12 to Gherardo, is the substance of the story of the First Act of G Ingannati. In the Second Act of Gl' Ingannati, Lelia, as Fabio, tells Flaminio that he can get no kind answers from Isabella. Why does he not give her up? Has he never loved any one else? Yes, once, a Lelia. Then why does he not go back to her? Sent urgently by Flaminio to Isabella, and summoned urgently to Isabella by Isabella's maid, Pasquella, Lelia goes and, as Fabio, excites hope in Isabella that her love will be returned, on condition that she drive away Flaminio. (There is no such selfishness in Shakespeare's Viola. Her love is pure enough for sacrifice.) Isabella kisses Fabio Other servants of Flaminio, in the door-way. jealous of Fabio, see the kiss and report it; after Lelia has told Flaminio that Isabella would not listen to suit for him, and again has not any one else to love? asked, whether he Yes, there was a Lelia--Isabella may think I still Tell Isabella that I hate Lelia. care for her. "Ah me!" says "What is the matter? Are you in pain?" comic business with a Spaniard, Giglio, who wants two words with Isabella. The Spaniard promises her maid a rosary, that he does not mean to give, while the maid intends to take the rosary without meaning to keep her promise of admitting him into the house. servant. In the beginning of the Third Act of G Ingannati, Lelia's brother Fabrizio comes into Modena with his tutor Piero, a pedant, and a greedy Fabrizio had been taken away from Modena when very young. Piero will show him the town. Two touting hotel-keepers (one being host of "The Fool," the other host of "The Pig") contend for possession of the guests. Lelia's father has learnt from one of the nuns that his daughter is living in page's dress with a young man. Fabrizio, while his servants sleep, walks abroad; and the innkeeper, as he goes out, observes to him that he is exactly like a page in the town, who also goes dressed in white. Fabrizio in his walk meets Isabella's maid, who mistakes him for Fabio. Gherardo will not keep his engagement to Lelia when he learns that she has run away in male dress from her father's keeping. Fabrizio in his walk comes upon the two old men, and is mistaken His father calls him a by them both for Lelia. hussy, and he takes his father for some mad old Both the old man who ought to be locked up. men agree that the poor girl has lost her wits. They get him into Gherardo's house. There he is to be locked up with Isabella till he can be dressed as a maiden should be. In the Fourth Act of GP Ingannati, Fabrizio's tutor and servant quarrel over his disappearance. The tutor comes upon his old master, Fabrizio's father, tells him that his son was, in the sack of Rome, made prisoner to a captain who was afterwards killed, and that the Court then took the captain's property and set his prisoners at liberty. His son, the tutor tells Virginio, is now in Modena, At"The Fool" lodged at the sign of "The Fool.” Virginio finds a bill to pay, but not his son. Meanwhile Gherardo, meeting Lelia herself as Fabio, thinks she has escaped from his house. Ha groote Fabio as Lelia, his dear wife, who enters the house to Isabella. Giglio is tricked out of his rosary. The servant is reproved for having let the supposed Lelia escape, but replies that she is still locked up with Isabella. Thus Fabrizio, mistaken by Isabella for Fabio, becomes to Isabella all she has desired. In the Fifth Act of Gl' Ingannati there is a general storming of Isabella's room. There Piero finds Fabrizio, and causes him to be known to his father as Fabrizio, not Lelia. Flaminio follows in wrath, to find in Isabella's room his faithless page. Her old nurse Clementia tells Flaminio the story of Lelia's service to him as Fabio. Lelia then enters in female dress, and Flaminio takes her for his wife. The Spaniard Giglio is fooled again. Isabella learns how she has changed the sister for the brother. In Inganni the brother and sister are twin children of a Genoese merchant, Anselmo. They were taken to sea at four years old, and, for convenience, both children were dressed as boys. They were captured by corsairs and sold in slavery, the girl always abiding by her character of boy. Both become by course of events bought servants in Naples, where they can meet at will, and know their relationship. The girl, Ginevra, -called Roberto-is in the service of Massimo Caraccioli, whose daughter Portia loves her as a man, and whose son Gostanzo Ginevra loves as a woman. When Portia's love puzzles Ginevra too much, she substitutes her brother for herself. But Gostanzo loves a Dorotea, who, with all that concerns her, is taken from the Asinaria of Plautus, except the addition of an incident from Terence. Gostanzo transfers his affection from Dorotea when Ginevra tells him who she is. The father Anselmo, no longer a slave, makes his appearance at the end of the play with a great deal of money. The money ensures full contentment with his children's marriages to Portia and Gostanzo. Here is a combination of old Latin comedy mixed with a story also of a Latin flavour, having some family likeness to that of Gl' Ingannati. It is lower, however, in form, and much less like Twelfth Night where the genius of Shakespeare theoldatoru from the lower ground on which |