The poetic voice of the work is a gentleman who observes a woman preparing her appearance. He views her heavy use of cosmetics and elaborate clothing with suspicion, equating the artificial manipulation of her appearance with moral deception and sexual infidelity. In his view, cosmetic artifice hides flaws, whereas natural simplicity reflects genuine grace.

The silent subject of the poem, the Lady undergoes an extended, elaborate grooming routine that involves powdering, perfuming, and dressing in restrictive clothing. To the speaker, her appearance is overly ornamented, resembling someone preparing for a feast rather than a simple daily routine, and reflects the artificial beauty standards of the period.

A wealthy, disagreeable uncle at the center of the inheritance dispute in *Epicoene*. Rather than leave his estate to his nephew Dauphine, he spitefully decides to remarry so he can pass his fortune to a new wife instead. His actions make him the target of an elaborate theatrical prank.

Morose's nephew, who stands to lose his wealth due to his uncle's spiteful plan to remarry. Working alongside his friend Clerimont, he formulates a scheme using a disguised boy to trick his uncle and guarantee his estate.

A young boy who assumes the identity of a woman to deceive the disagreeable Morose. Under Dauphine's direction, Epicoene pretends to be a prospective bride, utilizing the very theatrical artifice and costuming that the play's opening song criticizes.

A gentleman in the play *Epicoene* who writes the song "Still to be neat" to criticize women who use heavy cosmetics to hide physical defects. He is an active participant in high society and works closely with his friend Dauphine to formulate a deceptive plot involving a disguised youth.

A young servant employed by Clerimont. He performs the song that his master wrote, an act which foreshadows the themes of performance, disguise, and deception that run through the play's central plot.

A woman in *Epicoene* who relies on heavy makeup to hide her physical defects. She serves as the direct muse for Clerimont's poetic critique of women who use cosmetics and elaborate dress to alter their natural appearance.