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Act 1, Scene 1 Quotes

BEATRICE: Be better advised, sir:
Our eyes are sentinels unto our judgments
And should give certain judgment what they see;
But they are rash sometimes, and tell us wonders
Of common things, which when our judgments find,
They can then check the eyes, and call them blind.

Related Characters: Beatrice (speaker), Alsemero
Related Symbols: Eyes
Related Literary Devices:
Page Number and Citation: 349
Explanation and Analysis:
Though Alsemero falls quickly in love with Beatrice, amazed by her beautiful facial features, Beatrice warns him that physical attraction might not be a trustworthy marker of compatibility. To prove her point to Alsemero, Beatrice invokes the imagery of “eyes,” which often symbolize deceptive appearances in the play. As Beatrice points out, eyes can be “rash sometimes,” disguising things as “wonders” which are in fact more common or disappointing. And though visual information is often the first thing humans can take in (Beatrice says that eyes are “sentinels,” or watchful guards), it is not enough to form a sophisticated “judgment.” Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur labo

Act 1, Scene 2 Quotes

LOLLIO: Yes, sir, for every part has his hour: we wake at six and look about us, that’s eye-hour; at seven we should pray, that's knee-hour; at eight walk, that's leg-hour; at nine gather flowers and pluck a rose, that's nose-hour; at ten we drink, that’s mouth-hour; at eleven lay about us for victuals, that’s hand-hour; at twelve go to dinner, that’s belly-hour.

Related Characters: Lollio (speaker), Alibius, Vermandero, Beatrice
Related Symbols: Eyes
Page Number and Citation: 356
Explanation and Analysis:
Clever Lollio, informing his employer Alibius that it is almost time for lunch, launches into this short speech about the way each hour of the day corresponds to a body part. The form of this dialogue quickly signals a gap between the world of the madhouse and the world of the castle; whereas noble characters like Beatrice and Vermandero speak in metered or blank verse, Lollio uses prose, a less formal manner of speaking often used (in Jacobean drama) to denote working-class characters. Prose is especially fitting for Lollio because its free-flowing structure allows him to play with language, often Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. V

LOLLIO: Tony; mark my question: how many fools and knaves are here? A fool before a knave, a fool behind a knave, between every two fools a knave; how many fools, how many knaves?

ANTONIO: I never learnt so far, cousin […].

LOLLIO: I’ll make him understand it easily; cousin, stand there […]. Master, stand you next the fool […]. Here’s my place; mark now, Tony, there a fool before a knave.

ANTONIO: That’s I, cousin.

LOLLIO: Here’s a fool behind a knave, that’s I, and between us two fools there is a knave, that’s my master; ‘tis but we three, that’s all.

Related Characters: Lollio (speaker), Antonio (speaker), Alibius
Page Number and Citation: 359
Explanation and Analysis:
As he inducts Antonio into the madhouse, Lollio uses his trademark wordplay to intentionally blur the boundaries between patient and doctor, employee and employer. Though Antonio is the only one who is societally labeled as a “fool,” Lollio’s pun—in which he implies that he, Antonio, and Alibius are all equally fools and “knaves,” or scoundrels—suggests that such labels are meaningless. Instead, Lollio’s rotating movements reveal that identity is always dependent on context and perspective: Lollio declares himself a “knave” when he stands in front of Antonio and a “fool” when he stands next to him, just by virtue of shifting Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum.

Act 2, Scene 1 Quotes

BEATRICE: Methinks I love now with the eyes of judgment
And see the way to merit, clearly see it.
A true deserver like a diamond sparkles,
In darkness you may see him, that’s in absence,
Which is the greatest darkness falls on love;
Ye he is best discern’d then
With intellectual eyesight.

Related Characters: Beatrice (speaker), Alsemero, Alonzo de Piracquo, DeFlores, Jasperino
Related Symbols: Eyes, Diamonds
Page Number and Citation: 361
Explanation and Analysis:
After finding herself impressed by Jasperino, Alsemero’s closest friend, Beatrice infers that Alsemero’s taste in companions reflects well on Alsemero himself. Having first fallen for Alsemero because of his appearance, then, Beatrice now believes she can assess her love with “the eyes of judgment”—in other words, after first catching sight of Alsemero’s exterior, she now has gained insight into his inner life. It is worth noting the repeated use of the “eye” symbolism: in asserting that “intellectual eyesight” is the truly important metric, Beatrice implicitly hints that regular visual eyesight is not quite so “clear.” But if these lines continue Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusan

ALONZO: I should depart
An enemy, a dangerous, deadly one
To any but thyself, that should but think
She knew the meaning of inconstancy,
Much less the use practice; yet w’are friends.
Pray let no more be urg’d; I can endure
Much, till I meet an injury to her,
Then I am not myself. Farewell, sweet brother.
How much we are bound to heaven to depart lovingly.
Exit.

TOMAZO: Why, here is love's tame madness; thus a man
Quickly steals into his vexation.

Related Characters: Alonzo de Piracquo (speaker), Tomazo de Piracquo (speaker), Antonio, Alsemero, Beatrice
Page Number and Citation: 366
Explanation and Analysis:
Alonzo de Piracquo is in love with Beatrice and eager to marry her, but his brother Tomazo—not swept off his feet by the noblewoman’s beauty—is more skeptical of the match.  In different ways, both brothers acknowledge that “love” (or at least sexual desire) is a kind of insanity: Tomazo refers to “love’s tame madness,” while Alonzo asserts that even one bad thought about Beatrice makes him feel that “I am not myself.” In a show that (as its title suggests) is so much about change and transformation, there is perhaps nothing more destabilizing and altering then physical attraction, a principle Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Dele

Act 3,  Scene 3 Quotes

LOLLIO: This is easy, sir, I’ll warrant you: you have about you fools and madmen that can dance very well; and ‘tis no wonder, your best dancers are not the wisest men; the reason is, with often jumping they jolt their brains down into their feet, that their wits lie more in their heels than their heads […]

ISABELLA: Y’have a fine trade on’t,
Madmen and fools are a staple commodity.

ALIBIUS: O wife, we must eat, wear clothes, and live;
Just at the lawyer’s haven we arrive,
By madmen and fools we both do thrive.

Related Characters: Alibius (speaker), Lollio (speaker), Isabella (speaker), Vermandero, Alonzo de Piracquo, Beatrice
Page Number and Citation: 382
Explanation and Analysis:
Vermandero, wanting to pull out all the stops for Beatrice’s wedding to Alonzo, asks Alibius to make his patients perform a dance at the wedding. Lollio’s assessment of this request mirrors his earlier focus on “leg-hour” and “belly-hour”; again, he feels that bodily exertions (like “jumping” and dancing) make mental exertion impossible. If good dancing is inversely proportional to “wisdom” because men’s wits go to their “heels,” the same logic applies to sexual desire. And indeed, many of the characters who find themselves consumed by bodily lust lose all rational judgment, finding their “heads” overwhelmed by the instincts in their Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae.

Act 3, Scene 4 Quotes

BEATRICE: Look you, sir, here’s three thousand golden florins:
I have not meanly thought upon thy merit.

DEFLORES: What, salary? Now you move me […]
Do you place me in the rank of verminous fellows,
To destroy things for wages? Offer gold?
The life blood of man! Is anything
Valued too precious for my recompense?

BEATRICE: I understand thee not.

DEFLORES: I could ha’ hir’d
A journeyman murder in this rate,
And mine own conscience might have slept at ease
And have had the work brought home.

BEATRICE [Aside]: I’m in a labyrinth;
What will content him? I would be rid of him.—
I’ll double the sum, sir.

Related Characters: Beatrice (speaker), DeFlores (speaker), Alonzo de Piracquo
Page Number and Citation: 385
Explanation and Analysis:
Having successfully enlisted DeFlores to murder Alonzo, Beatrice assumes that her servant will be content with monetary payment for his bloody deeds. But DeFlores argues that such ugly labor is “too precious” for this default mode of financial exchange. Though DeFlores spends most of his life working for fees, he will not “destroy things for wages.” Instead, he sees his murder—his choice to disrupt “the life blood of man”—as something that can only be rewarded with a similarly carnal payment—namely, a sexual relationship with Beatrice. At the same time, Beatrice is so accustomed to solving her problems with money and Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad te

DEFLORES: Look but into your conscience, read me there,
‘Tis a true book, you'll find me there your equal.
Push! Fly not to your birth, but settle you
In what the act has made you, y’are no more now;
You must forget your parentage to me:
Y’are the deed’s creature; by that name
You lost your first condition, and I challenge you,
As peace and innocency has turn’d you out, and made you one with me […]
Though thou writ’st made, thou whore in thy affection!
‘Twas changed from thy first love, and that's a kind
Of whoredom in thy heart.

Related Characters: DeFlores (speaker), Beatrice (speaker), Vermandero, Alsemero
Page Number and Citation: 387
Explanation and Analysis:
Even though DeFlores now has the power to expose Beatrice’s conniving, murderous ways to everyone at her father’s palace, Beatrice still hopes to preserve her reputation of modest innocence. In this crucial monologue, DeFlores explains that actions—more than destiny or appearances—determine a person’s “true” character. Beatrice might have been born to a wealthy, prominent family (good “parentage”), but now she has lost that “first condition.” Now, rather than coasting on the status and beauty of her “birth,” Beatrice is only “the deed’s creature,” a human being “made” by her actions. In a society that values social class and external looks Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut.

BEATRICE: Vengeance begins;
Murder I see is followed by more sins.
Was my creation in the womb so curs’d,
It must engender with a viper first?

Related Characters: Beatrice (speaker), DeFlores
Related Literary Devices:
Page Number and Citation: 387
Explanation and Analysis:
Beatrice, out of options, resigns herself to having sex with DeFlores despite her ultimate plan to marry Alsemero. But even as she adds adultery to her list of “sins,” Beatrice struggles to take responsibility for her own actions. In just this brief excerpt, Beatrice finds several occasions to use passive voice, effectively distancing herself from her actions with language. First, she notes that “murder […] is followed by more sins,” as if both the murder and the subsequent betrayals were out of her control. Then, she speaks of herself as a “creation” and an “it,” rendering herself as almost completely Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro per

Act 4, Scene 1 Quotes

DIAPHANTA: Are you serious still? Would you resign
Your first night’s pleasure, and give money too?

BEATRICE: As willingly as live. [Aside.] Alas, the gold
Is but a by-bet to wedge in the honor […]
Y’are too quick, I fear, to be a maid.

DIAPHANTA: How? Not a maid? Nay, then you urge me, madam;
Your honorable self is not a truer
With all your fears upon you—

BEATRICE [Aside.]: Bad enough then.

DIAPHANTA: Than I with all my lightsome joys about me.

Related Characters: Beatrice (speaker), Diaphanta (speaker), DeFlores, Alsemero, Alonzo de Piracquo
Related Literary Devices:
Page Number and Citation: 392
Explanation and Analysis:
Now that Beatrice has had sex with DeFlores, she fears that her body will reveal the loss of her virginity to Alsemero. In an effort to avoid that discovery, Beatrice asks the sexually curious Diaphanta to go in her stead. Diaphanta’s almost humorous excitement provides comic relief, though her eventual death at DeFlores’s hands suggests that any kind of desire—whether obsessive or “lightsome”—can have dangerous consequences. But more than that, this dialogue reflects the show’s complex interest in true honesty versus the appearance of honesty. Beatrice has always performed her modesty through anxiety and tears; in the very first scene Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corporis. Impedit non ut. Incidunt rerum est. Aperiam doloremque eum. Animi soluta perspiciatis. Ut minima autem. Modi omnis iure. Sint qui qui. Qui similique praesentium. Ex consequatur

Act 4, Scene 2 Quotes

ALSEMERO [Aside.]: Push, modesty’s shrine is set in yonder forehead.
I cannot be too sure though.—My Joanna!

Related Characters: Alsemero (speaker), Beatrice, Jasperino, Vermandero, DeFlores
Page Number and Citation: 398
Explanation and Analysis:
Jasperino, always loyal to Alsemero, informs his longtime friend that he has overheard Beatrice flirting with DeFlores. But Alsemero, not wanting to doubt his new bride, continues to find comfort in appearances, insisting that Beatrice cannot be a liar because “modesty” is “set in [her] forehead.” In the Jacobean era, Alsemero was not alone in this way of thinking; many people subscribed to a pseudoscientific set of beliefs known as physiognomy, which argued that a person’s intentions and character could be determined by the shape of their head and their features. In this short sentence, Alsemero takes physiognomy to its Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad te

Act 4, Scene 3 Quotes

ISABELLA: Does love turn fool, run mad, and all at once?
Sirrah, here’s a madman, akin to the fool too,
A lunatic lover.

LOLLIO: No, no, not he I brought the letter from?

ISABELLA: Compare his inside with his out, and tell me.

Related Characters: Isabella (speaker), Lollio (speaker), Franciscus, Antonio
Page Number and Citation: 399
Explanation and Analysis:
First, Isabella had to contend with Antonio, who revealed that his disguise as a fool was merely a bid to get close to her; now, she learns in a letter that the same is true for Franciscus’s disguise as a madman. Isabella’s frustration at these antics reveals her as one of the show’s most reasonable characters, an audience surrogate who understands both the absurdity and the gravity of all this deception. But her irritation also epitomizes one of the show’s central warnings. In The Changeling, “love” (or sexual passion) can quite literally “turn fool” and “run mad”; though Antonio and Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae.

ANTONIO: I’ll kick thee if again thou touch me,
Thou wild unshapen antic; I am no fool,
You bedlam!

ISABELLA: But you are, as sure as I am, mad.
Have I put on this habit of a frantic,
With love as full of fury, to beguile
The nimble eye of watchful jealousy,
And am I thus rewarded?
[Reveals herself.]

ANTONIO: Ha! Dearest beauty!

ISABELLA: No, I have no beauty now,
But what was in my garments.
You a quick-sighted lover? Come not near me!
Keep your caparisons, y’are aptly clad;
I came a feigner to return stark mad.

Related Characters: Isabella (speaker), Antonio (speaker), Franciscus
Page Number and Citation: 403
Explanation and Analysis:
Fed up with Antonio and Franciscus’s tricks, Isabella takes matters into her own hands, disguising herself as a madwoman and aggressively flirting with Antonio. In this absurdly comic exchange, Antonio rejects Isabella in disguise—only to immediately praise her “dearest beauty” when she reveals her true identity. Isabella’s clever trick thus functions as the show’s ultimate proof that appearances are unreliable: Antonio cannot distinguish between a “wild unshapen antic” and the “beauty” he chases after, even though Isabella’s quick return to normalcy suggests that her disguise was never very involved to begin with. More subtly, however, Isabella is also making a Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corporis. Impedit non ut. Incidunt rerum est. Aperiam doloremque eum. Animi soluta perspiciatis. Ut minima autem. Modi omnis iure. Sint qui qui. Qui similique praesentiu

Act 5, Scene 1 Quotes

[VOICE] (within): Fire, fire, fire!

BEATRICE: Already? How rare is that man’s speed!
How heartily he serves me! His face loathes one,
But look upon his care, who would not love him?
The east is not more beauteous than his service.

[VOICE] (within): Fire, fire, fire!

Related Characters: Beatrice (speaker), DeFlores, Diaphanta, Alsemero
Page Number and Citation: 408
Explanation and Analysis:
Though Beatrice arranged for Diaphanta to have sex with Alsemero as a way to protect her own reputation, the actual reality of this carnal encounter throws Beatrice into a mental tailspin. To cut Diaphanta and Alsemero’s intimacy short, the ever-loyal DeFlores quickly starts a fire, causing Beatrice to reflect on his remarkable “care” for her. For the first time, Beatrice begins to look beyond appearances, finding DeFlores’s actions—his “service” and loyalty to her—“beauteous.” Beatrice’s comparison of DeFlores to the sun in “the east” even hints at an allusion to Romeo’s monologue in Shakespeare’s famous Romeo and Juliet; Middleton and Rowley’s Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamu

Act 5, Scene 2 Quotes

TOMAZO: I cannot taste the benefits of life
With the same relish I was wont to do.
Man I grow weary of, and hold his fellowship
A treacherous bloody friendship; and because
I am ignorant in whom my wrath should settle,
I must think all men villains, and the next
I meet, whoe’er he be, the murderer
Of my most worthy brother. –Ha! Who’s he?
Enter DeFlores, passes over the stage.
O the fellow that some call honest DeFlores;
But methinks honesty was hard bested
To come there for a lodging, as if a queen
Should make her palace of a pest-house.

Related Characters: Tomazo de Piracquo (speaker), DeFlores, Alonzo de Piracquo
Related Literary Devices:
Page Number and Citation: 411
Explanation and Analysis:
Tomazo de Piracquo is certain that his brother Alonzo has been killed, but with no evidence to go on in the search for the killer, Tomazo begins to doubt everything and everyone around him. This monologue speaks to the widespread effects of deception; rather than just seeding distrust between a few people, Beatrice and DeFlores’s lies have made “all men” seem like villains, shaking Tomazo’s grip on reality. Fascinatingly, DeFlores appears at the end of Tomazo’s anxious monologue—and this appearance causes Tomazo to suspect DeFlores of wrongdoing, although at first he was sure of the servant’s innocence. In a play Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde

Act 5, Scene 3 Quotes

BEATRICE: ‘Tis innocence that smiles, and no rough brow
Can take away the dimple in her cheek.
Say I should strain a tear to fill the vault,
Which would you give the better faith to?

ALSEMERO: ‘Twere but hypocrisy of a sadder colour,
But the same stuff; neither your smiles nor tears
Shall move or flatter me from my belief:
You are a whore!

BEATRICE: What a horrid sound it hath!
It blasts a beauty to deformity;
Upon what face soever that breath falls,
It strikes it ugly. O you have ruin’d
What you can ne’er repair again.

ALSEMERO: I’ll all demolish, and seek out truth within you,
If there be any left.

Related Characters: Alsemero (speaker), Beatrice (speaker), Jasperino
Related Literary Devices:
Page Number and Citation: 415
Explanation and Analysis:
Though Alsemero is initially able to dismiss Jasperino’s concerns, the second time around, he has to give credence to the idea that Beatrice might have been lying to him. In this tense confrontation, Beatrice tries to persuade her husband that “innocence” can be measured purely in physical features: she emphasizes her “smiles” and her smooth “brow,” the “dimple in her cheek.” But Alsemero refuses this logic, despite having only a few hours before used Beatrice’s forehead shape as proof of her modesty. No external “smiles nor tears” will make an impact on him, as he is determined to find the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusa

ALSEMERO: I ask you, sir;
My wife’s behindhand with you, she tells me,
For a brave bloody blow you gave for her sake
Upon Piracquo.

DEFLORES: Upon? ‘Twas quite through him, sure;
Has she confess’d it?

ALSEMERO: As sure as death to both of you,
And much more than that.

DEFLORES: It could not be much more;
‘Twas but one thing, and that—she’s a whore.

ALSEMERO: It could not choose but follow. O cunning devils!
How should blind men know you from fair-fac’d saints?

Related Characters: Alsemero (speaker), DeFlores (speaker), Alonzo de Piracquo, Beatrice
Page Number and Citation: 417
Explanation and Analysis:
At last, Alsemero has put all the pieces of his wife’s crimes together, allowing him to confront DeFlores and extract a confession. But rather than crumbling under Alsemero’s scrutiny, DeFlores’s tone here is confident and almost cheerful. Though he admits to murdering Alonzo de Piracquo, DeFlores does so with a pun, joking that he put his rapier “through” Alonzo instead of “upon” him. And DeFlores’s acknowledgement that he had sex with Beatrice (“it could not be much more” / “she’s a whore”) marks one of the few perfect rhymes in the text. Perhaps because DeFlores is so aware of his Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut.

VERMANDERO: A host of enemies enter’d my citadel
Could not amaze like this: Joanna! Beatrice-Joanna!

BEATRICE: O come not near me, sir, I shall defile you:
I am that of your blood was taken from you
For your better health; look no more upon’t,
But cast it to the ground regardlessly,
Let the common sewer take it from distinction.
Beneath the stars, upon yon meteor,
Ever hung my fate, ‘mongst things corruptible;
I ne’er could pluck it from him.

Related Characters: Vermandero (speaker), Beatrice (speaker), DeFlores, Alsemero
Page Number and Citation: 419
Explanation and Analysis:
From the very beginning of The Changeling, Vermandero was careful to protect his castle from intruders, warning Alsemero that he would not be welcome unless he was a Valencian native. But in this tragic climax, Vermandero must come to terms with the fact that his “enemies” were not foreigners waiting to “enter [his] citadel”; instead, the real threats had been living inside his castle all along. In showing how much Vermandero has misplaced his trust in Beatrice and DeFlores, Middleton and Rowley are also sending a political message: just because someone does not look like an enemy does not mean Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corporis. Impedit non ut. Incidunt rerum est. Aperiam dolore

ALSEMERO: Here’s beauty chang’d
To ugly whoredom; here, servant obedience
Changed to a master sin, imperious murder;
I, a suppos’d husband, chang’d embraces
With wantonness, but that was paid before;
Your change is come too, from an ignorant wrath
To a knowing friendship. Are there any more on’s?

ANTONIO: Yes, sir; I was chang’d too, from a little ass as I was to a great fool as I am […]

FRANCISCUS: I was chang’d from a little wit to be stark mad,
Always for the same purpose.

Related Characters: Franciscus (speaker), Antonio (speaker), Alsemero (speaker), Tomazo de Piracquo, DeFlores, Beatrice
Page Number and Citation: 419
Explanation and Analysis:
Beatrice and DeFlores have killed themselves in shame, and Antonio and Franciscus have at last admitted their deceptions to the citizens of Alicante at large. In this monologue, which gives the play its title, Alsemero reflects on the transformational power of desire. Lust has turned Beatrice from a beautiful person into an ugly one, just as it has turned DeFlores from a servant into a “master” of sin. A desire for sex makes Antonio and Franciscus into fools and madmen. Meanwhile, a desire for revenge makes Tomazo into an “ignorant wrath.” Beatrice and DeFlores die in their changed states, but Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam c

Epilogue Quotes

ALSEMERO: All we can do to comfort one another,
To stay a brother’s sorrow for a brother,
To dry a child from a kind father’s eyes,
Is to no purpose, it rather multiplies:
Your only smiles have power to cause relive
The dead again, or in their rooms to give
Brother a new brother, father a child;
If these appear, all griefs are reconcil’d.

Related Characters: Alsemero (speaker), Vermandero, Tomazo de Piracquo, Beatrice, DeFlores
Page Number and Citation: 421
Explanation and Analysis:
After promising to stay on at Vermandero’s castle as a kind of surrogate son, Alsemero turns to face the audience, delivering the Epilogue that was the necessary final feature of Jacobean drama. In this short speech, Alsemero speaks to human beings’ limited power to protect themselves from surprise and betrayal: as long as skilled schemers like Beatrice and DeFlores are around, Alsemero seems to admit, “all we can do” is give each other grace and “comfort.” Though epilogues were traditionally meant to give the audience a sense of closure and cheer before they exited the theater, Alsemero’s bleak tone reflects Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequa
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