Madness in The Changeling

The Changeling gives us another madhouse setting and with it, another opportunity to question the nature of “madness.” The fate of the two counterfeit madmen—Antonio and Franciscus—is particularly interesting. These characters are technically “sane,” but one can argue that they are only able to show wit when in fool/madman form; they succeed in temporarily duping Lollio through their acts and attire and thus are, essentially, in control. It is only when their true identities are revealed (first to Isabella, then to Lollio) that Antonio and Franciscus are themselves “fooled” (they each readily believe that they will win Isabella by ridding her of the “madman” or “idiot” who stands in her way). Is the play using this reversal to comment on the murkiness of labels such as “fool” and “madman”? Does the fact that these inmates are referred to as “scholars” make a similar challenge?