The fair penitent, a tragedy.

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The Fair Penitent is Nicholas Rowe's stage adaptation of the tragedy - or- -The Fatal Dowry, the Philip Massinger and Nathananiel Field collaboration first published in 1632. 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. Rowe was first married to a woman by the name of Parsons (Christian name is unknown), with whom he had a son John. His second wife was Anne Devenish, and they had a daughter named Charlotte. [3] Daniel Lysons and Samuel Lysons noted that he did not have descendants after his son died childless. [6] Works [ edit ] Lothario now comes forward acquainting Ros|sano with his loss of the letter, which villain-like he does not regret, as it may be the means of infamy and wretchedness to the unhappy woman he has ruined, but as he wants to make it an instrument of his antipathy against Altamont.

See also: Lothar and Lothair Camilla threatens Lothario with a dagger. Illustration by Apeles Mestres, engraving by Francisco Fusté. For example, Samuel Richardson modeled the character of Lovelace on Lothario in his 1748 novel Clarissa. 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. Rowe shifted the setting from Dijon to Genoa, and changed the main characters' names. Rowe succeeded Nahum Tate as poet laureate in 1715 and was also the foremost 18th-century English tragic dramatist, doing much to assist the rise of domestic tragedy. 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

As she takes the weapon, he announces that his duty as a judge is done and expresses his love for her as a father: Sciolto is a nobleman in principles as well as rank; apparently nice in his honour, delicate in his patronage, and warm in his parental affection; ea|ger for the happiness of a darling daughter, and the son of a valued friend, whom he has married her to, on the most generous, disinterested principles; his miserable disappointment in such a commendable expectation, places him in a situation that wakes the tenderest passions. compulsive, not voluntary principles; and there|fore, from circumstances peculiarly distressful, alone excites pity; great powers, and deep feelings, are necessary to do her justice on the stage.

Calista's dislike of Altamont is a very sufficient reason why she should hold his most intimate friend 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. The original Lincoln's Inn Fields cast included John Bowman as Sciolto, John Verbruggen as Altamont, Thomas Betterton as Horatio, George Powell as Lothario and Elizabeth Barry as Calista. [5] The production also included incidental music and arias written by German-born Baroque composer Jakob Greber for his mistress, operatic soprano Margherita de L'Épine. [6]manners would have taught him to decline perusal of it, as seeing the superscription—To Lothario— yet a curiosity stimulated by friendship occasions him to examine the contents, which afford a most alarming and painful discovery, not only of Ca|lista's previous but subsequent guilt, by soliciting an interview with him who has undone her, even with a man who is known as the determined foe of Al|tamont. —The soliloquy occasioned by this fatal let|ter is well suited to a man in Horatio's critical and disagreeable situation; reflection seems more to em|barrass him, and he is wrapped in the perplexity of thought when his wife appears. 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.