Given the major stylistic and textual differences in the habits of Fletcher and Massinger, scholars have been able to distinguish the two men's hands in the existing version.
The text of The Lovers' Progress in the 1647 folio was one of those set into print by Susan Islip – a rare instance of a woman printer in that era.
The two men, applying their own culture's standard of judgement to this odd stricture, decide to settle the matter quickly – with a duel.
Clarinda's subplot inverts and mocks the conventions of courtly love that the main-plot characters take seriously; she has a foolish suitor named Malfort that she manipulates – allowing him to kiss her foot, and later, her hand – while she enjoys a sexual relationship with Leon, her pretended cousin.
(Serving as Clarange's second, he fights along with, and is wounded with, the others; but he then brings the duel to a halt by appealing to the long-standing friendship between the principals.)
Cleander almost catches the two together; and while Lisander is sneaking out of the sleeping house, he trips and discharges his pistol, waking everyone; but he is not caught.
This contradicts Clarinda's plans and expectations; but she manages to retain her place by appealing to Cleander's brother Beronte.
(Clarinda says that "Monsieur Beronte my Lords Brother is / Oblig'd unto me for a private favour"...leaving the audience to speculate of the nature of that favor.)
Lisander gets involved in serious trouble: he kills two men in another duel, one of whom is a favorite of the King; and he must flee for his life.
Lidian has endured a change of heart after being wounded in the duel with Clarange (a feature typical of the dramaturgy of Fletcher and Massinger).
Clarinda present her false accusation; but Lisander surprises everyone by appearing in person to defend Calista's reputation.
The scene of the innkeeper's ghost, III, v, is one aspect of the play that has attracted notice from critics and readers.