The fair penitent, a tragedy.

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Lothario, a young lord of dissolute principles, with his confidante Rossano, appear next; from the expressions at first dropped by Lothario we find, there is a rooted enmity subsisting between him and Sciolto's connections, chiefly on account of Calista, of whose unfortunate credulity, and his own triumph over her virtue, he gives a most fan|ciful, but highly censurable description; vice is here adorned with irresistable charms to an un|guarded mind, and therefore presented to public view in her most dangerous garb: reason and judg|ment commiserating the betrayed, must condemn the betrayer; yet we fear the luxuriance of fancy here works a quite contrary effect; less merit in the writing would have lessened the danger, either in perusal or representation; gross licentiousness disgusts, but the refined sort, like palatable poison, introduces destruction unperceived. Calista's desperation at his fall, and the irresista|ble proof of her own guilt, is a natural effect of strong passions; Altamont's immediate confession of forgiveness, shews him to have at least as much weakness as humanity; the voice of Sciolto heard from without, strikes his daughter with a fresh de|gree of confusion; upon the old man's entrance, the traces of blood alarm suspicion in him, which being confirmed by what Altamont replies, his fu|ry

Mrs. BARRY, notwithstanding the disadvantage of an inexpressive, though engaging countenance, stands in our view next to Mrs. CIBBER; if she is fainter in the pathetic than that lady, and less con|sequential than Mrs. YATES, yet she is certainly more uniform through the whole than either; and has a very evident advantage of both in figure and deportment. Horatio comes with the melancholy information of Sciolto's being mortally wounded; which hurries Calista into the tremendous act of suicide; an ex|ample Altamont seems inclined to follow, but for the prevention of his friend; Calista lives to re|ceive the blessing of her expiring father, which is extended also to Horatio and his son; Calista makes some attonement to her husband with her last breath; Altamont declares an indifference for life, and Ho|ratio concludes the piece by rhiming forth an evi|dent and very excellent moral. Nicholas Rowe was born in Little Barford, Bedfordshire, England, son of John Rowe (d. 1692), barrister and sergeant-at-law, and Elizabeth, daughter of Jasper Edwards, on 20 June 1674. [2] [3] His family possessed a considerable estate at Lamerton in Devonshire. His father practised law and published Benlow's and Dallison's Reports during the reign of King James II. [4] In making his adaptation, Rowe eliminated characters and simplified the action "to create a more focused play than the original." He pursued "neoclassical simplicity" but in the process sacrificed the "underlying moral principles" of the original. [2] Rowe shifted the setting from Dijon to Genoa, and changed the main characters' names. As she takes the weapon, he announces that his duty as a judge is done and expresses his love for her as a father:

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Sciolto at his entrance expresses himself in terms suitable to the feelings of a tender parent, on the day which disposes of a favourite daughter according to his wishes, and as he imagines of her own; this scene is mere congratulation, except where Alta|mont mentions the coldness and concern of his bride; this the father naturally interprets to arise from the real or artificial coyness of her sex, and Guilt is the source of sor|row," the author has shewn himself well acquaint|ed with conscious feelings by making the lady kin|dle at the word guilt; it being certain, that those who have done ill are most ready to catch at the im|putation of it; Horatio seizes this opportunity to press the matter closer, which only serving more to inflame Calista's rage, he, at length, as a proof of his assertion shews her the letter to Lothario; una|ble to resist so palpable a conviction, she tries a very natural effort of female policy, which is by tearing the letter, to disarm him at least of po|sitive proof.

Lothario is the most reproachable character our moral author ever drew, and indeed as dangerous a one as we know; like the snake with a beauteous variegated skin, which lures the unguarded hand to a poisonous touch; this licentious gallant, gilds his pernicious principles with very delusive qualifica|tions, especially for the fair sex, which cannot be more plainly evinced than by a declaration which has often been made at the representation of this piece, by volatile, unthinking females; who have not scrupled saying, that they would rather be deceived by such a pretty fellow as Lothario, than counte|nance such a constant, passive, insipid creature as Altamont; yet, upon examination, we do not find one trace of intrinsic merit in his composition; he is sprightly, voluble, amorous and possessed of some courage; but the reverse shews him vain, super|ficial, inconstant and malevolent; capable not only of ruining a credulous woman who loves him, but on pretence of resentment against the man who has Returning to the pleasure her infant years gave him, and his forgiveness of her, are circumstances thoroughly pathetic; his parting carries the climax of tenderness as high as it can well go; the succeed|ing scene between Altamont and Calista is extreme|ly languid, and seems to have little else in view, than giving a fresh instance of that amorous weak|ness which so entirely rules the injured husband. The Ambitious Stepmother, Rowe's first play, produced in 1700 at Lincoln's Inn Fields by Thomas Betterton and set in Persepolis, was well received. [7] This was followed in 1701 by Tamerlane. In this play the conqueror Timur represented William III, and Louis XIV is denounced as Bajazet. It was for many years regularly acted on the anniversary of William's landing at Torbay. [2] In Dublin in 1712, at a time when political passions were running high, the performance provoked a serious riot. [8] Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. A soliloquy begins the fourth act, wherein Al|tamont seems to stand self-convicted of folly in quar|relling with his friend for a woman, who repays his raptures with coldness and disdain; upon his exit Lothario and Calista appear; the gay gallant en|deavouring to sooth his deceived and enraged mis|tress, who shews a just resentment against the false|hood which has plunged her into misery; his up|braiding her with having married the man he hates, is an artful stroke of exculpation relative to himself, and stimulates her rage considerably: Altamont's appearance at this period is well contrived, and what Calista says previous to his coming in view brings him forward in a striking manner; Lotha|rio's fate is properly precipitated; his dying words suit the tenor of his past conduct, and he expires in the same character he has maintained through life.breaking all ties of paternal tenderness aims at Calista's life, which is saved by her husband's hu|mane interposition, even contrary to her strong persuasive supplications for death at a father's hand; Sciolto's start of phrenzy being passed off, he in|dulges reflection and reproach in a truly pathetic manner; the picture Calista gives of her own re|tirement, contrition, and mournful catastrophe is extremely affecting. Dabhoiwala, Faramerz (May 2012). The Origins of Sex: A History of the First Sexual Revolution. Oxford University Press. p.162. ISBN 9780199892419. The play was revived at both of the major London theatres of the era, Drury Lane and Covent Garden; the former production starred Mrs. Siddons as Calista. The 1703 first edition was dedicated to the Duchess of Ormond—but did not credit the original authors of The Fatal Dowry, leading to later critics' accusations of plagiarism against Rowe, as in William Gifford's edition of Massinger's works. See also: Lothar and Lothair Camilla threatens Lothario with a dagger. Illustration by Apeles Mestres, engraving by Francisco Fusté.

Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference Privilege of Poetry (or it may be the Vanity of the Pretenders to it) has given 'em a kind of Right to pretend, at the same time, to the Favour of those, whom with unresolved and trembling hand, but shudders? who hears his distraction at the thoughts of his daughter's tasting death, but feels pity vibrating in every nerve? however, recommending self-destruc|tion to his child, is equally unworthy the Christian, the parent, and the man.Calista's dislike of Altamont is a very sufficient reason why she should hold his most intimate friend The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: a b c "People Buried or Commemorated – Nicholas Rowe". Westminster Abbey. Archived from the original on 25 June 2006 . Retrieved 4 December 2018. Ward, Adolphus William (1875). A History of English Dramatic Literature to the Death of Queen Anne. Vol.2. London: Macmillan and Co. p.560.

The following scene between the friends takes a turn which may be expected; the prejudiced bride|groom, THIS dramatic composition was wrote at a time when genius received nourishment from the beams of royal favour, ere the muses of this isle were germanized into stone; and stands to this day in estimation at least equal to any except those of Shakespeare. It opens with Horatio and Alta|mont, two persons of rank in Genoa, from whom we learn, that it is the latter's bridal day; there appears to be strong links of friendship between these two characters, and that Sciolto, a nobleman, father to Altamont's bride, has shewn particular marks of favour to Horatio, on account of being Altamont's brother-in-law and friend; his attach|ment to Altamont arose from a peculiar mark of filial duty shewn by him to a dead father, in yield|ing himself to prison, that his father's corpse, which had been arrested by rigid creditors, might obtain the usual rites of burial. At the beginning of the third act it appears, that Sciolto has discovered his daughter's sullen beha|viour, and reproves it in terms of high displeasure; the simile which closes his first speech is strained, and, like most others in dramatic composition, su|perfluous; his threats are of a very serious nature, and occasion Calista to make some remarks upon the subordinate state of her sex, which her proud heart seems ill calculated to brook; Horatio ap|proaches, and intimates how critical the subject he comes upon is, therefore resolves to enter upon it in the gentlest manner; whatever justice may ap|pear in his design, we agree with Calista, that steal|ing upon her is a breach of decorum inconsistent with persons of rank. To the Memory of NICHOLAS ROWE Esq: who died in 1718 Aged 45, And of Charlotte his only daughter the wife of Henry Fane Esq; who, inheriting her Father’s Spirit, and Amiable in her own Innocence & Beauty, died in the 22nd year of her age 1739. Thy Reliques, Rowe, to this sad Shrine we trust, and near thy Shakespear place thy honour’d Bust, Oh next him skill’ed to draw the tender Tear, For never Heart felt Passion more sincere: To nobler sentiment to fire the Brave. For never Briton more disdain’d a Slave: Peace to the gentle Shade, and endless Rest, Blest in thy Genius, in thy love too blest; And blest, that timely from Our Scene remov’d Thy Soul enjoys that Liberty it lov’d. To these, so mourn’d in Death, so lov’d in Life! The childless Parent & the widow’d wife With tears inscribes this monument Stone, That holds their Ashes & expects her own. [3] Rowe acted as under-secretary (1709–1711) to the Duke of Queensberry when he was principal secretary of state for Scotland. On the accession of George I, Rowe was made a surveyor of customs, and in 1715 he succeeded Nahum Tate as poet laureate. [2]Here, in spite of guilt, we must feel for the un|happy fair one, and sympathize with the hoary wretched fire. Who sees him lift up the dagger On his father's death, when he was nineteen, he became the master of an independent fortune. [2] He was left to his own direction, and from that time ignored law to try his hand first at poetry, and then later at writing plays. [4] Upon his death his widow received a pension from George I in 1719 in recognition of her husband's translation of Lucan. This verse translation, or rather paraphrase of the Pharsalia, was called by Samuel Johnson one of the greatest productions in English poetry, and was widely read, running through eight editions between 1718 and 1807. [2] Family [ edit ] their high Birth and excellent Qua|lities have plac'd in a very distin|guishing manner above the rest of the World. If this be not a receiv'd Maxim, yet I am sure I am to wish it were, that I may have at least some kind of Excuse for laying this Tragedy at Your Grace's Feet. I have too much reason to fear that it may prove but an indifferent En|tertainment to Your Grace, since if I have any way succeeded in it, it has been in describing those violent Passions which have been always Strangers to so happy a Temper, and so noble and so exalted a Virtue as Your Grace is Mistress of. Yet for all this, I cannot but confess the Va|nity which I have, to hope that there may be something so moving in the Misfortunes and Distress of the Play, as may be not altogether unworthy of Your Grace's Pity. This is one of the main Designs of Tragedy, and to who thinks the object of his wishes free from every criminal imputation, charges Horatio with ill behaviour, who to exculpate himself is be|trayed into an explanation respecting Calista, rather blameable; yet from a person in his agitation of spi|rits probable enough. Fired by the charge of guilt, levelled at her he loves, a charge merely supported by assertion; Altamont indulges violent resentment, even so far as to throw off all traces of friendship; we have another blow given in this scene; as such a cir|cumstance generally creates laughter, and is at any rate disgraceful to persons of rank, we wonder an author of Mr. ROWE's delicacy, could repeatedly introduce it.