Jonson's Cynthia's Revels, Peele's The Old Wives' Tale, and Webster's The Duchess of Malfi.) Ascanio meets Aramanthus, and learns that Eurymine has been transformed into a boy. Eurymine, meanwhile, is dealing with Silvio and Gemulo, trying to convince them that she is her own brother. Ascanio and the transformed Eurymine finally meet, and have a long conversation about their predicament. Aramanthus advises the couple to appeal to Apollo for mercy. With the aid of the Graces, the appeal is successful, and Eurymine is restored to her natural gender. Aramanthus, once prince of Lesbos, turns out to be Eurymine's father, making her of royal blood and a suitable match for Ascanio. News arrives that Telemachus has repented of his rash action in ordering Eurymine's death; happy ending. Notes References Chambers, E. K. The Elizabethan Stage. 4 Volumes, Oxford, Clarendon Press, 1923. Golding, S. R. "The Authorship of The Maid's Metamorphosis," Review of English Studies Vol. 2 No. 7 (July 1926), pp. 270–9. Hillebrand, Harold Newcomb. The Child Actors: A Chapter in Elizabethan Stage History. 1926; reprinted New York, Russell & Russell, 1964. Logan, Terence P., and Denzell S. Smith, eds. The New Intellectuals: A Survey and Bibliography of Recent Studies in English Renaissance Drama. Lincoln, NE, University of Nebraska Press, 1977. Schelling, Felix Emmanuel. Elizabethan Drama 1558–1642. 2 Volumes, Boston, Houghton Mifflin, 1908. Tilley, M. P. "The Maid's Metamorphosis and Ovid's Metamorphoses," Modern Language Notes Vol. 46 No. 3 (March 1931), pp. 139–43. English Renaissance plays Plays by John Lyly 1600 plays Plays based on Metamorphoses Juno (mythology)