This motivates Julio to seek a resolution of his quarrel with Bellides — who comes to meet him on the same errand; both of the old men have grown fearful for their young relatives' lives if the feud continues. They've heard rumors of the attraction between Antonio and Ismenia, and they decide that such a marriage would be the perfect thing to cement the new amity between them. The young people are less successful at managing their affairs; Antonio and Martino end up fighting in the street and being arrested by the night watchmen. In his castle, Otrante attempts to seduce Florimel, blustering and threatening — but Florimel stands on her virtue and resists him. He wants her to be his mistress; she suggests marriage, which he firmly rejects — the social gap between them is an insuperable barrier for him. Otrante doesn't quite have the will to rape her; and when she pleads for a day to consider her situation, he agrees. To soften her will, he tries some psychological manipulation: he has his servants treat her contemptuously, then intercedes as though he's concerned for her feelings. When the next day comes, Florimel turns the tables on Otrante, pretending to a lustful temperament and broad sexual experience. Otrante, who pictured himself ravishing a virgin, loses his appetite for her. Franio the miller is successful in his appeal to the King: Philip and his courtiers call on Otrante in his castle, and while touring the place Philip forces the exposure of Florimel's presence. The miller's wife Gillian reveals that Florimel is actually Julio's long-lost daughter. Since Florimel is of noble birth, she is now a suitable wife for Otrante — and she assures him that her wantonness was a pretense, and that her virtue is still intact. (And Julio equips her with a dowry too.) The confusions between Antonio and Ismenia are straightened out, and Martino ends up with Aminta, resulting in three couples matched by the play's end.