4> Alvarez reveals his deepest concern with having raised his daughter as a boy: through custom, the expression of her gender has become hardened. Alvarez’s fear localizes on whether or not Clara has been ruined as a woman who behaves like a man; he hopes that Clara will be able to easily revert to her “natural” feminine state.
7> Believing her son was brought up to perform femininity by merely observing his mother’s actions, Eugenia explains to her son that he will now learn masculinity through the observation of his father’s behavior. Alvarez and Eugenia unknowingly agree with one another that heteronormative gender expression is easily picked up—just as Lucio believed his femininity came naturally, now that he has been granted permission to act as a male, he should be capable of mimicking his father’s masculinity.
11> At once mocking and instructive, Bobadilla attempts to explain to Clara her place within the patriarchy as a woman—she has a specific role to serve, which is dictated by her relationship to men. She is a sheath while men are the weapons; her physical femaleness requires a specific submission toward those who are physically male, and the patriarchy regulates this submission. Should Clara be in search of her socially prescribed, “authentic,” gender identity performance, Bobadilla lays it out clearly for her: she must put away her masculine posturing and the outward show of phallic weapons. Bobadilla assures Clara that other women are much more adept at being feminine and chides her for her preference to act in a masculine manner. Exasperated, he blames the siblings’ gender confusion entirely on their upbringing (custom).
14> According to the early modern heteronormative demonstration of gender identity, masculinity takes root in demonstrable anger—when a man is angry, his masculinity entices him to fight against the cause of that anger. For instance, when Bobadilla watches Lucio emerge for the first time attired in men’s clothing, Bobadilla flies into a rage. It is not the clothing that has angered Bobadilla; rather, he is frustrated by Lucio’s constant complaining and his incessant need to participate in feminine matters, such as minding the kitchen staff. Lucio does not take to his lessons in masculinity because he is used to the more passive, supervisory roles of the aristocratic female. This struggle to accept the new gender identity performance expected of him might suggest that Lucio’s authentic gender identity is truly feminine; this possibility is at the root of Bobadilla’s anger and Alvarez’s anxiety. Incensed by Lucio’s seemingly stubborn unwillingness to play the part of a man, Bobadilla physically threatens the young man in an attempt to coax anger from him as well. His attempts are fruitless, however, as Lucio refuses to draw his sword and instead attempts to pacify Bobadilla’s anger through gentle words. Lucio performs the gender identity of passive femininity beautifully—it is the lack of action in the face of violence that demonstrates Lucio’s ideal feminine gender. Bobadilla, representing social heteronormative expectations of gender identity performance, struggles to comprehend Lucio’s calm demeanor in spite of repeated insults and intensifying threats. Although Lucio appears stubbornly to refuse training in opposition to his childhood upbringing, he himself wrestles with following Bobadilla’s lead, which flies in the face of what Lucio believes are his natural and authentic gendered responses.
16> Delivering the play’s final lines, Vitelli concludes that it is only through the power of heternormative love (sexual arousal) that these cross-gendered siblings can be corrected: “Behold the power of love: lo, nature lost / By custome irrecoverably, past the hope / Of friends restoring, love hath here retriv’d / To her own habit, made her blush to see / Her so long monstrous metamorphoses." Where friends were incapable of restoring the siblings to their “natural” sexes and genders, Vitelli attributes the final success of reeducation to love. Robinson argues that, “Nature must be rescued and reeducated by Love, who must be male, since he only operates in this play between oppositely sexed individuals. At the same time, the passage treats as natural the gender change wrought by love, a mere retrieval of something lost, while portraying the original effects of custom as supernatural, a ‘monstrous metamorphosis.’” Robinson’s interpretation of the scene is not only heteronormative (Love represents masculinity which forces the supposedly female Nature into submission) but also a bit cynical—to suggest that love is a “mere retrieval of something lost” forgets if not wholly ignores the struggles and confusion both siblings undergo upon the first stirrings of sexual attractions to their partners. Both siblings are forced by their love interests to make a choice because neither Genevora nor Vitelli will tolerate the cross-gendered performances.
18> Describing arousal as “new motions,” a peculiar burning in his veins, and “alteration,” Lucio seems to be experiencing an erection. According to Beaumont and Fletcher’s characterization of it, arousal in men is expressed differently from women: for the “gentler” sex, desire manifests as submission and weakness in the face of masculine strength and virility. The erect penis in the male, however, represents a desire that is active and actionable—with his erection, a man is able to penetrate and subjugate a woman. Peter Berek argues in “Cross-Dressing, Gender, and Absolutism in the Beaumont and Fletcher Plays” that in terms of Lucio’s arousal, “[e]rection and contemplated orgasm remasculate the womanish youth.” In this view, Berek argues for heteronormative physical proof of masculinity, which conflates and potentially confuses the boundaries between gender and sexual identities. Because Lucio has experienced an erection (a physical response to sexual attraction), his masculinity (gender identity) is restored. The trouble with claiming that Lucio has been “remasculated” is that it assumes that Lucio, as an apparent heterosexual male, was ever masculine to begin with, a supposition that suggests only masculine males are capable of sexual attraction to the opposite sex (and perhaps simultaneously to the opposite gender).
20> According to Robinson and Beaumont and Fletcher, love’s curative power is in its ability to both masculinize and feminize—true heterosexual love, in a heteronormative performance, will work to create males and females who can appropriately love one another. Although Robinson is astute to point out the passivity of Lucio’s word choice, the reading is limited. Lucio indeed appears to be a victim of a sexual arousal that is capable of working upon him without consent or choice. Lucio, however, should not be read as fully cured from his femininity in this passage alone; and, surely, some level of forgiveness ought to be extended toward the youth for his inability to express in masculine vocabulary these new and strange sensations. Not yet a dominant male, Lucio’s entrance into masculinity seems to take more finesse than does Clara’s femininity; while Clara is expected to understand her place innately and to obey that natural order, Lucio undergoes specific training and tests in order to demonstrate his masculinity.
21> In spite of (or perhaps because of) the failure Bobadilla experiences when attempting to train Lucio to accept as natural a masculine gender identity performance, Beaumont and Fletcher present Genevora as a stand-in tutor who will ultimately be successful, underscoring the play’s title: love is curative in a heteronormative society where masculinity and femininity are assumed to pair together. When Genevora creates a scenario that should allow Lucio the opportunity to demonstrate his machismo, Lucio falls short. He understands that it is not enough to use his words (a feminine expression), but he must act like a man:
22> Again, Lucio acknowledges masculinity as a gender that rises rather than one that is subdued (as in the case of Clara’s femininity); in fact, his masculinity, he comes to realize, is one that had always already existed within him (naturally), “sleeping” until desire causes it to rise. This arousal of masculinity is not enough, Lucio recognizes, to win the affection of Genevora who suggests that she is attracted to “real” (presumably masculine) men.
26> Clara, struck by sexual arousal ostensibly for the first time, finally aligns with her father’s view of gender performance and authenticity: she sees her masculinity as something that can be renounced with relative ease. Love (sexual arousal and desire) has restored her to her natural femininity, which her parents failed to do through new clothing, demonstration, and training. Vitelli replies that “…though you have / A Souldiers arme, your lips appear as if / They were a Ladies.” Clara, still holding her sword, demonstrates the physical manifestation of masculinity; however, when she lays her sword down before Vitelli, Clara begins to align with her predetermined heteronormative performance of femininity.
29> Not only does her sexual attraction to Vitelli have the power to make her question her previous gender expression, Vitelli himself also receives the credit for causing her to “feare” the masculine behavior she once exalted. Clara’s plea is self-deprecating and apologetic; she describes custom as “cunning,” which strengthens her rhetorical choice of “feare” later. Because custom tricked her, Clara performs the gender identity of vulnerable femininity. When the men do not respond to the pleas of their respective wives, Eugenia, Clara, and Genevora enlist the help of Bobadilla to convince them. Bobadilla enters with two swords and a pistol, and Genevora explains that “...The first blow given betwixt you, sheathes these swords / In one anothers bosomes.” Eugenia instructs Bobadilla, “And rogue, looke / You at that instant doe discharge that Pistoll / Into my breast: if you start back, or quake, / Ile stick you like a Pigge.” When the men realize that the women’s threats are not merely passive, empty words, they agree to suspend the duel and resolve their feud peacefully. Here the women have demonstrated that activeness is not limited to masculine gendered performance; feminine gendered performance is capable of transitioning between passivity and activeness according to one’s needs at any given moment.
 Love’s Cure, 1.3.176-178.
 Richard Mulcaster, Positions, 131.
 Love’s Cure, 1.2.60-67.
 Ibid. 1.3.17-26.
 Love’s Cure, 1.3.34-38.
 Ibid., 1.3.38-40.
 Love’s Cure, 1.2.61-62, 77-83.
 Love’s Cure, 1.2.105-107.
 Ibid., 1.3.180-182. When the parents introduce one another to their estranged children, Eugenia tells her husband, “Ile returne / The joy I have in her, with one as great / To you my Alvarez: you, in a man / Have given to me a daughter: in a woman, / I give to you a Sonne: this was the pledge / You left here with me, whom I have brought up / Different from what he was, as you did Clara, / And with the like successe; as she appeares / Alter’d by custome, more then woman, he / Transform’d by his soft life, is lesse then man” (1.3.164-173). Eugenia and Alvarez seem to understand, as they speak to one another, the role they each played in the molding of their children’s respective gender identities.
 Love’s Cure, 2.2.69-71. The joke in this exchange, aside from the absurd way in which Clara moves in her feminine attire, is that Lucio and Bobadilla have previous exchanged apparel. Bobadilla does this in an attempt to humiliate Lucio, but it serves to confuse Clara who is unable to recognize her brother (whom she has only just met) when he is dressed as a servant. She addresses Bobadilla as though he were Lucio, so Bobadilla is the one who answers her question. Although Lucio trades his feminine attire for masculine, he still manages to cross socioeconomic boundaries by dressing down according to his class, while Bobadilla likewise dresses up. Clara, in her aristocratic woman’s attire, no longer subverts sociosexual boundaries. She has been restored to her socially prescribed gender and sexual identities as well as to her proper socioeconomic status. Bobadilla, however, wants to humiliate Lucio by not permitting him to appear in his “appropriate,” socially expected clothing.
 Love’s Cure, 2.2.85-96.
 Love’s Cure, 2.2.147-155.
 David Robinson, 215.
 Love’s Cure, 2.2.138-139.
 Anne Duncan, 404.
 Love’s Cure, 2.2.2-5.
 In an effort to incite rage in Lucio, Bobadilla role-plays as Alvarez’s sworn enemy, Vitelli.
 At a loss, Bobadilla curses and threatens Lucio: “Oh craven-chicken of a Cock o’th’game: well, what remedy? did thy father see this, O’ my conscience, he would cut of thy Masculine gender, crop thine eares, beat out thine eyes, and set thee in one of the Peare-trees for a scra-crow…” (Love’s Cure 2.2.56-59).
 Vitelli is Alvarez’s enemy because of a blood feud established between Alvarez and Vitelli’s father. Genevora is Vitelli’s sister.
 Love’s Cure, 5.3.257-261.
 Robinson, 215.
 Love’s Cure, 4.4.8.-11, 12-15.
 Whether or not this is his first erection at all or from sexual arousal is not made clear in the text, although Lucio does seem surprised by it.
 Peter Berek, 364.
 Robinson, 214.
 It might be assumed that Clara did, as well, although her masculinization with Alvarez is not represented in the text itself. It is offered as a given that Clara would have had to learn to be masculine, just like any boy would—to fight and to speak with masculine vocabulary.
 Lucio begs of Genevora her glove, proclaiming himself to be her slave; as she offers it to him, Lamorall (a friend to Vitelli and enemy of Alvarez) snatches it from her. Genevora turns to Lucio, expecting him to defend her honor; instead, he offers Lamorall his life. This exchange disappoints Genevora who exits with Lamorall and the purloined glove.
 Love’s Cure, 4.4.54-62.
 Ibid., 4.4.58.
 In fact, Bobadilla finds himself more than willing to serve as Lucio’s tutor in order to instruct him on how to be a man. “…if you will needs be starching of Ruffs, and sowing of black-work,” Bobadilla promises Lucio, “I will of a milde, and loving Tutor, become a Tyrant. Your father has committed you to my charge, and I will make a man, or a mouse on you” (2.2.2-11). Bobadilla demonstrates masculinity to Lucio through the threat of violence, the threat of tyranny. When Bobadilla engages in mock fight with Lucio, claiming to take the role of Vitelli, Lucio responds in peaceful, subdued, effeminate language: “…I pray put up your sword, / Ile give you any satisfaction / That may become a Gentleman; however / I hope you are bred to more humanity / Then to revenge my Fathers wrong on me / That crave your love, and peace…” (2.2.49-54).
 Love’s Cure, 5.1.90-94. This scene recalls the imaginary fight between Bobadilla and Lucio in Act Two. Whereas Lucio’s attempt in Act Two to quell through words Bobadilla’s rage only served to incense his tutor further, here Lamorall is moved both by Lucio’s natural physical prowess as well as by the request for friendship, going so far as to call Lucio’s behavior valorous.
 Ibid., 5.1.95-97.
 Love’s Cure, 4.2.179-184.
 Love’s Cure, 4.2.184-193.
 Ibid., 4.2.198-200.
 Love’s Cure, 5.3.90-95.
 Ibid., 5.3.176-181.
 Low, 295.