Act IV the scene shifts from court and town to the wilds where the shepherds keep their flocks (the same shift to the pastoral mode that Shakespeare employs in Act IV of The Winter's Tale). Violante has disguised herself as a boy, and has become a servant to a master shepherd. Julio is also in the neighborhood, wandering distractedly, fighting with shepherds and stealing their food. The Master shepherd is a rare character in traditional English drama, who can actually recognize a woman when she's disguised as a boy. He makes a crude and unwelcome sexual advance toward Violante, which is interrupted by the arrival of Roderick. Henriquez has learned that Leonora has taken refuge in a nearby nunnery, and has gained his brother's help in a plan to retrieve her. Roderick has agreed, in part to keep an eye on his younger brother; he insists that Leonora be treated honourably, and given her choice whether to return with them. Roderick is also clever enough to piece together the larger situation; he manages to bring Julio, Leonora, Violante, and Henriquez back home altogether. He engineers a grand confrontation and reconciliation scene at the play's end: Julio and Leonora and happily re-united, and a now-repentant Henriquez wants to marry Violante to make up for his crime. The three fathers acquiesce to this arrangement. Versions of pastoral Theobald takes a very different approach to the pastoral genre and theme, compared to Shakespeare and Fletcher. In the pastoral tradition exploited by the earlier dramatists, the retreat to the primitive world of nature is a return to a rough but morally benign innocence. Theobald worked a century later in a different social and cultural frame; his shepherds are tougher, their life more bleak. Violante is surprised at the Master shepherd's sexual advances: Who would have thought, that such poor worms as they, (Whose best feed is coarse bread; whose bev'rage, water), Should have so much rank blood? In traditional pastoral, it is more commonly the well-fed denizens of court and city (in contrast to those who live and work in a closer relationship with nature) who are morally corrupt and sensual. References External links Full text of the play Images of 2011 London production "'Lost' Shakespeare play Double Falsehood published; William Shakespeare collaborated on two other plays with Fletcher; A play which was first discovered nearly 300 years ago has been credited to William