 The conceit continues with Strotzo's performance of guilt and grief before the court at Mellida's mock-trial, and with Antonio's various disguises—first as a fool, and then as a masquer in the company of Alberto, Pandulpho, and Balurdo.The language of the play is similarly self-conscious and possibly parodic, the stoic Pandulpho forswearing "apish action, player-like" (1.5.84) and Antonio promising that he "will not swell like a tragedian" (2.3.112) in response to grief, before both proceed to demonstrate exactly the fits of passion which they have renounced.The extravagantly violent spectacles of the final scene have been subjected to the severest criticism, but even this excess is possibly deliberate