The large majority conform to the later type of revenge play as exemplified in Massinger and Shirley. Sometimes the romantic love element supersedes the intrigue and horrors, but oftener the horrors have full sway. A double plot, usually with an elaborate surprise in the fifth act, revolves about lust and revenge with some attention to untarnished honor and unconquered chastity. The lustful duke and his intriguing favorite, or the tyrannical usurper and the rightful prince alternate at the centre of the stage along with the evil woman, perhaps a Lady Potiphar, and a distressed maiden, likely to be disguised as a boy. Madness is frequently represented, eyes are plucked out, brains dashed upon the stage, and many of the old horrors reproduced, but ghosts rarely appear. The action consists largely of adultery, seduction, and rape; and these are represented with a horrid detail that rivals Marston. When chastity is preserved it is often by a device similar to that used in "Measure for Measure," although occasionally there is an exchange of men instead of women. Tragedy is for the most part confined to stories of crime. The monstrous politicians and libertines differ from their sixteenth century predecessors chiefly in the greater ingenuity and complexity of their intrigue, their subordination of ambition or other motives to those of love or lust, and in the prosaic flatness of their blank verse. Often there are manifest borrowings, and occasionally a dramatist evidently strove to include everything that had ever been known on the tragic stage. "The Rebellion," by Thomas Rawlins, presents Machiavel, a villain, whose soliloquies might be burlesques on Barabas and Richard III, two mad scenes, a nurse from "Romeo and Juliet," a Moor, who is another villain, attempted rape, and frequent bursts of poetry:-- "The lazy moon has scarcely trimm'd herself To entertain the sun; she still retains The slimy tincture of the banish'd night."