Lope de Vega's El primer Fajardo (c. 1610-12) chronicles the rise of a hero of the Christian Reconquest who triumphs over a Moorish opponent, Abenalfajar, and thereby earns the Moor's Castilianized name and a place in history. A gambler, he "plays or "wagers" a Moor" and, in the process, subdues the images of Spanish orientalism. His parodies "transcontextualize" Moorish motifs and challenge the Reconquest's codes. During a key re-creation of a traditional ballad, "Jugando estaba el rey moro" 'The Moorish king was playing,' Fajardo attacks the metaphorical depiction of Muslim-Christian tolerance. His transgressive moves colonize the domain of balladry, while his Morisco servant's malapropisms mock conventions that are elsewhere an enabling legacy. Lope's official writing as secretary to the duque de Sessa parallels some of these motifs: the aptness of a name is borne out in performance, and playing the Moor involves impersonating cultural differences, even when the aim is to eliminate the communities of represented "others."