critics as part of the literature of colonialism and anti-colonialism. Furthermore, Michael Neill believes there is particular symbolism to the repeated image of fire in the play, claiming they represent the psychological state of the characters. More contemporary analyses of the play focus on the sexual and religious relationship of the Portuguese colonizers and the island natives. Ania Loomba paints the transformation of Quisara throughout the play as a symbol for the eastern lands the Europeans sought after. The Spice Island princess challenges her suitors to save her brother, the King, with the promise of marriage. She also requests that Armusia change his religion, yet, upon becoming enamored with him, willingly assimilates into his Christian world. The 180-degree adjustment of Quisara's faith and religious values is what Loomba superimposes on the growing orientalism of the 19th century. The wooing of Quisara is emblematic of eastern lands, awaiting the conquering and colonialization of the west. Loomba also considers the portrayal and symbolism of the Europeans in this tropical setting. Armusia's delayed arrival to the islands, as well as his differing status of beliefs to both the colonizers and the natives, is a metaphor for England's late entry into the global imperialism beside the Dutch and Portuguese. Armusia's presence and success are similarly emblematic of England's new wave of imperialism, different from its fading predecessors. Armusia is encouraged by the Portuguese to ravish Quisara, which he actively chooses not to do. Instead, he is able to enamor the princess, a more courtly, refined approach compared to that suggested by the Portuguese. Even the name Armusia is a reference to the growing English power, as it is an alternate naming for Hormuz, a site where the English would defeat the established Portuguese influence. Carmen Nocentelli also notes transformative elements in the play that are symbolic of a changing influence in England. Both the revival of the noble gentleman in Armusia and his disguise as a merchant are important, as they signify the retooling of the chivalric mannerisms. Characteristics of feudal knights, who valiantly served their lords, are now projected onto the merchant class to serve as a reminder of their role in the expansion of the Queen's new empire. References English Renaissance plays 1610s plays 1620s plays Plays by John Fletcher (playwright)