Selimus Sel: M Author Greene, Robert Editor Kirk Melnikoff Markup Editor Janelle Jenstad Conversion and Remediation LEMDO Team Queen’s Men Editions QME

The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text; until 2026); and Janelle Jenstad, General Editor (Text; 2026–)

 Social Sciences and Humanities Research Council of Canada McMaster University Poculi Ludique Societas University of Waterloo University of Toronto Centre for Drama, Theatre & Performance Studies University of Victoria Friends of the ISE UNC Charlotte

Released with Queen’s Men Editions 2.0

 University of Victoria on the Linked Early Modern Drama Online Platform

Intellectual copyright in this edition is held by the editor, Kirk Melnikoff. The XML files of the semi-diplomatic transcription and the modern texts are licensed for reuse under a CC BY-NC-SA 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) derivatives (e.g., adapted scripts for performance) must be shared under the same CC BY-NC-SA 4.0 license; and (3) commercial uses are not permitted without the knowledge and consent of QME, the editor, and LEMDO.

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.

Queen’s Men Editions

This modern text was prepared by Kirk Melnikoff. It was first prepared in IML, the SGML markup language of the Internet Shakespeare Editions platform. Converted to TEI-XML and remediated by the LEMDO Team for publication in the QME 2.0 anthology on the LEMDO platform.

The first part of the tragicall raigne of Selimus, sometime Emperour of the Turkes, and grandfather to him that now raigneth. London: Thomas Creede, 1594. STC 12310a. ESTC S124196. DEEP 203. Allott, Robert. Englands Parnassus: or the choysest flowers of our moderne poets. London: Nicholas Ling, Cuthbert Burby, and Thomas Hayes, 1600. STC 379. ESTC S1431. Grosart, A.B., ed., The First Part of the Tragical Reign of Selimus. The Life and Complete Works in Prose and Verse of Robert Greene. Vol. 14. New York: Russell & Russell, 1881–1886. 189–291. Grosart, A.B., ed., The Tragical Reign of Selimus. London: J.M. Dent, 1898. Bang, Willy, ed. The Tragical Reign of Selimus. Malone Society Reprints, 1908. Hopkinson, A.F., ed. The Tragical Reign of Selimus Sometime Emperor of the Turks. London: M.E. Sims & Co., 1916. Jacquot, Jean. Ralegh’s <title level="a">Hellish Verses and the Tragicall Raigne of Selimus. Modern Language Review 48:1 (1953): 1–9. Riad, Nadia Mohamed. A Critical Old-Spelling Edition of The Tragicall Raigne of Selimus. Queen’s University. PhD dissertation, 1994. Vitkus, Daniel J., ed. Three Turk Plays from Early Modern England. Columbia University Press, 2000. This edition, edited by Kirk Melnikoff

Bajazeth, Sultan of the Turks Bajazeth

Bayezid II (Bāyazīd II), 8th Ottoman Sultan, who was born around 1447 and who ruled from 1487 until he was deposed in 1512. He died shortly thereafter either of natural causes or by poisoning.

 Mustaffa, son-in-law of Bajazeth and leader of the Janissaries Mustaffa

Koca Mustafa Pasha, who was a Grand Vizier (i.e. Prime Minister) of the Ottoman Empire under Bayezid II. He was married to Bayezid II’s daughter Kamerşah Hatun and was executed by Selim I in 1512.

 Solyma, wife of Mustaffa and daughter of Bajazeth Solyma

Kamerşah Hatun, who was a daughter of Bayezid II and married to Koca Mustafa Pasha. She did not marry after her husband’s death in 1512.

 Aga, follower of Bajazeth Aga Cherseoli, follower of Bajazeth Cherseoli Hali Bassa, follower of Bajazeth (later Selimus), brother of Cali Bassa Hali Bassa Cali Bassa, follower of Bajazeth (later Selimus), brother of Hali Bassa Cali Bassa Beylerbey of Natolia, follower of Mahomet and ally of Bajazeth Beylerbey

During the period, a beylerbey (or beglerbeg) was a provincial governor, one rank below a grand vizier. Natolia refers to Kolya, a city in south-central Turkey.

 Selimus, youngest surviving son of Bajazeth and later Sultan of the Turks Selimus

Selim I (also known as Selim the Grim), 9th Ottoman Sultan, who was the son of Bayezid II and was born around 1470. He ruled from 1512 until his death in 1520.

 Sinam Bassa, follower of Selimus Sinam Bassa Occhiali, young follower of Selimus Occhiali Ottrante, Tatar captain and ally of Selimus Ottrante Acomat, son of Bajazeth Acomat

Ahmed, who was the son of Bayezid II. He was executed by his brother Selim I in 1513 after leading an unsuccessful campaign against him.

 Queen of Amasya, wife of Acomat Queen

Fictional wife of Ahmed. Possibly based on one of his consorts. Amaysa is a town in north-central Turkey.

 Visir, follower of Acomat Visir Regan, follower of Acomat Regan Tonombey, captain of Egypt and all of Acomat Tonombey Aladin, son of Acomat Aladin

Alaeddin Ali, who was one of the sons of Ahmed. He died in 1519.

 Amurath, son of Acomat Amurath

Murad, who was the eldest son of Ahmed. When Selim I came to power in 1512, he was given sanctuary in present day Iran by the Safavid leader Ismael and died in 1519.

 Corcut, eldest surviving son of Bajazeth Corcut

Korkud, scholar, poet, and musician who was the eldest son of Bayezid II born around 1470 and served as Regent of the Ottoman Empire for a short time before his father came to power in 1481. He was executed by his brother Selim I in 1513.

 Page, servant to Corcut Page Mahomet, grandson of Bajazeth Mahomet Zonara, granddaughter of Bajazeth Zonara Abraham the Jew, physician to Bajazeth Abraham Bullithrumble the clown Bullithrumble

One of the many comic rustic characters on the professional English stage that were popularized by the Queens Men comic actor Richard Tarlton in the 1580s.

 Prologue Prologue

Chorus, here speaking for the acting troupe, who likely was also meant to deliver the play’s conclusion. A number of professional plays of the period contain such a figure.

 Conclusion Conclusion Messengers Messenger Messengers Janissaries Janissaries Eunuchs Eunuchs Soldiers Soldiers

Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines

Edited according to the ISE Editorial Guidelines

 Document Types All documents in LEMDO are either born-digital documents or primary documents. Within those two general categories, LEMDO offers additional ways to categorize a file. Primary Source Primary source documents. Use this top-level category only for supplementary texts, usually in combination with the editorial treatment letmixed. Primary Source Text Edited primary source texts. Modernized texts and semi-diplomatic texts must have this value. Not to be used for supplementary texts. Types of Literary Work Types of Literary Work Play Dramatic text, semi-diplomatic or modernized. Editorial Treatments Distinct approaches to textual editing used by LEMDO editors Modernized Texts that have been modernized according to a set of editorial principles. Document History Various sources from which born-digital texts have made their way into the LEMDO collection. Original Source: IML This TEI file was created based on one or more files from the Internet Shakespeare Editions anthology, originally encoded in ISE Markup Language (a custom markup language somewhat resembling SGML). Responsibilities Responsibilities Author MARC Code List for Relators definition: A person, family, or organization responsible for creating a work that is primarily textual in content, regardless of media type (e.g., printed text, spoken word, electronic text, tactile text) or genre (e.g., poems, novels, screenplays, blogs). Use also for persons, etc., creating a new work by paraphrasing, rewriting, or adapting works by another creator such that the modification has substantially changed the nature and content of the original or changed the medium of expression. LEMDO uses the term author in two contexts: (1) to indicate the author of a primary work or document (such as Hamlet), and (2) to indicate the author of a secondary text (such as the Critical Introduction to <title level="m">Hamlet, by David Bevington). Editor MARC Code List for Relators definition: A person, family, or organization contributing to a resource by revising or elucidating the content, e.g., adding an introduction, notes, or other critical matter. An editor may also prepare a resource for production, publication, or distribution. For major revisions, adaptations, etc., that substantially change the nature and content of the original work, resulting in a new work, see author. LEMDO uses the general term editor only in edition metadata and only to indicate when a person is responsible for editing all parts of an edition. Otherwise, use the more granular terms to describe the precise nature of the editorial role. Markup Editor MARC Code List for Relators definition: A person or organization performing the coding of SGML, HTML, or XML markup of metadata, text, etc. LEMDO uses this term for someone who encodes a file, remediates a converted text, or reviews the XML markup of a file. font-style: italic; Fixed diagnostic error with missing spaces in anchors 55, 1994. Added a speaker element and speech prefix for Sc1 Sp1. New LEMDO Diagnostic flagged lack of speaker element. It is not really necessary but it will be helpful to the reader. Published file. Updated metadata Editor finished revisions. Licensed edition for publication. Added to characters to listPerson. Added docType and workType. Edition underwent peer review. Added anchors for additional references in the annotations. Added notes on characters. Added additional anchors while reviewing the General Intro. Expanded name element content for character list. Numbered scenes and speeches. Added anchors. Left comments for MELN2. Took actions required by MELN2’s responses to my earlier comments. Left comments for JENS1. Proofread file. Removed extraneous white space. Tidied metadata. Added xml:ids to scenes. Removed lg elements except in the case of one song. Removed extraneous white space. Removed space before closing l elements. Renumbered Prologue from 0 to Prologue. Renumbered Conclusion. Left notes for SHOR2 and MELN2. Started remediating the file. Added a listPerson. Added who attributes to sp, pointing to xml:id of speaker. Added document xml:id to the ids throughout the file using XSLT. Created TEI from IML file. Peter Cockett Peter Cockett

Peter Cockett is an associate professor in the iArts (Integrated Arts) program at McMaster University. He is the co-editor, with Melinda Gough, of Engendering the Stage in the Age of Shakespeare and Beyond (University of Toronto Press, 2025) which publishes the findings of their 2018 Performance as Research (PaR) workshop at the Stratford Festival Lab. He is the general editor (performance), and technical co-ordinating editor of Queen’s Men Editions. His PaR directing credits include King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006), Clyomon and Clamydes (2010), and Three Ladies of London (2015) for the Shakespeare and the Queen’s Men project (SQM). The process behind the 2006 productions is documented in depth on the project website Performing the Queen’s Men. 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.

 Tracey El Hajj Tracey El Hajj

Junior Programmer 2019–2020. Research Associate 2020–2021. Tracey received her PhD from the Department of English at the University of Victoria in the field of Science and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019–2020 President’s Fellow in Research-Enriched Teaching at UVic, where she taught an advanced course on Artificial Intelligence and Everyday Life. Tracey was also a member of the Map of Early Modern London team, between 2018 and 2021. Between 2020 and 2021, she was a fellow in residence at the Praxis Studio for Comparative Media Studies, where she investigated the relationships between artificial intelligence, creativity, health, and justice. As of July 2021, Tracey has moved into the alt-ac world for a term position, while also teaching in the English Department at the University of Victoria.

 Mahayla Galliford Mahayla Galliford

Project Manager, 2025-present; Assistant Project Manager, 2024-2025; Research Assistant, 2021-present. Mahayla Galliford (she/her) graduated from the University of Victoria with a BA (honours with distinction) in 2024, and an MA English in 2026. Mahayla’s undergraduate research explored early modern stage directions and civic water pageantry. Her SSHRC-funded MA thesis project focuses on transcribing, editing, and encoding early modern girls’ manuscripts, specifically Lady Rachel Fane’s May Masque in collaboration with LEMDO.

 Andrew Griffin 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.

 Martin Holmes Martin Holmes

Martin Holmes has worked as a developer in the UVic’s 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 Navarra Houldin

Training and Documentation Lead 2025–present. LEMDO project manager 2022–2025. Textual remediator 2021–present. Navarra Houldin (they/them) completed their BA with a major in history and minor in Spanish at the University of Victoria in 2022. Their primary research was on gender and sexuality in early modern Europe and Latin America. They are continuing their education through an MA program in Gender and Social Justice Studies at the University of Alberta where they will specialize in Digital Humanities.

 Janelle Jenstad 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 Beatrice 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.

 Kirk Melnikoff 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.

 Helen Ostovich 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 Queen’s 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.

 Zach Sedgman Zach Sedgman

Remediator and Encoder, 2025-present. Zach Sedgman completed his BA (hons) in English at the University of Toronto in 2025 and is now an MA student at the University of Victoria. His research focuses on Early Modern Literature (specifically Shakespeare, Milton, and John Donne).

Kim Shortreed Kim Shortreed

Kim is a PhD Candidate in Media Studies and Digital Humanities, through UVic’s 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 project’s content and encoding practices. Part of Kim’s 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.

 Joey Takeda Joey Takeda

Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he assumed in 2020 after three years as the Lead Developer on LEMDO.

 Nicole Vatcher Nicole Vatcher NV

Technical Documentation Writer, 2020–2022. Nicole Vatcher completed her BA (Hons.) in English at the University of Victoria in 2021. Her primary research focus was women’s writing in the modernist period.

 Robert Greene Robert Greene Allott, Robert. Englands Parnassus: or the choysest flowers of our moderne poets. London: Nicholas Ling, Cuthbert Burby, and Thomas Hayes, 1600. STC 379. ESTC S1431. The lamentable tragedie of Locrine. London: Thomas Creede, 1595. STC 21528. ESTC S106301. DEEP 210. The lamentable and true tragedie of M. Arden of Feuersham in Kent. London: Edward White, 1592. STC 733. ESTC S106279. DEEP 142. The life and death of Iacke Straw, a notable rebell in England. London: Thomas Pavier, 1604. STC 23357. ESTC S111291. DEEP 167. A most pleasant comedie of Mucedorus. London: William Jones, 1598. STC 18230. ESTC S106305. DEEP 258. The first part of the tragicall raigne of Selimus, sometime Emperour of the Turkes, and grandfather to him that now raigneth. London: Thomas Creede, 1594. STC 12310a. ESTC S124196. DEEP 203. Greene, Robert. The honorable historie of frier Bacon, and frier Bongay. London: Edward White, 1594. STC 12267. ESTC S105968. DEEP 185. Queen’s Men Editions. The True Tragedie of Richard the third: Wherein is showne the death of Edward the fourth, with the smothering of the two yoong Princes in the Tower: With a lamentable ende of Shore’s wife, an example for all wicked women. And lastly, the coniunction and ioyning of the two noble Houses, Lancaster and Yorke. As it was playd by the Queenes Maiesties Players. London: Thomas Creede, 1594. STC 21009. ESTC S111104. Ashton, Peter. A shorte treatise vpon the Turkes chronicles. London: Edward Whitechurch, 1546. STC 11899. ESTC S103126. Bang, Willy, ed. The Tragical Reign of Selimus. Malone Society Reprints, 1908. Cambini, Andrea. Two very notable commentaries the one of the originall of the Turcks and Empire of the house of Ottomanno. Trans. John Shute. London: Humphrey Toye, 1562. STC 4470. ESTC S107293. Chapman, George. The tragedy of Alphonsus Emperour of Germany. London: Humphrey Moseley, 1654. Wing C1952. ESTC R19355. DEEP 1086. Çipa, H. Erdem. The Making of Selim: Succession, Legitimacy, and Memory in the Early Modern Ottoman World. Bloomington, IN: Indiana University Press, 2017. Dessen, Alan C., and Leslie Thomson. A Dictionary of Stage Directions in English Drama, 1580–1642. Cambridge University Press, 1999. WSB aaa585. Dimmock, Matthew. New Turkes: Dramatizing Islam and the Ottomans in Early Modern England. London: Routledge, 2005. WSB aaq206. Greene, Robert. The Scottish historie of Iames the fourth. London: Thomas Creede, 1598. STC 12308. ESTC S105810. DEEP 255. Greene, Robert, and Thomas Lodge. A looking glasse for London and England. London: Thomas Creede, 1594. STC 16679. ESTC S109578. DEEP 174. Greene, Robert. The historie of Orlando Furioso. London: Cuthbert Burby, 1594. STC 12265. ESTC S105966. DEEP 189. Grosart, A.B., ed., The First Part of the Tragical Reign of Selimus. The Life and Complete Works in Prose and Verse of Robert Greene. Vol. 14. New York: Russell & Russell, 1881–1886. 189–291. Grosart, A.B., ed., The Tragical Reign of Selimus. London: J.M. Dent, 1898. Hopkinson, A.F., ed. The Tragical Reign of Selimus Sometime Emperor of the Turks. London: M.E. Sims & Co., 1916. Jacquot, Jean. Ralegh’s <title level="a">Hellish Verses and the Tragicall Raigne of Selimus. Modern Language Review 48:1 (1953): 1–9. Kyd, Thomas. The Spanish tragedie. London: Edward White, 1592. STC 15086. ESTC S120308. DEEP 150. Kyd, Thomas. Cornelia. London: Nicholas Ling and John Busby, 1549. STC 11622. ESTC S105698. DEEP 169. Marlowe, Christopher. Tamburlaine the Great. London: Richard Jones, 1590. STC 17425. ESTC S122101. DEEP 5017. Marlowe, Christopher. The Tragedie of Dido Queene of Carthage. London: Thomas Woodcocke, 1594. STC 17441. ESTC S109880. DEEP 196. Marlowe, Christopher. The troublesome raigne and lamentable death of Edward the second. London: Robert Robinson, 1594. STC 17437. ESTC S120996. DEEP 197. Marlowe, Christopher. The Massacre at Paris. London: Edward White, 1594. STC 17423. ESTC S109865. DEEP 207. Marlowe, Christopher. The tragicall history of D. Faustus. London: Valentine Simmes, 1604. STC 17429. ESTC S120173. DEEP 369. OED: The Oxford English Dictionary. 2nd ed. Oxford University Press, 1989. Peele, George. The loue of King Dauid and fair Bethsabe. London: Adam Islip, 1599. STC 19540. ESTC S110364. DEEP 280. Riad, Nadia Mohamed. A Critical Old-Spelling Edition of The Tragicall Raigne of Selimus. Queen’s University. PhD dissertation, 1994. Shakespeare, William. The First part of the Contention betwixt the two famous Houses of Yorke and Lancaster. London: Thomas Millington, 1594. STC 26099. ESTC S105347. DEEP 179. Shakespeare, William. The most lamentable Romaine tragedie of Titus Andronicus. London: John Danter, 1594. STC 22328. ESTC S106004. DEEP 171. Shakespeare, William. The true Tragedie of Richard Duke of Yorke, and the death of good King Henrie the Sixt, with the whole contention betweene the two Houses Lancaster and Yorke. London: Thomas Millington, 1595. STC 21006. ESTC S102944. DEEP 212. Vitkus, Daniel. Turning Turk: English Theater and the Multicultural Mediterranean, 1570–1630. Palgrave Macmillan, 2003. WSB aal194. Vitkus, Daniel J., ed. Three Turk Plays from Early Modern England. Columbia University Press, 2000. Whetstone, George. The English myrror. A regard wherein al estates may behold the conquests of enuy. London: George Seton, 1586. STC 25336. ESTC S126805. LEMDO Team 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. University of Victoria https://www.uvic.ca/ Queen’s Men Editions QME

The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text; until 2026); and Janelle Jenstad, General Editor (Text; 2026–)

 implacable unplacable unplacable unplacable unplacable unplacable —would I had ne’re begun— , would I had nere begunne —would I had ne’re begun! —would I had ne’re begun! —would I had nere begunne— spirit spright spright spright spright spright Did take Tooke Take Took Took Tooke In losing Alemshae poor, I In leesing Alemshae poore, I In leesing Alemshae, poor I In losing Alemshae, poor I In losing Alemshae, poor I In leesing Alemshae, poore Selim Selmi Selim Selim Selim Selim hearts hart heart heart heart hart Enter again [Mustaffa, Cherseoli, and the Janissaries]. Enters againe. [Mustaffa, Cherseoli, and the Janissaries] enter again. Re-enter Mustapha, Cherseoli, and the Janissaries Enters again. past passed passed past guide guide gird gird rebel rebell rebellious rebel Sound within. Sound [a trumpet] within. Sound within. Sound within. To which Into which Into which Into which Into Into which Selim’s Selimus Selimus’ Selimus’ Selimus’ Selimus when when where where where Perhaps, my Lord, Selimus Perhaps my Lord Selimus Perhaps my Lord Selimus Perhaps, my lord Selimus Perhaps my Lord Selimus Sound within. Sound [trumpets] within. Sound within. Sound within. Sound within. him it him it it it Occasion occasion Occasion Occasion occasion I, like a lion, look not worth a leek, I like a Lions looke not worth a leeke, Aye, like a lion’s look—not worth a leek— I like a lion’s look—not worth a leek— I like a lion’s look—not worth a leek, I like a Lions looke not worth a leeke, guard gard guard guard gard Then euery man of his owne dition was, Then every one his owne director was, Then every man of his own dition was, Then every man of his own dition was, Then euery man of his own dition was, share shore share share share share entred dared entered entered entered entred There needed them no iudge nor yet no law / Nor any King of whom to stand in awe. they neided then nothing of whom to stand in awe There needed them no judge, nor yet no law, / Nor any king of whom to stand in awe. There needed then no judge, nor yet no law, / Nor any king of whom to stand in awe: There needed then no judge, nor yet no law, / Nor any King of whom to stand in awe: There needed them no judge, nor yet no law, / Nor any king of whom to stand in awe. vnknowne uncouthe unknown unknown unknown vnknowne warray array worry warray array array Did then to set possessours first obey did yeld themselves and likewise did obey Did then to set possessors first obey. Did then to set possessors first obey. Did then to set possessors first obey. Did then to set possessours first obey, Then they estblisht lawes and holy rites, / To maintaine peace, and gouerne bloodie fights. did yeld themselves and likewise did obey / and with a common muttering discontent / gave that to tyme which tyme cannot prevent. Then they established laws and holy rites / To maintain peace and govern bloody fights. Then they established laws and holy rites, / To maintain peace, and govern bloody fights. Then they established laws and holy rites, / To maintain peace, and govern bloody fights. Then they establisht lawes and holy rites, / To maintaine peace, and gouerne bloodie fights. And gan of paines, and faind rewards to tell, and gaine of paines and fair rewardes to tell And ’gan of pains and feigned rewards to tell: And ’gan of pains, and feigned rewards to tell: And ’gan of pains, and feign’d rewards, to tell: And gan of paines, and faind rewards, to tell. were just mere were meere were mere were mere were mere were mere were meere religious religions religious religious religious religious religious bauble bable fable fable bauble bable lyke loue love loue like love love loue heauenly noble heavenly heavenly heavenly heauenly glorious ritch glorious glorious glorious glorious That hath no bounds which is not knowne That hath no bounds That hath no bounds That hath no bounds That hath no bounds Of actions tearmed by vs good or ill: as affections termeth us be it good or ill Of actions, termed by us good or ill: Of actions, termed by us good or ill: Of actions, term’d by us good or ill: Of actions, tearmd by vs good or ill: others other other others other Parricides paradice parricides parricides parricides Parricides as [have] the best as the rest even as the best as have the best as [have] the best as [haue] the best Death’s … Night deaths … night deathes … night Death’s … Night Death’s … Night deaths … night man soule man man man man snatch fetch snatch snatch snatch snatch vnmanured unmaturèd unmanured unmanurèd vnmatured No no Now No, no! No No, no! No no leaue leane on leave lean on leave leaue leave but [the] nettes but nettes but the nets but [as] nets but [the] nets [Aside] spirit spright sprite spright spright spright steeped sleept steeped steep’d steept him them him him him runnag[at]es runnages runagates runnagates runnagates Cherseo[li], go Cherseo. Go Cherseoli, go Cherseoli, go Cherseoli, go Cherseoli, go Cherseoli, go fetched fet fet fet fet fet Acomat and Corcut Corcut and Acomat Corcut and Acomat Corcut, and Acomat Corcut, and Acomat Corcut and Acomat light steeds steeds light steeds light steeds light steeds to reaue to rive to reave to reave to reaue thy the the the the West East East east East East while whilst whilst whilst whilst sword [and shield] sword sword and shield sword and shield sword (and shield) sonne sonnes son sonne son sonne son auctor author author author author author Alarum. [Enter Mustaffa and Selimus at diverse doors.] Mustaffa beat[s] Selimus in, then Ottrante and Cherseoli enter at diverse doors. Alarum, Mustaffa beate Selimus in, then Ottrante and Cherseoli enter at diuerse doores Alarum. Mustaffa beats Selimus in, then Ottrante and Cherseoli enter at diverse doors. Alarums. Mustapha beats Selimus in. Ottrante and Cherseoli enter at divers doors. Alarum. Mustaffa beats Selimus in, Ottrante and Cherseoli enter at divers doors. Alarum. Mustaffa beats Selimus in, then Ottrante and Cherseolienter at diuerse doores. This sword, ne’er drunk This swoord nere drunke This sword here, drunk this swoord here, drunke This sword here, drunk This swoord here drunke This sword here, drunk This sword here, drunke tower Tour tour tower Tour dulcet dullest dulcet dulcet dulcet now low now now now now now for long enough long inough long enough long enough long enough long inough What lets me from this vain slumber rising What lets me then from this vaine slumber rise What lets me, then? From this vain slumber rising What let me then from this vain slumber rising What lets me then from this vaine slumber rise arts arts arts parts arts arts obedience disobedience disobedience disobedience [dis]obedience [dis]obedience But By But But But But But But in the green and unripe blade is pent But in the green and unripe blade is pent; But in the green and unripe blade is pent; But in the greene and vnripe blade is pent; [Aside] Advise thee, Acomat Aduise thee Acomat Advise thee, Acomat Advise thee, Acomat Advise thee, Acomat Aduise thee Acomat will wile wile wile wile [wile] a timely timely timely timely timely timely premunition premonition premunition premunition premunition he will think he thinke he’ll think he thinke he’ll think he’ll he’[ll] think He’[ll] thinke insolence insolentnesse Insolentness insolentness insolentness insolentnesse assay essay assay assay assay f[e]are fare fear feare fear fear fear so many many many many many many lest least lest lest least that that that the that that did suck sucked sucked sucked suckèd sucked vilely vildly vildly vildly vildly vildly unreasonable unreasonables unreasonablest unreasonablest unreasonablest vnreasonablest [a]gainst gainst against against against Selim’s Selimus Selimus’ Selimus’ Selimus’ Selimus Selim Selimus Selimus Selimus Selimus Selimus Empire empery empery empery Empir[i]e Empire empery empery empery Empir[i]e peere[s] peere peers peeres peers peeres peers and speakes the rest to himselfe. and speaks to himself [while Mustaffa reads]. and speaks aside. and speaks the rest to himself. and speakes the rest to himselfe Sound. [Enter] a messenger from Corcut. Sound. A Messenger from Corcut. Sound [trumpets]. A Messenger from Corcut [arrives]. Sound within. Enter a Messenger from Corcut. Sound. A messenger from Corcut. Sound. A Messenger from Corcut But Corcut, mind free But Corcuts mind free But Corcut’s mind, free But Corcut’s mind free But Corcut’s mind, free But Corcuts mind Aside sailing without the stars Sayling without starres sailing without stars’ sight sailing without stars’ [light] sailing without stars’ [sight] sayling without starres [sight] betwixt between between between between realme raigne realm realm realm great puissance puissance puissance puissance puissance puissance Ay, and perchance I and perchance Ay, and perchance Ay, and perchance I, and perchance lords Lord lords Lords lords Lords Lords and then rent[s it.] and then renting it say: and then [tears it up]. and then rending it, say; and then rending it say: and then renting it say: crown? crown, crown? crown; crowne; henceforth be be henceforth be henceforth be henceforth be henceforth subiect [vn]to subiect to subject onto subject[ed] to subject unto subject [un]to Soldiers the souldiers the Soldiers the soldiers the souldiers [Enter] all [to] a parley, Mahomet, Beylerbey, and soldiers on the walls. All. A parley Mahomet, Belierbey, and souldiers on the walles. [They] all [hold] a parley. Mahomet, Beylerbey, and Soldiers [appear above] on the walls [of the city. A Parley. Mahomet, Belierbey, and Soldiers [appear] on the walls. All. A parley. Mahomet, Belierbey, and soldiers on the walls. All. A parley. Mahomet, Belierbey, and souldiers on the walles. e’en euen even even even euen kin kinsman kinsman kinsman kinsman kinsman Why, I am thy nephew; doest thou frown? Why for I am thy nephew doest thou frowne? Why, for I am thy nephew dost thou frown? Why, for I am thy nephew, dost thou frown? Why, for I am thy nephew, dost thou frown? Why, for I am thy nephew doest thou frowne? his thy his his his his his Acomat Mahomet Acomat Acomat Acomat Acomat Acomat [They] scale the walls. [Exit all above. Re]enter Scale the walles. Enter [They] scale the walls. Enter They scale the walls, and exeunt Scale the walls. Enter Scale the walles. Enter captaine captive captain captain captiue kin a kin a kin akin akin a kin Mustaffa, [Aga,] and the Janissaries. Mustaffa, and the Ianissaries. Mustaffa, and the janissaries. Mustapha, and the Janissaries. Mustaffa, and Janissaries. Mustaffa, and the Ianissaries Natolia? Natolia! Natolia; Natolia, Natolia ayrie airy airy airy ayrie Zonara, [lucklesse maid] Zonara, Zonara, luckless maid Zonara, Zonara [luckless maid] swoon sownd swound swoon sownd and [then] recovers. and being recouered say: [He recovers and then speaks.] and being recovered say. and being recouered say. prevented preuentedst preventedst preventedst preventedst preuentedst nephews’ nephews nephew’s nephews’ nephews doth stand before, ready to strike. stands before readie to strike. stands before, ready to strike. stands before [me] ready to strike. stands before ready for to strike stands before readie for to strike. Taenarus Tartarus Taenarus Taenarus Taenarus induce endue endure endure endure endure endu[r]e his thy his thy his his his perceant piersant piercant piersant piersant piersant murdring murthring murth’ring murd’ring murthring Just sent Sent Sent Sent Sent Sent Wonders why your Grace, whom he loved so much Wonders your grace whom he did loue so much Wonders your grace whom he did love so much Wonders your grace, whom he did love so much, Wonders your Grace whom he did love so much Wonders your grace whom he did loue so much, Honor’s honours honor’s owners earer’s earers earers’ earers with his teeth with my teeth with my teeth with my teeth with my teeth with my teeth color his strong hands colour my strong hands color my strong hands colour my strong hands colour my strong hands colour my strong hands did hear heard heard heard heard heard [Acomat] pulls out his eyes. Puls out his eyes. Pulls out his eyes. Pulls out his eyes. Puls out his eyes. [Acomat] opens [Aga’s] bosom Opens his bosome Opens his bosom Opens his bosom Opens his bosome raine ruine rain runne run run runne Pull Puld Pulled Pull Pull Those sends he to the Those sends he to thee, These sends he to the Those sends he to the These sends he to the so [to] cut so cut so to cut so [to] cut so to cut so [to] cut [Tis] that That ’Tis that [And] that [’Tis] that the thing that I the thing I the thing that I the thing that I the thing that I Aside aside [Aside [Aside [Aside] Exit Exeunt Exeunt both [Exeunt [Exeunt both Exeunt both Offer to me Offer me Offers me Offers me Offers me Offers me When Then When When Then Then Then that that that the that that he’s he is he is he is he is he is fetch [here] fetch fetch here fetch fetch [here] necromancy Negromancie negromancy negromancy Negromancy Negromancie And hearest thou, Hali? Do strangle him. And hear’st thou, Hali? strangle him. And hear’st thou, Hali? Strangle him. And, hearest thou, Hali?—strangle him. And hear’st thou, Hali? strangle him. And hear’st thou Hali? Strangle him. As to your As your As your As your As your they’re th’are Th’are th’are th’are I’ll make I take I take I take I take I take in a cage in cage in a cage in a cage in a cage in a cage than I am now. then I am then I am now than I am then I am now than I am then I am great scourge scourge scourge scourge scourge scourge And cruel wrath; within me rage is rife. And cruell wrath within me rages rife. And cruel wrath within me raging rise And cruell wrath within me rages rife And cruel wrath within me raging rife. And cruell wrath within me raging rife. And cruel wrath within me raging rife. And cruell wrath within me raging rife. It shall soon be wracked on sandy shallows. Shall soone be wrackt vpon the sandie shallowes. Shall soon be wracked upon the sandy shallows. Shall soon be wrecked upon the sandy shallows. Shall soon be wrecked upon the sandy shallows. Shall soone be wrackt vpon the sandie shallowes. lead … stirreth leaud … stirreth lewd … steereth lewd … stirreth lewd … steereth lewd … stirreth [lewd] … stirreth vails the sea vales the sea vails the seas vales the seas rules the seas rules the sea rules the seas rules the seas thrillant chrillant thrillant thrillant thrillant thrillant thrillant steepe sleepe steep steepe steep steepe steep For who art thou And who art thou For who art thou And who art thou And who art thou And who art thou [Aside. [aside] [Aside. ? ! : : ! must may must must must did it behold did behold did behold did behold did behold did behold an and and and and and fro from from from fro our out, our our our cammock cramuk crammock cramuk cramuk cramuk Who gape And gape To gape And gape To gape And gape And gape companie[s] companie company companies companies should have befell me should haue befell to me should have befell to me should have befel to me should have befel to me should haue befell to me Selims Selimus’ Selim’s Selim’s Selims than then then than then ’tence tence tense ’tence tence [aside] famines samines ’samines zamines ’samines samines an it please you and it please you and it please you and it please you and it please you and it please you Baiazet Mustaffa Bajazet Bajazet Bajazet Baiazet Bajazet aside [Aside] Why thus Why thus Why, thus Why, thus Why, thus I made of him away I made him away that I made him away I made him away I made him away I made him away mortuary. mortarie. (To himselfe mortuary mortuary. [To himself mort[u]arie. / To himselfe. indeed. [Selimus speaks] to the corses. indeed. To the courses. in deed. [Aside. [To the corses. indeed. [To the corses. indeed. To the courses. [Bajazeth placed in] Suppose Suppose [Suppose] Suppose And didst thou die And diedst And diedst And diedst And diedst And diedst Mounteth highest heaven Mounteth to highest heauen Mounteth to highest heaven Mounteth to highest heaven Mounteth to highest heaven Mounteth to highest heauen due to so to so due to so due to so due to so sorrow’st sorrowest sorrowest sorrowest sorrowest since it must be so since it is must be so since it must be so since it must be so since it must be so since it must be so from to to to to to Tiburne Tiburne tribune Tyburn Tyburn can. Hereafter, I’ll can hereafter, Ile can, hereafter, Ile can; hereafter I’ll can hereafter, I’ll can hereafter, Ile Sound within. Sound [trumpet] within. Sound within. Sound within. Sound within. flocke stock flock flock flocke slandring slandering slandering slandering slandring Ay, Nay Nay, Nay, Nay, Nay please ’pease please appease pease please please seems seeme seem seem seeme But it is But is It is but But is ’Tis It is It is [Selimus] strangles him. (Strangles him. [They] strangle him. They strangle him. Strangles him. Strangles him. souls soul souls souls soule all save [Mustaffa and a Janissary]. saue one. save one. except one. all save one. all saue one. at a rest at rest at rest at rest at rest at rest do put them put them put them put them put them Exitone to Exit one [janissary, going] to Exit one to Exit one to Exit one to [and a] messenger. the messenger. Messenger and the Messenger. the messenger. the messenger. did move them moued them moved them moved them movèd them moued them him them him him him them them abye abie abuy aby aby abie lessen lesson lessen lessen lesson Janissars do mourn Ianizars mourne janissaries mourn Janissaries mourn janissaries mourn Ianizar[ie]s mourne after liue after-live live after live after liue after her! [Sinam strangles her.] her. her. her: her. into in into into into the thee thee thee the[e] A parley: [the Q]ueen of Amasya and her soldiers on the walls. A parley: Queene of Amasia, and her souldiers on the walles. [Selimus’ men sound] a parley. The queen of Amasia and her Soldiers [appear] on the walls. A parley. The Queen of Amasia and Soldiers appear on the walls. A parley: Queen of Amasia and soldiers on the walls. A parley: Queene of Amasia, and her souldiers on the walles. your robberies robberies robberies robberies robberies robberies of all thy dearest friends, of thy dearest friends: of thy dearest friend! of thy dearest friend; of all thy dearest friend; of thy dearest friend: Alarum[. Selimus] beats them off the walls. Alarum. [Exeunt]. Allarum, beats them off the walles. Allarum. Alarum. [Selimus] beats them off the walls. [Exeunt.] Alarum. [Alarum. Beats them off the walls. Exeunt. [Alarum, beats them off the walls. Alarum. Allarum, beats them off the walles. Allarum. though [you] brau’d vs though brau’d vs though you braved us though [you] braved us though you brav’d vs though [you] brav’d us steer stir steer stir stir stir more.[Hali strangles her. more. more. more. more since sith sith sith sith sith sought fought sought sought sought that resolv’st resolvest that resoluest that resolvest that resolvest that resoluest Alarum. Tonombey beats Hali [Bassa] and Cali [Bassa] in. Selimus beats Tonombey in. Alarum. [Reenter] Tonombey. [Exeunt all but Tonombey.] Allarum, Tonombey beates Haliand Cali in. Selimbeats Tonombeyin. Allarum, Exit Tonombey. Alarum. They fight. Tonombey beats Hali Bassa and Cali Bassa in. Selimus beats Tonombey in. Alarum. [Enter] Tonombey. [Alarum. Tonombey beats Hali and Cali in. Selimus beats Tonombey in. Re-enter Tonombey Allarum. Tonombey beates Hali and Cali in. Selim beats Tonombey in. Allarum, Enter Tonombey. Alarum. Tonombey beats Hali and Cali in. Selim beats Tonombey in. Alarum. Enter Tonombey. Allarum. Tonombey beates Hali and Cali in. Selim beates Tonombey in. Allarum. Enter Tonombey. their swords their swords their swords his sword their swords their swords occision occasion occasion occasion occision raving raving ravning ravening rav’ning rau[n]ing rev’rence reuerence reverence reverence reverence reuerence him. [Sinam Bassa strangles Acomat.] him. him: him. [Strangles him. him: him: monster-garden monster-guarded monster-garded monster-guarded monster-guarded, possibly monster-guarden monster-guarded monster-[garded] sweltring soultring soultring soultering soultring soultring lifted ungracious hands lifted his vngratious hands lifted his ungracious hands lifted his ungracious hands lifted his ungracious hands lifted his vngracious hands greatly gently greatly gently gently gently gently his their his his his his his Giving And give And give And give And give And giue Prologue Speaking Prologue characters can be found in a number of plays from the period. See, for example, the beginning of The True Tragedy of Richard III and David and Bethsabe. No … reward. These fourteen lines constitute a sonnet rhymed ababbcbcdedeff, like the prologue in Romeo and Juliet. No … view Compare with the prologue in The Three Ladies of London and in 1 Tamburlaine: From iygging vaines of riming mother wits, / And such conceits as clownage keepes in pay, / Weele lead you to the stately tent of War (A3r). toy a foolish idle tale (OED n.3) forgèd fabricated, made up (OED adj.3) last age the early sixteenth century character imprint, reproduce implacable not appeasable obstant lets opposing barriers Bajazeth Bajazeth refers to the historical Bayezid II, Ottoman Emperor ruling from 1481 to 1512. He was the eldest son of Mehmed II. The form here of Bajazeth, as opposed to Bajazet in other modern editions, is taken from Marlowe’s Tamburlaine plays, first published by Richard Jones in 1590. Janissaries The first standing army in Europe, the Janissaries were elite infantry troops conscripted to serve the household of the Ottoman Emperor. Established in the mid 14th century, they were a formidable force, often wielding significant political power. Exeunt all but Bajazeth As McMillin and MacLean point out, the exit of such a large group immediately after its entrance underscores the symbolic importance of this procession. So … are. These lines are organized into a sestain stanza rhyming ababcc. So … breast Compare to Shute where Bajazeth’s ruminations are mainly sparked by premonitions of his own mortality (N1v). unrip open, unseal descry describe regiment rule or governance (OED adj.1) Why … evermore. These lines are the first instance in the play of ottava rima (abababacc), a verse stanza form associated in England with the epic poetry of Boccaccio, Ariosto, and Tasso. The rest of Bajazeth’s speech () along with much of the rest of the scene is divided into this heightened language. scruple doubt, hesitation make extent make an assessment (as property) northern bears the northern constellations of Ursa Major and Ursa Minor mantle loose sleeveless cloak (OED n.) cark burden of responsibility (OED n.) bark small sailing vessel He knows … thing. In 1600, the booksellers Nicholas Ling, Cuthbert Burby, and Thomas Hayes published an octavo edition of Robert Allott’s England’s Parnassus, an extensive collection of quotations from the drama and poetry of the time. This and five other passages are taken from Selimus; each is ascribed to Robert Greene. Compare with the version of these lines in England’s Parnassus: He knowes not what it is to be a King, / That thinkes a Scepter is a pleasant thing (L7r). Latona’s son Apollo, son of Jupiter (Zeus) and god of the sun. His mother, Latona, is goddess of the moon. Bajazeth has been Ottoman Emperor for thirty years. Compare with 1 Tamburlaine: Or as Latonas daughter bent to armes, / Adding more courage to my conquering mind (F2r). Twice fifteen … Since I began It has been 30 years since I became emperor. It is 1511. Bayezid II became Ottoman emperor in May 1481. Cynthia Greek personifying name for the moon goddess adamant incredibly hard rock The Persian Sophy, mighty Ismael A title for the supreme ruler of Persia. The next seven lines closely follow Ashton F7v-8v. Mighty Ismael refers to the Persian Emperor Ismael Safi, ruler of what was a new, eponymous Safavid state, who rose to power at the end of the fifteenth century as a teenager and ruled until 1524. Ismael was an active supporter of the minority Shia branch of Islam in opposition to the Ottoman’s Sunni branch. Historically, Bayezid II had sympathy with Ismael’s more mystical brand of Islam, even while Selim waged constant battles with Ismael from his adjoining province of Trabzon (i.e. Trebisond). According to Çipa, these campaigns made Selim a hero among the common people and soldiers alike (Çipa 36–37). At the same time, Ahmed (i.e. Acomat in the play) saw Selim’s actions as insubordination in the face of his more nonconfrontational father, and he used these to gradually turn Bayezid II against Selim. Did take the Levant clean away from me The Levant is a region of the Eastern Mediterranean that today together consists of Syria, Lebanon, Jordan, Israel, and Palestine. Bajazeth here alludes to the early-sixteenth-century rise of Ismael as leader of the new Safavid state. Ashton describes Ismael’s early successful military encroachments upon the Levant beginning in a short section dedicated to Ismael (Ashton H8v-I1r). Did take Metrically, the addition of Did regularizes the pentameter line. Caraguis Bassa Caraguis Bassa here refers to Goragnes Bassa, the Ottoman commander and governor of Karaman, a city in south central Turkey. It is from Ashton that the play derives Bajazeth’s description of Ismael’s defeat and execution of Caraguis Bassa (Ashton G3r-v). Hali Bassa Hali Bassa here refers to the Turkish statesman and commander Hadim Ali Pasha; he is the father of the play’s Hali Bassa. Hadim Ali Pasha was a strong supporter of Ahmed, and he died in 1511 while leading a force against a Shia uprising inspired by Ismael’s religious teachings. Charactering stamping Ramirchan Vitkus (144) has suggested that Ramirchan might refer to Ramazan-oghlu, a Turkoman leader. Tatarian (of the Tatars) nomadic horsemen-warriors supporting Selimus (Vitkus 144) hapless unlucky and there … slain This account of the death of Bayezid II’s eldest son is neither in Ashton, Shute, nor Whetstone. As it contains over a dozen references to Alemshae and his fate, the play may possibly be drawing from another unknown source. Well … grave The equation of death with rest is very much a Senecan sentiment. The play regularly shows the influence of Seneca both in its philosophizing about politics and violence and in the affective registers of its main characters. See, for example, , , , and below. The Christian … peace Bayezid II signed a peace treaty with the Hungarians in 1495, this after losing campaigns and territory in Belgrade, Transylvania, and Croatia (Riad 95). He also suffered setbacks against Venetian forces during his sultanship. As Dimmock has pointed out (Dimmock 171), though, Bajazeth’s lament about his losses to Christian forces is greatly overstated here. assays trials victorious father Mehmet II (i.e. Mehmet the Conqueror) who ruled from 1444 to 1446 and then from 1451 to 1481. Throughout his reigns, Mehmet II led a series of successful campaigns against Christian forces, including the defeat of Byzantium (then renamed Istanbul) and the Byzantine Empire in 1453. uncontrollèd undisputed (OED adj.3). garrisons body of soldiers positioned for defensive purposes die singular form of dice Corcut … laws These descriptions of Corcut and Acomat closely follow Ashton G5r-v, I4v-I5r. In Shute, Ahmed is described as a man of no trauayle nor vnderstandinge of the warres (Ashton O2v). Historically, Korkud (i.e. Corcut in the play) was in fact an active Ottoman general like his brothers, leading a number of military campaigns for his father. Selim Metrically, the shortened form of the name is preferable. Magnesia southeastern area of the Thessaly region in central Greece Mahound’s Mahomet’s (Muhammed’s). Mahound’s dreaded laws refers to the strictly observed religious beliefs and practices of Islam. Acomat … pause Historically, Ahmed was in fact an active general like his brothers, leading a number of military campaigns before turning against his father. Compare with Ashton which describes Acomat as delighting more in ease & pleasure then in battaill (Ashton G5r). For I … Acomat In 1510, Bayezid II planned to abdicate in favor of Ahmed. The Janissaries … smart In Ashton, the Janissaries recoil from the quiet kynde of lyfe of Selimus’s brothers (Ashton G5v); whereas in Shute, Selimus actively wins the Janissaries over with liberalitie and actiuitie (Shute N2v). chivalry men-at-arms (OED n.1) Then … crown Compare with The True Tragedy of Richard III: Or ile make them hop without their crownes that denies me (B4r). runagate can refer to an apostate, a vagabond, or a deserter (OED n.1–3) bassas Turkish officers of high rank, as military commanders or provincial governors (OED n.1). Variously rendered as bashaws or pashas. law of nature love of family peers Members of a rank of hereditary nobility (OED n.4). This is not a term used to describe the Ottoman elite and thus, like the play’s use of seigniory, betrays a particularly English perspective on the play’s social hierarchy. tenebrious dark holt hold, as in the interior cavity of a ship of vessel occident the west steeds horses pulling the chariot of the sun, as often represented in Greek and Roman mythology against Persians’ tent the forces of Ismael, the Persian Sophy his Ismael’s, the Persian Sophy ruinate destroy, reduce to ruins great Nero’s fen low lying swampy area surrounding Rome, here being associated with the Roman Emperor Nero that first nourished them. It was proverbial that new-born snakes consumed their own mother after birth. Bajazeth frequently effeminizes himself in the play. It is ironic that he identifies himself here with the despot Nero. eld old age battellous warlike, bellicose, pugnacious (OED adj.) ’gins to prick begins to spur on Soldan supreme ruler of a Muslim state, often spelled sultan great Trebisond Trabzon, an empire running along the southeastern coast of the Black Sea. Historically, Bayezid II appointed Selimus governor of this distant province in 1487. The great distance between Trabzon and Istanbul strongly suggests that Bayezid II was trying to keep Selim from obtaining the Ottoman emperorship after he died. In 2 Tamburlaine, the King of Trebizon is a supporter of Callapine against Tamburlaine. Tatary An exonym for a region comprised of land that includes parts of what is now known as Siberia and northeastern China. Ashton recounts Selimus marrying the daughter of the Tatar king (Ashton G3v-G4r). Selim’s Metrically, the shortened form Selim's regularizes the pentameter line. he is a sea Compare with Titus Andronicus: I am the sea (3.1.233). To which Metrically, the shortened To which regularizes the pentameter line. luckless messenger a messenger not bringing luck Does Selim … of Tatary? Both Ashton and Whetstone mention this marriage (Ashton G4r, Whetstone E6r). Ramir Ramirchan. See . besprent besprinkle, connoting wastefulness (OED besprent, v.) misconsters misreads forward ardent, spirited, eager, zealous (OED adj.6c) reaches ploys complots designs of a covert nature (OED n.) Perhaps, my lord, Selimus It makes more sense that Mustaffa is addressing Bajazeth here with my lord than calling Selimus his lord. prologue beginning meditated calculated plaudity approval unacquainted with whom Bajazeth is unaquainted to whom … Trebisond, See n. recomfort sooth, console, or comfort (OED v.1) Now, Selimus, consider who thou art: As pointed out by many commentators, this long Machiavellian monologue and Selimus’s comments to his followers thereafter are reminiscent of a number of speeches in other professional plays of the period. Compare with Richard III’s opening soliloquy in Richard III, the Prologue in The Jew of Malta, and Tamburlaine’s sweet fruition of an earthly crown speech in 1 Tamburlaine B5v. In Shute, the machinations of Selimus come later, directly inspired by Acomat visiting with Bajazeth (Shute N2r). Aside This is the first of many unmarked asides in the play. Here, Selimus is directing this long speech to himself. As McMillin and MacLean point out, the large processional entrance here (and the soldiers) is used to signify Selimus’s power at this point. That the entrance is immediately followed by an aside underscores its symbolic importance. Selimus … thy desire Compare with Doctor Faustus’s opening soliloquy in Doctor Faustus, Barabas’s opening soliloquy in The Jew of Malta, the Guise’s soliloquy at the end of the second scene in The Massacre at Paris, and Richard III’s opening soliloquy in Richard III. Each of these long speeches launches the arc of a dominant and destructive tragic hero. Think … merit. These lines constitute the first instance in the play of rhyme royal (ababbcc). The rest of Selimus’s speech () is divided into stanzas of this rhyme scheme. to thee there is no worse reproach there is no worse reproof to be directed at him abroach flowing freely, as from a broached cask (OED adv.1) Mahound’s laws Muhammad’s laws, the tenets of Islam be locked up in their case Selimus here imagines that a copy (or copies) of the Quran can be locked up, presumably either by a binding clasp or in a trunk or a press (i.e. cupboard). Ophir an area referenced by the Old Testament as renowned for its gold He means to … give. See n. votaries people bound or devoted to religious lives (OED n.1) my forward mind Compare with David and Bethsabe: Error hath maskt your much too forward minds (Peele H1r). reck not of do not worry or care about And … catch overgone Occasion was sometimes personified as a woman with a lock of hair hanging down from the front of her forehead while otherwise bald; in order to catch her by the hair, you needed to act quickly before she passed you by (Vitkus 69). that virtue … mold. Selimus is reminded that some see virtue as being like a mirror by which one can both see one’s failings and fashion one’s self virtuously within it along the lines of ancient wisdom. Perhaps you think … prattling shade. After digging deep with learning’s wonder-working spade, Selimus’s imagined interlocutor now rests with him (the grave wizard) and prattles (talks foolishly or gossips) in the shadows. forsooth truly Avaunt an order to leave, here to leave such virtue-seeking glasses behind seigniory Lordship. This is a term often associated with feudalism and thus not one usually applied to the Ottoman empire. Faith In faith, truly bookish ordinance an authoritative moral decree derived from books stand on a sententious guard be armed with a tight argument (Riad 295) without far-fetched cicumstance Without hollow excuses. An almost identical version of the following lines (76–138) appeared in two 1603 manuscripts entitled Certaine hellish verses devysed by that Atheist and traitor Ralegh. They were likely recorded around the same time as Sir Walter Ralegh’s arrest for treason in July. Some have argued that these lines were derived from an original, now-lost poem by Ralegh, others that they were derived from the play and falsely attributed to Ralegh. Selimus’s articulation of a Golden Age myth here has been connected with similar passages in Hesiod’s Works and Days and to Ovid’s Metamorphoses. circled round, this building fair Earth. Also, circled round connotes an amphitheatre playhouse. dition rule, sway, jurisdiction, command (OED n.1) And everyone his life in peace did pass. This line is missing from the hellish verses of 1603. the share an allotted part or portion (OED n.3), property tantara a fanfare or fluorish of trumpets (OED n.) There needed them in awe. These lines have been condensed to they neided then nothing of whom to stand in awe in the hellish verses of 1603. unknown armor armor that was not yet known (a new phenomenon) Ninus Ninus is the mythical inventor of warfare as well as the founder of Nineveh (a city in Iraq near Mosul) and the Babylonian Empire. warray make war upon, ravage by war (OED n.1) Then they … bloody fights. These lines are missing from the hellish verses of 1603. In their stead are and with a common muttering discontent / gave that to tyme which tyme cannot prevent (Jacquot 1). vulgar common people gan began were just mere Metrically, the addition of just regularizes the pentameter line. bugbears imaginary terrors (OED n.) bauble a small ornament of little value like Though the meaning of Q1’s loue is here preferable, the like of the hellish verses rhymes with like and strike, thus regularizing the rhyme scheme of the rhyme royal. policy a strategem, a trick (OED n.3) others Selimus is thinking of a plurality here. parricides children who kill their fathers void deserted No more than him that dies in doing right. This line is missing from the hellish verses of 1603. snatch an unexpected and quick robbery (OED n.3d) uneath with difficulty (OED adv.1a). gout A very painful form of arthritis. In Ashton, Bajazeth is described as olde and unweldy, yea and gowtye also (Ashton G2r). unmanurèd wit uncultivated mind To draw out time, an unlooked for mutation. Garbled syntax here. Either this line translates to To draw out time because of an unlooked for mutation or To draw out time so long that an unlooked for mutation occurs. kiss his hands Ashton also has Selimus asking to kiss his father’s hand (Ashton G4v); in Shute, however, Selimus ends up kissing Bajazeth’s feet (Shute N2r). chivalry a body of men-at-arms (OED n.1a) seigniory The territory under the dominion of a lord (OED n.3). See n. Similarly, Ashton has Selim at this point assuring Bayezid II that he only comes with an army to request that he be given territories closer to the enemyes of Mahometans fayth (Ashton G4r). period time of negotiation with Bajazeth venture risk I’d dart … ground. Selimus promises to unleash his armies as so many lightning strikes. Compare with Locrine: How brauely this yoong Brittain, Albanact, / Darteth abroad the thunderbolts of warre, / Beating downe millions with his furious mood (Anonymous D4v). heartless cowardly school conditions prohibitions set by school theologians (Vitkus 73) Sisyphus King of Corinth who was punished by Zeus in Hades by forever having to push a boulder (stone) up a steep hill. At the top, it rolled back to the bottom, forcing him to roll it up again. Ixion’s Greek King who was punished by Zeus by being attached to a fiery wheel that was forever rolling. Like devils’ faces scored on painted posts Scored: drawn or carved. Painted devils could still be found within medieval churches, even after the Reformation. Or feignèd circles in our astrolabes Astrolabes were portable instruments used for making astronomical measurements (OED n.). Selimus may be suggesting here that the heavenly spheres (circles) that astrolabes measured were imaginary. But go we … attire. This is an example of what McMillan and MacLean describe as the Queen’s Men’s dramaturgical strategy of narrative overdetermination, Selimus here predicting the action of a scene to come. solace recreate (OED v.1) Enter Bajazeth, Mustaffa, Cherseoli, Occhiali, and the Janissaries. This scene takes place within the town of Andrianople in Northwest Turkey. See n. Even as … with me: Crocodiles were long thought to use tears and baby-like cries to draw in their prey. This is one of a number of epic similes (or extended metaphors) to be found in the play. The prevalence of such figurative language is reminiscent of David and Bethsabe. While Selimus is most often compared with the two Tamburlaine plays, the play has much in common with Peele’s biblical drama where Absalom, like Selimus and Acomat, rises up against his own father King David. Most commentators believe that Peele’s play was written a year or two before Selimus. Wanting lacking His haughty … to majesty. Compare with Orlando Furioso: A Scepter then comes tumbling in my thoughts. / My dreames are Princely, all of Diademes (Greene B3v). diadems crowns the Phoenix The phoenix was a mythological bird associated with the worship of the sun that, after living 500 years (five ages), collected aromatic plants and perfumes for its nest. It then burst into flames at its death and was reborn from its own ashes. In one tradition, it was reborn from its own ashes after its corpse was laid on a sun altar by Egyptian priests. Compare with England’s Parnassus: The Phaenix gazeth on the sunnes bright beames, / The Echinaeus swims against the streames (Allott Kk6v). echeneis Sucking fish. During the period, the echeneis was thought to have incredible strength, able to pull large ships. Here, in imagining that Selimus like this fish swims against the streams, Bajazeth is suggesting the power and rebelliousness of his son. His meaning … weakly stands his real intentions are barely perceptible in his words Syrtis boiling sands Two Mediterranean inlets in North Africa known for quicksand. hie go quickly (OED v.2) fawning showing servile deference, cringing, flattering (OED v.2) He craves … seigniory, Here, Ochiali delivers a slightly different message from what he was given by Selimus above. Historically in 1511, Selim requested governorship of a province in Rumelia (a territory in southeastern Europe consisting mostly of the Balkan Peninsula). This would have given Selim closer access to Istanbul. See n. scourge A person that is an instrument of divine chastisement (OED v.2). In Marlowe’s Tamburlaine plays, Tamburlaine is often called a scourge of god, by himself and by other characters. burning brands either a torch, a match or linstock (OED n.2), an iron instrument for making brands (OED n.5), or a sword or the blade of a sword (OED n.8) [Aside] The next two-dozen lines are self-directed speech. spare conserve antidotus Latin for antidote He that … his banks. With this image, Bajazeth accuses his son of destructive ambition. Compare with England’s Parnassus: He that will stop the brooke must then begin / When sommers heat hath dried vp the spring: / And when his pittering streames are low and thin, / For let the winter aid vnto them bring, / He growes to be of watry flouds the king: / And though you damme him vp with loftie rankes, / Yet he will quickly ouerflow his bankes (Allott E4r). pittring small, insignificant ranks Bajazeth here fashions a mixed metaphor, lofty ranks of soldiers attempting to damn up Selimus who, in this extended metaphor, is being imagined to be a river. Messenger the character Occhiali Samandria Territory surrounding the fortress city of Smederevo in Serbia. Historically, Bayezid II gave Selim a choice of governorships; Selim chose Samandria (Çipa 41). This gift frustrated Ahmed, as it was very close to Istanbul (Çipa 42). Ashton has Bayezid II at this point giving Selim Samandria (Ashton G4v); Bayezid II’s conferring of Samandria is not in Shute. Hungaria Latin for Hungary Cherseoli The 1594 quarto mistakenly prints this as a speech prefix. a royal present In Ashton, Bayezid II’s royall rewarde is great treasure, costlye apparell, horses, and seruantes (Ashton G4v). reck’ning consideration of a matter (OED v.4b) Adrianople City in Northwest Turkey now called Edirne Byzantium Constantinople, or now Istanbul take settle in celerity speed wingèd coursers swift footed horses Enter Selimus, Sinam [Bassa], Occhiali, Otrante, and their soldiers. Though Cherseoli is sent by Bajazeth with Occhiali to deliver a gift to Selimus in the previous scene (), he does not enter with Occhiali in this stage direction. Presumably, we are to assume that Cherseoli delivered the item off stage before this exchange. corsive substance that corrodes, a corrosive (OED v4b) Emperor Mahomet … with shame. Mahomet, i.e. Mehmet II, Bajazeth’s father. Mehmet II was defeated in 1456 at the Battle of Belgrade and forced to retreat. steer lead Polonian Polish person hurtling rushing in noisily (OED v.6). Here … again. See n. Basilius Vasili (Basil) III, czar of Russia, who ruled from 1479 until 1533. slave-born This was a common epithet directed at Russian people during the period. Termagant Perjorative Christian name for a Muslim god who was thought to be violent and overbearing. stop my mouth with gold or pearl silence (as a result of bribery) rusty jades from Barbaria old, decrepit horses from the Northeast (Barbary) coast of Africa Acomat and Corcut Parallelism here requires brothers be listed in this order. his bastards’ Acomat’s and Corcut’s Pegasus mythical winged flying horse Alarum within. According to Ashton (Ashton G5v-6r), Selim waylaid Bayezid II in Chiurlu (i.e. Corlu), a city in Northwest Turkey about 75 miles from Istanbul. In Shute, he attacked his father fifty miles outside of the capital (Shute N3r-v). Historians, however, disagree about whose forces were the first to engage the other (Çipa 50). Ottrante Ottrante is called a Tatarian in the following scene. He presumably joined Selimus after the marriage of Selimus. level aim at with a weapon (OED v.8a) Ramirchan For more on this figure, see n. those base … sword. For other references to Ottoman encounters with Christians, see , , , , , and , and , . Persians For an earlier reference to the Persians, see . polypus A polypus is a cephalopod having eight or ten tentacles (OED). Octopuses, a cephalopod with eight tentacles, have long been known for self-cannibalism. Titan Hyperion, the sun god enterprise thy journey from the West Embark on a journey back from the West (i.e. reverse course). The 1594 quarto has East, but as Hopkinson pointed out (105), this makes little sense. Bajazeth’s is calling on Titan to reverse the natural course of things just as Selimus is doing in trying to depose his father. For that … Corcut and Acomat. This is another garbled sentence. Selimus seems to be saying here that he would not have tried to kill his father because (For that) the attempt or result would have led to spight being directed at him from his brothers. Should sit … In spite the crown would sit in spite span a short space of time (OED n.4a) enterprise undertake or attempt (OED v.1) in piecemeal into separate pieces unkind unsympathetic, perhaps with a pun on kind (i.e. kin) suggesting unnatural thoughtst scorn scornfully thought prince’s due reward become emperor Prester John Mythical Christian King from Asia who was believed to have become the King of Ethiopia. The various accounts arise from popular collections of medieval romance, depicting Prester John as a descendant of the Three Magi. See Prester John. Compare with 2 Tamburlaine: And I haue martch’d along the riuer Nile / To Machda, where the mighty Christian Priest / Cal’d Iohn the great, sits in milk-white robe (Marlowe G2v). stripped … of his camp As Riad points out (119), this appears to be an anachronistic claim as the Ottomans’ defeat of the Egyptian Soldan did not occur until years after Selimus had become emperor (i.e. in 1516 and 1517). sword and shield Words appear to be missing from Q1. fearst fears that Selimus means to dispossess him of the crown unbridled not restrained or held in check (OED adj.1) Ah, bassas Ashton also describes Bayezid II eloquently addressing the Janissaries at this point (G6r). ought had to pay (money, goods, etc.); was under obligation to pay or render; owed (OED v.3a) Non timeo … auctor. I do not fear death: it is the cause of death that distresses me (Latin). Alarum … then Ottrante Q1 does not include an entrance stage direction for Mustaffa and Selimus. It stands to reason that they would enter through different doors, as Ottrante and Cherseoli do. Upon … my caitiff breast. Compare with 1 Tamburlaine: Behold my sword, what see you at the point? / / For there sits Death, there sits imperious Death (E3r). See . caitiff vile, base, mean, basely wicked (OED adj.3) Tiring exhaust through eating broke our ranks disrupted military formations ne’er drunk in the Tatarian blood that has never yet shed Tatarian blood Nay … on the plains. See . matched to encounter as an adversary, to fight (obselete) (OED v.3a) blindful mistress of mishap the goddess Fortune who was sometimes represented as blind and spinning a wheel that could randomly land on a good or bad fate Rhamnus’ golden gates An allusion to the town of Rhamnous in Greece where the sanctuary of Nemesis, a goddess of retribution, was located. Compare with Locrine (Rhamnus golden gate [C3r]) and 1 Tamburlaine (Rhamnis golden gates [B4v]). ever-turning wheel the wheel of Fortune Mars Roman god of war Termagant perjorative Christian name for a Muslim god who was thought to be violent and overbearing Minerva Roman goddess of wisdom and military strategy rend tear fain glad under the circumstances (OED adj.2) [the Janissaries a] … Cherseoli It stands to reason that the Janissaries would also enter at this point in order to celebrate their victory. Also, Cherseoli’s body would need to be removed at the end of scene 6 as Selimus does not refer to the body in scene 7. Q1 does not include a stage direction managing the removal. luckless fault of luckless in the absence of Chief captain of the Tatar’s mighty host. Compare with 1 Tamburlaine: valiant Theridamus, / The chiefest Captaine of Mycetes hoste (A3v). son i.e. Alemshae. See and above. sire father spoil strip The unrevengèd … fields. Alemshae’s initial fate as described by Bajazeth here is reminiscent of the wandering of Andrea at the beginning of The Spanish Tragedy. His resting in Elysian fields, equating death with relief, is very much a Senecan sentiment. Stygian banks In Greek mythology, these were the banks of the Styx, a river dividing earth from the underworld. Elysian fields In Greek mythology, this was the joyous realm of the blessed in the underworld. Constantine’s great tower A tower (or column) in Byzantium (i.e. Istanbul) built by Constantine in the fourth century to commemorate the city’s founding. Perhaps you Like Bajazeth’s and Selimus’s, Acomat’s first entrance is marked by his delivering a long speech. Unlike his father and brother, he speaks to his followers. dulcet sweet Hymen Greek goddess of marriage Bellona Roman goddess of war. Compare with 2 Tamburlaine: As if Bellona, Goddess of the war, / Threw naked swords and sulphur bals of fire, / Upon the heads of all our enemies (H2v). votary one bound by vows to a religious life (OED adj.1a) iron wall armor for long enough Metrically, the addition of for regularizes the pentameter line. surfeited indulging in something to excess (OED v.3) surquidry Excess (OED n.2). Ashton uses this rare word to describe the excess of one of Selimus’s governors (N2r). A field of dainties Things, fine, pleasing, and/or delightful (OED n.5). Acomat talks here of things like food, wine, erotic pleasure, and song. champion one who fights on the behalf of someone Cytheria another name for Venus or Aphrodite, classical goddesses of love in dolorous vermeil in grief-inducing red, in blood What lets in all memory? Another garbled sentence. Acomat is asking here what prevents (lets) him from abandoning his pleasurable indulgences (i.e. keeping him in vain slumber) and achieving glory on the battlefield. Fortune favors mine intent Compare with Locrine: If fortune fauour me in mine attempts (C4r). Ramir Selimus’s father-in-law, Ramirchan. See . broach seditious jar spur on rebellious discord perturbation disturbance danger may not take it unprovided danger will not arrive unprepared for peace from whence your riches spring Visir suggests that, unlike peace that can create favorable economic conditions, war and uncivil unrest are expensive for an emperor. good justifiable immortal lines as rendered in books, possibly through inheritance (lines) lustful game amorous pursuits fond insipid (OED adj.1) captive mind captive because driven by amorous desire ’pass compass, reach Indian mines Indian mines refers to the lucrative mines in Peru (Indian, i.e. Incan) operated by the Spanish. stout obedience prideful though obedient close and circumspect secret and cautious holy vows In act 1, Bajazeth tells us that he has reserve[d] the crown for Acomat. Acomat here suggests that this involved some kind of holy vow. election Bajazeth choosing Acomat as the next emperor. In the fifteenth and sixteenth centuries, the Ottoman Empire did not have a rationalized system of succession unlike in England where primogeniture dictated that the crown be passed to or through the line of the eldest male heir. Instead, succession was assumed to be dictated by fortune which was in turn dictated by god. In practice, this meant the successful occupation of the Ottoman throne in Byzantium by a male in the Osman line after an emperor’s death. This system has been called unigeniture. An emperor could manipulate the process by granting a prince or favorite a governorship close to the Ottoman capital and by political machinations. Mehmed II made it common practice for Ottoman Emperors to eliminate all rivals to the throne. erection installation on the throne As yet is pent: Regan reminds Acomat that his election to the throne is not yet completed and as such he is not in a position to plan for his future as emperor. regiment rule or governance (OED adj.1) Aside Though the 1594 quarto does not indicate an aside here, Acomat’s Advise thee, Acomat suggests a self-directed speech. will Q1’s will as in an exertion of will makes sense here. a timely largition A well timed bestowal of gifts. Metrically, the addition of a regularizes the pentameter line. premunition preventive action (OED n.2) he will think Metrically, the addition of will regularizes the pentameter line. factious mutinous, inclined to rebel suffrages support insolence Metrically, the shortened form is preferable. overhardiness too bold assay attempt unsettled wit restless, turbulent mind alway Always. Archaic form is meant to rhyme last word of next line. embay bathe leads the dance takes the lead, takes preeminance What prince … alterations Compare with Locrine: What prince so ere, adornd with golden [crown] / Doth sway the regall scepter in his hand: /And thinks no chance can euer throw him downe, / Or that his state shall euerlasting stand (G3r). lest Bajazeth is imagining here a prince who does not fear the lour of Fortune. so many Metrically, the addition of so regularizes the pentameter line. lour frown acceptable agreeable rate judgment, estimation (Vitkus 87) So that … prince’s throne. Bajazeth complains that his authority, because dependent upon the people’s rate, hangs by a thin thread. Too true … horse’s hair. Damocles, a flatterer, having extolled the happiness of Dionysius, tyrant of Syracuse, was placed by him at a banquet with a sword suspended over his head by a hair to impress upon him the perilous nature of that happiness (Damocles, OED). Compare with England’s Parnassus: Too true that tyrant Dyonisyus / Did picture out the image of a king: / When Damocles was placed in his throne, / And ore his head a threatening sword did hang, / Fastened vp only by a horses haire (N7v). awful arousing or inspiring awe (OED adj.1) lay wait lay in wait did suck Metrically, the substitution of did suck regularizes the pentameter line. From whom … vital air. For a similar representation of Bajazeth’s paternity, see . Compare with David and Bethsabe: Behold my sonne which issued from my flesh (G1r). curtains A number of plays in the 1580s and 1590s include stage directions having to with curtains on stage (e.g. David and Bethsabe, Friar Bacon and Friar Bungay, Old Wives Tale, and A Looking Glass for London and England). In this case, the directions seem to be referring to fabric that could be drawn across an opening in a tiring-house wall. Eunuchs Castrated males. Compare with A Looking Glass for London and England: And let the Eunickes plaie you all a sleepe (F4r). Music within. This is one of the rare instances of a stage direction in an early modern play specifying the location of musicians. Here, the implication is that musicians were located somewhere within a tiring house or behind some kind of screen. Yet we will … to ruinate. Hali Bassa argues here that he cannot support Bajazeth’s disinheritance of Selimus because Selimus as emperor would, through his martial exploits, ensure that Hali Bassa’s wealth will remain intact. overslipped let pass (OED v.1) the fruit that he had labored for the crown sophister one who makes use of fallacious arguments, a specious reasoner (OED v3a). subject prince a prince who is also subject to a king against Metrically, the two-syllable against regularizes the pentameter line. Selim’s Metrically, the shortened form of Selimus regularizes the pentameter line. Gave he not Trebisond? See , , . Selim Metrically, the shortened form of Selimus regularizes the pentameter line. Our father … degenerate. See . we would not … lascivious pomp, Cali Bassa declares that he will not accept Acomat who still pursues splendid celebrations and entertainments. Compare too with Shute where the Janissaries oppose Acomat not just because he was addicted to ease and pleasures but because he was not liberall and a fatte man who could not well handle a horse (N4r-v). Compare with Edward II when the Mortimers at the end of the fourth scene discuss Edward’s failing as a king. foeman’s foe’s … pen. For an earlier description of Corcut, see above. guide the crown inform his decisions as emperor Princes rulers, commanders, governors (OED n.3a) He gave … my thoughts. Bajazeth gave his daughter in marriage to Mustaffa. I love … Selimus Compare with Cornelia: I loue, I loue him deerely. But the loue, / That men theyr Country and theyr birth-right beare / Exceeds all loues (G1r). How now How is it now? Sophy Ismael. For an earlier reference to Ismael, see above. Hath the Egyptian … again? For an earlier reference to past Ottoman encounters with the Egyptians, see above. Amasya An area in north central Turkey. Historically, shortly after he became Emperor in 1481, Bayezid II conferred the governorship of this coveted province onto Ahmed. This was a clear sign of Bayezid II’s preference for Ahmed over his other sons. ’gratulates congratulates Acomat … lifetime. See above. Aside The preceding stage direction makes it clear that this is an aside. make it sure to him pass it on to him And thou shalt have it Bajazeth is pressured by Acomat days later in Byzantium. This stresses Acomat’s ambition as well as Bajazeth’s passivity. In both Ashton (G6v-7r) and Shute (N3v), Bayezid II resolves to confer the emperorship on Ahmed immediately after defeating Selim. buried in the bosom Become the responsibility and continual worry. This ironically foreshadows future scenes in the play involving Aga. Sound … Corcut. In Ashton, Korkud only asserts his claim to the throne after Ahmed rages against his father (H2r-v). certify attest to therewithal over and above that (OED adv.1) invest install Aside Almost the entirety of this speech is self-directed. by right Corcut may be reminding Bajazeth that he is his eldest surviving son and thus has a right to the throne. This claim founded in primogeniture, however, derives not from the Ottoman but the English system of monarchy. Under the terms of this system, it is Alemshae’s eldest son, Mahomet, who in fact enjoys this right. He might also be referring to Bayezid II promising the emperorship to him after his death when Korkud was young. See Ashton E6v-E7r where Bayezid II promises to eventually cede the throne to a thirteen-year-old Corcuthus when he is older. sailing without the stars Metrically, the addition of the regularizes this pentameter line. Like to a ship … betwixt love and right. Reminiscent of Wyatt’s extended metaphor in My Galley which had been in print since 1557, this is the first in a number of maritime epic similes in the play. While Q1 does not label this speech an aside, Mustaffa’s following lines make no reference to what Bajazeth has just said. Compare with James IV: Like to an ship vpon the Ocean seas, / Tost in the doubtfull streame without a helme (E1r). And at my death … to him. This is not exactly what Corcut’s messenger relates above. Compare with . Bassas, how counsel you your emperor In Shute (N4r-v), the Janissaries riot in favor of Selim, and they end up forcing Bayezid II to name Selim heir. In Ashton (G7r-8r), the Janissaries are moved to advise Bayezid II to retain the emperorship by the possibility of Ahmed being made Emperor. Ashton will later record that Korkud asked his father for the emperorship (H2r-v). Corcut’s offer here, then, is an addition. brethren disinherited Selimus and Corcut flesh their anger to use anger like a sword and stab (OED v.3b), or possibly incite their anger (Riad) or satiate their anger (Hopkinson) rend the bowels of this mighty realm To cut into or tear (OED v4). The play four times forwards different versions of this image (see also ,, and ). Marlowe’s Edward II famously ends with Edward being murdered by a hot poker thrust into his anus, and the play was likely written a year before Selimus. Compare too with David and Bethsabe: Souldiers of Israel / That haue contended in these irksome broiles, / And ript old Israels bowels with your swords (H1r). puissance power, strength great puissance Metrically, the addition of great regularizes the pentameter line. enhancèd lifted, raised (OED adj.) thrust out their heads decapitate Selimus and Acomat strong to fortify strongly fortify loth Disinclined, unwilling (OED adj.1). In Ashton, Bayezid II retains the crown partly because he was moved by a certen inward & sweete lust to reigne al his lyfe (G8r). But we … Selimus. This is an example of what McMillin and MacLean describe as the Queen’s Men’s dramaturgical strategy of narrative overdetermination, Bajazeth here predicting the action of a scene to come. and then rent[s it.] Q1’s unusual stage-direction command say is repeated in the 14th scene below. Thus will I … head In Ashton, Ahmed conceyued a grudge and malice (G8r) but did not attempt to depose his father. In Shute, Ahmed does not seek revenge against his father. Instead, he holes up in a fortified city, resolving to wait on God to depose Selim for his wicked deeds. In Whetstone (E6r), however, it is suggested that Ahmed, like he does here in the play, violently revolted against his father. What? Why did my father do this? wipe me clean forever keep me forever from prize value promise, and religious oaths See above. president presiding god (OED n.1b) challenge to assert ones title to, to lay claim to (OED v.5a) detains keeps Haply possibly (OED n.1b) forepassed previously passed (OED v) supply supply of soldiers Natolia Anatolia. Previously known as Asia Minor, this large peninsula is bounded by the Black Sea to the north and the Mediterranean to the south. Here and below, Acomat is referring to Iconium (now Kolya), one of Anatolia’s principle cities, as Natolia. In Ashton, Ahmed eyes Anatolia not because he wants to take revenge on Bajazeth’s nephew but because by the ayde and power of this prouince he might after his fathers death recouer the Empyre (G8r). Moreover, in Ashton, Ahmed only ends up chace[ing] out (G8v) his nephew from Natolia. make a preface to begin My nephew my wrath. In both Shute (O3r) and Ashton (I3v), it is Selim who murders his nephews not Ahmed. The coming violent scene involving the son and daughter of Alemshae is an addition by the playwright(s). Iconium Konya. A large city south of Ankara in central Turkey. In these confusing lines, Acomat seems to be suggesting that Alemshae lately died (departed) in the city. one or two soldiers These kinds of permissive stage directions have long been taken as indicators that a printed play was derived from an authorial manuscript. Paul Werstine and others have recently questioned such claims. embowellèd To put, to convey into the bowels (OED v.3). Though not identified by the OED as such, this would be the earliest use of the term in this sense. For similar images, see , , , and . tofore before would to God with wishes to God for by right The Beylerbey assumes that Mahomet is now the rightful heir of the Turkish emperorship because he is the eldest son of Bajazeth’s eldest son Alemshae. This primogeniture practice in fact was not followed by the Ottomans. Armenian tiger Now extinct, the Armenian (or Caspian) tiger was thought to have been especially fierce. venge revenge forward ready, prompt, eager (OED adj.6) Now, fair Natolia … ground. This scene is vaguely reminiscent of Richard III’s murder of his two nephews in Richard III. It is also the first of two siege scenes (see also scene 27 below) which feature characters appearing above, which in the amphitheatre playhouses likely would have been the lords’ rooms. A number of plays during the period like David and Bethsabe, Edward I, Orlando Furioso, James IV, and 1 and 2 Tamburlaine had similar scenes. put up put up with sure safe Weakened … sword. Acomat is suggesting here that Mahomet’s forces aided Bajazeth’s early defeat of Selimus. parley a meeting between opposing sides in a dispute (OED n.2a) walls This is a fictional designation for a level above the main platform (Dessen and Thomson). See and below. wondrous tomb This probably refers to the belief that Muhammad’s tomb levitated in the air after he was entombed within it. Alcoran another word for the Qu’ran, the sacred book of Islam e’en Metrically, the shortened form of even regularizes the pentameter line. You do us wrong … at your hands. The rhetorical workings of the rest of this exchange are reminiscent of a number of professional plays of the period (e.g. The Spanish Tragedy B4v and C4v as well as Richard III 1.2 and 4.4). kin Metrically, the shortened form of kinsman regularizes the pentameter line. Why, I am thy nephew; doest thou frown? Metrically, the deletion of for regularizes this pentameter line. Why, I am thy nephew. … the crown. The first instance of stichomythia in the play whereby rhymed lines of dialogue are split between two characters, the responding character often expressing an antithetical or repetitive sentiment. Here, this stichomythian exchange between Acomat and Mahomet will continue for almost twenty lines. Some of Acomat’s following exchange with Zonara also deploys stichomythia. See also Acomat’s exchange with Aga in scene 15 below. hinderers agents who stand in the way of Acomat’s ambitions do bear an equal eye Mahomet suggests that the gods will ensure that justice is served. Acomat The 1594 quarto mistakenly substitutes Mahomet here. Beshrew an expression, like, for example, the devil take me Phlegethon a fiery river in Hades, the classical underworld scale Climbing of walls using a ladder (Dessen and Thomson). Q1 does not indicate that the characters exit above. 2 Tamburlaine contains a similar scene (K3r). shook your plumèd crest Acomat accuses Mahomet of defiantly shaking a heraldic emblem at him and his forces (figured as a shield), a prideful gesture. How … to Bajazeth. Acomat again points out how near Mahomet is to the emperorship, in this case even looking like Bajazeth. for because compendium an abridgement or condensation (OED n.2) Regan, go … fall. There is no stage direction suggesting that this horrific punishment was meant to be staged. Compare with The True Tragedy of Richard, Duke of York: Had I beene there, the souldiers should have tost / Me on their launces points (274–275). fear scare O … my father’s purse. Acomat sarcastically responds to Mahomet’s curse. Zonara Zonara is not to be found in the play’s sources and as such is most likely an imaginative addition. This entrance marks the first appearance of a female character in the play. kin Q1’s article is unnecessary, and cutting it regularizes the pentameter line. wants so long thy company. lacks your company in the afterlife. groom A man of inferior position, a serving-man (OED n.3). Zonara suggests that Acomat is a lower-order imposter. Caucasus An area between the Caspian and Black Seas. In the period it was associated with wildness. Hyrcanian A desolate area south of the Caspian Sea. Compare with Dido Queen of Carthage (But thou art sprung from Scythian Caucasus, / And Tygers of Hyrcania gaue thee sucke [F4r-v]) and The True Tragedy of Richard, Duke of York (But you are more inhumaine, more inexorable, / O ten times more then Tygers of Arcadia [i.e. Hycania] [621]). They strangle her This vague direction was common in plays of the time. In rare instances, a cord is specified. In the next scene, the Beylerbey of Natolia recounts that Zonara was strangled by Acomat’s barbarous soldiers. rate berate Mustaffa, [Aga,] and the Janissaries. Though Bajazeth sends him as a messenger to Acomat at the end of this scene, Aga is mistakenly not included in the group entrance here. Methinks … in my ears Compare with Doctor Faustus: O something soundeth in mine eares (B4r). chair A chair used to transport the sick, wounded, or dying (Dessen and Thomson). A number of plays during the period employ such chairs (e.g. Edward I, The Battle of Alcazar, and Locrine). coffins Coffins sometimes appear in professional plays before the 17th century (e.g. Titus Andronicus.) For examples in later plays, see Q1 Hamlet, A Chaste Maid in Cheapside, and The Witch of Edmonton. presages me predicts exequy funeral rite hearse a hearse cloth (OED n.6) nephews This refers to both Mahomet and Zonara. In the sixteenth century, nephew could apply to a male or a female (OED n.2b). ayrie The nest of a bird of prey, figuratively used here to suggest a high vantage point (OED n.1a, 1b). Compare with Arden of Faversham: Oh that some ayrie spirit, / Would in the shape and liknes of a horse / Gallope with Arden cross the Ocean (A3r). luckless maid This addition to what is a short line was first suggested by Grosart in the 19th century. swoon A fainting fit (OED n.) indicating a figure falling to the stage (Dessen and Thomson). Compare with The first part of the contention betwixt the two famous houses of Yorke and Lancaster: The King falls in a sound (E2v). dispensers of our hapless breath the gods, hapless: unlucky glut your eyes overly fill your eyes with occasion An occurence giving grounds for an action (OED n.2a). Bajazeth is referring to his refusal to admit Selimus into his presence. See above. froward pervese, difficult to deal with, hard to please (OED adj.) And so prevented Alemshae’s death on the field of battle meant that he did not end up having to see the horrible spectacle of his childrens’ murdered bodies. dreariment dreary or dismal condition (archaic) (OED) But I have lived … pieces torn, See above. seed children channels water courses, river beds (OED n.) riverets Small rivers, streams (OED n.). Compare with Edward II (And made the channels ouerflow with blood [H2v]) and David and Bethsabe (as sure as / Ionathan, Abinadab, and Melchisua / Watred the dales and deepes of Askaron / With bloudy streames that from Gilboa ran / In channels through the wildernesse of Ziph [E1r]). Bemangled and dismembered cut and mutilated doth stand before, ready to strike. Metrically, addition of doth regularizes the pentameter line. Avernus jaws … Acomat. Bajazeth’s invocation here is reminscent of similar speeches of declamatory furor in Seneca, who is a significant influence on the play. Avernus Volcanic crater in Italy that was thought in classical times to be an entrance to the underworld. Taenarus A town in Greece in which there is a cavern that was thought in classical times to be an entrance to the underworld. Demogorgon a powerful god or demon, associated with hell or the underworld (OED n.) Furies Roman demons of the underworld, avenging deities (OED n.5) Erinyes Another name for the furies. Compare with Locrine: Come fierce Erinnis horrible with snakes, / Come vgly Furies, armed with your whippes (G1r). thou the all-beholding heavens (see below) lightning brand lightning as a weapon (OED n.3b) Enrolled Wrapped up or enfolded in (OED n.7b). Compare with 1 Tamburlaine: And bullets / Enrolde in flames and fiery smeldering mistes (C1r). Jove another name for Jupiter, Roman supreme deity perceant Penetrating, sharp, keen, piercing (OED adj.) Go thou … relent. Bajazeth’s sending a messenger to Acomat is neither in Ashton nor Shute. In Ashton, Acomat ends up catching Bayezid II’s oratour (G8v). wit understanding Speak him fair speak to him with pleasing words princes’ This refers to both Mahomet and Zonara. During the period, prince was used to refer to a male or female. Tityus The giant son of Zeus, Tityus was forever punished in the underworld by his father for trying to kill Leto, the mother of Apollo and Artemis. There, his liver was continually devoured, in this version of the myth, by a vulture. Acomat’s analogy is one of many epic similes in the play. Compare with A Looking Glass for London and England: Slaues fetch out tortures worse than Titius plagues (E3r). tireth to tear at food (OED v.2.2a) civil of or relating to citizens or people who live together in a community (OED adj.3) Just sent Metrically, the addition of Just regularizes the pentameter line. and one with him Another permissive stage direction. See the beginning of above. Wonders … so much Metrically, the addition of why regularizes the pentameter line. and thought … of the crown, See . mortal hate of enmity, hatred, etc.: pursued to the death; unappeasable, unrelenting, deadly (OED adj.1c) I am not … shall stain. In this strained extended metaphor, Acomat asserts that he is not like uncultivated land in that Bajazeth’s greedy actions in withholding the crown have succeeded in growing hatred in him. He promises that his actions against Bajazeth will bear fruit. Honor’s Acomat offers a garbled analogy here (he’s either the land or the sower). His Honor here refers either to Bajazeth or to some generalized country lord. hasty purposes have hated ends Aga points to Selimus’s defeat at the hands of his father earlier in the play. To set … first brunt. to set his sights immediately on Bajazeth during his attack confines region, territory (OED n.2) with his teeth Acomat is referring to Selimus here, and as such it should be his. color his strong hands Acomat is still referring to Selimus here, and as such it should be his fell treacherous, deceitful, false (OED adj.2) unkind unkindly the man that first gave life to you Another instance of Bajazeth being represented as a life-giving father. See and above. the people’s adverse fame a reputation with the people that is harmful Whom fear … feeds. In yet more lines of garbled syntax, Aga warns that subjects who are forced to praise their leaders through fear will necessarily hate these leaders. Compare with England’s Parnassus: Whom feare constraines to praise their Princes deeds, / That feare eternall, hatred in them feeds (G5r-v). sway wield mace staff of office grace the condition or fact of being favored (OED n.7) What though What would happen if peculiar to Particularly associated with (OED adj.2c). Compare with England’s Parnassus: Hate hits the hie, and windes force tallest towers / Hate is peculiar to a Princes state (K1r). A version of the first line (Hate climes vnto the head; winds force the tallest towers) appears in Thomas Lodge’s Wit’s Misery which was first printed in 1596. state circumstances That state … integrity Another instance of stichomythia in the play whereby rhymed lines of dialogue are split between two characters, the responding character often expressing an antithetical or repetitive sentiment. Bare simple (OED adj.11) poor integrity a poor person’s integrity Beseems it befits sacrilegious intent on the injurious treament of a holy person, site, or object graybeard old man wiped permanently removed did hear Metrically, the addition of did regularizes the pentameter line. Preferred … to my request? See above. tapers Acomat speaks figuratively of the eyes as candles that bring the light of vision. Acomat pulls out his eyes. As no command is given here, it seems most likely that Acomat himself blinds Aga. Years later, Shakespeare may have been influenced by this violent scene when having Cornwall blind Gloucester in King Lear. In Ashton, Ahmed only cuts off the nose and ears of Bayezid II’s oratour (G8v). Dessen and Thomson calls this a distinctive action as far as a stage direction goes (173). felicity Happiness. Acomat sarcastically laments that Aga will not be able to enjoy seeing him kill Bajazeth. rend out Bajazeth’s dim eyes blind Acomat, metaphorically suggesting murder anthropophagi Cannibals. Compare with Locrine: Or where the bloodie Anthropomphagie / With greedie iawes deuours the wandring wights (G1r). at his ease without the embarassment of sins Death … greatly please. Acomat refuses to kill Aga because death would be welcome to a wretched caitiff like him. They … hands Presumably, they here refers to Regan’s soldiers. This scene is reminiscent of Aaron cutting Titus Andronicus’s hand off in Titus Andronicus. Though it’s impossible to know the direction of influence, most theatre historians have dated the plays to have been written and staged within a year or two of one another. Disturbing violence and grim humor (i.e. Acomat’s confusion over which hand he holds) are characteristics of both scenes. Compare with the second act of Edmund Ironside. in that sort mutilated tenfold crystal orbs In the sixteenth century, it was widely thought that the planets and stars were variously distributed onto a series of rotating spheres. Peter Apian in his Cosmographia (1539) theorized that there were ten such spheres, with the closest to earth containing the moon, the second closest Mercury, and so on. smold’ring flame Lightning bolt. Compare with A Looking Glass for London and England: dart these furious flames (E4v). brinish salty pearlèd pearl-like, round watry watery Come, lead me back again to Bajazeth. Though Q1 does not indicate it, Aga’s exiting at this point is a staging possibility here. Why so an expression of contentment music Aga’s laments Into … hands, Similar images can be found at , , and . Compare with 2 Tamburlaine: I long to pierce his bowels with my sword, / That hath betraied my gracious Soueraigne (H4v). clear declining vault Acomat describes the sky descending to the horizon. faitour an imposter, cheat, esp. a vagrant who shams illness or pretends to tell fortunes (OED n.1) pillars legs lodges sockets trunkèd lopped, mutilated (OED n.1) gyre a circular or spiral turn (OED n.1) hurtle Brandish, wave. According to the OED, this erroneous sense of hurtle was often used by Edmund Spenser (OED). so to cut Metrically, the addition of to regularizes the pentameter line. With purpose … from thee. See . Let women weep Ashton records that Bayezid II here was wrothe and angry and called for an army to be sent to Anatolia (H1r). He was not overwhelmed by grief. bootless unavailing, useless, unprofitable (OED adj.3) stern-born sons of Mars Sons born steadfast, fiercely brave, bold (OED adj.2a). Compare with Cornelia: Braue Romaine Souldiers, sterne-borne sons of Mars (G3r). Phoeb’ Phoebus, the sun wain A large open vehicle, drawn by horses or oxen (OED n.1a). Mustaffa alludes to the classical image of the sun god driving a horse-drawn carriage across the sky. prince the chief, the greatest, the best (OED n.2a) Stygian meadows These were along the river Styx in the classical underworld. This image of unrevenged souls was recurrent in Elizabethan and Jacobean revenge tragedy (Riad 152), a genre derived from Seneca. Thou knowst … mighty Ottoman. It was a practice of the Janissaries to go into battle led by a decendent of Osman I, founder of the Ottoman empire. Such a practice is described in Ashton H1r-v. And who … Selimus Similarly, in Ashton it is Mustaffa who counsels Bayezid II to pardon Selim and appoint him captain of his forces (H1v). I cannot kill myself This is presumably because Bajazeth is too old to fight himself. There is also an ironic second meaning in this line: if Bajazeth cannot kill himself, Selimus will. Will Fortune … Q1 does not indicate that this speech is delivered as an aside. In plays of this period, it was conventional for messengers to be present when characters delivered confidential musings. cards A deck of cards representing the randomness of fortune. In the this extended metaphor, Selimus’s possession of these signifies his control over fate. And will … myself a king. Compare with The Massacre at Paris: Then Guise since thou hast all the Cardes / Within thy hands to shuffle or cut, take this as surest thing, / That right or wrong, thou deale thy selfe a King (A6r). reconciling lines lines asking for reconciliation captain general chief commander of force (OED n.) courtesy the ceremonious expression of apology (OED n.7) policy scheme device plan, project like Antaeus quelled by Hercules Son of Poseidon and Gaia (the earth), Antaeus was a giant who was energized by contact with his mother; thus, if he were thrown to the ground in combat (overthrown) he would immediately be reenergized. The Greek hero Hercules defeated the monster by choking it to death on his shoulders. sure safe in one’s possession or keeping (OED adj.4) signet a small seal to give authentication or authority to a document (OED n.1) hardly barely the cause Bajazeth’s offer; also Selimus’s kingly ambitions have at make an attempt at Exit Q1’s Exeunt is redundant. Come, mournful Aga The beginning of this scene is reminiscent of Titus Andronicus 3.2 when Titus addresses his mutilated daughter Lavinia. grieved afflicted with pain (OED adj.2) in this light In this circumstance. Bajazeth here is suggesting that the lit world is now an unfamiliar place for the blind Aga. In all humility Compare with Ashton which has Bayezid II pardon Selimus after being swayed by two of his counsellors (H1v). In Shute (N4v-O1r), the Janissaries, fearing that Bayezid II intended to make Ahmed emperor, reach out to the defeated Selim to return to Istanbul and be crowned emperor. open unto you my breast Selimus lays bare his breast so that he might be stabbed at Bajazeth’s command. This is reminiscent of Richard III baring his breast to Queen Ann in the second scene of Richard III. unfeignèd sincere inglorious humbled thrice as very, highly, greatly (OED adv.3b) common shared, also undistinguished by any superior characteristics (OED adv.11a) Aside Selimus is plotting to himself at this point. in regard of on account of Offer to me Metrically, the addition of to regularizes the pentameter line. ebb decline, decay (OED n.2b) Janissars Janissaries Do rest … heart, An elusive expression, Bajazeth’s sentiment here stresses the new resting of his thoughts. consuming destroying leese To set free, deliver, release (OED v.1). Bajazeth assures Aga that Selimus will kill Acomat, thus setting free Acomat’s ghost from his body. grace forgiveness (OED n.5) Enter Mustaffa. Q1 contains no stage direction for Mustaffa’s reentry after exiting at line 54. Bajazeth’s How now appears to be directed at him, and as such it makes the most sense to have him enter after the shouting within. triumph public festivity or joyful celebration (OED n.4) Ah, gracious lord … Selimus, In Ashton, it is Mustaffa who entreats Bayezid II to give up the emperorship (H3r). host army unwieldy weak, impotent, feeble, infirm (OED adj.1) younger youngest the Sophy and his Persians See below. victorious Soldan Tonombey See above. Historically, Tonombey (i.e. Tuman Bey II) was the last Egyptian sultan to rule before Egypt was defeated by Selim I in 1517. As he did not rise to power until 1516, years after the death of Bayezid II, this is yet another anachronistic reference. A few years before Selimus was first staged, George Saltern wrote the Latin closet drama Tomumbeius about Selim I’s defeat of Tuman Bey II. Here, Selimus … unto me. Bajazeth ironically refers to the fact that his father Mehmet II favored his brother Cem over him as his heir, suggesting his frustration. Contemporary accounts, however, disagree about the course of Bayezid II’s abdication, some argue that Bayezid II resigned quickly and willingly (Shute O1r-v), others that he was forced to resign against his will, still others that his resignation was the product of a lengthy negotiaton (Çipa 54–55). sets it on his head For a comparable deposition scene, see Alphonsus King of Aragon D3r, D3v. Dimoticum Dimoticum is a City in Turkey that was the birthplace of Bayezid II. Compare with Ashton H4r, from which this detail seems to have been drawn. Now, sit I … Jove Compare with Edward II (As for my selfe, I stand as Ioves huge tree, / And others are but shrubs compard to me, / All tremble at my name, and I feare none, / Lets see who dare impeache me for his death? [M1r]) and Locrine (The armestrong offspring of the doubted knight, / Stout Hercules Alcmenas mightie sonne, / That tamde the monsters of the threefold world [F4r] and Now sit I like the mightie god of warre [F3v]). arm-strong strong armed son of Jove Hercules after he had all his monsters quelled, An allusion to the twelve labors of Hercules which he successfully completed. See . Hebe The personification of youth, Hebe was the daughter of Zeus and Hera. She married Hercules after he was made a god and entered the heavens. attainèd reach, arrive at, gained (OED v7) This Selimus gestures at the crown, symbol of his emperorship. he’s Metrically, the contraction he’s regularizes the pentameter line. broil turmoil, confrontation To make that sure … cut off. Similarly, Ashton describes Selim commanding a Iew phisition to poison his father (H4r). Shute says that Bayezid II died naturally or was poisoned (O1v), making no mention of a Jewish physician. that his emperorship platform The ground, foundation, basis of an action, event, calculation, condition, etc. (OED n.3). Compare with Arden of Faversham: heeres the Angels downe, / And I will lay the platforme of his death (C4v). physic medicine Withal in addition stout rebellious (OED adj.4b) resolute slack, lacking in firmness (OED adj.2c) intoxicated poisoned (OED adj.1) Hydra’s heads Hydra was a many-headed monster killed by Hercules as one of his twelve labors. As its heads regrew if cut off, Hercules had to burn every neck-stump with a fiery torch in order to kill it. Selimus understands that Bajazeth is only one of the Hydra’s heads that he will have to deal with as Emperor. In the following lines he describes the other principle heads (). Contemporary accounts and histories of Selim’s reign have mostly absolved the historical Selim of responsibility for his father’s death, either attributing it to natural causes or glossing over it all together (Çipa 57–58). Shute, for example, vaguely imagines that Bajazeth died suddenly of sickness brought on by thought, or els of poyson (O1v). fetch here Metrically, the addition of here regularizes the pentameter line. one Yet another permissive stage direction. One of the Janissaries could exit at this point. pageant a part played by someone in a situation (OED n.1b) Mahomet’s dreaded laws as written in the Qu’ran Razi’s toys Selimus refers to the writings of Abu Bakr Muhammed al-Razi, a Persian philosopher, alchemist, and physician of the ninth and tenth centuries. Avicenna’s drugs Selimus refers to the medicines of Persian astronomer and physician Ibn Sina who lived in the tenth and eleventh centuries. necromancy sorcery, witchcraft the devil Corcut Do strangle Metrically, the addition of Do regularizes the pentameter line. And hearest thou, Hali? Do strangle him. Metrically, the addition of Do regularizes the pentameter line. shipwrack shipwreck shelf a sand bank in the river or the sea (OED n.1) Abraham the Jew This representation of a Jew is vaguely reminscent of representations in professional plays of the period like The Three Ladies of London and The Jew of Malta. Moreover, Abraham’s initial entrance late in the play is somewhat akin to Lightborne’s in Edward II. Historically, Bayezid II is famous for welcoming Jewish people into his Ottoman territories after they were outlawed by Spain in the early 1490s, and thus it is ironic that his murderer here will be a Jew. on your life on penalty of your life afford them you provide (OED v.3) them to you make a conscience to make something a matter of conscience, of morality (OED conscience vP4) Lysander’s counsel Selimus invokes the proverbial counsel of the Spartan admiral who forced the Athenians to capitulate at the end of the Peloponnesian War. His point was that cunning is sometimes better than force. Compare with Alphonsus Emperor of Germany: I’l imitate Lysander in this point, / And where the lion’s hide is thin and scant, / I’l firmly patch it with the Foxes fell (B2v). complots covert plans wrought brought about (OED v9) open out-in-the-open meditation plotting Or fox’s skin or either … or Abraham the Jew with a cup. As he is not noticed by them until he speaks at line 81, Abraham probably needs to be imagined to be at some distance from Bajazeth and Aga at the beginning of this scene. Come, Aga, let us mourn awhile This scene is reminiscent of Marlowe’s Edward II when towards the end of the play Edward II mourns his fate with Spencer and Baldock (come sit downe by me. [H4v]). A similar scene can be found in Shakespeares Richard II (For Gods sake let vs sit vpon the ground, / And tell sad stories of the death of Kings [1515–1516]). Many commentators have also argued that the scene is a source for King Lear’s madness scene in the third act. cross angry That woeful emperor … kingdom so. Bajazeth here refers to his grandfather (historically, Bayezid I) who ruled the Ottoman Empire from 1389 to 1402 and who was defeated by the Tatar conqueror Timur the Lame in 1402 at the Battle of Ankara. In calling him woeful, Bajazeth alludes to his defeat, capture, humiliation, and torture by Tamburlaine that was famously staged in the of Marlowe’s 1 Tamburlaine. The myth of Timur emerged in England at the end of the fifteenth century. Of Marlowe’s invention was that Tamburlaine was a thief from Scythia (a large region in Eurasia) before rising to power. in a cage Metrically, the addition of a regularizes the pentameter line. great scourge Metrically, the addition of great regularizes the pentameter line. reckon in my plaint consider in my complaint From my … to be rent. Yet another instance of a character considering his fate with a maritime analogy (Compare with ; ; ). This extended metaphor is particularly reminiscent of Wyatt’s My Galley, a sonnet he adapted from Petrarch. boisterous billows rough swelling waves hugy huge (OED adj.) And cruel wrath; within me rage is rife. Adding semicolon to the line and replacing rages rife with rage is rife clarifies the meaning. Metrically, the addition of is regularizes the pentameter line. rage is rife rage is in abundance flashing buffets strokes; flashing because quick and lightning-like immure wall in (OED v) It shall … shallows. Metrically, the addition of It regularizes the pentameter line. boatswain ship’s officer in charge of equipment (OED n.1) stirreth nothing sure does nothing with certainty stars guidance out an exclamation expressing grief (OED int.C1) vails can cast down (OED v4b) stent stop blind procurer of mischance Fortune stayst relies (OED v3b) enhance lift up, raise (OED v1) thrillant steel Thrilling sword. The obselete word thrillantcomes from Spenser. The while while brought me to the world gave birth to me rulèd dominated poor estate economic condition exalted him elevated him in rank fair pleasant cruel Persians See . Now … all the world. Compare with Locrine: Where may I finde some hollow vncoth rocke, / Where I may damne, condemn and ban my fill, / The heauens, the hell, the earth, the aire, the fire, / And vtter curses to the concaue skie, / Which may infect the airey regions (F4v). ban curse, imprecate damnation upon (OED v.2a) another while again regions of the air portions into which the atmosphere is divided according to height (OED regions n.3a) Night … my stomach dry. Bajazeth’s invocation and curses here are reminscent of similar speeches of declamatory furor in Seneca. Night Bajazeth summons Nyx, Roman goddess of night. Compare with Arden of Faversham: Black night hath hid the pleasurs of ye day, / And sheting darknesse ouerhangs the earth, / And with the black folde of her cloudy robe, / Obscure vs from the eiesight of the worlde (D1v). mantle cloak Lethe Lethe was a river in the classical underworld associated with forgetfulness. pitchy steeds Black horses. Bajazeth here draws on the conventional image of night as traveling across the sky in a wain (carriage) pulled by horses. coal-black silence Bajazeth fashions a synaesthetic image, mixing sight and sound. lamps of ever-burning light eyes cursed my stomach dry Bajazeth imagines cursing as an act of purgation (i.e. throwing up). of noble worth worthy of noblemen Aside The next three lines are clearly self-directed speech. old as well as as old as care not much am willing Proserpina Latin for Persephone. Greek goddess of the underworld, daughter of Zeus. Destins the Destinies, the Fates If Ismael … iron spears See . Or had … Mamelukes Mamelukes were slave warriors who established powerful knightly castes in places like Egypt and India. crocodilus Latin for crocodile calmy calm What greater … his face? Aga compares his own fate to that of Priam, King of Troy during the Trojan War with the Greeks. Homer’s Iliad describes the course of the war, including Priam’s son Hector being killed in one-to-one combat with Achilles, his last remaining son Polites being killed by Neoptolemus before him, and the Greeks’ destruction of his city. did it behold Metrically, the addition of it regularizes the pentameter line. boon gift He dies. This scene ends with three bodies on the stage. Though Q1 offers no direction, these somehow need to be removed from the stage before the start of the next scene. Enter Bullithrumble … running Energetic first entries were one of the calling cards of the Elizabethan clown (i.e. foolish rustic), made famous by comic actor Richard Tarlton. See, for example, Derrick’s opening entrance in The Famous Victories of Henry V as well as Subtle Shift’s in Clyomon and Clamydes. Throughout his two appearances in this play, Bullithrumble is very much an English rustic, not a Turkish one. The play’s pastoral setting here might have been taken from Shute, who in describing his escape, writes that Korkud was ultimately betrayed by certayne men of the countre (O3r). Marry expression, mild oath used to give emphasis to one’s words (OED int.1) an if were … again Bullithrumble’s reference to the beginning of society offers an ironic counter to Selimus’s own ruminations on the same subject in the second scene. set a tap abroach To let ale or wine flow freely from a cask (OED adv.1). Bullithrumble says he would drink excessively and without reservation. breach violation ten commandments Ten fingers and the set of ten moral principles that occur twice in the Old Testament. Compare with Locrine (fearing she would set her ten commandements in my face [H2r]) and 2Henry VI 2.1 (Could I come neare your dainite vissage with my nayles, Ide set my ten commandments in your face). proper apt, skilled wasters Fencing with wooden swords (OED n.3). A wooden sword was a common clown prop during the period. club’s trump Possibly an ironic reference to a card game of the period. Here, Bullithrumble refers to it figuratively to describe his wife beating him with a club. Compare with Locrine: she began to play knaves’ trumps (H2r). to sing Bullithrumble would have sang the following rhymed lines. Singing was usually part of the clown’s performative routines. hap luck shrew a woman given to railing or scolding (OED n.2) even evening lies lies silent talents talons, with a pun on talents, skills fro from knave a cunning, unscrupulous rogue (OED n.1) lays it on my skin hits me Sir John Sir John was a stock name for a rural Anglican priest. joined married I’ll tell you what Bullithrumble is addressing the audience. Elizabethan clowns frequently broke the fourth wall in their performances. In his injunction to the players in Shakespeare’s Hamlet, Hamlet complains about this and other clown practices. holly wand a branch from a holly shrub, with a pun on holy (Vitkus 121) blessed Swatted. Bullithrumble frequently refers to the various religious practices of Anglican minsters in the two scenes in which he appears. Here, he ironically refers to their blessings in rituals like the eucharist. whole alphabet of faces Bullithrumble uses whole alphabet to describe his range of faces in response to being beat by his wife. Below he goes into more detail about this. cammock A stick or club with a crooked head, used in games to drive a ball (OED n.1). Bullithrumble describes his wife’s crooked face as well as suggests that she is the stick, he the ball. criss-cross row the alphabet, so named from the figure of a cross prefixed to the alphabet in hornbooks and primers for teaching children to read (OED Christ-cross-row n.1) While he … his Page. Bullithrumble should be sitting at a distance from where Corcut and his Page enter so that they do not immediately notice him. As Hopkinson and others have pointed out, the rest of this scene is very similar to a late scene in Locrine where the defeated and starving Scythian king Humber asks the clown Strumbo for some meat. It is also reminiscent of a scene in King Leir where Leir and Perillus are wandering in a forest, searching for meat that is subsequently provided by a disguised Cordella. Historically as reported by Ashton, Korkud was present when Selimus deposes Bayezid II in Istanbul. He then fled awaye priuilye wyth his gallayes in to his prouince (H4r). In Shute, Korkud is not present in Istanbul when Bayezid II is deposed. Later, he is forced into hiding by Selim and then executed (O2v). disguised like mourners wearing some kind of black costume (Dessen and Thomson) Tartary Tartarus. In classical mythology, the deepest level of the underworld where the gods locked away their enemies. O hateful hellish … on the grass. Much of Corcut’s account of his escape from Selimus appears to have been taken from Ashton (I4v-I5v), including his escape with servants from Magnesia to Smyrna as well as his desire to find a ship to take him to Rhodes. In Shute’s account, neither Smyrna nor Rhodes are mentioned, and Korkud is not said to have been accompanied by servants (O2v-O3r). fen swamp animatest to fill with boldness, courage, spirit (OED v.1) ends goals so nor so in any way Old Hali’s sons Hali Bassa and Cali Bassa. Much of the rest of this speech is adapted from Ashton I4v. companies Corcut is referring to plural groups here. barded armed covered with bards (metal plates) (OED adj.1) should have befell me Metrically, the removal of to regularizes the pentameter line. thus disguisèd Corcuts escape in disguise is mentioned in Shute (O2v). Smyrna Greek port city on the Aegean Sea dark cave Historically, Korkud was captured by his brother while hiding in a cave. Ashton does not recount Korkud’s capture, only that he was ultimately hanged in a bowestryng by Selimus (I5v); Shute describes Korkud hiding out in Magnesia in certaine woodes and caves before being captured (O2v-3r). transfrete to pass over a narrow straight or sea (OED v.) Rhodes large Greek island and name for its capital city crossed thwarted Kept controlled brigantines Small vessels equipped both for sailing and rowing (OED n.1). These two days … on the grass. For similar scenes of a character attempting to elude discovery, see Locrine H3r-v and Alphonsus King of Aragon E2v. in good time in the nick of time hungry small, insufficient (OED adj.3a) felonians Comic form of felons. Clowns often trafficked in malaprops and neologisms. creep into kindred get intimate, get too close you are … Master Bullithrumble Bullithrumble disputes that he is simply a groom, asserting that he is a Master. Compare with Locrine: O alasse sir, ye are deceiued, I am not Mercury, I am Strumbo (H2v). Elizabethan clowns frequently disputed their lower-order stations as part of their routines. Slipper, for example, in James IV tells Sir Bartram that he is a gentleman (E4r). Mouse in Mucedorus claims that A Lord at the least I am (F2r). Derrick in The Famous Victories of Henry V protests, Am I a clown? Zounds, masters, do clowns go in silk apparel? (146). Ralph in Friar Bacon and Friar Bungay declares his own superiority because he is a king’s clown. Aside Bullithrumble clearly speaks the next sentence to himself. cozening conicatching crossbiter All terms in Robert Greene’s conicatching pamphlets, the first of which was his Notable Discovery of Coosenage published in 1591. Conicatchers were mostly urban criminals that used card scams to steal from conies (rabbits, i.,e. prey). Crossbiters were essentially pimps who used sex workers to blackmail customers. Compare with The Taming of the Shrew: Take heede signior Baptista, least you be conicatcht in this business: I dare sweare this is the right Vincentio (T6r). ’tence pretence uncle to cheat, deceive, defraud (OED v.1a), with a pun on cousin (i.e. cozen)(Vitkus 123) victuals food godfathers and godmothers Godfathers and godmothers are traditionally present at christenings where the name of a baby is announced. BULLITHRUMBLE In the 1594 quarto, the Bullithrumble speech prefix recurs redundantly at the top of H2v before Mass. Riad has argued that there may be a Corcut speech that is missing here, but because the unnecessary prefix occurs at the top of a page, this was in all likelihood a compositor’s mistake. Aside Bullithrumble’s next two sentences here are clearly self-directed. church book the parish register where christenings, marriages, and deaths were recorded Mass by the mass, an oath ad quorum and omnium populorum Latin phrases used in commissioning a Justice of the Peace to do his work (Vitkus 123). How he famines me. Bullithrumble complains that Corcut is making him hungry by keeping him from his meat. Ironically, Bullithrumble is the one who is doing most of the talking here. an it please you an if it please you do believe have faith in god and it please you if it please you catechism An elementary treatise for instruction in the principles of the Christian religion, in the form of question and answer (OED n.2). Bullithrumble comically describes his so-far short interaction with Corcut as a kind of catechism. sovereign supreme O lord … and goblins. Listening to the language of Corcut’s oath, Bullithrumble comically confuses it with a demonic invocation. This is reminiscent of the clowns’ fear in Doctor Faustus that Mephistophilis will have him torn to pieces. Aside Bullithrumble clearly speaks the next sentence to himself. stately princely, noble, majestic (OED adj.1) Maister Pigwiggen Maister (i.e. Master). Maister Pigwiggen is a comic name for a rural justice of the peace entertain Provide for (OED v.1c). Bullithrumble thinks that Corcut and his page are asking to be taken into his service as servants. Around this time, there were a number of plays with such comic recruitment scenes. See, for example, Mucedorus, James IV, Doctor Faustus, and Edward II. A good … Maister Compare with Mucedorus: I wil tell you what I can doe, I can keepe my tougue from picking and stealing, and my hands from lying and slaundering, I warrant you (B2v). nutrimented Well bred (OED adj.). Compare with Orlando Furioso: come hether my well nutrimented Knaue (C1r). keep watch keeping … stealing Bullithrumble confuses the actions of hands and tongues here. picking pickpocketing servitures servants tripes intestines society A group, collective. The joke here and below seems to be that society is anything but a well-used metaphor, nor is company. The brethren Hali Bassa and Cali Bassa portagues Portuguese gold coins Enter Selimus Compare with Ashton which recounts Selimus hiring a greate route of mourners, with all pompe and solempnitie in order to cloke his murder of Bajazeth (I3r). corses corpses [Bajazeth] The 1594 quarto mistakenly substitutes Mustaffa. It is clearly the corpse of Bajazeth with that of Aga that is being carried in here. with funeral pomp a public procession involving mourning figures, costumes, and music (Dessen and Thomson) [Aside] The large processional entrance here is used to signify the stakes of Selimus’s actions at this point. That the entrance is immediately followed by an aside underscores its symbolic importance. Selimus’s speech here is clearly self-directed. I made of him away Metrically, the addition of of regularizes the pentameter line. Why an interjection thus must Selim blind his subjects’ eyes. Similarly, Ashton describes Bayezid II’s grand funeral as an underhanded attempt by Selim to cloke the most cruel & manyfest murther of his father (I3r). Richard III in Richard III deploys comparable strategies in 3.7. made of him away killed him pomp ceremony mortuary a funeral, obsequies (OED n.2) dram bit Phoenix See . pavilion a large, stately, or ornamental tent (OED n.1a) in this ancient monument The Temple of Mahomet. [Bajazeth placed in] The original stage direction dictates Suppose the Temple of Mahomet. This is apparently a direction for the actors, intended to cue them to treat the space as if it were a pagan temple, one dedicated to Muhammed. Vitkus (146) points out that it was common for English texts to mistake mosques for temples. According to Dessen and Thomson, this is the only instance of suppose used as an imperative in a stage direction. Thou wert … of ours Selimus is setting himself up as the reborn Phoenix, born from his father’s ashes. And didst thou die Metrically, the substitution of didst thou die regularizes the pentameter line. magnific renowned, glorious (OED adj.) Mounteth highest heaven Metrically, the removal of to regularizes the pentameter line. Princes rulers commanders, governors (OED n.3a) Macedonia a kingdom of ancient Greece one or two soldiers Another permissive stage direction. See , , and . reward See . high exalted Honored. The ironic implication here is that the page will end up being hanged for his labor. That same his master Corcut The sweet … affords Compare with Friar Bacon and Friar Bungay: Whether it was the countries sweete content (1.19). there the life of a king harborèd lodged within from Bullithrumble ironically makes the excuse of his familial responsibilities here. sure an expression of certainty (OED int.P1) Ay me a spontaneous expression of regret (OED int.1) the governor of Magnesia In the tenth Scene, a messenger calls Corcut the Soldan of Magnesia. Nowhere in the play do we see Hali Bassa having this governor position being conferred upon him. wrath angry Thus I … as she. Amphiaraus was a seer and warrior beloved of Zeus and Apollo. His wife Eriphyle, bribed with a gold necklace, convinced him to join a disastrous expedition of the seven against Thebes. Eriphyle was ultimately murdered in revenge by one of her sons at the bidding of Amphiaraus. No one has yet identified the source of Corcut’s allusion to Amphiaraus’s disguise. sorrowst Metrically, sorrowst regularizes the pentameter line. profession occupation charge responsibility stealing from them closely away moving stealthily, secretly away (Dessen and Thomson) closely secretly, covertly (OED adj.3) The more’s the pity. expression of regret about a statement just made preferment Bullithrumble ironically calls his punishment a preferment in that he would be raised up by the gallows. down Holburn up Tyburn Bullithrumble refers to the infamous path of criminals to execution in London. They first passed down Holburn street to the village of Tyburn, just north of London where the gallows were located. Of course, a Turkish shepherd would not be talking about London here. Compare with The Life and Death of Jack Straw: Tyborn stand fast, I feare you will be loden ere it be long (B1v). my best joint his head strappado The strappado was a form of torture in which the victim was raised on a pulley by his hands that were tied behind his back. Bullithrumble imagines the strappado as equivalent to the gallows here. running away Bullithrumble exits with the same energy that he first entered the play. His running away also enacts his escape strategy outlined at above. Such exits and entrances were part of the conventional routines of Elizabethan clowns. Persian Ismael … our chief foes. Historically, Ahmed, like his father and unlike his brother Selim, had sympathy with Ismael’s Shia cause. See also and . succor assistance potentates Monarchs, princes, rulers, especially autocratic ones (OED n.1). down An elevated stretch of open, uncultivated land with gently rolling hills (OED n.2). Compare with Arden of Faversham: Thus feedes the Lambe securely on the downe (D3v). bold brave condign Fitting, appropriate (OED adj.3a, b). Starvation is fitting presumably because the Page betrayed Corcut while he was feeding his sheep. your philosophy See . Old Gyges’ wond’rous ring Gyges was an old shepherd living in what is now western Turkey who discovered a magical ring that rendered its wearers invisible. He used the ring to depose a king and marry his widow (Vitkus 128). In comparing Corcut to Gyges, Selimus subtly accuses Corcut of having designs on the throne. jest joke Upbraidst to bring forward, adduce as a ground for reproach (OED v.1) whit not in the least (OED adj.1b) no otherwise not any differently leave permission Ay Acomat agrees to let Corcut speak here, so Ay makes more sense here than Q1’s Nay. divine predict I have conversed with Christians Corcut’s spiritual conversion to Christianity as he will describe in this speech is not to be found Ashton or Shute and was likely added for the benefit of the play’s Christian audiences. please gratify, satisfy (OED v2a) crystalline vault a sphere in the Ptolemaic system located beyond the stars (OED chrystalline adj.1) treads Beats down. Corcut seems to be suggesting something to the effect that god minimizes our sins while we are still alive on earth. wink turn a blind eye to But it is Metrically, the addition of it regularizes the pentameter line. hearken listen give us over to our wicked choice damn us offences sins Chiurlu A city in northwest Turkey, near Byzantium (i.e. Istanbul). See Scene 5 to Scene 8. Selim died on the road from Edirne to Istanbul in September, 1520, not in Chiurlu. Corcut’s prediction could be taken as further evidence of a planned sequel. See Conclusion. In Chiurlu … death. Corcut’s prediction is prophetic. Selim died near the city of Chiurlu in 1520. [Selimus] strangles him. The original stage direction does not identify who strangles Corcut, but because no command is given, it is most likely Selimus who was meant to carry out the deed. In Ashton, Korkud is executed by Selim by being trussed up in a bowstryng (I5v). Shute does not specify how Korkud was killed (O2r). Corcut’s body will somehow need to be removed before the next scene. corrivals One of several competitors having equal claims (OED n.1). As Selimus explains below, Acomat is not a corrival because he is too weak to resist Selimus. Persian aid See . immures herself shuts herself up in girt surround They say … girt Amasya. Similarly, Ashton describes how Selim resolved to murder both of Ahmed’s sons (I3v-I4r). Selimus’s attack on Solyma is apparently an invention of the play. bastard Selimus suggests that Amurath and Aladin are not the true children of Acomat (i.e. the products of adultery) and thus not legitimate rivals to the Ottoman throne. officiousness Readiness in doing good offices, performing one’s duty (OED n1). Though not listed, this would be, according to the OED, the earliest use of the term in this sense. souls Selimus is referring to the plural souls of Amurath and Aladin here. keep govern Mustaffa [and a Janissary] Q1 indicates that only Mustaffa remains on stage even while he sends one with a message to Amurath and Aladin below. It grieves my soul Mustaffa’s worry about the Ottoman line can also be found in Ashton (I4r). eclipsèd cast a shadow upon, obscured (OED v.3a) Ottoman’s fair race the heirs of Osman I, founder of the Ottoman Empire Yet for because dear dearly sirrah a term of address expressing authority (OED int.1) post ride, run, or travel with haste (OED v.2a) Go, sirrah … Amasya. This is an example of what McMillin and MacLean describe as the Queen’s Men’s dramaturgical strategy of narrative overdetermination, Mustaffa here predicting the action of a scene to come. do put them Metrically, the addition of do regularizes the pentameter line. put them to the sword kill them crabbèd cross, ill tempered (OED adj.2b) repine grumble, complain (OED v.1a) To be the brother of their emperor Mustaffa was offered the hand of Bajazeth’s sister, Solyma, in marriage. Enter Solyma Solyma is neither in Ashton nor Shute and is thus likely an invention. She is the second of three female characters to appear in the play. grace kindly regard (OED n.2b) This night … to me Compare with Richard III where prophetic dreams occur in a number of scenes. Lucinae’s shining wain The chariot of the moon. Lucina was the goddess of childbirth and often linked to the moon (Riad 181). Cassiopeia This is a constellation named after Cassiopeia, the mother of Andromeda, who boasted of her and her daughter’s unrivaled beauty and who for her arrogance was punished by being exiled to the sky. The stars in the constellation form the shape of a chair. a fearful vision A number of plays during the period like Shakepeare’s Richard III and the anonymous Arden of Faversham include such prophetic dreams. of bassa’s fair degree of the bassas’ elite status halter noose A greedy lion … all to nought. Solyma has a premonition of her coming death at the hands of her brother Selimus. nought nothing vain idle, unprofitable, useless (OED adj.1a) disjoin separate bounds boundaries this Amurath gives the messengers some coins. let us depart Compare the following with Ashton which has the brothers fleeing together to the mountains (I4r). the windows of the morn be ope morning ope open Aegyptus Latin for Egypt I’ll to Aegyptus … I to Persia. In Shute (O4r-v), Acomat’s sons fight in their father’s last battle against Selimus, fleeing at its conclusion. they Amurath and Aladin did move them Metrically, the addition of did regularizes the pentameter line. him Hali Bassa only meets with one messenger. certified informed abye pay the penalty for (OED v.2) pitiful merciful, also pathetic him Mustaffa mean means secrecies secrets So help me God and holy Mahomet. One of the rare religious oaths in the play. See . for because famous stock royal line of the Ottomans battle of Chiurlu … by flight See Scene 5 to Scene 8. Mustaffa gives specific details of the battle here that are not actually staged or discussed in these scenes. hedged surrounded danger vulnerability ’scape escape dignity high estate, position, or estimation (OED n.2) sons Hali Bassa and Cali Bassa bend their brows frown Janissars do mourn Metrically, addition of do regularizes the pentameter line. ever subject ever any subject has been holy protestation Selimus refers to Mustaffa’s vow, So help me God and holy Mahomet, above. merchantman merchant ware merchandise gracious generous (OED adj.2a) be in the selfsame be guilty of the same he made thee emperor See . Though we do not actually see him support Selimus’s usurpation of the throne, Mustaffa is apparently present when the Janissaries crown Selimus offstage. benefits kind deeds, kindnesses, favors (OED n.2a) after live live after ’Twere pity … husband. Selimus sarcastically suggests that the lonely Solyma should join Mustaffa in the afterlife. unmanly Lacking fortitude and courage. Selimus ironically suggests that Solyma’s forces are unmanly because led by a woman. Exeunt Mustaffa’s and Solyma’s bodies will somehow have to been removed from the stage before the start of the next scene. my native soil Turkey by right Acomat refers to the fact that now, after his killing of Corcut, he is the eldest son of Bajazeth. He was … bassas’ will See Scene 18. enthronized Enthroned. Compare with Locrine: Right noble father, we will rule the land, / Enthronized in seates of Topace stones, / That Locrine and his brethren all may know (C3r). made good Bajazeth to die See Scene 19. strangled Corcut See Scene 22. exiled me We never see Selimus formally do this in the play. raise remove Nilus Latin for the Nile river Usumcasane Usumcasane is a supporter of Tamburlaine in Marlowe’s Tamburlaine plays. During the course of these plays, Tamburlaine crowns him king of Morocco. The historical Usumcasane, Uzun Hasan, was a Persian King who lived decades after Timur the Lame, the historical source of Marlowe’s Tamburlaine (Vitkus 147). The historic record is unclear as to whether Uzun Hasan was related to Tuman Bey (the historic namesake of the play’s Tonombey). Ashton, though, records that the Persian leader Ismael was the grandson of Uzun Hasan (G2v). From whom my father lineally descends This appears to be a fictional lineage. Fortune shall show even if Fortune shall show too cross opposed revest reinvest uncontrollèd not to be controlled policy course of action (OED n.4) mushrooms contemptible persons (OED n.2a), also upstarts (OED n.2b) because mushrooms proverbially grow overnight walls This is the second scene to make use of a platform above the main stage. See . parricide murderer of his own father lukewarm blood This was a common phrase in professional plays of the period. Compare with Locrine (Were bathed in our enemies lukewarme blood [D2r]) and Mucedorus (Now glut thy greedie guts with luke warme blood! [D2r]). your robberies Metrically, the addition of your regularizes the pentameter line. equal just Euripus of swift Euboea Euripus is a strait between the Greek island of Euboea and the Boeotian peninsula known for its swift current Phoeb’s Phoebus’s, the sun’s bring the day … Eastern sea. rise in the west and set in the east Thy bloody … What security? Solyma sarcastically asks Selimus what hope of mercy can she have given the violent past actions of him and his soldiers. ungracious wicked, possibly low born (as an insult) of all thy dearest friends Metrically, the addition of all regularizes the pentameter line. Fleshing gratifying (in lust or rage), the earliest instance cited in the OED (OED 3c) death forms of death sturdy rebellious, disobedient (OED adj.5a) Though you braved us Metrically, the addition of you regularizes the pentameter line. braved challenged, defied (OED v.1) Melanippe … great Hercules Daughter of the Greek god of war Ares, Melanippe (in Q1 Menalip) was an Amazonian queen, sister to Hippolyta who appears in A Midsummer Night’s Dream as captive to Theseus. Hercules fought Melanippe and the Amazons along the river Thermodon while retrieving Hippolyta’s girdle, one of his twelve labors. haughty plumes prideful feathers take capture concubine whore, prostitute See and . Thou hast not Fortune tièd in a chain You do not control Fortune. Compare with 1 Tamburlaine (I hold the Fates bound fast in yron chaines, / And with my hand turne Fortunes wheel about [B1r]) and Locrine (Leades fortune tied in a chaine of gold, / Contraining her to yeeld vnto his will [C3r]). wary pilot cautious sea captain this all containing barge earth scold to behave as a scold; to quarrel noisily, to brawl said chiefly of women (OED v.1) bug a self-important, conceited, or pompous person (OED n.2) Usumcasane’s See above. tempered brought to the required degree of hardness (OED adj.3) burgonets helmets with visors (OED n.1) Were they … Minerva’s shield. Compare with Edward I (Or shouldst as Briareus shake at once, / A hundred bloudie swordes, with bloudie hands,) and Locrine (How brauely this yoong Brittain Albanact / Darteth abroad the thunderbolts of warre, / Beating downe millions with his furious moode; / And in his glorie triumphs ouer all, / Mouing the massie squadrants of the ground; / Heape hills on hills, to scale the starrie sky, / When Briareus armed with an hundreth hands / Floong forth an hundreth mountains at great Ioue, / And when the monstrous giant Monichus / Hurld mount Olympus at great Mars his targe, / And shot huge caedars at Mineruas shield [D4v]). fell treacherous, deceitful, false (OED adj.1d) earth-bred brethren The giants. In the classical tradition, the giants were children of Gaia, earth. Here, Selimus refers to the revolt of the giants against the gods (Riad 189). Heaped hill on hill to scale the starry sky Compare with Locrine: Heape hills on hills, to scale the starrie sky (D4v). Briareus Briareus was one of titans, children of Gaia (earth), who was said to have a hundred arms or hands. In one tradition, Briareus fought with the titans against the gods. Monichus Monichus was a centaur and a giant (Riad 190). Mars his targe Mars’s shield darted hurled Minerva Roman goddess associated with wisdom and war urchins hedgehogs porcupine Selimus, in calling Acomat a porcupine, accuses him of being prickly and difficult to deal with. masketh in our looks Selimus tells Acomat that courage makes masks of his soldiers’ faces, suggesting that all of his men look courageous. white-winged morally pure, right Victory sits on our swords Compare with 1 Tamburlaine: Behold my sword, what see you at the point? / / For there sits Death, there sits imperious Death (E3r). See . Captain of Egypt Tonombey vauntst boasts Sprung … Scythian thief, Compare with 1 Tamburlaine: Of Tamburlaine, that sturdie Scythian thiefe (A3v). For other allusions to Tamburlaine, see and . As Riad suggests (191), this new account of Tonombey’s lineage is seemingly an error on the part of the playwright(s). bade thee enterprise encouraged you to pursue Trebisond See . squarèd elusive, meaning possibly carefully chosen (Hopkinson 122) or ready to fight (Vitkus 139) broad-mouthed insolent (OED broad n.C2) detain keep crest head I dare and chellenge thee. Selimus challenges his brother to single combat. unripe immature Phaeton In his adolescence, Phaeton asked his father to let him drive his sun chariot across the sky. After receiving permission to do so, he lost control of the horses, and because he then came too close to earth, threatening it with destruction, Zeus struck the boy down with a thunderbolt. In classical mythology, Phaeton was the son of Helios, the sun. t’undertake to undertake, to take in hand resolv’st resolves, decides peremptory decisive cope with face bragging Boastful, swaggering (OED adj.). Compare with Locrine: And but thou better vse thy bragging blade, / Then thou doest rule thy ouerflowing toong, /Superbious Brittaine, thou shalt know too soone / The force of Humber and his Scithians (D4r). overflowing too loquacious, talkative Exeunt all but Tonombey. There are soldiers from both sides still on the stage when Tonombey reenters. His final speech, however, is delivered with only him on stage, and as such an added stage direction is needed here. Thy victorious sire. Usumcasane’s son, the Soldan of Egypt See . Dings knocks Persians The Persians were also Acomat’s allies. occision killing, slaughter (OED n.) Sinam Bassa with Acomat prisoner Ashton (I6r-v) gives a longer description of Ahmed’s escape from the battle and capture. Ashton’s account has him, like Korkud, hanged in a bowestryng. In Shute, Ahmed is strangled by Selimus’s men after being defeated in battle and captured (O4r). Thus, when … of Troy. Selimus compares his victory over Acomat to a victory in the Iliad of the Trojan Hector, son of King Priamus, over the Greeks in the Trojan War. Eventually, of course, the Greeks would kill Hector and win the war, and as such, this is an ironic allusion. For an earlier reference to the Trojan War, see . gallant excellent, splendid (OED adj.4a) never-foilèd never-beaten raving for wandering in search of (Vitkus 141), or deleriously, madly (OED v.1c) drove herd (OED n.2a) Or Mars … of blood. In a second epic simile in this speech, Selimus cites an elusive myth involving the Roman god of war fighting with the Thracians, a group of Indo-European tribes occupying southeastern Europe. The Hebros is a river running through Greece and emptying into the Aegean Sea. adamantine made of a hard rock or mineral, unbreakable (OED adj.1a) wain See and above. Beylerbey of fair Natolia The previous beylerbey died in scene 14 above. rev’rence Metrically, this abbreviated form of reverence regularizes the pentameter line. contentation satisfaction them the assembled bassas who fought for Selimus Thou slewst … own good name. Slewst, murdered. See Scene 28. wanted lacked Now, as … to crowns. Monster-gardens may be a reference to the Garden of Hesperides or to the Garden of Eden (Riad 194). Selimus delivers his third epic simile in this scene, here comparing himself to the many classical heroes like Hercules and Odysseus who had successfully completed challenging tasks and journeys. Ind India trod walked Like the … territories. In his fourth and longest epic simile in this scene, Selimus compares his history to the myth of Egyptian Ibis. sweltring sweltering, oppressively hot earth’s green children plantlife, possibly young animals band to join or form together (OED v.4) array an arrangement in lines or ranks (OED n.1a) them the ibises basilisk A mythological serpant whose look and breath was fatal. lifted ungracious hands Metrically, the removal of his regularizes the pentameter line. rid gotten rid of cockatrice another word for basilisk consumèd destroyed And now … emperors Tonombey and Ismael among others. Here again, the play suggests a coming sequel. See and the Conclusion below. those soldans … hell Selim I attacked and defeated the Persians and their leader Ismael in 1514. He defeated the Egyptians and their leader Tuman Bey in 1517. These encounters presumably would have been the subject of Selimus’s sequel if it had been written. As Vitkus has pointed out (22), Selimus’s reference here to a lowest hell is ironic given his rejection of either a heaven or a hell in his long opening speech in the play’s second scene. quell kill, put to death (OED v.1) Zephyrus the west wind, indicating the arrival of Spring blast a strong gust of wind (OED n.1) meads meadows fling attack (OED n.2) Enter Conclusion. Like the Prologue, the following choral speech would have been delivered by one of the actors to the audience. Dessen and Thomson list no other instance of a Conclusion speaking part in an early modern English professional play. Arabia In fact, Selimus has become the undisputed Sultan of the Ottoman Empire. He actually does not wear the crown of Arabia. Next Here is famously promised a sequel, like the second part of Tamburlaine. As far as we know, this sequel was never written and therefore never staged. warlike Naturally disposed to warfare (OED adj.1). Compare with 1 Tamburlaine: Wel, here is now to the Souldan of Egypt the King of Arabia, and the Gouernour of Damascus. Now take these three crownes, and pledge me, my contributorie Kings. / I crown you here (Theridamas) King of Argier: Techelles, king of Feste, and Vsummeasane King of Morocus (D8v). Giving The form Giving is parallel with Dividing in the preceding line and also makes the lines here clearer in meaning. do like you well you do like well
Prologue Enter Prologue. Prologue No feignèd toy nor forgèd tragedy, Gentles, we here present unto your view But a most lamentable history, Which this last age acknowledgeth for true. Here shall you see the wicked son pursue His wretched father with remorseless spite And, daunted once, his force again renew, Poison his father, kill his friends in fight. You shall behold him character in blood The image of an implacable king And, like a sea or high resurging flood, All obstant lets down with his fury fling, Which if with patience of you shall be heard, We have the greatest part of our reward. Exit.
Scene 1 Enter Bajazeth Emperor of Turkey, Mustaffa, Cherseoli, and the Janissaries. Bajazeth Leave me, my lords, until I call you forth, For I am heavy and disconsolate. Exeunt all but Bajazeth. Bajazeth So, Bajazeth, now thou remainst alone, Unrip the thoughts that harbor in thy breast And eat thee up, for arbiter here’s none That may descry the cause of thy unrest, Unless these walls thy secret thoughts declare, And princes’ walls, they say, unfaithful are. Why, that’s the profit of great regiment, That all of us are subject unto fears, And this vain show and glorious intent Privy suspicion on each scruple rears. Ay, though on all the world we make extent, From the south pole unto the northern bears, And stretch our reign from East to Western shore, Yet doubt and care are with us evermore. Look how the earth, clad in her summer’s pride, Embroidereth her mantle gorgeously With fragrant herbs and flowers gaily dyed, Spreading abroad her spangled tapestry: Yet under all a loathsome snake doth hide. Such is our life: under crowns cares do lie, And fear the scepter still attends upon. Oh, who can take delight in kingly throne? Public disorders joined with private cark, Care of our friends and of our children dear, Do toss our lives, as waves a silly bark. Though we be fearless, ’tis not without fear, For hidden mischief lurketh in the dark, And storms may fall be the day ne’er so clear. He knows not what it is to be a king That thinks a scepter is a pleasant thing. Twice fifteen times hath fair Latona’s son Walked about the world with his great light Since I began—would I had ne’er begun— To sway this scepter. Many a careful night, When Cynthia in haste to bed did run, Have I with watching vexed my agèd spirit. Since when, what dangers I have overpassed Would make a heart of adamant aghast. The Persian Sophy, mighty Ismael, Did take the Levant clean away from me, And Caraguis Bassa, sent his force to quell, Was killed himself the while his men did flee. Poor Hali Bassa, having once sped well And gained of him a bloody victory, Was at the last slain fighting in the field, Charactering honor in his battered shield. Ramirchan, the Tatarian Emperor, Gathering to him a number numberless Of big-boned Tatars, in a hapless hour Encountered me, and there my chiefest bliss Good Alemshae (ah, this remembrance sour) Was slain, the more t’augment my sad distress. In losing Alemshae poor, I lost more Than ever I had gainèd theretofore. Well may thy soul rest in her latest grave, Sweet Alemshae, the comfort of my days. That thou mightst live, how often did I crave? How often did I bootless prayers raise To that high power that life first to thee gave? Trusty was thou to me at all assays, And, dearest child, thy father oft hath cried That thou hadst lived, so he himself had died. The Christian armies, oftentimes defeated By my victorious father’s valiance, Have all my captains famously confronted, And cracked in two our uncontrollèd lance. My strongest garrisons they have supplanted And overwhelmed me in sad mischance; And my decrease so long wrought their increase, ’Til I was forced conclude a friendly peace. Now all these are but foreign damages, Taken in war whose die uncertain is, But I shall have more home-born outrages, Unless my divination aims amiss. I have three sons all of unequal ages, And all in diverse studies set their bliss: Corcut, my eldest, a philosopher, Acomat pompous, Selim a warrior. Corcut in fair Magnesia leads his life In learning arts and Mahound’s dreaded laws; Acomat loves to court it with his wife, And in a pleasant quiet joys to pause; But Selim follows wars in dismal strife And snatcheth at my crown with greedy claws. But he shall miss of that he aimeth at, For I reserve it for my Acomat. For Acomat? Alas, it cannot be. Stern Selimus hath won my people’s hearts. The Janissaries love him more than me And for his cause will suffer any smart. They see he is a friend to chivalry, And sooner will they from my faith depart, And by strong hand, Bajazeth, pull thee down, Than let their Selim hop without the crown. Ah, if the soldiers overrule thy state, And nothing must be done without their will; If every base and upstart runagate Shall cross a prince and overthwart him still; If Corcut, Selimus, and Acomat, With crowns and kingdoms shall their hungers fill, Poor Bajazeth, what then remains to thee But the bare title of thy dignity? Ay, and unless thou do dissemble all And wink at Selimus’s aspiring thought, The bassas cruelly shall work thy fall, And then thy empire is but dearly bought. Ah, that our sons, thus to ambition thrall, Should set the law of nature all at nought. But what must be cannot choose but be done. —Come, bassas, enter; Bajazeth hath done. Enter again Mustaffa, Cherseoli, and the Janissaries. Cherseoli Dread Emperor, long may you happy live, Loved of your subjects and feared of your foes. We wonder much what doth your highness grieve That you will not unto your lords disclose. Perhaps you fear lest we, your loyal peers, Would prove disloyal to your majesty And be rebellious in your dying years. But, mighty prince, the heavens can testify How dearly we esteem your safety. Mustaffa Perhaps you think Mustaffa will revolt And leave your grace and cleave to Selimus, But sooner shall th’almighty’s thunderbolt Strike me down to the cave tenebrious, The lowest land and damnèd spirits’ holt, Than true Mustaffa prove so treacherous. Your majesty then needs not much to fear, Since you are loved of subject, prince, and peer. First shall the sun rise from the occident, And loose his steeds benighted in the East, First shall the sea become the continent, Ere we forsake our sovereign’s behest. We fought not for you against Persians’ tent, Breaking our lances on his sturdy crest; We fought not for you gainst the Christian host To become traitors after all our cost. Bajazeth Hear me, Mustaffa and Cherseoli. I am a father of a headstrong brood, Which if I look not closely to myself, Will seek to ruinate their father’s state, Even as the vipers in great Nero’s fen Eat up the belly that first nourished them. You see the harvest of my life is past, And agèd winter hath besprent my head With a hoar-frost of silver colored hairs, The harbingers of honorable eld; These branchlike veins which once did guide my arms To toss the spear in battellous array, Now withered up, have lost their former strength. My sons, whom now ambition ’gins to prick, May take occasion of my weakened age And rise in rebel arms against my state. But stay, here comes a messenger to us. Sound within. Enter a Messenger. Messenger Health and good hap to Bajazeth, The great commander of all Asia. Selim, the Soldan of great Trebisond, Sends me unto your grace to signify His alliance with the King of Tatary. Bajazeth Said I not, lords, as much to you before That mine own sons would seek my overthrow? And see, here comes a luckless messenger To prove that true which my mind did foretell. Does Selim make so small account of us That he dare marry without our consent, And to that devil, too, of Tatary? And could he then, unkind, so soon forget The injuries that Ramir did to me, Thus to consort himself with him gainst me? Cherseoli Your majesty misconsters Selimus; It cannot be that he in whose high thoughts A map of many valors is enshrined Should seek his father’s ruin and decay. Selimus is a prince of forward hope, Whose only name affrights your enemies; It cannot be he should prove false to you. Bajazeth Can it not be? Oh yes, Cherseoli, For Selim’s hands do itch to have the crown, And he will have it or else pull me down. Is he a prince? Ah no, he is a sea, To which run nought but ambitious reaches, Seditious complots, murder, fraud, and hate. Could he not let his father know his mind, But match himself when I least thought on it? Mustaffa Perhaps, my lord, Selimus loved the dame And feared to certify you of his love Because her father was your enemy. Bajazeth In love, Mustaffa? Selimus in love? If he be, lording, ’tis not ladies’ love But love of rule and kingly sov’reignty. For wherefore should he fear t’ask my consent? Trusty Mustaffa, if he had feared me, He never would have loved mine enemy. But this his marriage with the Tatar’s daughter Is but the prologue to his cruelty, And quickly shall we have the tragedy, Which though he act with meditated bravery, The world will never give him plaudity. What, yet more news? Sound within. Enter another Messenger. Messenger Dread Emperor, Selimus is at hand; Two hundred thousand strong Tatarians, Armèd at all points, does he lead with him, Besides his followers from Trebisond. Bajazeth I thought so much of wicked Selimus. Oh forlorn hopes and hapless Bajazeth, Is duty then exilèd from his breast, Which nature hath inscribed with golden pen, Deep in the hearts of honorable men? Ah Selim, Selim, wert thou not my son, But some strange unacquainted foreigner, Whom I should honor as I honored thee, Yet would it grieve me even unto the death, If he should deal as thou hast dealt with me. And thou, my son, to whom I freely gave The mighty Empire of great Trebisond, Art too unnatural to requite me thus. Good Alemshae, hadst thou lived ’til this day, Thou wouldst have blushèd at thy brother’s mind. Come, sweet Mustaffa. Come, Cherseoli. And with some good advice recomfort me. Exeunt all.
Scene 2 Enter Selimus, Sinam Bassa, Ottrante, Occhiali, and the soldiers. Selimus Aside Now, Selimus, consider who thou art: Long hast thou marched in disguisèd attire, But now unmask thyself and play thy part And manifest the heat of thy desire; Nourish the coals of thine ambitious fire, And think that then thy empire is most sure When men for fear thy tyranny endure. Think that to thee there is no worse reproach Than filial duty in so high a place. Thou oughtst to set barrels of blood abroach And seek with sword whole kingdoms to displace. Let Mahound’s laws be locked up in their case, And meaner men and of a baser spirit In virtuous actions seek for glorious merit. I count it sacrilege for to be holy Or reverence this threadbare name of good. Leave to old men and babes that kind of folly; Count it of equal value with the mud. Make thou a passage for thy gushing flood By slaughter, treason, or what else thou can, And scorn religion; it disgraces man. My father Bajazeth is weak and old And hath not much above two years to live. The Turkish crown of pearl and Ophir gold He means to his dear Acomat to give. But ere his ship can to her haven drive, I’ll send abroad my tempests in such sort That she shall sink before she get the port. Alas, alas, his highness’ agèd head Is not sufficient to support a crown. Then, Selimus, take thou it in his stead, And if at this thy boldness he dare frown Or but resist thy will, then pull him down. For since he hath so short a time t’enjoy it, I’ll make it shorter, or I will destroy him. Nor pass I what our holy votaries Shall here object against my forward mind: I reck not of their foolish ceremonies But mean to take my fortune as I find. Wisdom commands to follow tide and wind: And catch the front of swift Occasion Before she be too quickly overgone. Some man will say I am too impious, Thus to lay siege against my father’s life, And that I ought to follow virtuous And godly sons, that virtue is a glass Wherein I may my errant life behold And frame myself by it in ancient mold. Good sir, your wisdom’s overflowing wit Digs deep with learning’s wonder-working spade. Perhaps you think that now forsooth you sit With some grave wizard in a prattling shade. Avaunt such glasses: let them view in me The perfect picture of right tyranny. I, like a lion, look not worth a leek, When every dog deprives him of his prey: These honest terms are far enough to seek. When angry Fortune menaceth decay, My resolution treads a nearer way. Give me the heart conspiring with the hand In such a cause my father to withstand. Is he my father? Why, I am his son: I owe no more to him than he to me. If he proceed as he hath now begun And pass from me the Turkish seigniory To Acomat, then Selimus is free. And if he injure me that am his son, Faith, all the love ’twixt him and me is done. But for I see the schoolmen are prepared To plant gainst me their bookish ordinance, I mean to stand on a sententious guard: And without any far-fetched circumstance, Quickly unfold mine own opinion To arm my heart with irreligion. When first this circled round, this building fair, Some god took out of the confusèd mass (What god I do not know, nor greatly care), Then every man of his own dition was, And everyone his life in peace did pass. War was not then, and riches were not known, And no man said this, or this, is mine own. The plowman with a furrow did not mark How far his great possessions did reach; The earth knew not the share, nor seas the bark; The soldiers entered not the battered breach, Nor trumpets the tantara loud did teach. There needed them no judge, nor yet no law, Nor any king of whom to stand in awe. But after Ninus, warlike Belus’ son, The earth with unknown armor did warray, Then first the sacred name of king begun: And things that were as common as the day Did then to set possessors first obey. Then they established laws and holy rites To maintain peace and govern bloody fights. Then some sage man, above the vulgar wise, Knowing that laws could not in quiet dwell, Unless they were observed, did first devise The names of gods, religion, heaven, and hell, And gan of pains and feigned rewards to tell: Pains for those men which did neglect the law, Rewards for those that lived in quiet awe. Whereas, indeed, they were just mere fictions— And if they were not, Selim thinks they were And these religious observations Only bugbears to keep the world in fear And make men quietly a yoke to bear. So that religion, of itself a bauble, Was only found to make us peaceable. Hence in especial come the foolish names Of father, mother, brother, and such like: For who so well his cogitation frames Shall find they serve but only for to strike Into our minds a certain kind of like. For these names, too, are but a policy To keep the quiet of society. Indeed, I must confess they are not bad Because they keep the baser sort in fear. But we, whose mind in heavenly thoughts is clad, Whose body doth a glorious spirit bear That hath no bounds but flieth everywhere, Why should we seek to make that soul a slave To which dame Nature so large freedom gave? Amongst us men, there is some difference Of actions termèd by us good or ill: As he that doth his father recompence Differs from him that doth his father kill. And yet I think, think others what they will, That parricides, when death hath given them rest, Shall have as good a part as have the best. And that’s just nothing, for as I suppose In Death’s void kingdom reigns eternal Night, Secure of evil and secure of foes, Where nothing doth the wicked man affright, No more than him that dies in doing right. Then since in death nothing shall to us fall, Here while I live I’ll have a snatch at all. And that can never, never be attained, Unless old Bajazeth do die the death. For long enough the graybeard now hath reigned And lived at ease, while others lived uneath. And now it’s time he should resign his breath. ’Twere good for him if he were pressèd out; Twould bring him rest and rid him of his gout. Resolved to do it, cast to compass it Without delay or long procrastination. It argueth an unmanurèd wit, When all is ready for so strong invasion, To draw out time; an unlooked for mutation May soon prevent us if we do delay. Quick speed is good, where wisdom leads the way. —Occhiali? Occhiali My lord. Selimus Lo, fly boy to my father Bajazeth, And tell him Selim, his obedient son, Desires to speak with him and kiss his hands; Tell him I long to see his gracious face And that I come with all my chivalry To chase the Christians from his seigniory. In any wise, say I must speak with him. Exit Occhiali. Now, Sinam, if I speed. Sinam Bassa What then, my lord? Selimus What then? Why, Sinam, thou art nothing worth. I will endeavor to persuade him, man, To give the empire over unto me; Perhaps I shall attain it at his hands. If I cannot, this right hand is resolved To end the period with a fatal stab. Sinam Bassa My gracious lord, give Sinam leave to speak. If you resolve to work your father’s death, You venture life: think you the Janissaries Will suffer you to kill him in their sight And let you pass free without punishment? Selimus If I resolve? As sure as heaven is heaven, I mean to see him dead or myself king. As for the bassas, they are all my friends, And I am sure would pawn their dearest blood That Selim might be Emperor of Turks. Sinam Bassa Yet Acomat and Corcut both survive To be revengèd for their father’s death. Selimus Sinam, if they, or twenty such as they, Had twenty several armies in the field, If Selimus were once your emperor, I’d dart abroad the thunderbolts of war And mow their heartless squadrons to the ground. Sinam Bassa Oh yet, my lord, after your highness’ death, There is a hell and a revenging god. Selimus Tush, Sinam, these are school conditions, To fear the devil or his cursèd dam. Thinkest thou I care for apparitions, Of Sisyphus and of his backward stone, And poor Ixion’s lamentable moan? No, no, I think the cave of damnèd ghosts Is but a tale to terrify young babes, Like devils’ faces scored on painted posts Or feignèd circles in our astrolabes. Why, there’s no difference when we are dead, And death once come, then all alike are sped. Or if there were, as I can scarce believe, A heaven of joy and hell of endless pain, Yet, by my soul, it never should me grieve So I might on the Turkish Empire reign, To enter hell and leave fair heaven’s gain. An empire, Sinam, is so sweet a thing, As I could be a devil to be a king. But go we, lords, and solace in our camp ’Til the return of young Occhiali, And if his answer be to thy desire, Selim, thy mind in kingly thoughts attire. Exeunt all.
Scene 3 Enter Bajazeth, Mustaffa, Cherseoli, Occhiali, and the Janissaries. Bajazeth Even as the great Egyptian crocodile, Wanting his prey, with artificial tears And feignèd plaints his subtle tongue doth file T’entrap the silly wandering traveler And move him to advance his footing near, That when he is in danger of his claws, He may devour him with his famished jaws, So playeth crafty Selimus with me: His haughty thoughts still wait on diadems And not a step but treads to majesty. The Phoenix gazeth on the sun’s bright beams; The echeneis swims against the streams; Nought but the Turkish scepter can him please, And there I know lieth his chief disease. He sends his messengers to crave access And says he longs to kiss my agèd hands: But howsoever he in show profess, His meaning with his words but weakly stands. And sooner will the Syrtis’ boiling sands Become a quiet road for fleeting ships, Than Selimus’s heart agree with Selim’s lips. Too well I know the crocodile’s feignèd tears Are but the nets wherein to catch his prey: Which whoso moved with foolish pity hears Will be the author of his own decay. Then hie thee, Bajazeth, from hence away. A fawning monster is false Selimus, Whose fairest words are most pernicious. Young man, would Selim come and speak with us? What is his message to us, canst thou tell? Occhiali He craves, my lord, another seigniory, Nearer to you and to the Christians, That he may make them know that Selimus Is born to be a scourge unto them all. Bajazeth He’s born to be a scourge to me and mine; He never would have come with such an host, Unless he meant my state to undermine. What though in word he bravely seem to boast The foraging of all the Christian coast, Yet we have cause to fear when burning brands Are vainly given into a madman’s hands. Aside Well, I must seem to wink at his desire, Although I see it plainer than the light. My lenity adds fuel to his fire, Which now begins to break in flashing bright. Then, Bajazeth, chastize his stubborn spirit, Lest these small sparkles grow to such a flame As shall consume thee and thy house’s name. Alas, I spare when all my store is gone And thrust my sickle where the corn is reaped; In vain I send for the physician, When on the patient is his grave dust heaped. In vain, now all his veins in venom steeped Break out in blisters that will poison us, We seek to give him an antidotus. He that will stop the brook must then begin When summer’s heat hath drièd up his spring And when his pittring streams are low and thin. For let the winter aid unto him bring, He grows to be of watry floods the king. And though you dam him up with lofty ranks, Yet will he quickly overflow his banks. —Messenger, go and tell young Selimus We give to him all great Samandria, Bord’ring on Belgrade of Hungaria, Where he may plague those Christian runagates And salve the wounds that they have given our states. Cherseoli, go and provide a gift, A royal present for my Selimus, And tell him, messenger, another time He shall have talk enough with Bajazeth. Exeunt Cherseoli and Occhiali. And now what counsel gives Mustaffa to us? I fear this hasty reck’ning will undo us. Mustaffa Make haste, my lord, from Adrianople walls, And let us fly to fair Byzantium, Lest if your son before you take the town, He may with little labor win the crown. Bajazeth Then do so, good Mustaffa; call our guard And gather all our warlike Janissaries. Our chiefest aid is swift celerity. Then let our wingèd coursers tread the wind, And leave rebellious Selimus behind. Exeunt all.
Scene 4 Enter Selimus, Sinam Bassa, Occhiali, Ottrante, and their soldiers. Selimus And is his answer so, Occhiali? Is Selim such a corsive to his heart That he cannot endure the sight of him? Forsooth, he gives thee all Samandria, From whence our mighty Emperor Mahomet Was driven to his country back with shame. No doubt thy father loves thee, Selimus, To make thee regent of so great a land Which is not yet his own: or if it were, What dangers wait on him that should it steer? Here the Polonian he comes hurtling in Under the conduct of some foreign prince To fight in honor of his crucifix! Here the Hungarian with his bloody cross Deals blows about to win Belgrade again. And after all, forsooth Basilius, The mighty Emperor of Russia Sends in his troops of slave-born Muscovites, And he will share with us or else take all. In giving such a land so full of strife, His meaning is to rid me of my life. Now by the dreaded name of Termagant And by the blackest brook in loathsome hell, Since he is so unnatural to me, I will prove as unnatural as he. Thinks he to stop my mouth with gold or pearl? Or rusty jades fetched from Barbaria? No, let his minion, his philosopher, Acomat and Corcut, be enriched with them. I will not take my rest ’til this right hand Hath pulled the crown from off his coward’s head And on the ground his bastards’ gore-blood shed. Nor shall his flight to old Byzantium Dismay my thoughts which never learned to stoop. March, Sinam. March in order after him. Were his light steeds as swift as Pegasus And trod the airy pavement with their heels, Yet Selimus would overtake them soon. And though the heavens ne’er so crossly frown, In spight of heaven shall Selim wear the crown. Exeunt.
Scene 5 Alarum within. Enter Bajazeth, Mustaffa, Cherseoli, and the Janissaries at one door; Selimus, Sinam Bassa, Ottrante, Occhiali, and their soldiers at another. Bajazeth Is this thy duty, son, unto thy father, So impiously to level at his life? Can thy soul, wallowing in ambitious mire, Seek for to reave that breast with bloody knife, From whence thou hadst thy being, Selimus? Was this the end for which thou joinst thy self With that mischievous traitor Ramirchan? Was this thy drift to speak with Bajazeth? Well hopèd I (But hope, I see, is vain) Thou wouldst have been a comfort to mine age, A scourge and terror to mine enemies, That this thy coming with so great an host Was for no other purpose and intent Than for to chastise those base Christians Which spoil my subjects’ wealth with fire and sword. Well hopèd I the rule of Trebisond Would have increased the valor of thy mind To turn thy strength upon the Persians. But thou, like to a crafty polypus, Dost turn thy hungry jaws upon thyself. For what am I, Selimus, but thyself? When courage first crept in thy manly breast, And thou beganst to rule the martial sword, How oft said thou the sun should change his course, Water should turn to earth, and earth to heaven, Ere thou wouldst prove disloyal to thy father. O Titan, turn thy breathless coursers back, And enterprise thy journey from the West. Blush, Selim, that the world should say of thee, That by my death thou gainst the empiry. Selimus Now let my cause be pleaded, Bajazeth, For father I disdain to call thee now. I took not arms to seize upon thy crown, For that, if once thou hadst been laid in grave, Should sit upon the head of Selimus In spight of Corcut and Acomat. I took not arms to take away thy life: The remnant of thy days is but a span, And foolish had I been to enterprise That which the gout and death would do for me. I took not arms to shed my brothers’ blood Because they stop my passage to the crown. For while thou livst, Selimus is content That they should live, but when thou once art dead Which of them both dares Selimus withstand? I soon should hew their bodies in piecemeal As easy as a man would kill a gnat. But I took arms unkind to honor thee And win again the fame that thou hast lost. And thou thoughtst scorn Selim should speak with thee, But had it been your darling Acomat, You would have met him half the way your self. I am a prince, and though your younger son, Yet are my merits better than both theirs. But you do seek to disinherit me And mean t’invest Acomat with your crown, So he shall have a prince’s due reward That cannot show a scar received in field. We that have fought with mighty Prester John And stripped th’Egyptian Soldan of his camp, Venturing life and living to honor thee, For that same cause shall now dishonored be. Art thou a father? Nay, false Bajazeth, Disclaim the title which thou dost not merit. A father would not thus flee from his son, As thou dost fly from loyal Selimus. A father would not injure thus his son, As thou dost injure loyal Selimus. Then, Bajazeth, prepare thee to the fight; Selimus, once thy son but now thy foe, Will make his fortunes by the sword and shield, And since thou fearst as long as I do live, I’ll also fear, as long as thou dost live. Exit Selimus and his company. Bajazeth My heart is overwhelmed with fear and grief; What dismal comet blazèd at my birth, Whose influence makes my strong unbridled son, Instead of love, to render hate to me? Ah, bassas, if that ever heretofore Your emperor ought his safety unto you, Defend me now gainst my unnatural son: Non timeo mortem: mortis mihi displicet auctor. Exit Bajazeth and his company.
Scene 6 Alarum. Enter Mustaffa and Selimus at diverse doors. Mustaffa beats Selimus in, then Ottrante and Cherseoli enter at diverse doors. Cherseoli Yield thee, Tatarian, or thou shalt die. Upon my sword’s sharp point standeth pale death Ready to rive in two thy caitiff breast. Ottrante Art thou that knight that like a lion fierce, Tiring his stomach on a flock of lambs, Hast broke our ranks and put them clean to flight? Cherseoli Ay, and unless thou look unto thyself, This sword, ne’er drunk in the Tatarian blood, Shall make thy carcass as the outcast dung. Ottrante Nay, I have matched a braver knight than you: Strong Alemshae, thy master’s eldest son, Leaving his body naked on the plains. And Turk, the selfsame end for thee remains. They fight. Ottrante killeth Cherseoli and flieth.
Scene 7 Alarum. Enter Selimus. Selimus Shall Selim’s hope be buried in the dust, And Bajazeth triumph over his fall? Then O, thou blindful mistress of mishap, Chief patronness of Rhamnus’ golden gates, I will advance my strong revenging hand And pluck thee from thy ever-turning wheel. Mars, or Minerva, Mahound, Termagant, Or whosoe’er you are that fight gainst me, Come and but show your selves before my face, And I will rend you all like trembling reeds. Well, Bajazeth, though Fortune smile on thee And deck thy camp with glorious victory, Though Selimus, now conquerèd by thee, Is fain to put his safety in swift flight, Yet so he flies, that like an angry ram, He’ll turn more fiercely than before he came. Exit Selimus.
Scene 8 Enter Bajazeth, Mustaffa, the Janissaries, a soldier with the body of Cherseoli, and Ottrante prisoner. Bajazeth Thus have we gained a bloody victory, And though we are the masters of the field, Yet have we lost more than our enemies. Ah, luckless fault of my Cherseoli, As dear and dearer wert thou unto me Than any of my sons, than mine own self. When I was glad, thy heart was full of joy, And bravely hast thou died for Bajazeth. And though thy bloodless body here do lie, Yet thy sweet soul in heaven forever blest Among the stars enjoys eternal rest. What art thou, warlike man of Tatary, Whose hap it is to be our prisoner? Ottrante I am a prince; Ottrante is my name, Chief captain of the Tatar’s mighty host. Bajazeth Ottrante? Wast not thou that slew my son? Ottrante Ay, and if Fortune had but favored me, Had sent the sire to keep him company. Bajazeth Off with his head and spoil him of his arms, And leave his body for the airy birds. Exit one with Ottrante. The unrevengèd ghost of Alemshae Shall now no more wander on Stygian banks But rest in quiet in th’Elysian fields. Mustaffa and you worthy men-at-arms That left not Bajazeth in greatest need, When we arrive at Constantine’s great tower, You shall be honored of your emperor. Exeunt all.
Scene 9 Enter Acomat, Visir, Regan, and a band of soldiers. Acomat Perhaps you wonder why prince Acomat, Delighting heretofore in foolish love, Hath changed his quiet to a soldier’s state And turned the dulcet tunes of Hymen’s song Into Bellona’s horrible outcries. You think it strange, that whereas I have lived Almost a votary to wantonness, To see me now lay off effeminate robes And arm my body in an iron wall. I have enjoyed quiet for long enough And surfeited with pleasure’s surquidry; A field of dainties I have passèd through And been a champion to fair Cytheria. Now, since this idle peace hath wearied me, I’ll follow Mars and war another while And dye my shield in dolorous vermeil. My brother Selim, through his manly deeds, Hath lifted up his fame unto the skies, While we, like earthworms lurking in the weeds, Do live inglorious in all men’s eyes. What lets me from this vain slumber rising And by strong hand achieve eternal glory That may be talked of in all memory? And see how Fortune favors mine intent: Heard you not, lordings, how prince Selimus Against our royal father armèd went, And how the Janissaries made him flee To Ramir, Emperor of Tatary? This his rebellion greatly profits me, For I shall sooner win my father’s mind To yield me up the Turkish empiry, Which if I have, I am sure I shall find Strong enemies to pull me down again That fain would have prince Selimus to reign. Then civil discord and contentious war Will follow Acomat’s coronation. Selim, no doubt, will broach seditious jar, And Corcut, too, will seek for alteration. Now, to prevent all sudden perturbation, We thought it good to muster up our power That danger may not take it unprovided. Visir I like your highness’ resolution well, For these should be the chief arts of a king: To punish those that furiously rebel And honor those that sacred counsel bring; To make good laws, ill customs to expel; To nourish peace from whence your riches spring; And when good quarrels call you to the field, T’excel your men in handling spear and shield. Thus shall the glory of your matchless name Be registered up in immortal lines. Whereas that prince that follows lustful game, And to fond toys his captive mind inclines, Shall never ’pass the temple of true fame, Whose worth is greater than the Indian mines. But is your grace assurèd certainly That Bajazeth doth favor your request? Perhaps you may make him your enemy; You know how much your father doth detest Stout obedience and obstinancy. I speak not this as if I thought it best Your highness should your right in it neglect, But that you might be close and circumspect. Acomat We thank thee, Visir, for thy loving care. As for my father Bajazeth’s affection, Unless his holy vows forgotten are, I shall be sure of it by his election. But after Acomat’s erection, We must forecast what things be necessary, Lest that our kingdom be too momentary. Regan First let my lord be seated in his throne, Installèd by great Bajazeth’s consent. As yet your harvest is not fully grown But in the green and unripe blade is pent: But when you once have got the regiment, Then may your lords more easily provide Against all accidents that may betide. Acomat Then set we forward to Byzantium, That we may know what Bajazeth intends. Aside Advise thee, Acomat, what’s best to do. The Janissaries favor Selimus, And they are strong undaunted enemies, Which will in arms gainst thy election rise. Then will them to thy will with precious gifts And store of gold: a timely largition The steadfast persons from their purpose lifts. But then beware lest Bajazeth’s affection Change into hatred by such premunition, For then he will think that I am factious And imitate my brother Selimus. Besides, a prince his honor doth debase That begs the common soldiers’ suffrages, And if the bassas knew I sought their grace, It would the more increase their insolence. To resist them were overhardiness, And worse it were to leave my enterprise. Well, howsoe’er, resolve to venture it; Fortune doth favor every bold assay, And ’twere a trick of an unsettled wit, Because the bees have stings with them alway, To fear our mouths in honey to embay. Then resolution for me leads the dance, And thus resolved, I mean to try my chance. Exeunt all.
Scene 10 Enter Bajazeth, Mustaffa, Cali Bassa, Hali Bassa, and the Janissaries. Bajazeth What prince soe’er trusts to his mighty pow’r, Ruling the reins of so many nations, And feareth not lest fickle Fortune lour And thinks his kingdom free from alterations. If he were in the place of Bajazeth, He would but little by his scepter set. For what hath rule that makes it acceptable? Rather, what hath it not worthy of hate? First of all is our state still mutable And our continuance at the people’s rate, So that it is a slender thread whereon Depends the honor of a prince’s throne. Then do we fear, more than the child newborn, Our friends, our lords, our subjects, and our sons. Thus is our mind in sundry pieces torn By care, by fear, suspicion, and distrust. In wine, in meat, we fear pernicious poison; At home, abroad, we fear seditious treason. Too true that tyrant Dionysus Did picture out the image of a king When Damocles was placèd in his throne, And o’er his head a threatning sword did hang, Fastened up only by a horse’s hair. Our chiefest trust is secretly distrust, For whom have we whom we may safely trust, If our own sons, neglecting awful duty, Rise up in arms against their loving fathers? Their heart is all of hardest marble wrought That can lay wait to take away their breath, From whom they first did suck this vital air. My heart is heavy, and I needs must sleep. Bassas, withdraw yourselves from me awhile That I may rest my overburdened soul. They stand aside while the curtains are drawn. Eunuchs play me some music while I sleep. Music within. Mustaffa Good Bajazeth, who would not pity thee, Whom thine own son so vilely persecutes? More mildly do th’unreasonable beasts Deal with their dams than Selimus with thee. Hali Bassa Mustaffa, we are princes of the land And love our emperor as well as thou: Yet will we not for pitying his estate, Suffer our foes our wealth to ruinate. If Selim have played false with Bajazeth, And overslipped the duty of a son, Why, he was moved by just occasion. Did he not humbly send his messenger To crave access unto his majesty? And yet he could not get permission To kiss his hands and speak his mind to him. Perhaps he thought his agèd father’s love Was clean estranged from him, and Acomat Should reap the fruit that he had labored for. ’Tis lawful for the father to take arms, Ay, and by death chastise his rebel son. Why should it be unlawful for the son To levy arms gainst his injurious sire? Mustaffa You reason, Hali, like a sophister, As if ’twere lawful for a subject prince To rise in arms against his sovereign Because he will not let him have his will, Much less is’t lawful for a man’s own son. If Bajazeth had injured Selimus, Or sought his death, or done him some abuse, Then Selim’s cause had been more tolerable. But Bajazeth did never injure him, Nor sought his death, nor once abusèd him, Unless because he gives him not the crown, Being the youngest of his highness’ sons. Gave he not him an empire for his part, The mighty empire of great Trebisond? So that if all things rightly be observed, Selim had more than ever he deserved. I speak not this because I hate the prince, For by the heavens I love young Selim, Better than either of his brethren, But for I owe allegiance to my king And love him much that favors me so much. Mustaffa, while old Bajazeth doth live, Will be as true to him as to himself. Cali Bassa Why, brave Mustaffa, Hali and myself Were never false unto his majesty. Our father Hali died in the field Against the Sophy in his highness’ wars, And we will never be degenerate. Nor do we take part with Prince Selimus Because we would depose old Bajazeth, But for because we would not Acomat That leads his life still in lascivious pomp, Nor Corcut, though he be a man of worth, Should be commander of our empire. For he that never saw his foeman’s face But always slept upon a lady’s lap, Will scant endure to lead a soldier’s life. And he that never handled but his pen Will be unskillful at the warlike lance. Indeed, his wisdom well may guide the crown And keep that safe his predecessors got: But being given to peace as Corcut is, He never will enlarge the empire, So that the rule and power over us Is only fit for valiant Selimus. Mustaffa Princes, you know how mighty Bajazeth Hath honorèd Mustaffa with his love. He gave his daughter, beauteous Solyma, To be the sovereign mistress of my thoughts. He made me captain of the Janissaries, And too unnatural should Mustaffa be To rise against him in his dying age. Yet know, you warlike peers, Mustaffa is A loyal friend unto Prince Selimus, And ere his other brethren get the crown, For his sake, I myself will pull them down. I love, I love them dearly, but the love Which I do bear unto my country’s good Makes me a friend to noble Selimus, Only let Bajazeth while he doth live Enjoy in peace the Turkish diadem. When he is dead and laid in quiet grave, Then none but Selimus our help shall have. Sound within. A Messenger enters. Curtains are opened. Bajazeth awaketh. Bajazeth How now, Mustaffa; what news have we there? Is Selim up in arms gainst me again? Or is the Sophy entered our confines? Hath the Egyptian snatched his crown again? Or have the uncontrollèd Christians Unsheathed their swords to make more war on us? Such news or none will come to Bajazeth. Mustaffa My gracious lord, here’s an ambassador Come from your son the Soldan Acomat. Bajazeth From Acomat? Oh, let him enter in. Enter Regan. Ambassador, how fares our loving son? Regan Mighty commander of the warlike Turks, Acomat, Soldan of Amasya, Greeteth your grace by me his messenger. He gives him a letter. And ’gratulates your highness’ good success, Wishing good fortune may befall you still. Bajazeth Mustaffa, read. He gives the letter to Mustaffa and speaks the rest to himself. Aside Acomat craves thy promise, Bajazeth, To give the empire up into his hands And make it sure to him in thy lifetime. And thou shalt have it, lovely Acomat, For I have been encumbered long enough And vexèd with the cares of kingly rule. Now, let the trouble of the empiry Be buried in the bosom of thy son. Ah, Acomat, if thou have such a reign So full of sorrow as thy father’s was, Thou wilt accurse the time, the day, and hour In which thou was established emperor. Sound. Enter a messenger from Corcut. —Yet more news? Messenger Long live the mighty Emperor Bajazeth. Corcut, the Soldan of Magnesia, Hearing of Selim’s worthy overthrow And of the coming of young Acomat, Doth certify your majesty by me How joyful he is of your victory. And therewithal he humbly doth require Your grace would do him justice in his cause. His brethren both, unworthy such a father, Do seek the empire while your grace doth live, And that by indirect sinister means. But Corcut, mind free from ambitious thoughts And trusting to the goodness of his cause, Joinèd unto your highness’ tender love, Only desires your grace should not invest Selim nor Acomat in the diadem, Which appertaineth unto him by right, But keep it to yourself the while you live. And when it shall the great creator please, Who hath the spirits of all men in his hands, Shall call your highness to your latest home, Then will he also sue to have his right. Bajazeth Aside Like to a ship sailing without the stars, Whom waves do toss one way and winds another, Both without ceasing, even so my poor heart Endures a combat betwixt love and right. The love I bear to my dear Acomat Commands me give my suffrage unto him, But Corcut’s title, being my eldest son, Bids me recall my hand and give it him. Acomat, he would have it in my life, But gentle Corcut, like a loving son, Desires me live and die an emperor And at my death bequeath my crown to him. Ah, Corcut, thou I see lovst me indeed; Selimus sought to thrust me down by force, And Acomat seeks the kingdom in my life, And both of them are grieved thou liv’st so long. But Corcut numbreth not my days as they; Oh, how much dearer loves he me then they. —Bassas, how counsel you your emperor? Mustaffa My gracious lord, myself will speak for all, For all, I know, are minded as I am. Your highness knows the Janissaries’ love, How firm they mean to cleave to your behest, As well you might perceive in that sad fight When Selim set upon you in your flight. Then we do all desire you on our knees To keep the crown and scepter to your self. How grievous will it be unto your thoughts, If you should give the crown to Acomat, To see the brethren disinherited To flesh their anger one upon another And rend the bowels of this mighty realm. Suppose that Corcut would be well content, Yet thinks your grace, if Acomat were king, That Selim ere long would join league with him? Nay, he would break from forth his Trebisond And waste the empire all with fire and sword. Ah, then too weak would be poor Acomat To stand against his brother’s great puissance Or save himself from his enhancèd hand, While Ismael and the cruel Persians And the great Soldan of th’Egyptians Would smile to see our force dismembered so. Ay, and perchance the neighbor Christians Would take occasion to thrust out their heads. All this may be prevented by your grace, If you will yield to Corcut’s just request And keep the kingdom to you while you live. Meantime, we that your grace’s subjects are May make us strong to fortify the man Whom at your death your grace shall choose as king. Bajazeth O, how thou speakest ever like thyself, Loyal Mustaffa: well were Bajazeth If all his sons did bear such love to him. Though loth I am longer to wear the crown, Yet for I see it is my subjects’ will, Once more will Bajazeth be emperor. But we must send to pacify our son, Or he will storm as erst did Selimus. Come, let us go unto our counsel, lords, And there consider what is to be done. Exeunt all.
Scene 11 Enter Acomat, Regan, Visir, and his soldiers. Acomat reads letter and then rents it. Acomat Thus will I rend the crown from off thy head, False-hearted and injurious Bajazeth, To mock thy son that lovèd thee so dear. What? For because the head-strong Janissaries Would not consent to honor Acomat, And their base bassas, vowed to Selimus, Thought me unworthy of the Turkish crown? Should he be ruled and overruled by them, Under pretence of keeping it himself, To wipe me clean forever being king? Doth he esteem so much the bassas’ words And prize their favor at so high a rate That for to gratify their stubborn minds He casts away all care and all respects Of duty, promise, and religious oaths? Now by the holy prophet Mahomet, Chief president and patron of the Turks, I mean to challenge now my right by arms And win by sword that glorious dignity Which he injuriously detains from me. Haply, he thinks because that Selimus, Rebutted by his warlike Janissaries, Was fain to fly in haste from whence he came That Acomat, by his example moved, Will fear to manage arms against his sire. Or that my life, forepassed in pleasure’s court, Promises weak resistance in the fight. But he shall know that I can use my sword And like a lion seize upon my prey. If ever Selim moved him heretofore, Acomat means to move him ten times more. Visir ’Twere good your grace would to Amasya And there increase your camp with fresh supply. Acomat Visir, I am impatient of delay, And since my father hath incensed me thus, I’ll quench those kindled flames with his heart blood. Not like a son but a most cruel foe Will Acomat henceforth be unto him. March to Natolia; there we will begin And make a preface to our massacres. My nephew Mahomet, son to Alemshae, Departed lately from Iconium, Is lodgèd there, and he shall be the first Whom I will sacrifice unto my wrath. Exeunt all.
Scene 12 Enter the young Prince Mahomet, the Beylerbey of Natolia, and one or two soldiers. Mahomet Lord Governor, what think you best to do? If we receive the Soldan Acomat, Who knoweth not but his bloodthirsty sword Shall be embowellèd in our countrymen. You know he is displeased with Bajazeth And will rebel, as Selim did tofore, And would to God with Selim’s overthrow. You know his angry heart hath vowed revenge On all the subjects of his father’s land. Beylerbey Young prince, thy uncle seeks to have thy life Because by right the Turkish crown is thine. Save thou thyself by flight or otherwise, And we will make resistance as we can. Like an Armenian tiger that hath lost Her lovèd whelps, so raveth Acomat: And we must be subject unto his rage, But you may live to venge your citizens. Then fly, good prince, before your uncle come. Mahomet Nay, good my lord, never shall it be said That Mahomet, the son of Alemshae, Fled from his citizens for fear of death, But I will stay and help to fight for you, And if you needs must die, I’ll die with you. And I among the rest with forward hand Will help to kill a common enemy. Exeunt all.
Scene 13 Enter Acomat, Visir, Regan, and soldiers. Acomat Now, fair Natolia, shall thy stately walls Be overthrown and beaten to the ground. My heart within me for revenge still calls. Why, Bajazeth, thoughtst thou that Acomat Would put up such a monstrous injury? Then had I brought my chivalry in vain And to no purpose drawn my conquering blade, Which now unsheathed shall not be sheathed again ’Til it a world of bleeding souls hath made. Poor Mahomet, thou thoughtst thyself too sure In thy strong city of Iconium To plant thy forces in Natolia, Weakened so much before by Selim’s sword. Summon a parley to the citizens That they may hear the dreadful words I speak And die in thought before they come to blows. Enter all to a parley, Mahomet, the Beylerbey of Natolia, and soldiers on the walls. Mahomet What craves our uncle Acomat of us? Acomat That thou and all the city yield themselves, Or by the holy rites of Mahomet, His wondrous tomb and sacred Alcoran, You all shall die: and not a common death, But e’en as monstrous as I can devise. Mahomet Uncle, if I may call you by that name, Which cruelly hunt for your nephew’s blood, You do us wrong thus to besiege our town That ne’er deserved such hatred at your hands, Being your friends and kinsmen as we are. Acomat In that thou wrongst me that thou art my kin. Mahomet Why, I am thy nephew; doest thou frown? Acomat Ay, that thou art so near unto the crown. Mahomet Why, uncle, I resign my right to thee, And all my title were it ne’er so good. Acomat Wilt thou? Then know assuredly from me, I’ll seal the resignation with thy blood: Though Alemshae, thy father, loved me well, Yet Mahomet, his son, shall down to hell. Mahomet Why, uncle, doth my life put you in fear? Acomat It shall not, nephew, since I have you here. Mahomet When I am dead, more hinderers shalt thou find. Acomat When one’s cut off, the fewer are behind. Mahomet Yet think the gods do bear an equal eye. Acomat Faith, if they all were squint-eyed, what care I. Mahomet Then, Acomat, know we will rather die, Than yield us up into a tyrant’s hand. Acomat Beshrew me, but you be the wiser, Mahomet, For if I do but catch you, boy, alive, ’Twere better for you run through Phlegethon. Sirs, scale the walls and pull the caitiffs down! I give to you the spoil of all the town. Alarum. They scale the walls. Exit all above. Reenter Acomat, Visir, and Regan with Mahomet. Acomat Now youngster, you that bravst us on the walls, And shook your plumèd crest against our shield, What wouldst thou give, or what wouldst thou not give, That thou wert far enough from Acomat? How like the villain is to Bajazeth. Well, nephew, for thy father loved me well, I will not deal extremely with his son: Then hear a brief compendium of thy death. Regan, go cause a grove of steelhead spears Be pitchèd thick under the castle wall, And on them let this youthful captain fall. Mahomet Thou shalt not fear me, Acomat, with death, Nor will I beg my pardon at thy hands. But as thou givst me such a monstrous death, So do I freely leave to thee my curse. Exit Regan with Mahomet. Acomat O, that will serve to fill my father’s purse. Alarum. Enter a soldier with Zonara, sister to Mahomet. Zonara Ah, pardon me, dear uncle; pardon me. Acomat No, minion, you are too near kin to me. Zonara If ever pity enterèd thy breast, Or ever thou wast touched with woman’s love, Sweet uncle, spare wretched Zonara’s life. Thou once wast noted for a quiet prince, Soft-hearted, mild, and gentle as a lamb. Ah, do not prove a lion unto me. Acomat Why wouldst thou live, when Mahomet is dead? Zonara Ah, who slew Mahomet? Uncle, did you? Acomat He that’s prepared to do as much for you. Zonara Dost thou not pity Alemshae in me? Acomat Yes, that he wants so long thy company. Zonara Thou art not, false groom, son to Bajazeth; He would relent to hear a woman weep, But thou wast born in desert Caucasus, And the Hyrcanian tigers gave thee suck, Knowing thou wert a monster like themselves. Acomat Let you her thus to rate us? Strangle her. They strangle her. Now scour the streets, and leave not one alive To carry these sad news to Bajazeth, That all the citizens may dearly say This day was fatal to Natolia. Exeunt all.
Scene 14 Enter Bajazeth, Mustaffa, Aga, and the Janissaries. Bajazeth Mustaffa, if my mind deceive me not, Some strange misfortune is not far from me. I was not wont to tremble in this sort. Methinks I feel a cold run through my bones, As if it hastened to surprise my heart. Methinks some voice still whispereth in my ears And bids me to take heed of Acomat. Mustaffa ’Tis but your highness’ overchargèd mind, Which feareth most the things it least desires. Enter two soldiers with the Beylerbey of Natolia in a chair, and the bodies of Mahomet and Zonara in two coffins. Bajazeth Ah, sweet Mustaffa, thou art much deceived; My mind presages me some future harm, And lo, what doleful exequy is here. Our chief commander of Natolia? What caitiff hand is it hath wounded thee? And who are these covered in tomb-black hearse? Beylerbey These are thy nephews, mighty Bajazeth, The son and daughter of good Alemshae, Whom cruel Acomat hath murderèd thus. These eyes beheld when from an ayrie tower They hurled the body of young Mahomet, Whereas a band of armèd soldiers, Received him falling on their spears’ sharp points. His sister, poor Zonara, luckless maid, Entreating life and not obtaining it, Was strangled by his barbarous soldiers. Bajazeth falls in a swoon and then recovers. Bajazeth Oh, you dispensers of our hapless breath, Why do you glut your eyes and take delight To see sad pageants of men’s miseries? Wherefore have you prolonged my wretched life, To see my son, my dearest Acomat, To lift his hands against his father’s life? Ah, Selimus, now do I pardon thee, For thou didst set upon me manfully, And moved by an occasion, though unjust. But Acomat, injurious Acomat, Is ten times more unnatural to me. Hapless Zonara, hapless Mahomet, The poor remainder of my Alemshae, Which of you both shall Bajazeth most wail? Ah, both of you are worthy to be wailed. Happily dealt the froward Fates with thee, Good Alemshae, for thou didst die in field, And so prevented this sad spectacle, Pitiful spectacle of sad dreariment, Pitiful spectacle of dismal death. But I have lived to see thee, Alemshae, By Tatar pirates all in pieces torn, To see young Selim’s disobedience, To see the death of Alemshae’s poor seed, And last of all to see my Acomat Prove a rebellious enemy to me. Beylerbey Ah, cease your tears, unhappy Emperor, And shed not all for your poor nephews’ death. Six thousand of true-hearted citizens In fair Natolia Acomat hath slain. The channels run like riverets of blood, And I escaped with this poor company, Bemangled and dismembered as you see, To be the messenger of these sad news. And now mine eyes, fast swimming in pale death, Bid me resign my breath unto the heavens; Death doth stand before, ready for to strike. Farewell, dear Emperor, and revenge our loss, As ever thou dost hope for happiness. He dies. Bajazeth Avernus’ jaws and loathsome Taenarus, From whence the damnèd ghosts do often creep Back to the world to punish wicked men, Black Demogorgon, grandfather of night, Send out thy Furies from thy fiery hall, The pitiless Erinyes armed with whips, And all the damnèd monsters of black hell To pour their plagues on cursèd Acomat. How shall I mourn, or which way shall I turn To pour my tears upon my dearest friends? Couldst thou induce false-hearted Acomat To kill thy nephew and his sister thus, And wound to death so valiant a lord? And will you not, you all-beholding heavens, Dart down on him your piercing lightning brand, Enrolled in sulphur and consuming flames? Ah, do not Jove; Acomat is my son And may perhaps by counsel be reclaimed And brought to filial obedience. Aga, thou art a man of perceant wit; Go thou and talk with my son Acomat And see if he will any way relent. Speak him fair, Aga, lest he kill thee too. And we, my lords, will in and mourn awhile Over these princes’ lamentable tombs. Exeunt all.
Scene 15 Enter Acomat, Visir, Regan, and their soldiers. Acomat As Tityus in the country of the dead, With restless cries doth call upon high Jove, The while the vulture tireth on his heart, So, Acomat, revenge still gnaws thy soul. I think my soldiers’ hands have been too slow In shedding blood and murd’ring innocents. I think my wrath hath been too patient, Since civil blood quencheth not out the flames Which Bajazeth hath kindled in my heart. Visir My gracious lord, here is a messenger Just sent from your father the emperor. Enter Aga and one with him. Acomat Let him come in. Aga, what news with you? Aga Great Prince, thy father mighty Bajazeth Wonders why your grace, whom he loved so much And thought to leave possessor of the crown, Would thus requite his love with mortal hate, To kill thy nephews with revenging sword And massacre his subjects in such sort. Acomat Aga, my father, traitorous Bajazeth, Detains the crown injuriously from me, Which I will have if all the world say nay. I am not like the unmanurèd land, Which answers not his Honor’s greedy mind. I sow not seeds upon the barren sand: A thousand ways can Acomat soon find To gain my will, which if I cannot gain, Then purple blood my angry hands shall stain. Aga Acomat, yet learn by Selimus, That hasty purposes have hated ends. Acomat Tush, Aga, Selim was not wise enough To set upon the head at the first brunt. He should have done as I do mean to do: Fill all the confines with fire, sword, and blood, Burn up the fields and overthrow whole towns, And when he had endamagèd that way Then tear the old man piecemeal with his teeth And color his strong hands with his gore-blood. Aga Oh see, my lord, how fell ambition Deceives your senses and bewitches you: Could you unkind perform so foul a deed As kill the man that first gave life to you? Do you not fear the people’s adverse fame? Acomat It is the greatest glory of a king When, though his subjects hate his wicked deeds, Yet are they forced to bear them all with praise. Aga Whom fear constrains to praise their prince’s deeds, That fear eternal hatred in them feeds. Acomat He knows not how to sway the kingly mace That loves to be great in his people’s grace: The surest ground for kings to build upon Is to be feared and cursed of everyone. What though the world of nations me hate? Hate is peculiar to a prince’s state. Aga Where there’s no shame, no care of holy law, No faith, no justice, no integrity, That state is full of mutability. Acomat Bare faith, pure virtue, poor integrity Are ornaments fit for a private man; Beseems a prince for to do all he can. Aga Yet know it is a sacrilegious will To slay thy father were he ne’er so ill. Acomat ’Tis lawful, graybeard, for to do to him What ought not to be done unto a father. Hath he not wiped me from the Turkish crown? Preferred he not the stubborn Janissaries And did hear the bassas’ stout petitions Before he would give ear to my request? As sure as day, mine eyes shall ne’er taste sleep Before my sword have riven his perjured breast. Aga Ah, let me never live to see that day. Acomat Yes, thou shalt live but never see that day, Wanting the tapers that should give thee light: Acomat pulls out his eyes. Thou shalt not see so great felicity, When I shall rend out Bajazeth’s dim eyes And by his death install myself a king. Aga Ah, thou cruel tyrant and unmerciful, More bloody than the anthropophagi That fill their hungry stomachs with man’s flesh, Thou shouldst have slain me, barbarous Acomat, Not leave me in so comfortless a life To live on earth and never see the sun. Acomat Nay, let him die that liveth at his ease; Death would a wretched caitiff greatly please. Aga And thinkst thou then to scape unpunishèd? No, Acomat, though both mine eyes be gone, Yet are my hands left on to murder thee. Acomat ’Twas well remembered: Regan cut them off. They cut off his hands and give them to Acomat. Now, in that sort go tell thy emperor That if himself had but been in thy place I would have used him crueller than thee. Here take thy hands: I know thou lovst them well. Acomat opens Aga’s bosom and puts them in. Which hand is this? Right? Or left? Canst thou tell? Aga I know not which it is, but ’tis my hand. But O, thou supreme architect of all, First mover of those tenfold crystal orbs, Where all those moving and unmoving eyes Behold thy goodness everlastingly, See, unto thee I lift these bloody arms, For hands I have not for to lift to thee; And in thy justice dart thy smold’ring flame Upon the head of cursèd Acomat. O, cruel heavens and injurious Fates, Even the last refuge of a wretched man Is took from me: for how can Aga weep Or rain a brinish show’r of pearlèd tears, Wanting the watry cisterns of his eyes? Come, lead me back again to Bajazeth, The woefullest and saddest ambassador That ever was dispatched to any king. Acomat Why so, this music pleases Acomat. And would I had my doting father here, I would rip up his breast and rend his heart, Into his bowels thrust my angry hands, As willingly, and with as good a mind, As I could be the Turkish emperor. And by the clear declining vault of heaven, Whither the souls of dying men do flee, Either I mean to die the death myself Or make that old false faitour bleed his last, For death no sorrow could unto me bring, So Acomat might die the Turkish king. Exeunt all.
Scene 16 Enter Bajazeth, Mustaffa, Cali Bassa, Hali Bassa, and Aga, led by a soldier and kneeling before Bajazeth and holding his legs. Aga Is this the body of my sovereign? Are these the sacred pillars that support The image of true magnanimity? Ah, Bajazeth, thy son false Acomat Is full resolved to take thy life from thee. ’Tis true; ’tis true; witness these handless arms. Witness these empty lodges of mine eyes. Witness the gods that from the highest heaven Beheld the tyrant with remorseless heart Pull out mine eyes and cut off my weak hands. Witness that sun, whose golden-colored beams Your eyes do see, but mine can ne’er behold. Witness the earth that suckèd up my blood, Streaming in rivers from my trunkèd arms. Witness the present that he sends to thee. Open my bosom; there you shall it see. Mustaffa opens Aga’s bosom and takes out his hands. Those are the hands which Aga once did use To toss the spear and in a warlike gyre To hurtle my sharp sword about my head. Those sends he to the woeful emperor, With purpose so to cut thy hands from thee. Why is my sovereign silent all this while? Bajazeth Ah, Aga, Bajazeth fain would speak to thee, But sudden sorrow eateth up my words. Bajazeth, Aga, fain would weep for thee, But cruel sorrow drieth up my tears. Bajazeth, Aga, fain would die for thee, But grief hath weakened my poor agèd hands. How can he speak, whose tongue sorrow hath tied? How can he mourn, that cannot shed a tear? How shall he live, that full of misery Calleth for death which will not let him die? Mustaffa Let women weep, let children pour forth tears, And cowards spend time in bootless moan. We’ll load the earth with such a mighty host Of Janissaries, stern-born sons of Mars, That Phoeb’ shall fly and hide him in the clouds For fear our javelins thrust him from his wain. Old Aga was a prince among your lords; His counsels always were true oracles, And shall he thus unmanly be misused And he unpunishèd that did the deed? Shall Mahomet and poor Zonara’s ghosts And the good governor of Natolia Wander in Stygian meadows unrevenged? Good Emperor, stir up thy manly heart, And send forth all thy warlike Janissaries To chastise that rebellious Acomat. Thou knowst we cannot fight without a guide, And he must be one of the royal blood, Sprung from the loins of mighty Ottoman. And who remains now but young Selimus? So please your grace to pardon his offence, And make him captain of th’imperial host. Bajazeth Ay, good Mustaffa, send for Selimus, So I may be revenged I care not how. The worst that can befall me is but death; ’Tis that would end my woeful misery. Selimus, he must work me this good turn. I cannot kill myself; he’ll do’t for me. Come, Aga. Thou and I will weep the while: Thou for thy eyes and loss of both thy hands, I for th’unkindness of my Acomat. Exeunt all.
Scene 17 Enter Selimus and a messenger with a letter from Bajazeth. Selimus Will Fortune favor me yet once again? And will she thrust the cards into my hands? Well, if I chance but once to get the deck, To deal about and shuffle as I would, Let Selim never see the daylight spring, Unless I shuffle out myself a king. Friend, let me see thy letter once again That I may read these reconciling lines. Reads the letter. Thou hast a pardon, Selim, granted thee. Mustaffa and the forward Janissaries Have sued to thy father Bajazeth That thou mayst be their captain general Against th’attempts of Soldan Acomat. Why, that’s the thing that I requested most: That I might once th’imperial army lead. And since it’s offered me so willingly, Beshrew me but I’ll take their courtesy. Soft, let me see, is there no policy T’entrap poor Selimus in this device? It may be that my father fears me yet, Lest I should once again rise up in arms, And, like Antaeus quelled by Hercules, Gather new forces by my overthrow; And therefore sends for me under pretence Of this and that: but when he hath me there, He’ll make me sure for putting him in fear. Distrust is good when there’s cause of distrust. Read it again; perchance thou dost mistake. Read. Oh, here’s Mustaffa’s signet set thereto. Then, Selim, cast all foolish fear aside, For he’s a prince that favors thy estate And hateth treason worse than death itself. And hardly can I think he could be brought, If there were treason, to subscribe his name. Come, friend; the cause requires we should be gone. Now, once again have at the Turkish throne. Exit both.
Scene 18 Enter Bajazeth leading Aga, Mustaffa, Hali Bassa, Cali Bassa, Selimus, and the Janissaries. Bajazeth Come, mournful Aga; come and sit by me. Thou hast been sorely grieved for Bajazeth, Good reason then that he should grieve for thee. Give me thy arm. Though thou hast lost thy hands And livst as a poor exile in this light, Yet hast thou won the heart of Bajazeth. Aga Your grace’s words are very comfortable, And well can Aga bear his grievous loss, Since it was for so good a prince’s sake. Selimus Father, if I may call thee by that name, Whose life I aimed at with rebellious sword, In all humility thy reformèd son Offers himself into your grace’s hands And at your feet layeth his bloody sword, Which he advanced against your majesty. He lays down his sword. If my offence do seem so odious That I deserve not longer time to live, Behold, I open unto you my breast, Ready prepared to die at your command. He bares his breast. But if repentance in an unfeignèd heart And sorrow for my grievous crime forepassed May merit pardon at your princely hands, Behold where poor inglorious Selimus Upon his knees begs pardon of your grace. Bajazeth Stand up, my son. I joy to hear thee speak But more to hear thou art so well reclaimed. Thy crime was ne’er so odious unto me, But thy reformèd life and humble thoughts Are thrice as pleasing to my agèd spirit. Selim, we here pronounce thee by our will Chief general of the warlike Janissaries. Go lead them out against false Acomat, Which hath so grievously rebelled gainst me. Spare him not, Selim. Though he be my son, Yet do I now clean disinherit him As common enemy to me and mine. Selimus May Selim live to show how dutiful And loving he will be to Bajazeth. Aside So now doth Fortune smile on me again, And in regard of former injuries, Offer to me millions of diadems. I smile to see how that the good old man Thinks Selim’s thoughts are brought to such an ebb As he hath cast off all ambitious hope. But soon shall that opinion be removed, For if I once get mongst the Janissars, Then on my head the golden crown shall sit. Well, Bajazeth, I fear me thou wilt grieve, That e’er thou didst thy feigning son believe. Exit Selimus with all the rest, save Bajazeth and Aga. Bajazeth Now, Aga, all the thoughts that troubled me Do rest within the center of my heart, And thou shalt shortly joy as much with me, When Acomat by Selim’s consuming sword Shall leese that ghost which made thee lose thy sight. Aga Ah, Bajazeth, Aga looks not for revenge But will pour out his prayers to the heavens That Acomat may learn by Selimus To yield himself up to his father’s grace. Sound within. "Long live Selimus, Emperor of Turks!" Enter Mustaffa. Bajazeth How now, what sudden triumph have we here? Mustaffa Ah, gracious lord, the captains of the host With one assent have crowned Prince Selimus, And here he comes with all the Janissaries To crave his confirmation at thy hands. Enter Cali Bassa, Selimus, Hali Bassa, Sinam Bassa, and the Janissaries. Sinam Bassa Bajazeth, we, the captains of thy host, Knowing thy weak and too unwieldy age Unable is longer to govern us, Have chosen Selimus, thy younger son, That he may be our leader and our guide Against the Sophy and his Persians, Gainst the victorious Soldan Tonombey. There wants but thy consent, which we will have Or hew thy body piecemeal with our swords. Bajazeth Needs must I give what is already gone. He takes off his crown. Here, Selimus, thy father Bajazeth, Wearied with cares that wait upon a king, Resigns the crown as willingly to thee As e’er my father gave it unto me. Bajazeth sets it on his head. All Long live Selimus, Emperor of Turks! Bajazeth Live thou a long and a victorious reign And be triumpher of thine enemies. Aga and I will to Dimoticum And live in peace the remnant of our days. Exit Bajazeth and Aga. Selimus Now, sit I like the arm-strong son of Jove, When, after he had all his monsters quelled, He was received in heaven ’mongst the gods And had fair Hebe for his lovely bride. As many labors Selimus hath had And now at length attainèd to the crown. This is my Hebe, and this is my heaven. Bajazeth goeth to Dimoticum, And there he purposes to live at ease, But, Selimus, as long as he’s on earth, Thou shalt not sleep in rest without some broil, For Bajazeth is unconstant as the wind. To make that sure I have a platform laid: Bajazet hath with him a cunning Jew, Professing physic, and so skilled therein, As if he had pow’r over life and death. Withal, a man so stout and resolute That he will venture any thing for gold. This Jew with some intoxicated drink Shall poison Bajazeth and that blind lord; Then one of Hydra’s heads is clean cut off. Go some and fetch here Abraham the Jew. Exit one for Abraham. Corcut, thy pageant next is to be played, For though he be a grave philosopher, Given to read Mahomet’s dreaded laws, And Razi’s toys, and Avicenna’s drugs, Yet he may have a longing for the crown. Besides, he may by devilish necromancy Procure my death or work my overthrow; The devil still is ready to do harm. Hali, you and your brother presently Shall with an army to Magnesia; There you shall find the scholar at his book. And hearest thou, Hali? Do strangle him. Exeunt Hali Bassa and Cali Bassa. Corcut once dead, then Acomat remains, Whose death will make me certain of the crown. These heads of Hydra are the principal; When these are off, some other will arise, As Amurath and Aladin, sons to Acomat, My sister Solyma, Mustaffa’s wife. All these shall suffer shipwrack on a shelf, Rather than Selim will be drowned himself. Enter Abraham the Jew. Jew, thou art welcome unto Selimus. I have a piece of service for you, sir, But on your life be secret in the deed. Get a strong poison, whose envenomed taste May take away the life of Bajazeth Before he pass forth of Byzantium. Abraham I warrant you, my gracious sovereign, He shall be quickly sent unto his grave, For I have potions of so strong a force That whosoever touches them shall die. Speaks aside. And would your grace would once but taste of them, I could as willingly afford them you, As to your agèd father Bajazeth. To SelimusMy lord, I am resolved to do the deed. Exit Abraham. Selimus So this is well: for I am none of those That make a conscience for to kill a man. For nothing is more hurtful to a prince, Than to be scrupulous and religious. I like Lysander’s counsel passing well: If that I cannot speed with lion’s force, To clothe my complots in a fox’s skin. For th’only things that wrought our empiry Were open wrongs and hidden treachery. Oh, they’re two wings wherewith I use to fly And soar above the common sort. If any seek our wrongs to remedy, With these I’ll make his meditation short, And one of these shall still maintain my cause: Or fox’s skin or lion’s rending paws. Exeunt all.
Scene 19 Enter Bajazeth and Aga in mourning cloaks, Abraham the Jew with a cup. Bajazeth Come, Aga, let us sit and mourn awhile, For Fortune never showed herself so cross To any prince as to poor Bajazeth. They sit. That woeful emperor, first of my name, Whom the Tatarians locked in a cage To be a spectacle to all the world, Was ten times happier than I am now. For Tamburlaine, the great scourge of nations, Was he that pulled him from his kingdom so. But mine own sons expel me from the throne. Ah, where shall I begin to make my moan? Or what shall I first reckon in my plaint? From my youth up I have been drowned in woe, And to my latest hour I shall be so. You swelling seas of never-ceasing care, Whose waves my weather-beaten ship do toss, Your boisterous billows too unruly are And threaten still my ruin and my loss: Like hugy mountains do your waters rear Their lofty tops and my weak vessel cross. Alas, at length allay your stormy strife And cruel wrath; within me rage is rife. Or else my feeble bark cannot endure Your flashing buffets and outragious blows. But while thy foamy flood doth it immure, It shall soon be wracked on sandy shallows. Grief, my lead boatswain, stirreth nothing sure, But, without stars, gainst tide and wind he rows And cares not, though upon some rock we split, A restless pilot for the charge unfit. But out, alas, the god that vails the sea, And can alone this raging tempest stent, Will never blow a gentle gale of ease But suffer my poor vessel to be rent. Then O, thou blind procurer of mischance That stayst thyself upon a turning wheel, Thy cruel hand, even when thou wilt, enhance And pierce my poor heart with thy thrillant steel. Aga Cease, Bajazeth. Now, it is Aga’s turn. Rest thou awhile and gather up more tears, The while poor Aga tells his tragedy. When first my mother brought me to the world, Some blazing comet rulèd in the sky, Portending miserable chance to me. My parents were but men of poor estate, And happy yet had wretched Aga been, If Bajazeth had not exalted him. Poor Aga, had it not been much more fair T’have died among the cruel Persians Than thus at home by barbarous tyranny To live and never see the cheerful day And to want hands wherewith to feel the way? Bajazeth Leave weeping, Aga. We have wept enough. Now, Bajazeth will ban another while And utter curses to the concave sky, Which may infect the regions of the air And bring a general plague on all the world. Night, thou most ancient grandmother of all, First made by Jove for rest and quiet sleep, When cheerful day is gone from th’earth’s wide hall, Henceforth thy mantle in black Lethe steep And clothe the world in darkness infernal. Suffer not once the joyful daylight peep, But let thy pitchy steeds, ay, draw thy wain, And coal-black silence in the world still reign. Curse on my parents that first brought me up And on the cradle wherein I was rocked. Curse on the day when first I was created The chief commander of all Asia. Curse on my sons that drive me to this grief. Curse on myself that can find no relief. And curse on him, an everlasting curse, That quenched those lamps of ever-burning light And took away my Aga’s warlike hands. And curse on all things under the wide sky. Ah, Aga, I have cursed my stomach dry. Abraham Steps forward. I have a drink, my lords, of noble worth, Which soon will calm your stormy passions And glad your hearts if so you please to taste it. Bajazeth For who art thou that thus dost pity us? Abraham Your highness’ humble servant, Abraham. Bajazeth Abraham, sit down and drink to Bajazeth. Abraham Aside Faith, I am old as well as Bajazeth And have not many months to live on earth; I care not much to end my life with him. He sits. To Bajazeth and Aga Here’s to you, lordings, with a full carouse. He drinks. Bajazeth Here, Aga, woeful Bajazeth drinks to thee. Abraham, hold the cup to him while he drinks. Bajazeth and Aga drink. Abraham Now know, old lords, that you have drunk your last: This was a potion which I did prepare To poison you, by Selimus’ instigation, And now it is dispersèd through my bones, And glad I am that such companions Shall go with me down to Proserpina. He dies. Bajazeth Ah, wicked Jew. Ah, cursèd Selimus. How have the Destins dealt with Bajazeth That none should cause my death but mine own son? If Ismael and his warlike Persians Piercèd my body with their iron spears, Or had the strong unconquered Tonombey With his Egyptians took me prisoner And sent me with his valiant Mamelukes To be prey unto the crocodilus, It never would have grieved me half so much. But welcome death, into whose calmy port My sorrow-beaten soul joys to arrive. And now farewell my disobedient sons, Unnatural sons unworthy of that name. Farewell, sweet life, and Aga now, farewell, ’Til we shall meet in the Elysian fields. He dies. Aga What greater grief had mournful Priamus Than that he lived to see his Hector die, His city burnt down by revenging flames, And poor Polites slain before his face? Aga, thy grief is matchable to his, For I have lived to see my sovereign’s death, Yet glad that I must breath my last with him. And now, farewell, sweet light, which my poor eyes These twice six months never did it behold. Aga will follow noble Bajazeth And beg a boon of lovely Proserpina, That he and I may in the mournful fields Still weep and wail our strange calamities. He dies
Scene 20 Enter Bullithrumble the shepherd, running in haste and laughing to himself. Bullithrumble

Ha, ha, ha! Married, quoth you? Marry, an Bullithrumble were to begin the world again, I would set a tap abroach and not live in daily fear of the breach of my wife’s ten commandments. I’ll tell you what. I thought myself as proper a fellow at wasters as any in all our village, and yet when my wife begins to play club’s trump with me, I am fain to sing:

What hap had I to marry a shrew, For she hath given me many a blow. And how to please her, alas, I do not know. From morn to even, her tongue ne’er lies. Sometime she laughs; sometime she cries: And I can scarce keep her talents fro my eyes. When from abroad I do come in, Sir knave, she cries, where have you been? Thus please, or displease, she lays it on my skin. Then do I crouch, then do I kneel, And wish my cap were furred with steel To bear the blows that my poor head doth feel. But our Sir John, beshrew thy heart, For thou hast joined us; we cannot part, And I, poor fool, must ever bear the smart.

I’ll tell you what. This morning while I was making me ready, she came with a holly wand and so blessed my shoulders that I was fain to run through a whole alphabet of faces. Now at the last, seeing she was so cammock with me, I began to swear all the criss-cross row over, beginning at great A, little a, til I came to w, x, y, and snatching up my sheephook and my bottle and my bag, like a desperate fellow, ran away. And here now I’ll sit down and eat my meat.

 Eats. While he is eating, enter Corcut and his Page, disguised like mourners. Corcut O hateful hellish snake of Tartary That feedest on the soul of noblest men, Damned ambition, cause of all misery, Why dost thou creep from out thy loathsome fen And, with thy poison, animatest friends, Who gape and long, one for the other’s ends? Selimus, couldst thou not content thy mind With the possession of the sacred throne, Which thou didst get by father’s death unkind, Whose poisoned ghost before high God doth groan, But thou must seek poor Corcut’s overthrow That never injured thee so nor so? Old Hali’s sons with two great companies Of barded horse were sent from Selimus To take me prisoner in Magnesia, And death, I am sure, should have befell me, If they had once but set their eyes on me. So thus disguisèd, my poor page and I Fled fast to Smyrna, where in a dark cave We meant t’await th’arrival of some ship That might transfrete us safely unto Rhodes. But see how Fortune crossed my enterprise. Bostangi Bassa, Selim’s son-in-law, Kept all the sea coasts with his brigantines, That if we had but ventured on the sea, I presently had been his prisoner. These two days have we kept us in the cave, Eating such herbs as the ground did afford. And now through hunger are we both constrained, Like fearful snakes, to creep out step by step And see if we may get us any food. And in good time, see, yonder sits a man, Spreading a hungry dinner on the grass. Bullithrumble spies them and puts up his meat. Bullithrumble

These are some felonians that seek to rob me. Well, I’ll make myself a good deal valianter than I am, indeed, and if they will needs creep into kindred with me, I’ll betake me to my old occupation and run away.

 Corcut

Hail, groom.

 Bullithrumble

Good lord, sir, you are deceived. My name’s Master Bullithrumble. Aside This is some cozening conicatching crossbiter that would fain persuade me he knows me, and so under a ’tence of familiarity and acquaintance, uncle me of victuals.

 Corcut Then Bullithrumble, if that be thy name— Bullithrumble

My name, sir, oho lord yes, and if you will not believe me, I will bring my godfathers and godmothers, and they shall swear it upon the font-stone and upon the church book, too, where it is written. Aside Mass, I think he be some justice of peace, ad quorum and omnium populorum. How he famines me.To Corcut A Christian, yes, marry am I, sir; yes, verily, and do believe: an it please you, I’ll go forward in my catechism.

 Corcut Then, Bullithrumble, by that blessèd Christ And by the tomb where he was burièd, By sovereign hope which thou conceiv’st in him, Whom dead, as ever living thou adorest Bullithrumble

O lord, help me; I shall be torn in pieces with devils and goblins.

 Corcut By all the joys thou hopst to have in heaven, Give some meat to poor hunger-starvèd men. Bullithrumble

Aside Oh, these are, as a man should say, beggars: Now will I be as stately to them as if I were Maister Pigwiggen our constable. To Corcut and Page Well, sirs, come before me. Tell me, if I should entertain you, would you not steal?

 Page

If we did mean so, sir, we would not make your worship acquainted with it.

 Bullithrumble

A good, well nutrimented lad. Well, if you will keep my sheep truly and honestly, keeping your hands from lying and slandering, and your tongues from picking and stealing, you shall be Maister Bullithrumble’s servitures.

 Corcut

With all our hearts.

 Bullithrumble

Then come on and follow me. We will have a hog’s cheek and a dish of tripes, and a society of puddings, and to field: a society of puddings, did you mark that well used metaphor? Another would have said a company of puddings. If you dwell with me long, sirs, I shall make you as eloquent as our parson himself.

 Exeunt Corcut and Bullithrumble. Page Now is the time when I may be enriched. The brethren that were sent by Selimus To take my lord Prince Corcut prisoner, Finding him fled, proposèd large rewards To them that could declare where he remains. Faith, I’ll to them and get the portagues, Though by the bargain Corcut lose his head. Exit Page.
Scene 21 Enter Selimus, Sinam Bassa, the corses of Bajazeth and Aga with funeral pomp, Mustaffa and the Janissaries. Selimus Aside Why, thus must Selim blind his subjects’ eyes And strain his own to weep for Bajazeth. They will not dream I made of him away, When thus they see me with religious pomp To celebrate his tomb-black mortuary. And though my heart, cast in an iron mold, Cannot admit the smallest dram of grief, Yet that I may be thought to love him well I’ll mourn in show, though I rejoice indeed. Selimus speaks to the corses. Thus after he hath five long ages lived, The sacred Phoenix of Arabia Loadeth his wings with precious perfumes And, on the altar of the golden sun, Offers himself a grateful sacrifice. Long didst thou live triumphant, Bajazeth, A fear unto thy greatest enemies, And now that death, the conqueror of kings, Dislodgèd hath thy never-dying soul To flee unto the heavens from whence she came And leave her frail, earth pavilion, Thy body, in this ancient monument, Where our great predecessors sleep in rest, Bajazeth placed in the Temple of Mahomet. Thy woeful son Selimus thus doth place. Thou wert the Phoenix of this age of ours And didst thou die wrapped in the sweet perfumes Of thy magnific deeds, whose lasting praise Mounteth highest heaven with golden wings. Princes, come bear your emperor company In, till the days of mourning be o’erpassed, And then we mean to rouse false Acomat And cast him forth of Macedonia. Exeunt all.
Scene 22 Enter Hali Bassa, Cali Bassa, Corcut’s Page, and one or two soldiers. Page

My lords, if I bring you not where Corcut is, then let me be hanged. But if I deliver him up into your hands, then let me have the reward due to so good a deed.

 Hali Bassa Page, if thou show us where thy maister is, Be sure thou shalt be honored for the deed And high exalted above other men. Enter Corcut and Bullithrumble. Page That same is he that in disguisèd robes Accompanies yon shepherd to the fields. Corcut The sweet content that country life affords Passeth the royal pleasures of a king: For there our joys are interlaced with fears, But here no fear nor care is harborèd But a sweet calm of a most quiet state. Ah, Corcut, would thy brother Selimus But let thee live, here shouldst thou spend thy life, Feeding thy sheep among these grassy lands. But sure I wonder where my page is gone. Hali Bassa

Corcut!

 Corcut

Ay me, who nameth me?

 Hali Bassa Hali, the governor of Magnesia. Poor prince, thou thoughtst in these disguisèd weeds To mask unseen; and happily thou mightst, But that thy page betrayèd thee to us. And be not wrath with us, unhappy prince, If we do what our sovereign commands. ’Tis for thy death that Selim sends for thee. Corcut Thus I, like poor Amphiaraus, sought By hiding my estate in shepherd’s coat T’escape the angry wrath of Selimus. But as his wife false Eriphyle did Betray his safety for a chain of gold, So my false page hath vilely dealt with me. Pray God that thou mayst prosper so as she. Hali, I know thou sorrowst for my case, But it is bootless. Come and let us go. Corcut is ready, since it must be so. Cali Bassa

Shepherd.

 Bullithrumble

That’s my profession, sir.

 Cali Bassa

Come, you must go with us.

 Bullithrumble

Who I? Alas sir, I have a wife and seventeen cradles rocking, two ploughs going, two barns filling, and a great herd of beasts feeding, and you should utterly undo me to take me from such a great charge.

 Cali Bassa

Well, there is no remedy.

 Exeunt all, but Bullithrumble stealing from them closely away. Bullithrumble

The more’s the pity. Go with you, quoth he. Marry, that had been the way to preferment, down Holborn up Tyburn. Well, I’ll keep my best joint from the strappado as well as I can. Hereafter, I’ll have no more servants.

 Exit, running away.
Scene 23 Enter Selimus, Sinam Bassa, Mustaffa, and the Janissaries. Selimus Sinam, we hear our brother Acomat Is fled away from Macedonia To ask for aid of Persian Ismael And the Egyptian Soldan, our chief foes. Sinam Bassa Herein, my lord, I like his enterprise, For if they give him aid, as sure they will Being your highness’ vowèd enemies, You shall have just cause for to war on them For giving succor gainst you to your foe. You know they are two mighty potentates And may be hurtful neighbors to your grace, And to enrich the Turkish diadem With two so worthy kingdoms as they are Would be eternal glory to your name. Selimus By heavens, Sinam, th’art a warrior And worthy counselor unto a king. Sound within. Enter Cali Bassa and Hali Bassa with Corcut and his Page. How now, what news? Cali Bassa My gracious lord, we here present to you Your brother Corcut, whom in Smyrna coasts, Feeding a flock of sheep upon a down, His traitorous page betrayèd to our hands. Selimus Thanks, ye bold brethren, but for that false part, Let the vile page be famishèd to death. Corcut Selim, in this I see thou art a prince, To punish treason with condign reward. Selimus O sir, I love the fruit that treason brings, But those that are the traitors, them I hate. But Corcut, could not your philosophy Keep you safe from my Janissaries’ hands? We thought you had old Gyges’ wond’rous ring, That so you were invisible to us. Corcut Selim, thou deals unkindly with thy brother, To seek my death and make a jest of me. Upbraidst thou me with my philosophy? Why this I learned by studying learnèd arts: That I can bear my fortune as it falls And that I fear no whit thy cruelty, Since thou wilt deal no otherwise with me Than thou hast dealt with agèd Bajazeth. Selimus By heavens, Corcut, thou shalt surely die For slandring Selim with my father’s death. Corcut Then let me freely speak my mind this once, For thou shalt never hear me speak again. Selimus Ay, we can give such losers leave to speak. Corcut Then, Selim, hear thy brother’s dying words, And mark them well, for ere thou die thyself, Thou shalt perceive all things will come to pass That Corcut doth divine before his death. Since my vain flight from fair Magnesia, Selim, I have conversed with Christians And learned of them the way to save my soul And please the anger of the highest god. ’Tis he that made this pure crystalline vault Which hangeth over our unhappy heads, From thence he doth behold each sinner’s fault. And though our sins under our feet he treads And for a while seems for to wink at us, But it is to recall us from our ways. But if we do, like headstrong sons, neglect To hearken to our loving father’s voice, Then in his anger will he us reject And give us over to our wicked choice. Selim, before his dreadful majesty, There lies a book written with bloody lines, Where our offences all are registered, Which if we do not hastily repent, We are reserved to lasting punishment. Thou, wretched Selimus, hast greatest need To ponder these things in thy secret thoughts, If thou consider what strange massacres And cruel murders thou hast caused to be done. Think on the death of woeful Bajazeth. Doth not his ghost still haunt thee for revenge? Selim, in Chiurlu didst thou set upon Our agèd father in his sudden flight. In Chiurlu shalt thou die a grievous death. And if thou wilt not change thy greedy mind, Thy soul shall be tormented in dark hell, Where woe, and woe, and never-ceasing woe Shall sound about thy ever-damnèd soul. Now, Selim, I have spoken. Let me die. I never will entreat thee for my life. Selim, farewell. Thou God of Christians, Receive my dying soul into thy hands. Selimus strangles him. Selimus What, is he dead? Then Selimus is safe And hath no more corrivals in the crown. For as for Acomat, he soon shall see His Persian aid cannot save him from me. Now, Sinam, march to fair Amasya’s walls, Where Acomat’s stout queen immures herself, And girt the city with a warlike siege. For since her husband is my enemy, I see no cause why she should be my friend. They say young Amurath and Aladin, Her bastard brood, are come to succor her. But I’ll prevent this their officiousness And send their souls down to their grandfather. Mustaffa, you shall keep Byzantium, While I and Sinam girt Amasya. Exit Selimus, Sinam Bassa, and the Janissaries, all save Mustaffa and a Janissary. Mustaffa It grieves my soul that Bajazeth’s fair line Should be eclipsèd thus by Selimus, Whose cruel soul will never be at a rest ’Til none remain of Ottoman’s fair race But he himself. Yet for old Bajazeth Loved Mustaffa dear unto his death, I will show mercy to his family. Go, sirrah, post to Acomat’s young sons And bid them, as they mean to save their lives, To fly in haste from fair Amasya, Lest cruel Selim do put them to the sword. Exit one to Amurath and Aladin. And now, Mustaffa, prepare thou thy neck, For thou art next to die by Selim’s hands. Stern Sinam Bassa grudgeth still at thee, And crabbèd Hali stormeth at thy life. All repine that thou art honorèd so To be the brother of their emperor. Enter Solyma. But wherefore comes my lovely Solyma? Solyma Mustaffa, I am come to seek thee out. If ever thy distressèd Solyma Found grace and favor in thy manly heart, Fly hence with me unto some desert land, For if we tarry here we are but dead. This night, when fair Lucinae’s shining wain Was past the chair of bright Cassiopeia, A fearful vision appearèd to me. Methought, Mustaffa, I beheld thy neck, So often folded in my loving arms, In foul disgrace of bassa’s fair degree, With a vile halter basely compassèd. And while I poured my tears on thy dead corpse, A greedy lion with wide gaping throat Seized on my trembling body with his feet, And in a moment rent me all to nought. Fly, sweet Mustaffa, or we be but dead. Mustaffa Why should we fly, beauteous Solyma, Moved by a vain and a fantastic dream? Or if we did fly, whither should we fly? If to the farthest part of Asia, Knowst thou not, Solyma, kings have long hands? Come, come, my joy, return again with me, And banish hence these melancholy thoughts. Exeunt.
Scene 24 Enter Aladin, Amurath, and a messenger. Aladin Messenger, is it true that Selimus Is not far hence encampèd with his host? And means he to disjoin the hapless sons From helping our distressèd mother’s town? Messenger ’Tis true, my lord, and if you love your lives, Fly from the bounds of his dominions. For he, you know, is most unmerciful. Amurath Here, messenger, take this for thy reward. Exit messenger. But we, sweet Aladin, let us depart Now in the quiet silence of the night, That ere the windows of the morn be ope, We may be far enough from Selimus. I’ll to Aegyptus. Aladin I to Persia. Exeunt.
Scene 25 Enter Selimus, Sinam Bassa, Hali Bassa, Cali Bassa, and the Janissaries. Selimus But is it certain, Hali, they are gone? And that Mustaffa did move them to fly? Hali Bassa Certain, my lord. I met the messenger As he returnèd from young Aladin And learned of him Mustaffa was the man That certified the princes of your will. Selimus It is enough. Mustaffa shall abye At a dear price his pitiful intent. Hali, go fetch Mustaffa and his wife. Exit Hali Bassa. For though she be sister to Selimus, Yet loves she him better than Selimus, So that if he do die at our command, And she should live, soon would she work a mean To work revenge for her Mustaffa’s death. Enter Hali Bassa, Mustaffa, and Solyma. False of thy faith and traitor to thy king, Did we so highly always honor thee, And dost thou thus requite our love with treason? For why shouldst thou send to young Aladin And Amurath, the sons of Acomat, To give them notice of our secrecies, Knowing they were my vowèd enemies? Mustaffa I do not seek to lessen my offence, Great Selimus, but truly do protest I did it not for hatred of your grace, So help me God and holy Mahomet, But for I grieved to see the famous stock Of worthy Bajazeth fall to decay; Therefore, I sent the princes both away. Your highness knows Mustaffa was the man That saved you in the battle of Chiurlu, When I and all the warlike Janissaries Had hedged your person in a dangerous ring. Yet I took pity on your danger there And made a way for you to ’scape by flight. But those your bassas have incensèd you, Repining at Mustaffa’s dignity. Stern Sinam grinds his angry teeth at me. Old Hali’s sons do bend their brows at me And are aggrievèd that Mustaffa hath Showèd himself a better man than they. And yet the Janissars do mourn for me; They know Mustaffa never provèd false. Ay, I have been as true to Selimus As ever subject to his sovereign, So help me God and holy Mahomet. Selimus You did it not because you hated us But for you loved the sons of Acomat. Sinam, I charge thee, quickly strangle him; He loves not me that loves mine enemies. As for your holy protestation, It cannot enter into Selim’s ears: For why, Mustaffa? Every merchantman Will praise his own ware, be it ne’er so bad. Solyma For Solyma’s sake, mighty Selimus, Spare my Mustaffa’s life, and let me die. Or if thou wilt not be so gracious, Yet let me die before I see his death. Selimus Nay Solyma, yourself shall also die Because you may be in the selfsame fault. Why stayst thou, Sinam? Strangle him I say. Sinam Bassa strangles Mustaffa. Solyma Ah, Selimus, he made thee emperor, And wilt thou thus requite his benefits? Thou art a cruel tiger and no man That couldst endure to see before thy face So brave a man as my Mustaffa was Cruelly strangled for so small a fault. Selimus Thou shalt not after live him, Solyma. ’Twere pity thou shouldst want the company Of thy dear husband. Sinam, strangle her. Sinam Bassa strangles Solyma. And now to fair Amasya let us march. Acomat’s wife and her unmanly host Will not be able to endure our sight, Much less make strong resistance in hard fight. Exeunt.
Scene 26 Enter Acomat, Tonombey, Visir, Regan, and their soldiers. Acomat Welcome, my lords, into my native soil. The crown whereof by right is due to me, Though Selim, by the Janissaries’ choice Through usurpation, keeps the same from me. You know, contrary to my father’s mind, He was enthronized by the bassas’ will And, after his installing, wickedly By poison made good Bajazeth to die, And strangled Corcut, and exiled me. These injuries we come for to revenge And raise his siege from fair Amasya’s walls. Tonombey Prince of Amasya and the rightful heir Unto the mighty Turkish diadem, With willing heart great Tonombey hath left Egyptian Nilus and my father’s court To aid thee in thy undertaken war. And by the great Usumcasane’s ghost, Companion unto mighty Tamburlaine, From whom my father lineally descends, Fortune shall show herself too cross to me, But we will thrust Selimus from his throne And revest Acomat in the empiry. Acomat Thanks to the uncontrollèd Tonombey. But let us haste us to Amasya To succor my besiegèd citizens. None but my queen is overseer there, And too too weak is all her policy Against so great a foe as Selimus. Exeunt all.
Scene 27 Enter Selimus, Sinam Bassa, Hali Bassa, Cali Bassa, and the Janissaries. Selimus Summon a parley, sirs, that we may know Whether these mushrooms here will yield or no. A parley: Enter the Queen of Amasya and her soldiers on the walls. Queen What cravest thou, bloodthirsty parricide? Is’t not enough that thou hast foully slain Thy loving father, noble Bajazeth, And strangled Corcut thine unhappy brother, Slain brave Mustaffa and fair Solyma Because they favored my unhappy sons, But thou must yet seek for more massacres? Go, wash thy guilty hands in lukewarm blood. Enrich thy soldiers with your robberies. Yet do the heavens still bear an equal eye, And vengeance follows thee, even at the heels. Selimus Queen of Amasya, wilt thou yield thyself? Queen First shall the overflowing Euripus Of swift Euboea stop his restless course And Phoeb’s bright globe bring the day from the west And quench his hot flames in the Eastern sea. Thy bloody sword, ungracious Selimus, Sheathed in the bowels of all thy dearest friends, Thy wicked guard which still attends on thee, Fleshing themselves in murder, lust, and rape, What hope of favor? What security? Rather, what death do they not promise me? Then think not, Selimus, that we will yield, But look for strong resistance at our hands. Selimus Why then, you never daunted Janissaries, Advance your shields and uncontrollèd spears, Your conquering hands in foemen’s blood embay, For Selimus himself will lead the way. Alarum. Selimus beats them off the walls. Alarum. Exeunt.
Scene 28 Enter Selimus, Sinam Bassa, Hali Bassa, Cali Bassa, and the Janissaries, with Acomat’s Queen prisoner. Selimus Now, sturdy dame, where are your men of war To guard your person from my angry sword? What? Though you braved us on your city walls, Like to that Amazonian Melanippe, Leaving the banks of swift-streamed Thermodon To challenge combat with great Hercules, Yet Selimus hath plucked your haughty plumes. Nor can your spouse, rebellious Acomat, Nor Aladin or Amurath, your sons, Deliver you from our victorious hands. Queen Selim, I scorn thy threatnings as thyself. And though ill hap hath given me to thy hands, Yet will I never beg my life of thee. Fortune may chance to frown as much on thee. And Acomat, whom thou dost scorn so much, May take thy base Tatarian concubine As well as thou hast took his loyal queen. Thou hast not Fortune tièd in a chain, Nor dost thou, like a wary pilot, sit And wisely steer this all-containing barge. Thou art a man as those whom thou hast slain, And some of them were better far than thou. Selimus Strangle her, Hali. Let her scold no more. Hali Bassa strangles her. Now let us march to meet with Acomat. He brings with him that great Egyptian bug, Strong Tonombey, Usumcasane’s son. But we shall soon with our fine-tempered swords Engrave our prowess on their burgonets, Were they as mighty and as fell of force As those old earth-bred brethren, which once Heaped hill on hill to scale the starry sky, When Briareus, armed with a hundred hands, Flung forth a hundred mountains at great Jove, And when the monstrous giant Monichus Hurled mount Olympus at great Mars his targe And darted cedars at Minerva’s shield. Exeunt all.
Scene 29 Alarum. Enter Selimus, Sinam Bassa, Cali Bassa, Hali Bassa, and the Janissaries at one door, and Acomat, Tonombey, Regan, Visir, and their soldiers at another. Selimus What, are the urchins crept out of their dens, Under the conduct of this porcupine? Dost thou not tremble, Acomat, at us, To see how courage masketh in our looks And white-winged Victory sits on our swords? Captain of Egypt, thou that vauntst thyself Sprung from great Tamburlaine the Scythian thief, Who bade thee enterprise this bold attempt, To set thy feet within the Turkish confines Or lift thy hands against our majesty? Acomat Brother of Trebisond, your squarèd words And broad-mouthed terms can never conquer us. We come resolved to pull the Turkish crown, Which thou dost wrongfully detain from me, By conquering sword from off thy coward crest. Selimus Acomat, since the quarrel toucheth none But thee and me, I dare and challenge thee. Tonombey Should he accept the combat of a boy, Whose unripe years and far unriper wit, Like to the bold, foolhardy Phaeton That sought to rule the chariot of the sun, Hath moved thee t’undertake an empiry? Selimus Thou that resolv’st in peremptory terms To call him boy that scorns to cope with thee. But thou canst better use thy bragging blade Than thou canst thy overflowing tongue. Soon shalt thou know that Selim’s mighty arm Is able to overthrow poor Tonombey. Alarum. Tonombey beats Hali Bassa and Cali Bassa in. Selimus beats Tonombey in. Alarum. Reenter Tonombey. Exeunt all but Tonombey. Tonombey The field is lost, and Acomat is taken. Ah, Tonombey, how canst thou show thy face To thy victorious sire thus conquerèd. A matchless knight is warlike Selimus, And, like a shepherd mongst a swarm of gnats, Dings down the flying Persians with their swords. Twice I encountered with him hand to hand And twice returnèd foilèd and ashamed. For never yet since I could manage arms Could any match with mighty Tonombey, But this heroic emperor Selimus. Why stand I still and rather do not fly The great occision which the victors make? Exit Tonombey.
Scene 30 Alarum. Enter Selimus, Sinam Bassa with Acomat prisoner, Hali Bassa, Cali Bassa, and the Janissaries. Selimus Thus, when the coward Greeks fled to their ships, The noble Hector, all besmeared in blood, Returned in triumph to the walls of Troy. A gallant trophy, bassas, have we won, Beating the never-foilèd Tonombey And hewing passage through the Persians, As when a lion, raving for his prey, Falleth upon a drove of hornèd bulls And rends them strongly in his kingly paws. Or Mars, armed in his adamantine coat, Mounted upon his fiery shining wain, Scatters the troops of warlike Thracians And warms cold Hebros with hot streams of blood. Brave Sinam, for thy noble prisoner, Thou shalt be general of my Janissaries And Beylerbey of fair Natolia. Now Acomat, thou monster of the world, Why stoopst thou not with rev’rence to thy king? Acomat Selim, if thou have gotten victory, Then use it to thy contentation. If I had conquered, know assuredly I would have said as much and more to thee. Know I disdain them as I do thyself And scorn to stoop or bend my lordly knee To such a tyrant as is Selimus. Thou slewst my queen without regard or care Of love or duty or thine own good name. Then, Selim, take that which thy hap doth give; Disgraced, displaced, I longer loath to live. Selimus Then, Sinam, strangle him. Sinam Bassa Strangles Acomat. Now he is dead, Who doth remain to trouble Selimus? Now am I king alone and none but I. For since my father’s death until this time I never wanted some competitors. Now, as the weary wandering traveler That hath his steps guided through many lands, Through boiling soil of Africa and Ind, When he returns unto his native home Sits down among his friends and with delight Declares the travels he hath overpassed, So mayst thou, Selimus, for thou hast trod The monster-garden paths that lead to crowns. Ha, ha. I smile to think how Selimus, Like the Egyptian ibis, hath expelled Those swarming armies of swift-wingèd snakes That sought to overrun my territories. When sweltring heat the earth’s green children spoils, From forth the fens of venemous Africa The generation of those flying snakes Do band themselves in troops and take their way To Nilus’ bounds: but those industrious birds, Those ibises, meet them in set array And eat them up like to a swarm of gnats, Preventing such a mischief from the land. But see how unkind nature deals with them: From out their eggs rises the basilisk, Whose only sight kills millions of men. When Acomat lifted ungracious hands Against my agèd father Bajazeth, They sent for me, and I, like Egypt’s bird, Have rid that monster and his fellow mates. But as from ibis springs the basilisk, Whose only touch burneth up stones and trees, So Selimus hath proved a cockatrice And clean consumèd all the family Of noble Ottoman, except himself. And now to you, my neighbor emperors, That durst lend aid to Selim’s enemies, Sinam, those soldans of the Orient, Egypt and Persia, Selimus will quell, Or he himself will sink to lowest hell. This winter will we rest and breathe ourselves. But soon as Zephyrus’ sweet-smelling blast Shall greatly creep over the flow’ry meads, We’ll have a fling at the Egyptian crown And join it unto ours, or lose our own. Exeunt.
Epilogue Enter Conclusion. Conclusion Thus have we brought victorious Selimus Unto the crown of great Arabia. Next shall you see him with triumphant sword Dividing kingdoms into equal shares, Giving them to his warlike followers. If this first part, Gentles, do like you well, The second part shall greater murders tell. Exit Conclusion.