to kill Patrick, he sets his own house on fire, to kill the visiting Patrick, and anybody else in the house, if necessary. He once owned Patrick as a slave, and still resents his escape. He adds material for the fire to burn, and, apparently spontaneously, throws himself into certain death in the flames.

MILDEW

Procurer or pimp in Heywood's The Captives. Agrees to Raphael's offer to buy Palestra and Scribonia out of Mildew's brothel, as Palestra is uninterested in working as a prostitute. After Raphael pays him, Mildew promises to bring them to a nearby house to complete the exchange. After Raphael exits, he agrees with Sarleboys' plan to instead take Raphael's money and relocate his brothel to a new town. Shortly after leaving Marseilles by sea, their ship is wrecked in a storm. Later Mildew and Sarleboys reappear in the town and nearly encounter Scribonia as she waits for Godfrey to bring her water. Mildew begins to argue with Sarleboys, as each blames the other for their losses at sea; he then laments the loss of Palestra and Scribonia as well as his bag, which contained all of his money. They stop arguing and overhear Godfrey, returning from the monastery, discussing two young girls whom they suspect might be Palestra and Scribonia. Mildew begins to question Godfrey about the girls, and although Godfrey answers nonsensically, Mildew eventually discovers that the girls are sheltering in the monastery. Mildew and Sarleboys capture Palestra and Scribonia in the monastery and as they are taking them through the village they are confronted by John Ashburne, Godfrey, and the assembled villagers. Mildew claims the women as his property, but Ashburne and the villagers threaten violence against Mildew and Sarleboys if they attempt to go any further with the women. Later, after a judge determines that Mildew and Sarleboys have no claim to Palestra but only to Scribonia, the two men complain about the verdict. They then overhear Gripus the Fisherman announcing his capture of Mildew's bag in his fishing net; Mildew negotiates with Gripus for the return of the bag in exchange for a thousand crowns. After Gripus fetches John Ashburne, Godfrey and the bag, Mildew claims ownership of his bag and then refuses to pay Gripus his thousand crowns. Ashburne threatens to take Mildew back to court, so Mildew pays Gripus his money. Ashburne then arranges with Mildew to free Scribonia in return for 500 crowns. After Palestra/Mirabel is reunited with Raphael, John Ashburne asks Mildew if he knows Scribonia's parentage; Mildew reveals that she is in fact Winifred, the daughter of Thomas Ashburne.

MILDON, MARGERY

A "ghost character" in [?]Bower's Apius and Virginia. Maid of the milk house mentioned in a lie that Mansipula tells her lady to defuse her anger.

MILDRED**1605

Mildred is Touchstone's youngest daughter in Jonson, Marston, and Chapman's Eastward Ho!. According to her father, she is modest and serious, a model of good behavior. At Touchstone's house, Mildred is sewing unobtrusively while her sister tries fashionable dresses and waits impatiently for her bridegroom, the knight. Touchstone offers Mildred's hand to Golding. The obedient daughter consents to the marriage eagerly. Mildred's wedding to Golding is to take place on the morning when Gertrude and Mistress Touchstone are leaving for Sir Petronel's fictional eastward castle. When Gertrude is about to embark on her journey, Mildred comes to say good-bye to her sister. She offers rosemary for remembrance, while Touchstone introduces Golding as Mildred's husband. Gertrude and Mistress Touchstone are displeased at having a humble apprentice for a relative, so Mildred exits with Touchstone and her husband. When Gertrude is in disgrace, penniless, and deserted by her husband, Mildred tries to intercede with her father for Gertrude. Though her pleas cannot soften Touchstone, Golding's action forces things to happen. While Mildred and Mistress Touchstone are pleading, Wolf brings the news that Golding is in prison. When she pleads for her husband this time, Touchstone acts immediately and goes to prison to bail his favorite son-in-law. Mildred is part of the final reconciliation scene in prison. Though she does not speak, she is happy with how things have turned out.

MILDRED**1631

Segebert's daughter in Brome's The Queen's Exchange. She was courted by Theodrick. He shows her picture to Osriick, who also falls in love with her. When her father is banished, her brother Offa tries to convince her to sleep with him. In order to buy herself some time, she pretends to be attracted to him but unwilling to violate the incest taboo. On the night the craftsmen break into the house, Offa almost rapes her but is prevented by the arrival of Osriick, whom he mistakes for Anthynus. She and her nurse Edith are secreted out of the house by the craftsmen. Under the mistaken belief that she is not related to Anthynus (prompted by Edith's honorable lie to Offa), Mildred goes to Osriick (whom she believes to be Anthynus) and declares her love for him. After Osriick's identity is revealed, she consents to marry him.

MILECTUS

Milectus is one of Alexander's warriors in Lyly's Campaspe.

MILENA

Milena is Clariana's maid in Shirley's Love's Cruelty. She accompanies her mistress to Hippolito's home and discovers that Hippolito has locked them in.

MILES **1537

A soldier in Udall's? Thersites. He first appears waiting for Thersites to complete his fight with a snail. When he considers the snail vanquished, Thersites threatens Miles, but when Miles rebuffs the attack, Thersites flees to his mother. Miles appears at the end of the play to point out that a barking dog does not always bite, and to offer a prayer to the king [Henry VIII], his wife, Jane [Seymour], and her baby son [Edward].

MILES**1587

An Arragonian solider in Greene's Alphonsus, King of Arragon, at first he does not trust Alphonsus, but is convinced by Laelius that Alphonsus is the legitimate king.

MILES**1589

Friar Bacon's dimwitted "subsizar" (undergraduate assistant) in Greene's Friar Bacon and Friar Bungay. Miles provides much of the play's low humor. His inability to follow Bacon's orders to summon him when the Brazen Head speaks occasions the friar's curse upon him, one comically fulfilled when the devil Miles calls "Master Plutus" appears and carries him off to hell near the play's end.

MILES**1625

The miller of Ruddington in Sampson's The Vow-Breaker. On being called a 'knave' by Sir Jarvis Clifton, he bandies knave jokes with the great man. Before departing for the wars after being pressed into Clifton' service, he declares his love for Ursula and leaves his handkerchief with her as a love token. He fights alongside Young Bateman and Joshua in Leith. Although he bids Young Bateman commend him to his mill, his friends and especially his beloved Ursula on his return to Nottinghamshire, he is among those beguiled by the charms of the "pretty" Frenchmen in women's clothing. After fighting valiantly at Leith, he returns to Nottinghamshire and helps to plan the festivities for Queen Elizabeth's progress there, rejecting Ball's suggestion that Joshua could lead a puppet play and instead bidding for his own appearance in the prestigious role of the hobby horse. Bottom-like, he also volunteers to play St. George to Ball's dragon. He continues unsuccessfully to court Ursula, who is annoyed by his foolery and complains that he haunts her like a ghost.

MILES FOREST

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.

MILES FORREST

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).

MILES MENDPRICK

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.

MILES METAPHOR

Clerk to Justice Preamble in Jonson's A Tale of A Tub. Posing as Pursuivant, he "arrests" Squire Tripoly Tub, but, when threatened by Basket Hilts, quickly reveals Justice Preamble's plot to marry Audrey. He tells Preamble he was threatened by a large group, to excuse his betrayal. After Tobie Turfe is falsely accused of conspiracy to protect the "thief," John Clay, Metaphor is sent to pick up both Tobie Turfe's restitution payment to the pseudonymous "Captain Thumb," as well as (unbeknownst to Turfe) Audrey, and deliver them both to Canon Hugh's. However, he meets Squire Tripoly Tub and Basket Hilts and once again is easily frightened into revealing Preamble's plot. Tub proposes that Metaphor bring Audrey and the money to him instead, and Metaphor and Hilts can split the money. Metaphor agrees willingly.

MILESIA

Presumably killed by her uncle, the Duke of Argos in Berkeley's The Lost Lady. She is the love for whom Lysicles mourns. Appears first in the tale of her presumed murder, then to Lysicles as a ghost at the foot of her tomb and, later, as Acanthe the Moor. Prince Lysicles, having been led to believe that the Moor was responsible for Milesia's death, poisons her, and she is forced to reveal herself as Milesia. She explains that her uncle mistakenly killed her servant in her place, that she did not reveal herself as Milesia upon learning about Lysicles's interest in Hermione and, after being cured by the Physician, becomes engaged to Lysicles.

MILETA

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

MILKMAID

The Milkmaid in Shirley's Hyde Park delivers refreshing drinks to the company in the park, and is subject to invasive comments about her moral and sexual nature.

MILL **1637

Roseclap's wife in Mayne's City Match. She calls her husband a fool for asking Quarterfield to settle his reckoning, knowing he will be beaten for it.

MILLECERT

Millecert inherits the family estate in Wilson's The Inconstant Lady when his father, angered that his older brother, Aramant, chooses to marry Emilia, disinherits Aramant, the rightful heir. Wanting the money more than the man, Emilia dumps Aramant and charms Millecert into marrying her. When he catches his wife and Pantarbo kissing, he draws his sword and injures Pantarbo. Shortly thereafter, his conscience leads him to give the ancestral estates to Aramant. He then disappears, secretly disguising himself as Gratus. After uncovering Cloris as the Duke's daughter, Millecert throws off the Gratus disguise, receives back his inheritance, and agrees to reunite with Emilia.

MILLER**1590

The Miller is the father of Em in [?]Wilson's Fair Em, the Miller's Daughter. He is a Saxon nobleman, Sir Thomas Goddard, but after the invasion of William the Conqueror, he has become simply 'Old Goddard,' the Miller of Manchester. When his true identity is revealed at the end of the play, William embraces him as a fellow nobleman.

MILLER**1592

One of the Madmen of Goteham (together with Cobbler and Smith) in the anonymous A Knacke To Knowe A Knave. In a comic interlude they decide to deliver a petition to the king. They want a license to brew strong beer three times a week.

MILLER **1599

Arriving just in time to part the quarreling Spicing and Chub in Thomas Heywood's 1 Edward IV, the Miller presents these two Falconbridge rebels to the Lord Mayor.

MILLER **1627

Included among the disgruntled tradesmen in Randolph's Plutophthalmia. He complains of being out of work now that Plutus has made all honest men rich. He agrees with the other tradesmen–attorney, tinker, miller, tailor, shoemaker, etc. –to combine into an insurrection. Nothing comes of this, however, in the play, and they are not seen again.

MILLER GREETY

Father to Young Greety and tenant of Master Generous in Heywood and Brome's The Late Lancashire Witches, Miller Greety first appears on stage scratched and bloody, having been attacked by cats at the mill. He informs his landlord Master Generous that this has been going on for some time, and that he refuses to set foot in the mill again. He hands over his keys to the Soldier, who takes over the mill, having at one time been a miller himself by trade. Miller Greety does not appear again until much later in the play, when he brings his son Young Greety before his son's godfather Doughty, and corroborates his son's tale of wrestling with the devil with stories of other odd, witchcraft-related mishaps that have befallen his family. He is also among those who confront the arrested witches with their crimes in the final scene.

MILLER GREETY'S WIFE

A "ghost character" in Heywood and Brome's The Late Lancashire Witches. We are told that Miller Greety's wife is another victim of the witches' mischief. According to Miller Greety, his wife was unable to churn butter successfully all last summer (the inability to churn butter being considered a common indicator of witchcraft). It is also to her that her son Young Greety first reveals his being "bewitched."

MILLER, JOCKIE

A "ghost character" in Greene's George a Greene. When Edward hears that James means to try to cuckold his father, he urges his mother to keep the castle closed and says he will sleep at Jockie Miller's house.

MILLER, TOM

Also identified as the "Clowne" in the anonymous Jack Straw. He calls himself Captain Thomas Miller. Speaks many of the comic lines in the play. He is one of the commoners who plans to confront the aristocracy. He shows little respect for clergy, and vows to fight aristocracy even if doing so will mean all the commoners are hanged. He identifies himself as small enough to hide in a quart pot, and later brings a goose on stage that he plans to eat while the group is camped at Blacke Heath. While he is talking about the future positions of the commoners and is oblivious to what is happening, Nobs cuts away the goose's body, leaving Miller to observe that the goose has flown. Miller continues to refer to the goose in later scenes. He burns official debt records. In a soliloquy, Miller observes that people should accept their fates cheerfully because being sorry is foolish. Immediately afterwards he begs the Queen to intercede on his behalf to avoid being hanged. He asserts that he should live in order to keep the alehouses in business. He is swayed by the group to continue with the revolt but warns that they will all hang. Miller is one of the rebels pardoned.

MILLICENT

See also MILLISCENT.

MILLICENT**1624

A disguise that Abstemia takes in Milan while she stays at the bawdy house in Davenport's The City Night Cap. Under the disguise, she rejects the Duke's son, whom she criticizes for his lecherous behavior. She still loves her husband Lorenzo, about whom she thinks. That love will change the Duke's son heart, and he will leave his lustful life.

MILLICENT**1624

Servant to Lady Averne in Heywood's The Captives. Called Mistress Millicent only by Friar John. Delivers Friar John's letter to Lady Averne. Later, she is instructed to deliver Lady Averne's reply, composed by the Duke, to Friar John, instructing him to meet Lady Averne that evening. After delivering the letter, the Duke instructs her to let the Friar in and lead him to Lady Averne's chamber. She accompanies Lady Averne at the end of the play when she delivers the King's pardon to her husband.

MILLICENT**1632

Millicent is Lady Frugal's servant and, along with Stargaze, a sycophant to Lady Frugal in Massinger's The City Madam. When Luke takes control of the family's fiancées, she is dismissed. Sir John, still in the guise of an Indian, brings her once again before Luke only to be rejected again. It is unclear whether Sir John rehires her.

MILLICENT**1637

Testy's niece in Brome's The English Moor, originally betrothed to Theophilus. At the play's beginning, she has been forced by her uncle Testy to marry the usurer Quicksands. She counterfeits sexual voraciousness, frightening Quicksands into impotence, in order to postpone consummation of their marriage. This causes gossip, and she then proposes to Quicksand that, in return for his promise to let her remain celibate for a moth, he might claim she has run away while she remains in his house in disguise. This will silence the gossip, she tells him; her intention, however, is to buy time to escape her marriage. She is dismayed to learn that the disguise Quicksands chooses is that of a Blackamoor, but demands in return a private maidservant (Phyllis) in spite of her disguise. She and Phyllis plot to escape during Quicksands' feast, at which her disguise inspires love in Nathaniel. Sent by Quicksands to remove her disguise and put on her jewels, she throws herself on the mercy of Arthur and secures his promise, in spite of his hatred for Theophilus, to convey her safely to him. Arthur delivers her to Theophilus, who welcomes her joyfully. When the families are re-united, Rashly promises to help her resolve her situation with Quicksands. After he publicly divorces her, she and Theophilus are betrothed in Testy's court.

MILLINER**1599

The Milliner, also spelled Miliner in (?)Heywood's A Warning For Fair Women, and the Draper deliver goods Anne Sanders has ordered when she is with Anne Drurie and her husband's servant. Devoted wife Sanders demands the money she had requested from her husband to buy the items, but the servant replies that her husband had told him not to give her any. The Milliner offers to let her have the purse and gloves on credit, but she, embarrassed and hurt, declines.

MILLINER**1601

The milliner serving the affected courtiers is summoned at their party together with the tailor, perfumer, barber, jeweler, and feather-maker 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. When Amorphus demands Milliner to place the colored ribbons in his hat, Mercury expresses the opinion that these are Bolognian bands. True to his trade, Milliner says they are Granado silk, or he should not be paid a penny for his service. In fact, Mercury's intention was to find fault with everything and look for a minor reason for abuse. It is understood that Milliner 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. Milliner exits with the rest of the party.

MILLISCENT

See also MILLICENT.

MILLISCENT **1626

Milliscent is the disguise taken by Lucibel, daughter of Cardona in James Shirley's The Wedding. Her lustful shame with Marwood forces her to run away and assume the disguise of a boy. In service to Jane Landby, Milliscent is sent to attend the disgraced and distraught Gratiana. The two concoct a method for proving Gratiana's chastity; by the end of the play Milliscent's true identity as Lucibel is revealed, and she is to wed Marwood.

MILLISCENT**1631

Milliscent is the daughter of the Impostor Agurtes in Marmion's Holland's Leaguer. She is set up as a lady in a scheme of her father's to gull Trimalchio. She weds Trimalchio at the play's end.

MILLISCENT CLARE

Sir Arthur Clare's daughter, in love with Raymond Mounchensey in the anonymous The Merry Devil of Edmonton. A year ago their fathers agreed to their marriage, but Sir Arthur Clare wants to prevent it now because he has heard that Sir Richard Mounchensey has lost most of his money. He takes Milliscent against her will to a nunnery in Chester. She has to stay there for a year and then be married to Frank Ierningham. Peter Fabell, Milliscent's brother Henry, Frank and Raymond organize her escape. Raymond tells her that he will come and visit her in a friar's disguise. Ironically, her father takes the false friar to the nunnery. During a sham confession Raymond tells her that he will come to fetch her in the evening and take her to Brian's lodge, and then they will be married by a priest. During their escape they are lost in the woods, but Brian finds Milliscent before her father and Sir Ralph can find her, and she returns to Waltham. The next morning she marries Raymond at the St. George in Waltham, while her father and Sir Ralph sleep in the wrong inn because Fabell has exchanged the inn signs to fool them.

MILO

Milo is the son of Sylvius, a citizen of Athens in Lyly's Campaspe. Diogenes refuses to teach Milo.

MIME **1630

Attendant to Comedy in Randolph's Muses' Looking Glass. Called "manlike-monkey" by Satire because of his apish nature. Mime argues that in mimicking man's foibles, he best instructs man to avoid them.

MINCE, LADY

A "ghost character" in the anonymous Wisest Have Their Fools. Fido suggests that Musophilus enter Lady Mince's service as a gentleman usher because she is reputed to be kind and courteous to her servants. Musophilus rejects the position as being as bad as becoming a player.

MINCH

Minch in Fletcher's Beggars' Bush is the disguise name used among the beggars by Jacqueline, Gerrard's daughter and Hubert's beloved.

MINERVA

I.
Mute character in the anonymous Rare Triumphs Of Love And Fortune.
II.
Only mentioned in Jonson's Every Man out of His Humour. When Asper announces that the play exposing vice is about to begin, he invites the audience to judge the comedy. He wishes that Minerva answered their hopes for an intelligent and witty play. Since Minerva was the Roman goddess of wisdom, whose Greek counterpart is Athena, the author seems to have a high opinion of his acumen and sagacity incorporated in the play. Moreover, the author calls the deity "our" Minerva, thus acknowledging familiarity with the goddess of wisdom.
III.
Only mentioned in Jonson's Poetaster. In Roman mythology, Minerva is the goddess of wisdom, counterpart of Athena. The Romans ranked her third among the gods, after Jupiter and Juno. Minerva was regarded as the protector of all cities and states. When Crispinus meets Horace on the Via Sacra, he wants to ingratiate himself with him, thus hoping to gain Maecenas's favor. Crispinus greets Horace, telling him that Minerva and the Muses stand auspicious to his designs.
IV.
Only mentioned in Percy’s Cuckqueans and Cuckolds Errants. Aruania refers to herself and Janekin as the very minions of Minerva when she decides to make her living through embroidery.
V.
Only mentioned in Davenport's New Trick to Cheat the Devil. Minerva is mentioned by Slightall when he is instructing his friends on how to love any creature, even if it is the "loathed'st", by taking no notice of their imperfections. He illustrates his point with the following words: "be she growne, / By Jove, Minerva up and downe." According to Roman mythology, Minerva was daughter to Jove. She was born from his brain, full grown ("growne ... up and downe") and already dressed in her armour. She was the goddess of wisdom.

MINERVA **1639

A disguise assumed by Flavia to further gull Pupillus in Sharpe's Noble Stranger. As the goddess, she takes forty angels from him and pours water down his throat to inspire him with wit.

MINETES **1636

Virgilius's servant in Killigrew's The Princess. He runs, at the behest of his master, to fetch two thousand sestertia to buy Cecelia's freedom. Seeing Virgilius beset by Bragadine's men, he and Facertes draws their swords on Virgilius's side. He accompanies Virgilius into Paulina's house and is not mentioned again.

MINIKIN, MATHEW

A musician in Shakespeare's Romeo and Juliet hired to play at Juliet's wedding to Paris. He quarrels with Peter.

MINION

A "ghost character" in Fletcher and Massinger's The Double Marriage. During a chess game that takes place fourteen years before the play's action begins, Sesse and Duke Ferrand's minion, a "mean poor man," exchanged words, and the minion gave Sesse a blow. Sesse tried to find a noble way to salvage his honor, but the well-protected minion mocked Sesse and refused to duel. Sesse eventually killed the minion, and as a consequence had to flee Naples with his daughter Martia.

MINION of the SUBURBS

Minion of the Suburbs, Patriarch, Informer, Projector, and Master of the Habits all approach Theodosius with grievances in Massinger's The Emperor of the East, but Pulcheria dismisses them all for being petty and unimportant.

MINIONA

Miniona is Undermine's daughter and his sole heir in ?Clavell's The Soddered Citizen. Her father would like her to marry Sir Wittworth, on account of his rank and fortune. She has other suitors, such as Sir Newman, for example, but she despises those who, though rich, are not of noble birth. That is the reason why she envies Modestina, because Sit Wittworth, a gentleman of noble birth, is in love with her, and Miniona would like him as a prospective husband for herself. Aware of that, Modestina chides her for expecting from others more than she can actually offer, not being of noble descent herself. Later, when Sir Wittworth comes to woo Modestina, Miniona reprimands her, because the thinks that Modestina's words do not become a lady. But when, to mock her, he pretends to show interest in her, she accepts it gladly, and she even lets him know that his love is requited. However, she soon learns the truth: he was just trying to teach her a lesson and punish her for her vanity. Seeking revenge, she goes to tell her father about that mockery, and he promises to do something about it. Afterwards, she pretends to be interested in Brainsicke, in a desperate attempt to dissuade him from giving her father away to his creditors. She even shows her concern with Brainsicke's perpetual drinking. But her attitude changes when Hodge arrives with the news that Brainsicke's father has died. Then she is suddenly genuinely interested in the young man, and eager to know how many brothers and sisters he has. When Hodge reveals that he has a brother and too sisters, Brainsicke is quick to add that, being the elder brother, he will have to administer their fortune. Aware of the fact that she is extremely pleased with his sudden change of status, he asks her to marry him. But, she does not seem to be too pleased with the idea, as she reminds him of the promiscuous life he has been leading. He quickly assures her that is over, and then she accepts him. The moment she sees her father, she wants to break the news to him, but Brainsicke advises her not to it yet, to see if, prolonging his suffering, he dies sooner. Not really being a loving daughter, she agrees, and they get married. Only after her wedding, will she tell her father how much she despises him.

MINISTER**1550

Mynyster stands for false doctrine in the anonymous Somebody, Avarice, and Minister. He is an ignorant and greedy priest, who, tired of following Veryte, who contrasts his dissolute living, asks Avaryce for another mistress. Avaryce brings forth his sister, Symony, and Mynyster agrees readily to serve her. Then, the three despoil Veryte and cast her into a pit.

MINISTER**1599

On the day of Anne Sanders' execution in (?)Heywood's A Warning For Fair Women, the Minister approaches Master James, arguing that Anne is innocent and seeking James' help to produre her pardon. James sees the self-serving lie in the Minister's quest, accusing him of seeking the pardon only so he could marry her. To punish him, James has the Minister locked in a pillory near the place of Anne's execution.

MINISTER**1602

A "ghost character" in Chapman's Sir Giles Goosecap. The minister was the priest who married Hyppolita and Charles.

MINISTER**1614

The silent minister is a "fictional character" in Jonson's Bartholomew Fair. When Dame Purecraft wants to prove her love for the madman Trouble-all (Quarlous in disguise), she makes a complete confession of her transgressions. Besides telling him she is a rich widow, Dame Purecraft says that the virgins whom she had helped to get rich by marrying them off to the wealthy widowers of the congregation would never dare to report her. Since she counseled them to steal from their husbands and transfer the money into their accounts, Dame Purecraft is sure their interest is to keep silent. In her turn, Dame Purecraft would never pronounce reprobation or damnation unto them, because she has everything to gain from her silence. The bond of illicit dealings is so strong between these women that Dame Purecraft uses a convincing comparison for the law of silence. Rather than breaking their bargain, the women may sooner turn a scolding blabbermouth into a silent minister. The improbability of such a transformation shows the strength of the bond between Dame Purecraft and the enriched widows for the purpose of illicit dealings.

MINISTER, SPANISH

The Spanish minister of the Inquisition is a "fictional character" in Jonson's The Alchemist. When Surly (disguised as a Spanish nobleman) exits in defeat, Subtle plays a trick of misrepresentation with Ananias, telling him that the false Spaniard was in fact a Spanish minister who has come to spy against the Puritans.

MINISTERS

Ministers help in Fisher's Fuimus Troes at the ritual that the druids Hulacus and Lantonus perform to receive an oracle from Andates, the Moon Goddess.

MINIVER, MISTRIS

A vivacious and attractive widow in Dekker's Satiromastix, Mistris Miniver is the love interest of rival suitors Sir Adam Prickshaft, Sir Vaughan ap Rees, Sir Quintilian Shorthose, and Tucca. She is a guest at the wedding celebration of Cælestine and Sir Walter Terill, where she routinely uses her sharp wit to keep herself free of the romantic entanglements with which her suitors press her. In an effort to win her affection, Sir Vaughan invites her and other ladies to a party at his home under the pretense of further celebrating Cælestine and Sir Walter's wedding. He hires the poet Horace to deliver an argument against baldness in order to persuade Mistris Miniver to prefer him to his main rival, Sir Adam Prickshaft. The bald Sir Adam responds in kind by holding another party at which he hires a rival poet, Crispinus, to defend baldness. Meanwhile, Tucca has promised to deliver the other rivals' love tokens to Mistris Miniver, but he instead uses the opportunity to pursue his own romantic interests in her. Tucca's wooing of the widow Miniver is bawdy and insulting but also apparently effective, as Tucca reveals in the final moments of the play that Mistris Miniver has accepted his proposal of marriage, much to the chagrin of her other suitors.

MINOS**1601

Minos is an apothecary in Rome, to whom Crispinus is in debt in Jonson's Poetaster. When Horace wants to get rid of Crispinus's irritating company, he pretends he is visiting a friend who is sick of the plague. In order to dissuade Crispinus from accompanying him, Horace says he must go first to the apothecary. When Horace calls his fictional apothecary Rhadamantus, a just judge from hell, Crispinus replies that his apothecary is called Minos. In Greek mythology, Minos was a king and lawgiver of Crete, son of Zeus and Europa. After his death, he became judge in the underworld, next to Rhadamantus. Crispinus tells Horace he owes Minos money for sweetmeats, and Minos is after him to have him arrested for debt. After a while, Minos enters with Lictors, intending to have Crispinus arrested. Tucca enters and intervenes in the discussion, intimidating Minos and making him settle for half of the debt. Minos exits after having been made to promise the sponsoring of a fictional play-writing enterprise, in which Crispinus was supposed to write a play abusing Horace. At Lupus's house, Minos enters with a potion for Lupus, but the tribune concludes he was sent to poison him and has Minos arrested. Since he is in a hurry, Lupus takes Minos with him to the palace, and thus Minos attends the scene of the poets' arraignment at court.

MINOS**1611

I.
With Aeacus and Rhadamanth, Minos sits in judgement over souls in hell in Dekker's If It Be Not Good.
II.
As judge in Hades in Heywood's Love's Mistress, Minos looks on Psiche to make sure that she observes the laws of the underworld.
III.
Minos is in classical mythology one of the judges of the Greek underworld. In Haughton's The Devil and his Dame he is a devil, one of the judges of Hell, and with Pluto, Aeacus and Rhadamantus sits in judgement on the ghost of Malbecco. His reference to his "daughter, who procured [his] fall" is apparently the result of Haughton confusing him with several other classical figures. See Baillie's edition, p. 314.

MINOS **1632

A "ghost character" in Randolph's Jealous Lovers. Demetrius fled Thebes to save the two baby boys from Minos' tribute to the minotaur.

MINOTAUR **1632

A "ghost character" in Randolph's Jealous Lovers. Demetrius fled Thebes to save the two baby boys from Minos' tribute to the minotaur.

MINOTAURUS

Only mentioned in Jonson's Poetaster. In Greek mythology, Minotaurus was a bull-headed man monster, eater of human flesh. King Minos imprisoned him in the Cretan labyrinth. When Tucca wants to introduce Crispinus to Histrio, he recommends him as a great poet who was born to fill the Minotaurus's mouth. Thus, Tucca parallels Histrio to the Minotaurus suggesting that actors feed symbolically on people's flesh and their plays thrive on scandal.

MINUTIUS **1603

Minutius, follower of Sejanus in Jonson's Sejanus His Fall.

MINUTIUS**1605

A tribune in Chapman's Caesar and Pompey. He attacks his colleague Metellus in the scene in the Senate in Act I. The name seems to be a mistake for the tribune Marcius Philippus. Chapman perhaps confused him with Minucius Rufus, one of Pompey's commanders: Caesar, Civil Wars III.7.

MIRABEL

The Wild-Goose in Fletcher's Wild-Goose Chase. Taking pride in his ability to seduce maids and avoid marriage, he resists his father's attempts at matching him with his choice of Nantolet's daughters. If he must marry, he insists it be with an experienced woman such as a widow. He makes it very clear, however, that he does not love Oriana, at least until he discovers, in a plot hatched by Lugier and his young students, Rosalura, Lillia-Bianca and Oriana, that a young (and rich) nobleman has taken a fancy to her, at which point he becomes infatuated and declares his intention to marry her, only to discover the plot created by Lugier. In another plot hatched by Lugier, in which Oriana pretends to be dying out of love for him, he again sees through the façade and ironically declares that if she can trick him a third time, he will marry her. She succeeds, with the help of Lugier, in tricking him a third time, by pretending again to be a rich heiress, and he agrees to marry her, claiming he knew it was a trick all along.

MIRABELL**1609

The Guardianess' niece in Middleton and Rowley's Wit at Several Weapons. The Guardianess is tricked by the Niece of Sir Perfidious into thinking that Cunningham has been wooing Mirabell. When Mirabell convinces her that this is not true, the Guardianess asks her to punish Cunningham by 'tantalising' him. But when Mirabell sees Cunningham, she falls in love with him anyway. Cunningham persuades her that she'd be happier if she married a rich fool. He then gulls Gregory into marrying Mirabell when he thinks he's marrying the Niece. Mirabell is happy to marry Gregory because he is rich.

MIRABELL**1640

Mistress Mirabell is daughter to Sir Timothy in Chamberlain's Swaggering Damsel. In Act One, arriving with Mistress Sabina, she is flattered by Fairefaith, whom she accepts as her friend and servant and whom she allows to send her letters just for now. She will be his but it has to be a secret. In Act Three, she is told about her sister's affair with Valentine making her be aware of the danger in which she is. Therefore, Mirabell runs to tell her father everything. In Act Five, her loyalty is rewarded with a husband, Fairefaith, her suitor and lover.

MIRABLE, MISTRESS

Mistress Mirable is a servant of Lucrece in Heywood's The Rape of Lucrece. Lucrece states that she is in love with Pompie, but she denies it; fearful that their lust might taint Lucrece's reputation, she fires them both. But for reasons that remain unexplained, they both remain in her employment. When Sextus visits, she orders Pompie and the Servingman to bed, for fear that the noise of their conversation will disturb Lucrece. After Lucrece has been raped, Mirable notes that her mistress looks upset but can't figure out why. She promises to cheer Lucrece up by playing the viola, but the scene in which she does so is missing.

MIRAMONT

A gentleman in Fletcher's The Elder Brother. Miramont is brother to the justice Brisac and uncle to Charles and Eustace. Greatly admiring Charles's learning, Miramont has his nephew read the Iliad to him in Greek although he does not understand a word of the language, and works hard to thwart Brisac's plan to transfer Charles's substantial inheritance to his younger brother Eustace. Scorning Eustace, Miramont strongly opposes the marriage arranged between his nephew and Angellina, refuses to consider Brisac's request that Miramont make Eustace rather than Charles his heir, and offers the bride a rude explanation of why she should not marry the courtier. Miramont warns Charles not to sign the papers transferring his inheritance, and later praises Charles to Angellina, convincing her to re-think her impending marriage. When Charles and Angellina are disowned by their fathers, they take refuge with Miramont who helps Charles defeat Eustace, Egremont, and Cowsy when they attempt to kidnap Angellina. Miramont serves as a witness when Andrew entraps Brisac during an assignation with Andrew's wife Lilly, and, after pretending to think his brother is an imposter, threatens to expose Brisac to public humiliation if the justice does not give Andrew and Lilly an additional one hundred acres of farmland. Miramont attempts to stop the serious fight between Charles and Eustace, and is quite taken with Eustace's skills as a swordsman. This admiration, coupled with what Miramont knows about his brother and Lilly, causes Miramont to attempt to reconcile the pairs of brothers. Miramont accompanies Chalres and Eustace when they try to rescue Angellina, who has been kidnapped by her father, and talks Lewis out of pursuing his suit. After advising Eustace to turn to learning and valor, Miramont pays off the arresting officers, allowing for a happy ending.

MIRANDA**1611

The daughter of Prospero, the rightful Duke of Milan in Shakespeare's The Tempest. Miranda was three years old when she was cast adrift with her father twelve years earlier. She grew up on the island that she and Prospero came to inhabit. Even though Prospero and Caliban are the only other people she has ever really known, Miranda surprises Prospero by being able to recall that she once had several women attending her. When Prospero conjures the storm that strands Alonso and his party on the island, she is afraid for these strangers and urges her father to stop. Prospero then explains to her that he is really the Duke of Milan and that the two of them were exiled by his brother Antonio and Alonso; he further reveals that Antonio and Alonso are among those he has brought to the island with the tempest. Shortly thereafter Miranda meets Ferdinand, Alonso's son, whom by Prospero's design has been separated from the rest of Alonso's party. Because Miranda has never seen a young, healthy man, she is enchanted with Ferdinand and falls in love with him. She pities Ferdinand when Prospero sets him to hard labor collecting wood, and she offers to do the work for him. In the end, when Prospero reconciles with Alonso, it is agreed that Miranda will marry Ferdinand.

MIRANDA**1618

Miranda is an Italian knight in Fletcher's The Knight of Malta. He is much respected by the other Knights of Malta. When he is first offered the chance to become a Knight of Malta, he declines, claiming he has not yet proved himself. He then goes off to sea and is part of the battle against the Turks with Norandine. He becomes the protector of Lucinda, whom he captured in that battle, and is then approached by Collonna, who claims to be an escaped prisoner and asks to serve him. Miranda then hears from Astorius that Mountferrat has accused Oriana of treason and that he and Gomera will decide her innocence in a trial by combat. Miranda goes to Mountferrat and pretends that he is convinced of Oriana's guilt, and begs to be the one to fight Gomera. Mountferrat eventually gives in, and Miranda dons Mountferrat's armor so his identity will not be known. He loses to Gomera, and then reveals himself and declares that he fought for Mountferrat to assure Gomera's victory and Oriana's innocence. No one seems to feel this invalidates the idea of a trial by combat, and indeed, Valetta declares both men have served as her protector and are worthy to be her husband. However, Valetta gives Oriana to Gomera so that Miranda is still eligible for entrance into the Maltese Knighthood. Miranda then decides to have Lucinda visit him; thus far he has avoided meeting with her in order to avoid temptation. When she arrives, he attempts to seduce her, but when she rejects him and reminds him of his commitment to the cross, he declares that he has only been testing her virtue. Miranda then hears that Oriana has died, and visits her tomb with Norandine and Collonna. While there, they hear Oriana's groans as she wakes out of her drugged sleep. They rescue her and take her to Miranda's house. In the final scene, Miranda reunites Gomera and Oriana, and then is official invested as a Knight of the Order.

MIRANDA**1622

One of the three title characters of the anonymous Two Noble Ladies and the Converted Conjurer. The Egyptian princess Miranda, daughter of the Soldan is an Amazonian warrior-woman. She secretly loves Lysander and is horrified when her incestuous father decides to marry her. She kills her eunuch after exchanging clothes with him, and, dressed as a man called 'Armidan,' Miranda rescues Justina from some Soldiers. She then helps the Babylonians fight the Egyptians. During the battle she wounds Colactus. But when her father is captured, she cannot bear to see him humbled by the Caliph and accuses the latter of tyranny. When Clitophon deserts the Caliph, Miranda suggests to the Caliph that he settle the war in a single combat between herself and Lysander. On the appointed day, she amazes everyone by entering in her own attire, and she and Lysander announce that they love each other. The Babylonians and the Egyptians are about to kill them when the Romans invade. Lysander is revealed as their heir of Antioch and Miranda becomes his queen.

MIRANDA**1633

Fidamira's true identity in Montague's The Shepherd's Paradise; Princess of Navarre and sister to Pallante and Saphira.

MIRANTHE

A servant to Aurelia in Carlell's The Fool Would Be A Favorite. She informs Philanthus that Aurelia loves him but later reports that she does not. She sends Philanthus news that Adrastus has defamed him, occasioning the combat between the two. She reveals to Aurelia that Philanthus was the knight who fought Adrastus and argues that she should love him. Later she criticizes Aurelia's treatment of Philanthus and warns that it might result in her losing him. She rejects Adrastus's affections at the end of the play because she hopes for a better match.

MIRIAM

A Jewish noblewoman and the play's only heroine in Hemminge's The Jews' Tragedy. She sings a lament for the city and is victimized by the starving Captains, particularly Jehochanan. She contemplates suicide to escape the famine and decides to kill her young son and serve him in a cannibal feast to placate her enemies. She is brought to Titus for judgement and, though she desires nothing but death, is shown great compassion. Her predicament allows Titus to show great magnanimity: his mercy for her closes the play.

MIRROR of MAGISTRATES

The fictitious judge who might be a paragon of magistrates is a "fictional character" in Jonson's Bartholomew Fair. In the Induction, the scrivener reads the articles of the contract between Author and the spectators. The contract stipulates that Author warns the spectators against identifying characters in the play with actual people. In conclusion, the Justice of Peace (Overdo) must not be taken to represent a fictional and ideal "Mirror of Magistrates," an exemplary judge. The reference is probably an allusion to A Mirror of Magistrates, a sixteenth-century collection of exemplary stories about the fall of rulers. A work by Whetstone of this title advised the magistrate to disguise himself and frequent places of entertainment to discover what happened there, as Justice Overdo does (to so little effect) in Bartholomew Fair. Ironically, in his pomposity, Overdo refers to himself as a mirror of magistrates.

MIRTH, GOSSIP

A wealthy citizen-wife in Jonson's The Staple of News. She has come to attend The Staple of News. She and her gossips sit on the stage and reveal their ignorance as to the conventions and standards of stage comedy. Symbolically, she is "the Daughter of Christmas" and represents festivity; she is the most sympathetic of the spectators.

MIRTH, IMMODEST

A Spirit sent by Ormandine in Kirke's The Seven Champions of Christendom to tempt St. David.

MIRTILLA

Mirtilla, Calista's maid in Massinger's The Guardian. She harbors deep feelings for Adorio.

MIRTILLUS**1605

Mirtillus is in love with Dorinda, but she has been seduced by Colax in Daniel's The Queen's Arcadia. Mirtillus and Palaemon discuss their respective problems. Palaemon's story enables Mirtillus to be more blasé about his problems with Dorinda. Mirtillus brings news to Carinas and Amarillis of the danger to Amyntas, who he, Tytirus and Menalcas discovered comatose. They find that he has taken poison and send for Urania, whose skill with herbs they hope can cure him. Mirtillus describes how Cloris arrived, and how they saw her love for Amyntas manifest itself in her face, and how she held him in her arms. On Urania's arrival the men were sent away. Mirtillus laments that Dorinda was not present, as Cloris" reaction to Amyntas might have softened her heart towards him. Amarillis tells Mirtillus that Dorinda is his. At the shepherds' assembly and the arraignment of the outsiders, Ergistas urges Dorinda to accept Mirtillus, which she does.

MIRTILLUS**1634

Mirtillus argues with Hylas and Thyrsis over the nature of love and the necessity of constancy throughout Rutter's The Shepherds' Holiday and often brags of his many lovers. His songs are dispersed throughout the play, and he informs Thyrsis that Euarchus has commanded the shepherds "with all [their] sports and wonted merriment" to attend his person. He reads Hylas's recorded dream and presents the story of Paris and Enone (which he claims he has "fashion'd to [his] purpose") to Hylas before they are interrupted with Nuntius's news of Nerina's illness. Accompanying Hylas to Nerina's deathbed he pronounces the collapsed shepherd dead, prompting the nymph to revive him, and later expresses his puzzlement over the fact that Euarchus would send for the players and then command them to return without first seeing their business. Along with Hylas he helps to rescue Nerina from the ravishing hands of Daphnis, offers to accompany Montanus (who is called before the king) to the court, and, when confronted by Montanus near the play's end concerning Stella's pregnancy, confesses that he never lay with any woman in his life. Welcomed by Eubulus at court, Mirtillus takes part in the nuptial celebrations of Thyrsis and Sylvia and is invited by Euarchus to create something new to celebrate their marriage.

MIRVAN

Confidant to the wicked favourite, Haly, in Denham's The Sophy. He encourages and advises him in his wicked schemes against Mirza. Finally, under torture, Mirvan betrays Haly.

MIRZA

Mirza is the hero, the son of King Abbas and husband of Erythaea in Denham's The Sophy. He is a military hero, chivalrous to those he conquers, such as the Turkish bashaws, and impatient with the falsity of court life, as represented by the favourite, Haly. As a result of Haly's slanders, Mirza incurs the violent jealousy of his father, who has him imprisoned and blinded. His first reaction is to desire revenge, and he almost kills his own little daughter, Fatyma, in order to spite Abbas, who loves her; for love of Erythaea, however, he stops himself in time and recovers his self-control. Poisoned by Haly, he behaves in his last moments with calm and dignity, and finally forgives his penitent father.

MISCELLANIO

As tutor to Capritio, Miscellanio is determined to improve his status in Marmion's Holland's Leaguer. Upon hearing the "lady" Milliscent's name mentioned in Trimalchio's reprieve, Miscellanio visits that lady and tries to win her love. He challenges Trimalchio, but when Milliscent chooses Trimalchio as her preferred suitor, Miscellanio decides instead to resume his old courtship of Quartilla.

MISCHIEF or "MYSCHEFE"

Myschefe comes with Dyspare in Skelton's Magnyfycence to prompt Magnyfycence to suicide after his ruin.

MISCHIEF, MASTER **1636

A "ghost character" in Glapthorne's Hollander and probably a cant term for a bowel movement. Urinal's father was 'the brother of Master Mischief's function.'

MISCHIEVOUS GOVERNANCE**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."

MISCHIEVOUS HELP

Mischievous Help is called in by Adulation to help their master, Money, who is sick in Lupton's All For Money. The two assist Money in giving birth to Pleasure. Then, Mischievous Help goes out with Money.

MISERICORDIA

Also known as Mercy and Compassion in Udall's? Respublica. She arrives in Act V praising God's infinite goodness and announcing that God has sent her and Truth to help Respublica. Truth tells Respublica that Policy, Reformation, Authority and Honesty (who are governing for her) are not good government but ravening wolves and promises that Justice and Peace will descend. The four sisters (Verity, Justice, Peace and Mercy) promise to deliver Respublica from woe to prosperity.

MISEROTOS**1638

Miserotos is an "enemy of love" who laughs at the follies of Pisistratus and Lamprias in Mead's Combat of Love and Friendship. When they are told to swap roles by Ethusa, he advises Lamprias to supply poems to Sisimachus, while Sisimachus must allow Lamprias to beat him up. He finds the results very amusing.

MISIS

Misis is Menedemus's daughter in the anonymous July and Julian. She is asked, by Fenell, to go to Chremes's house immediately, because Maud is waiting for her. Later, urged by Maud, she will go to the date at night, in Julian's place, only to be shocked and insulted by July.

MISO **1604

An old woman is a patient of the fraudulent Doctor Niofell in the anonymous Wit of a Woman. She is named in the dramatis personae as Miso.

MISO**1606

Miso is the wife of Dametas and the mother of Mopsa in Day's Isle of Gulls. She helps Dametas in watching over Hippolita, but falls asleep and does not see Demetrius woo Hippolita under the veil of courting Mopsa. Later, Demetrius tells Miso that Dametas has been having an affair with Manasses' Wife. Miso goes to find him, and attacks Manasses's Wife as a whore. Having been told by Demetrius that ladies do not rail, she tries (unsuccessfully) to curb her tongue. Manasses's Wife eventually convinces Miso that she is innocent, and they instead become convinced that Manasses is involved with Mopsa, pursuing them to Adonis' Bower.

MISO**1640

Bad-tempered wife of Dametas, mother of Mopsa in Shirley's The Arcadia. She wants to make a match between Mopsa and Dorus (Misodorus). She is fooled by Misodorus, who tells her that Dametas is having an affair with Charita, so that she will go after them, leaving him alone with Pamela.

MISOGONUS

A libertine in (?)Johnson's Misogonus. Misogonus is indulged by is father, Philogonus, after his mother dies soon after his birth. Misogonus gambles, drinks, and whores, and he rebuffs his father's efforts to reform him, saying that he will inherit the estate no matter what his father says. After his twin brother, Eugonus, returns and is declared heir, Misogonus unsuccessfully tries to oust him with word and sword. Before the surviving text of the play ends abruptly in Act IV, Scene iv, Misogonus becomes remorseful and seeks his father's pardon. He has a complete change of heart and counsels children to obey their parents.

MISOGYNOS

The less-than-subtle alias in the anonymous Swetnam under which Joseph Swetnam is living at the court of Sicily, having been hounded out of England by women incensed at his pamphlet, The Arraignment of Lewd, Idle, Froward, and Unconstant Women.

MISTRESS**1634

A fictitious character in Rutter's The Shepherds' Holiday. Mirtillus invents a mistress for Thyrsis in order to explain why Thyrsis has the king send for Montanus.

MISTRESS**1636

A fictional character in Carlell's 2 Arviragus and Philicia. Cartandes invents a possible Mistress in order to find out, from Guiderius, if Arviragus has "ever love[d]."

MISTRESS, BERTOLDI'S

A "ghost character" in Shirley's The Imposture. She is only mentioned in passing by Bertoldi.

MISTRESS, DICK'S

A "ghost character" in Marlowe's Doctor Faustus. In the B-text only, Dick states that his mistress has made him a cuckold.

MISTRESS, FACE'S

A "ghost character" in Jonson's The Alchemist. Face's Mistress and Lovewit's dead wife remains unnamed in the play. Face reports to Subtle that, since her death, the house has been neglected and Face (as Jeremy the butler) kept company with cobwebs and rats before Subtle's arrival.

MISTRESS, FULLER'S

A "ghost character" in (?)Heywood's How A Man May Choose A Good Wife From A Bad. Master Fuller, in an attempt to dissuade Anselm from love, tells a tale of his own mistress' faithlessness.

MISTRESS, LURCHER'S

Lurcher's mistress in Fletcher's The Night Walker is an enthusiastic recipient of goods stolen by Lurcher. When he and Snap bring home the body of Maria by mistake, Lurcher's mistress urges the necessity of burying it. She meets Wildbraine after he fights with Hartlove, and falls for him, tends to his injuries, and gives him money and possessions she has received from Lurcher. Lurcher finally concedes the loss of his mistress to Wilbraine.

MISTRESS, SUBURB **1638

A "ghost character" in Mayne's Amorous War. Pisocleus' mistress. She has fifteen lovers, one of whom is her husband and another a one-legged soldier.

MITHRIDATES

A "ghost character" in Shakespeare's Antony and Cleopatra. One of the kings listed by Caesar as joining Antony's side of the war. He is the king of Comagenes.

MITIS

Mitis plays the critic in Jonson's Every Man out of His Humour, while Cordatus is the defender. Both Mitis and Cordatus are the spectators on the stage. They intervene with comments after each scene, and even within the dramatic exchange. Mitis enters with Asper and Cordatus. While Asper threatens to unmask public vice, Mitis fears that such an attitude might gain the author many enemies. When Asper orders that the play should start, he nominates Mitis and Cordatus as the two censors of the comedy. They sit on both sides of the stage and express their opinions on every scene. When Asper exits, Mitis and Cordatus discuss the author's combative spirit. Mitis inquires if the author observes the rules of comedy, the equal division of acts and scenes, the correct number of actors, the presence of the chorus, and the classical rules regarding the unity of time and place. When Cordatus argues that authors are entitled to certain liberty of inventions regarding the comedy genre, Mitis raises the problem of setting and spatial unity. After Cordatus's justification, Mitis announces the third sounding for the beginning of the play. Prologue enters but refuses to speak his part, and Mitis observes that Prologue is forcing Cordatus to interpret this role. Upon this scene, Carlo Buffone enters and the play begins. While Mitis and Cordatus are watching the performance, they comment on the characters, the play's structure, plot, and verisimilitude. When, towards the end of the comedy, all characters have behaved out of humor, Cordatus tells Mitis they must be out of censuring too, thus behaving out of character. Attesting their existence as characters in a play, Mitis exits with Cordatus before the final soliloquy, spoken by Macilente.

MITTIMUS**1606

A clerk in the service of Justice Ferrio in Sharpham's The Fleire.

MITTIMUS **1631

A pseudo "ghost character" used as though it were a proper name by Agurtes while in his Justices' disguise in Marmion's Holland's Leaguer, a mittimus is the name for a writ sent from a justice to a prison keeper ordering receipt and imprisonment of the person named in the writ.

MIXUM, MISTRESS **1636

She and Mrs. Artless kiss Sconce and size him up for marriage to Dalinea in Glapthorne's Hollander. Mistress Mixum opines that the Dutch are the best men for multiplying. Spaniards are too hot, she says, Frenchmen too hostile, and Englishmen too cold. She tries along with Mrs. Artless to convince Dalinea to marry Sconce.

MIXUM, TOM **1636

Artless' apothecary in Glapthorne's Hollander. He recommends Urinal to Artless' service. He also sets up a gull, Sconce, for Artless' son-in-law.

MIZALDO

The Judge in Greene and Lodge's A Looking Glass For London And England refers to the Lawyer variously as Signor or Master Mizaldo.

MIZALDUS

Friend of Count Roberto's in John Marston's The Insatiate Countess. Together with Guido he represents a rational outsider's perspective on the happenings in Venice.

MIZALDUS, ANTONIUS

A "ghost character" in Middleton and Rowley's The Changeling. Mizaldus, a real scholar (1520-78), is noted as inventor of the virginity test in Alsemero's Book of Secrets.

MNESTER

Mnester is one of Agrippina's servants in May's Julia Agrippina, who, along with the others, forsakes her at the end.

MOCCINIGO, SIGNIO

This old gentleman of Pisa complains of being refused by courtezans in Marmion's The Antiquary. He obtains Lorenzo's permission to wed Lucretia but never obtains Lucretia's love. Because he has hired Bravo to kill Lucretia's suitor, Aurelio, Moccinigo ends the play convicted and disgraced.

MOCHINGO

A foolish courtier in ?Ford's The Laws of Candy. Mochingo sees Gonzalo's exaggerated pride in his wooing of Erota and decides to adopt this demeanor himself, for which he loses Erota's support.

MODEL**1636

Model reports to Amorous, falsely, that Morphe is dead in Strode's The Floating Island.

MODESBARGEN

Modesbargen [real name Moersbergen] is a lord of the States, and a follower of Barnavelt in Fletcher and Massinger's Sir John Van Olden Barnavelt. At the beginning of the play, he tries to dissuade Barnavelt from his treacherous and vengeful plotting against Maurice, and is shocked by Barnavelt's decision to embrace Arminianism in order to further his political ends. Modesbargen supports Barnavelt rather half-heartedly during the siege in Utrecht, and then flees to Germany. He is found by the first captain, Maurice's agent, who pursues and traps him. Brought back to Holland, he confronts Barnavelt at the latter's trial. His own fate is left undecided at the end of the play.

MODESTA

Daughter of Donobert in William Rowley's The Birth of Merlin: or, The Child Hath Found His Father. Modesta is expected to marry the noble Edwyn. Instead she decides to become a nun, with the encouragement of the Hermit. She justifies her decision with a number of speeches about the transitory nature of life, and the need to devote it to a higher purpose. Her speeches encourage her sister Constantia to join with her, and they leave together for a convent.

MODESTINA

Modestina is an orphan, niece to Undermine in ?Clavell's The Soddered Citizen. Sir Wittworth is in love with her and she with him. She lives with her uncle and his daughter, Miniona. Miniona reveales that she is jealous of Modestina's luck, since she is being wooed by young Sir Wittworth. Modestina, a sound girl who descends from ancient gentry of the country, chides Miniona for demanding from her suitors more titles than she can offer them herself. Afterwards, when her beloved Sir Wittworth comes to woo her, she requites his love. And when she is reprimanded by the jealous Miniona, she and Wittworth decide to teach her a lesson. Thus, Sir Wittworth pretends to be in love with Miniona, and Modestina, on her part, pretends to be jealous. They succeed, and manage to punish her cousin for her vanity. But, then, Undermine, in order to avenge his daughter's offence, sends Wittworth away from Modestina, and tells her to go to her room and live as an achoress. She is then raped by Mountayne's varlets, at the request of Undermine. Later, she meets Sir Wittworth, but he behaves in a strange way, and he shows her a letter she had supposedly sent him. When she reads it, she realizes that he has not read what she wrote, but what another hand added after her lines. She explains that to him, and they reconcile with a kiss. Because of her rape, she feels she has to leave, because she does not want to be a burden for him, nor to dishonor his name. Therefore she flees. When, after some time, she comes back, she meets Makewell, and she explains to him the reason that had forced her to leave: she could not let her beloved Sir Wittworth share the burden of her shame. But when she learns that he went out of his mind after losing her, she feels as if she were going mad as well. Therefore, when the doctor tells her about his plan to bring Sir Wittworth back to his wits again, she agrees to take part in it. Thus, she pretends to be a dead woman who meets him at the Styx lake. And, although their plan does nor seem to work at first, she decides to devote her life to taking care of her beloved Wittworth. Her sacrifice is finally recompensed, because, eventually, he recovers his sanity.

MODESTY

Modesty is the false name of Shame in Wilson's The Three Lords and Three Ladies of London.

MODESTY **1617

A "ghost character" in the anonymous Pathomachia. One of the eleven virtues that regulate the affections. Impudence and Immodesty are the extremes of Modesty. The tenth in the wave of attack against the Vices.

MOGULL

A "ghost character" in Hawkins's Apollo Shroving. Captaine Complement claims to have received a variety of titles from "the great Mogull" when he "went Ambassadour to him from the King of Calecut." Near the play's beginning, Complement orders Implement to recite these titles for him, and chides him for having initially forgotten them.

MOHAMET
See MAHOMET, MAMET, and related spellings.

MOHAMET, MULLY
The Ottoman ruler in the anonymous Captain Thomas Stukeley. He is enlisted by King Phillip of Spain and his attendants as a potential ally against the King of Fez at the battle of Alcazar in exchange for assistance in his own wars in Turkey. When the tide of battle turns against the allies, Mohamet, his son, and his armies, flee, leading to the utter destruction of the combined European forces and the death of their leaders, including Stukeley.

MOLARD

Molard is a solider and a friend of Florello in Davenant's The Just Italian. When Florello pretends to be Dandolo, he introduces Molard as his family's pimp, and later Molard claims that the real Dandolo is merely a bastard son, begotten of a tripe-wife of Lucca. After their tricks are revealed, Molard objects to returning to their original clothes, but offers no alternative. With Rossa, he is approached by Dandolo, Punto and Staccato, who do not recognize them in their old clothes, to help kill Florello. They capture all three and present them to Florello. After all the couples have been united, Molard and Rossa appear in Dandolo's clothes, and announce that they have put Dandolo and his champions naked on a mule and sent them out of town.

MOLL

See also MALL, and MARY, MARINA, and similar names.

MOLL**1598

An alternative name used for Marina in Haughton's Englishmen for My Money.

MOLL**1608

Nickname of Mary Fitzallard and also Mary Frith in Middleton and Dekker's Moll Cutpurse, The Roaring Girl. "Moll" was a common form of the name "Mary."

MOLL**1611

The "Chaste Maid" in Middleton's A Chaste Maid in Cheapside. Yellowhammer's daughter. Her father wants her to marry the wealth Sir Walter Whorehound, but she loves Touchwood, Jr. He several attempts to elope with him are foiled by Whorehound or Yellowhammer. Pretending to be dead, she and Touchwood Jr. are at last brought in lying in their coffins. The mourners agree that they should have allowed them to marry. Upon hearing this, the two rise from their coffins and marry.

MOLL BLOODHOUND

The witty daughter of Bloodhound, sometimes referred to as Mary in William Rowley's A Match at Midnight. Her father plans to marry her to the elderly Earlack. Moll, meanwhile, is in love with Ancient Young but whenever she meets him, she plays hard-to-get. In order to break this pretence of disinterest, Ancient Young pretends to be engaged to someone else: Moll then admits her love. She steals the Ancient's mortgage from Bloodhound's counting-room, and arranges to meet him at midnight in Leadenhall. But in the dark, she gives it to Randall by mistake. In the final scene, she agrees to marry the Ancient, and Randall returns the mortgage.

MOLL CUTPURSE**1608

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.

MOLL CUTPURSE**1611

Moll Cutpurse is a procuress in Field's Amends for Ladies. Under the cover of collecting a pair of hangers from Seldom's shop, Moll attempts to deliver a letter from the Husband to Grace Seldom. Grace rebuffs her advances and she departs.

MOLL, HONEST

A "ghost character" in Brome's Court Beggar. Presumably a fence for stolen goods. When Citwit's watch is stolen, he says he will see Honest Moll about it. Later in the scene, he suggests that Mendicant should propose a monopoly for selling stolen goods back to their rightful owners.

MOLL JUSTINIANO

Justiniano's young wife (also referred to as "Merchant's Wife" in speech prefixes in Dekker and Webster's Westward Ho), who feels she has married down. Sick of her husband's unfounded jealousy, she listens to Birdlime's offer to bring her paying lovers, and threatens Justiniano that his waste of their estate will force her to become the mistress of the Earl. However, when Birdlime delivers her to his castle, she admits that she's only visited to ask the Earl to forgive Justiniano's debts. When he presses her to be his mistress in return, she reluctantly says she'll consider it, but informs her husband of the situation. She assists Justiniano in his ruse to expose the Earl, and agrees to accompany Justiniano and the Citizens to reclaim their wives.

MOLOCCO
Alternate name for Abdelmaleck in the anonymous Captain Thomas Stukeley, the king and general of the combined African armies at the Battle of Alcazar, despite a doubtful beginning, emerges victorious, killing Don Sebastian, King of Portugal. Although he does not slay his nephew Mahamet, he subdues him, dispersing his forces.

MOLOPS

The Persian jailer in Cartwright's The Royal Slave. He is asked by Arsamnes to select a substitute king, and after showing him the four Ephesian prisoners Archippus, Leocrates, Philotas and Stratocles, finally suggests Cratander.

MOLOSSIANS

A "ghost people" in the anonymous Locrine, defeated by Brutus and his peers.

MOLUS

Molus is page to Pandion in Lyly's Sapho and Phao. Molus is introduced to life at court by Trachinus' page, Cryticus.

MOMPESSON, SIR GILES **1627

Only mentioned in Randolph's Plutophthalmia. Carion says that Never-good conspired with Mompesson to persecute "innocent tapsters." Mompesson was a notorious monopolist who held commissions or licenses allowing him to grant or deny licensing to inns and alehouses. He was impeached in 1620, stripped of his knighthood, fined £10,000, imprisoned and finally banished. He is also probably satirized in the figure of Justice Greedy in Massinger's A New Way to Pay Old Debts.

MOMUS**1603

Perhaps seated in the audience in the anonymous 2 Return From Parnassus, Momus begins to mock the play as soon as the Stagekeeper has removed the Boy.

MOMUS

Hermogenes is disguised as Momus at the masquerade banquet at court in Jonson's Poetaster. In Greek mythology, Momus was the personification of mockery, blame, ridicule, scorn, and stinging criticism. He was expelled from heaven for his disrepute and ridicule of the gods. When Crispinus/Mercury, playing the herald at the masquerade court of the gods, announces the order of the revelry, Hermogenes/Momus notices that the crier has a thin voice. Gallus/Apollo shows displeasure at this intervention, but Ovid/Jupiter says to let him alone, because he only plays his role, Momus being the god of reprehension. When all hear that the revelry is supposed to give power to the most foolish character, Hermogenes/Momus observes that to play the fool by authority is wisdom. Ovid/Jupiter notices that Hermogenes/Momus is envious of Crispinus/Mercury and orders Gallus/Apollo to command louder music and let the two contend musically. Hermogenes/Momus and Crispinus/Mercury sing a duet celebrating the feast of sense and the beauty of the eye. It is understood that, when the angry Caesar enters and rails at the debauched party, punishing Ovid and the poets, Hermogenes/Momus disperses.

MONARCH

A "ghost character" in the anonymous Two Wise Men and All the Rest Fools. Securus has been asked by the nameless monarch to help adjudicate civil controversies. This he does with the help of Hermito.

MONCADA

A "ghost character" in Dekker's The Whore of Babylon. One of the leaders of the Babylonian Armada, he is either drowned or slain during the Fairy attack.

MONCADA, UGO de

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

MONCADO

A courtier in Fletcher and Rowley's The Maid in the Mill who encourages Vertigo to behave as a lord in order to gull Franio.

MONEY**1577

Money boasts that everybody is at his service in contemporary society in Lupton's All For Money. He can bring people to Hell, since Money gives birth to Pleasure, who gives birth to Sin, who gives birth to Damnation. Having too much work to do, Money delegates judge All For Money to substitute him in assisting whoever asks for his help and has enough money to pay.

MONEY**1601

Money is Fortune's son, the idol women admire, the jewel men keep in store and a fountain of bliss in the anonymous The Contention Between Liberalitie and Prodigalitie. According to him, he is the god of this world: when he is around, it is all prosperity, when he leaves, only misery remains. He is committed to Prodigalitie by his mother Fortune, and he enjoys himself in his company, until he feels he is being overused and left noting but skin and bone. Then he escapes and goes back to his mother's. Once there, he is granted to Tenacitie, who swears to preserve him and not to waste him. As a consequence of being locked up by Tenacitie in coffers and bags, fed, and prevented by him from doing any exercise, Money starts to grow fat, to such an extent, that when he is freed by Prodigalitie, he cannot even run, and begs Prodigality to spend some of him (Money) so that he can lose weight and feel better. At the end, money agrees to stay with Liberalitie, because he will not take him to extremes, but will actually dispose of him sensibly.

MONEY**1635

A close friend of Credit in Jordan's Money is an Ass. He repudiates his association with Featherbrain and accompanies Credit to court Clutch's daughters. He proposes to Felixina and grants her one day to consider the proposal. He allows Featherbrain and Penniless (disguised as Gold and Jewel) to accompany him on his second visit to the daughters. After he has signed over his estate in return for Clutch's consent that he should marry Felixina, Calumny informs him that she is already contracted to Gold. To thwart this match, he pretends to have already slept with Felixina until Featherbrain makes him recant this claim at sword point.

MONEY–BEARERS

Two or three people in ?Ford's The Queen, presumably servants to Salassa, come after her with bags of money when she returns to the reward she had been given for inducing Velasco to fight for the Queen.

MONEY WITHOUT LEARNING

In Lupton's All For Money, Money Without Learning is an arrogant fellow who goes to Learning With Money for advice, but despises Learning Without Money because he thinks that knowledge without riches is valueless. Nor gives he alms to the old beggar Neither Money Nor Learning.

MONEYLACKS, LADY (NÉE STRIKER)

A "ghost character" in Brome's The Sparagus Garden. Daughter to Will Striker, she unwisely married Sir Hugh Moneylacks; this made her a lady, but at great cost, for his fondness for riotous nights on the town and her own long nights waiting for him at home drove her into an early grave. She bore Sir Hugh one daughter, Annabel, whom Striker has reared.

MONEYLACKS, SIR HUGH

An impecunious and debauched knight in Brome's The Sparagus Garden, who lodges with Brittleware and Rebecca, and who is always trying to borrow money. He is the widower of Will Striker's daughter, whom he drove into an early grave with his excesses and for whom he is now in perpetual mourning because he cannot afford a new suit of clothes (hence his nickname, 'the mourning knight.') The late Lady Moneylacks bore him a daughter, Annabel, who Striker has brought up and wishes to adopt. He manages to get a coin out of his reluctant father-in-law by telling him about the affair between Annabel and Samuel Touchwood. Striker remarks that he has "a wit, and a projective one"; he is always engendering new get-rich-quick schemes, many of which involve 'guest-gathering' for Martha's inn at her husband's Asparagus Garden. One such scheme emerges when he assures his landlady, Rebecca, that asparagus is the most "provocative" tonic for a lady that longs to become pregnant; another when he gulls the young would-be gentleman, Tim Hoyden, into gentrifying himself by eating genteel foods such as asparagus. Having achieved these schemes, he pursues another one when he blackmails Striker by threatening to disclose Annabel's 'pregnancy' to Sir Arnold Cautious, the groom Striker intends for her; once Striker pays him, he gets money from Sir Arnold by claiming that he has already promised his daughter elsewhere and needs money to annul the match. When Samuel's plot and Tim's true parentage are revealed and Annabel is restored to Samuel, Sir Hugh and his confederates are charged to make restitution to Tim for the money they gulled of him—but in the general good will it appears that they shall easily avoid doing so.

MONEYLESS AND FRIENDLESS

One of judge All For Money's suitors in Lupton's All For Money. Moneyless And Friendless has only stolen a few worthless rags, but since he is poor, All For Money refuses to help him and Moneyless And Friendless will be hanged.

MONEYLOVE

A friend of Pecunius Lucre and (in rivalry with the clown, Sam Freedom) a suitor to Joyce, the daughter of Walkadine Hoard in Middleton's A Trick to Catch the Old One. His suit fails because of the machinations of Witgood.

MONFORD, LORD

Lord Monford is a noble man and Eugenia's uncle in Chapman's Sir Giles Goosecap. He has a very close friendship with Clarence. Thus, when his friend informs him about the love that he feels for Eugenia, Lord Monford gets very happy. When he visits his niece, he tells her good things about Clarence. He will support economically his friend because for him one person is rich when he has a good heart. He leaves the house promising that they will meet again in two or three days. On that day, he will give his niece the letter that Clarence wrote to her. He asks her to dictate him an answer to Clarence and he will write it. He adds some lines to the text and invites Eugenia for supper, but he has to promise her that Clarence will not bother her there. He invites the rest of the gentlemen to his house. There, he plans to make Clarence pretend that he is very sick to win Eugenia's love. That will defeat the attempts of the other suitors to impress the lady.

MONGIR

An angel in Percy's Arabia Sitiens. Guavequir and Mongir take custody of Epimenide, Maroth and Haroth while Mahomet decides what to do with them.

MONGREL, MR. **1632

An elder brother and an heir in Hausted's Rival Friends. He has a fondness for swearing oaths to prove his quality. Anteros and Loveall attempt to set him at odds with William Wiseacres. Anteros gulls him into believing he is wanted by the constable and gets him to hide in a rabbit chest and then hides Mr. Mongrel in a pig sty. A long time later, at play's end when the trick is quite forgotten, he humorously calls to be released. Anteros and Loveall release him and the others but also tell Placenta that they are the ones that tied Stipes and Merda to the tree, and he is cudgeled away with the others.

MONHURST

Alternative spelling of Manhurst in Heywood's A Challenge for Beauty.

MONK**1538

The Monke is another disguise assumed by Stevyn Langton, the Archbishop of Canterbury in Bale's King Johan, Part 1, who is in reality Sedicyon in disguise.

MONK**1596

A "ghost character" in Shakespeare's King John. An unnamed Monk who was John's food taster poisons him. According to Hubert, the Monk was so determined to kill John that he tasted the poisoned food himself and therefore died.

MONK**1598

The Monk is the secret lover of the Abbess of Dunmow and greatly desires to be an Abbott in Munday and Chettle's Death of Robert, Earl of Huntington. John promises to make him abbot and give one hundred marks a year on Dunmow Abbey if the Monk can help persuade Matilda to give in to John. The Monk agrees immediately, and is unshaken by John's threat to have her poisoned if she refuses. He attempts to persuade Matilda by questioning her chastity and suggesting that she does desire John, or at least some sexual relationship, and therefore is not fit to be a nun. When this fails, he plainly tells her she must lie with John and that since it is for charity, it is only a venial sin. When Matilda still refuses, the Monk and the Abbess leave her to Brand and his poisons.

MONK**1599

Mute character in Dekker's Old Fortunatus. Crowned as a king by Fortune.

MONK**1602

One of Hoffman's disguises in Chettle's Hoffman. Hoffman, disguised as a monk, convinces Lodowick that Ferdinand lusts after Lucybel and, thus, wants Lodowick dead. Later, disguised as Otho, he tells Mathias that Lycybel has run away with a Greek lover (actually Mathias's brother Lodowick in disguise), and prompts him to stab them both.

MONK**1607

Appears in the Dumb Show of Barnes's The Devil's Charter where Alexander is mimed signing the charter with the devil.

MONK **1618

A mute character in Goffe's Raging Turk, this nameless Monk, an agent of Mahometes, tries to assassinate Baiazet by shooting him, but misses, and is slain by Isaack.

MONK**1627

The Monk comes upon Foreste and Castruchio dueling in time to stop bloodshed in Davenant's The Cruel Brother. He asks Foreste's help in gaining the Duke's preferment and the place of the dead monk. Foreste promises to help him, but his cause is never mentioned.

MONK, DEAD

A "ghost character" in Davenant's The Cruel Brother. The Monk asks Foreste's help in gaining the Duke's preferment and the place of the dead monk. Foreste promises to help him, but his cause is never mentioned.

MONKESTER, MASTER **1607

A "ghost character" in Beaumont's Knight of the Burning Pestle. Nell takes a liking to the boy playing Humphrey, commending his speech, action, and appearance. She asks whether he was trained by "Master Monkester" meaning Richard Mulcaster, Master of St. Paul's school from 1596 to 1608, and therefore the chief rival to the company at Blackfriars performing The Knight of the Burning Pestle.

MONKEY

Monkey is Julio's wife in J.D.'s The Knave In Grain New Vamped; she is sometimes called "Puss." She is in charge of "Leaguer." At the end, she agrees to marry Stultissimo, although this plotline is undeveloped.

MONKEY **1635

A "ghost character" in Rider's The Twins. Lurco sends Jovio to watch the stairs to see Fulvio creep into Charmia's chamber. Instead, Jovio returns with news of the chambermaid going upstairs followed by the monkey that has broken his chain.

MONKS

Monks in the Welsh abbey where Edward II, Baldock, and Spencer take refuge help their abbot hide and disguise them in Marlowe's Edward II. One monk assured the three that they would be safe so long as nobody saw them escape into the abbey.

MONLUCKE

The Bishop of Valens in France in Sampson's The Vow-Breaker, he arrives at the harbor of Inskeith in Scotland and, via the herald Cross, desires an interview with Lord Grey. He declares himself the legate of Mary Stuart, Queen of Scotland, and relays her wish to work with her mother, the Queen Regent, to article a peace with Queen Elizabeth. Lord Grey assures him that Cecil is currently bound for Edinburgh on the same mission, and that he will see Monlucke safely conveyed to Edinburgh to join in the negotiations. Just as the English have taken the town of Leith he arrives from Edinburgh to command the French to cease fighting until peace talks between the two sides cease.

MONMOUTH

A rebel lord who attempts to usurp Octavian's throne in The Valiant Welshman. In battle, Caradoc kills him.

MONMOUTH, HENRY

See also HAL and HENRY V.

MONMOUTH, HENRY

Hal is the common name for Henry Monmouth, the Prince of Wales, Henry IV's heir to the English throne in ?Dering's The History of Henry the Fourth. At the beginning of the play, Hal spends the majority of his time with a group of debauched companions at a tavern in East Cheap. Hal frequently spars verbally with Sir John Falstaff. He also plots pranks with Ned Poins. Hal uses his money and influence to bankroll his wild life away from court. Hal's delinquency torments his father and amuses disloyal nobles such as Harry Percy, who threatens to poison the wayward prince with a pot of ale. Hal and Poins scheme to catch Falstaff in an elaborate lie surrounding a robbery at Gads Hill. Falstaff first holds up a group of travelers. Falstaff is, in turn, robbed by a disguised Hal and Poins. Back at the tavern, Falstaff claims to have fought a hundred men and killed a dozen. Poins and Hal revel in confronting John with his lies. Hal protects Falstaff by hiding him from the sheriff. Hal also pays the money from the robbery back to its rightful owner, the treasury. In a soliloquy, Hal shares with the audience that he is just pretending to be a derelict in order to lower expectations for him. Hal is honest with Poins about his contempt for the common men he drinks with so often. When the Percies threaten Henry IV, Hal is called to the court. Before reporting to his father, Hal and Falstaff take turns impersonating Henry IV in a mock interrogation of Hal. When Hal plays the king, he lets it be known that he plans on banishing Falstaff. When Hal appears before his father and is accused of gross neglect of duty, Hal apologizes and promises to mend his ways and prove his enemies wrong. The Prince returns to the tavern to recruit his drinking companions. Hal takes Poins with him to battle and gives Falstaff money to raise a company. At Shrewsbury, Hal fights valiantly, even after he is injured. He chases Douglas away from his father and kills Hotspur in single-combat. Hal allows Falstaff to try to reap the credit for the slaying of Percy. After Henry falls ill, Hal mistakenly believes the king has died. When Henry IV wakes up and accuses Hal of prematurely snatching the crown, Hal again apologizes to his father. Henry IV dies soon after, and Henry V comforts his brothers. Henry then rejects Falstaff's company and banishes him with meager provisions.

MONOPOLY, FRANK

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.

MONSIEUR**1610

Brother to King Henry in Chapman's The Revenge of Bussy D'Ambois. He disparages Clermont in an early court scene. Clermont tolerates his insults for a time, but then begins to respond in kind, at which point Monsieur leaves. He vanishes from the play only to reappear in V as a ghost in a dramatic tableau with the ghosts of Guise, Cardinal Guise, Bussy D'Ambois, and Chatillon.

MONSIEUR**1639

The title used by Clovis, as heir apparent to the throne of France after his brother's succession in Hemming's Fatal Contract.

MONSIEUR, DUKE of ALENÇON

Monsieur is the brother of the king and next in line for the throne in Chapman's Bussy D'Ambois. At the beginning of the play, Monsieur points out for the audience that there is no real position of authority except king. In other words, being next in line for the throne is worthless. Monsieur claims to have no active designs to cease his brother's office; nevertheless, the Duke does believe it prudent to keep a band of loyal men around him in case an opportunity presents itself. Therefore, Monsieur recruits the services of Bussy, who the Duke recognizes as a dissatisfied under-appreciated youthful sword. Monsieur suggests to Bussy that more active service would be virtuous since it would not only win Bussy fame, but would also service the people of France. Monsieur sends his steward Maffe to deliver Bussy one thousand crowns with which to buy a new wardrobe for his move to the court. Monsieur is forced to intervene in a quarrel between Bussy and the Duke of Guise. When Monsieur sees how unflappable Bussy is, the Duke of Alencon concludes that Bussy will never give ground until he has literally buried himself. When Bussy kills Barrisor, L'Anou and Pyrhot in a street fight, Monsieur defends Bussy from an indictment from the king and Guise. When Montsurry leaves his wife Tamyra alone so he can visit his mistress, Monsieur sneaks into Tamyra's chamber and attempts to seduce her. When he cannot seduce her, he threatens to coerce her. Montsurry reports that Monsieur soon turns his affections away from Bussy as soon as D'Ambois becomes a favorite of Henry. Monsieur tries to stop a second altercation between Bussy and Guise, but Bussy rejects the Duke's claim that the higher born man must carry the day. Monsieur is furious when he learns Bussy has been intimate with Tamyra in her chamber. Not only is he angry at Bussy for wooing Tamyra, he is angry with Tamyra for agreeing to spend her nights with Bussy. Monsieur is railing about how badly he wants to get rid of Bussy a Bussy enters the room. Bussy tells Monsieur that he will do anything for him except kill Henry. The Duke proposes that the two men speak freely of one another. Monsieur identifies Bussy as a thoughtless, soulless force of nature. Bussy suggests that all devious violence at the court originates with Monsieur. The two men then go off to dinner together. After the feast, Monsieur tries to goad Bussy into confessing an interest in Tamyra, but Bussy refuses. There is a rumor that Monsieur has a love letter shared between Bussy and Tamyra. The Friar's spirits show the Duke instructing Montsurry in how to best lay an ambush for Bussy in Tamyra's chambers. The spirits show Monsieur stabbing Pero. Monsieur hides with Guise to get a good view of Bussy's murder.

"MONSIEUR LOVE"

A nickname in Shakespeare's Much Ado About Nothing that Benedick bestows on Claudio in mockery of his unsoldierly affection for Hero. (cf. Jaques calling Orlando "Signior Love" with similar contempt in As You Like It.)

"MONSIEUR MUSICKE"

Monsieur Musicke is the joking name the Foole uses for Stremon in Fletcher's The Mad Lover.

MONTACUTE, LORD

A "ghost character" in Shakespeare's Henry VIII. Lord Montacute is a nobleman arrested by Brandon at the same time as the Duke of Buckingham.

MONTAGUE

A nobleman of Verona and father of Romeo in Shakespeare's Romeo and Juliet. Montague has long been an enemy to Capulet. Following the deaths of Romeo and Juliet, Montague promises to have a gold statue of Juliet built in her memory.

MONTAGUE, LADY

Wife of Montague in Shakespeare's Romeo and Juliet. She dies from grief when her son Romeo is exiled.

MONTAGUE, MARQUESS of

The Marquess of Montague, brother of Richard Plantagenet Duke of York in Shakespeare's 3 Henry VI, is a loyal supporter of his brother and then his nephew Edward's claim to the throne.

MONTAGUE, SIR WILLIAM

Sir William Montague is an English nobleman, nephew to the Countess in the anonymous King Edward III. He arrives immediately after the exit of the Duke of Lorraine and brings word of renewed attacks by the Scottish King. He describes the siege of Roxbourgh and asks Edward to help rescue the Countess of Salisbury.

MONTAIGNE**1613

Once a rival against Orleans for the woman who became Lady Orleans in Fletcher's The Honest Man's Fortune. Montaigne is sued by Orleans for lands in Montaigne's possession. When Orleans's suit is successful, Montaigne is virtually ruined; he determines never to spend excessively again so that he will be able to live within his means. He regretfully sends away Longavile and Duboys, but he does not send away the page, Veramour, who is too young to be on his own. Montaigne is prepared to defend Lady Orleans's reputation against Amiens, but this proves unnecessary; afterwards Montaigne pretends to try to seduce Lady Orleans, but when she resists, he tells her that he was testing her. He gives her half of his remaining money and sends her and Veramour to Lamira. He "invests" his remaining money with Mallicorne, La-poope and Laverdure, and then is arrested for non-payment of debts in a plot engineered by Mallicorne. With Duboys's help, Montaigne defeats the arresting officers and flees, mistakenly believing he has killed an officer, to Lamira's house, where Lamira hires him as a servant and he serves with noteworthy humility. Lamira's woman, Charlotte, woos Montaigne, who eventually agrees to marry her. Montaigne is unable at the duel to prevent Longavile's firing the pistol. At Lamira's feast, Montaigne is Lamira's chosen husband; Charlotte releases him from their engagement because she was wooing Montaigne on Lamira's behalf.

MONTAIGNE**1626

Montaigne, along with Chamont and Lanour, is an assistant to the governor in Massinger's Unnatural Combat.

MONTAIGUE, AMERY LORD

Young Amery Lord Montaigue is a nobleman at the court of Chester and a companion to Oswen in Munday's John a Kent and John a Cumber. When the Earl of Chester receives the two future bridegrooms Pembrooke and Moorton ceremoniously, Pembrooke observes that Marian does not look so pleased with her future husband. Because Oswen fears that his sister's demeanor might offend the Earl of Pembrooke, Amery comments diplomatically on the fact that women pretend to dislike the man they most appreciate. Amery and Oswen accompany Pembrooke and Moorton to their lodgings outside the city. Amery and Oswen attend the crude pageant the amateur actors have prepared in honor of the bridegrooms. During the night, the lords are startled with a song lamenting that their ladies are gone and Amery and Oswen attend the commotion. Amery and Oswen are introduced into Gosselin's castle illicitly, as part of the masque created by John a Cumber disguised as John a Kent. Amery and Oswen accompany the ladies as their guardians on their way to Chester. With the help of magical music and hypnotic chimes, Shrimp puts Amery and Oswen to sleep, while the lords Powesse, Sir Griffin, Gosselin and Evan make away with the ladies. When Amery and Oswen wake up, Shrimp pretends to be John a Cumber's apprentice and tells them to follow him on a shortcut through the woods. After the performance on the lawn before Gosselin's castle, Shrimp leads the confused Amery and Oswen, who have been walking around a tree believing they are in search of the ladies. At Chester Abbey, where the marriages of Sydanen to Moorton and of Marian to Pembrooke are to take place, Amery and Oswen are tricked into witnessing the marriages of Sydanen to Sir Griffin (disguised as Moorton) and of Marian to Powesse (disguised as Pembrooke).

MONTALTO

A favorite of the King of Naples in Shirley's Royal Master. Montalto lusts after Theodosia and so plots to cast suspicion upon her and thereby dissuade her suitor, the Duke of Florence. Montalto's double-edged plot involves both disparaging Theodosia's chastity and urging the duke to woo Domitilla instead of Theodosia. Montalto's schemes catch up with him; he barely escapes a death sentence for the murder of Riviero/Philoberto when Riviero is found still alive. Montalto is banished at the play's end.

MONTALTO, CARDINAL

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

MONT–ANGENTERATO

A "ghost character" in Ford's The Fancies Chaste and Noble. Mentioned by Troylo-Savelli as sleeping with the wife of the Lord of Telamon.

MONTANO**1601

In Q1 of Shakespeare's Hamlet, Reynaldo is named Montano. See REYNALDO.

MONTANO**1604

Respected man of Cyprus with whom Cassio fights in Shakespeare's Othello. He is one of the gentlemen who rushes in to discover Desdemona slain.

MONTANO**1620

A kinsman of the Duke in the anonymous Costly Whore, Euphrata's most importunate suitor, he vows to help anyone who has won her love to marry her rather than that she keep her vow of chastity. She confesses her love for Constantine, and, offended by the latter's modest birth, Montano reveals all to her father, the Duke. But the plan backfires when she insists, supported by Constantine and her maid, Julia, that Montano planted the young man there to dishonor her in revenge for her refusing him. The duke banishes Montano from the kingdom. He takes refuge in Meath with his niece Valentia, is reconciled with the Duke, and fights with him against Frederick. He agrees to join his niece and her husband in their hermetic retirement.

MONTANO**1630

According to single reference by Thestylis in Randolph's Amyntas, this is the name of the alias assumed by Claius upon his return, incognito, to Sicily.

MONTANUS**1590

Montanus is in love with the nymph Celia in Lyly's Love's Metamorphosis. He leaves declarations of his love on the tree around which the nymphs dance. But Celia is proud and disdainful, and rejects his love. Montanus complains to Cupid, demanding that Celia be turned into a flower as punishment. Cupid grants his wish but restores Celia at Ceres' request. However, Celia says she would rather be a flower than be in love. Ceres tries to change her mind and eventually Celia agrees to be Montanus' lover.

MONTANUS**1605

Montanus is the father of Amyntas in Daniel's The Queen's Arcadia. He is feuding over grazing rights with Acrysius, the father of Cloris with whom Amyntas is in love. The lawyer Lincus has been fuelling their quarrel, hoping to spur them into litigation. At the shepherds' assembly, Montanus and Acrysius regret that they were deceived by Lincus and pledge their reconciliation. They welcome the betrothal of their children.

MONTANUS**1614

The Acadian woodsman Montanus has fallen in love with the beautiful Phillis in Daniel's Hymen's Triumph. Powerfully built, he is hurt and insulted when he sees her chasing after a mere boy, Clorindo. However, he accepts her excuse - that she was trying to recover a garland he had stolen from her–and agrees to confront the youth. Although Phillis asks him to control his violent temper, Montanus stabs Clorindo, who is then revealed to be the disguised Silvia.

MONTANUS **1628

Montanus is a friend of Otho in May's Julia Agrippina and is introduced to Nero by him, becoming one of Nero's drinking companions. Historically, this was Curtius Montanus.

MONTANUS**1634

An ancient shepherd in Rutter's The Shepherds' Holiday, Montanus discovered the abandoned Thyrsis as a child, raised him, and is referred to as father by the prince throughout the play. He attempts to comfort his grief-stricken son at the play's beginning, contemplates whether or not Daphnis should be killed for his attempt to ravish Nerina, is sent for by Thyrsis through the king to come to the court after the prince's true identity has become known to Cleander, and informs Mirtillus of the rumor that the "common lover" has impregnated Stella. For raising the prince he is duly thanked by Eubulus, and Euarchus promises to reward him well.

MONTANUS**1635

In Richards' Messalina the noble Montanus disguises himself to test the virtue of Mela, but Saufellus recognizes him and alerts Messalina. Taken before her, he initially succumbs to her beauty but is quickly disgusted and is persuaded by Mela to flee to Corsica.

MONTECARLO

Montecarlo, the brother-in-law of Severino-brother of Iolante-in Massinger's The Guardian. He is supposedly dead but in fact is in disguise as Laval.

MONTESCELSO

Montescelso is a peer of Verona in (?)Brome's The Cunning Lovers. He is Prospero's cousin. In Act One, he announces the arrival of some ambassadors from Mantua. With the wedding cancelled, he accompanies his relative on a trip that supposedly will take them to Spain, England and France. However, they go to Mantua where he helps Prospero to win the princess's favor. There, he will have to play the roles, first, of an Architect and, later, of a Necromancer.

MONTESCELSO'S PARENTS

"Ghost characters" in (?)Brome's The Cunning Lovers. They are mentioned by their son when he dreams of the blessing of his ancestors.

MONTFERRERS

The French baron Montferrers is D'Amville's older brother and Charlemont's father in Tourneur's The Atheist's Tragedy. A pious man, Montferrers disapproves of Charlemont's wish to go to the war and refuses to support his son, thus opening the door for D'Amville to underwrite the young man's project. When the false report of Charlemont's death reaches him, Montferrers revises his will in favor of D'Amville (just as the villain assumed he would). D'Amville then arranges to shove Montferrers into a gravel pit where the waiting Borachio will brain him in what will appear to others as a simple death by accidental fall. As a ghost, Montferrers returns later to inform Charlemont of the need to return home, to dissuade the young man from actively seeking personal revenge, and to call D'Amville a fool for thinking that his perfidy might actually succeed.

MONTFORT

Family name of Simon de Montfort and his children Elinor, Emerick, and (perhaps mistakenly) Charles(?) and Signor, Earl of Leicester(?) in Peele's Edward I.

MONTGOMERY, SIR JOHN

Sir John Montgomery supports Edward's claim to the throne in Shakespeare's 3 Henry VI.

MONTICELSO

Monticelso, the Cardinal/Pope, is an advisor with good intentions, but he vacillates in Webster's The White Devil. He at first tells Francisco to revenge his sister's death underhandedly, then, once Pope, he dissuades Lodovico from being Francisco's instrument for that very revenge. It is no wonder that Lodovico believes the Pope has sent his money to give approval of the deed.

MONTIGNY

A French nobleman in Chapman's The Tragedy of Charles, Duke of Byron.

MONTINELLO

Montinello is one of the four courtiers in Dekker's Wonder of A Kingdom. Together with Mutio, Philippo, and Tornelli, he is sent to Iacomo Gentili to invite him to the marriage of the Duke's son Piero. Montinello serves a purely expository role, providing information about Iacomo's character and his background. Montinello enquires about Iacomo Gentili's wealth and the significance of his home's unusual architectural features. He also suggests that Iacomo Gentili should take a wife and produce an heir, advice the latter emphatically rejects. Montinello only briefly reappears as a mute character in the following scene.

MONTJOY

Montjoy, the French herald and messenger in Shakespeare's Henry V, performs his duties with an honour that Henry praises. He brings Henry news that the English have won Agincourt, and he requests permission to bury the French dead. Some scholars suggest that the name was a compliment to Shakespeare's friend, Christopher Mountjoy, a Huguenot with whom Shakespeare lodged on Silver Street. However, there is no evidence of Shakespeare's connection with Mountjoy until 1604, five years after the play.

MONTMORENCY

Lord High Constable in Chapman's The Tragedy of Chabot, Admiral of France. He is a rival to Chabot; he is more susceptible to the persuasion of others, and thus is much appreciated by others in the court, including the Chancellor, Secretary, Treasurer, and the Queen. In the first scene, he reconciles with Chabot, but once Chabot and the King leave, the others persuade him that he must work to displace the Admiral in the King's favor. After Chabot is taken to his arraignment, he remains with the Queen to hear the pleas of Chabot's wife and father-in-law, and after their departure, reveals to the Queen that he believes in Chabot's honesty, but that he has been persuaded by others to work against him. He accompanies the Queen to the King to speak on Chabot's behalf.

MONTPENSIER, DUKE

Duke Montpensier, the General of Milan in Massinger's The Guardian. He introduces Laval to Alphonso.

MONTPENSIER, GILBERT **1607

A French gentleman in King Charles's entourage in Barnes's The Devil's Charter. Defends Charles, questions the Pope's integrity, and acts as Charles's first officer in battle.

MONTREVILLE

Montreville is the supposed friend to Malefort Sr. in Massinger's Unnatural Combat. He quietly seeks revenge against Malefort throughout the entire play. He has seethed quietly for years over the fact that Malefort stole his mistress. In revenge, he rapes Malefort's daughter, Theocrine.

MONTROSE**1599

Noble at the Court of England in Dekker's Old Fortunatus. He buys fruit (from the tree of Vice) from Shadow and Andelocia and grows horns. He gives fruit to Agripyne, who also grows horns. He agrees to give the disguised Andelocia all his money in exchange for the removal of his horns.

MONTROSE**1624

Montrose, a noble gentleman in love with Bellisant in Massinger's The Parliament of Love. He is seemingly slain by Cleremond, until he rises in the final scene to be joined with Bellisant.

MONTROSE, GENERAL **1627

Only mentioned in Randolph's Plutophthalmia. He was maintained by Plutus.

MONTSURRY**1604

The Count of Montsurry in Chapman's Bussy D'Ambois. His first conversation in the play is on the subject of the English queen and her court. Henry, Guise and Montsurry agree that the English court is infinitely superior in virtue to the French court. The French lords are amazed that the English are so adamant upon imitating the superfluous fashions of France. He is amused by Bussy's initial splash at court as well as by D'Ambois' royal pardon with regard to a fatal street fight. Montsurry seems to spend a lot of nights a way from home. Tamyra complains about his absences; she then allows Bussy to visit her in her chamber. As Bussy leaves in the morning, Montsurry arrives home. The Count tries to convince Tamyra to go to bed with him, but she declines. Montsurry reveals to Tamyra that Monsieur is growing envious of Bussy's relationship with the king. After the feast, Montsurry accuses Tamyra of adultery, a charge she denies. The Friar's spirit shows Montsurry being instructed on how best to ambush Bussy in Tamyra's chamber. Later, Montsurry drags Tamyra into their bedroom and throws the protesting Friar out. He demands that she tell him the name of her lover. When Tamyra refuses, Montsurry begins to repeatedly stab her. He tells her that he will keep stabbing her until she reveals her lover. Instruments of torture are brought into the room to further compel testimony. When the Friar comes into the room and is killed, Tamyra agrees to write her lover's name in blood. Montsurry disguises himself like the Friar and delivers Tamyra's letter to Bussy. Montsurry breaks into the chamber where Bussy has gone to meet Tamyra. Bussy has Montsurry on the ground when D'Ambois is fatally killed by shots fired off stage. The Friar asks Montsurry to forgive Tamyra, but Montsurry refuses. He says he wants to forgive her, but banishes her to the street to die.

MONTSURRY**1610

An Earl. His wife, Tamyra, was the lover of Bussy D'Ambois in Chapman's The Revenge of Bussy D'Ambois. He plotted Bussy's death, and is now the object of Clermont's revenge, which is achieved in the final act. He forgives both Clermont and his wife before he dies.

MONTENEGRO, COUNT de

Montenegro desires Catalina in Shirley's The Maid's Revenge and is fairly certain of her until Antonio arrives and becomes Catalina's sole passion. Montenegro never really understands that Catalina does not love him at all. He battles for her and persuades the waiting-woman Ansilva to put a love potion in Catalina's drink to heighten the passion he thinks the lady entertains for him. He loses all hope in the lady, of course, when Catalina is poisoned by her vengeful sister.

MOON

A "ghost character" in Dekker's The Whore of Babylon. Dekker refers to Mary, Queen of Scots, by this allegorical name. Titania's peers declare that she must pull this moon from the firmament since it has tried to eclipse her sun. Declaring her love for the Moon, Titania is initially unwilling, but eventually consents to sign the death warrants of the Moon and her supporters. Como, perhaps ignorant of the Moon's fall, later claims that her "host of stars" will join the Armada against Titania.

MOONCALF

Mooncalf is Ursula's tapster in Jonson's Bartholomew Fair. At the Fair, while the people begin to erect their stalls and booths, Ursula demands her chair, her morning ale, and her pipe from Mooncalf. When Overdo appears in his disguise as a madman, Mooncalf identifies him as a Puritan preacher. Overdo/Madman hears the furious Ursula calling Knockem a cutpurse, and he asks Mooncalf about it. Mooncalf says Knockem is a ranger, and Ursula's accusation is just a part of her mannerism. It seems that Mooncalf's reports to Overdo are constant sources of misrepresentation. When Overdo/Madman asks Mooncalf about Edgworth, whom he sees as an honest clerk, Mooncalf calls Edgworth "a civil young gentleman." Mooncalf notices that the madman (Overdo) looks very sad, probably because nobody talks to him, and he offers some tobacco to Overdo. Mooncalf seems genuinely well meaning, but his benevolent actions end in gross misrepresentations. During the fight provoked by Knockem, with the purpose of distracting Quarlous and Winwife and having Edgworth rob them, Ursula is scalded and Mooncalf seems sincerely worried. He tends to the wound at once, and sends Trash to fetch some cream. Mooncalf leaves with Knockem, Whit, and Ursula into the booth to attend to the customers.

MOONE the ELDER **1599

One of the twenty-four Electors for the Burgomastership in Ruggle's Club Law.

MOONSHINE

Although originally set down to play Thisbe's mother, Robin Starveling (one of the rude mechanicals) ultimately plays Moonshine in the production of Pyramus and Thisbe planned for the Duke's wedding in Shakespeare's A Midsummer Night's Dream. Moonshine carries a lanthorn and bush; he is also accompanied by a dog.

MOOR**1589

The malevolent Muly Mahamet is frequently referred to as simply the Moor in Peele's The Battle of Alcazar.

MOOR**1596

A "ghost character" in Shakespeare's Merchant of Venice. Apparently a servant of Portia's who has been impregnated by Lancelot.

MOOR**1599

A lord in Alcade's court in [?]W. Rowley's The Thracian Wonder. He suspects Lillia Guida of fancying Eusanius and suggests as much to Alcade, who banishes Eusanius.

MOOR**1615

The disguise in which Kate frightens Thomas in Fletcher's Monsieur Thomas when he tries to get into Mary's bed by dressing in his twin sister, Dorothy's clothes. He equates moors with devils, and calls Kate a she-devil.

MOOR**1619

'The Moor' is a term frequently used to refer to Muly Mumen, King of the Moors in William Rowley's All's Lost by Lust.

MOOR **1636

A "ghost character" in Killigrew's The Princess. He was captain before Terresius.

MOOR**1637

Also identified as the Gypsy in Carlell's The Fool Would Be A Favorite. He travels to the court with Lucinda and entertains Aurelia by reading fortunes. He promises to give a vision to Philanthus of the woman who held him prisoner. When Philanthus comes to him, he produces Lucinda. After Philanthus is apparently killed, the body is entrusted to him. As part of Philanthus's plan, he appears to Aurelius in the armor Philanthus wore to fight Adrastus. Thinking he is Philanthus, she vows her love to him. He accompanies Philanthus to the tomb at the end.

MOOR, FIRST, SECOND, and THIRD**1621

There are three moors at the prison where the King of Sidore is kept in Fletcher's The Island Princess. The stage directions say "2 or 3 Moors" but only two moors speak.
  1. The first moor describes the conditions under which the King of Sidore is imprisoned. Still, he says, the prisoner-king seems not to be affected by the conditions of his jail, saying that he smiles and keeps his mood up by singing. This moor waits to hear the king sing.
  2. The second is a partner to the jail keeper. The second moor remarks that the king never curses his captors nor does he place blame on anyone, "With what Majesty he heaves his head up!"
  3. The third is a mute character who watches the king with the Keeper and 2 other Moors.

MOORE**1597

Appears in scene 2 of the anonymous plot of Frederick and Basilea; played by Griffen (probably a boy actor).

MOORE **1598

An confidant of Pisaro in Haughton's Englishmen for My Money. At the Exchange Moore introduces Pisaro to Towerson, a merchant. When news arrives that Pisaro's ships have been captured, Moore explains to Stranger (one of the foreign merchants as yet unnamed) that Pisaro's losses are considerable. He asks Moore if his daughter Susan can sleep at Pisaro's house because his wife is giving birth. Pisaro says she can sleep with Mathea. Moore later sends a message that Susan will arrive very late. As part of Anthony's plan to marry Pisaro's daughters to their English suitors, Harvey pretends to be fatally ill. Moore recommends that Harvey go to Pisaro's house to marry Marina. By this means she will hold the land while Harvey is alive, otherwise his younger brother will inherit the land and Pisaro will lose it. After Harvey marries Marina and recovers instantly, Moore suggests that Pisaro accept it with patience. To demonstrate that one daughter at least is safe, Pisaro calls down Mathea, whom he believes is with Susan Moore. Moore reveals that it cannot be Susan since she remained with her mother the whole night. When Ned and Mathea enter, Ned reveals that he had disguised himself as Susan Moore. Pisaro is horrified. Moore advises Pisaro that, because he has been outstripped, he should turn his hatred to love.

MOORE**1622

Servant woman employed by Bartolus in Fletcher and Massinger's Spanish Curate. She bids him to come to the door to meet a neighbor in need of legal advice, unwittingly providing an opportunity for Leandro to woo Amaranta.

MOORE, SUSAN

A "ghost character" and a disguise in Haughton's Englishmen for My Money.
  • Susan Moore is Moore's daughter. She is to sleep with Mathea at Pisaro's because her mother is delivering a baby. A servant announces that she might arrive very late.
  • At Anthony's suggestion, Ned arrives at Pisaro's disguised as Mistress Moore and sleeps with Mathea. The next day, when Moore reveals that his daughter had spent the whole night at her own home, Ned, who has already married Mathea, reveals his disguise.

MOOR—PRIEST**1621

The disguised Governor of Terna in Fletcher's The Island Princess. Armusia, the Portuguese soldier rescues the King of Sidore, removing the Governor's one hold over the Island Princess, Quisara. To exact his revenge, the Governor of Terna dresses as a Moor-Priest and, using a skillful deceit, sneaks into the castle via a secret passageway and enters the service and the confidence of the King of Sidore. He secretly advises the king not to trust the Portuguese, and the king considers that the Moor-Priest might be right. The Moor-Priest convinces the king that as a holy man, he should have access to the Princess and the king agrees. At the instigation of the Moor-Priest, the Princess challenges Armusia to give up his Christianity and convert to her pagan religion. Pyniero, with Panura's help, reveals the true identity of the Moor-Priest, and with the help of the Kings of Bakam and Siana, and the Portuguese soldiers, the Governor is arrested and imprisoned.

MOORS**1596

Identified as "ollive cullord moores" in the original plot of the anonymous Tamar Cam. One of the groups of envoys sent from the conquered races. They enter in procession at play's end to do homage to their conqueror, Tamor Cham.

MOORS**1612

At the end of "The Triumph of Honor," the first play within the play of Fletcher's Four Plays in One, two Moors draw a chariot in which Honor is seated.

MOORS **1615

"Ghost characters" in Tomkis' Albumazar. 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.

MOORS**1633

Only mentioned in Cokain's Trappolin. The Moors are former enemies of Spain, whom Mattemores would resurrect for the glory of battle.

MOORS **1637

"Ghost characters" in Rutter's The Cid. They are at anchor off the coast and mean to attack the Spaniards. They land but are repulsed after a three hour fight that sees two of their kings captured.

MOORS **1638

In a masque in Mayne's Amorous War, six Moors dance "after the ancient Aethiopian manner." They have bead in their curled hair, bows in hand, and blue satin trousers from waste to knee trimmed in silver. Rings of gold adorn their bare legs and arms. Large pearls hang in their ears. They dance "expressing cheerful adoration of their gods."

MOORTON**1589

Moorton is a Scottish earl who is to be married to Sydanen in Munday's John a Kent and John a Cumber. At Chester court, Moorton and Pembrooke are received ceremoniously as the future bridegrooms of Sydanen and Marian. Moorton and Pembrooke go with Oswen and Amery to the country house where they will spend the night before the wedding. At their lodgings, a troupe of amateur actors meets the lords with a rustic welcoming pageant in which the figures crudely symbolize the lords' names. The figure representing Moorton is a Moor carrying a tun. Moorton thanks the country fellows politely and gives them some money. During the night, Moorton and Pembrooke appear in their nightgowns claiming that a voice sang under their windows telling them the ladies are gone, and they are indeed. When John a Cumber offers to help the lords retrieve the ladies by outsmarting John a Kent and his party, Moorton leaves with the lords to Gosselin's castle. At the castle, Moorton arrives disguised as the Third Antique in a masque arranged by John a Cumber to gain entrance into the castle. On the lawn before Gosselin's castle, Moorton, Pembrooke, Chester, and Llwellen prepare to attend the play John a Cumber has arranged for them. When John a Kent arrives disguised as John a Cumber and asks these lords to act as themselves in the play, they agree thinking this is part of the performance. In the revelation scene, Moorton sees how, by his cunning, John a Kent has expunged John a Cumber's offense. At Chester Abbey, where the weddings of Sydanen to Moorton and of Marian to Pembrooke are to be celebrated, Moorton and Pembrooke are expected as the bridegrooms. They arrive at the only gate into the church only to find John a Cumber denying them access because he thinks they have already entered. When the misrepresentation is cleared, Sydanen is already married to Sir Griffin (disguised as Moorton) and Marian to Powesse (disguised as Pembrooke). Faced with a fait accompli, Moorton and Pembrooke have no choice but to agree and retire.

MOORTON**1599

Moorton is the cousin of the princes in Chettle's(?) Looke About You. He speaks no lines in the play, but appears as a prisoner in the Tower when Prince John goes to visit. On the request of his brother, young King Henry has conferred all Moorton's land onto Prince John.

MOPAS

Mopas is Velasco's servant in ?Ford's The Queen. The frequent references to him as a "boy" and his relatively convincing masquerade as Herophil at the play's end suggest that he is a youthful page. He serves as an intermediary between Velasco and Salassa, in the process trading a number of saucy witticisms with Salassa's confidante, the bawd Shaparoon. Although described as foolish by his master, he has a talent for flattery that stands him in good stead with the ladies. He is disgusted when his master submits tamely to Bufo's beating, especially as he himself comes in for a bit of rough treatment from some of the knaves in Bufo's train. He complains bitterly of being mocked in the streets for serving the "arrant coward," Velasco. Lodovico employs Mopas to show Salassa the proclamation in which Almada and Collumello offer a large reward to anyone willing to defend the Queen's honour. Mopas thus helps to convince Salassa to release Velasco from his vow, eventually bringing about Velasco's defence of the Queen. He then joins with Lodovico and Herophil to punish Bufo and Pynto. Disguised as Herophil, he 'marries' Bufo, who is left to bemoan his nuptials with a boy.

MOPSA**1606

Mopsa is the daughter of Dametas and Miso in Day's Isle of Gulls. She is wooed by Demetrius in his disguise as the woodsman Dorus, and does not realise that Demetrius is really courting Hippolita. Mopsa agrees to marry Dorus at Adonis' Bower, but when she arrives she finds only Manasses in the costume of Zelmane. Mopsa is happy to marry Raph the horseman, with whom she lost her virginity and by whom she is probably pregnant, instead of Demetrius.

MOPSA**1610

Mopsa, a shepherdess in Shakespeare's The Winter's Tale, is the clown's current sweetheart.

MOPSA**1625

Gorgon in Shirley's The School of Compliment uses this name in assuming the guise of a shepherdess.

MOPSA**1640

Daughter of Dametas and Miso in Shirley's The Arcadia. Bad-tempered and sarcastic, jealous of princess Pamela's station in life, disdainful of the (pretended) attentions of the shepherd Dorus (Misodorus). Tricked by Misodorus into going to the "wishing" tree to ask Apollo to make her a queen, so that Misodorus is left alone with Pamela.

MOPSO

Mopso is Gemulo's son in the anonymous Maid's Metamorphosis. At the beginning of the play he has escaped from his father fearing he should beat him up for a fault he had committed. He is a gay boy, who appears singing in Act II, explaining that, being a shepherd, he has to blow his horn early in the morning and late in the evening. But his father commands him a different task: he has to go in search of Eurymine, the shepherdess who takes care of their flock. Then he meets Frisco and Ioculo, they become friends, and they will have to sing and dance with three fairies. Since his quest is unsuccessful, he decides to go with his friends and visit Aramanthus. The wise man tells him his father will not get the lady, and the boy leaves to break Gemulo the bad news.

MOPSUS

A foolish Augur, enamored of Thestylis and brother to Iocastus in Randolph's Amyntas. As augur, his work with the interpretation of birdsong and avian behavior has resulted in an obsession with birds, equal to his brother's fascination with fairies. His courtship of Thestylis makes no progress because, although he is her only suitor, he is a particularly bad catch. Mopsus is remarkably stupid, and confides to Thestylis his fear of an illness called wisdom. His phobia recurs through the play, as when he meets the priest Corymbus, newly returned from overseas. Mopsus is a good friend to Amyntas, however, visiting him in his madness and humoring his delusions. Taken for a dog by the madman, he adopts that character for several scenes afterwards. His fortunes change for the better when he recognizes Dorylas beneath the disguise of Oberon, but does not reveal the trick to his brother. Dorylas repays the favor by impersonating auspicious birdcalls as Mopsus again tries to woo Thestylis. She is finally persuaded to have him, and Dorylas's second appearance as Oberon ensures that the couple will have a share of Iocastus's wealth.

MORAMANTE

Disguise adopted by Basilino in Montague's The Shepherd's Paradise when he goes to the Shepherd's Paradise.

MORAT**1639

Lieutenant-colonel to Almerin in Suckling's Brennoralt. Morat first warns Almerin that Iphigene is flirting with Francelia.

MORAT**1641

A lord, friend to Prince Mirza, whom he tries to warn of his danger in Denham's The Sophy. With his friend Abdall, Morat leads the army to the palace and overthrows the evil Haly.

MORBO

Morbo is a Pander and a silent character in Davenport's The City Night Cap.

MORDAKE

A "ghost character" in Shakespeare's 1 Henry IV. Mordake, the Earl of Fife, is listed as one of Hotspur's prisoners.

MORDECAI

A "ghost character" in Bale's God's Promises. Mentioned by John Baptist as an example of a virtuous man.

MORDRED

Mordred is Arthur's son by his twin sister Anne in Hughes' The Misfortunes of Arthur, and he is also half-brother to Gawin, King of Albany. During Arthur's nine-year absence fighting on the Continent, before the action of the play, Mordred had an affair with Gueneuora, his father's wife, and eventually seized the throne, thus forcing Arthur to assert his right as the lawful king of Britain. During the final battle in Cornwall, Mordred dies after hurling himself on Arthur's sword, but not before he deals the king a blow to the head that later proves fatal.

MORE, LADY**1595

Lady More (the historical Alice Middleton) is More's second wife in Chettle, Dekker and Munday's Sir Thomas More. Her gracious nature is signaled by her insistence that the Lady Mayoress be seated next to her during the performance of The Marriage of Wit and Wisdom, even though her new position as wife to the Lord Chancellor places her above the Mayor's spouse. Later, just before More returns to announce he has resigned his post, Lady More tells her son-in-law (Master Roper) and her step-daughter (Mistress Roper) of a dream she has had in which she and More become separated from the king's party on the Thames and find themselves drifting to a point near the Tower of London where a whirlpool sucks them down. When the Earls of Surrey and Shrewsbury come with the king's final invitation to take the Oath of Supremacy, Lady More pleads with her husband to do so, and when they last meet in the Tower, she begs one last time that he consider the family and submit to the king.

MORE, SIR THOMAS **1595

I.
Sir Thomas More is presented throughout Chettle, Dekker and Munday's Sir Thomas More as a learned, pious, compassionate, and good humored man. He first appears as one of the Sheriffs of London at the Court of Sessions, where he has the cutpurse Lifter steal a purse from the pompous and self-righteous Justice Suresby, in order to be able to give Suresby the same admonishment against carrying large sums of money that the justice had given Smart. During the May Day riots of 1517, he addresses the ringleaders of the uprising with a plea for order, and he convinces them to surrender to the king, promising that he will personally attempt to beg pardons for them all. For his service, the king has More knighted and made Lord Chancellor of England. He later receives the Lord Mayor and a party of aldermen (and their wives), and commissions a performance by the Lord Cardinal's players of the interlude The Marriage of Wit and Wisdom. When the actor who is to play the role of Good Counsel (Luggins) fails to appear, More takes the part himself extemporaneously. During the Privy Council scene, when the king sends a demand that the members subscribe to the Oath of Supremacy, More and Doctor John Fisher, the Bishop of Rochester, are unable in good conscience to do so. The bishop is taken to prison at once, but More is allowed to remain at home where the Earls of Shrewsbury and Surrey present him with a final chance to submit. When he again refuses, he is arrested by Downes and taken to the Tower. In his confinement, More impresses the Lieutenant of the Tower with his good humor, courage, and principled stand. During a final visit by his family, More assures them he is not able to submit, entrusts what is left of his estate to his wife Lady More, asks his son-in-law Master Roper to look out for Lady Roper (More's daughter Margaret), and urges them to "live all, and love together." Joking constantly as he is taken to the scaffold, he bids a warm farewell to the Earls of Surrey and Shrewsbury, and he follows the protocols expected on such occasions by forgiving the executioner (here listed as the Hangman) and giving him his gown. At Shrewsbury's urging he publicly accepts his fate for having disappointed the monarch, but jokes that he will send the king for "my trespass a reverent head, somewhat bald."
II.
In the anonymous Thomas Lord Cromwell, he responds to the small talk explanation of the eating habits of the Spanish at Hales's banquet, and comments that it's good to drink healths unless you drink too many and they make you ill. When nobles discuss the fall of Wolsey, Hales, More and Gardiner discuss how the wheel of state brought the proud Wolsey down. When Cromwell is knighted, appointed to the privy council and made Master of the Rolls and modestly expresses his unworthiness of the honours, More observes that it is wise of Cromwell to seem to refuse them.
III.
A "ghost character" in Shakespeare's Henry VIII. Cromwell reports that Sir Thomas More has been chosen Lord Chancellor to replace Wolsey.

MORECRAFT

Morecraft is a usurer in Beaumont and Fletcher's Scornful Lady, who has lent money to Young Loveless and now has possession of his land. He is the suitor to a rich Widow, who will not entertain his suit unless he is knighted. When Young Loveless appears to have inherited the lands of Elder Loveless, Morecraft agrees to buy them for the sum of £6000, but is thwarted when Elder Loveless returns just as he is about to take possession. Young Loveless keeps the money, and sees his swindle as a fitting riposte to Morecraft's earlier behaviour towards him. The Widow rejects Morecraft, choosing to marry Young Loveless. Seeing that Young Loveless has been more successful than he has, Morecraft decides to turn gallant and become 'Cutting Morecraft'. He gives an expensive ring to the Lady and gives money to the Servingmen. Through this behaviour, he hopes to eventually gain money, just as Young Loveless has.

MORELLO**1633

Morello is a courtier and a fop in Shirley's The Bird in a Cage. Along with Dondolo and Grutti, he seeks access to the women locked and guarded in the castle/prison with Eugenia. When Bonamico as Altomaro offers to make them invisible, they see this as the means by which they will elude the guards. Morello also tries to gain entry by disguising himself as a woman, Madame Thorne. Easily detected by the guards, he is brought before the Duke and sentenced to wear a petticoat in public for a month. Although Morello is at first humiliated, the punishment leads him to find his true vocation as court jester to the Duke.

MORELLO**1638

A follower of Galeotto's in Davenant's The Unfortunate Lovers; he persuades his brother Gandolpho to betray the Prince and turn over the fort to Heildebrand.

MOREN, COUNT

Young husband of the Countess Moren and cousin to Colinet in Chapman's An Humourous Day's Mirth. He is set up to appear in love with Martia (when he is in fact wooing her on behalf of his cousin), and later is found with her, Florilla, and the King at Verone's tavern. When he learns that the Countess will seek him at the tavern, he assumes the role of a torchbearer in Verone's pageant, and when he is revealed at the end, he is reconciled to his wife.

MOREN, COUNTESS

Older, jealous wife to a young husband in Chapman's An Humourous Day's Mirth. She tries to prevent him from keeping his engagement at Verone's tavern, but agrees to let him go when she's assured no women will be present. When Lemot tells her that he is at the tavern with Martia, she pursues him there. In the final scene, he is revealed as a torchbearer, and Lemot insists he just wanted to bring them together again. The two are reconciled.

MORETES

Chief aide in Thomas Heywood's The Four Prentices of London to the Soldan of Babylon.

MORGAN**1590

The given name of the Duke of Cambria in the anonymous King Leir. It is used only once when Ragan first greets her future husband and tells him how welcome he is.

MORGAN **1599

Two Morgans figure in Ruggle's Club Law and both appear to be fantasy characters.
  1. Cricket tricks Tavie away from the Bergomaster's feast by telling him that a Mr. Morgan is asking for him in town.
  2. When Bromley says Luce doesn't speak like Tavie, so how can she be his sister, Tavie answers that their Uncle Morgan taught her to speak prettily.

MORGAN**1602

The name of one of the soldiers who abducts Parolles in Shakespeare's All's Well. He pretends to be a friar and hears Parolles' confession.

MORGAN**1605

A lord at one time faithful to King Archigallo in the anonymous Nobody and Somebody, Morgan turns against his sovereign when the king resolves his title dispute with Lord Malgo by claiming the land in question for the crown. Because of this injustice, he joins the feudal lords and the king's brothers in plotting the sovereign's deposition. He is willing to support, at Elydure's urging, the reinstallation of Archigallo as king after he repents of his tyranny. In the civil war ensuing from Archigallo's sudden death, he supports Peridure's claim to the throne and helps overthrow Elydure.

MORGAN**1609

Morgan is the pseudonym Belarius adopted after his banishment in Shakespeare's Cymbeline. By this name he is known to his "sons" Polydore and Cadwal, who are in reality Cymbeline's sons, Guiderius and Arvirgarus, whom Belarius and his wife Euriphile stole in infancy.

MORGAN**1612

Morgan is Earl of Anglesey and speaks with a comedic Welsh accent in The Valiant Welshman. He is a loyal supporter of Octavian and Caradoc and fights alongside them in all the battles. He puts on the masque of the Fairy Queen for Caradoc and Guinever's wedding banquet. In the final battle, he kills Cornwall.

MORGAN, EARL of LONDON

Morgan, Earl of London is the father of the beautiful but mute Honorea, whom he wants to marry off to his friend, Lacy, Earl of Kent in Haughton's The Devil and his Dame. Morgan sends for St. Dunston to cure her but she is cured instead by Castiliano the Spanish doctor (the disguised devil Belphagor), who claims her hand from Morgan. Morgan pretends to agree that Honorea can marry her lover Musgrave, but then arranges a "bed-trick" whereby she is married to Lacy after all, and Castiliano is married to Mariana, Honorea's shrewish waiting-maid. In the final London scene, Morgan watches in amazement as Castiliano/Belphagor, his allowed time having expired, is swallowed by the earth.

MORGAN PIGOT

Early in Peele's Edward I, Morgan Pigot, a Welsh harper and alleged seer, delivers a rhymed prophesy predicting that Lluellen will ultimately defeat Edward.

MORGAN, SIR ROBERT

A "ghost character" in Armin's The Two Maids of More–Clacke. He is a Scottish gentleman thought to be very honorable.

MORGLAY THWACK, SIR

The elder Pallatine's friend in Davenant's The Wits. He is equally determined to live by his wits–and off ladies–at the beginning of the play. He has agreed to take on the ladies over forty, while the elder Pallatine woos the younger ladies, but they quarrel about this early on. The elder Pallatine tricks him with the same empty-house scheme that was earlier used on him. Thwack is persuaded by the younger Pallatine to take his revenge. Like the elder Pallatine, he is very amused by the younger Pallatine's wit and adopts him as his heir.

MORIA

Mother Moria or Mistress Folly is the guardian of the ladies Philautia, Phantaste, and Argurion in Jonson's Cynthia's Revels. According to Cupid, Moria is self-conceited and likes to talk a lot. At court, Moria enters with Philautia and Phantaste. The nymphs are very pleased with their attire and jewels, yet Cupid comments that these nymphs are at Diana's court, but they are not stars in her train. Cupid says that Moria has brought these nymphs to court privately, and when Cynthia and her favorite nymphs appear, Philautia and Phantaste vanish like meteors. After lavishing compliments on each other, Moria exits with Phantaste and Philautia. In an apartment in the palace, Moria enters with her wards. They are expecting the miracle water so much publicized by Amorphus. While waiting, the vain nymphs and courtiers play society games and fantasize on who they would like to be. Moria says she wished she were a wise woman and knew all the secrets of court, city, and country. At some point, Moria exits with Asotus, pretending she wants to introduce his new page to him, re-entering with Asotus followed by Morus. Eventually, Moria manipulates the foolish Asotus into lavishing rich gifts on the nymphs. When Gelaia enters with the other pages, carrying bottles with the water from the much-praised fountain, Moria rebukes Anaides for his jealousy, telling him he does not deserve her daughter's devotion. Moria and the entire party of nymphs and gallants drink of the miracle water and they become even more self-conceited than they already were. At Cynthia's revels, Moria is disguised as Apheleia in the First Masque. Like all the nymphs and gallants, Moria suffers the disgrace of her fellows, and she does the same penance decreed by Crites. Moria exits with the others singing a Palinode. The song is an invocation of the god Mercury, who is asked to defend them against the dangers of counterfeit and vanity. As part of the penance, the affected nymphs and courtiers must go to Niobe's stone and repent. After being purged, they are invited to taste of the water of the Well of Knowledge and then report of Cynthia's grace.

MORIER

Like Boisise in Fletcher and Massinger's Sir John Van Olden Barnavelt, a French ambassador, who appeals vainly for the life of Barnavelt.

MORILLAT

Morillat is a colonizer travelling on the ship captained by Albert whose goods are lost during the storm in Fletcher and Massinger's The Sea Voyage. When they reach the shore he echoes the complaint of Lamure that the Master has lost his goods deliberately. Morillat, Franville and Lamure demand a large share of the Portuguese treasure. The resulting fight causes 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. The gallants 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.

MORION, SIR THOMAS

Also referred to as 'Pheander' by the Juggler and in the dramatis personae of The Valiant Welshman. Sir Thomas Morion is the foolish son of Morgan. He falls in love with the Fairy Queen when she appears in a masque. His man, Ratsbane, introduces him to a Juggler who claims he can summon the Fairy Queen. He is made to strip off his finery and walk on hands and knees to the Fairy Queen. He follows her and falls into a ditch. Realizing he's been made a fool, Morion has to admit to his father that the Fairy Queen has stolen his clothes. He informs Caradoc and his army about Codigun's usurpation of Octavian.

MOROCCO

The Prince of Morocco is the first suitor for Portia's hand in Shakespeare's Merchant of Venice. He chooses the gold casket, partly because he thinks "what many desire" refers to Portia, but also because it is the richest. Instead he finds a skull. The Prince of Morocco began his suit by asking Portia not to reject him because of his dark skin, but after he leaves she hopes that all of his complexion will choose wrongly.

MOROCCO **1627

Only mentioned in Randolph's Plutophthalmia. Banks' famous horse, Morocco, is mentioned in a song that Lackland sings.

MORONA

A court lady in Ford's Love's Sacrifice, said by Ferentes to be a 'stale widow' of forty-six. This has not prevented his seduction of her, her belief in his promises of marriage, or her pregnancy. He derides her for her decrepitude, as he rejects his other pregnant conquests. Together with his younger victims, Morona plots revenge. After the babies are born, they kill hum during a masque of 'antickes' and are sentenced to death for treachery by the Duke. Reprieved when Fernando pleads for her release, the Duke consents to her marrying the disgraced Maurucio, but exiles them from court. D'avolos spitefully suggests that they start a new life running a brothel in Naples. The episode disturbs Fernando, who expresses concern about the Duke's immoderate decision to banish them.

MORONZO **1639

An ancient lord and father to Clara and Marania in Sharpe's Noble Stranger. He gives Callidus permission to court Marania. He obeys the king's command when Clara is banished from the princess' company. At the play's end, he happily bestows Clara upon Fabianus and counts himself blessed to have such a daughter as Marania, who prefers the life of a vestal to marrying the scoundrel Callidus.

MOROSA**1631

Morosa is Oriana's mother in Shirley's The Traitor. She does not approve of her daughter's choice of Cosmo because that gentleman is out of favor at court. She is happy when her daughter agrees to marry Pisano.

MOROSA**1635

Morosa is the elderly guardian of the Fancies in Ford's The Fancies Chaste and Noble. Castamela thinks her too free-spoken, but the Fancies assure her that no harm is meant by it. The Marquis marries her to the barber Secco, who is persuaded by Spadone that she is having an affair with the page, Nitido. Once Secco has been convinced that this is untrue, he and she are reconciled.

MOROSE

Morose is a misanthropic gentleman who hates noise in Jonson's Epicoene. He is induced to take a young and fair wife, warranted silent, but who turns out neither silent nor a woman at all. In a room at his house, Morose enters followed by Mute. Morose appreciates the benefit of his servants' using the trunk in their conversation and Mute responds silently, according to a pre-determined coded language. When Truewit enters blowing the horn, and he tries to persuade Morose that silent wives are hard to find these days, Morose is appalled. Later, Cutbeard reports to the gallants how Morose interpreted Truewit's noisy intrusion as part of his nephew's plot to dissuade him from marrying, and the result was the acceleration of the marriage preparations. At his house in London, Morose enters followed by Cutbeard and Epicoene. Since the bride-to-be speaks sparingly, Morose is pleased with her and decides to get married that very day. At his house, Morose enters with Epicoene, followed by Parson, who has just performed the marriage ceremony. When she is Morose's wife, however, Epicoene becomes very vocal and welcomes the party of noisy revelers, despite her husband's protestations. When the noise becomes unbearable for him, Morose exits to hide in the attic, but he re-enters soon to chase everybody away. At his house, Morose enters with Dauphine, showing his anger at having been duped by the barber into marrying a shrewish woman. When his wife enters with her party and makes him look like a madman before the others, Morose tells Dauphine in private about his intention to get a divorce and exits with his nephew. Morose enters with Dauphine to discuss with the false Divine (Otter) and the Canon Lawyer (Cutbeard) about the grounds for his divorce. Morose infers from the bogus counselors' Latin babble that the husband's frigidity might annul the marriage and, when Epicoene and her party enter, he pretends not to be able to accomplish his marital duties. The claim is invalidated and, despite his endeavors, there seem to be legal impediments against the annulment. When, finally, Dauphine reveals that Epicoene is actually a boy, thus rendering the marriage void, Morose agrees to make his nephew his heir and executive of his estate.

MOROSITY **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.

MOROSO

Rich, old Moroso has been promised Livia as wife by her father, Petronious, in Fletcher's The Woman's Prize, and Mososo cannot wait to sleep with her even though she abuses him. He banters lustily with Petruchio who calls him Will, and debates alongside Petruchio and Petronious with Maria and Biancha. He tells Petronious that he wants neither a fawning woman nor a fighting woman, but will give Livia clothes and jewels in return for love and an heir. In the end he and Petronious are hoodwinked into signing papers that allow Livia to elope with Rowland. Moroso accepts this fate and joins the newlyweds at Petronious' celebration dinner.

MORPHE**1636

Morphe is the mistress of Amorous, but at the beginning of Strode's The Floating Island she has accepts Prudentius' rule and beliefs and thereby rejects Amorous' attentions. She does not attend on Fancie, and when Amorous tries to woo her she rejects him. She sees Livebyhope wounded by Irato and Audax and faints. Amorous carries her to Desperato and asks him to give her a love potion. Malevolo asks Desperato to poison her. Instead of either fate, she is rescued by Intellectus Agens and word is circulated that she has died. She returns with Intellectus and Livebyhope during Desperato's dinner where the Passions have agreed to commit suicide. In the end, Prudentius decrees that she shall not marry Amorous.

MORPHEUS

I.
A "ghost character" in the anonymous Maid's Metamorphosis. According to Greek mythology, Morpheus was the name of one of the three most skilful of the Oneroi, who formed the dreams of kings and chieftains. In the play, Morpheus is the eldest son of Somnus. He can appear in human shape. At Juno's request, he appears before Ascanio in a vision, taking the shape of Eurymine, to indicate where he can find her. When his task is over, he goes back to sleep.
II.
Only mentioned by Mercury in Verney’s Antipoe.
III.
Only mentioned in the anonymous Narcissus. Narcissus mentions Morpheus when, falling in love with his own image in the water of the well, unaware of the fact that it is his own reflection, he states his intention to fast for love: "Not care of Ceres, Morpheus, nor of Bacchus, / That is meate, drinke and sleepe from hence shall lake us." According to Greek mythology, Morpheus was one form of the god of dreams. He was in charge of fashioning dreams as the gods desired them to be sent to men.
IV.
Morpheus, a god of dreams, is invoked in the song that is sung while Eumorphe sleeps in Goffe's The Courageous Turk.

MORPHEUS **1636

Morpheus appears in a masque put on by Livebyhope in Strode's The Floating Island. He addresses six dreamers who represent Memor, Malevolo, Irato, Timerous, Hilario and Desperato, telling them how to behave and thereby insults them.

MORPHIDES

Morphides is Amorphus's cousin in Jonson's Cynthia's Revels. He keeps the door at Cynthia's palace. Before the courtiers' party, Morphides enters announcing Amorphus that the gallants and nymphs are ready to begin the merriment. Amorphus sends Asotus to adjust his attire and asks Morphides to attend him with the guests' admittance. A commotion is heard outside and a citizen, a citizen's wife, and a tailor demand entrance. The citizen says that his wife's brother is in the palace and he wants to join him. Morphides prevents the commoners from entering by closing the door on them. He allows in only the ladies Phantaste, Philautia, Argurion, and Moria, and the courtiers Hedon and Anaides. In addition, Hedon admits two masked ladies. Hedon introduces one of them as his friend, a country lady, and Anaides introduces the other as his cockatrice. When the other commoners appear at the door, Morphides pushes them back. It is understood that Morphides attends the entertainment and the subsequent disgrace of the vain nymphs and courtiers.

MORRIS**1595

The secretary to the Bishop of Winchester in Chettle, Dekker and Munday's Sir Thomas More; Morris attempts to intercede for his servant Falkner when the latter appears before More. When Falkner rails against More for having ordered him to cut his hair, Morris becomes exasperated and threatens to fire the servant, but he relents when Falkner calms down and begs not to be let go.

MORRIS DANCERS**1613

A group of friends and "ghost characters" who appear in Shakespeare's Two Noble Kinsmen to prepare for and present morris dances for Duke Theseus. They include:
  • BARBARY;
  • BAVIAN (a morris-dancer dressed in a traditional ape costume);
  • CICELY;
  • COUNTRY PERSON, FIRST, SECOND, THIRD, and FOURTH;
  • FRIZ;
  • GERROLD (who chides the performers for poor following of directions and offers a prologue to the dance before the Duke);
  • JAILER'S DAUGHTER;
  • LUCE;
  • MAUDLINE;
  • NELL;
  • TIMOTHY the TABORER (who provides the music)

MORRIS DANCERS**1614

The morris-dancers that seem to conspire against the Puritans by scorning them are "ghost characters" in Jonson's Bartholomew Fair. Busy believes that all the dancers have associated with the stage-players and the poets in a conspiracy of contempt against the Brethren and the Cause, using the mean instruments of their show.

MORRIS–DANCERS**1620

Performers at Soto's father's May revels in Fletcher's Women Pleased.

MORRIS DANCERS**1621

Four dancers, led by Cuddy Banks, who abuse Mother Sawyer and perform a Morris in the churchyard in Rowley, Dekker and Ford's The Witch of Edmonton.

MORRIS, THE**1600

Spelled "The Morice" in Marston's Jack Drum's Entertainment. A troupe of musicians and singers who travel (with a fool) as street performers. Sir Edward pays them generously for their performance, but Mamon questions the wisdom of spending money on frivolous things.

MORRIS VAUGHAN

A non-speaking character in Peele's Edward I. Vaughn is one of the Welsh Barons present when the infant Edward of Caernarvon is presented the "mantle of frieze," symbolizing the child's role as Prince of Wales.

MORROGH Mac BREEAN

A "ghost character" in Dekker, Ford and Rowley's The Welsh Embassador. King of Leinster. Edmond recalls drinking whiskey with him after a battle in Ireland.

MORT, AUTEM

Autem Mort is the wife of Patrico in Brome's A Jovial Crew. She is very old and drunk, and sings a song for Oldrents and Hearty before passing out.

MORTGAGE

Pecunia's nurse or duenna in Jonson's The Staple of News. Symbolically, one form of financial contract, therefore one who allows access to money.

MORTIGUE

With Doysells in Sampson's The Vow-Breaker, one of the Colonels of the French army in Scotland who treacherously bring their soldiers out of Leith to stand against the English as the latter parley with the Queen Regent of Scotland. After retreating and losing the French colors at the Battle of Leith, he and Doysells lead a party of Frenchmen in women's clothing into the English camp in hopes of surprising them. Having succeeded in killing one Englishman, he trades insults with Sir Jarvis Clifton. Eventually, Clifton's assertion of Queen Elizabeth's superiority over Mary Stuart prompts him to challenge the English knight to single combat. Clifton vanquishes him but lets him go, bidding him be equally merciful to the English forces. After the siege of Leith, Mortigue leaves the town with Doysells, ready to fight hand-to-hand with the English, but the fight is stopped by a message from the rival queens' "commissioners" in Edinburgh. After peace is concluded, he cedes the town of Leith and feasts the English army.

MORTIMER **1592

Outspoken critic of Edward II's favorite, Gaveston in Marlowe's Edward II. Mortimer joins with his uncle, Mortimer Senior, Lancaster, and other nobles in open rebellion against Edward over Gaveston. When Mortimer Senior, commander of English forces in Scotland, is captured, Mortimer demands that Edward ransom him, and the king's refusal further disaffects the two. Mortimer helps capture Gaveston, but is later defeated and captured by Edward's forces. Sent to the Tower, he escapes to France by drugging his guards. He joins Queen Isabella, who is mutually romantically attracted to him, and their forces return to England and defeat Edward II's army. Reveling in his power, Mortimer has Edward murdered, Kent beheaded, and Prince Edward crowned Edward III. When Edward III overturns the regency to rule in his own right, he orders a traitor's death for Mortimer. The historical Mortimer returned from France with Isabella in 1326 and was hanged by Edward III in 1330.

MORTIMER**1597

The family name of Edmund, Earl of March, and his Welsh wife, Lady Mortimer in Shakespeare's 1 Henry IV and also Edmund's nephew, Edmund Mortimer, also an Earl of March, who appears in Shakespeare's 1 Henry VI

MORTIMER**1623

Lord Mortimer is Kate Percy's brother and allegedly Richard II's named heir to the English throne in ?Dering's The History of Henry the Fourth. At the beginning of the play, it is reported that he has been captured by the Welsh lord Glendower. In reality, Mortimer and Glendower have struck an alliance and are joined in rebellion by Harry Percy. The three men plan to depose the king and split the kingdom into three equal parts. The alliance is joined by marriages. Hotspur is married to Mortimer's sister and Mortimer is married to Glendower's daughter. Mortimer travels with Percy to Shrewsbury. His fate is not reported in the play; however, in Shakespeare's Henry VI, Mortimer appears.

MORTIMER, EARL of MARCH

Mortimer, Earl of March, is Edward's chief agent against the rebellious Welsh in Peele's Edward I. Having fallen in love with Elinor de Montfort, Mortimer is distressed in the extreme when Edward hands her over to Lluellen. After leading Edward's forces to victory over the Welsh rebels, Mortimer has Lluellen's head sent to the king, and when Elinor expresses her great pain at the undoing of the man she loved, Mortimer assures her that she may be easily restored to happiness if she will take his advice and accept his proposal of marriage.

MORTIMER, EDMUND

Edmund Mortimer, Earl of March in Shakespeare's 1 Henry VI, is uncle of Richard Plantagenet, an advocate of his nephew's claim to the throne and thus a Yorkist. He explains the succession to his nephew, explaining that the Mortimers have been treated unjustly by the Lancastrians. He dies during II.v and his body is carried away. [Note: Shakespeare is confused about Mortimer, whom he seems to have mistaken for Lionel Mortimer, son to one of Hotspur's allies who was placed in the Tower and died at about the time of the play. Edmund Mortimer had become a friend and loyal supporter of Henry V and fought bravely with him in France. He became one of the Regents of Henry VI as well as Lieutenant of Ireland and died there in 1424 of plague. He was nephew to the Edmund Mortimer, Earl of March, that appears in 1 Henry IV]

MORTIMER, LADY

Daughter of Owen Glendower, this wife of Edmund Mortimer the Earl of March is known for the beauty of her Welsh song in Shakespeare's 1 Henry IV; indeed, she speaks only Welsh, thus offering a sweet challenge in communication to her husband, who speaks no Welsh at all.

MORTIMER SENIOR

Lord Mortimer of Chirk in Marlowe's Edward II. He is described as Mortimer Senior in the Dramatis Personae to distinguish him from his nephew, Mortimer. Mortimer Senior joins with his nephew and other barons in rebellion against Edward II to rid the court of Gaveston. In a brief moment of reconciliation, Edward recognizes Mortimer Senior's achievements in foreign war by appointing him commander of English forces against the rebellious Scots. When Mortimer Senior is captured by the Scots, however, Edward II deflects the younger Mortimer's plea to ransom his uncle.

MORTIMER, SIR HUGH

Sir John Mortimer and Sir Hugh Mortimer, uncles of Richard, Duke of York in Shakespeare's 3 Henry VI, die defending him against the forces which Queen Margaret has assembled to defend her son Edward Prince of Wales's right to inherit the throne from Henry.

MORTIMER, SIR JOHN

Sir John Mortimer and Sir Hugh Mortimer, uncles of Richard, Duke of York in Shakespeare's 3 Henry VI, die defending him against the forces which Queen Margaret has assembled to defend her son Edward, Prince of Wales's right to inherit the throne from Henry.

MORTIMER, SIR JOHN or LORD

When Jack Cade mounts a rebellion in Shakespeare's 2 Henry VI, he calls himself by the pseudonym Sir John (or Lord) Mortimer, claiming to be the long-lost secret son of Edmund Mortimer, Duke of March and the Duke of Clarence's daughter.

MORTON**1590

Morton is one of the three nobles in Greene's James IV who tell Dorothea about his concerns over the king's behavior. He is subsequently mentioned as having been captured by the King of England.

MORTON**1591

Morton is a serving man in the anonymous True Tragedy of Richard III who comes on stage after the death of Edward IV. A citizen approaches Morton and demands repayment of a loan. Morton tells the citizen that the current civil uncertainty (i.e. Edward's death) is more pressing business than a small loan. Morton sees Mrs. Shore and thanks her for saving his son. When Mrs. Shore predicts that she will be abandoned by her friends, Morton refutes the claim. When Mrs. Shore sees Morton again, her prophesy proves correct: because of Richard III's command that Mrs. Shore be left without safe haven, Morton shuns her in the street at her time of greatest need.

MORTON **1597

Morton arrives at the home of the Earl of Northumberland to confirm the news about the Shrewsbury tragedy in Shakespeare's 2 Henry IV.

MORTON**1623

Morton is the rebel officer in ?Dering's The History of Henry the Fourth. He is charged with reporting the news from Shrewsbury to Northumberland. Morton is sympathetic toward the Earl's loss, but tells him all the same that Percy is dead and that the cause is lost.

MORTON, JOHN

Morton is noble, specifically a knight in the anonymous Jack Straw. He brings the news to King Richard II that the commoners of Kent are in rebellion. The commoners hold his wife and children as hostages. Morton urges the king to meet with the rebels to learn their intentions. He expresses support for the king but is able to speak with the commoners, whom he urges to talk with the king. He labels the commoners as unnatural because they are in rebellion and thus involved in incest against their country. Morton worries that the commoners' experience with blood will end badly for the country. He speaks the judgment that even though the commoners deserve hanging for rebelling against the king, that King Richard II is going to pardon all of them except Wat Tyler and Parson Ball.

MORTON, SIR HARRY

Sir Harry Morton is Vice-Admiral to King Edward in Thomas Heywood's 1 Edward IV. At the execution of Falconbridge, Morton urges the rebel to discharge his conscience, confess, and die a Christian.

MORULLA

Mother of Piperollo, wife to Fabio, and old nurse of Paulina in Shirley's The Sisters. Piperollo tries to appease Frapolo and the other bandits by betraying Fabio and Morulla, but the bandits double-cross him and hand him back to his parents, who kick him out in disgust. Piperollo complains that Morulla has "a deadly lift with her leg." At the end of the play, thinking that Paulina is about to marry Prince Farnese, Morulla and Fabio reveal that the true Paulina died under their care and the apparent Paulina is in fact their daughter, substituted by them in infancy.

MORUS

Morus is a page to Asotus in Jonson's Cynthia's Revels. When Moria sees that Asotus lavishes rich gifts on the ladies, she intends to control his prodigality and turn it in her favor. Thus, she recommends him a new page, a nephew of hers. Morus enters following Asotus and Moria, who re-join the party of nymphs and gallants at court. Asotus tells Morus to persuade his aunt to give him her picture by any means, and Morus entreats Moria to do so. Moria pretends to accept reluctantly and she uses Morus as an intermediary, thus indicating he is her favorite. Morus tells the courtiers that Asotus gave him his purse and has promised him a fine dog, which he will have drawn with his picture. Morus acts as an intermediary between Asotus and the nymphs, introducing the extravagant gallant to the ladies and mediating Asotus's rich gifts to the ladies. When Argurion pretends to faint, probably in order to prevent Asotus from spending his money on the other nymphs, Morus follows Asotus, helping his master to carry Argurion away. Morus re-enters reporting that Argurion kissed him when they were alone and made a pass at him. According to Morus, the fickle Argurion said she used to love Asotus but he cast her off and now she loves his page. When Asotus gives a ruby ring to Anaides as a token of their acquaintance, Morus says he loves his master well. Flattering Asotus and entreating him to love Morus for his aunt's sake, the page alludes that he would like to have his master's new clothes when he has done with them. When the masters leave, after having drunk of the miracle fountain water, the pages stay behind and gossip, then they leave. It is understood that Morus attends Cynthia's revels with the other impertinent pages and shares in the punishment inflicted on the self-conceited nymphs and gallants.

MOSBIE

A blackguard and paramour to Arden's wife, Alice in the anonymous Arden of Feversham. He and Alice are the chief conspirators in the plans to murder Arden. He comes to fear that he can trust none of his co-conspirators and in the end he will have to kill Greene, Michael, Clarke, and even Alice. In an attempt to kill Arden with swords, Mosbie is wounded. Arden is later convinced that all was in jest and he overreacted and he apologizes to Mosbie. Reconciled, it is Mosbie who invites Arden to a game of backgammon during which he is murdered. After Black Will drags Arden to the ground with a towel during the backgammon game, Mosbie is one of the three who stabs Arden. The other two are Shakebag and Alice. He and Green take the body to the Abbey to hide it. Mosbie and Susan are sentenced to be executed in London at Smithfield.

MOSCA

A servant to Volpone in Jonson's Volpone. His name means fly. Mosca assists his master in gulling those who seek to be named Volpone's heir. Mosca assures them all that that they have been made Volpone's sole heir and that Volpone is very near death. When Volpone lusts after Corvino's wife, Celia, Mosca convinces Corvino to offer her to Volpone. Later, when Bonario seeks to expose Volpone's misdeeds, Mosca enlists all his gulls, Voltore, Corvino, Corbaccio and Lady Would-Be, to defend Volpone. In court, Mosca orchestrates the false testimony of all of them. Later, Mosca participates in the charade in which Volpone is supposed dead and he, Mosca, has inherited. But when the matter once again comes before the court, Mosca takes advantage of the situation and tries to extort money from Volpone. When Volpone reveals all, Mosca is sentenced to whipping and imprisonment.

MOSEH LEX

The law of Moses in Bale's Three Laws. He represents the law that codified the relationship between God and Man, and was represented by the tables of the 10 Commandments. It is a law of retribution rather than of redemption, and Moseh Lex is supported by the Judges and Kings of the Old Testament. To attack him, Infidelity brings in Ambition and Covetousness, Covetousness in the shape of a lawyer, and Ambition in the form of a prelate. Between them they obscure and blind Moseh Lex, so that he is no longer able to lead the people toward God, which was his appointed task.

MOSELY

Family name of James and Lady Mosely in ?Brewer's The Country Girl.

MOSELY, LADY

Lady Mosely is Sir Robert's sister in ?Brewer's The Country Girl. She has just become a widow and rejects the idea of marrying again in spite of still being young and beautiful. She is visited by three suitors who wait to see her. She does not go to meet them as she only wants to be alone by herself. Being flattered by Sir Oliver, she promises him that she will marry him if ever she marries somebody in the future although it is not very likely to happen. Finally, in Act V, she goes to see Captain George in the hospital. There, she realizes that she misses Sir Oliver.

MOSES

I.
Moses is the fourth human to request God's mercy in Bale's God's Promises. He asks that God be merciful as he has been in the past. God asks if he should so quickly change his decree about idol worship, and Moses agrees that idols are an abomination, but asks that the worshippers be forgiven, or that Moses be removed from the book of the righteous. God still swears to punish idol worship, but to pacify Moses, he foretells the coming of Christ. Moses rejoices and sings praises to God.
II.
A "ghost character" in Bale's John Baptist's Preaching in the Wilderness. The Pharisee argues that his kind are the interpreters of Moses' law, and John Baptist responds that they corrupt the teachings. When the Sadducee tries to argue that they keep every point in Moses' five books, John counters that they have only outward show, no spirit or sense of forgiveness. These arguments are certainly backed up by the Heavenly Father, who announces that from now on, Moses' law is superceded by the teachings of Jesus Christ.
III.
A "ghost character" in Bale's The Temptation of Our Lord. Jesus refers to Moses as the reason his fast is the length it is. After Satan's first temptation, Jesus describes how God's word alone sustained Moses. When Satan tempts Jesus the final time, Jesus reveals that he knows who Satan is, and accuses him of causing Moses to doubt his faith.
IV.
Only mentioned in Jonson's The Alchemist. In an attempt to convince the skeptical Surly of the benefits of alchemy, Mammon claims that Moses and his sister wrote treatises of alchemy. The idea that Moses understood the mysteries of alchemy originates in Paracelsus, who mentions that Moses possessed the elixir.

MOTE

See "MOTH."

MOTH or MOTE**1595

Moth, Armado's page in Shakespeare's Love's Labour's Lost, plays Hercules as a child in the Pageant of the Nine Worthies.

MOTH or MOTE **1596

Mote, often rendered as "Moth" in modern-spelling texts, is one of the fairies in service to the fairy queen Titania in Shakespeare's A Midsummer Night's Dream. Mote is encouraged by Titania to "be good" to Bottom.

MOTH INTEREST

An old miser in Jonson's The Magnetic Lady. He has delayed Placentia's marriage because he wishes to continue controlling the 16,000-pound fortune that she will inherit. He presents a suitor, the courtier Bias, to Lady Lodestone; Interest has an agreement for a kickback from Bias after the marriage. After the quarrel with Captain Ironside, Interest has an apoplectic fit and is sadistically pummeled into consciousness by Doctor Rut. He recovers his spirits when he learns that Placentia has delivered a child and is no longer marriageable; he makes up with Bias by agreeing to forgive his debts. He (falsely) informs Lady Lodestone that Compass is the father of Placentia's child, but is confounded when Compass reveals the truth about the switched girls (Pleasance and Placentia) and his marriage to Pleasance. Convinced by Bias that they can entail the inheritance on Placentia if Bias marries her, he agrees. Apparently delusional, he falls down a well hunting for hidden money, but suffers only a wetting. Gloating, he produces Placentia and Bias, now married, and claims her inheritance. Compass arrests him, though, and threatens to charge him, Polish, and Mother Chair with infanticide if they do not produce the child.

MOTH, ROBERT

An antiquary in Cartwright's The Ordinary. Because he is devoted to his old books, he is easily fooled into wooing and marrying Joane Pot-lucke. His speech is Chaucerian, sometimes containing actual fragments of Chaucer.

MOTHER**1561

The Mother in the anonymous Pedler's Prophecy comes looking for her daughter, wondering why it is taking her so long to buy needles. She is at first suspicious of the Pedler, but is quickly awestruck by his tales of a dragon that eats old women. After the Father invites the Pedler to dinner, the Mother takes the daughter home to prepare the meal and the ale. Apparently, the Mother is still secretly practicing Catholic rites, because the Artificer describes how the Pedler rebuked her for her images and rosary, which she claimed to love better than the new gospel.

MOTHER**1561

Mother of child and wife of Praxaspes in Preston's Cambises. Laments the murder of her son by Cambyses.

MOTHER**1588

Speech heading for Lady Fauconbridge in the anonymous 1 Troublesome Reign of John.

MOTHER**1597

A "ghost character" in Shakespeare's 1 Henry IV. Unnamed and mentioned only in passing by Prince Hal, the term refers to Hal's mother.

MOTHER**1638

Mother of the Bride in Nabbes' The Bride. She first appears along with her husband (the Father) and the Bride, on what is supposed to be Goodlove and the Bride's wedding day. When they learn that Theophilus has run off with the Bride instead, they 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. She reappears with her husband in act five, but speaks no lines; she is only an observer as her husband helps uncover Raven's villainy and accepts Theophilus as his new son-in-law.

MOTHER**1641

The mother of Simpleton in Cavendish's The Variety is herself a simple country woman, who would like to marry into the aristocracy. She is a rich widow but very old, so Voluble concocts a plan to fool suitors about her appearance by having the chambermaid Nice play the part of the Mother while the Mother acts as the chambermaid. Simpleton, her son, tries to hide the fact that such a countrified woman could be his mother. The Mother marries the avaricious Sir William, who is not bothered by the advanced age of his new wife.

MOTHER, ALTAMONT'S

A "ghost character" in Davenant's The Just Italian. When Altamont threatens Scoperta with death for her supposed fornication with Sciolto, she asks if he has no drop of blood from their mother that will speak for mercy. Altamont responds that his mother was a pattern of modesty who on her deathbed spoke of Scoperta's virtue, an assertion he now believes (wrongly) to be proved false.

MOTHER, ALTESTO'S

A "ghost character" in Davenant's Love and Honor. Altesto comments that he has sent his prisoner to his mother's house.

MOTHER, ANTIUS’

A ‘ghost character’ in Salusbury’s Love or Money. Xanthippi tells Antius plainly that her money has made him a man more surely than anything his parentage might have accomplished.

MOTHER, ANTONY'S

A "ghost character" in Shakespeare's Antony and Cleopatra. Pompey reminds Antony that he took in Antony's mother when Caesar and Antony's brother were at war.

MOTHER BOMBIE

The village cunning woman in Lyly's Mother Bombie. Mother Bombie may have been based on a real historical figure, as Reginald Scot mentions a "Mother Bungie . . . the great witch of Rochester" in his Discoverie of Witchcraft (1584). Various characters in the play consult Mother Bombie:
  • the first to visit her is the foolish Silena, who is given an ominous prophecy that she fails to understand.
  • Mæstius and Serena, who are troubled by their supposedly incestuous desires for each other, next consult Mother Bombie. Mother Bombie prophesies that they will be lawfully married tomorrow, and that they will each displace a fool and become wealthy in the process. Believing such events to be impossible and viewing the prophecy as a cruel joke, they insult Mother Bombie and leave despondent.
  • The plotting servants (Dromio, Riscio, Lucio, and Halfpenny) are the next to call on Mother Bombie. They visit her primarily to find out whether or not their stratagem will succeed, but they also ask about petty things such as lost objects, dream interpretation, and their personal fortunes. Mother Bombie answers all of their questions, and tells them that their plan will be successful even though they will be revealed as cozeners.
  • Finally, Vicinia consults Mother Bombie. She is troubled by the guilty secret of having switched her own children shortly after birth with those of Memphio and Stellio. Mother Bombie's cryptic prophecy convinces Vicinia to come forward, thus preventing the incestuous marriage between Accius and Silena and also restoring Mæstius and Serena to their proper birthright and allowing them to marry.
Mother Bombie's presence in the play has no direct influence on the development of the plot, with perhaps the exception of her effect on Vicinia, but her character is central to the village life of Rochester. Although it is unclear whether Mother Bombie has legitimate prophetic power or whether she is merely a keen observer of community dynamics, her prophecies are all proven accurate at the end of the play.

MOTHER BRIDE
Wife of Old Thomas Stukeley and mother of the title character, Captain Thomas Stukeley, in the anonymous Captain Thomas Stukeley. She disagrees with her husband's displeasure over the urban antics and overseas adventures of their son.

MOTHER BUNCH

A "ghost character" in the anonymous Narcissus. Mother Bunch is mentioned by the Porter when he tries to make the choir boys stay. Mother Bunch is a familiar character of British folklore. She was a celebrated ale-wife in Thomas Dekker in The Shoemaker's Holiday, performed in the Rose Theatre in 1599. She also appears in Dekker's Satiro-mastix, produced in 1601. Later, the popularity of this character grew to the extent that, in 1604, a work entitled Pasquil's Jests, mixed with Mother Bunch's Merriments was published. And, in 1760, there appeared, in two parts, Mother Bunch's Closet newly Broke Open containing rare secrets of art and nature, tried and experienced by learned philosophers, and recommended to all ingenious young men and maids, teaching them how to get good wives and husbands. Nowadays, Mother Bunch's Fairy Tales are very popular in nurseries.

MOTHER, CARELESSE'S

A "ghost character" in Brome's A Mad Couple. She was Carelesse's mother and Sir Thrivewell's sister.

MOTHER CHAIR

A midwife, brought to assist Placentia's labor in Jonson's The Magnetic Lady. She sends her son (and the father of the baby), Needle the Tailor, to find a nurse and secret the child away. She prepares a potion that allows Placentia to recover quickly enough so that Lady Lodestone won't suspect she's just delivered. She also reconciles Polish and Nurse Keep.

MOTHER, CHRISEA'S and EURIONE'S**1637

A "ghost character" in Glapthorne's Ladie's Privilege. Apparently dead, her memory is invoked by Chrisea during her argument with Eurione.

MOTHER, CLEANDER'S

A "ghost character" in Rutter's The Shepherds' Holiday. Eubulus recalls how his wife "was ready To be deliver'd of [Cleander's] sister" at the same time during which Queen Eudora was ready to give birth to her son.

MOTHER, CONCHYLIO'S

A "ghost character" in P. Fletcher's Sicelides. Conchylio informs Armillus that he knows that he is "Cosmae's boy" because his mother "told [him] so."

MOTHER, CORNELIO'S

A "ghost character" in Chapman's All Fools. Gostanzo describes Cornelio's mother as wise, but also lusty and flirtatious, and given to affairs, which her husband ignored to keep the peace.

MOTHER, DANDOLO'S

A fictional character in Davenant's The Just Italian. In attempting to maintain his disguise as Dandolo, Florello claims that Dandolo is his half brother, son of the same father, but his mother was a tripe-wife of Lucca.

MOTHER, DORIA'S**1637

A "ghost character" in Glapthorne's Ladie's Privilege. Upon Doria's return from battle, the Duke says that if Doria's mother was still alive, she would weep with joy at his success.

MOTHER, DRAMURGON’S

A ‘ghost character’ in Verney’s Antipoe. Dramurgon raped and murdered her.

MOTHER ELIZABETH SAWYER

A poor old woman suspected of witchcraft by her neighbours in Rowley, Dekker and Ford's The Witch of Edmonton. Their persecution encourages her to make a pact with the demonic Dog, who pretends to be obedient to her. She revels in her new powers, and the Dog exacts revenge on her neighbours, but, in the end, the Dog abandons her, and she is hung before an angry mob.

MOTHER, EUBELLA'S

A "ghost character" in Shirley's Love's Cruelty. The mother of Eubella is described by Sebastian as having been a virtuous woman.

MOTHER, FACETIA'S

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.

MOTHER, FLAVIANO'S

A "ghost character" in Shirley's The Imposture. She is described as an old lady who brain is far from decrepit.

MOTHER, FREE WILL'S**1513

A "ghost character" in the anonymous Hick Scorner. Free Will tells Perseverance that she "was a lady of the stews' blood born."

MOTHER, FULVIA’S

A ‘ghost character’ in Percy’s A Country Tragedy in Vacunium. As she dies, Fulvia asks Rhodaghond to commend her to her mother.

MOTHER GRUEL

Lethe's mother in Middleton's Michaelmas Term. She is forgotten by her son when he assumes his knighthood, but when Lethe's fortunes change, she ironically forgets him.

MOTHER HUBBARD

A "ghost character" in the anonymous Narcissus. Mother Hubbard is mentioned by the Porter when he tries to make the choir boys stay. Mother Hubbard is also a familiar character of British folklore, probably another ale-wife. She became extremely popular thanks to Old Mother Hubbard, a nursery rhyme written by Sarah Catherine Martin and printed in 1805, which was certainly based on earlier material, as the inclusion of that name in Narcissus: A Twelfe Night Merriment proves.

MOTHER HUBBARD'S SON

A "ghost character" in the anonymous Narcissus. Son to Mother Hubbard. He is mentioned by the Porter when he tries to make the choir boys stay.

MOTHER, IMAGINATION'S**1513

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

MOTHER, JAMIE and HENRIQUE'S

A "ghost character" in Fletcher and Massinger's Spanish Curate. Jamie speaks of her while attempting to point out to his brother Violante's negative influence.

MOTHER JOURDAIN

An alternate designation for Margery Jourdain, the witch in Shakespeare's 2 Henry VI.

MOTHER, KNOWLITTLE'S **1629

A "ghost character" in Randolph's(?) The Drinking Academy. When Whiffe praises Knowlittle for being a quick study in the art of quarreling, Knowlittle says that he takes after his mother.

MOTHER, LELIA'S

A "ghost character" in Davenant's Love and Honor. Alvaro urges Frivolo to marry Lelia and mentions as incentive that Lelia's mother is rich in pewter and wine.

MOTHER, MARGARET'S

A "ghost character" in Massinger's A New Way to Pay Old Debts. Margaret's mother (and Overreach's wife) is the sister of Welborne's father, Old Sir John Welborne, and, thus, Welborne's aunt. She is also, Overreach claims, to blame if Margaret should "prove modest" and "spoil" the match made for her by Sir Giles with the Lord Lovell.

MOTHER, MARIA’S

A ‘ghost character’ in Salusbury’s Love or Money. Juristis claims to have loved Maria in her mother’s womb when first she announced her pregnancy.

MOTHER MIDNIGHT

She is the mother of Lelia's Nurse and grandmother of Pegge in the anonymous Wily Beguiled. She has been looking after Pegge in her own home but finds her so disobedient that she wants to return her to her mother. The nurse persuades her to let her daughter, Pegge, stay another week. Mother Midnight invites Pegge and Wil to her house for a bag barley pudding and some beer so that he will know how to find their house another time. Later she promises Pegge a variety of pots and dishes for setting up house with Wil and then invites them back for more bag pudding. She is present at the end of the play when Wil and Pegge agree to marry the following day, and in this way she rids herself of Pegge.

MOTHER, NEANIAS' **1627

A "ghost character" in Randolph's Plutophthalmia. Sometimes Neanias received a French hood from Anus for his mother.

MOTHER, NERINA'S

A "ghost character" in Rutter's The Shepherds' Holiday. Nerina claims that, when her maid Corsica was stung in the face by a bee, she eased the pain by speaking a charm close to the place affected which her mother had taught her.

MOTHER, NOVICE'S

A "ghost character" in Hawkins's Apollo Shroving. Novice refers to his mother throughout the play. Novice is impressed by Captaine Complement and offers to steal various things from his mother–a "Peacocke" (an offer which he later rescinds) and a "silver bodkin–in order to entice the Page to speak on his behalf to "the mighty man." When Complement asks Implement if Novice's parents are rich, Implement claims that Novice's mother "would like her sonne better in a scarfe and ruffled bootes, then in a gowne with a fardell of bookes." After Complement agrees "to entertaine" Novice "upon probation," the boy runs to his mother "for some cash for [his] entrance" and the Captaine thanks Implement for bringing "a pretty fat fowle to [their] net." Furthermore, at his sentencing at the play's end, Novice tries to bribe Museus by promising to get his mother to send him "a couple of Capons."

MOTHER, OLINDA'S and PERINDUS'S

A "ghost character" in P. Fletcher's Sicelides. Tyrinthus claims that Olinda's and Perindus's mother died during Olinda's birth in order "to give her infant breath."

MOTHER, ORESTES'

A "ghost character" in Heywood's 1 The Iron Age. In the epilogue, Thersites claims that the Mother of Orestes (although not named, this is certainly a reference to Agamemnon's wife Clytemnestra) will appear in the second part of the play.

MOTHER PRATTLE

The midwife in Sampson's The Vow-Breaker who attends Ann at the birth of her child. She upbraids Ursula for being absent when the child was born and tells her she should have been there to learn about "the maxims and principles of child-bearing." Ursula calls her "Mother Midnight." She is much given to quoting Artimedorus. Despite Ann's pleas, she gets drunk and falls asleep, allowing Young Bateman's ghost to enter the room. She then joins in the search for Ann after Ann disappears from her childbed. She leads the gossips when they return with Ann's corpse, and tells how they found her drowned beside the river.

MOTHER, PEARLE’S

Only mentioned in Percy’s Cuckqueans and Cuckolds Errants.

MOTHER, PUPILLUS' **1639

A "ghost character" in Sharpe's Noble Stranger. She inherited her husband's estate but died 'last fall' and left all to her son.

MOTHER, QUEEN**1591

The Queen Mother (historically Eleanor of Provence) is involved in the public reception upon Edward's return from crusade in Peele's Edward I, and when the new king encourages the nobles to follow his lead and contribute to causes that will help provide for his wounded veterans, the Queen Mother donates five thousand pounds for surgeons to be employed for them and further offers an annuity of forty pounds to the Ancient, Edward's standard bearer, if he will become her personal beadsman.

MOTHER, QUEEN **1598

Another name used for Queen Elinor in (?Chettle and) Munday's Downfall of Robert Earl of Huntington. It is applied to her without apparent pattern.

MOTHER–QUEENE

Mother-Queene is the term used by Herod in Markham's Herod and Antipater to refer to Alexandra, mother of his wife Marriam.

MOTHER REDCAP

A "ghost character" in Thomas Heywood's The Wise Woman of Hogsdon. Although she does not appear on stage, Mother Redcap apparently runs an alehouse adjacent to the Wise-Woman of Hogsdon's lodgings. Young Chartley and Haringfield visit her establishment before going, half-drunk, to see the Wise-Woman, and the alehouse is mentioned elsewhere in the play as a local landmark.

MOTHER, RETRO'S

A "ghost character" in Hawkins's Apollo Shroving. Geron blames his son's scholarly hastiness and, thus, non-proficiency on Retro's mother. Geron also informs Museus that Retro's "Mother will runne madde for griefe" if her son is not treated by Apollo and Museus mercifully, and claims that he "shall bring [his] wife joyfull newes" when Museus claims that Apollo "cuts off the third yeere of [Retro's] punishment."

MOTHER, RIMBOMBO'S

A "ghost character" in P. Fletcher's Sicelides. Rimbombo assures Conchylio (who is disguised as Cosma) that he will not "disclose" the "sacred mysterie" which "she" imparts to him, not even to his mother.

MOTHER, SABELLI'S**1637

A "ghost character" in Glapthorne's Ladie's Privilege. Sabelli claims that Doria's impending death saddens him more than the report of his own mother's funeral would.

MOTHER, SCATHLOCK'S

Scathlock's Mother enters with Robin Hood after her sons are rescued by him in (?Chettle and) Munday's Downfall of Robert Earl of Huntington. Robin asks her to go home where she will be safe. Much asks her to send Jenny to them and she promises to do so.

MOTHER, SCHOOL–BOY'S **1641

A "ghost character" in Wild's The Benefice. She is upset that her son has not part in Pedanto's play and has said Pedanto will come short of a Christmas dinner or a kiss because of it.

MOTHER, SEPTIMUS'

A "ghost character" in Fletcher and Massinger's The False One.Three soldiers talk about the dramatic change in Septimus, and the Third Soldier says that it is amazing to see Septimus cry, since when his mother died he laughed and sang. The First Soldier adds that his mother dreamed, during her pregnancy, that she would give birth to a buzzard, and therefore hated her son.

MOTHER, SLUGGE'S

A "ghost character" in Hawkins's Apollo Shroving. Drudo asserts that Slugge's mother "was asleepe when [Slugge] wast begotten."

MOTHER, SPURIO’S

A “ghost character” in [?]Middleton's The Revenger's Tragedy. One of the Duke’s mistresses. Spurio calls her “a more uncertain woman’.

MOTHER–TONGUE, MR. **1632

In Hausted's Rival Friends, Zealous Knowlittle has a memorandum in his box to inform all the brethren that Mr. Mother-tongue will be standing in the shire on the first of June.

MOTHER, URINAL'S **1636

A "ghost character" in Glapthorne's Hollander. She told Urinal that his father was a doctor.

MOTHER WATERS

A "ghost character" in Greene's Friar Bacon and Friar Bungay. Mother Waters is mentioned by Miles as an innkeeper whose ale will put a "copper" (i.e. red) nose on Burden, even if Friar Bacon fails to animate his Brazen Head.

MOTHERS

The mothers 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. Emphasizing 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.

MOTTE, MONSIEUR

Only mentioned in the anonymous Blurt, Master Constable. Curvetto gives a flattering description of himself in his youth for Imperia's benefit. He fits his description in a time scheme, saying he looked youthful when Monsieur Motte was ambassador "here," presumably in Venice, but actually in London. The reference is to Bertrand de Salignac Fenelon, Seigneur de la Mothe, Ambassador to England from 1568 to 1575.

MOTTICILLA**1607

Lucretia Borgia's maid in Barnes's The Devil's Charter. Motticella assists Lucretia in the scene after Viselli's murder when Lucretia is pretending to look for her husband, is told that he is dead, and pretends to be shocked and grieved. Later, Motticilla brings the poison makeup to Lucretia, and then runs to get Alexander and the physicians when Lucretia begins to break out in a burning rash, screaming in pain. Lucretia grabs Motticilla and begs her forgiveness for having taught the woman deceit and cunning. Motticilla repents and holds the dying Lucretia.

MOTTO**1589

Motto is barber to the king in Lyly's Midas. When he clashes with the other servants over the King's golden beard, Motto becomes the victim of a comic revenge plot. The servants manage to trick him into saying that the King has assess' ears, for which Motto should (by law) have his own ears cut off. However, Motto begs for mercy and the servants let him go.

MOTTO**1599

A servant in the anonymous Wisdom of Doctor Dodypoll. He seeks to assist the mad Alberdure. He and Raphe argue over who is responsible for Alberdure's near drowning.

MOUCHE

Monsieur Le Mouche is the name Anthony adopts in Haughton's Englishmen for My Money when he disguises himself as a teacher of French, Dutch and Italian to Pisaro's three daughters.

MOULBAZON

One of the "new Court Officers" hired to replace the overly-nice gentlemen dismissed by the Duke in Fletcher and Middleton's The Nice Valour. Moulbazon is presented with a copy of Lapet's book on beatings.

MOULDY

Ralph Mouldy, recruited by Justice Shallow for military service with Falstaff, feels others are far fitter for the military and buys himself out for forty shillings in Shakespeare's 2 Henry IV.

MOUNCHENSEY

Family name of Raymond and Sir Richard in the anonymous The Merry Devil of Edmonton.

MOUNSIEUR

This courtier in Heywood's A Maidenhead Well Lost, tutor to the Prince of Florence, comments shrewdly on his master's love of Lauretta and other matters. Privy to the details of the bed-trick, he is so offended by Stroza's dissimulation that he challenges the malcontent to trial by combat, and by defeating him forces him to confess all his plots.

MOUNTAINEERS

Fictional bandits in Chapman's The Widow's Tears. They are reported by Lycus to have robbed Lysander and himself, slaying Lysander. The lie is part of the plot to test Cynthia's fidelity after the death of her husband, Lysander.

"MOUNTANTO," SIGNIOR

A nickname in Shakespeare's Much Ado About Nothing that Beatrice bestows on Benedick early in the play.

MOUNTAYNE

Mountayne is a goldsmith in ?Clavell's The Soddered Citizen, who has several servants. He is a Jew who defines himself as a citizen of the wide world, and he explains that he trades with many nations and all sort of men. He also boasts that he knows men very well and that he is a knave. When his presence before Undermine is requested by Sly, he goes instantly. When he finally arrives at Undermine's, he states he owes loyalty to him. Afterwards, the wealthy man reminds him of everything he has done for him. But Mountayne, for his part, also reminds him of the fact that both of them have escaped scandal. Then, he is invited by Undermine to take part in his knavery, and he accepts. Thus, he learns that, on the one hand, Undermine has plotted a plan to make Sir Wittworth marry his daughter, and, on the other, he wants him to rob the "Citye Chamber", buy a mannor and let him be "Ioynct Purchaser" upon the deed, without people knowing about it. Then he wants him to sell the property again, without including him in the contract. Therefore, when Undermine receives the money, he will dismiss the actual purchasers and share the profit with Mountayne. Later, Undermine goes even further, and gives him his niece's jewels for him to tell his varlets to rape Modestina and make her a wretch. After the tasks have been carried out, he asks the Undermine if it is true that Modestina has fled and that Sir Wittworth has gone mad. As they are talking, they realisz they are being spied by the servant of one of Undermine's creditors, thus, they put on a scene in which Mountayne is blamed for the loss of Undermine's fortune, in an attempt to dissuade the servant from asking the wealthy man for the money he owes to his master. Afterwards, Mountayne informs Undermine that his daughter has married Brainsicke. When, later, the creditors come to seek Undermine, Mountayne is abused by the latter, and promises–although he does not really mean it–to pay the creditors their money back to have his good name restored in the city. Actually, he is amazed when, in the end, Undermine becomes an honest man and pays his creditors the money he owed them–given that they had agreed to cheat and cozen. Therefore, he will regard the Undermine as a traitor.

MOUNTEBANK

A "ghost character" in Brome's The Weeding of Covent Garden credited, by Nicholas Rooksbill, for having initiated the moral slide of Covent Garden.

MOUNTFERATO, MARQUESSE

A "ghost character" in ?Ford's The Laws of Candy. The "Marquesse" Mountferato, named Governor of Candy by Baldwin, was accepted by Candy, who made him General in hopes that Baldwin would send assistance against the Turks. After the Turkish danger passed, Mountferato accepted money from Venice in return for Candy, then absconded.

MOUNTFERRAT

Mountferrat is a Knight of the Order in Fletcher's The Knight of Malta. He is obsessed with Oriana. When she rejects him, he plots with her servant Abdella, who is in love with him, to have Oriana accused of collusion with the Turkish Basha. He is accused of lying by Gomera, who challenges him to a duel, which he willingly accepts. However, he privately and reluctantly agrees to allow Miranda to fight in his place. He remains in contact with Abdella after Oriana is proved innocent and married to Gomera, still attempting to attain her. When Abdella tells him that she has poisoned Oriana, he flies into a rage, first threatening her and then banishing her from his sight. However, when she reveals that Oriana is only drugged, Mountferrat manages to convince Abdella (and perhaps himself) that he is still in love with her and needs only to enjoy Oriana once before they are married. They go, along with Rocca, to Oriana's tomb planning to kill her once Mountferrat has finished with her, but they find her missing. They are discovered by Gomera, who believes Mountferrat has stolen the body, and he again challenges Mountferrat to a fight. Gomera wounds Mountferrat and Rocca, and is only stopped by Abdella, who shoots him in the arm. The pistol shot brings Norandine and the Watch. Mountferrat and the others are arrested. In the final scene, after Oriana is restored, Mountferrat is ceremoniously stripped of his rank as knight, forced to marry Abdella, and banished.

MOUNTFORD**1625

A Lord attending the King in William Rowley's A New Wonder: A Woman Never Vexed.

MOUNTFORD**1637

Mountford and Glascot are English ambassadors to Scotland in J.W.'s The Valiant Scot. They order Wallace to submit to Edward and confess himself a traitor. Wallace has Glascot blinded and Mountford's tongue cut out. Then, in disguise, he leads them back to the English camp, where they tell the English commanders what has happened.

MOUNTFORD, DUKE of BRITTANY

Duke of Brittany in the anonymous King Edward III. After Salisbury helps fight and kill Charles of Blois, Mountford's enemy who has stolen Brittany, Mountford swears allegiance to Edward.

MOUNTFORD, SIR CHARLES

A Yorkshire gentleman, imprisoned after a quarrel with Sir Francis Acton, in which two of Sir Francis' servants (his huntsman and falconer) are killed in Heywood's A Woman Killed with Kindness. Almost destitute on release, his last remaining wealth is swindled away by Shafton, and he is returned to prison, this time for his debts. When released by Sir Francis, he voluntarily offers him his sister Susan, "as a rape or lustful prey." He is moved when Sir Francis offers to marry Susan instead, and the two men are reconciled.

MOUNTSORRELL

A supporter of Guise in Marlowe's Massacre at Paris; Mountsorrell murders Seroune.

MOURNER, FIRST

One of the Mourners accompanying the funeral procession for Vandermast, which enters just after the Duchess' false procession has exited in Drue's The Duchess of Suffolk. The First Mourner denies any knowledge of an earlier funeral procession when questioned by the English Captain.

MOURNERS**1513

A "ghost character" in the anonymous Hick Scorner. A sin destroyer. 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.

MOURNERS**1599

There are two Mourners who figure in the anonymous A Larum for London. They are both also called Soldier. They carry Prince Dalua as if he were a corpse and tell him when he can get out of hearse.

MOURNERS**1606

The "counterfeit" attendants at the feigned funeral of Ephestian Quomodo in Middleton's Michaelmas Term.

MOURNERS**1618

A number of mourners–two in front, others behind–accompany Leonida to her supposed execution in the anonymous Swetnam, helping to sing a dirge for her.

MOURNERS**1625

Mourners attend the funeral of Nennius in III.vii of Fisher's Fuimus Troes.

MOURNERS, A VISION of THREE

Dressed in black gowns and hoods in Percy’s A Country Tragedy in Vacunium, they appear at the end of act four to perform in chorus a warning seen by Fulvia and Jeptes to repent or else rue the day.

MOURNING **1617

A "ghost character" in the anonymous Pathomachia. One of the nine inferior Affections. An agent of Grief who attended the Parliament during Grief's absence. Also known as Penance.

MOUSE

Mouse, also sometimes called 'the clown,' is the rustic clown of the anonymous Mucedorus who becomes Segasto's servant. At the end of the play, Mouse arrives at court to tell the King of Valencia that his daughter Amadine is safe, and the king promises to reward him with silver and gold for being the bearer of good news.

MOUSE, MASTER

Master Mouse is the name Frisco the clown mistakenly uses in Haughton's Englishmen for My Money for Monsieur le Mouche (Anthony in disguise), the Frenchman that Frisco selects to teach Pisaro's three daughters after Anthony has been dismissed.

MOUTNEY

Moutney is an English courtier in [?]Wilson's Fair Em, the Miller's Daughter. He is a sworn friend of Valingford, but they are both in love with Em, whom they woo disguised as commoners (because they have absconded from accompanying King William to Denmark). They are annoyed to discover that they are both wooing Em, but they agree to abide by fortune's choice in the matter. Em spurns Moutney. He therefore assumes that she prefers Valingford and quarrels with him, but he learns that Valingford has also been spurned. They return to Em, but she pretends to be deaf and blind, and so Moutney rejects her.

MOWBRAY

I.
Mowbray is loyal to John in Munday and Chettle's Death of Robert, Earl of Huntington. He helps him organize the masque that will allow him to visit Matilda secretly, although it is Chester, not Mowbray, who accompanies John. Mowbray does arrive with John at Guildford. When John cannot find Lady Bruce's son, John orders Mowbray to burn the castle down, which he is willing to do, although it turns out not to be necessary. The threat alone is enough to force Lady Bruce to reveal her son. Mowbray arrives after the first battle to warn John that Fitzwater is rallying and they must begin a new fight. Although he is with John when John visits Dunmow Abbey to try to persuade Matilda to submit, he does not speak. In the final scene, he asks questions about the treatment and last days of Lady Bruce and her son, but does not speak for or against the proposed rebellion against John.
II.
Of the King's party in Davenport's King John and Matilda. He is sent with Oxford to spy on and capture the Bruces's castle. Presumably, he is present amongst the unnamed witnesses who support the King during his ceremonial submission to Rome. Also presumably he is one of the disguised masquers who assist in the abduction of Matilda and part of the ensuing mêlée. When the King is denied entrance to Windsor Castle, Mowbray brings the news of the approach of Young Bruce's army of twenty thousand men, one of the reports which persuades the King that his cause is hopeless.

MOWBRAY, LORD THOMAS

Marshal of the Archbishop of York's troops, Mowbray is concerned about amassing enough troops to do well against the king in Shakespeare's 2 Henry IV. Mowbray employed the youthful Falstaff once as a page and is firmly against the peace parley and disbanding decision agreed upon by the factions.

MOWER

A Mower in Marlowe's Edward II. He spies Edward II, Baldock, and Spencer fleeing into the Abbey of Neath, reports this, conducts Rice ap Howell there, and identifies the three hiding in religious garb. The Mower asks for compensation and is promised it.

MOYSES

Moyses is one member of a group of thieves inhabiting the forested areas outside of the royal court in Shakespeare's The Two Gentlemen of Verona. He and Valerius chase Sir Eglamour as others in the thieving band capture Silvia.

"MR USHER"

A derisive name for Formal, used by Newman in Cavendish's The Variety.

MUCEDORUS

Mucedorus, Prince of Valencia, disguises himself as a shepherd in order to see whether he can love Amadine, the Princess of Aragon in the anonymous Mucedorus. They do fall in love after Mucedorus rescues her from an attacking bear, but their plan to run away together is foiled when Amadine is captured by Bremo, the wild man of the forest. Mucedorus, not knowing why Amadine has failed to meet him, decides to live in the forest as a hermit. When he, too, is captured by Bremo, Amadine convinces the wild man to make the hermit a slave rather than a meal. Eventually, Mucedorus and Amadine manage to escape and return to Aragon. When Amadine's father (King of Aragon) hears the whole story he agrees to their marriage, but only if Segasto will relinquish his claim to Amadine. Segasto concedes, and Mucedorus' father (King of Valencia) arrives just in time to celebrate his son's marriage.

MUCEDORUS **1607

A fictitious character in Beaumont's Knight of the Burning Pestle. It is a part that Rafe has acted in the past. He played Mucedorus for the wardens of the grocer's company.

MUCH

I.
Much agrees to go with Robin Hood in search of George in Greene's George a Greene, and beat him if he can. He takes Little John's staff with him. He is second to fight George, and is beaten.
II.
Much, the miller's son, is a friend of Robin Hood and a clown figure in (?Chettle and) Munday's Downfall of Robert Earl of Huntington. When Warman and the Sheriff try to accost Little John, Much mocks both Warman and his wife. He tells Robin that Scarlet and Scathlock are to be hanged or, as he puts it, set at liberty, and then goes with Marian to Widow Scathlock's house. He asks the Widow to send Jenny into the forest. When Little John announces the articles of Robin's outlaws, Much objects to respecting all women and not using any, since he wonders how he will treat Jenny. With Tuck and Scarlet, he meets with a disguised Ely in the forest and jokes with Ely about his supposed town of origin, although he leaves in apparent anger when Tuck wants to speak to Ely alone. When Warman enters the forest and tries to hang himself, Much offers to help him by stringing up the rope, but he is stopped by Fitzwater. Much is one of the outlaws who meets with Richard, and he runs away, rushing to tell Robin to flee. Robin tells him there is no need to flee, and when Little John arrives, having been made a squire by Richard, Much regrets that he did not stay, for he is sure he would have been made a knight or a lady. (See also "CLOWN").
III.
Much is one of Robin Hood's men in Munday and Chettle's Death of Robert, Earl of Huntington. He is hunting with King Richard and tells Richard that Scarlet and Tuck are chasing the deer he could not fell. While they are out, he asks the King for a boon, which is to help him marry Jenny and inherit his father's mill. Richard promises to do so. He offers to help Jenny with the cooking, much to Marian's relief, and when it is discovered that Doncaster and the Prior have plotted against Robin and Richard, Much helps Tuck drag the Prior in before Richard.

MUCH SENIOR, the MILLER

A "ghost character" in Munday and Chettle's Death of Robert, Earl of Huntington. Much's father, who is also named Much, is mentioned by Much as the owner of the local mill, an inheritance Much is eager to keep in the family.

MUCHCRAFT

Muchcraft is an Attorney in Chamberlain's Swaggering Damsel. In Act Three, he is talking to his man, Budget, about one of his cases, William Woodcock versus Tristam Widgroom, when Hilts pays him a visit. With his master, they want to know what can be considered to be trespassing.

MUCKHILL SIR OLIVER**1606

A rich city Knight and suitor to the Widow in Middleton's(?) Puritan. After Pyeboard and Idle's machinations are revealed, he marries the Widow.

MUFFTY

The Mufti presides in the dumbshow depicting the formal rites of Ward's conversion, assisted by many other Turks in Daborne's A Christian Turned Turk. He takes Ward's oath and robes him in Turkish style and supervises Ward's ritual rejection of wine, and humiliation of a Christian. He reappears to witness the aftermath of the murders at the house of Benwash.

MUGERON

A courtier in Chapman's Monsieur D'Olive. Along with Roderique, he enjoys the antics of the foolish D'Olive. When D'Olive renounces court life, he plots with Roderique to forge a love letter from the lady Hieronime to draw D'Olive back to Court and embarrass himself.

MUGEROUN

A lord in the service of King Henry III and beloved of the Duchess of Guise in Marlowe's Massacre at Paris. Mugeroun, implicated in an affair with the Duchess of Guise, is killed by a soldier under orders from Guise.

MUGEROUN, MONSIEUR

Mugeroun is a French courtier sent by Lewis of France to negotiate with Edward in Thomas Heywood's 2 Edward IV. Mugeroun brings to Edward the French king's offer to meet and discuss peace.

MULBERY **1641

A "ghost character" in (?)Shipman's Grobiana's Nuptials. An Innkeeper and Grobian. He is on the list of invitees Oyestus is sent to cry into the Grobian feast.

MULCIBER

The armorer to the gods, working (according the stage directions) from a shop made onstage in Udall's? Thersites. He is bullied by Thersites into providing him with an armor and sword, after much arguing about whether Thersites wants a sallet (helmet) or sallet (salad).

MULETEER

One of Bianca's foolish suitors in Fletcher, Ford, Massinger and Webster's The Fair Maid of the Inn: a mule-driver turned monster-keeper. Requests Forobosco's help in finding new wonders.

MULLEASSES

Mulleasses is a Muslim Turk expert in sedatives and poisons in Mason's Mulleasses. Mulleasses orders his servant Eunuchus to attend his lover Timoclea. Mulleasses is engaged in a partnership with Borgias. In exchange for Borgias's daughter Amada, Mulleasses agrees to murder Timoclea. Amada refuses Mulleasses as a suitor. Instead of poisoning Timoclea, Mulleasses drugs her into a deep sleep instead. When he wakes her, he convinces her to seek vengeance against Borgias and Amada. After Timoclea kills her family, Mulleasses rejects her. It is revealed that Mulleasses wishes to possess Julia for himself. As he attempts to force himself upon Julia, Mulleasses is discovered. He and Borgias fight to their mutual death and confess their crimes.

MULLET **1641

A "ghost character" in (?)Shipman's Grobiana's Nuptials. The fishmonger is in love with Grobiana and has been saving fish for her so long that they have begun to smell.

MULLI

A Turk of Tunis in Daborne's A Christian Turned Turk, who accompanies the Muffty to the house of Benwash to witness the aftermath of the murders there. Presumably the Turk who demands the bastinado and large fine for Ward's alleged assault on Voada.

MULLIGRUB

Along with his wife, Master Mulligrub runs a bawdy tavern in Marston's Dutch Courtesan. His admittedly crooked operations are just a bit too corrupt for Cockledemoy, who attempts to reform Mulligrub by giving him a taste of his own medicine. Assuming a series of disguises, Cockledemoy tricks Mulligrub out of three bowls, a bag full of money, a cup, and a salmon, and he ends up getting Mulligrub sent to the stocks and then to prison. On his way to be hanged, Mulligrub delivers a confession and offers to forgive Cockledemoy. Upon hearing this, Cockledemoy, disguised as a sergeant so as to more easily go about pick-pocketing, reveals himself. Mulligrub, now a free man, is overjoyed.

MULLIGRUB, MISTRESS

Along with her husband, Mistress Mulligrub runs a bawdy tavern in Marston's Dutch Courtesan. Her "education," as she calls it, seems mostly to have been comprised of lessons in lovemaking, and her teachers have been a slew of her husband's customers. Cockledemoy tricks her just as easily as he tricks Master Mulligrub, first into giving him a gold cup and then into giving him a salmon. Mistress Mulligrub seems to be oblivious to Cockledemoy's true identity: at the end of the play, when Cockledemoy is hinting that he'll be happy to take Mulligrub's place once he's hanged and she's a widow, Mistress Mulligrub offers Cockledemoy an open invitation to her "mutton" and "featherbed," and she seems quite disappointed when, in the end, her husband is set free.

MULLISHEG

I.
After successfully extending his rule over both Fez and Morocco, Mullisheg determines to begin taxing European traders as a way to restore his depleted treasury in Thomas Heywood's The Fair Maid of the West, Part One. At the same time, he decides to gather a number of European women to serve as concubines, and he thus sends for Bess when he hears of the arrival of an "English lady." When he meets Bess, he is smitten with desire for her, but eventually her transparent virtue elicits his better nature, and as a result he is prevailed upon to be merciful to many of the visiting Europeans. Because her companion Clem pleads for the French Merchant, the King orders that the ship and goods which have been confiscated be returned to him. Again, when Clem intercedes for the Italian Merchant, some of whose men have been condemned to the galleys, Mullisheg orders their release. When Bess herself asks that the Preacher who has been sentenced to death for proselytizing be spared, the King orders it. Finally, when Spencer begins to plead for the English Merchant's ship and goods, Mullisheg grants their return even before Spencer has completed his speech. The King at last resigns himself to seeing Bess and Spencer married, and he commands a great wedding feast for the couple and promises to bestow great treasure upon them.
II.
Mullisheg is unable to control his lust for the visiting Englishwoman Bess in Thomas Heywood's The Fair Maid of the West, Part Two, and, alternately using threats and promises of reward, he makes Goodlack agree to arrange a tryst. He is tricked in bed when Goodlack replaced Bess with his own queen Tota. When it appears that Bess's party has escaped, he determines to execute Bashaw Joffer for having allowed Spencer to visit Bess on parole. Mullisheg is amazed when Spencer actually does keep his word and returns to face an almost certain death, and he is overwhelmed further when the whole party of English visitors come back to stand by their friend. This display of a loyalty and friendship that will hazard even death moves Mullisheg greatly. He decides to spare the Europeans, gives them great riches to take with them, and pronounces his intent to try to emulate the virtues Bess and her party have taught him.

MULLY HAMET
Often confused with Mully Mohamet in the anonymous Captain Thomas Stukeley, Hamet joins the alliance led by Don Sebastian, King of Portugal in the Battle of Alcazar against Abdelmeleck. His forces, despite initial success, are eventually defeated.

MULLY MOHAMET
The Ottoman ruler in the anonymous Captain Thomas Stukeley. He is enlisted by King Phillip of Spain and his attendants as a potential ally against the King of Fez at the battle of Alcazar in exchange for assistance in his own wars in Turkey. When the tide of battle turns against the allies, Mohamet, his son, and his armies, flee, leading to the utter destruction of the combined European forces and the death of their leaders, including Stukeley.

MULLYMAX, CAPTAIN GEORGE

George Mullymax is a captain that competed for the love of Lady Mosely three years ago in ?Brewer's The Country Girl. Not being chosen, he went abroad. Knowing that Mosely has died, George comes back looking for his beloved lady. He meets her suitors, whom he kicks out of the house. Later, he defies Sir Oliver to fight with him next day on a field. There, he realizes that he has no second to help him in the fight. In spite of being a brave soldier, he wounds himself trying to hurt Sir Oliver. Later, in the hospital, being told that Sir Oliver has taken care of him and that he has disappeared, George wants to send a ring to him to thank him. He is visited by Sir Oliver and they go to Sir Robert's house where he meets Margaret whom he discovers he prefers to Lady Mosely.

MULMUTIUS, DUNVALLO

Only mentioned, but mentioned several times in Fisher's Fuimus Troes. Dunvallo Mulmutius was a former king of Britain, a lawgiver, whose sons have "climbed the alps" and invaded Rome, as the bards sing. Nennius in his dying speech hopes to see him in heaven.

MULY MAHAMET, the MOOR'S SON

The boldly spoken young prince in Peele's The Battle of Alcazar promises to aid his father in threatening the unjust and partial gods who deny reign to his father and himself. He is dutiful and reassuring to his mother while they are in exile. The Moor gives his son to Sebastian as a hostage, and Sebastian replies that he will use the prince as a pledge of honor. During the Battle of Alcazar, the Moor's son warns him and gives him a horse to flee upon.

MULY MAHAMET, the MOOR

Ambitious and tyrannical in Peele's The Battle of Alcazar. Muly Mahamet, the Moor is doubtlessly the villain of the Battle of Alcazar. The Moor usurps the royal crown of Barbary. He viciously murders his two young brothers and his uncle, Abdelmunen, in eagerness to wear the crown of his father, Abdallas. The Moor withholds the kingdom from his uncle Abdelmelec, or Muly Molocco, the rightful Emperor of Barbary. The Moor is exiled in the wilderness of Mount Clario after defeat in a civil war with his uncle Abdelmelec, and from the wilderness he sends his embassy to seek aid at the Portuguese court. He promises Sebastian, the King of Portugal, that he will resign the royalty and kingdom of Morocco to Portugal in exchange for Sebastian's aid in regaining the throne. Sebastian joins forces with the Moor against Abdelmelec in the Battle of Alcazar. During the battle, he realizes that defeat is imminent and attempts to flee on horseback. This attempt to flee leads the Moor to his accidental, shameful death by drowning.

MULY MAHAMET SETH

Muly Mahamet Seth is one of the two younger sons of Muly Mahamet Xeque in Peele's The Battle of Alcazar. As a result of the victory against his nephew Muly Mahamet in civil war, he is named the true successor of the crown after Abdelmelec.

MULY MAHAMET XEQUE

A "ghost character" in Peele's The Battle of Alcazar. Muly Mahamet Xeque is the father of Abdallas, Abdelmunen, Abdelmelec, and Muly Mahamet Seth. During his lifetime, Muly Mahamet Xeque created the "perfect law" which stated that his eldest son would inherit the crown, but that he would in turn be succeeded by the next eldest brother, not by his own son. Thus, all the brothers may wear the crown.

MULY MUMEN

Muly Mumen is the King of the Moors, and leader of the invasion of Spain in William Rowley's All's Lost by Lust. In a battle with the Spanish, he is captured, and imprisoned by Julianus. He joins with his former enemy when Julianus decides to attack King Roderick. But when Julianus refuses to give him Jacinta's hand in marriage, he turns against him. He blinds Julianus and cuts out Jacinta's tongue. He orders the death of Antonio for criticizing the rebellion against Roderick, and enjoys watching the deaths of Margaretta and Dionyzia. He tricks Julianus into stabbing Jacinta, and then kills Julianus. Finally, he ascends the Spanish throne.

MULY XARIF

A "ghost character" in Peele's The Battle of Alcazar. Muly Xarif, or "Sheriff," is the father of Muly Mahamet Xeque and the grandfather of Abdallas, Abdelmunen, Abdelmelec, and Muly Mahamet Seth. A descendant of the line of Mahomet, Muly Xarif left his native Arabia with a store of gold and treasure, and planted himself in Barbary as the first of the Moors that have reigned over Barbary.

MUMBLE

A "ghost character" in Hawkins's Apollo Shroving. Novice names Mumble in a list of boys who have left "the satchell" and "turne[d] fine gentlemen" while entreating Complement to "consider" tutoring him, and Implement claims that each boy in this list has "profited very well" under Captaine Complement and himself.

MUMBLE—CRUST, JACK **1600

A non-speaking character in Chettle, Dekker and Haughton's Patient Grissil. One of the beggars, he is urged not to take bread while Gwenthyan is speaking.

MUMBLECRUST, MARGERY

Margery Mumblecrust is Dame Christian Custance's old nurse in Udall's Ralph Roister Doister. Usually addressed as "Madge," it is she who is first impressed by the braggart Ralph Roister Doister and delivers his love letter to the widow. For this, she is scolded and ordered by Dame Custance not to accept anything else that might be sent. Mumblecrust participates with the other servants in the comic attack on Roister Doister's party late in the play.

MUMFISION

A "ghost character" in Udall's Ralph Roister Doister. Mumfision is someone with whom Roister Doister has had military dealings. When the braggart starts to speak of Mumfision in an attempt to impress Margery Mumblecrust, Merrygreek interrupts, telling him the story is too long to relate at this moment.

MUMFORD

Mumford is the Gallian King's closest companion in the anonymous King Leir. He serves sometimes as a comic foil during emotional scenes. When the King decides to travel to England in disguise, Mumford goes with him in order to compare the beauty of British women to French. The king at first suggests that Mumford go in disguise under the name Denapoll. When Mumford complains that it is too difficult to remember, they agree that his name should be Jack. When the King and Cordella decide to travel to England to see Leir, Mumford refers to his oath not to return to Gallia without his "wench," even though he is not sure she is still a maid. Again, after the highly emotional reunion of Cordella and her father, when the King of Gaul swears to return Leir to his throne, Mumford injects a comic note by also kneeling and swearing to bring his wench home or else be gelded. Mumford is the featured fighter in the invasion of England, first scaring off the First and Second Captains, and then fighting and beating Cambria, who flees the battle.

MUMFORD**1600

Family name of Mumford and his daughter Bess in Chettle and Day's Blind Beggar of Bednal Green.

MUMFORD**1600

Mumford is a loyal follower of the king in Chettle and Day's Blind Beggar of Bednal Green, but he is banished through the treachery of Sir Robert Westford and Young Plainsey. Despite the banishment, he returns to England, first in disguise as a poor soldier. In this disguise he sees Young Plainsey break his engagement to Mumford's daughter Bess, and Sir Robert turn Bess out of his house. Mumford then takes on the guise of an old blind beggar, and in this disguise meets his daughter, who decides to stay with him and call him father because he resembles her father. Together, they find Sir Robert, on the point of death, after his fight with Strowd. Despite his treachery, they nurse him back to health, and, still disguised, Mumford hears Sir Robert's confession of his treachery, and urges him to correct his wrongs. Sir Robert does go with Mumford and Bess to stop the trial of Strowd, but then regrets confessing to the beggar. When Young Plainsey woos Bess to be his concubine, Mumford, disguised as the blind beggar, pretends that they have no choice but to give in to his demands, but then reappears as the beggar's brother, a servingman of Mumford's, and beats Young Plainsey. He then instructs Bess to see to the beggar, and when she cannot find him, she accuses him of being a conjurer. He then reveals himself to his daughter. When Young Plainsey sets Canbee and Hadland to attack him, he beats them both, and cuts Canbee on the thigh. He appears before the King with Captain Westford and the Strowds, and his side wins the fight. When Tom Strowd declares he wishes to marry Bess, despite being a beggar's daughter, he reveals himself to all. His banishment is revoked and he is made Lord High Treasurer by the King.

MUMFORD, HENRY, EARL of KENDALL

Henry Mumford, Earl of Kendall, is a rebel against King Edward and plots to meet with King James in Greene's George a Greene. The reasons for his rebellion are ambiguous; he claims repeatedly that he seeks to help the oppressed poor, but all the other characters see him as a traitor and he does boast that he will make himself king, Bonfield Duke of Lancaster and Armstrong Lord of Doncaster. When he hears that the towns refuse to provide provisions, he sends Mannering with a commission to demand food. He is both amused and angered when he hears that George made Mannering eat the commission seals, and he vows to kill George, telling Grimes to shut up his daughter until they return. He orders Bonfield and Armstrong to disguise themselves and annoy George by loosing their horses in the corn. When Jenkin and George arrive, Kendall refuses to remove the horses and George strikes him. At that point, Bonfield reveals who they are and Kendall calls forth his men to surround George. When George stands fearless, Kendall is impressed and asks him to join the rebellion, claiming he is willing to reconcile to Edward if the king will help the poor. He also claims a prophecy promises he and King James will meet in London. George pretends to be impressed and asks Kendall to meet with a local magician to have the prophecy confirmed. Kendall agrees, and meets with the disguised George, who tells him he will be beaten by George. This prophecy is immediately fulfilled when George captures Kendall and sends him to Edward. He arrives there when James is with Edward, thereby fulfilling the original prophecy. Thanks to George, Kendall is allowed to live, but Edward confines him to the Tower for the rest of his life.

MUMFORD'S WENCH

A "ghost character" in the anonymous King Leir. When The King of Gaul and Cordella plan to travel to England, Mumford refers to his oath that he would not leave there without his wench. Cordella questions if she is still a maid, and Mumford says it does not matter to him. After the highly emotional scene reuniting Leir and Cordella, when the King swears to return Leir to his throne, Mumford injects a comic note by also kneeling and swearing to bring his wench home or else be gelded.

MUMMERS

The character B informs A that Cornelius has hired strangers ‘freshly disguised at his own expense’ to come and please Lucrece in Medwall’s Fulgens and Lucrece. The character A correctly interprets that these men are to present a ‘mumming’. B later brings in the mummers to entertain Lucrece. They perform a ‘base dance after the guise of Spain’ and the pipe and tambourine are mentioned in connection with their performance. Although he addresses them in Flemish, the character B calls them ‘Irish Portingales’.

MUMMERS

Only mentioned in Edwards's Damon and Pithias. Mummers are the actors in a dumb show. Expressing his mistrust in the silent and conspiratorial-looking citizens of Syracuse, Stephano compares them to the mummers in a dumb show.

MUN

Mun is the nickname Edward uses for his brother Edmund in Peele's Edward I.

MUN CLOTPOLL

A simple gull in Brome's The Weeding of Covent Garden, desirous to join the swaggering ranks of the Philoblathici, the fraternity of the Blade and Baton.

MUNATIUS PLANCUS

Follower of Antonius in May's Cleopatra, but, like Titius, disaffected from the very start through disapproval of Antonius's infatuation with Cleopatra. He defects to Caesar even before Antonius's defeat at Actium. Historically, this was Lucius Munatius Plancus.

MUNDAY, SIR JOHN **1595

In one of the deleted scenes of Chettle, Dekker and Munday's Sir Thomas More, Sir John Munday informs More that he has been beaten by a group of unruly apprentices and fears they have gone to join Lincoln, Sherwin, and the rest of the May Day rioters.

MUNDUS

Mundus is an allegorical character in the anonymous Mundus et Infans. He represents the world and all its temptations. He boasts of the material wealth and sensual experiences he can bestow upon those who will swear allegiance. His first convert is Infans, the play's "everyman" figure. After easily dazzling the naïve protagonist, Mundus renames him Wanton and encourages a life of self-indulgence and willfulness. Later, he re-christens Infans with the name Lust and Liking and then Manhood.

MURA

The Governor of the Moroccos in Glapthorne's Revenge for Honor: a rough Lord. A soldier, kinsman by his mother to Abrahen and husband to Caropia; he is loyal to the treachery of his kinsman Abrahen and a severe husband to his reluctant wife. He assists Abrahen's plots by poisoning the mind of the Caliph against his older son and heir. As a long-standing servant of the state, and newly-appointed Lieutenant General of the army, known for his severity, his eloquence is the more persuasive and succeeds in disturbing the Caliph's confidence in his son. Abrahen accuses Mura of being the chief spy sent to watch Abilqualit, but this is merely a plausible lie. Abrahen has Mura informed of Abilqualit's attempt on Caropia's honor; he arrives in her chamber too late to catch the adulterous couple in flagrante delicto but, as an outraged husband, is quick to presume her guilt. He is eventually persuaded that his wife is innocent of adultery, but the victim of rape. His first reaction is to demand justice for the crime, even against a prince; he also considers that the affront to his honor is heaven's punishment for having plotted against Abilqualit previously. Abrahen finally persuades him that the rape will serve their political purposes in speeding Abilqualit's displacement as heir. He is now committed to pursuing justice against the alleged rapist. At the trial, he stands against Tarifa's plea for clemency. After the trial and the presumed death of Abilqualit, soldiers pursue Mura for revenge. Before they arrive to kill him, Mura gives a cruel and dishonest report of the trial to Caropia, who proclaims her true love for Abilqualit and stabs him to death.

MURDER**1561

Along with Cruelty in Preston's Cambises, kills Lord Smerdis. Later, again at the behest of Cambyses, kills the new Queen.

MURDER**1594

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

MURDERER

Originally only the Messenger in the anonymous King Leir. After Ragan pays the Messenger to meet Leir and Perillus he becomes identified in stage directions as the "Murtherer." He finds Leir and Perillus asleep in the countryside, where they have traveled to meet Ragan. They at first believe that he is a robber and offer their purses, which he takes. Then Leir is convinced that Cordella has sent the Messenger, but the Messenger is indignant at the idea that he is French. He shows them Gonorill's letter and swears by heaven, earth and hell that they must die, but Leir's response along with the thunder and lightning that echo his rage frighten the Messenger, and the pleas of both Leir and Perillus move him. In the end, he flees rather than kill them.

MURDERER, FIRST and SECOND**1592

The two Murderers in the anonymous Thomas of Woodstock kill Thomas of Woodstock at Calais, under the direction of the governor, Lapoole. They boast of their competent ruthlessness to Lapoole, but faced with Woodstock himself they seem less sure of themselves: they creep up on him from the back, on the grounds that they will not be able to kill him if he speaks. Having started, they perform the killing with great savagery, cursing their victim, but are careful to tidy him up at the end: "Who can say that this man was murdered now?" Their expectations of reward are vain, however, for Lapoole immediately has them killed by the castle's garrison.

MURDERER, FIRST and SECOND**1636

Two servants who Adrastus hires to kill Arviragus in Carlell's 1 Arviragus and Philicia. The First Murderer hopes to become "rich forever" for murdering Arviragus but, instead, is killed by him. The Second Murderer is killed by Guiderius after wounding him "upon [his] hand."

MURDERER, FIRST, SECOND, and THIRD

Three murderers in Marlowe's Massacre at Paris who participate in the killing of Guise and the Cardinal.

MURDERERS**1594

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

MURDERERS**1604

A group of murderers ambush Bussy in Chapman's Bussy D'Ambois. They are led by Montsurry. The murderers are intimidated by Bussy and dare not strike him when he enters the trap. One or several of the murderers apparently shoot Bussy to death from off stage.

MURDERERS**1606

The Murderers kill Lady Macduff and Macduff's Son on Macbeth's orders in Shakespeare's Macbeth. It is unclear if these are also the Three Murderers that Macbeth engages to kill Banquo and Fleance.

MURDERERS, THREE

Murderers hired by Macbeth to kill Banquo and Fleance in Shakespeare's Macbeth. The First Murderer reports to Macbeth that Banquo was successfully dispatched but that Fleance escaped. The identity of the Third Murderer has long been a source of speculation for scholars, as the Murderer was not hired when the first two were and is not associated with them. Some scholars have indicated that he is Macbeth himself, but it is equally likely that Shakespeare nods here. It is unclear if these are the same Murderers who participate in the later killing of Macduff's household.

MURDERERS, TWO**1589

Two murderers in Peele's The Battle of Alcazar aid Mahamet in the murders of the Moor's uncle and the two young princes.

MURDERERS, TWO**1591

In Shakespeare's 2 Henry VI Suffolk hires two murderers to kill Humphrey, Duke of Gloucester in prison.

MURDERERS, TWO **1593

Murderers hired by Richard to kill Clarence in Shakespeare's Richard III. One of them is unable to go through with the murder, while the other stabs Clarence and puts his body into a barrel (or "butt") of malmsey wine.

MURETTO

Muretto is the most complex and difficult to read of Alphonso's followers in ?Ford's The Queen. As the play opens, he declares himself heartily relieved at being pardoned for his part in the rebellion against the Queen, crediting "good language and fair words" for his release. Pynto accuses him of being a servile flatterer; Muretto in turn mocks Pynto's pomposity and pseudo-scholarship, leaving Bufo to calm the argument between them. Once Alphonso is pardoned and raised to a kingly position, Muretto appears to be the most hypocritical and fawning of his three new-made lords. He abets Alphonso's cruel behaviour toward the Queen in private while flattering the Queen to her face. Iago-like, he encourages Alphonso to destroy Velasco and hints to Alphonso that the Queen is cuckolding him with Petruchi, all the while praising her beauty and charm. Incensed by Muretto's reports, Alphonso employs him to give Petruchi the ring that the Queen once gave her husband. When the Queen takes it from Petruchi and returns it to Alphonso, he declares that Petruchi must have given it to her as a lover's gift. At Muretto's instigation, the pair are condemned for adultery. At this point, however, it begins to be apparent that Muretto is playing a double game. When Alphonso shows signs of love for his condemned wife, Muretto fans the flame by praising her surpassing beauty and apparent virtue even as he insists that she is an adulteress. All becomes clear at the Queen's trial when Velasco and Petruchi both offer themselves as champions for her honour. Muretto trumps both by appearing with a drawn sword and declaring himself the Queen's truest champion. Roundly condemned by her supporters, he forces them to listen to his tale. He has, he claims, deliberately deceived Alphonso in order to play on his jealousy and to bring him to the point where he will be forced to acknowledge his love for the Queen. When Muretto affirms that the Queen is not only fair but also pure, Alphonso abandons his erstwhile misogyny. Muretto is promised a rich reward for his work. He warns the Queen's courtiers against the assumption that all flatterers are an evil, and declares that, now that he is no longer in need, he will never flatter again.

MURLEY **1599

A brewer in Munday, Drayton, Hathaway, and Wilson's Sir John Oldcastle, he discusses with Acton the best plan for strengthening the Protestant faction. Agrees to meet the following Friday with fellow Protestants from all over the kingdom. Despite his hope that his participation in the rebellion will make him a knight, he is captured at Tothill Fields and executed.

MURTHERER(S)

See "MURDERER(S)."

MUSAEUS

Only mentioned in Jonson's Poetaster. Musaeus is a late fifth century AD epic poet, who wrote Hero and Leander. It is the story of two lovers on the Hellespont, which became one of the most popular in European literature during the sixteenth century, influencing Marlowe among others. Marlowe's Hero and Leander is a mythological, erotic poem. Hero was a nun vowed to chastity, devoted to Venus. Leander was her lover who swam across Hellespont nightly to visit her and who eventually drowned. Hero drowned herself in the same sea. The poem belongs to the genre of erotic narrative called epyllia. After Virgil has Crispinus take an emetic to throw up his bad words, he then prescribes Crispinus to observe a strict and wholesome diet. Virgil suggests ironically that Crispinus should read, with a tutor, the best Greek authors, among whom Virgil mentions Musaeus.

MUSCOVITES

In Shakespeare's Love's Labour's Lost, as part of their attempt to woo the Princess of France and her ladies, Rosaline, Maria, and Katherine, Ferdinand and his Academics, Berowne, Longaville, and Dumaine, present a masque in which the men play Muscovites. Boyet overhears the men planning the masque and informs the ladies, who turn the tables by donning masques themselves and tricking the men into wooing the wrong women.

MUSE

Only mentioned in Peele's David and Bethsabe. This classical agent of artistic inspiration is called upon in the Prologue, along with the Hebrew deity, for aid in relating the story of David and Bethsabe.

MUSE, SECOND and THIRD

The second Muse is one of the three Graces or Charities in the anonymous Maid's Metamorphosis. When she realizes that Phoebus (Apollo) is not going to do anything for Eurymine, she implores him to have pity on Ascanio. When the god finally agrees to fulfill their wish, she expresses her gratitude to him. The Third Muse enters with the others, but is a non-speaking character. She dances, with the other muses, for Silvio and Gemulo at the end of the play. The playwright probably mixed up Charities (or Graces) and Muses, because, aside from being representatives of beauty and charm, the Graces were also known to dance with the Muses to Apollo's playing, as well as be messengers for Aphrodite and Eros.

MUSE of APOLLO

A non-speaking character in Brome's Court Beggar. The champion of Venus played by Courtwit in the masque. He only dances.

MUSES

I.
Goddesses of poets originally, and later of arts and sciences. Their chief cult center was Mount Helicon in Boeotia. Daughters of Mnemosyne (Memory), the nine muses are Calliope, who was the chief Muse (epic poetry); Clio (history); Erato (love poetry); Euterpe (tragedy and flute); Melpomene (tragedy and lyre); Polymnia (geometry); Terpsichore (dance); Thalia (comedy); and Urania (atronomy).
  • The Prologue in Edwards's Damon and Pithias states that the Muse has frozen the Author's pen against writing frivolous comedies, inviting him to turn to serious matters. Seeking to please his audience and his Muse, the Author apologizes for not writing light plays and for turning to graver subjects.
  • Later, the nine goddesses regarded as patrons of the arts and sciences sing a sad refrain for Pithias' imminent death. Eubulus hears their song and, at the end of the alternate musical exchange, the counselor is grateful to the goddesses for having descended from their heavenly bowers to take part in human misery.
Search under their names for listings of plays in which they appear individually.
II.
During the Introduction of Hughes' The Misfortunes of Arthur (an introduction composed by Nicholas Trotte for the performance of the play before Queen Elizabeth at Greenwich), three Muses entered leading five "Gentlemen Students," representing the members of Gray's Inn. One Muse alleges that the lawyers have shown contempt for the "poesie" so much encouraged by Her Majesty, preferring instead their own barbaric legal jargon. This charge is met by a counter-statement from one of the Gentlemen Students who defends the practice of his profession, while acquiescing in anything the queen might command the lawyers to do.
III.
The Muses, minor goddesses who inspire artistic endeavors, appear in company with the forest and woodland deities (Pan, Faunus, Silvanus, Flora, and Pomona) in Peele's The Arraignment of Paris. They greet Pallas, Venus, and Juno upon their arrival on Ida with a song.
IV.
Only mentioned in Jonson's Every Man out of His Humour. When Asper announces that the play exposing vice is about to begin, he invites the audience to judge the comedy. He wishes that Apollo and the Muses feasted the audience's eyes with an artistic delectation. Through his reference to these Greek mythological deities that patronize the arts, the author implies that his play observes the classical decorum and displays the features of an accomplished art. Before Puntavorlo's country house, the knight recites an artifice of poetic romance to his lady, while Carlo Buffone, Sogliardo, and Fastidious Brisk are watching. When the three come forward and speak to the master of the house, Puntavorlo welcomes them and invites them in. He uses flourished metaphors, telling them his house stood on the Muses' hill, thus stressing Puntavorlo's poetic inclination.
V.
Only mentioned in the anonymous Wit's Triumvirate. The Muses are mentioned by Sir Cupid Phantsy when he is explaining, to Doctor Clyster, the effect love had on him: "the Muses did increase with my love." Here, he is actually identifying "Muses" with "poetic inspiration." According to Greek mythology, the Muses are daughters to Zeus, and they are goddesses of the arts and sciences–inspiring those who excel at these pursuits. The names of the nine muses are
  • Calliope,
  • Clio,
  • Erato,
  • Euterpe,
  • Melpomene,
  • Polyhymnia,
  • Terpsichore,
  • Thalia, and
  • Urania
.
VI.
Only mentioned in Jonson's Poetaster. In Greek mythology, Muses are nine goddesses regarded as patrons of arts and sciences. It was taken for granted that poetry, like all other creative human endeavors, is inspired–a gift of the gods. For the Greeks, the Muses were the sources of poetic inspiration. Erato was the muse of lyric and love poetry; Melpomene inspired tragedy, Thalia comedy, and Calliope epic or heroic poetry. When he sees Horace, Crispinus greets him grandly, telling him that Minerva and the Muses stand auspicious to his designs. The allusion is to the Greek goddesses of wisdom and poetry, who favor Horace.
VII.
Only mentioned in Jonson's The New Inn. In Greek and Roman mythology, the Muses were nine goddesses regarded as patrons of the arts and sciences. During the first session of the mock court of love, Lovel expresses his feelings for Lady Frampul in ornamented terms, using Neoplatonic rhetoric. At the end of this lengthy disquisition, Host expresses his admiration for Lovel's eloquence and says he is happy that Lovel has cast off his melancholy by expressing himself. Host compares Lovel's poetic persuasiveness with an act of splendid inspiration, as if he had backed the Muses' horse, Pegasus, a symbol of poetic vision.
VIII.
"Ghost characters" in Hawkins's Apollo Shroving. Apollo is "the Lord and Master of the Muses." Throughout the play, various characters mention the Muses and make pleas to them for help.
IX.
Mute characters in the anonymous 1 Return From Parnassus. The nine Muses, guardians of Parnassus, observe the departure of Luxurioso, Philomusus, and Studioso for London by means of concerted music.

MUSEUS**1627

"Apollos Priest & Judge" in Hawkins's Apollo Shroving. Museus appears late in the play although he is mentioned throughout by various characters. Clio and Euterpe are Muses and his assistants, Lauriger is his Verger, and Drudo his Booke-bearer. After Lauriger, Drudo, and Preco finish their Proclamation of Apollo's visitation they "returne [. . .] up the Mount" in order to "acquaint Museus what [they] have done." Gingle claims that he likes Captaine Complement better than Museus and Lauriger warns the gamester Ludio that "if Museus heare" that only "play" is "savory" to him then "Apollos curse will light upon" him. Retro implies that he wants Geron to entreat Museus to intercede on his behalf in Apollo's Court but Geron, afraid to approach the Priest, retires to rest and "recollect [his] spirits" while Museus and Philoponus converse about the corruption of Apollo's "tender plants" and the upcoming Court Session. Museus is described by Philoponus as the "grave guide of tender youth, Interpreter / Of great Apollos lawes chiefe secretary / Unto the learned Muses," and the Priest assures Philoponus that he has recommended the scholar "unto Apollos selfe." Geron later reveals himself to Museus and the diligent scholar. and begs Philoponus to "intreat Museus for [his] childe." Philoponus does so, and Museus provides Geron with some hope that Apollo will "remit the remaining yeer" of Retro's punishment. Drudo claims that "for these seven yeeres, every visitation day" Slugge has been "shut out of doores by Museus." The Priest presides over the sentencing of disobedient characters at the play's end and Lauriger informs Euterpe that Museus "craves" her assistance. Museus instructs Preco to do his "office" and, as the Cryer "read[s] the Record, and cite[s] the names," Museus doles out Apollo's doom to the "weeds" in Apollo's garden and grants Retro Apollo's mercy. At the play's end Museus claims that "Apollos garden" has been "weeded quite," and instructs Preco to "dissolve the Session."

MUSEUS**1641

Museus, youngest son of the king and Augusta in Quarles' The Virgin Widow, appears to be philosophically-minded but is in fact vigorously engaged in egging on his brothers to combat so that he will be the sole survivor. Although this is never revealed, at the end of the play he is imprisoned for life on Evaldus' orders, so that he will not be in the way of the succession.

MUSGRAVE

Musgrave, Mariana's cousin, is a young gentleman beloved of Honorea in Haughton's The Devil and his Dame. Honorea rejects her other suitors and is told she can marry Musgrave, but then is tricked into marrying the elderly Lacy, Earl of Kent. She rejects Lacy again and with the help of their friends plans an adulterous meeting with Musgrave. But a devil, possibly summoned by St. Dunston, assumes Musgrave's form and meets with Honorea, urging her to a virtuous life and eventually converting her. When the real Musgrave attempts another tryst with Honorea, she converts him to honesty in turn, with St. Dunston and Earl Lacy watching from cover. In the end, he witnesses the miraculous "reawakening" of Earl Lacy and the disappearance of Castiliano/Belphagor back to Hell.

MUSGROVE, WILLIAM

Old William Musgrove is first seen with Cuddie, his son, who begs him to retire from defending the border between Scotland and England in Greene's George a Greene. Musgrove is insulted by the idea that he can no longer fight, and he is proven correct when he attacks and captures King James. When Edward visits Wakefield, Musgrove presents to him the sword he won from James, and Edward knights him with it. Musgrove protests that he is too poor to be a knight, and Edward gives him Meddelom, where the battle was fought.

MUSIC

Music accompanies Peace in Marston's Histrio-Mastix.

MUSIC TEACHER, FLORENTINE

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.

MUSICA**1618

Musica is at first in love with Poeta in Holiday's Technogamia, a match that everyone agrees is inappropriate. In act four, she plays Maid Marian in a Morris entertainment with the four humors characters. She is persuaded to marry Melancholico instead of Poeta.

MUSIC(IAN)**1599

Prince Richard brings a musician to play for Lady Marrian (who is really Robin Hood in disguise) in Chettle's(?) Looke About You.

MUSICIAN**1605

A patient of Bedlam (mental hospital) in Dekker and Webster's Northward Ho who has turned mad because he fell in love with an Italian dwarf.

MUSICIAN**1609

Serving Antonio in Beaumont and Fletcher's The Coxcomb, the musician is hired to provide pleasing music during the feast and through the night so Mercurie can woo Maria.

MUSICIAN **1625

Rufaldo keeps this unnamed Musician as teacher for Hilaria in Shirley's The School of Compliment. We hear the Musician singing verses that Rufaldo has composed.

MUSICIAN **1636

'Musitian' sings at Fancie's coronation in Strode's The Floating Island and again when Amorous is trying to woo Morphe.

MUSICIAN, FRENCH

The French Musician is a disguise of Barabas in Marlowe's The Jew of Malta. He uses this disguise in order to get close to Ithamore, Bellamira and Pilia-Borza after they blackmail him. He presents them with a poisoned flower, and then plays and listens while Ithamore mocks him.

MUSICIANS**1578

Instrumentalists and singers that make music for the King's welcome pageant as he enters Julio in Whetstone's 2 Promos and Cassandra. The text specifies: "Five or six–the one half men, the other women–near unto the music, singing, on some stage erected from the ground."

MUSICIANS**1585

Appear in the second playlet in ?Tarlton's Three Plays in One. Provide entertainment for Sardinapalus and his concubines.

MUSICIANS**1599

A group of musicians are brought by Deliro to his house to please Fallace in Jonson's Every Man out of His Humour. Deliro orders the musicians to touch the instruments delicately because his wife has a delicate ear and detects a false note when she hears one. Musician reassures Deliro that they will play well. The musicians play a lively tune, but Fallace is not pleased and Deliro dismisses them.

MUSICIANS**1602

Mute group of characters in Chapman's Sir Giles Goosecap. However, they play instruments in the presence of Clarence.

MUSICIANS**1609

Cloten hires musicians in Shakespeare's Cymbeline to play for Imogen in the hope that this will render her more receptive to his courtship.

MUSICIANS**1619

Mute characters who play offstage in ?Ford's The Laws of Candy; their quality is complimented by Erota. Philander takes the credit for sending them.

MUSICIANS**1619

The musicians in Fletcher and Massinger's The Little French Lawyer play in the woods to entice Champernell's party to stop and dance, at which point the party is kidnapped by the ruffian gentlemen.

MUSICIANS**1625

Along with Rowland, they provide music at Surgeon's for Antonio in Fletcher's The Chances.

MUSICIANS**1632

The musicians are summoned by Holdfast at Sir John's request for an appearance in V.iii of Massinger's The City Madam. In this scene, Sir John, still in the guise of an Indian, supposedly raises the spirits of all of Luke's victims. The purpose of the musicians is to play sad music while those people are brought before Luke. The musicians are led by Orpheus and accompanied by a chorus.

MUSICIANS**1632

Play recorders (offstage) during Act Five of Shirley's Hyde Park.

MUSICIANS **1635

The Musicians perform a pleasing song for Grimes, Timothy, Suckett, and Crackby in ?Glapthorne's The Lady Mother, but refuse Suckett's request to purchase it. They satisfy his desire to see them dance, but he uses doubletalk to avoid paying them. They remain on stage to play for the inebriated Lovell in hopes of obtaining payment from him.

MUSICIANS**1638

An unspecified number of Musicians in Baylie's The Wizard are hired by Sir Oliver to play outside Caelia's window. When Sebastian appears, apparently from Caelia's bedroom, Sir Oliver dismisses the musicians, calling them scoundrels and "unlucky gutvexers."

MUSICIANS **1638

They accompany the fiddler's boy when he sings in Glapthorne's Wit in a Constable.

MUSICIANS**1640

In Act Four of Chamberlain's Swaggering Damsel, a group of musicians comes and plays in the wedding of Sabina and Valentine, both of them in disguise.

MUSICIANS**1642

In Salusbury’s Love or Money, they enter with Nano at the end of Act I to play the dance music and appear throughout this play, which has a number of dances in it.

MUSIDORUS

Prince of Thesslay, nephew of Euarchus, cousin of Pyrocles in Shirley's The Arcadia. Disguised as the shepherd Dorus, he has come to Arcadia with Pyrocles to woo the beautiful daughters of Basilius. Having hired himself out to Dametas, he falls in love with the princess Pamela while pretending to be courting Mopsa. He devises a threefold ruse to get Dametas, Miso, and Mopsa out of the way, so he can elope with Pamela. Arrested by Philanax for conspiracy in the murder of Basilius and sentenced to death by Euarchus, who does not recognize his nephew. At the trial, Misodorus says he is Palladius of Iberia.

MUSKCOD **1611

A term of derision in Dekker's Match Me in London that Malevento uses to refer to a barber seen "fiddling" with Tormiella.

MUSKETEERS, SPANISH

On their way to reinforce Cadiz in the anonymous Dick of Devonshire, a dozen musketeers first kill some English soldiers who have decided too soon that the war is over. They then capture Pike.

MUSONIUS **1599

An academic along with Philenius in Ruggle's Club Law. Philenius calls him the wiser of the two. Cricket calls them both "gravities." Philenius and Musonius, suspecting the townsmen mean no good to the university, propose to enact the ancient club law against them during their election. They spy upon them by gossiping with the townsmen's wives and learning all their secrets that way. He goes to Mrs. Colby and wins her over. Upon learning that the townsmen plan to beat the students with their own club law, Philenius and Musonius plan to turn the tables upon them. Cricket tells him of the assignation planned between Niphle and Luce at Tavie's house, and Musonius goes to Rector for a warrant to arrest them. He returns and dismisses Cricket, as he is a 'boy.' He and Philenius enter Tavie's house to catch Niphle and Luce together. The searchers find Niphle hiding in a tub with a beggar-wench and parade them to jail in the tub. Philenius and Musonius leave the searchers to arrest Luce and then return to arrest Tavie, too. Tavie begs to be left to watch the house, and they promise to be back tomorrow with his punishments. Musonius conspires with Mrs. Colby to steal the townsmen's arsenal of staves and poles from Colby's storehouse while the townsmen are our drinking to their success. In the fight, he bests Brecknocke and Colby and beats a butcher who struck him on the shoulder with his cleaver. The Rector sends Philenius and Musonius to hear the townsmen treat for peace. He lectures them on the superiority of students and requires them to take an oath of subservience.

MUSOPHILUS

A poor student, son to Cremulus and Cremula in the anonymous Wisest Have Their Fools. He has taken to the sea and learned to philosophize. He first appears as a "waterman," but this is his seaman's apparel and no disguise. He returns to find his father's house closed to him if he be a "beggar" who has brought no riches home from India. Denied his father's blessing, he goes to Simplicius for preferment at court. He learns that the fool's wife is ill and offers his services as physician. He next disguises himself as a soldier to try his father's charity to strangers. When Cremulus challenges this soldier's boast that he could decimate an army by blowing his nose, Musophilus takes the old usurer by the nose and pulls off his spectacles, observing that he has now made the world vanish to him. Later, still looking to make his way in the world, Musophilus rejects in turn the professions of player, gentleman usher, and preacher. He favors his first course of action, and determines to flatter his way into preferment at court. He is hired to clerk for the lawyer Hilarius, but when he is found to be a useless scholar who can neither bridle a horse nor mend a "sursingle" (surcingle), the lawyer dismisses him. He next disguises as Cupid to trick money out of Mounsieur Silly in his wooing of Urina. In the process, Musophilus falls in love with Urina himself. He learns, however, that Cremulus has gone blind and given his entire estate to Crusophilus. Simplicius asks Musophilus to write him some speeches to celebrate his wife's pregnancy. In payment for the speeches, Musophilus asks Simplicius to intercede for him at court to have his brother, Crusophilus, declared a fool. He next woos and wins Urina. Simplicius later returns with a paper from court empowering Musophilus to seize all of his father's possessions. He uses the instrument to take the estate from Crusophilus and then asks Urina to aid in healing Cremulus. His father's eyesight is restored, and Musophilus grants his foolish elder brother an annuity. He then receives his parents' blessing for his union with Urina.

MUSTAFFA

See also MUSTAPHA and related spellings.

MUSTAFFA

Follower of Bajazet and Bajazet's son-in-law in ?Greene's Selimus I. Enters with Chereseoli after Bajazet's opening monologue and tries to console him, claiming his subjects remain loyal. After Bajazet responds to Selimus' message sent by Occhiali, Mustaffa counsels Bajazet to flee to Byzantium in order to protect the town from Selimus' forces. Mustaffa accompanies Bajazet when he encounters Selimus and his army on the way to Byzantium. In the ensuing battle, Mustaffa beats in Selimus. Later, as Bajazet sleeps, Mustaffa argues against Hali Bassa and Cali Bassa, who both support Selimus. Mustaffa counsels them to remain loyal to Bajazet but admits that after Bajazet's death he will support Selimus. When Bajazet awakens, Mustaffa presents Regan and the Messenger to him and then counsels Bajazet to keep the crown until his death, rather than transferring it to Acomat and causing a civil war. Later, Mustaffa tells Bajazet that his fears towards Acomat are likely exaggerated; he then witnesses the arrival of Mahomet's and Zonara's coffins and hears of Acomat's cruelty. When Aga returns from Acomat, Mustaffa takes out Aga's severed hands and shows them to Bajazet. Mustaffa then counsels the grieving Bajazet to use the force of his Janissaries against Acomat and to have Selimus lead them. Bajazet agrees with this counsel. Mustaffa witnesses Selimus' return and his seizure of power from Bajazet. Later, he joins Selimus, Sinam, and the Janissaries for the internment of Bajazet's and Aga's corpses in the Temple of Mahomet. Mustaffa, along with Sinam and the Janissaries, discuss with Selimus the flight of Acomat and his alliance with Ishmael and the Soldan of Egypt. After Selimus strangles Corcut and orders the siege of Amasia, he orders Mustaffa to govern Byzantium in his absence. After Selimus' exit, Mustaffa laments Selimus' plan to destroy all of Bajazet's offspring. He sends a messenger to Amurath and Aladin in Amasia to warn them of Selimus' aims, and then expresses fear for his own life, due to the jealousy of Sinam and Hali. Mustaffa's wife Solima enters to him and pleads with him to flee, but Mustaffa tells her not to fear. Hali brings Mustaffa and Solima before Selimus, where Mustaffa's betrayal of Selimus comes to light. Mustaffa attempts to justify his actions but Selimus rejects his pleas and has Sinam strangle him.

MUSTANTIUS

Brother to the King Patranius of the Isle of Strange Marshes in the anonymous Clyomon and Clamydes. We first learn of him when Rumor reports to Clyomon that the king has died and a power struggle has erupted between the widow-queen and Mustantius over the crown. The island is in vassalage to Alexander the Great, and he decides that the crown's fate must rest upon a battle between champions. Clamydes becomes champion for Mustantius. When is appears none will rise for the pregnant queen, Alexander brokers a deal whereby Mustantius will rule until the child is born. If the child lives, it will take the crown. Mustantius will receive five thousand crowns recompense.

MUSTAPHA

See also MUSTAFFA and related spellings.

MUSTAPHA

Mustapha, the basha of Aleppo in Massinger's The Renegado, is in love with Donusa (who finds favour with Vitelli, a Christian). He convinces Manto to tell him of Donusa's activities with Vitelli, and reports his findings to Asambeg. He also aids in the arrest of Donusa and Vitelli. He sits at their trial next to Asambeg. He acts as Asambeg's confidant throughout the play.

MUSTAPHA **1618

A bassa in Goffe's Raging Turk, Mustapha hopes to be a power behind the young Corcutus's throne, but compounds with Isaack to move discreetly in the face of Baiazet's ambitions. He accepts Selymus' gifts and offers support in return. Eventually the plot succeeds and they force Baiazet to abdicate. Accompanying Selymus to war against Achomates, he joins in the midnight assignation in which all the conspirators kill each other.

MUSTARDSEED

Mustardseed is one of the fairies in service to the fairy queen Titania in Shakespeare's A Midsummer Night's Dream. The fairy apparently takes no offense at Bottom's remark that Mustardseed's kindred must surely make the eyes water.

MUSTROOME

A "ghost character" in Sharpham's The Fleire. A French gallant named by Antifront as one of the many customers of the prostitutes Felecia and Florida.

MUTE

Mute is one of Morose's servants in Jonson's Epicoene. According to his master's instructions, he speaks mostly in sign language. At Morose's house in London, Mute enters following his master. He answers Morose's questions in a pre-determined code language, using his hands and legs. Thus, Morose learns that his servant has taken the ring off from the street door, as instructed, and that he has put a thick quilt on the outside of the doors, thus rendering knocking impossible. Mute informs Morose verbally that Cutbeard will be there in half an hour and, as instructed, he has given the barber a key to let himself in and thus avoid knocking at the door. Mute also confirms having oiled the hinges to prevent them from screeching. Mute's sign language, in response to Morose's questions, further informs Morose that the stairs have also been quilted to muffle all noise. When this one-sided silent conversation is interrupted with the loud noise from a post horn, Mute exits, then re-enters. Since he seems to be too excited, Mute forgets his code of silence and announces Morose about the arrival of a post from the court, and the messenger must speak with his master upon the pain of death. Truewit enters delivering a persuasive discourse about the disadvantages of Morose's taking a wife. During the peroration, Mute is trying to steal away, but Truewit orders him to stay. After Truewit's noisy intervention, Morose is visibly marked and he orders Mute to take him to his chamber. Mute exits following Morose and Cutbeard. At Morose's house, Mute enters following Morose, Cutbeard, and Epicoene as a masked lady. When Cutbeard introduces Epicoene as the future bride to Morose, the master instructs Mute to conduct his new mistress to the dining room, where she is to expect the wedding ceremony. Mute exits followed by Epicoene.

MUTES **1599

In the sequence with Cressida and the Beggars in Chettle and Dekker's Troilus and Cressida, a group of mutes is noted as entering with "Beggars, pigg, Stephen, Mr Jones his boy."

MUTES**1600

These "non-speaking" and unindividuated characters in Heywood's Four Prentices of London serve the pagan forces led by the Sophy of Persia and Sultan of Babylon.

MUTES **1637

Tongueless men in Carlell's Osmond. They come for Orcanes when Melcosbus passes sentence upon him for 'raping' Ozaca. They put out one of Orcanes' eyes before the prince tells his father that Ozaca was a willing sex partner. The king, disbelieving his son, orders the mutes to take the boy away and strangle him to death.

MUTES**1640

Servants at the Arabian court, and official executioners in Glapthorne's Revenge for Honor. They are secretly loyal to Abilqualit. Before Tarifa can tell Abilqualit of his arrest for rape, the Mutes are seen briefly in conference with him, mysteriously 'whispering' and protesting. With hindsight, the audience learns that the Mutes agreed to fake Abilqualit's execution, which was changed from blinding to strangling at short notice. The audience may also infer from the Mutes' earlier appearance that Abilqualit's political foresight in enlisting their co-operation is more astute in dumb-show-action than explicitly demonstrated in the text.

MUTIO

Mutio is one of the four courtiers in Dekker's Wonder of A Kingdom. Together with Montinello, Philippo, and Tornelli, he is sent to Iacomo Gentili to inivite him to the marriage of the Duke's son daughter Fiammeta to the Prince of Pisa. He and Philippo also appear at Signior Torrenti's home. On behalf of the Duke, they invite themselves as guests to his hospitality.

MUTIUS**1594

Mutius, a son of Titus in Shakespeare's Titus Andronicus, is killed by Titus when he supports Bassianus's proposed marriage to Lavinia after Titus has decided to give her to Saturninus.

MUTIUS**1622

Mutius is a Roman officer serving Caesar Augustus in Markham's Herod and Antipater. He brings news to Augustus that Herod has arrived from Judah.

MUTIUS SCEVOLA

Mutius Scevola is a supporter of King Servius in Heywood's The Rape of Lucrece. After the king's death, he instantly switches allegiances to Tarquin. Soon after, he voices dissatisfaction with Tarquin, whom he finds to be too proud and too tyrannous. He is ordered to join Sextus, Collatine, Brutus, Valarius in Ardea, leaving Porsenna's forces in charge of Rome. He is part of a drunken banquet in which Sextus belligerently denies Collatine's claim to having the most virtuous wife. Collatine decides to bet horse and armor that his wife is the most virtuous and the most beautiful. They decide to visit Mutius Scevola's, Horatius Cocles', Aruns', and Valarius' respective wives, and then Collatine's wife, Lucrece. Soon after the visit, Pompie delivers a letter to Mutius Scevola, Brutus, Collatine, Horatius Cocles, Valarius, asking them to come again to Lucretius' house. When they arrive, Lucrece explains that Sextus raped her. Lucrece then kills herself. In the civil war, Mutius Scevola enters Porsenna's camp in disguise, hoping to kill the King of Tuscan but kills his secretary. He is discovered and is about to kill himself but Porsenna pardons him.

MYCETES

King of Persia in Marlowe's Tamburlaine Part 1. He is a dotard, perhaps suffering from senility, whom Cosroe openly perceives as weak. Annoyed by Tamburlaine's upstart army of 500 in Scythia, he sends Theridamas with 1,000 horse to apprehend him. He becomes enraged when Cosroe openly insults him and goes off to join Theridamas and Tamburlaine in opposing him. In the battle against them, he demonstrates his cowardice by hiding his crown in a "simple hole" so he will not be recognized and taken. However, Tamburlaine accosts him in the act and promises to have the crown for himself. Mycetes is defeated offstage, and Cosroe gives the crown and regency of Persia to Tamburlaine.

MY FATHER

This term is used by the Surveyor in testifying against Buckingham in Shakespeare's Henry VIII; the words refer to the Duke of Buckingham's father who was executed without trials or evidence.

MYCON

A "ghost character" in Randolph's Amyntas. He is listed in the dramatis personae, and referred to once by Thestylis as her servant, but he does not appear on stage.

MYRMIDONES

Only mentioned in the anonymous Timon of Athens. When Lollio gets drunk he thinks that he is Achilles, that Blatt is Hecuba, and that all the others are his Myrmidones.

MYRON–HAMEC

Appears in scenes 4, 5, 8, 9,11, 16, 18 of the anonymous plot of Frederick and Basilea; played by Thomas Towne.

MYRON–HAMEC'S SOLDIERS

Appear in scene 5 of the anonymous plot of Frederick and Basilea.

MYRRHA **1602

Only mentioned in Percy’s A Country Tragedy in Vacunium. As Florimel is dying, she says that she goes to view the ghosts of Dido, Myrrha and Phaedra.

MYSANDER **1617

A favorite and parasite in Goffe's Orestes. He gossips with Tyndarus that Agamemnon died of old age, that Orestes has killed himself, and Aegystheus means to assume the throne. He is not particularly surprised that Clytemnestra does not mourn for Orestes, saying she can get another son that she will love just as well. Mysander later overhears Orestes and Pylades planning to infiltrate the court and kill the monarchs, and they stab him.