Fletcher and Massinger
A VERY WOMAN, or
THE WOMAN'S PLOT
Also often listed as
Massinger
A VERY WOMAN, OR
THE PRINCE OF TARENT
a synoptic, alphabetical character list
A NOTE ON AUTHORSHIP AND DATING
Originally, John Fletcher, who died in 1625, wrote A Very Woman in 1624. Massinger revised the play in 1634. It was published in 1655 as part of the Beaumont and Fletcher canon. The prologue notes that audiences might remember the original, and will, hopefully, enjoy the revisions. This suggests only a moderate reworking on Massinger's part. Nonetheless, the play is often confusingly double-ascribed as both a Massinger as well as a Fletcher and Massinger play. Adding to the confusion is the title itself, which, when published as by Fletcher/Massinger, is A Very Woman, or the Woman's Plot, and when published as by Massinger alone is A Very Woman, or, The Prince of Tarent.
Similar problems plague two other Fletcher/Massinger plays:
- The Martial Maid, also known as Love's Cure, and
- Cleander, Massinger's rewrite of Fletcher's The Wandering Lovers. This play is also known as
- The Lover's Progress, and yet at other times published as
- Lisander and Calista.
ALMIRA
Almira is the Viceroy's daughter. She was engaged to Don Martino Cardenes, and harbors a deep hatred for Don Juan Antonio, the Prince of Tarent. When the former is wounded-a wound that at first seems fatal-in a duel her love, she takes up a sword and nearly kills Antonio. As Cardenes recovers, she spends time with Borachia, a drunkard, who is enamored of her newly purchased slave, who is actually Antonio in disguise. Almira falls in love with him. She asks for his name. He tells her that he will not give her his real name, but that she may call him Don Juan Antonio. She is shocked that the man whom she loves has the same name as the man she professed to hate. However, this odd circumstance only seems to reinforce her affections. When she publicly declares her love for him, her father is outraged and orders that the slave be arrested and tortured. She, in turn, swears to die alongside the man she loves. After Antonio's true identity is revealed, she is shocked that she preferred the love of a slave to that of a prince. Her father, now pleased, promises a suitable dowry.
ANTONIO, OR DON JUAN
Don Juan Antonio, referred to on most occasions as Antonio, is the Prince of Tarent. He duels with Don Martino Cardenes for the affects of Almira, yet she hates Antonio as she loves Cardenes. Antonio wounds Cardenes, who swoons. Thinking him dead, Almira, takes up a sword and wounds Antonio slightly. Pedro intervenes before more blood can be shed. Allowed into Pedro's custody, the two men exchange vows of eternal friendship. Antonio boards a pirate ship and later returns disguised as a slave that is sold into Cuculo's household. Antonio comes back a chastened, pious man. In Cuculo's household, he attracts the lascivious eye of Borachia. He meets Pedro but does not reveal his identity to him, although they were close friends. Through Borachia, Antonio is introduced to Almira, who is strongly attracted to him. He tells her he will not give her his real name, but that she may call him Don Juan Antonio. She is shocked that the man whom she loves has the same name, Christian or not, as the man she professed to hate. Nevertheless, this odd circumstance only strengthens her affections. After he saves her from pirates who wanted to kidnap and sell her into sexual slavery, she publicly declares her love for him. Her father is outraged that she would love a slave and orders Antonio's arrest. She, in turn, swears to die alongside the man she loves. After Antonio's true identity is revealed, Almira is shocked that she preferred the love of a slave to that of a prince. Her father, now quite pleased, promises a suitable dowry.
BORACHIA
Borachia is the wife of Cuculo. As her husband, she is a comic figure. She complains that he is impotent and has her eye on Antonio, whom she thinks is no more than a newly purchased slave. She notes that he is "circumsinged," evidence that she has seen him naked. She also misunderstands Pedro's politeness for sexual interest. As her name suggests, she is an alcoholic. When Antonio supplies her with wine, she tells him she will make him her heir. As she becomes inebriated, she becomes more shrewish, mercilessly henpecking and publicly belittling her husband. She is the first to see that Almira is in love with Antonio, and she sets up a meeting for the two. When the Viceroy orders Antonio executed, she comes forward to defend him, but the Viceroy dismisses her speeches as the rantings of an alcoholic.
CAPTAIN
The Captain, knowing that Antonio is sure to be executed for the attempted murder of Don Martino Cardenes, agrees to take Antonio to Malta. At the play's close, the Viceroy rewards the Captain for his faithful service.
CARDENES, OR DON MARTINO
Don Martino Cardenes, referred to throughout the play 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.
CUCULO
Cuculo is the Viceroy's steward, husband to Borachia, and the master to the disguised Antonio, whom he buys in the slave mart. As his name suggests, his wife is unfaithful. She complains of his impotency, and he, in turn, complains of her drunkenness. He orders Antonio to keep liquor away from her for fear that it makes her shrewish. He accuses Pedro of trying to seduce his wife, which Pedro laughs off.
DON PEDRO
Don Pedro is the son of the Viceroy. Early on, he tries to convince his sister to marry Antonio, his best friend. However, it soon becomes clear that he harbors strongly homoerotic affections for Antonio. After Antonio seemingly kills Don Martino Cardenes in a duel, Don Pedro secretly aids in Antonio's escape. He is unaware of Antonio's return as a slave, and on one occasion, employs him to bring a letter to Leonora, who has been barred from seeing him. He also has a charged relationship with Leonora, whom he affects to love. At the play's close, when couples should normally pair off for marriage, Pedro remains unattached.
DUKE OF MESSINA
The Duke is the father of Don Martino Cardenes. He demands justice when he hears that his son has been killed, and suspects a foul intrigue when Antonio is given bail and soon after escapes. He accuses Don Pedro and even the Viceroy of aiding in the plot. He orders his daughter, Leonora, to cease all contact with Pedro, whom she loves. When his son is found to be no more than wounded, he pays Paulo and two surgeons to restore him to health.
ENGLISH SLAVE
Although this character has no formal name, he is used as a foil to compare the relative virtues and natural breeding of the English against slaves from other lands. The Englishman is found to be nobler and, in general, superior not only to other slaves, but also to his Italian masters. Nonetheless, the English are also described as mad. Later in the play, things take on a more sinister tone when the English Slave suggests to a group of pirates that they should kidnap Leonora and Almira and sell them as sex slaves to the Turks. The plan is put into action, but Antonio comes to the rescue.
LEONORA
Leonora is the Duke of Messina's niece and confidant of Almira. As the play opens, she engages in courtly but erotic dialogue with Pedro, but his heart is with Antonio. She seems unaware of the fondness these men have for each other. The father orders her to break off contact with Pedro because it is unclear whether Pedro has aided Antonio in his escape. Leonora is crushed but promises to obey. Later in the play, she has a sympathetic conversation with Borachia concerning Almira's sudden obsession with the slave, the disguised Antonio.
PAULO, A PHYSICIAN
Paulo, along with two surgeons, nurses the wounded Don Martino back to health. He has a long, comic encounter in the slave mart, discussing the relative qualities of English, Jewish, and Moorish slaves. The English are considered superior, though quite mad. On the subject of madness, Paulo attempts to cure Don Martino of his melancholy. First, he comes in disguised as a friar, and attempts to show him his crimes of passion were not so terrible, then as a sailor, and, we are told, he has also attempted to cheer Don Martino by playing a philosopher, a poet, and an architect. He succeeds at last in curing Don Martino of his melancholy.
PIRATES
These pirates attempt, with the English Slave, to kidnap Almira and Leonora for the purpose of selling them into Turkish sexual slavery. Antonio drives them away.
VICEROY OF SICILY
The Viceroy is the father of Almira and Pedro. The Duke accuses him of helping Antonio escape justice, but the charge is baseless. He is happy to reward Antonio for saving his daughter from the pirates, but is outraged that his daughter would choose this same slave for a husband. He insists that Antonio must have used witchcraft to gain his daughter's love. He orders Antonio to be tortured and executed. When his daughter says that she too will die with Antonio, he is only too happy to add, "Let her perish." He also orders the removal of the alcoholic Borachia when she defends Antonio. Once Antonio's princely identity is revealed, however, the Viceroy is pleased with the match, promising to raise Almira's fortunes to meet his own.