This play was as popular as those that had preceded. The King's Players acted it at Court in December of the year in which it had been first performed. And between October 1612 and March 1613, assisting in the festivities for the marriage of the Princess Elizabeth with the Elector Palatine, they presented before royalty all three of the great Beaumont-Fletcher plays. These were numbers in a series of thirteen that included, as well, the _Much Ado_, _Tempest_, _Winter's Tale_, _Merry Wives_, _Othello_, and _Julius Caesar_ of Shakespeare. They also presented about the same time, in a series of six acted before the King (including _I Henry IV_, _Much Ado_, and _The Alchemist_), one of Fletcher's comedies of manners and intrigue, _The Captaine_, and a play utterly lost, called _Cardenna_, in which it is supposed that Fletcher collaborated with the Master himself. That our dramatists, however, after their association was formed with Shakespeare and his company, by no means severed their connection with the company for which they had written in their younger days, the Children of the Queen's Revels, appears from the fact that during the same festivities a tragedy written by them about 1611, _Cupid's Revenge_, was played by the Children three times, and their romantic comedy, _The Coxcombe_ twice; and that, in 1615 or the beginning of 1616, the Children presented at the new Blackfriars what was, probably, the last product of the Beaumont-Fletcher partnership, _The Scornful Ladie_. Neither _Cupid's Revenge_ nor _The Scornful Ladie_ (though the latter, at least, was very popular and had a long life upon the stage) is a drama of high distinction. The former is a blend of two stories from Sidney's _Arcadia_,--the story of the vengeance of Cupid upon the princess Erona (Hidaspes in the play) who caused to be destroyed the images and pictures of Cupid, and was consequently doomed to an infatuation for a base-born man,--and the painful career of Plangus (Leucippus in the play) who, having an intrigue "with a private man's wife" (the monstrous Bacha of the play) gave her up to his father, swearing to her virtue, only to find that she should attempt to renew her _liaison_ with him and, failing, scheme his downfall. The dramatists made considerable alteration, and added to the sources. But though the main plot--that of Leucippus and Bacha--offered magnificent possibilities, they fail of realization. Beaumont wrote about one-half of the play, and it is in his scenes that whatever there is of moral struggle and sublimity, of pathetic irony and of poetry, appears.