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Antonio, stop at the castle of Alonzo; they meet Alonzo's beautiful and extroverted daughter
Dionisa. Antonio and Dionisa are instantly attracted to each other, and Antonio comes to regret his hasty marriage to Margaretta. The Spanish forces engage the Moorish invaders and win the battle, capturing many leading Moorish officers; Antonio distinguishes himself by his courage. Lazarello favours a match between Antonio and Dionisa, and advises Antonio on various ways to put aside his secret wife.
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staging a review of his troops and the prisoners he has taken, including the
Moorish king, Muly Mumen. Julianus tells them of his daughter's rape, and the offended troops agree to support a rebellion against Roderick; Julianus releases Muly Mumen and his men from captivity and the two commanders form an alliance against Roderick.
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that is so common in plays of Rowley's era, in which the man rather than the woman is substituted.) Lazarello says that he will not have sex with
Margaretta, in deference to Antonio's honour; but after spending the night with her he will be able to claim that he has dishonored her, allowing Antonio
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Lothario keeps
Jacinta imprisoned in a castle after her rape; but Jacinta obtains his keys while he sleeps, and escapes. She goes to her father and tells him of her violation. Julianus is overwhelmed by the offence to his family's honour and by his king's betrayal; his officers rally his spirits by
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The play's second and third scenes introduce the characters of the subplot. Antonio is a young nobleman, infatuated with and courting a young woman named
Margaretta. She is a commoner, and Antonio's friend Lazarello complains about the social inequality of the proposed match. Margaretta's father is
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As the play opens, the
Moorish invasion of Spain is in the offing; King Roderick musters his army and places it under the command of Julianus. Roderick himself is more interested in seducing the general's daughter Jacinta; his sycophant and pander Lothario brings in an old bawd named Malena to help
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Margaretta learns of
Antonio's betrayal; though a commoner by birth, she is too proud and spirited to accept it. She writes a deceptive letter to her husband, delivered by her brother the clown, that indicates that she will acquiesce to becoming his concubine rather than his wife. Lazarello has a
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Together, Julianus and Muly Mumen defeat
Roderick; but the Moorish king quickly betrays his new ally, blinding Julianus and cutting out Jacinta's tongue. Margaretta meets Dionisa escorting Antonio, who has been wounded in the battle. He dies of his wounds. Dionisa calls Margaretta "a lusty stout
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Lothario brings Malena and
Jacinta together at Roderick's court, and the old pandress tries her best to make Jacinta pliant, but with no success. Roderick enters, and drags Jacinta offstage to rape her. Julianus, meanwhile, leads his forces south to meet the Moors. He and his officers, including
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Muly Mumen offers the blinded
Julianus a chance for revenge, arming the general and letting him attack his tormentor. But his ploy is a cruel joke, in which Julianus stabs his own daughter. She dies in his arms, and he dies of grief. Muly Mumen ends the play by setting off to pursue the fleeing
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The murder is quickly exposed, though not the confusion of identities. Jaques the clown meets Lothario, who is now in disgrace over his loss of Jacinta; both men plan on hanging themselves. The two have a sort of competition of suicidality; Lothario offers to pay Jaques to hang him, and Jaques,
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Roderick breaks into the vault of the supposedly enchanted castle; instead of finding a treasure, he witnesses a macabre spiritual procession that reveals his fate, which is to be defeated by the Moors and to lose his Christian kingdom to the forces of Islam.
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convince the young woman to yield her virginity. Roderick is also troubled by an empty treasury; he plans to remedy the problem by breaking into an enchanted castle, isolated and secluded by many previous kings, that he believes holds a great treasure.
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on 23 March 1661. In his famous Diary, Pepys described the production as "poorly done" with "much disorder" — when a boy singer performed a song poorly, the music master "fell about his ears and beat him so, that it put the whole house into an uproar."
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among other works that include Moors and North African Muslims. Rowley modifies the stereotype somewhat in his portrayal of Margaretta's serving maid Fydella, a young Moorish woman who is courageous and fiercely devoted to her mistress.
225:, fall into the same category, as do some other clown roles in other Rowley plays. (Rowley's self-penned roles are recognisable as "fat clown" roles, since Rowley was by all evidence a man physically equipped to fill such parts.)
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an escape from the now-unwanted marriage. Margaretta, however, conspires with her servant Fydella to murder Antonio; on the crucial night, the two women strangle Lazarello with a rope, thinking they are killing Antonio.
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Rowley consistently characterizes the Moors as "black," and portrays them as stereotypical villains, bloodthirsty and treacherous. In this he reflects the typical attitudes of his time, as expressed in plays like
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also uneasy about the match, but her brother, Jaques the clown, is its eager advocate. Antonio marries Margaretta hurriedly before leaving for military duty; the marriage, for the time being, is kept secret.
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of the 1633 quarto states that Jaques was "personated by the Poet." Rowley had a habit of composing comic roles for himself to play; he wrote and played the clown part of Bustopha in
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published by the bookseller Thomas Harper. This 1633 quarto was the only edition of the play in Rowley's era; the drama would not be reprinted until the nineteenth century.
249:. (Rowley's specific sources for the story are not known, though he had a large body of traditional lore, poems, and ballads on which to base his work.)
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Like many English Renaissance plays, Rowley's tragedy was adapted for later productions. One "W. C." was responsible for a version called
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plan to break the connection permanently: he will go to Margaretta in the night in Antonio's place. (This is a reversal of the standard
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has been classed with other Jacobean tragedies that treat the private crime of rape in a larger political and social context, Including
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42:. A "tragedy of remarkable frankness and effectiveness," "crude and fierce," it was written between 1618 and 1620.
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Rowley's tragedy "might be called a rape play with a difference." Its "ideological surprises" include a would-be
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Charles Wharton Stork, "All's Lost by Lust, a Tragedy by William Rowley, 1633"
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The play was first published in 1633 (seven years after Rowley's death), in a
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greedy and unsuited to honourable gestures like suicide, accepts the offer.
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Since then, the work has fallen out of favour and has not been revived.
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are other rare examples of the serious side of Rowley's authorship.
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is his only surviving tragedy. The tragicomic Fitzallen subplot in
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king of Spain, and his general Julianus, based on the legendary
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Rowley's reputation as an author is grounded on his comedies;
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that unites all three. And that is only the sub-plot...."
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is supplied largely by the clown character Jaques; the
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Roderick and consolidate his conquest of the kingdom.
233:The play is based on the Spanish legends about the
290:," and suggests they marry each other and "beget
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422:William Shakespeare and "The Birth of Merlin".
417:. Cambridge, Cambridge University Press, 2005.
410:. 7 Volumes, Oxford, Clarendon Press, 1941–68.
237:in the eighth century. It depicts the tale of
103:The Rape Reveng'd, or the Spanish Revolution
415:Racism, Misogyny, and the "Othello" Myth
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136:and the opening and closing scenes in
399:Sexual Violence on the Jacobean Stage
366:Bamford, pp. 23, 82, 105–11 and ff.
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424:Beaverton, OR, Alioth Press, 1991.
105:in 1690. A 1705 adaptation titled
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408:The Jacobean and Caroline Stage
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401:. New York, Macmillan, 2000.
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437:Schelling, Felix Emmanuel.
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434:. London, J. Murray, 1894.
219:The World Tossed at Tennis
458:English Renaissance plays
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235:Moorish invasion of Spain
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468:Plays by William Rowley
247:Julian, count of Ceuta
177:The Revenger's Tragedy
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319:The Battle of Alcazar
171:Hengist, King of Kent
108:The Conquest of Spain
93:'s production at the
79:Queen Henrietta's Men
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413:Daileader, Celia R.
375:Daileader, pp. 40–1.
210:The Maid in the Mill
75:Lady Elizabeth's Men
73:, and later by the
71:Prince Charles' Men
432:The Jacobean Poets
348:Schelling, p. 139.
217:and Simplicity in
146:All's Lost by Lust
128:All's Lost by Lust
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463:1610s plays
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199:The play's
155:Valentinian
83:Restoration
58:Performance
46:Publication
452:Categories
392:References
271:bed trick
195:The clown
292:chimeras
243:Visigoth
239:Roderick
229:Synopsis
113:Mary Pix
33:Jacobean
315:Peele's
161:Bonduca
36:tragedy
322:, and
302:Racism
288:virago
164:, and
52:quarto
336:Notes
122:Genre
31:is a
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