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The Comedy of Errors

by William Shakespeare

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Characters Discussed

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Antipholus of Syracuse

Antipholus of Syracuse (an-TIHF-oh-luhs), the son of Aegeon and Aemilia. Separated from his twin brother in his childhood, he meets him again under the most baffling circumstances. Shortly after he and his servant, Dromio of Syracuse, land in Ephesus, the whole series of comic errors begins. Antipholus meets his servant’s lost twin brother, who is also bewildered by the ensuing conversation. Thinking this Dromio to be his own servant, Antipholus hits the mystified man on his head with great vigor. Finally, at the end, this puzzle is solved when he recognizes that he has found his identical twin.

Antipholus of Ephesus

Antipholus of Ephesus (EHF-eh-suhs), the identical twin brother of Antipholus of Syracuse. Equally bewildered by his mishaps, he is disgruntled when his wife locks him out of his house. She is blissfully unaware of the truth—that the man at her house is not her husband. In addition, a purse of money is received by the wrong man. Never having seen his own father, or at least not aware of the relationship, he is even more amazed when the old man calls him “son.” By this time, the entire town believes him to be mad, and he, like his twin, is beginning to think that he is bewitched. It is with great relief that he finally learns the true situation and is reunited with his family.

Dromio of Syracuse

Dromio of Syracuse (DROH-mee-oh), the twin brother of Dromio of Ephesus and attendant to Antipholus of Syracuse. He is as much bewildered as his master, who, in the mix-up, belabors both Dromios. To add to his misery, a serving wench takes him for her Dromio and makes unwanted advances. Much to his chagrin, she is “all o’er embellished with, rubies, carbuncles, sapphires.” In addition, she is “no longer from head to foot than from hip to hip. She is spherical, like a globe.”

Dromio of Ephesus

Dromio of Ephesus, who was separated from his identical twin at the same time that the two Antipholuses were separated, during a shipwreck. As is his brother, he is often belabored by his master. In this case, if his master does not pummel him, his mistress will perform the same office. During all this time, he is involved in many cases of mistaken identity. Sent for a piece of rope, he is amazed when his supposed master knows nothing of the transaction.

Aegeon

Aegeon (ee-JEE-on), a merchant of Syracuse. Many years before, he had lost his beloved wife and one son. Since then, his other son has left home to find his twin brother. Now Aegeon is searching for all his family. Landing in Ephesus, he finds that merchants from Syracuse are not allowed there on penalty of death or payment of a large ransom. When Aegeon is unable to raise the ransom, the duke gives the old man a one-day reprieve. He finds his sons just in time, the ransom is paid, and the family is reunited.

Adriana

Adriana (ay-drih-AY-nuh), the wife of Antipholus of Ephesus. When her husband denies his relationship to her, she (unaware that he is the wrong man) thinks he is insane. Already suspicious of her husband because of supposed infidelities, she suspects him even more.

Aemilia

Aemilia (ee-MIHL-ee-uh), the wife of Aegeon and abbess at Ephesus. In the recognition scene, she finds her husband, who has been separated from her for many years.

Solinus

Solinus (soh-LI-nuhs), the duke of Ephesus.

Luciana

Luciana (lew-shee-AH-nuh), Adriana’s sister, wooed by Antipholus of Syracuse.

(This entire section contains 605 words.)

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-nuh), Adriana’s sister, wooed by Antipholus of Syracuse.

Angelo

Angelo, a goldsmith.

Pinch

Pinch, a schoolmaster and “a hungry lean-fac’d villain, a mere anatomy.”

Characters

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Solinus
Duke of Ephesus.

Aegeon (Egeon)
A merchant from Syracuse who is in Ephesus searching for his son. Since it is illegal for Syracusans to be in Ephesus, he faces either a hefty ransom or death. He shares his sorrowful tale of family separation with the Duke, who, moved by his story, grants him one day to gather the required sum to save himself.

Antipholus of Ephesus
The twin brother of Antipholus of Syracuse, and son of Aegeon and Aemilia. He is married to Adriana and is a well-known, respected merchant in Ephesus.

Antipholus of Syracuse
The twin brother of Antipholus of Ephesus and son of Aegeon and Aemilia. At eighteen, he leaves home with his servant, Dromio of Syracuse, to search for his lost brother.

Dromio of Ephesus
Personal servant to Antipholus of Ephesus and the twin brother of Dromio of Syracuse. He is married to Luce, who serves Adriana.

Dromio of Syracuse
Personal servant to Antipholus of Syracuse and the twin brother of Dromio of Ephesus.

Balthazar
A merchant and business associate of Antipholus of Ephesus.

Angelo
A goldsmith commissioned by Antipholus of Ephesus to create a gold chain for Adriana.

Pinch
A "doctor" and conjurer called upon to cure Antipholus of Syracuse of his alleged madness.

Aemelia
An abbess in Ephesus. She was separated from her husband, Aegeon, in a shipwreck twenty-three years ago. At the play's conclusion, she reunites with her husband and her lost son, Antipholus of Syracuse, clearing up the confusion about her sons and their servants.

Adriana
The wife of Antipholus of Ephesus, who becomes entangled in the mistaken identity scenarios involving the twin Antipholi.

Luciana
Adriana's unmarried sister, who is courted by Antipholus of Syracuse.

Luce
A servant of Adriana who confuses the Syracusan Dromio for the Ephesian Dromio.

A Courtezan
An acquaintance of Antipholus of Ephesus.

Character Analysis

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Abbess
See Aemilia

Adriana
Adriana is the spouse of Antipholus of Ephesus. Her husband has frequently been away from home due to his business activities and the creation of a ring meant for her. Their marriage appears to be relatively recent, and she worries that her husband already finds her uninteresting or unattractive. Luciana, her sister, advises her to become more appealing by being gentler and more tolerant of her husband's actions. Adriana fears that his affections are directed toward someone else. When Luciana confirms these suspicions—even though it is actually Antipholus of Syracuse, her husband's twin, who has shown interest in her sister—Adriana wishes she could completely renounce her husband and stop caring for him so much.

Adriana genuinely seems to love Antipholus of Ephesus. She shows significant concern for him when she suspects he has been possessed and has gone mad. She arranges for Doctor Pinch to exorcise the demons from her husband. Although Doctor Pinch plans to subject Antipholus of Ephesus to what modern audiences might consider barbaric treatments, Adriana's intentions appear to be well-meaning and caring.

In Plautus's play, the character of Adriana was nearly nonexistent—the wife of Antipholus of Ephesus was simply called "Wife" and depicted merely as a shrew. The character of Luciana did not exist at all. Therefore, they are almost entirely Shakespeare's creations in The Comedy of Errors. One of the most discussed dialogues in the play features Adriana and Luciana debating marriage, with Adriana opposing the traditional view that wives must be subservient to their husbands, and Luciana advocating for a wife's "proper" role. As another of Shakespeare's pairings, Adriana and Luciana gradually shift their perspectives throughout the play, moving closer to each other's viewpoints, and these changes are reflected in their interactions with the twin brothers.

Although early critics of the play often labeled Adriana as a shrew similar to the Plautine "Wife," most modern critics reject that characterization, viewing her as a more complex character (though she still has her detractors). With the increased focus on issues like gender and marriage, Adriana's character and the play itself have been reevaluated. Some critics now see Adriana as an early voice condemning society's gender-based double standards.

Luciana is considered by at least one critic to be the most intricate character in the play. Most agree that she stands next to Adriana as an embodiment of devout womanhood, accepting her societal role as a woman. However, her interactions with Antipholus of Syracuse and the Abbess (Aemilia) reveal that she is not entirely content with being merely a submissive wife. By the play's conclusion, Adriana also slightly retreats from her initial stance of condemning the constraints of marriage after being reprimanded by the Abbess. One commentator has observed that this is expected since Shakespeare was too conservative to completely reject the established marital system of Elizabethan society.

Aegeon (Egeon)
Aegeon is the father of Antipholus of Ephesus and Antipholus of Syracuse and the husband of the abbess, Aemilia. He is a merchant from Syracuse who arrives in Ephesus, determined to leave no stone unturned in his search for Antipholus of Syracuse, the son he raised and regrets allowing to search for his mother and brother. Upon arriving in Ephesus, he is immediately detained under Ephesian law, which requires Syracusan merchants to pay a ransom or face execution. Unable to pay the ransom, Aegeon is sentenced to death. However, the duke, moved by Aegeon's tragic tale of his family's separation during a shipwreck years ago, grants him the rest of the day to somehow gather the thousand marks needed to pay his ransom.

Aegeon's presence at the beginning and end of the play serves to mark the passage of one day's events, the duration of the play's action. It is also somewhat ironic that Aegeon, once wealthy enough to purchase the twin Dromios as servants, now finds himself unable to pay the ransom for his own life.

Aemilia
Aemilia serves as the abbess overseeing a priory, a convent for nuns, in Ephesus. In a surprising twist revealed at the play's conclusion, she is also the wife of Aegeon and the mother of both Antipholus of Ephesus and Antipholus of Syracuse. During the shipwreck that separated her from Aegeon, she secured herself, one of her twin sons, and one of the twin servants to a spare mast from the wrecked ship. Aegeon did the same, tying himself, the other twin son, and the remaining twin servant to another mast. According to Aegeon's narrative at the beginning of the play, her group, being lighter, was carried more swiftly by the wind, and he believed they were rescued by fishermen from Corinth. However, in the final scene, Aemilia clarifies that she and her companions were actually saved by men from Epidamium, while the fishermen from Corinth had abducted Antipholus and Dromio of Ephesus. She had not seen her son or his servant since then and had been living in Ephesus, unaware that her son resided there. Her appearance and recognition of Aegeon in the last scene provide the final resolution to the play's many confusions.

Aemilia holds additional importance in the play. In the late sixteenth century, Elizabethan England was grappling with questions left by the Reformation. One such question was whether Catholics or Protestants were more successful at exorcising demons. When Aemilia suggests curing Antipholus of Syracuse by attending to his physical health and praying for his soul, she embodies the limitations of what a religious person in Protestant England could do for those deemed mad. Her approach contrasts with the ritualized exorcism proposed by Doctor Pinch, which resembled a form of reverse conjuring and was associated with Catholic exorcism practices of that era.

Angelo
Angelo is a goldsmith in Ephesus. He has been commissioned by Antipholus of Ephesus to craft a gold necklace for his wife. By mistake, Angelo gives the necklace to Antipholus of Syracuse. Angelo owes money to another merchant in Ephesus and plans to repay this debt with the money Antipholus of Ephesus owes him. Knowing Antipholus of Ephesus to be a trustworthy man, Angelo is shocked when the Ephesian twin denies ever receiving the necklace. With no other options, Angelo has him arrested. In the final scene of the play, Angelo can only offer the duke conflicting accounts regarding Antipholus of Ephesus. Having earlier accompanied the Ephesian Antipholus to his home and seen the doors barred against him, Angelo confirms his truthfulness in that instance. However, he must also report that Antipholus of Ephesus initially denied receiving the necklace and later brazenly displayed it, openly admitting when and from whom he received it.

Antipholus of Ephesus
Antipholus of Ephesus is the twin brother of Antipholus of Syracuse and the son of Aegeon and Aemilia. During the shipwreck that separated his family, he was left in the care of his mother, Aemilia. According to her version of Aegeon's story, she, her infant son, and the infant Dromio were rescued by men from Epidamium. Subsequently, Antipholus and Dromio of Ephesus were kidnapped by fishermen from Corinth. In the final scene of the play, Antipholus of Ephesus reveals that he was brought to Ephesus from Corinth by the renowned uncle of the duke of Ephesus.

Unaware that his twin brother has arrived in Ephesus, Antipholus of Ephesus becomes embroiled in a series of strange events. Antipholus of Syracuse is mistaken for him by his wife and friends, who believe he has gone mad and plan to have him exorcised. Meanwhile, Antipholus of Ephesus thinks his wife is plotting against him, even involving his business associates in her scheme. He appeals to the duke, reminding him of his loyal service in the duke's wars. By the play's end, the confusion of identities is cleared up, and Antipholus of Ephesus is joyfully reunited with his entire family.

Critics frequently highlight the similarities between the Syracusan and Ephesian Dromios, but they rarely acknowledge any comparable traits in their masters, the Syracusan and Ephesian Antipholus twins. While they are physically identical, their personalities differ significantly. We first encounter Antipholus of Syracuse as he arrives in Ephesus, a somewhat disheartened and melancholic man searching for his long-lost brother. He believes that finding his twin will help him discover his own identity. In contrast, Antipholus of Ephesus is confident in his identity—he is a well-known, respected businessman with a wife, home, and thriving enterprise.

The chaos and confusion that lead up to their reunion, which finally happens in the closing scene, force both brothers to examine their own identities through their interactions with the people of Ephesus. Antipholus of Syracuse is greeted by strangers as if they know him well, leading him to think that either he has lost his sanity or everyone around him has. Conversely, Antipholus of Ephesus experiences that his acquaintances and business associates treat him as though he is someone else. They recognize him as Antipholus, but mistake him for the wrong twin. His response to these bizarre events is one of anger and violence, and like his brother, he starts to believe that either he or everyone around him is mad.

Critics generally concur that when the brothers finally reunite, their reaction is not one of overwhelming joy; instead, their reunion feels somewhat anticlimactic. Some critics argue that their identities are affirmed or renewed upon their reunion, while others are more skeptical. It remains uncertain (though highly likely) that Antipholus of Syracuse and Luciana will marry, and it is unclear how Adriana and Antipholus of Ephesus will reconcile after the numerous threats to their identities.

Most critics consider Antipholus of Syracuse to be the more intriguing twin, as he is often the primary focus of their analyses, possessing a depth of character not found in Antipholus of Ephesus. They find his quest for identity particularly compelling. Some attribute psychological or Freudian undertones to his search, suggesting it stems from a desire to be "reunited" with his mother, as he was in childhood. He hesitates to "merge" or "unite" fully with Luciana, despite his love for her, fearing he might lose his identity in the process. While Antipholus of Ephesus also grapples with identity issues, his main concern is the apparent madness of everyone he knows. His frustration and anger at being rejected by those he trusts is, according to one critic, entirely reasonable and justified. Antipholus of Syracuse seems to be in a dreamlike state, whereas Antipholus of Ephesus is trapped in a nightmare.

Antipholus of Syracuse
Antipholus of Syracuse is the twin brother of Antipholus of Ephesus and the son of Aegeon and Aemilia. During a shipwreck, he is left in the care of his father, Aegeon, and lives with him in Syracuse until he turns eighteen. On his eighteenth birthday, he asks Aegeon for permission to search for his long-lost mother and twin brother, accompanied by his servant Dromio. This quest eventually leads him to Ephesus, unaware that his father, brother, and mother are also there.

When the people of Ephesus start confusing him with his twin, Antipholus of Syracuse never suspects that they might be mistaking him for his brother. Instead, he is continually surprised that the locals know his name, invite him to meals, give him gifts, and even call him "husband" at one point. He attributes all these strange occurrences to the city's notorious witchcraft and sorcery, becoming increasingly alarmed. Determined to leave Ephesus as soon as possible, he is thwarted by various complications. When he is invited to dine with Adriana and Luciana, he becomes attracted to Luciana and confesses his feelings to her. By the end of the play, the confusion is cleared up, and Antipholus of Syracuse is joyfully reunited with his entire family.

Critics frequently highlight the similarities between the Syracusan and Ephesian Dromios, but seldom do they point out any comparable traits in their masters, the Syracusan and Ephesian Antipholi twins. While they are physically indistinguishable, their personalities are markedly distinct. We first encounter Antipholus of Syracuse as he arrives in Ephesus, a somewhat disheartened and melancholic man on a quest to find his long-lost brother, believing that his identity is somehow intertwined with his twin. In contrast, Antipholus of Ephesus is confident in his identity—a well-known, respected businessman with a wife, home, and successful business. The confusion and chaos that lead up to their eventual reunion in the final scene force both brothers to confront their own identities through their interactions with the people of Ephesus. Antipholus of Syracuse is greeted by strangers as if they know him intimately, leading him to question his sanity or suspect that everyone around him has lost their minds. Conversely, Antipholus of Ephesus experiences familiar faces treating him as though he is someone else. They recognize him as Antipholus but mistake him for the wrong twin. His reaction to these bizarre occurrences is one of anger and violence, and like his brother, he doubts either his own sanity or that of those around him. Critics generally concur that when the brothers finally reunite, their reaction is not one of overwhelming joy; their reunion is notably subdued. Some critics believe that their identities are affirmed or renewed upon their reunion, while others remain uncertain. It is not definitively known (though it is highly probable) that Antipholus of Syracuse and Luciana will marry, nor is it clear how Adriana and Antipholus of Ephesus will reconcile after the numerous threats to their identities.

Most critics regard Antipholus of Syracuse as the more intriguing twin and tend to focus more on him, attributing a depth of character to him that is absent in Antipholus of Ephesus. They find his search for identity particularly compelling, with some interpreting it through psychological or Freudian lenses, suggesting that it stems from a desire to be "reunited" with his mother, as he was in childhood. He hesitates to "merge" or "unite" fully with Luciana, despite his love for her, fearing that he might lose his identity in the process. Antipholus of Ephesus is also concerned about his identity but is more troubled by the perception that everyone he knows has gone completely mad. His rejection by familiar people incites his rage, which one critic argues is entirely reasonable and justified. Antipholus of Syracuse seems to be in a dreamlike state, while Antipholus of Ephesus is trapped in a nightmare.

Attendants
The attendants serve the Duke of Ephesus, appearing in both the first and final scenes of the play, which align with the Duke's appearances.

Balthazar
Balthazar is a merchant in Ephesus. He accompanies Angelo and Antipholus of Ephesus to Antipholus's house. When Antipholus becomes furious about being locked out of his own home and plans to break in with a crowbar, Balthazar persuades him against it. He argues that breaking in would draw attention and gossip, casting suspicion on Antipholus's wife and, consequently, on Antipholus himself.

Courtezan
The Courtezan is the hostess of the Porpentine Inn and a prostitute. Still angry about being locked out of his house, Antipholus of Ephesus declares he will give the gold necklace intended for his wife to the Courtezan to spite his wife, who has frequently, and unjustly, accused him of consorting with the Courtezan. Later, the Courtezan meets Antipholus of Syracuse and demands the gold necklace that was promised to her by Antipholus of Ephesus in exchange for a ring during dinner at the Porpentine. Antipholus of Syracuse perceives her as a vile and demonic being and flees from what he believes is a supernatural terror.

Doctor Pinch
See Pinch.

Dromio of Ephesus
Dromio of Ephesus is the twin brother of Dromio of Syracuse. He shared the same shipwreck fate as Antipholus of Ephesus, to whom he is a loyal servant. Both Dromios were born to a poor woman at the same time Aemilia gave birth to her twin sons. Since the poor woman was in the same inn, Aegeon noticed this other birth and purchased the twin Dromios as servants for his sons. Throughout the play, Dromio of Ephesus frequently mistakes his master for Antipholus of Syracuse. He is sent on various errands, always returning to the wrong master with incorrect items or information, and gets beaten as a result. There is little to distinguish Dromio of Ephesus from Dromio of Syracuse, except that they have different preferences in women. Dromio of Ephesus is romantically involved with Luce, a woman his twin finds highly unattractive.

Dromio of Syracuse
Dromio of Syracuse is the identical twin of Dromio of Ephesus. He shares a similar fate with Antipholus of Syracuse, whom he loyally serves. Throughout the play, he, like his twin, adds to the comedic confusion caused by mistaken identities. Both Dromios endure beatings from the twin Antipholuses when their errands do not meet their masters' expectations. Despite being a constant companion to Antipholus of Syracuse—possibly even a childhood friend—their social hierarchy remains evident. Antipholus of Syracuse underscores this social difference when he suspects Dromio of Syracuse of playing tricks regarding the gold he was supposed to deposit at the Centaur. Mistaking Dromio of Ephesus' evasive answers for his own servant's antics, he tells Dromio of Syracuse, "If you will jest with me, know my aspect, / And fashion your demeanour to my looks" (II.ii.32-33). The circumstances of their birth have destined the Dromio twins for a life of servitude. The name "Dromio" itself hints at their occupation, derived from the Greek word "dromos," meaning to run.

Duke of Ephesus (Solinus, Duke of Ephesus)
See Solinus

Egeon
See Aegeon

First Merchant of Ephesus
The first merchant of Ephesus befriends Antipholus of Syracuse upon his arrival in the city. He cautions Antipholus that Syracusan merchants are being held for ransom in Ephesus and advises him to pose as someone from Epidamium while he stays there. He informs Antipholus of Syracuse that earlier that day, the duke sentenced a Syracusan merchant to death for failing to pay the ransom. However, the first merchant is unaware that this condemned merchant is Aegeon, the father of Antipholus of Syracuse.

Headsman
The headsman appears with the duke in the final scene of the play. He is the chief officer of the duke's police force, tasked with maintaining order and enforcing the law in the city.

Jailer
A jailer appears in the opening scene of the play, guarding Aegeon, who has been arrested as a Syracusan merchant banned from Ephesus.

Luce
Luce serves Adriana and assists the Syracusan Dromio in locking out Antipholus of Ephesus while Adriana and Luciana are entertaining Antipholus of Syracuse inside, unaware that it is actually Adriana's real husband outside. Later, it's revealed that Luce has mistaken the Syracusan Dromio for his twin brother, with whom she is likely romantically involved. The Syracusan Dromio finds her highly unattractive, describing her to Antipholus of Syracuse as "the kitchen wench, and all grease" (III.ii.95). He comments on her complexion, saying, "Swart, like [his] shoe; but her face nothing like so clean kept" (III.ii.102). He also notes her shape, stating, "No longer from head to foot than from hip to hip: she is spherical, like a globe" (III.ii.113-14). Later, when Dromio of Syracuse is sent to Adriana's house to arrange bail for Antipholus of Ephesus, he dreads the thought of encountering Luce once more.

Luciana
Luciana is Adriana's sister and is frequently seen with her throughout the play. However, their views on marriage differ significantly. When Adriana complains about her husband's absences and plans to reprimand Antipholus of Ephesus upon his return, Luciana advises patience and reminds her that the husband is the lord over his wife. Adriana retorts, "This servitude makes you to keep unwed" (II.i.26), but Luciana explains that she remains unmarried because she has only witnessed troubled marriages. She tells Adriana, "Ere I learn love, I'll practice to obey" (II.i.29). Adriana assures Luciana that her perspective will change once she experiences the power a wife can hold over her husband.

While Antipholus of Syracuse dines at his twin brother's house with Adriana and Luciana, Luciana takes him aside to advise him to be more attentive to her sister, especially since they are newlyweds. She suggests that if he married Adriana for her wealth, he should treat her with more kindness, and if he is having an affair, he should be discreet. Believing that Antipholus of Syracuse is actually Adriana's husband, Luciana is shocked when he expresses his desire for her. She informs Adriana of his advances and tries to comfort her by saying that losing a man who would behave in such a manner is not worth grieving over. Luciana supports her sister's efforts to exorcise the supposed demons from Antipholus of Ephesus when they later conclude that his strange behavior is due to madness and possession.

In Plautus's play, the character of Adriana barely existed—the wife of Antipholus of Ephesus was simply named "Wife" and depicted solely as a shrew. The character of Luciana was entirely absent. Consequently, these characters are almost entirely Shakespeare's creations in The Comedy of Errors. One of the most discussed dialogues in the play involves Adriana and Luciana debating marriage. Adriana vehemently opposes the widespread belief that wives must be subservient to their husbands, while Luciana advocates for a wife's "proper" role. As another example of Shakespeare's character pairings, Adriana and Luciana gradually shift their perspectives throughout the play, each leaning towards the other's viewpoint. This evolution is mirrored in their relationships with the twin brothers.

Luciana is seen by at least one critic as the most intricate character in the play. Many acknowledge her role alongside Adriana as the voice of devout womanhood, accepting her societal position as a woman. However, her interactions with Antipholus of Syracuse and the Abbess (Aemilia) reveal that she is not entirely content with being merely a submissive wife. By the play's conclusion, Adriana also retreats slightly from her initial condemnation of marriage's constraints after being chastised by the Abbess. At least one critic has observed that this is not surprising, as Shakespeare was too conservative to completely reject the established marital system in Elizabethan society.

Messenger
The messenger appears in the final scene of the play. As Adriana pleads with the duke to intervene with the abbess, who refuses to release her presumably insane husband, the messenger delivers news that Antipholus and Dromio of Ephesus have escaped confinement. He informs the assembly that the Ephesian Antipholus and Dromio "have beaten the maids" and "bound the doctor" (V.i.170). They have set the conjuring schoolmaster's hair on fire and extinguished the flames with buckets of foul waste. As a final insult to Pinch, they have cut his hair in the style associated with fools.

Nell
See Luce

Officers
These are officers of the Ephesian law. They appear in the first and last scenes of the play, accompanying the duke of Ephesus. An Officer is present to arrest Angelo when the second merchant of Ephesus demands it. At Angelo's insistence, he also arrests Antipholus of Ephesus when the latter refuses to pay Angelo the sum owed for the gold necklace. In a later scene, the Officer has Antipholus of Ephesus in custody and refuses to release him to Adriana, fearing he will lose the fee for apprehending the prisoner.

Pinch (Doctor Pinch)
Doctor Pinch is both a schoolmaster and a conjurer, thanks to his extensive knowledge. He tries to exorcise demons from Antipholus of Ephesus after bringing him home. However, Antipholus and his servant Dromio manage to free themselves and retaliate against the doctor, beating him and humiliating him by cutting his hair. Doctor Pinch symbolizes the Catholic exorcism practices that were rejected by the Protestant Church of England in the late sixteenth century. His brief exorcism, which includes the phrase, "I conjure thee by all the saints in heaven!" (IV.iv.57), has clear Catholic connotations. The invocation of saints was a distinctly Catholic practice, and no devout Protestant in England would have suggested seeking spiritual help from saints.

Second Merchant of Ephesus
The second merchant of Ephesus is owed money by Angelo, the goldsmith. When he demands payment, Angelo assures him that he can collect a similar amount from Antipholus of Ephesus in exchange for a gold necklace. When Antipholus denies owing any money, Angelo is unable to pay the second merchant. Left with no other option, the second merchant has Angelo arrested for his unpaid debt. Consequently, Angelo has Antipholus of Ephesus arrested for the same reason. In a subsequent scene, Angelo apologizes to the second merchant, who has been delayed in a business trip due to Angelo's debt. The second merchant inquires about Antipholus's reputation, and Angelo assures him that, aside from this incident, Antipholus has always been a reputable businessman.

Solinus (Solinus, Duke of Ephesus)
The Duke appears in the first and last scenes of the play. In the opening scene, he sentences Aegeon to death in accordance with Ephesian law, which retaliates against the Duke of Syracuse for holding Ephesian merchants for ransom. The Duke of Ephesus embodies the law, but with a touch of mercy. Upon hearing Aegeon's tragic story of shipwreck and family separation, the Duke wishes he could suspend the death sentence but cannot, as it would set a dangerous precedent. He does, however, grant Aegeon until the end of the day to gather the thousand marks needed to pay his ransom. In the final scene, the Duke prepares to enact the sentence but is interrupted by several petitions he must address. When the abbess reveals that Antipholus of Syracuse has been wronged and recognizes Aegeon as her husband, the Duke is the first to piece together the entire situation.

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