Act 5 — LUST'S DOMINION OR THE LASCIVIOUS QUEEN.
Reading edition
EDITION.
Lusts Dominion; or, The Lascivious Queen. A Tragedie. Written by Christofer Marloe, Gent. London, Printed for F. K., and are to be sold by Robert Pollard, at the sign of Ben Johnson's head, on the back-side of the Old-Exchange. 1657. 12mo.
DRAMATIS PERSONÆ.
Eleazar, the Moor, Prince of Fez and Barbary.
Philip, King of Spain, father to Fernando, Philip, and Isabella.
Fernando, King of Spain, Philip, Prince of Spain,
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sons to Philip.
Alvero, a nobleman, and father-in-law to Eleazar, and father to Hortenzo and Maria.
Mendoza, the cardinal.
Christofero, Roderigo,
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two noblemen of Spain.
Hortenzo, lover to Isabella, and son to Alvero.
Zarack, Balthazar,
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two Moors attending Eleazar.
Cole, Crab,
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two friars.
Emmanuel, King of Portugal.
Captain, Soldiers, cum aliis.
Two Pages attending the queen.
The Queen-Mother of Spain, and wife to King Philip.
Isabella, the Infanta of Spain.
Maria, wife to Eleazar, and daughter to Alvero.
The Scene, Spain.
PREFACE.
[This play was printed in 12o, 1657 and 1661, with the name of Christopher Marlowe on the title as the author, than which few things are more improbable. Yet Dilke, who printed the piece in his series (1816), believed it to be really by Marlowe, and considered it superior to his "Faustus." He observes:] "In particular passages, and some whole scenes, 'Faustus' has great beauties; but it must have been principally indebted for its success to the superstitious ignorance of the times; 'Lust's Dominion' is a much better play." Dilke continues, "It was altered by Mrs Behn, and performed at the Duke of York's Theatre in 1671, under the title of 'Abdelazar;' and probably furnished hints for the admirable tragedy of 'The Revenge.' But, notwithstanding the luxuriance of imagery in the first scenes, the exquisite delicacy of the language that is throughout given to Maria, and the great beauty of parts, 'it has too much of "King Cambyses'" vein—rape, and murder, and superlatives;' and if the stage be intended as a portraiture of real character, such representations tend only to excite a disgust and abhorrence of human nature: with the exception of the innocent Maria, the fiery Philip, Isabella, Alvero, and Hortenzo, there is not one with whom our feelings hold communion. The open representation of the Devil in 'Faustus' is less offensive than the introduction of him here in the garb of a Moor; but the philanthropy of our ancestors was not shocked at any representation of an African or an Israelite."
Mr Collier[50] remarks, "Thomas Dekker, in partnership with William Haughton and John Day, was the author of 'The Spanish Moor's Tragedy,' which Malone, by a strange error, calls 'The Spanish Morris,' but he gives the right date, January 1599-1600. The mistake was more important than it may appear at first sight, as 'The Spanish Moor's Tragedy' was most likely the production called 'Lust's Dominion,' not printed until 1657, and falsely attributed to Marlowe. A Spanish Moor is the hero of it, and the date in Henslowe, of January 1599-1600, corresponds with that of a tract upon which some of the scenes are even verbally founded. That Marlowe, who was killed in 1593, and could not, therefore, be the author of it, requires no further proof."