Aurelia, who, suddenly enamored, offers him herself and duchy. After some resistance he yields. Adorni now begins to hope. In Sicily Camiola has convinced the King of Fulgentio's worthlessness. In act v Camiola receives from Adorni the news of Bertoldo's fickleness, but she still scorns Adorni and resolves to seek redress from the King. Accordingly, at the marriage of Bertoldo and Aurelia, she breaks in, states her case with eloquence and temper, and appeals to the King. Aurelia suddenly feels all her love quenched, and Bertoldo pleads for pity. All await the fulfillment of Camiola's promise that she will declare whom she will marry, and are astonished when Father Paula announces that she has decided to become the bride of the church. Before taking the veil, she obtains Fulgentio's pardon, gives one half of her wealth to the faithful Adorni, and commands Bertoldo to resume the cross of Malta. In his six tragedies there is less of romantic love and more of the blacker passions. "The Unnatural Combat," "The Duke of Milan," "The Fatal Dowry" (in collaboration with Field), and "The Roman Actor" deal with lust and revenge in the quantity and quality long prescribed. In the last named, however, Massinger broke away from the conventional treatment and made his protagonist neither the cruel tyrant nor the lustful queen, but a dignified and noble representative of the actor's profession, and took the opportunity of effectively expanding the old device of a play within a play. The other two tragedies present still more originality of conception and treatment: "Believe As You List," dealing with the fortune of a rightful claimant to the crown, and "The Virgin Martyr," perhaps a revision of an early play by Dekker, returning to the old material of the Miracles, the story of a martyrdom that converts the persecutors. In each of these tragedies, as in "The Maid of Honor," a number of stories are organized into a single action, introduced by admirable exposition, and usually carried through with direct and logical progress. In the treatment of catastrophe, always heightened, prolonged, and sometimes full of surprise after Fletcher's fashion, Massinger is less competent. Massinger could not keep to the inevitable development of character as did Shakespeare, nor could he sacrifice character to situation as light-heartedly as did Fletcher. In consequence he falls between two stools; and his fifth act is usually clumsy and unconvincing.