but eventually becomes upset and is escorted offstage by a servant. Father Anslemo next introduces the "Second Madman," a husband who went mad with jealousy over his beautiful wife, and the "Third Madman," a lover who went mad following his girlfriend's death. The Second and Third Madmen quarrel absurdly over parrots, flap-dragons, porridge, etc. The Second Madman pretends to shoot the Third Madman. The Third Madman screams in horror because he believes he is truly dead. Father Anselmo threatens to whip the madmen and orders a servant to take them away. The next patient to be introduced is Bellafront, who has come to the asylum rather than returning to her father's home. The gallants pretend that they do not recognize her. Bellafront calls the gallants "asses" and chides them for their debauchery. Hippolito, Matteo and Infelice enter, all disguised as friars. Bellafront insists on reading the "friars'" fortunes and ends up by revealing their true identities. The Duke orders his men to draw their weapons, but the weapons are nowhere to be found. Hippolito tells the Duke that he and Infelice are already married. At Father Anselmo's urging, the Duke agrees to welcome Hippolito as his new son-in-law. He thanks Bellafront for her role in helping to bring the matter to a happy conclusion. Bellafront identifies Matteo as the "villain" who stole her maidenhead. The Duke orders Matteo to marry Bellafront. Matteo is nonplussed at the notion of marrying a prostitute but eventually agrees to accept the union. Viola enters with George. They ask to see Candido. Father Anselmo exits for a moment and returns with Candido. In a quick interview, Candido demonstrates that he is not mad. The Duke agrees to release him. Part 2 Production Part 2 was most likely written in 1605 or 1606, and was entered into the Stationers' Register on 29 April 1608. Part 2 was not published, however, till 1630, in a quarto printed by Elizabeth Allde for the bookseller Nathaniel Butter. Summary In this second part, Hippolito has conceived a violent lust for Bellafront, whose husband has (perhaps not surprisingly) returned to the life of a wastrel. Yet, despite her dire need, Bellafront refuses to surrender her new virtue. All ends well through the parallel machinations of Hippolito's wife and Bellafront's father. Later use William Dunlap substantially borrowed from this play when writing The Italian Father, which was first performed in New York