THE TEXT

The first edition (1703) is the basis of this text. In the collating, a copy of the first edition in the Library of Harvard University, a copy of the 1714 edition in the British Museum, and a copy of the 1732 edition in the Library of Yale University have been used. These are in order the earliest editions of which the editor has been able to find trace. The 1714 edition, perhaps the last in Rowe's lifetime, is practically a reprint of the first, with slight uniform changes in spelling (e. g., would for wou'd, ta'en for ta'ne). The 1733 text shows a few very minor differences from the two preceding, but nothing of importance; indeed the collation makes clear that successive editions held very closely to the first text. The punctuation of the first edition, like that of all early eighteenth century books, is excessive and has been cut down and modified to bring it into conformity with modern usage. When the punctuation here used changes in the slightest degree the sense of the first edition, the original punctuation is given in a footnote. Unless otherwise specified, variants are to be credited to the edition in which they appear for the first time following the first edition. Any addition to the stage-directions of the first edition has been placed in brackets. French's acting version of the play shows variants in some places made necessary by the great number of lines omitted. F is the abbreviation used for variants from this acting version.

THE

FAIR PENITENT.

A

TRAGEDY.

As it is Acted at the

NEW THEATRE

IN

Little Lincolns-Inn-Fields.

By Her MAJESTY'S SERVANTS.

Written by N. ROWE, Esq;

Quin morere, ut merita es, ferroque averte dolorem.

Virg. Æn. Lib. 4.

LONDON,

Printed for Jacob Tonfon, within Grays-Inn Gate next Grays-Inn Lane. 1703.

The 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 their high birth and excellent qualities have plac'd in a very distinguishing manner above the rest of the world. If this be 5 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 entertainment to Your Grace, since if I have any way succeeded in it, 10 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 vanity which I have, to hope that there may be something so moving in the 15 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 excite this generous pity

in the greatest minds, may pass for some kind of success in this way of writing. I am sensible of the presumption 20 I am guilty of by this hope, and how much it is that I pretend to in Your Grace's approbation; if it be my good fortune to meet with any little share of it, I shall always look upon it as much more to me than the general applause of the theatre, or even the praise of a good critick. Your 25 Grace's name is the best protection this play can hope for, since the world, ill natur'd as it is, agrees in an universal respect and deference for Your Grace's person and character. In so censorious an age as this is, where malice furnishes out all the publick conversations, where every body 30 pulls and is pull'd to pieces of course, and where there is hardly such a thing as being merry, but at another's expence; yet by a publick and uncommon justice to the Dutchess of Ormond, her name has never been mention'd, but as it ought, tho' she has beauty enough to provoke de- 35 traction from the fairest of her own sex, and virtue enough to make the loose and dissolute of the other (a very formidable party) her enemies. Instead of this they agree to say nothing of her but what she deserves, that her spirit is worthy of her birth; her sweetness of the love and re- 40 spect of all the world; her piety, of her religion; her service, of her royal mistress; and her beauty and truth, of her lord; that in short every part of her character is just, and that she is the best reward for one of the greatest hero's this age has produc'd. This, Madam, is what you 45 must allow people every where to say: those whom you shall leave behind you in England will have something further to add, the loss we shall suffer by Your Grace's