The Lover's Melancholy
John Ford
 The plot of the play possesses an unusually complex backstory (perhaps a symptom of the playwright's relative inexperience), which is revealed through the course of the action. Meleander, a prominent nobleman of Cyprus, is the father of two daughters, Eroclea and Cleophila. The ruler of Cyprus proposes a match between his son Palador and Eroclea &mdash; but when Eroclea appears at his court, the ruler becomes violently enamored with her himself. Eroclea is spirited away to protect her virtue, and Palador is stricken with a deep melancholy as a result. Meleander is accused of treason and stripped of his rank and honors for protecting his daughter; in consequence, he too becomes mentally ill. He convalesces in his castle, under the care of the faithful Cleophila. The troublesome ruler of Cyprus dies and is succeeded by Palador &mdash; but the whereabouts of Eroclea are unknown. At the start of the play, Meleander's nephew Menaphon has returned from travel abroad; he has undertaken his journey to escape his unhappy love for the haughty Thamasta, Palador's cousin. Menaphon is accompanied by a new friend, Parthenophill, a young man met in the Vale of Tempe. Palador, now the ruler of Cyprus, is still mired in melancholy, a condition his prime minister Sophronos (Meleander's brother and successor), his physician Corax, and his tutor Aretus try in vain to alleviate. In due course, Palador's cure comes about when it is revealed that Parthenophill is Eroclea is disguise &mdash; a revelation that cures her father's depression as well. Cleophila, now free of the obligation to nurse her father, marries her devoted suitor Amethus. Thamasta, who had fallen in love with Parthenophill, is shocked out of her self-assured arrogance by the revealed disguise, and in a new spirit of humility becomes the wife of Menaphon. The play's comic relief is supplied by the character Rhetias, "a reduced courtier" who is the servant of Eroclea/Parthenophill, and "two foolish courtiers," Pelias and Cuculus. In portraying the depression of Prince Palador and Lord Meleander, Ford worked in a sub-genre of psychiatric fiction that would only become prominent in the twentieth century. The play is also strongly influenced by the cult of love fashionable at the time. "Ford's characters speak in courtly love-jargon, pen and recite love letters and poems, woo in extravagant conceits, and carry on debates and similitude contests; they become involved in secret loves and disguises and despair over unsatisfied desire." Some of this is clearly satirical: the page Grilla "holds up for ridicule the whining tunes, sighs, and tears of Cuculus, a fool planning to win the love of his mistress through extravagant conceits."