Love Tricks
 Infortunio is in love with Selina &mdash; but she is set to marry the elderly Rufaldo. The frustrated Infortunio loses his sanity, and wanders through the countryside. Selina, however, discovers that she does love Infortunio &mdash; but only on the eve of her wedding day. She disguises herself as a shepherd and runs away to the forest. Antonio, her brother, pretends to search for her; but he actually disguises himself in her wedding gown and takes her place in the wedding ceremony. His motive for this strange act? &mdash; Antonio is in love with Hilaria, Rufaldo's daughter; but Rufaldo wants Hilaria to marry the wealthy fool Bubulcus. Antonio-as-Selina knocks down "her husband" Rufaldo, and ridicules and humiliates him in public. Bubulcus pretends to have slain Antonio in a duel; he is arrested for this, since Antonio has disappeared (at least to the other characters, who cannot penetrate his disguise) and is believed dead. Meanwhile, in the forest, the disguised Selina is living with a household of shepherds &mdash; which includes her long-lost sister Felice, who likewise ran away to escape an unwanted marriage. Infortunio, still mad, stumbles upon them, and Felice cures him by restoring Selina to him. Gasparo, Felice's past love, also shows up (with his servant Gorgon), and recognizes both Felice and Selina, who in turn are amazed to learn that Selina is thought to be still in the city (the effect of Antonio's disguise). A group from the city that includes Cornelio, the father of Antonio and the sisters, and Rufaldo, comes to view the shepherds' rustic sports; discoveries and reconciliations follow. The play ends with three happy couples: Infortunio and Selina, Antonio and Hilaria, and Gasparo and Felice. Interspersed with this main plot are several comic episodes, most notably the "school of complement" material, and also the comedy of Jenkin, Jocarello, and Gorgon. In the school of compliment scene in Act III, Gasparo and Gorgon (as master and usher) teach a group of pupils to speak the kind of elaborate language associated with courtly behavior &mdash; though perhaps more typical of books of compliment and courtship than of actual courtiers. ("The Cupidinian fires burn in my breast..." is one sample of their eloquence.) As the pupils are rehearsing en masse, the mad Infortunio stumbles upon the scene, and mistakes the students for the damned souls of Hell. He knocks down the first man he encounters; and the others, intimidated, play along with his delusion and explain what led to their damnations. At least one critic has regarded this satire as "the best part of the play," though "unrelated to the main plot."