What is a sentence for vex?


I was vexed to find the alloy of modern refinement in a lady who had so much old family spirit.

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Vex is a reggae album released by Steel Pulse in September, 1994. It is Steel Pulse's ninth studio album. It was their first album without founding member Alphonso Martin. The album peaked at #7 on the Billboard Top Reggae Album charts.
Fop became a pejorative term for a foolish man overly concerned with his appearance and clothes in 17th century England. Some of the very many similar alternative terms are: "coxcomb", fribble, "popinjay" (meaning "parrot"), fashion-monger, and "ninny". "Macaroni" was another term, of the 18th century, more specifically concerned with fashion. A modern-day fop may also be a reference to a foolish person who is overly concerned about his clothing and incapable of engaging in intellectual conversations, activities or thoughts. The word "fop" is first recorded in 1440, and for several centuries just meant a fool of any kind; the OED notes first use with the meaning of "one who is foolishly attentive to and vain of his appearance, dress, or manners; a dandy, an exquisite" in 1672. An early example of the usage is in the restoration drama "The Soldier's Fortune", in which a woman dismisses a potential suitor by saying "Go, you are a fop." The fop was a stock character in English literature and especially comic drama, as well as satirical prints. He is a "man of fashion" who overdresses, aspires to wit, and generally puts on airs, which may include aspiring to a higher social station than others think he has. He may be somewhat effeminate, although this rarely affects his pursuit of an heiress. He may also overdo being fashionably French by wearing French clothes and using French vocabulary. An example of the so-called Frenchified fop is Sir Novelty Fashion in Colley Cibber's Love's Last Shift (1696). Fop characters appear in many Restoration comedies, including Sir Fopling Flutter in George Etherege's The Man of Mode, or Sir Fopling Flutter (1676), Aphra Behn's diatribe against politic marriages, The Town Fop (1676, published 1677), and Lord Foppington in The Relapse (1696) by John Vanbrugh. Vanbrugh planned The Relapse around particular actors at the Drury Lane Theatre, including Colley Cibber, who played Lord Foppington. A fop is also referred to as a 'beau,' as in the Restoration comedies The Beaux' Stratagem (1707) by George Farquhar, The Beau Defeated (1700) by Mary Pix, or the real-life Beau Nash, Master of Ceremonies at Bath, or Regency celebrity Beau Brummell. The sexual recklessness of "beau" may imply homosexuality. Shakespeare's King Lear contains the word, in the general sense of a fool, and before him, Thomas Nashe, in Summer's Last Will and Testament (1592, printed 1600): "the Idiot, our Playmaker. He, like a Fop & an Ass must be making himself a public laughing-stock." Osric, in Hamlet has a great deal of the fop's affected manner, and much of the plot of Twelfth Night revolves around tricking the puritan Malvolio into dressing as a fop. "Fop" was widely used as a derogatory epithet for a broad range of people by the early years of the 18th century; many of these might not have been considered showy lightweights at the time, and it is possible that its meaning had been blunted by this time. In the 1900s (decade), fictional heroes began to pose as fops in order to conceal their true activities. Sir Percy Blakeney of The Scarlet Pimpernel is a well-known example of this tendency; Sir Percy cultivates the image of being an overdressed and ineffectual social butterfly, the last person anyone would imagine being capable of dashing heroism. A similar image is cultivated by Zorro's public identity, Don Diego de la Vega. This continued with the pulp fiction and radio heroes of the 1920s and 1930s and expanded with the coming of comic books. The fashion and socializing aspects of being a fop are present in some interpretations of Batman's second identity Bruce Wayne and in the protagonist of the novel American Psycho, Patrick Bateman. In the Apollo Justice: Ace Attorney game, detective Ema Skye refers to prosecutor Klavier Gavin as a "glimmerous fop." In Thomas Mann's 1912 novella Death in Venice (as well as the opera by Benjamin Britten and the film by Luchino Visconti) a fop is derided by the main character, Gustave von Aschenbach; ironically so, as Aschenbach ultimately dresses in this manner himself. Towards the late 1960s, male fashion became notably "foppish" in style, evocative loosely of the Georgian and Victorian eras. Pop stars often dressed in what might be termed foppish clothing. While many characters from popular culture had a tendency to foppish appearance, e.g., Adam Adamant Lives!, the third incarnation of Doctor Who and Jason King, they tended not to exhibit mannerisms associated with fops. The British Fops, or Lucien Callow (Mark McKinney) and Fagan (David Koechner), appeared in several episodes during the Saturday Night Live 1995-1996 seasons. The characters first appeared on Weekend Update as the presidents of the Norm Macdonald fanclub, but later appeared in several other sketches, namely monologues. The Fops would appear in late Restoration period clothing, and used a silly take on the period's language, mannerisms, and culture, not sparing the subsequent perversion also known for the time. In popular series Blackadder the Third, Hugh Laurie portrayed George, Prince Regent as a distinctly childish fop in contrast to his shrewd and sarcastic butler E. Blackadder (played by Rowan Atkinson). Johnny Depp renewed aspects of the fop in his portrayal of Captain Jack Sparrow in the Pirates of the Caribbean series. Although his costume might be termed "grunge fop," he had the mannerisms down so well that the initial rushes of the first film upset executives at The Walt Disney Company. His interpretation prevailed, creating a new generation of fans of the fop. Hugh Grant, the British actor, is somewhat foppish in his style.][ In the British reality television show The Only Way Is Essex, the character of Joey Essex can be seen as a fop. In Quentin Tarantino's 2012 slavery epic Django Unchained, Jamie Foxx's title character, when allowed to choose his own clothing for the first time in his life, chose a decidedly foppish outfit which immediately earned him the nickname "Fancypants." A more recent and minor trend is "fop rock," in which the performers don 18th century wigs, lace cravats, and similar costumes to perform, a minor movement that would appear to owe something to glam rock, visual kei, and the New Romantic movement. The look was pioneered in the 1960s by Paul Revere & the Raiders. Adam Ant of Adam and the Ants picked up the trend, occasionally performing in elaborate highwayman outfits. Other notable examples would be Falco's performance as Wolfgang Amadeus Mozart in the song "Rock Me Amadeus," a #1 hit in the US and the UK, and #2 in Canada in 1986, and Boston-based band The Upper Crust. Prince was known for his foppish clothing in the mid-1980s, with ruffled shirts, tight pants and high-heeled boots.
Ulorin Vex is an English alternative model from Newcastle upon Tyne, England. Vex graduated from the University of Durham. She began her career as an alternative model shortly after, modeling collections for numerous latex clothing designers and appearing on stage at events such as the Skin Two Rubber Ball. She has done non-fetish modelling work, appearing in style editorials for Dazed and Confused and promotional images for global hair brand Tigi, including the cover of award-winning trade magazine Creative Head.
Vex paints under the name of Malady Charlotina. The name is a play on words of a character from The Dancers at the End of Time. Her favourite set of illustrations is Arthur Rackham’s “creepy” Alice In Wonderland series. Vex joined American violinist Emilie Autumn on her spring 2008 tour as a stage performer and new addition to The Bloody Crumpets. She returned to Autumn's side in 2012 in order to partake in the music video for her song "Fight Like a Girl".
Vex has worked with other models such as Ruby True and Miss Mosh.

Karte Gemeinde Vex 2011.png Vex is a municipality and capital of the district of Hérens in the canton of Valais in Switzerland. Vex has an area, as of 2009[update], of 13 square kilometers (5.0 sq mi). Of this area, 4.17 km2 (1.61 sq mi) or 32.1% is used for agricultural purposes, while 6.17 km2 (2.38 sq mi) or 47.5% is forested. Of the rest of the land, 1.71 km2 (0.66 sq mi) or 13.2% is settled (buildings or roads), 0.07 km2 (17 acres) or 0.5% is either rivers or lakes and 0.87 km2 (0.34 sq mi) or 6.7% is unproductive land. Of the built up area, housing and buildings made up 7.2% and transportation infrastructure made up 4.8%. Out of the forested land, 38.6% of the total land area is heavily forested and 7.7% is covered with orchards or small clusters of trees. Of the agricultural land, 0.2% is used for growing crops and 18.3% is pastures, while 2.5% is used for orchards or vine crops and 11.0% is used for alpine pastures. All the water in the municipality is flowing water. Of the unproductive areas, 5.7% is unproductive vegetation. The blazon of the municipal coat of arms is Azure, a Chevronelle inverted couped Argent between three Mullets of Five of the same and Coupeaux Vert in base. Vex has a population (as of December 2011[update]) of 1,615. As of 2008[update], 11.3% of the population are resident foreign nationals. Over the last 10 years (1999–2009 ) the population has changed at a rate of 23.8%. It has changed at a rate of 23% due to migration and at a rate of -0.7% due to births and deaths. Most of the population (as of 2000[update]) speaks French (1,216 or 92.8%) as their first language, German is the second most common (38 or 2.9%) and Portuguese is the third (30 or 2.3%). There are 4 people who speak Italian. As of 2008[update], the gender distribution of the population was 50.7% male and 49.3% female. The population was made up of 724 Swiss men (44.4% of the population) and 103 (6.3%) non-Swiss men. There were 721 Swiss women (44.2%) and 83 (5.1%) non-Swiss women. Of the population in the municipality 535 or about 40.8% were born in Vex and lived there in 2000. There were 350 or 26.7% who were born in the same canton, while 157 or 12.0% were born somewhere else in Switzerland, and 173 or 13.2% were born outside of Switzerland. The age distribution of the population (as of 2000[update]) is children and teenagers (0–19 years old) make up 24.1% of the population, while adults (20–64 years old) make up 56.9% and seniors (over 64 years old) make up 19%. As of 2000[update], there were 526 people who were single and never married in the municipality. There were 604 married individuals, 126 widows or widowers and 55 individuals who are divorced.
As of 2000[update], there were 514 private households in the municipality, and an average of 2.3 persons per household. There were 180 households that consist of only one person and 28 households with five or more people. Out of a total of 528 households that answered this question, 34.1% were households made up of just one person and there were 6 adults who lived with their parents. Of the rest of the households, there are 129 married couples without children, 169 married couples with children There were 24 single parents with a child or children. There were 6 households that were made up of unrelated people and 14 households that were made up of some sort of institution or another collective housing. In 2000[update] there were 626 single family homes (or 72.3% of the total) out of a total of 866 inhabited buildings. There were 135 multi-family buildings (15.6%), along with 51 multi-purpose buildings that were mostly used for housing (5.9%) and 54 other use buildings (commercial or industrial) that also had some housing (6.2%). In 2000[update], a total of 498 apartments (28.4% of the total) were permanently occupied, while 1,186 apartments (67.7%) were seasonally occupied and 69 apartments (3.9%) were empty. As of 2009[update], the construction rate of new housing units was 15.3 new units per 1000 residents. The historical population is given in the following chart: In the 2007 federal election the most popular party was the CVP which received 37.97% of the vote. The next three most popular parties were the FDP (21.97%), the SVP (19.71%) and the SP (12.57%). In the federal election, a total of 724 votes were cast, and the voter turnout was 68.6%. In the 2009 Conseil d'Etat/Staatsrat election a total of 676 votes were cast, of which 41 or about 6.1% were invalid. The voter participation was 63.3%, which is much more than the cantonal average of 54.67%. In the 2007 Swiss Council of States election election a total of 718 votes were cast, of which 52 or about 7.2% were invalid. The voter participation was 69.4%, which is much more than the cantonal average of 59.88%. As of 2010[update], Vex had an unemployment rate of 2.8%. As of 2008[update], there were 50 people employed in the primary economic sector and about 18 businesses involved in this sector. 58 people were employed in the secondary sector and there were 11 businesses in this sector. 309 people were employed in the tertiary sector, with 57 businesses in this sector. There were 644 residents of the municipality who were employed in some capacity, of which females made up 43.3% of the workforce. In 2008[update] the total number of full-time equivalent jobs was 331. The number of jobs in the primary sector was 34, of which 20 were in agriculture and 14 were in forestry or lumber production. The number of jobs in the secondary sector was 54 of which 1 was in manufacturing and 53 (98.1%) were in construction. The number of jobs in the tertiary sector was 243. In the tertiary sector; 42 or 17.3% were in wholesale or retail sales or the repair of motor vehicles, 16 or 6.6% were in the movement and storage of goods, 55 or 22.6% were in a hotel or restaurant, 13 or 5.3% were the insurance or financial industry, 6 or 2.5% were technical professionals or scientists, 10 or 4.1% were in education and 53 or 21.8% were in health care. In 2000[update], there were 153 workers who commuted into the municipality and 406 workers who commuted away. The municipality is a net exporter of workers, with about 2.7 workers leaving the municipality for every one entering. Of the working population, 8.9% used public transportation to get to work, and 71.4% used a private car. From the 2000 census[update], 1,047 or 79.9% were Roman Catholic, while 78 or 5.9% belonged to the Swiss Reformed Church. Of the rest of the population, there were 5 members of an Orthodox church (or about 0.38% of the population), there was 1 individual who belongs to the Christian Catholic Church, and there was 1 individual who belongs to another Christian church. There was 1 individual who was Jewish, and 4 (or about 0.31% of the population) who were Islamic. There was 1 person who was Buddhist and 1 individual who belonged to another church. 57 (or about 4.35% of the population) belonged to no church, are agnostic or atheist, and 115 individuals (or about 8.77% of the population) did not answer the question. In Vex about 448 or (34.2%) of the population have completed non-mandatory upper secondary education, and 125 or (9.5%) have completed additional higher education (either university or a Fachhochschule). Of the 125 who completed tertiary schooling, 57.6% were Swiss men, 28.8% were Swiss women, 7.2% were non-Swiss men and 6.4% were non-Swiss women. As of 2000[update], there were 25 students in Vex who came from another municipality, while 69 residents attended schools outside the municipality. Vex is home to the Bibliothèque de Vex library. The library has (as of 2008[update]) 4,671 books or other media, and loaned out 6,911 items in the same year. It was open a total of 79 days with average of 6 hours per week during that year.
‘Imiloa Astronomy Center of Hawai‘i is an astronomy and culture education center located in Hilo, Hawaii. It features exhibits and shows dealing with Hawaiian culture and history, astronomy (particularly at the Mauna Kea Observatories), and the overlap between the two. ‘Imiloa includes a 120-seat planetarium, which features a fulldome video projection system. Planetarium presentations include ‘Imiloa's exclusive signature show, "Maunakea: Between Earth and Sky." The bilingual exhibits (in Hawaiian and English) offer two views of Origins and Voyages, presenting the tools, visions and discoveries of the astronomers and the Polynesian voyagers (see Polynesian navigation), the first group of whom are thought to have voyaged to Hawaii from the Marquesas Islands. Visitors to ‘Imiloa will leave with a new understanding of the early Polynesians, who used the stars to find these isolated islands in the middle of the vast Pacific Ocean. Hawaiians refer to these long-distance canoe explorers as "our first astronomers." Another planetarium show, "Dawn of the Space Age 3D," recounts the early days of space exploration, the so-called space race between the USSR and the USA. This is the only 3D planetarium show in the world. Additional small theaters show a Kumulipo (Hawaiian origins) story, and an astronomy "birth of the universe" 3D presentation, underwritten by the National Astronomical Observatory of Japan (Subaru Telescope). ‘Imiloa opened to the public in February, 2006. It is part of the University of Hawaii at Hilo, and is located near the base facilities for several of the Maunakea observatories in University Park for Science and Technology on the UH-H campus, overlooking Hilo Bay. Its unique architectural design includes three large titanium-clad cones, representing the volcanoes Mauna Kea, Mauna Loa and Hualālai. The extensive gardens feature native, endemic and "canoe plants" brought by the Polynesians. Exhibit halls, planetarium, gift shop, and Sky Garden café are open to the public Tuesday through Sunday. An evening "Maunakea Skies" star talk is held in the planetarium on the last Saturday of each month. In the Hawaiian language, ‘Imiloa means "exploring new knowledge." It is located at 600 ‘Imiloa Place in Hilo, just north of Hawaii Route 2000 (Pūʻāinakō Street). Since September 2012 the Sagan Planet Walk (located in Ithaca, New York) has been extended with a statue representing Alpha Centauri at the Imiloa Astronomy Center.
Vex King (born on 13 April 1987 in Northamptonshire, England) is known as one of the most aspiring yet creative entrepreneurs in the industry. A jack of many trades and all-round individual, Vex King’s oeuvre from music to fashion, styling to motivational writing, is an epidemic in any industry in which he propagates his talents. Vex has managed to fuse his natural business acumen with his creative knack for the arts by accommodating his philosophical mindset and faith in the consumption of a Positive Mental Attitude (PMA) for success. Owner and founder of the Bon Vita lifestyle brand, Vex seeks to use the faculty of fashion to engage people into achieving the life they desire, also known as The Good Life(TGL) . The “feel-good” culture Vex conspires to portray has been the foundation of his résumé. Most would describe Vex as an optimistic visionary who’s creatively inclined and spirituality enlightened by an intuitive source of wisdom and understanding. The wonderkid initially expressed his creative flair by becoming one of the most prominent British music producers at the age of only 15. It is within music (under his pseudo name Vex Music) where he would make his name. With affiliation to label giants such as Universal Records, Vex was quickly approached with publishing deals for his production and songwriting ability. During his teenage years, Vex created and found a short-lived label called Phiyahless Souljah Entertainment (fearless soldier); a label that defines self-representation, an eradication of fear and believing in yourself. As an A-grade scholar, Vex also attended university where he completed a degree in Business Information Systems. Ambitious from a young age and a keen academic, Vex has become inspired through the works of many motivational speakers, authors, spiritualists, poets and philosophers. Through this, he seeks to convey those conceptions and theories into his work and to other people as well. In 2005, he was signed up to an independent label called ‘Platinum Vybes Entertainment' which is run by ex-C.R.E.A.M Cartel member Trixta. He has received increased air play on various radio stations such as BBC 1Xtra DAB Digital Radio and was entered into the October 2005 Issue of RWD Magazine as Producer of the Month. In 2006, Vex decided to work independently, however maintained a working relationship with ex team members. He began learning the art of song writing and wrote his first hit single called ‘Find A Way’ sung by Caleb, which he also produced. The song found its way into the top music forums, YouTube and other downloading sites. In 2008, his unofficial "Maybe Remix" for Jay Sean has had several videos made, many featured on YouTube, some which exceeded 100,000 views, along with over 250,000 on streaming sites such as ‘Imeem’. Vex’s musical abilities gave him the chance to create a track called 'Dead End' for the new Usher album which unfortunately went unused due to last minute changes. In 2009, Vex produced several tracks including a track by Craiigg featuring Whodini called Signz (which featured on television) and a track by Tinie Tempah ft. Wretch 32 & G-Frsh called Big Money. Big Money received a large amount of feedback and is a popular track on Tinie’s mixtape “Sexy Beast Vol. 1”. He is well known for his collaboration with Robert (of Day26 for the track Sexual Tension, which Vex wrote and produced. 2009 proved to be a popular year for Vex, especially when he received the opportunity to produce a track called "Goodmorning" which eventually featured on Scorcher's album entitled Concrete Jungle later that year. The track also had guest vocals from rapper Wretch 32 and singer Kay Young. Vex has worked with a number of top UK acts such as; Trixta, L-Marie, Crazy Titch, Dean Anthoni aka Whodini, Jo'Leon, D-Fam, Swiss (So Solid Crew), C.R.E.A.M Cartel, Estee, Darkboi, Tex, P Money, Sikman, Master Shortie, MC Skibadee, Craig,, MC Doctor, (DJ) Ironik, Scorcher, Malika Faye, V Double O, Envy, ADP, Hydrolik, Tinie Tempah, Wretch 32, Zee Kay and Jayme Ephraim. Many of these acts are well known in the UK Grime industry. In addition to this, US acts include Fatman Scoop, Kelly Rowland, Sam Scarfo, Kurupt, 40 Glocc, Prodigy (of Mobb Deep), ATL, Caleb, Ya Boy, Yukmouth, Mr Capone-E, Danity Kane, Papoose, Ne-Yo, Danjahandz, Rick Ross, Bobby Valentino and Twista. Vex has been featured in many publications worldwide including the March 2009 issue of the Eastern Eye Newspaper (a British weekly newspaper of the Ethnic Media Group, published each Friday and provides a mix of UK and Asian news, sports and a large section on music, Bollywood and fashion) as the ‘Unsigned act of the week’. An interview with online magazine called "Trespass" highlights Vex’s his future ambitions in creating his own empire from an early age. He was interviewed by Sarah Jane Adams (who currently has exclusive columns with the Daily Sport, Urban World and Trespass Magazine, as well as being Editor in Chief of high end publication Flair Now and with features in the Daily Express). Vex King founded the brand in March 2012 when speaking to his cousin Dillan (Oscar) about creating a brand together which would reshape the dynamics of fashion through positivity. They wanted to create a brand which would not only make people look good but also think and feel good. The term Bon Vita simply translates to “Good Life” which is not only a way of living but something which the individual seeks throughout their life time; a comfortable life filled with happiness and joy. With the creators’ love for different languages, the expression is formed of the French word for “Good” (Bon) and the Latin & Italian word for “Life” (Vita).
A New Wonder, a Woman Never Vexed is a Jacobean era stage play, often classified as a city comedy. Its authorship was traditionally attributed to William Rowley, though modern scholarship has questioned Rowley's sole authorship; Thomas Heywood and George Wilkins have been proposed as possible contributors. A New Wonder was entered into the Stationers' Register on 24 November 1631, and was first printed in quarto in 1632 by the bookseller Francis Constable. The 1632 quarto was the only edition in the seventeenth century. The play's date of authorship is uncertain; it is often assigned to the 1610–14 period. Rowley may have revised an earlier play by Heywood called The Wonder of a Woman (1595). The play was adapted and revived by James Robinson Planché in 1824. The play opens with two London merchants and partners, Old Foster and the Alderman Bruin, anticipating major profits from their successful trading voyages. Their conversation quickly turns to personal matters: Old Foster's reprobate brother Stephen is in Ludgate prison for his debts, and Old Foster has fallen out with his son Robert over the son's efforts to alleviate the prisoner's condition. The Foster family situation is complicated by Old Foster's recent marriage to a wealthy widow; the new Mistress Foster is no friend of her brother-in-law and son-in-law. Alderman Bruin tries vainly to patch up the Foster quarrel; he is the play's consistent voice of forbearance and Christian charity. But Old Foster is unyielding, and soon disowns his son for the young man's consistent efforts in favor of the uncle. The play's second scene introduces the title character, the woman, otherwise unnamed, known as the Widow, or "the rich widow of Cornhill." The Widow is the friend and "gossip" of Mistress Foster; her servant Roger is the play's Clown, who provides much of its comic material. (In the play's final two acts, the Widow and Mistress Foster are not merely friends but sisters. This plot inconsistency may be one indication of multiple authorship.) In conversation with a clergyman, the Widow expresses her strange predicament: she has lived the first 37 years of her life with no significant troubles — she a woman who has never been "vexed." She confeses to a bit of unhappiness when her husband died...which ended when she thought of him as "stellified in heaven." Her good fortune is illustrated by a folklore motif: her wedding ring slips off her finger while she is crossing the Thames — but the ring turns up in the salmon served for her dinner. The Widow is dissatisfied with the sheer magnitude of her happiness; her life is too good. Robert Foster manages to free his uncle from Ludgate; but Stephen Foster quickly returns to dicing and brawling in a gambling house. Mistress Foster, accompanied by the Widow, follows son-in-law Robert to the gaming house; while there, the Widow strikes up an odd conversation with Stephen Foster. She presents him with a plan to repair his decayed fortunes: he should marry a rich widow. The rich widow she has in mind is herself: she hopes that marrying the ne'er-do-well Stephen will provide the vexation missing from her life. Alderman Bruin looks forward to devoting his mercantile profits to charitable purposes; he plans to build a hostel for poor travellers. When their ships reach Dover on their way to London, Old Foster offers to buy out Bruin's share in their venture. This will give Bruin immediate cash for his charity, and maximize Foster's profits. Bruin agrees, and sells his share in the venture for £25,000. When the ships reach the mouth of the Thames, however, they are sunk by a sudden storm, and Old Foster meets abrupt financial ruin. He seeks refuge from his creditors in Ludgate prison; the brothers' fortunes at the start of the play are now completely reversed. The Widow is surprised to find that Stephen gives up his wastrel ways once married. He studies her accounts, and learns that she is owed funds by various debtors; he sets out in pursuit of the moneys. Old Foster remains hostile to both his brother and son, and the son now tries to relieve his father's sufferings as he previously did his uncle's. Stephen Foster pretends a persistent hostility to his brother, though it is feigned as a way of testing and reforming his difficult relative. Stephen's reversal of fortune carries him to a new height when he is selected as the next sheriff of London. The play's subplot involves Alderman Bruin's daughter Jane; she is a sensible virgin pestered by foolish suitors, a type that recurs in plays of the period. (For other examples of the type, see Moll Bloodhound in A Match at Midnight, and Aemilia Littlegood in A Fine Companion.) In her case, the foolish suitors are Innocent Lambskin, a silly young man, and Sir Godfrey Speedwell, a quarrelsome old knight. Jane has a preference for Robert Foster; and his uncle Stephen is able to scare off Speedwell and Lambskin to his son's advantage, since both are among the Widow's debtors. Stephen offers to two hapless suitors a chance to redeem their debts for only 10% of what they owe; and Robert uses the money to support his father in prison. This act of generosity wins over Old Foster at last. In the play's final scene, King Henry III and his courtiers come to celebrate the establishment of Alderman Bruin's charity. Stephen Foster uses the occasion to work a general reconciliation among his family and achieve a happy ending.
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