The Widow is a Jacobean stage play first published in 1652, but written decades earlier.
On the limited evidence available, the play is usually dated to c. 1615–17, partially on the basis of a "yellow bands" reference to the execution of Mrs. Anne Turner (15 November 1615) for her part in the murder of Sir Thomas Overbury.
[1] The play was entered into the Stationers' Register on 12 April 1652, and published later that year in quarto by the bookseller Humphrey Moseley.
[2] Nineteenth and early twentieth century critics, like E. H. C. Oliphant, made attempts to defend the original authorial attribution; but modern techniques of textual analysis find no evidence of the hands of either Jonson or Fletcher in the play, and a consistent pattern of evidence favouring Middleton.
In an aside, Francisco reveals that the real reason he comes to the house so often is because he is in love with Brandino's wife, Philippa.
Scene 2: A street Francisco discusses his love for Philippa with his friends Ricardo and Attilio.
He is one of the many suitors trying to marry Philippa's sister, Valeria, a wealthy widow (and the title character).
They engage in some role-playing exercises with each gentleman taking turns in the role of the woman.
According to the plan, Attilio and Francisco will hide while Ricardo manipulates a conversation with Valeria to make it seem as though she has agreed to marry him.
As soon as Valeria has stepped into Ricardo's trap, Francisco and Attilio will reveal themselves and claim to be official witnesses to the betrothal (verbal promises could be legally binding in Renaissance England, but this scenario is extremely far-fetched).
Playing to the widow's stated distaste for men who wear make-up and put on airs, Ricardo claims that everything about him is genuine.
Ricardo tricks Valeria into holding his hand and making what might be construed as a betrothal promise.
When she has given him all the details, he claims that the betrothal is valid and declares that he will also act as Ricardo's witness.
Scene 2: A street Francisco reads his letter from Philippa, in which she instructs him to meet her that evening at Brandino's country home.
Latrocinio's confederate, Stratio, enters posing as the servant of a concerned knight who witnessed the attempted robbery from a nearby hilltop.
Francisco sees Ansaldo standing by the gate in his shirtsleeves and mistakes him for the ghost of his father.
Philippa praises her fortune for sending her a "sweet young gallant" to replace Francisco.
Scene 1: Brandino's country home Valeria and Ricardo attempt to negotiate a resolution to their dispute.
At Valeria's suggestion, Brandino offers Ricardo a thousand dollars if he will drop his lawsuit and leave Valeria alone ("dollar" in this context is the English name for the German thaler, a large silver coin).
Scene 2: Latrocinio's phony doctor's office Latrocinio and his band of thieves set up a doctor's office so they can peddle phony "cures" (for example, a dose of gunpowder is prescribed for an old man with a kidney stone).
As soon as Ansaldo has been removed, Latrocinio presents three supposedly "cured" patients (thieves in disguise).
Apologizing for the inconvenience, he gives Latrocinio his seal ring as collateral for his unpaid medical bills and exits.
Occulto enters and tells Latrocinio that Martino's purse contained four blank warrants.
The thieves merrily make plans to use the warrants to free some of their friends from prison.
Scene 1: Brandino's country home Philippa and Violetta complain that Ansaldo has failed to repay the money he borrowed.
Martino enters and informs Philippa that a "thief" has been apprehended wearing Brandino's old suit.
Ansaldo enters seeking refuge (Latrocinio and the thieves used the blank warrants to set him free from prison).
Philippa welcomes him, but says she will never trust him (she is still holding a grudge because Francisco failed to show up for their meeting on the previous night).
The capricious Second Suitor saves the day by ripping up Ricardo's bonds of debt to facilitate the marriage.
In a surprising final twist, Martia reveals that she disguised herself as "Ansaldo" after running away from home.