In Massinger's Maid of Honor (1621), Sylli's lament to Camiola
on losing her to the king climaxes with 'Oh, oh, oh' to which she responds: 'Do not rore so' (4.5.12).
the other characters on stage, Camiola tells them, "pray you stand
The Maid of Honor "Camiola, if ever, now be constant"
The examples of Joan herself and of Camiola
, whose story allows Boccaccio to praise Joan's grandfather King Robert, can readily be seen as patronage-seeking exceptions, but it is harder to understand how Cornificia fits this justification or why Boccaccio should in her biography launch suddenly into a declaration radically at odds with his previous ideology, as Franklin has set it forth.
(Hence in part the prominent voice allowed to women like Cleora and Camiola
in many of Massinger's plays.) Paternalism, whether monarchic or familial, must be responsive to, rather than merely repressive towards, its subjects.
And, in the opinion of The Maid of Honour's Camiola, King Roberto's refusal to allow the payment of Bertoldo's ransom is "to breake / Th'Adamant chaines of nature and religion, / To binde up Atheisme, as a defence / To his darke counsailes" (3.3.144-47).
Massinger does something similar in The Maid of Honour with Camiola's generosity toward Bertoldo, a knight who is guilty of breaking his religious vow and is consequently captive to an extortionate ransom.