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 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. The Fair Penitent is Nicholas Rowe's stage adaptation of the tragedy The Fatal Dowry, the Philip Massinger and Nathan Field collaboration first published in 1632. 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"). [1] married her, forward to expose her fatal weakness, and his own inhuman triumph over her unsuspect|ing virtue. 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.

The following scene between the friends takes a turn which may be expected; the prejudiced bride|groom, Daniel Lysons and Samuel Lysons, " General history: Families removed since 1620". In Magna Britannia: Volume 6, Devonshire (London, 1822), pp. clxxiii–ccxxv. 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]

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] 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 Ball, F. Elrington (1926). The Judges in Ireland 1221–1921. Vol.2. London: John Murray. p.42. ISBN 9781584774280.

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 a b c d e f g "Samuel Johnson's Life of Nicholas Rowe". Archived from the original on 11 October 2004 . Retrieved 24 February 2006. Calista is a lady of insuperable pride and violent passions; easy of belief, warm in affection, precipi|tate in resentment; she appears in no favourable point of view, except from her credulity; and though we contend for her being a penitent, yet we readily admit she is a reluctant one; she is one up|on

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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] seconds shoved them forwards very ungraciously to midwife his short reply into Lothario's hearing; this gentleman had a fine level, and deep tone of voice, but misapplied them so barbarously, that he growled with the one, and chanted with the other. Mrs. CIBBER, beyond every point of dispute, surpassed not only contemporary merit, but what has succeeded even to this day; the idea of haugh|tiness she rather failed in, yet her pungent and un|equalled distress made ample amends: in the first scene of the fifth act her countenance so aptly paint|ed horror and despair, her thrilling voice so pene|trated the heart, that we may say from experience, the height of critical pleasure strained nature into a degree of mental pain. Altamont's tears touch Horatio with sympathy, and it is to be wished, that they alone had wrought the desirable effect of tenderness; as the panto|mimical stroke of falling down is utterly contempti|ble; and the two speeches occasioned by it, rather laughable: this whole scene is very inadequate to the rest of the play, and the characters are carried off with a jingling tag spoken by Lavinia, which has more sound than meaning.