Considering the last will’s status as a memorial object and an apparatus of political control has demonstrated another way in which acts of will-making and willing were closely connected in English Renaissance plays. The manipulation of the last will formed a significant part of the way that the anxieties and injustices associated with the politics of patrilineal descent were depicted in the age’s drama. What I have shown throughout the second half of this study is that the acts of composing and administering a will and testament were commonly associated with the proliferation of discord in local communities. The friction that last wills generate is often resolved by purging what are deemed to be rebellious, immoral, or transgressive expressions of personal agency resolved by purging what are deemed to be rebellious, immoral, or transgressive expressions of personal agency. The conditions surrounding the dramatic performance of last wills conventionally draw attention to the systemic inequalities embedded in the cultural networks of early modern life, where wives, daughters, sons, and hopeful beneficiaries were routinely forced to follow the dictation of cunning men. Even when used to engender communal cohesion, dramatists repeatedly focused on the intrigue, discord, and suffering associated with the implementation of the male-authored last will and testament.