On this occasion Elizabeth scored, if not the full success she had hoped from her audacious mystification, yet no inconsiderable portion of it. Henry managed to draw back just in time, and was not let in for a big war. But Alençon, at the head of 15,000 men, and close to Cambray, could not for very shame beat a retreat. Parma retired at his approach, and the French army entered Cambray in triumph (August 1581). Alençon therefore had been put in harness to some purpose. Though Henry III. had good reason to complain of the way he had been treated, he did not make it a quarrel with Elizabeth. His interests, as she saw all along, were too closely bound up with hers to permit him to think of such a thing. On the contrary, he renewed the alliance of 1572 in an ampler form, though it still remained strictly defensive. Alençon, after relieving and victualling Cambray, disbanded his army, and went over to England again to press for the marriage (Nov. 1581). Thither he was followed by ambassadors from the States. By the advice of Orange they had resolved to take him as their sovereign, and they were now urgently pressing him to return to the Netherlands to be installed. Elizabeth added her pressure; but he was unwilling to leave England until he should have secured the marriage. For three months (Nov. 1581--Feb. 1582) did Elizabeth try every art to make him accept promise for performance. She was thoroughly in her element. To win her game in this way, not by the brutal arbitrament of war, or even by the ordinary tricks of vicarious diplomacy, but by artifices personally executed, feats of cajolery that might seem improbable on the stage,--this was delightful in the highest degree. The more distrustful Alençon showed himself, the keener was the pleasure of handling him. One day he is hidden behind a curtain to view her elegant dancing; not, surely, that he might be smitten with it, but that he might think she desired him to be smitten. Another day she kisses him on the lips (_en la boca_) in the presence of the French ambassador. She gives him a ring. She presents him to her household as their future master. She orders the Bishop of Lincoln to draw up a marriage service. It is a repulsive spectacle; but, after all, we are not so much disgusted with the elderly woman who pretends to be willing to marry the young man, as with the young man who is really willing to marry the elderly woman. Unfortunately for Elizabeth, her acting was so realistic that it not only took in contemporaries, but has persuaded many modern writers that she was really influenced by a degrading passion.