Selimus: Chronology of Significant Events
Date | Event |
1402 | Bayezid I defeated by Timur the Lame (i.e. the historical source for the protagonist of Marlowe’s Tamburlaine) |
December 1447 | Birth of Bayezid II (i.e. Bajazethin the play) |
1453 | Defeat of Byzantine Empire and occupation of Byzantium by Mehmud II, Bayezid II’s father; Byzantium becomes seat of the Ottoman Empire and is renamed Istanbul |
July 1456 | Mehmud II defeated at the Battle of Belgrade |
1470 | Birth of Selim I (i.e. Selimusin the play) |
May 1481 | Death of Mehmud II; Bayezid II succeeds him as Sultan of the Ottoman Empire |
1481-1482 | Ottoman Civil War, Bayezid II contending with an uprising led by his younger brother Cem |
1485-1491 | Mameluke-Ottoman War |
1492 | Beginning of a large-scale expulsion of Jewish people from the Iberian Peninsula as part of the Spanish Inquisition; many of these people were rescued by Bayezid II and welcomed into Ottoman territories |
November 1494 | Suleiman, son of Selim I, born |
February 1495 | Cem, Bayezid II’s exiled younger brother, dies in Naples |
April 1495 | Hungarian-Ottoman Truce signed |
1499-1501 | Venetian-Ottoman War |
1501 | Foundation of Safavid state led by Shah Ismael I (the Ismaelalluded to in the play |
September 1509 | Istanbul devastated by earthquake |
1510 | Bayezid II’s son Alemsah dies |
April 1511 | Grand Vezir Hadim Ali Pasha (i.e. father of the play’s Hali Bassa) killed leading a force against a shia uprising |
July 1511 | Bayezid II soundly defeats Selim I near Chiurlu |
April 1512 | Bayezid II deposed; Selim I becomes Sultan of Ottoman Empire |
May 1512 | Bayezid II dies on the road to his birthplace Demotika |
March 1513 | Capture and execution of Selim I’s oldest brother Korkud (i.e. Corcutin the play) |
April 1513 | Defeat and execution of Selim I’s older brother Ahmed (i.e. Acomatin the play) |
1514 | Selim I defeats the Persians and their leader Shah Ismael I |
1517 | Selim I defeats Egypt and its leader Tuman Bey II |
September 1520 | Death of Selim I; Suleiman (i.e. Suleiman I,who will become known as Suleiman the Magnificent) succeeds his father as Sultan of the Ottoman Empire |
1529 | Ottoman Siege of Venice |
1530 | Paulo Giovio finishes his Commentario de le cose de’ Turchi; the title is printed in Rome in 1532 |
1541 | Ottoman Siege and Defeat of Buda |
1546 | Peter Ashton’s A Short Treatise upon the Turkes Chronicles, a translation of a Latin version of Paulo Giovio’s Commentario de le cose de’ Turchi, printed |
September 1566 | Suleiman I dies; his son Selim (i.e. Selim II) succeeds him as Sultan of the Ottoman Empire |
December 1574 | Selim II dies; his son Murad (i.e Murad III) succeeds him as Sultan of the Ottoman Empire |
1581 | Levant Company established in London |
1583 | Queen’s Men formed |
1587 | 1 Tamburlaine written and staged |
1588 | 2 Tamburlaine written and staged |
September, 1588 | Death of Richard Tarlton, star clown actor of the Queen’s Men |
1590 | Richard Jones publishes two-part Tamburlaine the Great |
1592 | Selimus likely written and staged |
September, 1592 | Death of Robert Greene |
1592-1593 | London plague; playhouses closed |
1593 | Thomas Creede opens first printing house under the sign of the Catherine Wheel in Thames Street |
1593 | Richard Jones publishes the second edition of Tamburlaine the Great |
May 1593 | Murder of Christopher Marlowe |
1594 | Thomas Creede publishes The First Part of the Tragical Reign of Selimus |
January 1595 | Murad III dies; his son Mehmud (i.e. Mehmud III) succeeds him as Sultan of the Ottoman Empire |
1595 | Thomas Creede publishes The Lamentable Tragedy of Locrine |
1600 | Nicholas Ling, Cuthbert Burby, and Thomas Hayes publish Robert Allott’s England’s Parnassus, a collection of quotations that includes six passages from Selimus each attributed to Robert Greene |
1603 | Certaine hellish verses devysed by that Atheist and traitor Ralegh(Sc2 Sp1) appears in two Elizabethan manuscripts; these lines essentially reproduce Selimus’s opening long speech in Scene 2 |
1638 | John Crooke and Richard Sergier reissue The First Part of the Tragical Reign of Selimus as The Tragedy of Selimus Emperor of the Turks. Written T.G. |
1881-1886 | Selimus reprinted as part of Alexander B. Grosart’s Life and Complete Works in Prose and Verse of Robert Greene |
1898 | Edited by Grosart, The Tragical Reign of Selimus, the first modernized, single edition of the play, published in the Temple Dramatists series |
Prosopography
Andrew Griffin
Andrew Griffin is an associate professor in the department of English and an affiliate
professor in the department of Theater and Dance at the University of California,
Santa Barbara. He is general editor (text) of Queen’s Men Editions. He studies early
modern drama and early modern historiography while serving as the lead editor at the
EMC Imprint. He has co-edited with Helen Ostovich and Holger Schott Syme Locating the Queen’s Men (2009) and has co-edited The Making of a Broadside Ballad (2016) with Patricia Fumerton and Carl Stahmer. His monograph, Untimely Deaths in Renaissance Drama: Biography, History, Catastrophe, was published with the University of Toronto Press in 2019. He is editor of the
anonymous The Chronicle History of King Leir (Queen’s Men Editions, 2011). He can be contacted at griffin@english.ucsb.edu.
Helen Ostovich
Helen Ostovich, professor emerita of English at McMaster University, is the founder
and general editor of Queen’s Men Editions. She is a general editor of The Revels Plays (Manchester University Press); Series
Editor of Studies in Performance and Early Modern Drama (Ashgate, now Routledge),
and series co-editor of Late Tudor and Stuart Drama (MIP); play-editor of several
works by Ben Jonson, in Four Comedies: Ben Jonson (1997); Every Man Out of his Humour (Revels 2001); and The Magnetic Lady (Cambridge 2012). She has also edited the Norton Shakespeare 3 The Merry Wives of Windsor Q1602 and F1623 (2015); The Late Lancashire Witches and A Jovial Crew for Richard Brome Online, revised for a 4-volume set from OUP 2021; The Ball, for the Oxford Complete Works of James Shirley (2021); The Merry Wives of Windsor for Internet Shakespeare Editions, and The Dutch Courtesan (with Erin Julian) for the Complete Works of John Marston, OUP 2022. She has published
many articles and book chapters on Jonson, Shakespeare, and others, and several book
collections, most recently Magical Transformations of the Early Modern English Stage with Lisa Hopkins (2014), and the equivalent to book website, Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context containing scripts, glossary, almost fifty conference papers edited and updated to
essays; video; link to Queenʼs Mens Ediitons and YouTube: http://threeladiesoflondon.mcmaster.ca/contexts/index.htm, 2015. Recently, she was guest editor of Strangers and Aliens in London ca 1605,
Special Issue on Marston, Early Theatre 23.1 (June 2020). She can be contacted at ostovich@mcmaster.ca.
Janelle Jenstad
Janelle Jenstad is a Professor of English at the University of
Victoria, Director of The Map
of Early Modern London, and Director of Linked Early Modern Drama
Online. With Jennifer Roberts-Smith and Mark Kaethler, she
co-edited Shakespeare’s Language in Digital Media: Old
Words, New Tools (Routledge). She has edited John Stow’s
A Survey of London (1598 text) for MoEML
and is currently editing The Merchant of Venice
(with Stephen Wittek) and Heywood’s 2 If You Know Not
Me You Know Nobody for DRE. Her articles have appeared in
Digital Humanities Quarterly, Elizabethan Theatre, Early Modern
Literary Studies, Shakespeare
Bulletin, Renaissance and
Reformation, and The Journal of Medieval
and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives
(MLA); Institutional Culture in Early Modern
England (Brill); Shakespeare, Language, and
the Stage (Arden); Performing Maternity in
Early Modern England (Ashgate); New
Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter);
Placing Names: Enriching and Integrating
Gazetteers (Indiana); Making Things and
Drawing Boundaries (Minnesota); Rethinking
Shakespeare Source Study: Audiences, Authors, and Digital
Technologies (Routledge); and Civic
Performance: Pageantry and Entertainments in Early Modern
London (Routledge). For more details, see janellejenstad.com.
Kim Shortreed
Kim is a PhD Candidate in Media Studies and Digital Humanities, through UVicʼs English
Department. Kim has worked for years in TEI and XML, mostly through the Colonial Despatches
website, and in a number of roles, including technical editor, research and markup,
writing and editing, documentation, and project management. Recently, Kim worked with
a team of Indigenous students to find ways to decolonize the Despatches projectʼs content and encoding practices. Part of Kimʼs dissertation
project, Contracolonial Practices in Salish Sea Namescapes, is to prototype a haptic map, a motion-activated topography installation that plays audio clips of spoken toponyms,
in SENĆOŦEN and English, of the W̱SÁNEĆ Territory/Saanich Peninsula, respectively.
Kirk Melnikoff
Kirk Melnikoff is Professor of English at UNC Charlotte and a past president of the
Marlowe Society of America. His research interests range from sixteenth-century British
Literature and Culture, to Shakespeare in Performance, to Book History. His essays
have appeared in a number of journals and books, and he is the author of Elizabethan Book Trade Publishing and the Makings of Literary Culture (U Toronto P, 2018). He has also edited four essay collections, most recently Christopher Marlowe, Theatrical Commerce, and the Book Trade (Cambridge UP, 2018), and published an edition of Robert Greene’s James IV in 2020. He is currently co-editing a collection of early modern book-trade wills
which will be published by Manchester UP, editing Marlowe’s Edward II for the Oxford Marlowe: Collected Works project, and working on a monograph on bookselling in early modern England.
Martin Holmes
Martin Holmes has worked as a developer in the
UVicʼs Humanities Computing and Media Centre for
over two decades, and has been involved with dozens
of Digital Humanities projects. He has served on
the TEI Technical Council and as Managing Editor of
the Journal of the TEI. He took over from Joey Takeda as
lead developer on LEMDO in 2020. He is a collaborator on
the SSHRC Partnership Grant led by Janelle Jenstad.
Navarra Houldin
Project manager 2022-present. Textual remediator 2021-present. Navarra Houldin (they/them)
completed their BA in History and Spanish at the University of Victoria in 2022. During
their degree, they worked as a teaching assistant with the University of Victoriaʼs
Department of Hispanic and Italian Studies. Their primary research was on gender and
sexuality in early modern Europe and Latin America.
Peter Cockett
Peter Cockett is an associate professor in the Theatre and Film Studies at McMaster
University. He is the general editor (performance), and technical co-ordinating editor
of Queen’s Men Editions. He was the stage director for the Shakespeare and the Queen’s Men project (SQM),
directing King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006) and he is the performance editor for our editions of those plays. The process
behind those productions is documented in depth on his website Performing the Queen’s Men. Also featured on this site are his PAR productions of Clyomon and Clamydes (2009) and Three Ladies of London (2014). For the PLS, the University of Toronto’s Medieval and Renaissance Players,
he has directed the Digby Mary Magdalene (2003) and the double bill of George Peele’s The Old Wives Tale and the Chester Antichrist (2004). He also directed An Experiment in Elizabethan Comedy (2005) for the SQM project and Inside Out: The Persistence of Allegory (2008) in collaboration with Alan Dessen. Peter is a professional actor and director
with numerous stage and screen credits. He can be contacted at cockett@mcmaster.ca.
Orgography
LEMDO Team (LEMD1)
The LEMDO Team is based at the University of Victoria and normally comprises the project
director, the lead developer, project manager, junior developers(s), remediators,
encoders, and remediating editors.
Queenʼs Men Editions (QME1)
The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).
University of Victoria (UVIC1)
https://www.uvic.ca/Metadata
Authority title | Selimus: Chronology of Significant Events |
Type of text | Critical |
Short title | Sel: Chronology |
Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
Series | Queenʼs Men Editions |
Source |
Written by Kirk Melnikoff. Sent by QME to LEMDO as a PDF. Encoded by Janelle Jenstad, Kim Shortreed, and the LEMDO Team.
|
Editorial declaration | n/a |
Edition | Released with Queenʼs Men Editions 2.0 |
Sponsor(s) |
Queenʼs Men EditionsThe Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).
|
Encoding description | Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines |
Document status | published, peer-reviewed |
Licence/availability | Intellectual copyright in this edition is held by the editor, Kirk Melnikoff. The critical paratexts, including this Chronology of Significant Events, are licensed under a CC BY-NC_ND 4.0 license, which means that they are freely downloadable without permission under the following conditions: (1) credit must be given to the editor, QME, and LEMDO in any subsequent use of the files and/or data; (2) the content cannot be adapted or repurposed (except for quotations for the purposes of academic review and citation); and (3) commercial uses are not permitted without the knowledge and consent of QME, the editor, and LEMDO. This license allows for pedagogical use of the critical paratexts in the classroom. Production photographs and videos on this site may not be downloaded. They appear freely on this site with the permission of the actors and the ACTRA union. They may be used within the context of university courses, within the classroom, and for reference within research contexts, including conferences, when credit is given to the producing company and to the actors. Commercial use of videos and photographs is forbidden. |