Only mentioned. In Greek and Phoenician mythology, Adonis is the handsome god of vegetation and nature. When Fastidious Brisk extols the pleasures of life at court, he compares the place with other mythological sites of pleasure, such as the Garden of the Hesperides, the Insulae Fortunatae, and Adonis' Gardens.
AGAMEMNON
Only mentioned. Agamemnon was a Greek hero in the Trojan War. When Fastidious Brisk reports to Puntavorlo and his party the episode of his "brave" combat with Signior Luculento, he compares the incentive of their fight with the grand determination that caused Agamemnon to fight in the Trojan War. Agamemnon was the brother of Menelaus, king of Sparta, whose wife, Helen, was carried off to Troy by Paris. This event led Agamemnon to muster the military might of the Greek city-states in a war of revenge. Since Agamemnon was the brother of Menelaus, and therefore directly involved in the conflict of honor over the abducted lady, it is to be inferred that the cause of Fastidious Brisk's duel with Luculento was a dispute over a lady. However, when asked, Fastidious Brisk gallantly says that they should let the cause escape, dismissing the reason for the fight as irrelevant and concentrating on a detailed description of the duel.
ALCESIMARCHUS
Only mentioned. Alcesimarchus is a character in Plautus's comedy Cistellaria. Cordatus mentions Plautus when he speaks of the device of inserting elements of violence in the comedy. After the episode of Sordido's suicide attempt, Cordatus gives the example of Plautus' comedy Cistellaria, in which such a violent incident happens. The character, Alcesimarchus, tries to commit suicide and is saved by Selenium and the Bawd. Cordatus considers the example from Plautus of the highest authority.
APOLLO
Only mentioned. 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 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.
APPLE-JOHN
Master Apple-John is the name by which Clove knows Shift. At St. Paul's, Clove enters and greets Shift by the name of Master Apple-John. Clove invites his friend to sup together and have a good time with the wenches, but Shift says he is busy and exits. It appears that Carlo Buffone knows Shift as Signior Whiffe, and when he hears Clove call him Master Apple-John, Carlo Buffone concludes that Shift adopted a double impersonation. When Carlo confronts Shift with these two names, Shift admits that, when he is a tobacconist, he adopts the name of Signior Whiffe, and when he is a poor squire about the town, he takes the name of Master Apple-John.
ARISTARCHUS
Only mentioned. When Asper announces that the play exposing vice is about to begin, he invites the audience to judge the comedy. The author rails against some foolish members of the audience, who try to influence the others negatively, though they are not intellectually equipped to criticize. Such a spectator, in Asper's description, would sit like an Aristarchus among the audience, trying to vilify the author's text and influence other people. Aristarchus of Samos was a third-century B.C. Greek philosopher who theorized the radical view that Earth and planets revolve around the Sun. This model was too revolutionary to be accepted by his contemporaries, who debunked the theory because it conflicted with geocentric religious principles, as well as Aristotle's principle that all objects move towards the center of the Earth. By comparing a foolish member of the audience who criticizes the play with Aristarchus, the author visualizes this person sitting among the audience like the Sun among the planets, or like Aristarchus among his disciples, though everybody rejected his theories.
ARISTOPHANES
Only mentioned. 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 all the important names of classical comedy, including Aristophanes, who added the structure of comedy and the characters. Aristophanes was a fifth-century B.C. Greek writer of comedy. He is thought to have written forty plays, of which eleven survive almost in their entirety. His success is attributed to his witty dialogue, comical though sometimes spiteful satire, brilliant imitations, and clever and absurd situations. Criticism of his comedies has centered on the loose construction of plots and the feeble development of characters. Aristophanes' comedies are famous for boldness and fantasy, for merciless insight, for unqualified indecency, and for outrageous political criticism.
ARISTOTLE
Only mentioned. Clove wants to impress the group of gentlemen at St. Paul's and he tells Orange to pretend they are two learned scholars. In order to be more persuasive, Clove launches into a sophisticated but incongruous exposition about various philosophers and their writings, in order to seem that they are having a learned conversation. In fact, it is a one-sided monologue produced by Clove, since Orange only confirms off and on. Clove says that Aristotle, in his daemonologia, approves that Scaliger is the best navigator in his time, and in his hypercritics, he reports him to be "Heautontimourumenos," which Clove pretends to be a Greek word. Actually, Aristotle did not write any of these works, some are treatises written by others, Scaliger lived centuries after Aristotle, and the allegedly Greek term is a combination of the words haughty, tonto, meaning stupid in Spanish, and moron.
ASPER
Asper is the comedy's author, a free spirit ready to expose abuse, probably Ben Jonson's self-complaisant portrait of himself. The name suggests an uneven surface, an asperity, derived from the Latin asper, rugged. Since at the end of the play Macilente implies that he should have continued his part as Asper, like in the beginning, it is inferred that the same actor interprets the roles of Asper and Macilente, but they do not necessarily represent the same character. Asper enters with Cordatus and Mitis, professing to unmask vice and to expose the "follies of the time." Asper addresses the audience, inviting them to judge him. He defines "humour" in accordance to the current psychological theory, as a fluid in the human body conditioning temperament, which falls into four types: choleric, melancholic, phlegmatic, and sanguine. Asper claims to offer a mirror of people's defects and anatomize their imperfections. While Cordatus tries to temper the author, considering him to be seized with furor poeticus, or poetic frenzy, Asper orders that the play should start and nominates Mitis and Cordatus as the two censors of the performance, acting as critics and chorus. Asper says he will return to the play world to resume his place as an actor (playing the part of Macilente). He leaves the audience to enjoy the play.
BAWD
Only mentioned. Bawd is a character in Plautus' comedy Cistellaria. Cordatus mentions Plautus when he speaks of the device of inserting elements of violence in the comedy. After the episode of Sordido's suicide attempt, Cordatus gives the example of Plautus' comedy Cistellaria, in which such a violent incident happens. The character, Alcesimarchus, tries to commit suicide and is saved by Selenium and the Bawd. Cordatus considers the example from Plautus of the highest authority.
BOY
A non-speaking character. Boy is Carlo Buffone's servant. Carlo Buffone enters followed by Boy with wine. Carlo Buffone tells Boy to fetch him a glass to serve Cordatus and Mitis. Boy re-enters and serves Canary wine to Carlo Buffone, Mitis, and Cordatus.
BROOKE
Only mentioned. Fulke Greville, Lord Brooke (1554-1628) was a poet and philosopher, friend to Sir Edward Dyer, Samuel Daniel, and Francis Bacon. Fulke Greville's works include a sonnet cycle, verses on religious and philosophical themes, and a philosophical treatise on knowledge entitled A Treatise of Human Learning. When Fungoso wants to extract some money from his father in order to buy a new suit, he asks Sogliardo to tell Sordido that he wants to buy some books at bargain price. Fungoso says that the books by Plowden, Dyar, and Brooke can be bought at half-price.
CAPTAIN POD
Only mentioned. In Bartholomew Fair, Master Pod is a master of motions who trained Leatherhead as a puppeteer. When Sogliardo and Shift compare their friendship with the classical symbols of friendship, Orestes and Pylades, Macilente suggests different relations of elective affinity. He says that Sogliardo is Captain Shift's Pod, and Shift is his puppet motion, because Sogliardo does nothing but show him off.
CARLO BUFFONE
Carlo Buffone is a foolish jester. The name suggests his personality, since buffone is the Italian for jester. In the countryside, Carlo Buffone enters with Sogliardo, who tells him he wants to be a gentleman. Carlo Buffone gives Sogliardo advice in the ways of a gentleman courtier. Before Puntavorlo's country house, Carlo Buffone enters with Sogliardo and Fastidious Brisk. The three men have a silly conversation about hobbyhorses and agreeable pastimes. Puntavorlo arrives and Carlo Buffone's party watches him perform a rehearsed game of courtship to his lady, making ironic comments at Puntavorlo's histrionics. In London, at St. Paul's, Carlo Buffone enters with Puntavorlo. Sogliardo enters announcing he has just bought a coat of arms, and Carlo Buffone pretends to admire the design. Carlo Buffone, Puntavorlo, Fastidious Brisk, and Sogliardo watch Shift brandishing his sword. Carlo Buffone makes ironic remarks relative to Shift and he exits with his party to have dinner. At Puntavorlo's lodgings in London, Carlo Buffone reports on Sogliardo and Fastidious Brisk to Puntavorlo, and when the knight exits with the others to sign the insurance papers for his journey, Carlo Buffone accompanies them as a witness. At Puntavorlo's house, Carlo Buffone enters with Sogliardo, Shift, and Macilente. Carlo says he wants to persuade Sogliardo to become a courtier. Carlo Buffone arranges to meet the whole party again at the tavern. At the Mitre Tavern, Carlo Buffone is waiting for the Puntavorlo party, drinking heavily in the meantime. When they enter, Carlo's alcohol-induced loquacity makes Puntavorlo get out of his benevolent humor, and he seals Carlo's lips with wax to reduce him to silence. They get into a fight and Carlo Buffone is arrested and taken to prison, without being able to say anything in his defense.
CAT
A non-speaking character. Cat and Dog are permanently present at Puntavorlo's side, and two servants take care of them. Cat is in a bag carried by one of the servants. Puntavorlo announces he will place a large sum of money as insurance upon the safe return of himself, Dog, and Cat from the journey to Constantinople. Actually, Cat replaces Lady Puntavorlo, who changed her mind about taking the journey. Carlo Buffone says the choice of Cat is even better, because the cat has nine lives and his wife only one. Puntavorlo adds that Cat is never sea sick, which saves him a lot of food. After signing the insurance papers at his lodgings in London, Puntavorlo wants to go to court with his friends. He tells the servants in charge of the animals to stay at home with Cat, while he takes charge of Dog himself. At court, Saviolina asks Puntavorlo about his precious animals. When Puntavorlo says that Dog is with him, but Cat is at home, Saviolina asks how he can trust his Cat out of his sight, with so much money involved. Puntavorlo explains that Cat has sore eyes and stays mostly inside, guarded by two servants. Saviolina offers to give him water for Cat's eyes. It is not clear if this water is actually a poison, because Dog's death makes the whole travel enterprise redundant. The main inference is that Cat remained safely at home, guarded by the two faithful servants.
CECILIUS
Only mentioned. 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 Cecilius among the Latin writers of comedy. According to Cordatus, they have utterly excluded the Chorus, altered the characters' properties and names, and invented several structural features. Cecilius Statius was a third-century A.D. Latin author of drama. He was a Roman slave, and from his ample creation remain only forty-two titles of comedy and various fragments. He followed the Greek model of comedy and his contemporaries admired him for the organization of plot and the dramatic force of the verses. Volcacius considered him on of the greatest comedy writers.
CERBERUS
Only mentioned. In Greek mythology, Cerberus was the monster-dog with two heads that guarded the entrance to Hades. When Carlo Buffone drinks Canary wine, he mentions some poets' drinking habits. According to Carlo Buffone, the author of the play Every Man Out Of His Humor drinks with the players at the tavern. After several cups of wine, he looks villainous like a one-headed Cerberus. The reference is self-ironic, since Ben Jonson describes himself when drunk, as seen by the others.
CHANCE
A non-speaking character. Chance is Deliro's dog. At Deliro's house, Macilente shows his contempt for the rich merchant's fortune. Macilente says Deliro is a fool and does not deserve his fortune. When he sees Deliro's dog playing with his master, Macilente is envious of the dog. He says that dog, fortuitously called Chance, is luckier than he is, and why should a dog be treated better than he is? According to Macilente, he is a man with bones, and sinews, and has a soul, just as the dog, so he does not see why man and animal should be treated differently. Macilente's analogous spite makes him poison Puntavorlo's precious Dog.
CHIONIDES
Only mentioned. 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. According to Cordatus, Phormus and Chionides devised to have four actors in the comedy, with a prologue and a chorus. Chionides was a fifth-century B.C. Athenian writer of the Old Comedy. Aristotle refers to him as the first to introduce to Athens the complete form of comedy originated in Sicily by Epicharmus and Phormus. It is possible, however, that Chionides was giving spectacles of the old Megarian type at Athens.
CICERO
Only mentioned. When Mitis raises objections regarding the structure of the comedy they are seeing, Cordatus responds in defense of the author. He says that, when trying to give an outlining of comedy, one is not content with Cicero's definition and should propose a better one. Cordatus refers to Cicero's dramatic criticism. In his Letters, Orations, and various treatises, Cicero evolves interesting ideas on drama, but nowhere sums up any complete theory. Cordatus exploits the ambiguity about Cicero's dramatic criticism and alludes to the idea that comedy authors are allowed to innovate within the genre.
CINEDO
Cinedo is Fastidious Brisk's page. Cinedo seems to be a short person, because Carlo Buffone says he looks like a colonel of the Pigmies or one of the moving figures of an antique clock. Before Puntavorlo's country house, Cinedo enters with his master, Fastidious Brisk, who is accompanied by Carlo Buffone and Sogliardo. Cinedo receives the instruction to watch for Puntavorlo's arrival from hunting and let them know when he comes. Cinedo re-enters and says he thinks Puntavorlo is due to arrive presently, because his hounds always precede him. As Cinedo is going out, Sogliardo takes him aside and probably makes him some proposition, considering the vague allusions to Sogliardo's homosexuality. In an apartment at court, Cinedo serves tobacco to Fastidious Brisk. While smoking, Fastidious Brisk complains the tobacco is not dry, or the pipe is defective. He asks Cinedo to mend the pipe. When Fastidious Brisk tells Macilente about Saviolina, praising her qualities, Cinedo reinforces his master's comments. When Fastidious Brisk says the lady loves activity, Cinedo invokes an image in which, even if a gentleman had but his long stockings on, he would still like to dance a lively dance in triple time with Saviolina. It seems that this image has been triggered to Cinedo's memory by what he saw his master do in Saviolina's presence. After mending Fastidious Brisk's pipe, Cinedo exits.
CLOG
Only mentioned. When Sogliardo praises his excellent friendship to Shift before Puntavorlo and his company, Puntavorlo notices that Shift is a rascal. Sogliardo introduces his friend as Cavalier Shift, and Puntavorlo makes the connection with a famous thief executed for robbery. He asks Shift if he knows Signior Clog, who was hanged for robbery at Harrow on the hill. Proud of his new friend's astuteness, Sogliardo responds that not only did Shift know the famous thief but also he gave Clog all the directions for action.
CLOVE
Clove is a city-born con man, the inseparable twin of foppery to Orange. Cordatus says that Clove and Orange are not within the scope of this play, but he gives a brief characterization of the two. Cordatus says that Clove is a youth who would spend a whole afternoon in a bookseller's shop, reading Greek, Italian, and Spanish when he does not understand a word of these languages. At St. Paul's in London, Clove enters closely after Orange, greeting their common acquaintance, Shift. Clove knows Shift by a different name than his friend does, and it seems he attended wild parties with Shift as Master Apple-John and some wenches. When Puntavorlo and Carlo Buffone enter, Clove and Orange witness the conversation between the two. They are also present at the discussion between Fastidious Brisk, Deliro, and Macilente. When he sees them eavesdropping, Macilente describes Clove and Orange as a couple of fine tame parrots. Clove wants to show off in front of these gentlemen and tells Orange to pretend they are two learned scholars. Clove embarks in a one-sided conversation scattered with incongruous references to classical and contemporary philosophy, punctuated by Orange's brief commendatory statements, which are part of his linguistic idiosyncrasy. Clove and Orange join the group of Deliro and Macilente. When Deliro exits with Macilente, disgusted at the spectacle of Shift brandishing his sword, Clove and Orange call Shift aside, asking him about his dispute with the gentlemen. Clove and Orange greet Shift by his two different names, which allows Carlo Buffone to deduce Shift's double impersonation. Clove exits with Orange.
CONSTABLE
Constable arrives on the scene during the brawl at the Mitre Tavern. During the fight, Constable knocks at the door and demands immediate entrance, threatening to break the door open. It is understood that Constable finally breaks the door and enters with the officers. He seizes Fastidious Brisk as he is rushing by, telling the officers to pursue the other fugitives. When Fastidious Brisk asks why he is under arrest, Constable says it is because he was involved in a riot. Fastidious Brisk tries to exculpate himself. He says that Carlo Buffone can speak for him, testifying he was not involved in any violence. Since Carlo's lips are sealed with wax, he cannot speak for Fastidious Brisk, thus behaving out of character. Seeing that Carlo Buffone cannot speak, Constable concludes the witness is not in a position to answer and this makes the case arbitrary. When Fastidious Brisk appeals to the drawers as witnesses, George says there is none of them around. Fastidious Brisk finally appeals to George, but Constable determines that George was not there when the events happened. Constable orders the officers to take Fastidious Brisk and Carlo Buffone to prison.
CORDATUS
Cordatus is the author's friend and plays the role of a moderator. Mitis plays the critic of the play, and 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. Cordatus enters with Asper and Mitis. While Asper threatens to unmask public vice, Cordatus tries to temper his friend. When Asper orders that the play should start, he nominates Cordatus and Mitis as the two censors of the comedy. They are expected to sit on both sides of the stage and express their opinions on every scene. When Asper exits, Cordatus and Mitis discuss the author's combative spirit. With reference to the play, Cordatus says it is in the manner of the Old Comedy. When Mitis asks if the play observes the classical rules, Cordatus embarks upon a lengthy disquisition about the history of comedy. He makes the point that, since each classical author of comedy added something new to the genre, he sees no reason why contemporary authors should be deprived of this privilege. Cordatus announces Prologue, but Prologue refuses to speak his part, claiming that Cordatus has already addressed the audience. Cordatus is expected to recite the prologue, but he says he would not do it. Upon this scene, Carlo Buffone enters and the play begins. While Cordatus and Mitis are watching the performance, they comment on the characters, the play's structure, plot, and verisimilitude. Cordatus attempts various definitions of comedy and sustains them with quotes from classical sources. 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, Cordatus exits with Mitis before the final soliloquy, spoken by Macilente.
COUNTENANCE
Only mentioned. Countenance is the symbolic name given by Puntavorlo to Sogliardo in his relation to Shift. The term "countenance" refers to the means necessary for support. Puntavorlo says the two inseparable friends shall be named Countenance and Resolution. Since the rich and foolish Sogliardo provides all the finances for Shift in this friendly rapport, Sogliardo becomes a necessary credit to his friend.
CRATINUS
Only mentioned. 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. According to Cordatus, Cratinus added a fifth and a sixth character in the structure of comedy. Cratinus was a fifth-century B.C. Greek adherent of the Old Comedy, together with Eupolis and Aristophanes. He wrote thirty-one plays and his chief contribution to the Old Comedy was that he added the element of satire of vices in a direct style.
CUNNING WOMAN
A "ghost character." When Puntavorlo breaks the news that his Dog is dead, Macilente reports the details. Though he is the one who poisoned Dog, Macilente says he only knows the fact that Dog has been poisoned. The details of the poisoning, how and by whom, are left to a cunning woman from the Bankside to solve. By transferring the responsibility of the crime investigation from the authorities to the cunning woman, Macilente indirectly reveals the person who provided the poison for him.
CUP, FIRST and SECOND
First and Second Cup are impersonations of Carlo Buffone while drinking. At the Mitre Tavern, while waiting for the Puntavorlo party, Carlo Buffone drinks a lot of wine and has an interesting conversation with himself, using two cups of wine as personifications of his interlocutors. As First Cup, Carlo Buffone drinks to the health of himself as Second Cup. When Second Cup reminds First Cup of the splendid night spent at the countess's, First Cup proposes a toast to the honorable countess and the lady that sat by her. When Second Cup proposes a toast to the health of Carlo/First Cup's mistress, First Cup asks if he knows who she was, and drinks to her health. When Second Cup proposes a toast to Count Frugale, First Cup starts a quarrel. The two cups argue and finally Carlo Buffone speaks in his own person, telling the two "gentlemen" cups to show some respect for their reputations. Carlo Buffone overturns wine, pot, cups, and all. It seems that Carlo Buffone has taken Shift's lesson of double impersonation seriously, and his affection is divided between two ladies at court.
DAGONET
Only mentioned. Dagonet was King Arthur's jester. When Sogliardo and Shift are about to enter Puntavorlo's lodgings in London, Carlo Buffone announces them as Sir Dagonet and his squire. By referring to the newly knighted Sogliardo as Sir Dagonet, Carlo Buffone alludes to his mannerism as a jester and a fool.
DELIRO
Deliro is husband to Fallace, a rich London citizen in total admiration of his wife. The name suggests exaltation, delírio in Italian. Delirio is Fastidious Brisk's merchant and, under this cover, Fallace has the opportunity of seeing her courtier beau. At his house, Deliro burns incense in honor of his wife, but Fallace shows total displeasure at everything her husband does for her. Fastidious Brisk enters, asking Deliro in private for a loan to pay for his new suit. At St. Paul's, Deliro enters with Macilente and Fastidious Brisk, but exits when Fastidious Brisk joins Puntavorlo party. At his house, Deliro enters with musicians, whom he dismisses when he sees that Fallace is not pleased. Macilente enters and they discuss Fastidious Brisk, and Deliro affirms that the courtier is heavily indebted to him and that he intends to claim his bonds. Fallace exits, visibly angered at her husband's declaration, and Deliro follows her solicitously. In another room at his house, Deliro enters with Macilente, who criticizes Fallace's impudent behavior to her husband. Deliro defends Fallace before Macilente, telling him nothing in the world could convince him that his wife is dishonest to him, as Macilente insinuates. At Deliro's house, Deliro enters with Macilente, who reports that Fungoso has been charged with the bills at the Mitre Tavern and Fallace would be pleased if Deliro covered his brother-in-law's expenses. Deliro exits to the tavern. At the Mitre Tavern, Deliro enters with Fungoso and George to redeem Fungoso's debts. Macilente enters announcing him that Fungoso is in prison, and Deliro exits to claim his bonds. At the prison, Deliro enters upon the scene in which Fallace is kissing Fastidious Brisk and thus the husband has the ocular proof of her infidelity. Deliro exits in anger, behaving out of his humor of admiration for his wife.
DOG
A non-speaking character. Dog and Cat are permanently present at Puntavorlo's side, and two servants take care of them. When Puntavorlo announces he will place a large sum of money as insurance upon the safe return of himself, Dog, and Cat from the journey to Constantinople, Carlo Buffone predicts that many unfortunate incidents are likely to happen to Dog. According to Carlo Buffone, he may prick his foot with a thorn, or take the long journey east very badly. Carlo predicts there will be many attempts against Dog's life, with so much money involved. After signing the insurance papers at his lodgings in London, Puntavorlo goes to court with his friends. He tells the servants in charge of the animals to stay at home with Cat, while he will take care of Dog himself. At court, Puntavorlo enters with Dog and his party and is looking for a place to leave Dog while he is in the palace. Puntavorlo says that Dog's value is too well known among the porters to leave him with them, as was Fastidious Brisk's suggestion, and decides to leave him with the first person passing by. When Groom enters, Puntavorlo leaves Dog with him. Groom is a careless person and is not very happy with his charge. When Macilente enters and gives Dog poisoned food out of spite, Groom does not even notice. After having poisoned Dog, Macilente kicks him out. When Puntavorlo enters and notices that Dog is missing, he sends Fungoso to look for him. Fungoso reports that Dog is dying in the wood yard. Macilente wonders why Dog is not dead yet, and blames Shift for Dog's theft and poisoning. Because of Dog's death, Puntavorlo is unable to go on his intended journey to Turkey.
DRAWER
Drawer is supposed to bring wine to Carlo Buffone. At the Mitre Tavern, Drawer wants to draw wine for Carlo Buffone. Since he probably knows that Drawer waters the wine, Carlo Buffone asks him to call George. When George brings the wine, Carlo Buffone chases Drawer away, calling him a "false scabbard," which alludes to the fact that Drawer tampers with the wine. Drawer re-enters after the tavern brawl, complaining that all the meat ordered by Carlo was left on their hands and is wasted. Drawer and George charge Fungoso for the entire bill and they take him to the master of the Mitre Tavern, where it is understood that Fungoso will pay with the value of his new suit.
DYAR
Only mentioned. Sir Edward Dyer was an Elizabethan poet. A friend of Sidney and Spenser, he was celebrated in his day as an elegy-writer. When Fungoso wants to extract some money from his father in order to buy a new suit, he asks Sogliardo to tell Sordido that he wants to buy some books at bargain price. Fungoso says that the books by Plowden, Dyar, and Brooke can be bought at half-price.
EPICHARMUS
Only mentioned. 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. According to Cordatus, Epicharmus invented a third character in the structure of comedy. Epicharmus was a sixth-century B.C. Greek writer of comedy. He embraced the tenets of Pythagoras and made Syracuse the scene of his life's work. He wrote fifty-two comedies or, according to others, thirty-five. In these plays, comedy took formal shape for the first time, because Epicharmus and his contemporary Phormus were the first to use plots and regular dialogues. His compositions, however, were simple burlesques of the heroic themes, which formed the usual subjects of the tragic performances of the time.
EPILOGUE
At the presentation of the comedy before Queen Elizabeth, Macilente speaks the Epilogue. Asper (also played by Macilente) and Epilogue are two characters framing the play. Epilogue addresses the Queen, saying that all envy in his soul has fled before her grace. His negative passions are drowned into the ample flood of her perfection. Macilente kneels, imploring the Queen to continue to rule in justice and keep England a Fortunate Island. During the Queen's reign, Treason trembles at the sound of her Fame, and good foreign policy precludes any chance of foreign invasion. War is prevented from entering the land, and Peace is invited to stay in. In the Queen's presence, Flattery is dumb, Envy turns blind, and even Death himself admires her. Epilogue wishes that the Queen's virtues would make Death forget his duties, and may she live forever!
EUPOLIS
Only mentioned. 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. According to Cordatus, Eupolis added more characters to the structure of comedy. Eupolis was an Athenian poet of the Old Comedy. Horace ranks him, along with Cratinus and Aristophanes, as the greatest writer of his school. He was reputed to equal Aristophanes in elegance and purity of his diction, and Cratinus in his command of irony and sarcasm. Of the seventeen plays attributed to Eupolis, only fragments remain.
FALLACE
Fallace is Deliro's wife, daughter to Sordido and sister to Fungoso. Despite Delirio's adoration for her, she is in admiration of Fastidious Brisk's affected ways. At Deliro's house, Fallace enters and pretends to be disgusted at the flowers and incense her husband has lavished in her honor. When Fastidious Brisk enters boasting another new suit, Fallace falls in admiration of the courtier's counterfeit grace. When Deliro exits with Macilente and Fastidious Brisk to the city, Fallace exits to her chamber to dream of her fictional romance with the courtier. At Deliro's house, Fallace enters with Fungoso. Fallace asks her brother about Fastidious Brisk, disclosing her admiration for him. When Deliro enters with musicians to please his wife, Fallace rebukes him. When Macilente enters, reporting that Fastidious Brisk is a bogus courtier and ladies deride him, Fallace says that Macilente is just an envious villain. When Deliro says he intends to claim Fastidious Brisk's bonds, Fallace exits in anger. In another room at Deliro's house, Fallace enters with Fungoso. She gives her brother some money, telling him to warn Fastidious Brisk of Deliro's intention to claim the obligations. At Deliro's house, Fallace enters when Deliro is just leaving for the Mitre Tavern to repay Fungoso's debts. When he is alone with Fallace, Macilente reports that Fastidious Brisk has been arrested and suggests that some money to bribe the guards might help the courtier. Fallace exits to go to the prison. At the prison, Fallace enters with Fastidious Brisk, telling him she is worried about him. She offers money to bribe the guards and kisses him. Deliro and Macilente enter at this moment, and the husband calls Fallace a strumpet. Fallace exits in disgrace.
FASTIDIOUS BRISK
Fastidious Brisk is an affecting courtier, fashionably dressed but always in debt. The name suggests a boring person, from the Italian fastidioso, tedious, dull. Under the mask of this character it is possible to read a satire of Samuel Daniel, accepted poet of the court, sonneteer, and follower of men's fashion. Before Puntavorlo's country house, Fastidious Brisk enters with Carlo Buffone and Sogliardo. The three men have a silly conversation about hobbyhorses and amusing pastimes. At Deliro's house in London, Fastidious Brisk boasts his connections at court and his fashionable suits. Fastidious Brisk asks Deliro in private to lend him some money, and exits after the merchant. At St. Paul's, Fastidious Brisk enters with Deliro and Macilente but mixes with the Puntavorlo party. In an apartment at court, Fastidious Brisk enters with Macilente boasting about his favor with a certain court lady. When Saviolina enters, however, Macilente witnesses how she makes a fool of Fastidious Brisk. At Puntavorlo's lodgings in London, Fastidious Brisk comes to sign the insurance papers. After a conversation praising the excellence of life at court, Fastidious Brisk exits with the Puntavorlo party to go to court. At court, Fastidious Brisk enters with Puntavorlo, Fungoso, and Saviolina. The men play a trick on Sogliardo and Saviolina, making them look like fools. Fastidious Brisk exits with the Puntavorlo party to the tavern. During the ensuing brawl at the Mitre Tavern, Fastidious Brisk tries to escape arrest, but Constable seizes him as he is rushing by. Fastidious Brisk and Carlo Buffone are arrested. In prison, Fallace visits Fastidious Brisk and kisses him just when her husband enters. Macilente informs Fastidious Brisk that Delirio has entered three legal actions against him, claiming his bonds. Fastidious Brisk exits in haste to arrange his disastrous financial situation.
FORTUNE
Only mentioned. In Roman mythology, Fortune was the goddess of chance and riches. When Macilente observes the foolish but rich Sogliardo being instructed by Carlo Buffone in the ways of a gentleman, he shows envy and contempt. In Macilente's opinion, Sogliardo does not deserve his good luck, and Macilente is outraged at seeing such foolishness possessing such unmerited riches. Macilente says he cannot endure to see blind Fortune bestow her graces on such fools.
FRUGALE
A "ghost character." Fastidious Brisk follows Sogliardo's advice in pretending that he has relatives in high places to show off as a grand gentleman. When he is introduced to Puntavorlo, Fastidious Brisk pretends to be well acquainted with Count Frugale at court, adding that he shares friendship with other grand personages.
FUNGOSO
Fungoso is Sordido's son and a student at the Inns of Court. Being a fop, Fungoso pumps his rich father for money to live in style. In Italian, fungóso means spongy like a fungus, and Fungoso absorbs money like a sponge in order to buy fashionable clothes. Before Puntavorlo's house, Fungoso enters with Sordido to pay a visit to their neighbor Puntavorlo. Fungoso admires Fastidious Brisk's suit. After having made the necessary calculations regarding the cost of such a costume, Fungoso asks his uncle Sogliardo to persuade his father to give him money to buy law books at a bargain price. At Deliro's house in London, Fungoso enters dressed like Fastidious Brisk, boasting his new suit to his sister. When Fastidious Brisk enters wearing another suit, Fungoso decides it is more fashionable than the previous one and wants to have his altered. At Deliro's house, Fungoso enters with Fallace. His sister gives him some money, asking him to find Fastidious Brisk and warn him that Deliro intends to claim his bonds. Fungoso judges that the money is just enough to borrow a new gown and exits. Cordatus informs his interlocutor that Fungoso did not heed his sister's request and used the money to buy another new suit. Fungoso is faced with the bills from his suppliers and manages to pay some, and get credit from others. At Puntavorlo's lodgings in London, Fungoso enters, apparently to deliver the belated message to Fastidious Brisk, but forgets about it and joins the Puntavorlo party to court. At the Mitre Tavern, Fungoso is in the Puntavorlo party. During the brawl, Fungoso hides under the table, for fear of being arrested. When Constable and the officers are gone, Fungoso creeps out, but he is charged with the entire bill for food and drink. Deliro settles the bill, and Fungoso asks for a capon's leg, now that he has paid for all the food. When Macilente sends him home to his sister to tell her that Deliro saved him financially, allowing him to live in fashion, Fungoso says he is out of those humors now. It seems that finally Fungoso has learned to appreciate the value of modesty.
GANYMEDE
Only mentioned. When Puntavorlo asks Carlo Buffone about Sogliardo, Carlo reports that the newly appointed knight is at the Horn tavern with his villainous Ganymede, smoking on tobacco pipe for two days on end. Carlo Buffone reports that Sogliardo and his companion, Shift, hired a private room at the inn and smoked all day and night. Shift's comparison with the Greek gods' young cupbearer, much admired by Zeus, is a licentious allusion suggesting Sogliardo's homosexual inclinations.
GENTLEWOMAN
The waiting gentlewoman to Lady Puntavorlo informs her mistress about Puntavorlo's appearance. When Puntavorlo comes back from hunting, blowing his horn to announce his arrival, the Gentlewoman appears at the window of his house. While Sogliardo, Carlo Buffone, and Fastidious Brisk are watching, Puntavorlo starts a rehearsed game of courtship. Pretending to inquire about the master of the house, Puntavorlo asks Gentlewoman a series of questions about himself, while she responds in complimentary terms. According to Gentlewoman's prefabricated description, her master is bountiful, magnanimous and pious, well traveled, and speaks French and Italian. After providing a flattering portrait of her master that suited Puntavorlo, Gentlewoman exits from the window to fetch the lady of the house.
GEORGE
George is a servant at the Mitre Tavern. Carlo Buffone wants to have supper and drink wine while he is waiting for the Puntavorlo party. Since he does not trust Drawer with the wine, Carlo Buffone calls for George, telling him to prepare a fat loin of pork and draw the wine personally. When George enters with the food and wine, he assures Carlo Buffone that the food and beverage are right. Carlo Buffone drinks the wine drawn by George and praises its purity, saying he could bite off the servant's nose for such nectar. George re-enters later to inform Carlo Buffone that the meat is ready and his company has arrived, adding that the loin of pork is enough for everybody. After the tavern brawl, George extracts Fungoso from under the table, where he had hidden for fear of being arrested. George and Drawer charge Fungoso for the entire bill and they take him to the master of the Mitre Tavern, where it is understood that Fungoso is about to pay with the value of his new suit.
GORGON
Only mentioned. In Greek mythology, the Gorgon or Medusa was a she-monster whose eyes turned everyone looking at her into stone. When Deliro sees his beloved wife kissing Fastidious Brisk in prison, the husband is so astonished that he cannot say a word. Ironically, Macilente, who had maneuvered him into the situation, asks Deliro if the Gorgon's head has turned him into marble.
GRATIATO
A "ghost character." Fastidious Brisk follows Sogliardo's advice in pretending that he has relatives in high places to show off as a grand gentleman. When he is introduced to Puntavorlo, Fastidious Brisk pretends to be well acquainted with Count Gratiato at court, commending him as a gentleman who treats him with respect and love.
GREEN
Only mentioned. Robert Greene (1560?-1592) was an Elizabethan dramatist and poet. He is remembered for a few charming lyrics and a derisive reference to William Shakespeare in his "Groatsworth of Wit Bought with a Million of Repentance." When Fastidious Brisk wants to make a good impression on Puntavorlo as a gentleman, he boasts about his high connections at court. When Puntavorlo mentions the court lady Saviolina, Fastidious Brisk says she is an excellent lady with a talent for music. According to Fastidious Brisk, her phrases are elegant and her choice of figures rivals Sidney's Arcadia or Greene's poems.
GROOM
Groom takes care of Dog while Puntavorlo and his party is at court. On the palace stairs, Puntavorlo says he must look for someone to take care of Dog while he is inside the palace. Since he says the animal's value is well known, Puntavorlo decides to leave him with a Groom, who was just passing by carrying a basket, and who is unlikely to know of the large sum of money placed on Dog's head. Groom accepts to take care of Dog. However, when Puntavorlo exits with Fastidious Brisk and Fungoso, Groom says the gentleman is mad to leave his Dog with him, because he does not care for the animal and would give him for two pence to whoever asks for him. When Macilente and Sogliardo enter, Groom tells them he wished the gentleman returned to retrieve his Dog, or else he would leave him there. Groom neglects Dog, and so Macilente takes the opportunity of poisoning Dog, kicking him out into the yard.
HABERDASHER
At Deliro's house, Haberdasher enters with Fungoso newly attired and wearing a new hat, together with Shoemaker and Tailor. Fungoso admires his new hat, asking Tailor if it suits him. At Tailor's laudatory comments, Haberdasher adds his own and presents Fungoso with the bill. Fungoso pays Haberdasher, who exits.
HERCULES
Only mentioned. When Asper rails against the follies of the time and threatens to expose vice in his play, Mitis tries to temper him, telling Asper not to be so rough as his name. Asper rages on, promising to expose the crimes of the time with the words of Hercules. The comparison is incompatible, since the legendary Greek hero was not reputed for the strength of his words, but his physical force. Probably Jonson's self-complacent image of himself makes him try to induce the illusion that the power of his words in the play has the same dramatic effect as Hercules' exceptional stamina. Hercules is mentioned when Carlo Buffone realizes that Shift uses two different names, Apple-John and Whiffe. Carlo Buffone calls Shift a Hercules, who has traveled all countries. Indeed, the Greek mythological hero traveled extensively to accomplish his renowned labors.
HESPERIDES
Only mentioned. Before Puntavorlo's castle, the knight recites a game 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 into the castle. He uses flourished metaphors, telling them his orchards are like those of the Hesperides, thus stressing his hospitality and magnificence. In Greek mythology, the Hesperides were nymphs who guarded the golden apples of the Tree of Life, wedding gift to his bride, Hera, from Zeus. In another scene, when Fastidious Brisk extols the pleasures of life at court, he compares the place with other mythological sites of pleasure, such as the Garden of the Hesperides, the Insulae Fortunatae, and Adonis' Gardens.
HIND
Hind is Sordido's servant. While Sordido is consulting his almanac, Hind enters and gives him a letter. When Sordido asks him who brought the paper, Hind explains it is from the justice's men. After reading the letter, Sordido sends Hind home to tell his fellow farm-workers to get ready to thrash the corn and put it away.
HORACE
Only mentioned. When Asper announces that the play exposing vice is about to begin, he invites the audience to judge the comedy. The author rails against some foolish members of the audience, who try to influence the others negatively, though they are not intellectually equipped to criticize. Such a spectator, in Asper's description, would criticize the play while Horace sings. The author identifies himself with the Latin poet, considering is a self-evident fact that his play is comparable to Horace's verses.
HUNTSMAN
A non-speaking character. Puntavorlo's habit is to blow the horn when he returns from hunting to let his wife know of his arrival. Puntavorlo enters with Huntsman, who is leading a greyhound. The knight orders Huntsman to leave the dog and take away the horn, which he has used judiciously.
ILLUSTRE
A "ghost character." Fastidious Brisk follows Sogliardo's advice in pretending that he has relatives in high places to show off as a grand gentleman. When he is introduced to Puntavorlo, Fastidious Brisk pretends to be well acquainted with Signior Illustre at court, adding that he shares friendship with other grand personages.
JANUS
Only mentioned. In Roman mythology, Janus is a two-faced god of the door and good beginnings, whose double-faced statue usually guarded the crossroads. When Carlo Buffone greets Macilente, he uses two different attitudes. He tells Sogliardo that Macilente is a shallow fool, while to Macilente he behaves as if he were his friend, greeting him warmly. Macilente notices Carlo's double approach, he concludes that Carlo Buffone is double-faced, and greets him with the name "good Janus." In another instance of conversation, Carlo Buffone realizes that Shift uses two names, Apple-John and Whiffe. Carlo makes a classical reference, calling Shift a Janus who looks every way. In his drunken solitary dialogue at the Mitre Tavern, Carlo Buffone uses the Janus-like double impersonation when he dialogues with himself as First Cup and Second Cup.
JUDAS
Only mentioned. When Sogliardo and Shift compare their friendship with the classical symbols of friendship, Orestes and Pylades, Carlo Buffone suggests different relations of elective affinity. He says that Shift will be Sogliardo's Judas, and Sogliardo his elder tree. The Bible states that Judas hanged himself on a tree after having betrayed Christ. Carlo's comparison suggests self-interest and disloyalty instead of sincere friendship. In another scene, when she hears that Deliro intends to claim Fastidious Brisk's bonds and have him arrested for debt, Fallace calls her husband a Judas. According to Fallace, Deliro is not content to vilify his friend Fastidious Brisk, but he must also betray him. Fallace criticizes Deliro for heeding the counsel of traitors, such as Macilente, who warned Deliro about Fallace's infidelity.
JUSTICE SILENCE
A "ghost character." At court, Saviolina enters with Puntavorlo, Fastidious Brisk, and Fungoso. The lady inquires about Fungoso, thinking he is the much-praised gentleman she is supposed to meet, but Fastidious Brisk says he is not. According to Fastidious Brisk, Fungoso is a relative of a certain Justice Silence.
LADY PUNTAVORLO
Lady Puntavorlo is Puntavorlo's wife. Carlo Buffone says the knight loves his dogs, hawks, and wife and Fastidious Brisk avers that Puntavorlo courts his lady every morning as if she were a stranger. Sogliardo is brought as a witness to this scene, and he reports that every morning, when he returns from hunting, Puntavorlo sounds his horn and the lady's Gentlewoman looks out of the window. Sogliardo cannot continue his account because he is laughing at the image of what he saw. Before Puntavorlo's country house, the knight arrives from hunting and the huntsman blows the horn. Gentlewoman appears at the window and says she will call her lady presently. Lady Puntavorlo appears at the window and plays a rehearsed game of courtship invented by her husband. While Puntavorlo pretends to be a poor errant knight who got strayed from hunting and seeks refuge in her castle, Lady Puntavorlo, using the same chivalric-romance language, pretends to accept to host him. Lady Puntavorlo says that, though it is unusual for her to receive strangers in the absence of her husband, she will entertain the knight according to his rank. Lady Puntavorlo exits from the window, promising to descend and receive her guest. According to Puntavorlo, his wife is going to accompany him and his Dog on the journey to Constantinople. However, Puntavorlo informs his friends later that Lady Puntavorlo has changed her mind, and Cat is replacing her.
LANCELOT
Only mentioned. When Puntavorlo starts a rehearsed game of chivalric courtship to his wife before his castle, he pretends to be an errant-knight who seeks refuge in the castle, while she pretends to receive him gallantly. Carlo Buffone, Sogliardo, and Fastidious Brisk are watching the scene, making caustic comments. Carlo Buffone says this is a tedious chapter of courtship, in the manner of Sir Lancelot and Queen Guenever. The irony addresses the medieval chivalric romances.
LUCULENTO
A "ghost character." The term "luculent" means bright of beauty. Fastidious Brisk follows Sogliardo's advice in pretending that he has relatives in high places to show off as a grand gentleman. When he is introduced to Puntavorlo, Fastidious Brisk pretends to be well acquainted with Signior Luculento at court, adding that he shares friendship with other grand personages. In another scene, Fastidious Brisk reports the duel in which he faced Signior Luculento. At Puntavorlo's lodgings in London, Fastidious Brisk enters to sign the insurance documents. True to his vainglorious temperament, Fastidious Brisk starts bragging about his exploits with the ladies at court and his encounter in a duel with Signior Luculento, one of Puntavorlo's acquaintances. According to Fastidious Brisk, Luculento sent him a challenge. When they met for the duel, Fastidious Brisk hurt his leg with his spur and bled a little. At the sight of blood, Luculento is reported to have become scared and left, but Fastidious Brisk went after him, and the two "fierce" fighters made peace at the court gate.
LUDGATHIANS
"Ghost characters." The Ludgathians are the dealers on Ludgate Hill. When Sogliardo tells Carlo Buffone that he wants to be a gentleman, Carlo advises him on the proper gentlemanly behavior. Since being in debt and living on credit seems to be a desirable model for a gentleman, Sogliardo promises he would fall in debt for the title's sake. However, Carlo Buffone advises Sogliardo that he should not trade with bankrupts or with the poor needy Ludgathians. According to Carlo Buffone, they are impudent and turbulent creatures, and do not care how fast they play to lose a gentleman's fortune to make theirs. These rich fellows sleep in their counting houses and would do anything for more gain.
LYNCEUS
Only mentioned. In Greek mythology, Lynceus was one of the Argonauts, famous for his keen eye. After having narrated how he spied on Sogliardo and Shift in the privacy of their room at the inn, where they were smoking tobacco, Carlo Buffone says his friend Sogliardo need never know he was spied on. Carlo Buffone boasts his art of dissimulation, saying that he can oil his tongue and speak nicely, and not even Lynceus can see in his heart. After having spoken for dishonesty and betrayal, Carlo Buffone concludes cynically that the title of a friend is a useless thing, prized only by fools.
MACHIAVEL
Only mentioned. 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.
MACILENTE
Macilente is an envious villain. In Italian, macilčnto 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.
MAHOMET
Only mentioned. 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.
MENANDER
Only mentioned. 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.
MINERVA
Only mentioned. 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.
MITIS
Mitis plays the critic of the play, 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.
MUSES
Only mentioned. 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.
MUSICIAN
Musician is in the group of musicians brought by Deliro to his house to please Fallace. 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.
NERO
Only mentioned. 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 Nero, the first-century A.D. Roman emperor, would refer to all emperors. Nero had the reputation of being a tyrant, and Cordatus speaks against the general assumption that all emperors are tyrants.
NOTARY
At Puntavorlo's lodgings in London, Notary draws a deed of travel insurance for Puntavorlo, Dog, and Cat, upon their safe return from the journey to Constantinople. Puntavorlo dictates and Notary writes. Puntavorlo says that the sum he puts on must be understood, but he does not mention it. Puntavorlo states that the several names of Dog and Cat must be known, and it is understood that Notary records them. Puntavorlo dictates that the intended journey is to Constantinople, and the period of return a year. If any of the participants does not return, or turn Turk, Puntavorlo states that the whole venture is lost. The contract stipulates that, after the receipt of the insurance money, the beneficiary shall not attempt, by direct or indirect means, such as magic or witchcraft, to damage Puntavorlo, Cat, or Dog. In his turn, the knight guarantees he will never try to employ magic to travel invisible, or use fraud or imposture. As a token of his journey, Puntavorlo engages to bring back a Turk's mustache, his Dog a Grecian hare's lips, and his Cat the tail of a Thracian cat. When Notary says that the document is done, Puntavorlo responds it is only said, not done, because upon his return, he is to receive five times the sum set forth. After Notary has written the deed, he exits. When Fastidious Brisk enters to sign the insurance papers, Puntavorlo dispatches his servant to let Notary know. Notary sends word that everything is ready and they may come to sign the papers.
ORANGE
Orange is a city-born con man, the inseparable twin of foppery to Clove. Cordatus says that Orange and Clove are not within the scope of this play, but he gives a brief characterization of the two. Cordatus says that Orange is a foolish person, who displays linguistic clichés and cannot understand a joke but laughs heartily at it. At St. Paul's, Orange enters before Clove greeting their common acquaintance Shift. Orange knows Shift by a different name than his friend does, and he greets Shift by the name of Signior Whiffe. When Puntavorlo and Carlo Buffone enter, Orange and Clove witness the conversation between the two. They are also present at the discussion between Fastidious Brisk, Deliro, and Macilente. When he sees them eavesdropping, Macilente describes Clove and Orange as a couple of fine tame parrots. Clove wants to show off in front of the gentlemen and tells Orange to pretend they are two learned scholars. Clove embarks in a one-sided conversation scattered with incongruous references to classical philosophy, punctuated by Orange's brief commendatory statements, which are part of his linguistic idiosyncrasy. Orange replies to Clove's fake learned commentary with his stock phrases, "O, good sir!" and O lord, sir!" When Deliro exits with Macilente, disgusted at the spectacle of Shift brandishing his sword, Orange and Clove call Shift aside, asking him about his dispute with the gentlemen. Orange and Clove greet Shift by his two different names, which allows Carlo Buffone to deduce Shift's double impersonation. Orange exits with Clove.
ORESTES
Only mentioned. Orestes is the symbolic name Sogliardo gives himself in relation to Shift. In Greek mythology, Orestes and Pylades were faithful friends and their names are symbolic of friendship. When Sogliardo introduces his new friend Shift to Puntavorlo, Shift calls Sogliardo "my dear Orestes." This remark makes Carlo Buffone make the connection of Orestes to Pylades, and speak about the two friends. Sogliardo approves of the classical allusion, saying he is Shift's Orestes, and Shift is Sogliardo's Pylades.
PHILEMON
Only mentioned. 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 Philemon next to Menander 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 attributes. Philemon was a fourth-century B.C. writer of comedy in Syracuse. His admirers considered him superior to Menander. Philemon's plays, like those of Menander, contain many imitations of Euripides. Philemon was so ardent an admirer of that poet that he would have hanged himself for the prospect of meeting Euripides in the other world, if he could be convinced that departed spirits were capable of recognizing one another.
PHORMUS
Only mentioned. 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. According to Cordatus, Phormus and Chionides invented a fourth character in the structure of comedy, with a prologue and a chorus. Phormus was a sixth-century B.C. Greek soldier and dramatist based in Sicily. He wrote eight comedies, which were burlesques of familiar epic and tragic themes. He was the first who arrayed a comic actor in a robe reaching to his feet, and employed a background adorned with skins dyed in red.
PHYSICIAN
A "ghost character." When Puntavorlo informs his friends he intends to embark on a journey to Constantinople, accompanied by his wife and his Dog, Carlo Buffone mocks Puntavorlo's self-centeredness, pretending to be concerned with the knight's Dog. Carlo Buffone advises Puntavorlo to discuss with a physician about the preventive cure to be applied on Dog upon such a perilous journey. The physician is supposed to give Dog some antidotes against poison, because someone might be tempted to poison Dog, seeing that such a large sum of money has been placed upon his safe return. Ironically, Macilente does poison Dog, yet not in order to prevent him from taking the journey, but out of spite. Taking Carlo Buffone's ironic advice seriously, Puntavorlo stipulates in the insurance document that the physician will prescribe medicine and foods for Dog and Cat.
PLATO
Only mentioned. Clove wants to impress the group of gentlemen at St. Paul's and he tells Orange to pretend they are two learned scholars. In order to be more persuasive, Clove launches into a sophisticated but incongruous exposition about various philosophers and their writings, in order to seem that they are having a learned conversation. In fact, it is a one-sided monologue produced by Clove, since Orange only approves intermittently. Clove discusses aberrantly about the soul's synderesis, the embrions in nature, and the intervalum of the Zodiac saying that one may read about such metaphysics in Plato's Histriomastix. Actually, Clove attributes to Plato the title of a treatise written in the Jacobean period. Histriomastix is a Puritan attack upon the stage, probably written by Prynne.
PLAUTUS
Only mentioned. 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 all the important names of classical comedy, including Plautus, who added the structure of comedy and the characters. Likewise, Cordatus mentions Plautus when he speaks of the device of inserting elements of violence in the comedy. After the episode of Sordido's suicide attempt, Cordatus gives the example of Plautus' comedy Cistellaria, in which such a violent incident happens. The character, Alcesimarchus, tries to commit suicide. Cordatus considers Plautus' authority as sufficient justification for the insertion of this potentially violent scene in the comedy Every Man Out Of His Humour. Titus Maccius Plautus was a third-century B.C. Roman comic poet and dramatist. Plautus followed Menander's pattern in comedy. Twenty of his farcical plays have been preserved more or less intact through the centuries, making him one of the world's chief dramatic influences. His plots, which he borrowed from the Greek comic poets, have furnished inspiration for later playwrights. Many of the stock-characters of the present-day comic stage are adaptations of the types Plautus took from the Greek comedy.
PLOWDEN
Only mentioned. Edmund Plowden (1517-1584) was a famous Elizabethan lawyer of Catholic religion, who lectured at Middle Temple. When Fungoso wants to extract some money from his father in order to buy a new suit, he asks Sogliardo to tell Sordido that he wants to buy some books at bargain price. Fungoso says that the books by Plowden, Dyar, and Brooke can be bought at half-price.
POET
A "ghost character." Carlo Buffone refers to the "poet," the author of the play entitled Every Man Out Of His Humour, giving a direct description of the author Ben Jonson in everyday circumstances. According to Carlo Buffone, the poet drinks canary wine with the players and has plentiful meals with them, though at home he keeps a "good philosophical diet." Carlo says he hopes the present comedy will get him out of the bad disposition the Poet has induced upon him, or else he will not trust any of the poet's "tribe." The reference is to the group of poets around Ben Jonson, known as "the tribe of Ben."
POOR MAN
A "ghost character." Fallace comes to prison to warn Fastidious Brisk about her husband's imminent intention to reclaim his debts. Fallace seems to be acquainted with the legal procedures on arrears because she tells Fastidious Brisk he is in for at least six years for his debt due and unpaid. Fallace reports that Deliro is very hard on his insolvent customers, remembering that he kept a poor man in Ludgate prison for twelve years only for the debt of sixteen shillings. Fallace's allusion to Ludgate prison may imply that she wanted Fastidious Brisk to recall a romantic story connected with a lady who saved a gentleman from prison. Sir Stephen Forster was lord mayor in 1454. He had been a prisoner at Ludgate, and begged at the gate, where a rich widow saw him, bought his liberty, took him into her service, and afterwards married him. To commemorate this strange eventful history, Sir Stephen enlarged the prison accommodation and added a chapel.
PROLOGUE
Prologue enters but refuses to speak his part, invoking the reason that Cordatus has already taken the part of the prologue. Despite Cordatus's protestations, Prologue exits.
PUNTAVORLO
Puntavorlo is a vainglorious knight with histrionic tendencies. Carlo Buffone reports that Puntavorlo loves his dogs, hawks, and wife. Before his house in the country, Puntavorlo enters followed by his huntsman, who blows the horn to announce his arrival. When his wife appears at the window, Puntavorlo starts a rehearsed game of chivalric courtship, while Sogliardo, Carlo Buffone, and Fastidious Brisk are watching. At St. Paul's, Puntavorlo enters with Carlo Buffone, followed by two servants, one leading Dog and another carrying Cat. Puntavorlo says he intends to draw an official document insuring the safe return of himself, Dog, and Cat, from their journey to the Turk. At Puntavorlo's lodgings in London, Puntavorlo enters with Notary and the servants taking care of Dog and Cat to draw the indemnity deed. When Fastidious Brisk enters, Puntavorlo exits with his party to sign the document. Puntavorlo re-enters announcing his party that the papers are ready and he should depart presently, but he decides to join his friends to court. On the palace stairs, Puntavorlo enters with Dog, followed by Fastidious Brisk and Fungoso. Since he cannot take Dog into the palace, Puntavorlo leaves him with a careless Groom. In an apartment at court, Puntavorlo attends the scene in which Sogliardo and Saviolina are ridiculed. Puntavorlo exits and finds out that Dog has been killed. He concludes he cannot go on his intended journey after all, and exits with his party to the tavern. At the Mitre Tavern, Puntavorlo enters with his party and, irritated by Carlo Buffone's drink-induced loquacity, forgets his benevolent attitude and seals Carlo's lips with wax. Puntavorlo gets involved in the ensuing brawl, but when the Constable arrives, he manages to run out.
PYLADES
Only mentioned. Pylades is the symbolic name Sogliardo gives Shift. In Greek mythology, Pylades was Orestes's faithful friend and their names are symbolic of friendship. When Sogliardo introduces his new friend Shift to Puntavorlo, Shift calls Sogliardo "my dear Orestes." This remark makes Carlo Buffone make the connection of Orestes to Pylades, and speak about the two friends. Sogliardo approves of the classical allusion, saying he is Shift's Orestes, and Shift is Sogliardo's Pylades.
PYTHAGORAS
Only mentioned. Clove wants to impress the group of gentlemen at St. Paul's and he tells Orange to pretend they are two learned scholars. In order to be more persuasive, Clove launches into a sophisticated but incongruous exposition about various philosophers and their writings, in order to seem that they are having a learned conversation. In fact, it is a one-sided monologue produced by Clove, since Orange only approves intermittently. In his aberrant discourse, Clove mentions that the hypothesis of galaxia is merely Pythagorical, mathematical, and aristocratic. Actually, Clove makes a confusing mélange of names, titles, and philosophical or historical concepts existing in his age.
QUEEN GUENEVER
Only mentioned. When Puntavorlo starts a rehearsed game of chivalric courtship to his wife before his country house, he pretends to be an errant-knight who seeks refuge in the castle, while she pretends to receive him gallantly. Carlo Buffone, Sogliardo, and Fastidious Brisk are watching the scene, making caustic comments. Carlo Buffone says this is a tedious chapter of courtship, in the manner of Sir Lancelot and Queen "Guenever." The irony addresses the medieval chivalric romances.
RESOLUTION
Resolution is the symbolic name given by Puntavorlo to Shift in his relation to Sogliardo. Puntavorlo says the two inseparable friends shall be named Countenance and Resolution. It is inferred that Shift possessed the necessary resolution to profit financially from his friend Sogliardo.
RUSTIC, FIRST, SECOND, THIRD, FOURTH and FIFTH
First Rustic is the peasant who saves Sordido's life. When Sordido tries to hang himself on the branch of a tree, First Rustic sees him and calls for help. He cuts the cord and resuscitates him. The other four Rustics enter and, when they realize who he has helped, they curse the First Rustic for saving such a villain. However, when Sordido miraculously repents his miserable life and starts speaking of salvation and grace, the four rustics repent and are moved by his apparent change of heart.
SATAN
Only mentioned. When he speaks about Macilente's malignity ironically to Puntavorlo, Carlo Buffone says he cannot stand the envious villain. He describes Macilente as a malevolent person with limbs of satin, or Satan indeed, who would walk like a child of darkness all day, looking melancholy and ready to swallow up many unfortunate sinners. The description connects Satan's evil with Macilente's maliciousness.
SAVIOLINA
Saviolina is a frivolous and light-minded court lady. In Italian, sávio means wise, and the name is a deprecating diminutive, suggesting a person of little wisdom. Fastidious Brisk boasts to everybody that he enjoys the favors of an excellent court lady. In an apartment at court, Fastidious Brisk enters with Macilente, apparently to show off Saviolina's famed wit. When Saviolina enters, however, she does not shine by her intelligence, but she misses no opportunity of ridiculing Fastidious Brisk. Saviolina misinterprets his insipid compliments, despises his clumsy performance at the viol, and derides his smoking habit. Finally, she exits leaving Fastidious Brisk in difficult humiliation. Later, at Puntavorlo's house, Macilente reports that he thinks Saviolina is too self-conceited. At court, Saviolina enters followed by Puntavorlo, Fastidious Brisk, and Fungoso. She pretends to show her sagacity, while Puntavorlo and the others intend to ridicule her. They praise a gentleman, Sogliardo, and Saviolina boasts she can recognize a gentleman as soon as she sees him. When Sogliardo enters with Macilente, Saviolina says he seems to be an impostor, adding that if they had not told her he was a gentleman, she would have thought he was a clown. Ultimately, the men make Saviolina behave out of her pretended ingenious humor. Saviolina observes she has been gulled and exits furiously.
SCALIGER
Only mentioned. Julius Caesar Scaliger (1484-1558) was a French humanist who attacked Erasmus in his works. He defended the perfection of Cicero's style and denounced Erasmus as a mere parasite. The general principles of his works are derived from Aristotle. Like Aristotle, he makes imitation the basis of all poetry. Clove wants to impress the group of gentlemen at St. Paul's and he tells Orange to pretend they are two learned scholars. In order to be more persuasive, Clove launches into a sophisticated but incongruous exposition about various philosophers and their writings, so that it might seem they are having a learned conversation. In fact, it is a one-sided monologue produced by Clove, since Orange only approves intermittently. Clove says that Aristotle, in his Daemonologia, approves that Scaliger is the best navigator in his time. Actually, Aristotle cannot have mentioned Scaliger, because he drew on Aristotle, and Scaliger was not a navigator, but a scholar.
SELENIUM
Only mentioned. Selenium is a character in Plautus' comedy Cistellaria. Cordatus mentions Plautus when he speaks of the device of inserting elements of violence in the comedy. After the episode of Sordido's suicide attempt, Cordatus gives the example of Plautus' comedy Cistellaria, in which such a violent incident happens. The character, Alcesimarchus, tries to commit suicide and is saved by Selenium and the Bawd. Cordatus considers the example from Plautus as the highest authority.
SERVANT, FIRST and SECOND
Non-speaking characters. At Puntavorlo's country house, the knight enters followed by the two servants. Second Servant is holding a bag with Cat in it. Carlo Buffone describes First Servant to Puntavorlo as a good lean slave who loves Dog and can take good care of him. At the same time, in an aside, Carlo Buffone tells First Servant to poison Dog or find another way to kill him. When Fastidious Brisk arrives at Puntavorlo's lodgings in London to sign the insurance papers, Puntavorlo sends First Servant to the Notary, telling him to leave Dog with them. First Servant returns with word that the notary has the papers ready. After the insurance papers are signed, Puntavorlo tells First Servant to go home with Second Servant and Cat, while he takes Dog with him to court.
SHIFT
Shift is a materialist and a cheat, using two different impersonations for various occasions. When Shift enters St. Paul's, Cordatus describes the suspicious-looking character. Cordatus says he is known under several names, such as Apple-John and Signior Whiffe, but his standing name is cavalier Shift. Shift enters St. Paul's brandishing his sword, while the Puntavorlo party is watching. Carlo Buffone overhears that Clove and Orange greet Shift by two different names, and confronts Shift with his double impersonation. Shift admits that he takes the name of Signior Whiffe when he is a tobacconist and master Apple-John when he is a poor squire about the town. Concluding that Shift is an excellent impersonator, Carlo Buffone recommends him to Sogliardo as a professor in the art of hedging the creditors. Sogliardo invites Shift to dine with him and Shift exits with Sogliardo and Carlo Buffone. Later, Carlo Buffone reports that Sogliardo spent a whole day and night with Shift, in the privacy of their room at an inn, smoking heavily. At Puntavorlo's lodgings in London, Sogliardo praises his new friend's exploits, including the fact that he did five hundred robberies and escaped from jail forty times, while Shift professes modesty. When Sogliardo invites Shift to come to court with him, Shift says he has other business as master Apple-John and exits. On the palace stairs at court, Shift enters to meet Sogliardo as arranged. The Puntavorlo party enters, and Puntavorlo notices that his precious Dog is missing. Macilente blames Shift for having stolen Dog. Shift tries to exonerate himself, saying he never did robbery in all his life. This statement makes him fall out of Sogliardo's favor, because he boasted to his friend that he was a master thief. Shift exits in disgrace.
SHOEMAKER
At Deliro's house, Shoemaker enters with Fungoso in a new suit and shoes, together with Tailor and Haberdasher. Fungoso thanks Shoemaker and tells him he will put the shoestrings to his new shoes, in the hope lowering the total cost. It is not clear if Fungoso pays Shoemaker, probably not, and Shoemaker exits before the other suppliers.
SIR JOHN FALSTAFF
Only mentioned. Sir John Falstaff is a character in Shakespeare's Henry IV, Parts 1 and 2, Henry V, and The Merry Wives of Windsor. When Macilente has the final speech, he empowers the audience with the ultimate critical judgment. If they like the play and applaud, they can turn the lean and envious Macilente into a person as fat as Sir John Falstaff.
SOGLIARDO
Insuloso Sogliardo is a clown, brother to Sordido, who manages to buy a knighthood. Sogliardo enters with Carlo Buffone, telling him he has land and money and wants to become a gentleman at all cost. Before Puntavorlo's country house, Sogliardo enters with Carlo Buffone and Fastidious Brisk. The three men have a silly conversation about hobbyhorses and amusing pastimes. Puntavorlo arrives and all are invited into the house. At St. Paul's, Sogliardo enters informing the Puntavorlo party he has purchased a coat of arms. When Carlo Buffone discovers Shift's double impersonation, he recommends him to Sogliardo as an efficient professor in the art of hedging the creditors. Sogliardo invites Shift to dinner and he exits with Carlo Buffone and Shift. Later, Carlo Buffone reports that Sogliardo spent a whole day and night with Shift, in the privacy of their room at an inn, smoking heavily. At Puntavorlo's lodgings in London, Sogliardo enters with Shift, introducing him as a person whom he knows very well, actually he knows him all over. There are several allusions to Sogliardo's homosexual inclinations. Sogliardo exits with Shift to act as witnesses to the signing of Puntavorlo's insurance document. Then, Sogliardo joins the Puntavorlo party to court. In an apartment at court, Sogliardo enters with Macilente and, during the conversation, he is blissfully unaware of the fact that the other men ridicule him by introducing him to Saviolina as a gentleman. Though he is everybody's laughing stock, Sogliardo continues to play according to his idea of a courtier. Sogliardo exits with the Puntavorlo party to the tavern. At the Mitre Tavern, Sogliardo gets involved in the brawl, but he manages to run out when the Constable and the officers arrive.
SORDIDO
Sordido is a rich farmer, brother to Sogliardo and father to Fungoso. In Italian, sórdido means dirty and extremely thrifty. Sordido believes in astrological predictions and would do nothing without consulting his almanac. In the country, Sordido enters reading his almanac. His servant brings him a document from the justice instructing farmers to bring all the grain to the market. Since the astrological prognostication held that the time was not right for selling grain, Sordido decides to disregard the official mandate and speculate the market until the price rises, according to prediction. Sordido exits to do his agricultural work. Before Puntavorlo's house, Sordido enters with Fungoso to visit his neighbor. During the conversation, Sogliardo tries to persuade his brother to give Fungoso twelve pounds, apparently to buy books at a bargain price. Sordido cannot be persuaded to part with more than ten pounds. In the country, Sordido enters blaming the astrological prognostication, which seems to have backfired and damaged his business. A servant brings Sordido a letter from his son, in which Fungoso asks for more money. Sordido says that, rather than give his son money from his hard-earned fortune he would hang himself. Sordido attempts to hang himself, but is rescued by some peasants. The Rustics are disappointed when they see that the man whose life they saved is the profiteer Sordido and Sordido himself blames them for having saved his life. However, sensing that a miracle has just happened, Sordido behaves out of his parsimonious and selfish humor and he repents. Sordido exits speaking of the blessing of life, love, and grace.
SUSARIO
Only mentioned. 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. According to Cordatus, Susario added a second song interpreted by a character to the original choral hymn that lies at the root of comedy. Susario Megarensis was a classical Greek dithyrambic poet.
TAILOR
Fungoso's Tailor enters Deliro's house. When Fungoso sees that Fastidious Brisk, whose elegance he admires and tries to emulate has another fashionable suit, he exits to fetch his Tailor and have his suit changed. Fungoso wants Tailor to copy the design of Fastidious Brisk's suit, but they just missed the courtier. Fungoso takes Tailor with him to St. Paul's, where Tailor views Fastidious Brisk's apparel. Tailor tells Fungoso he will do his best to make his client's new suit look exactly like the one Fastidious Brisk is wearing. Tailor exits with the impatient Fungoso to produce his suit. Fungoso refers to Tailor as Master Snip. After having made his suit, Tailor enters Deliro's house with Fungoso, followed by the others suppliers. When Tailor presents him with the bill, Fungoso says it is very reasonable, but asks him to take part of the money cash, and the rest on credit. Though Tailor hesitates at first, he finally accepts the proposal. However, when Fungoso notices that he lacks shoelaces for his new shoes, he asks Tailor to take two or three shillings off the cash payment and send him some accessories. Tailor promises he will do so and exits.
TERENCE
Only mentioned. 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. According to Cordatus, the comedy's equal division into acts and scene is done in the Terentian manner. Terence was the second-century B.C. Roman dramatist. Plautus and Terence followed Menander's pattern in comedy. Terence was Plautus's successor and he copied the Greek originals with slavish fidelity. His six plays, which all survive, have served as models for classical perfection to every succeeding generation of comedy-writers.
THETIS
Only mentioned. The reference is to Thetis's son, the Greek hero Achilles, who fought in the Trojan War. When Fastidious Brisk reports to Puntavorlo and his party the episode of his "brave" combat with Signior Luculento, Fastidious Brisk compares the incentive of their fight with the grand determination that caused Achilles to fight in the Trojan War. In the Iliad, Achilles quarreled with Agamemnon, the leader of the Greeks, over a captive slave-girl whom he loved. It is to be inferred that the cause of Fastidious Brisk's duel with Luculento was a dispute over a lady. However, when asked, Fastidious Brisk gallantly says that they should let the cause escape, dismissing the reason for the fight as irrelevant and concentrating on a detailed description of the duel.
TURK
Only mentioned. Turk is the generic name given to the Turkish Sultan in Constantinople. Puntavorlo announces he intends to embark on a journey to the East accompanied by his wife, later replaced by Cat, and his Dog. The party is supposed to reach the Turk's court in Constantinople and return safely in a year's time.
VULCAN
Only mentioned. When Asper announces that the play exposing vice is about to begin, he invites the audience to judge the comedy. The author rails against the would-be poets of his time, who strive to fling their ulcerous bodies into the Thespian spring and leap forth as lame as Vulcan. Asper refers here to the inept poets' lame verses, but the allusion is to the Roman god of fire and metal, identified with the Greek Hephaestus. Hephaestus was the son of Zeus and Hera, who was crippled by being hurled to Earth by Zeus.
WHIFFE
Signior Whiffe is the name by which Orange knows Shift. At St. Paul's, Clove greets Shift by the name of Signior Whiffe. Orange asks Signior Whiffe what he was doing in these west parts, and Shift says that he had taken some tobacco with a gentleman and came into St. Paul's to spit in private. It appears that Carlo Buffone also knows Shift as Signior Whiffe, and when he hears Clove call him Master Apple-John, Carlo Buffone concludes that Shift adopted a double impersonation. When Carlo confronts Shift with these two names, Shift admits that, when he is a tobacconist, he has the name of Signior Whiffe, and when he is a poor squire about the town, he takes the name of Master Apple-John.
WIFE
A "fictional character." Fallace is in total admiration of Fastidious Brisk's dress and courtly manners, but she is worried about the difference in social status between them. Fallace consoles herself by saying that she heard of a courtier who fell in love with a citizen's wife.
YOHAN
A "ghost character." When Puntavorlo laments the death of Dog, Carlo Buffone mockingly suggests that he should have the animal stuffed, as they see the dead monsters at Bartholomew fair. Carlo Buffone recommends a Jew, one Yohan, who could glue Dog's skin artificially. Carlo remarks in jest that it would be much warmer for the stuffed Dog to travel inside the coach to Constantinople.