meability and malleability of Spain. Whether or not Lust’s Dominionends in
comedy, the “Spanish Moor’s tragedy” is essentially Spain’s. And if, at the end
of the play, the banishment of all Moors promises a longed for relief, this
imaginative or actual culmination emerges not despitethe Moor’s legitimacy
as a Spanish subject but necessarily throughit.
Banishing “all the Moors” 137