John Philip Kemble, an admirer of Massinger's dramas, staged an adaptation of the play called Camiola, or The Maid of Honour, at Drury Lane in 1785. It starred his sister Sarah Siddons; but it was not a success, and lasted only three performances.
The King's sensible decision is protested by his "natural" (illegitimate) half-brother Bertoldo, another Knight of Malta. Bertoldo is a fiery character who has his own following among the kingdom's younger nobility and gentry, and he criticzes his brother's caution and passivity. Roberto allows Bertoldo to lead a contingent of volunteers to Ferdinand's assistance—as long as it is understood by all concerned that their mission is unofficial and will receive no direct support from the Sicilian monarch. This is Roberto's way of ridding his kingdom of troublesome malcontents, especially Bertoldo.
The play's second scene introduces Camiola, the title character. Her "beauty, youth, and fortune" make her the target of several suitors, including: Signior Sylli, a ridiculously vain "self-lover;" Fulgentio, the corrupt and egomaniacal favorite of the king; Adorni, a retainer of Camiola's late father; and Bertoldo himself. Bertoldo is the man Camiola loves; but her high principles lead her to reject his suit. (They could only marry if Bertoldo obtained a dispensation from his vows as a member of a knightly monastic order—a course of action Camiola cannot approve.) After a touching farewell, Bertoldo leads his followers off to war.
The situation in Siena has gone badly for Ferdinand. Gonzaga's army is starving out the forces of Urbino, and can take the city at any time. His captains are eager for plunder, but the capable Gonzaga delays the final assault, since he expects a counter-attack. His expectation is fulfilled when Bertoldo and his forces arrive; but Gonzaga's troops have no trouble in defeating the new arrivals. (Many of Bertoldo's followers are effete courtiers inexperienced in combat—their antics provide some of the play's comedy.) The courtiers are ransomed from prison for two thousand crowns apiece; but Gonzaga is incensed that a member of his order has led the opposition, and sets Bertoldo's ransom at fifty thousand crowns. Roberto not only refuses to pay the ransom, but forbids any of his subjects to pay it either.
At home in Palermo, Camiola is oppressed by the arrogant attentions of Fulgentio. She refuses him, and when he slanders her in revenge, she protests to the King, leading to the favorite's disgrace. Bertoldo languishes in chains in a dungeon—but he is redeemed when Camiola pays his ransom. Roberto has decreed that no man among his subjects pay for Bertoldo's freedom; but Camiola is not a man. Bertoldo's difficulties have worked a change on Camiola's resolution. Her ransom comes with a price: Bertoldo signs a marriage contract to attain his freedom.
The ransom becomes moot, however, once Aurelia, the duchess of Siena, catches sight of Bertoldo. She falls in love with him instantly, and orders the ransom returned, much to Gonzaga's displeasure. The pair travel to Palermo, where the story comes to its climax. Camiola challenges the intended marriage of Bertoldo and Aurelia. But then she surprises everyone by rejecting Bertoldo and entering a nunnery; she distributes her fortune to worthy causes and asks Roberto to forgive Fulgentio and restore him to his place.
The play's overt comedy comes from several directions—Signior Sylli most notably, but also Fulgentio, the effete courtiers Antonio and Gasparo, and the soldiers of Gonzaga's army.