Young Freevill, being about to marry Beatrice, daughter to Sir Hubert Subboys, determines to break his connection with Franceschina, the Dutch Courtezan. He introduces to Franceschina his friend Malheureux. This gentleman, who had hitherto led a strict life, is violently inflamed with passion at first sight of Franceschina. She promises to gratify his passion on one condition,--that he kills Freevill. As proof that the deed has been accomplished, he is to bring her a ring that had been presented to Freevill by Beatrice. Malheureux discloses the plot to Freevill, who undertakes to help him out of his difficulty. At a masque given in honour of the approaching marriage, Malheureux pretends to pick a quarrel with Freevill, and retires with him as though to fight a duel. Freevill is to lie hid at the house of a jeweller, while Malheureux posts with the ring to Franceschina. She hastens to communicate the news to Freevill's father and Beatrice, Freevill accompanying her in the disguise of a pander. Thereupon old Freevill and Sir Hubert Subboys, attended by officers, proceed to Franceschina's lodging, conceal themselves behind the curtain, and await the arrival of Malheureux, who comes at the hour appointed by Franceschina. They hear from his own lips a confession of the murder, arrest him, and lead him away to prison. Malheureux protests his innocence, but, as Freevill has not been near the jeweller's house, his protestations are disregarded and the day for his execution is fixed. At the last moment Freevill presents himself and begs forgiveness for the device that he had adopted in order to cure his friend's passion. Franceschina is condemned to "the whip and jail;" and all ends happily. The play is enlivened by an underplot, which deals with the various tricks played by a clever knave called Cocledemoy on a vintner of Cheap, Master Mulligrub. PROLOGUE. Slight hasty labours in this easy play Present not what you would, but what we may: For this vouchsafe to know,--the only end Of our now study is, not to offend. Yet think not but, like others, rail we could (Best art presents not what it can but should); And if our pen in this seem over-slight, We strive not to instruct, but to delight. As for some few, we know of purpose here To tax and scout, know firm art cannot fear 10 Vain rage; only the highest grace we pray Is, you'll not tax until you judge our play. Think, and then speak: 'tis rashness, and not wit, To speak what is in passion, and not judgment fit. Sit then with fair expectance, and survey Nothing but passionate man in his slight play, Who hath this only ill, to some deem'd worst-- A modest diffidence, and self-mistrust. _Fabulæ Argumentum._ The difference betwixt the love of a courtezan and a wife is the full scope of the play, which, intermixed with the deceits of a witty city jester, fills up the comedy.