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Bracciano and Vittoria have fled to Padua, a city near Venice. A glamorous wedding takes place, in which Bracciano and Vittoria are paraded across the stage, followed by Cornelia, Flaminio, Marcelo, Hortensio, Zanche, and the ambassadors. As the wedding party moves off-stage, Flaminio and Hortensio remain. They talk about a Moor named Mulinassar, a recent arrival at court who has knowledge about “state affairs or rudiments of war” (V.i.8). Flaminio approves of Mulinassar. He also approves of the fact that Mulinassar has promised his help to Bracciano in the imminent war against Francisco. Flaminio explains that Mulinassar is accompanied by a group of Hungarian nobles who plan to retire to a monastery after their recent return from a crusade abroad. (However, the staging of the play makes it clear that Mulinassar is actually Francisco in disguise, and the Hungarians are actually Gasparo, Antonelli, and Lodovico.)
Bracciano enters, accompanied by “Mulinassar” and the “Hungarians.” Bracciano warmly welcomes the group to his court and invites them to celebrate his wedding. When they are alone, the disguised conspirators talk about their “ingenious” plan to murder Bracciano. They exit, leaving Mulinassar (Francisco) behind. Flaminio enters with Marcello and Zanche. Marcello wants to know why Zanche is following them, and Flaminio responds with a lewd joke. Zanche promises that she will talk to Mulinassar, her supposed “countryman.” She then takes her leave. Flaminio approaches Mulinassar and asks about his experiences in war. Mulinassar refuses to brag about his experiences. Flaminio explains to Mulinassar the best way to collect payments from Bracciano.
Hortensio and Zanche reenter. Hortensio tells Flaminio that the games will soon start as part of the festivities. Flaminio makes an insulting remark about Hortensio to Mulinassar, as Hortensio announces that Zanche has returned and refers to her as Flaminio’s lover. Flaminio confesses that he and Zanche did have sex, but he insists that he will not trust her. Once, he swore to marry her, but he regrets making this promise, and now he is trying to avoid her. Zanche asks Flaminio whether he no longer loves her. Flaminio insists that his lack of love for her actually makes him a better lover, as he will not infect her with any venereal diseases. Zanche accuses him of being in love with the courtiers. Flaminio suggests that only a fool would give up what he has in exchange for what he wants.
Cornelia enters and attacks Zanche. Flaminio defends Zanche by threatening to place his mother in the stocks. Marcello defends their mother, hitting the “impudent” Zanche and insulting her. Marcello claims that Zanche has been talking loudly about her engagement to Flaminio. Marcello and Flaminio bicker with one another. Mulinassar enters. The sight of Mulinassar distracts Zanche. She talks to Mulinassar and admits to him that she is in love with Flaminio, so she cannot show her attraction to him. As Mulinassar, Francisco warns her that loving Flaminio would not be wise. Since she is not virtuous, Zanche offers a dowry for her marriage. Francisco says to himself that obtaining Zanche’s trust might be very helpful.
Cornelia and Marcello are alone. Cornelia wants to know about the gossip at court, as rumors allege that Marcello will fight someone in a duel. Marcello denies this and tells his mother to leave him alone as he talks about a crucifix given to him by his father. Flaminio appears suddenly with Marcello’s sword. He stabs Marcello and runs away.
As Marcello dies, Hortensio, Carlo, and Pedro enter. Cornelia is upset. She cannot bring herself to say that Marcello is dead, so she asks the men to fetch help. Bracciano appears and sees the dead Marcello, then asks if Flaminio murdered him. Cornelia lies, telling him that Hortensio is responsible. As she struggles to steady her mind, she begs God to forgive Flaminio then rushes toward him with a knife, which she drops as she approaches him. Bracciano talks to Flaminio. Despite his power, he cannot pardon Flaminio for this “sad accident” (V.ii.71). Instead, he offers Flaminio a lease on his life. This lease must be renewed each night. As Bracciano issues his ruling, Lodovico sneaks behind him and slips poison into the mouthpiece of Bracciano’s helmet.
A group of unnamed knights fights in a tournament as part of the wedding festivities. Bracciano, Vittoria, Flaminio, and Giovanni enter, accompanied by the still-disguised Francisco. Feeling as though his head is aflame, Bracciano calls out for his armorer. He realizes that someone has poisoned him and demands that the armorer be tortured. When the doctors arrive, the poison is found to be fatal. Bracciano delivers a speech with his dying words, blaming Francisco and fate that he must “die/’Mongst women howling” (V.iii.35-36).
Lodovico and Gasparo enter, disguised as monks. They approach to administer the last rites to Bracciano, causing most of the other characters to back away. Flaminio remains, along with Francisco (who is still disguised as Mulinassar). Flaminio comments on how quickly great men lose their friends when they are in difficulty. He claims that Bracciano cared more about his money than his subjects. When Lodovico returns, he announces that Bracciano is dying. The delirious Bracciano is carried on a bed to the center of the stage. Beside him are Vittoria and the murderers, still in disguise. Bracciano accuses Vittoria of causing his pain and suffering. He claims to see the devil and Flaminio dancing along a tightrope with money.
Lodovico and Gasparo perform the last rites, asking for privacy for their prayers. As soon as they are alone, they tell Bracciano their true identities. They curse him as he calls out for Vittoria. As Vittoria rushes back to Bracciano, she is sent away by Gasparo and Lodovico once again. To hurry Bracciano to his death, Lodovico strangles him. As Bracciano dies, the crowd returns. Flaminio and Mulinassar talk about the apparent murder and agree that Francisco is likely the culprit. Flaminio laments that he cannot speak to Bracciano one last time, then exits.
Lodovico appears from a shadowy corner. He approaches Francisco, hinting that he should use Zanche’s attraction to him (as, apparently, a fellow Moor) to learn about Bracciano’s secrets. Francisco flirts with Zanche. They talk about their dreams, and Zanche reveals the truth about the murders of Isabella and Camillo. She also reveals that she and Vittoria will sneak away later in the evening. Offering her dowry to the man she believes to be Mulinassar, she invites him to meet her in the chapel at midnight. When she is gone, Francisco tells Lodovico that they will achieve great glory that will remove the “shame” of their crimes.
Flaminio and Gasparo are speaking when Giovanni enters. Giovanni asks Flaminio to leave him alone, but Flaminio instead tells a story which suggests that Giovanni is primed for greatness in the wake of his father’s death. Giovanni criticizes Flaminio for not showing any grief, then departs.
Flaminio does not trust Giovanni, who has “his uncle’s villainous look already” (V.iv.27). When a courtier enters, he brings a message from Giovanni that Flaminio has been told to leave the court. When the courtier leaves, Francisco arrives to update Flaminio, saying that Cornelia is holding Marcello’s funeral and is stricken with grief. Cornelia enters, following by Zanche and other women. Cornelia is struggling to maintain her composure. She mumbles to herself about putting flowers on her son’s grave. Though she seems to not recognize Flaminio, she refers to him as a “grave-maker.” Standing over Marcello’s body, she sings to him and asks for him to be protected. She and the women leave, whereupon Flaminio asks to be left alone. Francisco departs.
Flaminio launches into a soliloquy in which he reflects on his “riotously ill” morality, his corruption, and his failed plots. Bracciano’s ghost appears before him, holding lilies and a skull. Flaminio asks the ghosts about hell and his own mortality. Bracciano’s ghost says nothing. Instead, he flings dirt at Flaminio, uncovering the skull beneath the lilies. Flaminio is frightened and runs away, hoping that he can resolve his situation by killing his sister.
Lodovico and Francisco enter. They are not aware that Hortensio is following them. Lodovico suggests that Francisco should leave the city. Otherwise, he risks being caught or becoming involved in an even more evil scheme. Francisco accepts this “glorious” plan. If Lodovico is caught, he says, he will turn Lodovico’s name into a legend. They depart, leaving behind Hortensio, who is now fully aware of their plan. Hortensio runs off to summon the guards.
Flaminio follows Vittoria and Zanche onto the stage and interrupts his sister’s prayers, demanding that she pay him for the work he did for Bracciano. Vittoria is still horrified by Marcello’s death. She writes out a note, in which she offers to pay Flaminio the same as what God paid to Cain for slaying his brother Abel in the Bible. Flaminio is furious. He leaves, and Zanche suggests that Vittoria should be kinder to her brother “for [her] own safety” (V.vi.22).
Flaminio reappears quickly, now armed with two pistols. He threatens Vittoria, who tries to calm him by reminding him that because she has no children, he is the heir to her estate. Flamino reveals that he swore an oath to Bracciano: that neither he nor his sister would outlive Bracciano by more than four hours. The authorities will not allow them to live, he says. Vittoria recognizes that her brother is determined to kill her. She suggests that they take their lives together, allowing Flaminio to go first with the promise that she will soon join him. Zanche says that Flaminio must show Vittoria how to die by suicide, Zanche says. Flaminio accepts and tells Zanche that she should shoot him, then shoot Vittoria. The women agree, and Flaminio hands them the pistols. At that point, they reveal that they were lying. Flaminio launches a string of insults against the now-armed women. Zanche suggests that she and Vittoria kill Flaminio and arrange his body to suggest that he died by suicide, thereby escaping any punishment. Zanche shoots Flaminio.
Flaminio murmurs and mumbles about hell. He reveals his own deception: the pistols were not actually loaded, as it was “a plot/to prove [their] kindness” (V.vi.148-149) to him. Cursing all women, he draws his weapon and approaches Zanche and Vittoria. Lodovico bursts into the room, accompanied by Gasparo, Carlo, and Pedro. They remove their disguises and reveal the true identity of Mulinassar, who is now gone. Flaminio urges them to allow him to kill Vittoria, but they instead bind him to a pillar. Vittoria asks Francisco to kill her. Gasparo, however, says that great men will hire others to do such dirty deeds. Lodovico insults Flaminio. He would love to kill Flaminio many times over, but he plans to kill Zanche first. Vittoria begs that she be the first to die. Vittoria and Zanche defiantly face down the men, insisting that they will not weep.
Gasparo, Carlo, and Pedro stab Vittoria, Zanche, and Flaminio, respectively and simultaneously. After taunting their murderers, the dying Vittoria and Flaminio make amends. Zanche dies first, followed by Vittoria. As Flaminio dies, the English ambassador appears, accompanied by Giovanni and the guards. Armed with guns, the guards arrest the conspirators, who will soon be thrown into the dungeon. Everyone exits.
Before the play eventually ends in tragic, blood-soaked failure, Flaminio enjoys a brief flash of victory. When Vittoria is married to Bracciano, Flaminio’s plan to elevate his family’s status via his sister appears to be working. However, to achieve this political feat, he is forced to accept an array of setbacks, for they have also been exiled from Rome and excommunicated from the church, and powerful enemies now seek their demise. Nevertheless, the trappings of wealth and power drive Flaminio to continue his plans, and although he is doomed to die in the play’s violent conclusion, he enjoys a brief moment of success before his imminent demise. His downfall ultimately reflects The Corruptive Effects of Ambition.
Well before the play’s bloody final moments, however, Francisco’s efforts to enact revenge introduce an ironic inversion to the early acts of the play. Initially, Flaminio was the master manipulator who engineered the nuances of each new event, but now, he and Bracciano have no idea that their enemy, Francisco, is already in their midst, disguised as Mulinassar and keen on avenging Isabella’s death. Francisco even threatens to lure Zanche away from Flaminio. Because she has witnessed the machinations of so many crimes, her status as a witness makes her one of the few threats Flaminio and Bracciano’s plan. These counter-manipulations place Flaminio in a far less flattering light as he becomes the victim of a conspiracy rather than the orchestrator.
As events take on a more tragic edge, Marcello’s morality becomes intolerable to the unscrupulous Flaminio, for the two brothers have very different views on how best to restore their family’s opportunities. Marcello believes in devoting his energies to quiet devotion and patience, while Flaminio is an accelerationist who is willing to do whatever it takes to seize hold of any wealth and power that he can find. While his plans move forward as expected, Flaminio scorns his pious younger brother, but when those same plans begin to falter, he finds Marcello’s virtue to be an abhorrent reminder of everything that he has cast aside in pursuit of his ambition. Marcello’s enduring goodness reflects Flaminio’s failed sacrifice, and Flaminio shows his utter lack of morality when he attacks his brother rather than reexamining his own choices. Ultimately, Flaminio kills Marcello because Marcello reminds him of his own failure.
Although Cornelia is a secondary character, her grief-stricken reaction to the murder of Marcello provides a counterpoint to the theme of Performative Virtue as a Mask for Vice, for Cornelia is one of the few characters who exhibits a strong moral code. After seeing her daughter publicly shamed for infidelity and seeing her son Flaminio lose his moral compass, Cornelia is relieved that she has one “good” son remaining in Marcello. However, when Flaminio kills Marcello in cold blood, Cornelia must reckon with the reality that her most beloved son was killed by someone that she raised herself. She is to admit that Flaminio killed Marcello because she cannot countenance her responsibility in raising a son to kill his brother, and her abortive attempts to navigate this tragic reality cause her to experience an acute mental health crisis.
In the midst of the play’s violent conclusion, Bracciano’s death by poison strikes a particularly ironic note, given that he used a very similar plot to kill Isabella and Camillo. Significantly, the poison strips away his wealth and privilege, and he is no longer insulated from the consequences of his actions. Furthermore, his hallucinatory state robs him of the last vestiges of his dignity as he describes the visions that pass before him, and in yet another ironic inversion, he unwittingly incriminates Flaminio, bringing the young man’s ambitions crashing to the ground. Flamino has spent the entire play scheming to elevate his name and gain recognition amongst the Italian elite. Now, with Bracciano’s dying babblings, Flaminio finally finds himself acknowledged by a duke, but this acknowledgement is also a condemnation. Thus, the technical culmination of Flaminio’s plans threatens to become his undoing.
Overcome by these revelations, Flaminio now finds himself subject to rash impulsivity as he experiences The Dangers of Succumbing to Emotion. After a brief reflection and an encounter with Bracciano’s ghost, Flaminio becomes almost feverish in his desperation. This frenzied mental state explains his decision to confront Vittoria and Zanche with a set of pistols, as well as his attempt to try to organize a murder-suicide pact. Fittingly, Flaminio’s desperate attempt to reach some kind of conclusion inevitably involves yet another complicated scheme predicated on lies and misdirection. He therefore tricks Vittoria into killing her brother, only to reveal that the gun was not loaded. The melodramatic absurdity of this situation thus becomes a parody of Flaminio’s earlier schemes, showing that he and Vittoria have become so self-obsessed that they are more interested in tricking and betraying one another than in repenting or escaping. Their actions therefore devolve into a complicated knot of personal betrayals without any underlying plan or ambition.
For all his elaborate planning, Flaminio suffers a brutal and ignominious death at the hands of Francisco’s men, and this event implies that all the manipulations in the world cannot escape the direct impact of a blade. The nature of this death therefore strips away the pretenses of his life, only after being stabbed does Flaminio finally realize the consequences of his mistakes and candidly blame himself for what he has done. As Zanche and Vittoria lie dead beside him, he accepts his role in the tragedy that has befallen his family. Thus, although Flaminio remains unforgiven for his sins, he does accept his culpability, acknowledging that ambition has brought him low and that his great plans have been squandered. No one should mourn for him, he says, as there is no one who can pity him more than he now pities himself.
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