Abstract
This article seeks to resolve the noted ambiguity and confusion that has surrounded Moll Cut-purse, the heroine of Thomas Dekker and Thomas Middleton’s 1611 play, The Roaring Girl . I argue that, beneath the city comedy, the play hides an intermittent allegorical narrative, which has been modelled on Ovid’s ‘Iron Age’. Moll stands astride these layers and depicts a boisterous ‘roaring girl’ possessed by the returned spirit of Astraea, goddess of Justice. When recognised, these literal and allegorical elements synergistically combine to offer a Protestant vision of the invisible spiritual battle, fought between angels and demons, for the souls of a fallen humanity.
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