The title page bears Ford's anagrammatic motto, "Fide Honor," as is usual for Ford publications of the era; and it states that the play was acted by "both their Majesties' servants at the private house in Drury Lane" — that is, by the King and Queen's Young Company, colloquially known as Beeston's Boys, at the Cockpit Theatre.
This simply confirms the fact that the play was performed once the London theatres re-opened after the long plague closure of 1636–37.
"[1] Neither of Ford's two late comedies, The Fancies Chaste and Noble and The Lady's Trial, has ranked high with critics, though The Lady's Trial has benefitted in that it lacks much of the overt bawdry and sexuality of the earlier play, and contains elements "beautiful in language and character" (Havelock Ellis), with "some of Ford's sweetest blank verse and some excellently subtle bits of characterization" (Stuart Pratt Sherman).
The main plot concerns Auria, an aristocrat of Genoa, and his marriage to the beautiful and virtuous but lowly-born Spinella.
Auria's marriage across class lines is controversial among other Genoese nobles, like his friend Aurelio; when Auria announces that he is going off to the wars against the Turks to repair his fortunes (Spinella brought no dowry), Aurelio opposes the move on two counts: Spinella will be exposed to temptations, and the role of soldier of fortune is unbecoming to a nobleman.
Firstly Guzman, a Spanish soldier with breath smelling of garlic and herring and Fulgoso a good looking but rather dim witted Dutchman who whistles constantly.
Charles’ I life could have influenced John Ford’s play, The Lady’s Trial, because Prince Auria, similarly, is conflicted with his people's rejection of potential queens of England; however, this is up for interpretation.