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The fair penitent, a tragedy.

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sentiments and nature are again injured by simile and rhime; though had the latter been avoided, the former might have passed without objection, nay perhaps with some degree of praise. 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. 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 Mr. SHERIDAN whose voice and person, as we have before observed, rather speak against him, especially in points of importance; nevertheless made a more masterly figure in this part than any person we have seen; he broke with chaste judg|ment the lines into good sense, without violating just harmony; he sustained the sedateness of the charac|ter, and the spirit of it, with equal propriety, and had the merit of much greater uniformity, than any competitor we shall, or can mention; cool without sameness, firm without brutality. 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. 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. Some Acount of the Life &c. of Mr. William Shakespear". Archived from the original on 23 July 2008 . Retrieved 21 December 2011.In the play, Lothario is a notorious seducer, extremely attractive but a haughty and unfeeling scoundrel beneath his charming exterior. 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] 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. 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. short of her distress; in this character, as well as some others, we are to lament, that the lady just mentioned, should indulge a masculine extravagance of Frenchified action; that she should saw the air with her arms, and labour for attitude where it is rather superfluous; this may please the million, but is no point of real merit, and can only be deem|ed a pitiful trap to catch prostituted applause.

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's adaptation, premiered onstage in 1702 and first published in 1703, was a great popular success through much of the 18th century, and was praised by critics as demanding as Samuel Johnson ("There is scarcely any work of any poet so interesting by the fable and so delightful in the language"). 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 Mrs. BELLAMY wanted consequence still more than Mrs. CIBBER, was less expressive in features, and more limited in voice; yet the passages of ten|derness were well supported by her; of these two ladies we must make one general remark, equally chargeable to both; that is, having a strong taint of the old fashioned titumti utterance. The Tragedy of Lady Jane Grey followed in 1715, and as this play was not successful, it was his last foray into the medium. [2]

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] 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. 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. 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.

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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. a b c "People Buried or Commemorated – Nicholas Rowe". Westminster Abbey. Archived from the original on 25 June 2006 . Retrieved 4 December 2018.

One passage, for which he gained loud applause, deserved nothing but laughter; we mean where he says to Lothario, "I'll meet thee there:" setting himself in a studied position, to shew protuberance of belly in the most striking point of view, he gathered his hands towards his sides, and after a pause of some 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 ] For example, Samuel Richardson modeled the character of Lovelace on Lothario in his 1748 novel Clarissa. 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.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. The following scene between the friends takes a turn which may be expected; the prejudiced bride|groom, 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:

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