All's Lost by Lust

This 1633 quarto was the only edition of the play in Rowley's era; the drama would not be reprinted until the nineteenth century.

The play was popular in its own period and was revived during the Restoration; Samuel Pepys saw George Jolly's production at the Red Bull Theatre on 23 March 1661.

Its "ideological surprises" include a would-be warrior woman, a "murderously jealous wife...their conscience-ridden, bigamous husband...and the post mortem ménage à trois that unites all three.

(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.)

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 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.

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.

Jaques the clown meets Lothario, who is now in disgrace over his loss of Jacinta; both men plan on hanging themselves.

Muly Mumen offers the blinded Julianus a chance for revenge, arming the general and letting him attack his tormentor.

Muly Mumen ends the play by setting off to pursue the fleeing Roderick and consolidate his conquest of the kingdom.

Rowley consistently characterizes the Moors as "black," and portrays them as stereotypical villains, bloodthirsty and treacherous.

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.