Another tragedy of Mr. Rowe’s is the Fair Penitent, acted at the Theatre in Lincoln’s-Inn-Fields; and dedicated to the duchess of Ormond:  This is one of the most finished performances of our author.  The character of Sciolto the father is strongly marked; Horatio’s the most amiable of all characters, and is so sustained as to strike an audience very forcibly.  In this, as in the former play, Mr. Rowe is guilty of a mis-nomer; for his Calista has not the least claim to be called the Fair Penitent, which would be better changed to the Fair Wanton; for she discovers not one pang of remorse till the last act, and that seems to arise more from the external distress to which she is then exposed, than to any compunctions of conscience.  She still loves and doats on her base betrayer, though a most insignificant creature.  In this character, Rowe has been true to the sex, in drawing a woman, as she generally is, fond of her seducer; but he has not drawn drawn a Penitent.  The character of Altamont is one of those which the present players observe, is the hardest to represent of any in the drama; there is a kind of meanness in him, joined with an unsuspecting honest heart, and a doating fondness for the false fair one, that is very difficult to illustrate:  This part has of late been generally given to performers of but very moderate abilities; by which the play suffers prodigiously, and Altamont, who is really one of the most important persons in the drama, is beheld with neglect, or perhaps with contempt; but seldom with pity.  Altamont, in the hands of a good actor, would draw the eyes of the audience, notwithstanding the blustering Lothario, and the superior dignity of Horatio; for there is something in Altamont, to create our pity, and work upon our compassion.

So many players failing of late, in the this character, leaves it a matter of doubt, whether the actor is more mistaken in his performance; or the manager in the distribution of parts.

The next tragedy Mr. Rowe wrote was his Ulysses, acted at the queen’s Theatre, in the Hay Market, and dedicated to the earl of Godolphin.  This play is not at present in possession of the stage, though it deserves highly to be so, as the character of Penelope, is an excellent example of conjugal fidelity:  Who, though her lord had been ten years absent from her, and various accounts had been given of his death, yet, notwithstanding this, and the addresses of many royal suitors, she preserved her heart for her Ulysses, who at last triumphed over his enemies, and rescued his faithful queen from the persecution of her wooers.—­This play has business, passion, and tragic propriety to recommend it.—.

The next play Mr. Rowe brought upon the stage, was his Royal Convert, acted at the queen’s Theatre, in the Haymarket, and dedicated to the earl of Hallifax.