The Renegado, Or the Gentleman of Venice

Total Page:16

File Type:pdf, Size:1020Kb

The Renegado, Or the Gentleman of Venice A Digital Anthology of Early Modern English Drama emed.folger.edu Discover over four hundred early modern English plays that were professionally performed in London between 1576 and 1642. Browse plays written by Shakespeare’s contemporaries; explore the repertoires of London’s professional companies; and download plays for reading and research. This documentary edition has been edited to provide an accurate and transparent transcription of a single copy of the earliest surviving print edition of this play. Further material, including editorial policy and XML files of the play, is available on the EMED website. EMED texts are edited and encoded by Meaghan Brown, Michael Poston, and Elizabeth Williamson, and build on work done by the EEBO-TCP and the Shakespeare His Contemporaries project. This project is funded by a Humanities Collections and Reference Resources grant from the NEH’s Division of Preservation and Access. Plays distributed under a Creative Commons Attribution-ShareAlike 4.0 International License. img: 1­a sig: [N/A] img: 1­b sig: A2r ln 0001 THE ln 0002 RENEGADO, ln 0003 A TRAGÆ COMEDIE. ln 0004 As it hath beene often acted by the ln 0005 Queenes Maiesties seruants, at ln 0006 the priuate Play­house in ln 0007 Drurye­Lane. ln 0008 By PHILIP MASSINGER. ln 0009 LONDON, ln 0010 Printed by A. M. for Iohn Waterson, ln 0011 and are to be sold at the Crowne in ln 0012 Pauls Church­Yard. 1630. img: 2­a sig: A2v ln 0001 Dramatis Personæ. The Actors names. ln 0002 ASAMBEG, Viceroy of Tunis. Iohn Blanye. ln 0003 MVSTAPHA, Basha of Aleppo. Iohn Sumner. ln 0004 VITELLI, A Gentelman of ln 0005 Venice disguis’d. Michael Bowier. ln 0006 FRANCISCO, A Iesuite. William Reignalds. ln 0007 ANTHONIO GRIMALDI the ln 0008 Renegado. William Allen. ln 0009 CARAZIE an Eunuch. William Robins. ln 0010 GAZET seruant to Vitelli. Edward Shakerley. ln 0011 AGA. ln 0012 CAPIAGA. ln 0013 MASTER. ln 0014 BOTESVVAINE, ln 0015 SAYLORS. ln 0016 IAILOR. ln 0017 3. TVRKES. ln 0018 DONVSA, neece to AMVRATH. Edward Rogers. ln 0019 PAVLINA, Sister to Vitelli. Theo. Bourne. ln 0020 MANTO, seruant to Donusa. img: 2­b sig: A3r ln 0001 TO THE RIGHT HO­ ln 0002 NOVRABLE GEORGE HARDING, ln 0003 Baron Barkley, of Barkley Castle, ln 0004 and Knight of the Honourable ln 0005 Order of the BATHE. ln 0006 My good Lord. ln 0007 TO be Honoured for old Nobility, ln 0008 or Hereditary Titles is not alone ln 0009 proper to your Selfe, but to some ln 0010 few of your rancke, who may chal­ ln 0011 lenge the like priuiledge with you: ln 0012 but in our age to vouchsafe (as you ln 0013 haue often done) a ready hand to rayse the ln 0014 deiected spirits of the contemned Sonnes of ln 0015 the Muses, Such as would not suffer the glo­ ln 0016 rious fire of Poesie to be wholly extingui­ ln 0017 shed, is so remarkable, and peculiar to your ln 0018 Lordship, that with a full vote, and suffrage ln 0019 it is acknowledged that the Patronage and ln 0020 Protection of the Dramatique Poem, is ln 0021 yours, and almost without a riuall I des­ ln 0022 payrenot therefore, but that my ambition ln 0023 to present my seruice in this kinde, may [◇] ln 0024 your clemency meete with a gentle in[***] ln 0025 pretation. Confirme it my good Lo[**] [◇] A3 img: 3­a sig: A3v The Epistle. ln 0026 Your gracious acceptance of this trifle, in ln 0027 which if I were not confident there are ln 0028 some peeces worthy the perusall, it should ln 0029 haue beene taught an humbler flight, and ln 0030 the writer (Your Countrey­man) neuer ln 0031 yet made happy in your notice, and fauour, ln 0032 had not made this an aduocate to plead for ln 0033 his admission among such as are wholy, ln 0034 and sincerely deuoted to your seruice. I may ln 0035 liue to tender my humble thankefulnesse in ln 0036 some higher strayne, and till then comfort ln 0037 my selfe with hope, that you descend from ln 0038 your height to receiue. ln 0039 Your Honours ln 0040 Commanded Seruant ln 0041 PHILIP MASSINGER img: 3­b sig: A4r ln 0001 To my Honourd Friend, Master PHILIP ln 0002 MASSINGER, vpon his RENEGADO. ln 0003 DAbblers in Poetry that onely can, ln 0004 Court this weake Lady, or that Gentleman, ln 0005 with some loose witt in rime; ln 0006 others that fright the time. ln 0007 Into beliefe with mighty words, that teare ln 0008 a Passage through the eare; ln 0009 or Nicer men, ln 0010 That through a Perspectiue wil see a Play, ln 0011 and vse it the wrong way, ln 0012 (not worth thy Pen) ln 0013 Though all their Pride exalt ’em, cannot bee ln 0014 Competent Iudges of thy Lines or thee. ln 0015 I must confesse I haue no Publike name ln 0016 To rescue iudgement, no Poeticke flame ln 0017 to dresse thy Muse with Praise, ln 0018 and Phœbus his owne Bayes; ln 0019 Yet I commend this Poem, and dare tell ln 0020 the World I lik’d it well, ln 0021 and if there bee ln 0022 A tribe, who in their Wisedomes dare accuse, ln 0023 this ofspring of thy Muse, ln 0024 let them agree, ln 0025 Conspire one Comedy, and they will say ln 0026 Tis easier to Commend, then make a Play. ln 0027 IAMES SHIRLEY. img: 4­a sig: A4v ln 0001 To his worthy Friend Master PHILIP ln 0002 MASSENGER, on his Play, Call’d ln 0003 the RENEGADO. ln 0004 THE bosome of a friend cannot breath foorth ln 0005 A flattering phrase to speake the noble Worth ln 0006 Of him that hath lodg’d in his honest brest, ln 0007 So large a title: I among the rest ln 0008 That honour thee, doe onely seeme to prayse ln 0009 Wanting the flowers of Art, to decke that Bayes ln 0010 Merit has crown’d thy Temples with. Know friend ln 0011 Though there are some who meerely doe commend ln 0012 To liue i’th Worlds opinion such as can ln 0013 Censure with Iudgement, no such peece of Man, ln 0014 Makes vp my spirit where desert doe’s liue, ln 0015 There will I plant my wonder, and there giue ln 0016 My best indeauours, to build vp his story ln 0017 That truely Merits. I did euer glory ln 0018 To behold Vertue rich, though cruell Fate ln 0019 In scornefull malice doe’s beate low their state ln 0020 That best deserue, when others that but know ln 0021 Onely to scribble, and no more, of’t grow ln 0022 Greate in their fauours, that would seeme to bee ln 0023 Patrons of Witt, and modest Poesie: ln 0024 Yet with your abler Friends, let me say this ln 0025 Many may striue to equall you, but misse ln 0026 Of your fayre scope, this worke of yours men may ln 0027 Throw in the face of enuy, and then say ln 0028 To those that are in Great­mens thoughts more blest, ln 0029 Imitate this, And call that worke your best. ln 0030 Yet Wise­men, in this, and too often, erre ln 0031 When they their loue before the worke preferre, ln 0032 If I should say more, some may blame me for’t ln 0033 Seeing your merits speake you, not report. ln 0034 DANYEL LAKYN. img: 4­b sig: B1r wln 0001 THE wln 0002 RENEGADO. wln 0003 The Scene Tunis. wln 0004 Actus primus. Scena prima. wln 0005 Enter Vitelli and Gazet. wln 0006 Vitelli. wln 0007 YOu haue hirde a Shop then? wln 0008 Gazet. Yes sir, and our wares wln 0009 (Though brittle as a maydenhead at six­ wln 0010 teene) wln 0011 Are safe vnladen; not a Christall crackt, wln 0012 Or China dish needs sodring; our choice wln 0013 Pictures wln 0014 As they came from the workeman, without blemish, wln 0015 And I haue studied speeches for each Peece, wln 0016 And in a thrifty tone to sell ’em off; wln 0017 Will sweare by Mahamet, and Termagant, wln 0018 That this is Mistris to the great Duke of Florence, wln 0019 That Neece to old King Pippin, and a third wln 0020 An Austrian Princesse by her Roman nose, wln 0021 How ere my conscience tels me they are figures wln 0022 Of Bawdes, and common Courtezans in Venice. B Vit. img: 5­a sig: [N/A] [The opening A4v­B1r is duplicated in the EEBO image set.] img: 5­b sig: [N/A] [The opening A4v­B1r is duplicated in the EEBO image set.] img: 6­a sig: B1v The Renegado. wln 0023 Vitel. You make no scruple of an oath then? wln 0024 Gaz. Fie sir wln 0025 Tis out of my Indentures, I am bound there wln 0026 To sweare for my Masters profit as securely wln 0027 As your intelligencer must for his Prince, wln 0028 That sendes him forth an honourable spie, wln 0029 To serue his purposes. And if it be lawfull wln 0030 In a Christian shopkeeper to cheate his father, wln 0031 I cannot find but to abuse a Turke wln 0032 In the sale of our commodities, must bee thought wln 0033 A meritorious worke. wln 0034 Vitel. I wonder sirra wln 0035 What’s your Religion? wln 0036 Gaz.
Recommended publications
  • The Renegado, Or the Gentleman of Venice
    A Digital Anthology of Early Modern English Drama emed.folger.edu Discover over four hundred early modern English plays that were professionally performed in London between 1576 and 1642. Browse plays written by Shakespeare’s contemporaries; explore the repertoires of London’s professional companies; and download plays for reading and research. This documentary edition has been edited to provide an accurate and transparent transcription of a single copy of the earliest surviving print edition of this play. Further material, including editorial policy and XML files of the play, is available on the EMED website. EMED texts are edited and encoded by Meaghan Brown, Michael Poston, and Elizabeth Williamson, and build on work done by the EEBO-TCP and the Shakespeare His Contemporaries project. This project is funded by a Humanities Collections and Reference Resources grant from the NEH’s Division of Preservation and Access. Plays distributed under a Creative Commons Attribution-ShareAlike 4.0 International License. img: 1­a ismigg: :[ N1­/bA] sig: A2r ln 0001 THE ln 0002 RENEGADO, ln 0003 A TRAGICOMEDY. ln 0004 As it hath been often acted by the ln 0005 Queen’s Majesty’s servants, at ln 0006 the private Playhouse in ln 0007 Drury Lane. ln 0008 By PHILIP MASSINGER. ln 0009 LONDON, ln 0010 Printed by A. M. for John Waterson, ln 0011 and are to be sold at the Crown in ln 0012 Paul’s Churchyard. 1630. img: 2­a sig: A2v ln 0001 Dramatis Personae. The Actors’ names. ln 0002 ASAMBEG, Viceroy of Tunis. John Blanye. ln 0003 MUSTAPHA, Bashaw of Aleppo.
    [Show full text]
  • Rita Banerjee the Ocean and Its Traffique: Miscegenation And
    1 Rita Banerjee The Ocean and its Traffique: Miscegenation and Conversion in The Island Princess and The Renegado In the very first volume of Purchas His Pilgrimes, Samuel Purchas showers encomiums on the sea and the art of navigating it. The most important way the ‘multitudinous seas’ served humankind was by uniting it, through trade: “Uniter by Traffique all Nations,” providing an “open field for Merchandize in Peace.”1 It was international trade that connected Jacobean England to the East. Purchas echoes the sentiments expressed in Elizabeth I’s letter to six kings in the Indies which she sent with the East India Company in 1601: That one Countrie should have need of another, and out of the abundance of the fruit which some region enjoyeth the necessities of another should be supplied: By which means men of several and far remote countries have commerce and traffic one with another, and by their interchange of commodities are linked together in amitie and friendship.2 Likewise, the sea enables the spread of the message of Christianity to all lands. Purchas hopes that “as there is one Lord, one Faith, one Baptisme, one Body, one spirit, one Inheritance, one God and Father, so there may thus be one Church truly Catholike, one Pastor and one Sheepfold? And this also wee hope shall one day be the true Ophirian Navigation, when Ophir shall come into Jerusalem, as Jerusalem then went unto Ophir.”3 Conversion was closely related to marriage between Christian and non-Christian partners, and ‘connubium’ often facilitated ‘commercium.’4 While Pocahontas’s much- publicized case in the New World provided an example to the East-Indian ventures, conversion and marriage, like trade, acquired its own distinctive character in the East.
    [Show full text]
  • |||GET||| the Renegado 1St Edition
    THE RENEGADO 1ST EDITION DOWNLOAD FREE Philip Massinger | 9781904271611 | | | | | The Renegado A Very Woman —22? Introducing the eroticized captivity narrative to the English stage, Massinger's tragicomedy combines it with the long- popular romance motif of a Christian hero's conquest of an exotic princess. This is the first major single-volume edition of The Renegado, making it properly available to all students and teachers of early modern drama. No trivia or quizzes yet. But even as it indulges in romantic fantasy, The Renegado engages with contentious issues of national and international politics, offering a provocative response to the sectarian feuds dividing England in the s, while exploiting wider European fears of the expansionist Muslim empire of the Ottomans. At that moment Vitelli has become a missionary as opposed to a possible renegado. On approval, you will The Renegado 1st edition be sent the print copy of the book, or you will receive a further email containing the link to allow you to download your eBook. In this instance, The Renegado 1st edition 3 matches copy 1. Through its treatment of religious confrontation and conversion, Massinger's play offers important insights into early modern constructions of the Islamic world, and emerges as a piece with unexpected resonances for our own time. Her chastity is so linked to her Christianity; to relinquish one is to relinquish the other. With detailed on-page commentary notes and an illustrated introduction assessing its impact on the Renaissance stage as well as its particular relevance to our contemporary multi-cultural society, it is a stimulating and original teaching edition.
    [Show full text]
  • Philip Massinger
    INSET FORMS OF ART IN THE PLAYS OF PHILIP MASSINGER Joame Marie Rochester A thesis submitted in confonnity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto O Copyright by Joanne Marie Rochester 2000 National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographi Services services bibliographiques 395 Wellington Street 395. rue Wdlingîor, Ottawa ON K1AW OnawaON K1AW Canada canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aiiowuig the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de rnicrofiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts &om it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. INSET FORMS OF ART IN THE PLAYS OF PHILlP MASSDJGER Jo~M~Marie Rochester PhD 2000 Graduate Department of English, University of Toronto ABSTRACT This thesis examines the use of metatheatrical inset pieces in the work of Philip Massinger, the dominant professional playwright of the London stage in the reign of Charles the First ( 1625- 1642). Although al1 Renaissance drama contains metatheatrical insets, the Caroline period is particularly nch in these devices.
    [Show full text]
  • This Essay Is Not for Wider Distribution. Thank You. The
    This essay is not for wider distribution. Thank you. The Dearth of the Author Eoin Price ([email protected]) (@eoin_price) 1613 was an annus horribilis for the King’s Men. On June 29, the Globe burned down during a production of Shakespeare and Fletcher’s Henry VIII. By the end of the year, one half of that play’s collaborative team had retired. While the King’s Men rebuilt the Globe, replacing Shakespeare – a writer, a sharer, an actor – was a tougher task. It was a task made harder by the untimely retirement of the stroke-stricken Francis Beaumont, Fletcher’s younger but more senior collaborative partner.1 Beaumont was by this point a big draw for the King’s Men. Having moved from the boy companies, he and Fletcher co-wrote Philaster (1609), A King and No King (1611) and The Maid’s Tragedy (1611) for the King’s Men. Each was apparently a significant success and remained in the company’s repertory for decades.2 These losses surely represented bad news for the King’s Men, but Fletcher may have felt more ambivalent: the dual retirements of Shakespeare and Beaumont afforded him the opportunity to hold a more prominent position within the King’s Men. If there was such a thing as an immediate successor to Shakespeare, then it was Fletcher who best fit the bill. Unlike most writers of his generation, who moved from company to company in a bid to earn a living as a playwright, Fletcher wrote almost exclusively for the King’s Men from 1613.
    [Show full text]
  • Feminism and Imperialism on the High Seas William W
    English Bess, English Pirates, English Drama: Feminism and Imperialism on the High Seas William W. E. Slights and Shelley Woloshyn Early in Measure for Measure Shakespeare's Lucio tells the story of the "sanctimonious pirate, that went to sea with the Ten Commandments, but scrap'd one out of the table" (1.2.7-12).\ Such truncations of the law were common among those who went to sea in early modern times, whether murderous outlaws, merchants bending the law for profit, or officially countenanced privateers bearing letters patent from the Crown. References to piracy and the maritime boundaries trans­ gressed by pirates occur in the latter half of Shakespeare's career (espe­ cially in Hamlet and Pericles), and they attain remarkable prominence in the plays of Thomas Heywood (The Fair Maid of the West, Parts I and II), Philip Massinger (The Renegado) , and}ohn Fletcher (A Very Woman, The Sea Voyage). The roots of this theatrical interest in piracy have usually been traced to romances such as those by Heliodorus, Tatius, and Sidney, and the function of pirates has been associated with providential inter­ vention (Sinfield 92; Ide 317). The assumption is that pirates are a kind of deus ex machina and could be summoned at key points in the narrative to save characters from one set of threats and set them on a fresh course toward new predicaments. Most pirates had the distinct advantage of being dispensable so far as subsequent plot developments or resolutions were concerned. Piracy narratives embedded in early modern plays reflect quite a dif­ ferent belief structure and dramatic purpose involving a new emphasis on legalism and imperialism in the establishment of maritime regulation late in the reign of Elizabeth and on into the reign ofJames.
    [Show full text]
  • Sacrament and Sociality in the Drama of Islamic Conversion, C.1600-1640
    Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2018 Of Neere Neighbors: Sacrament and Sociality in the Drama of Islamic Conversion, C.1600-1640 Stephanie Kucsera Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation Kucsera, Stephanie, "Of Neere Neighbors: Sacrament and Sociality in the Drama of Islamic Conversion, C.1600-1640" (2018). Dissertations. 2970. https://ecommons.luc.edu/luc_diss/2970 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2018 Stephanie Kucsera LOYOLA UNIVERSITY CHICAGO “OF NEERE NEIGHBORS”: SACRAMENT AND SOCIALITY IN THE DRAMA OF ISLAMIC CONVERSION, c.1600-1640 A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN ENGLISH BY STEPHANIE L. KUCSERA CHICAGO, IL MAY 2018 Copyright by Stephanie L. Kucsera, 2018 All rights reserved. ACKNOWLEDGMENTS I would like to thank the people who made this dissertation possible, starting with my professors in the Department of English at Loyola University Chicago. Dr. Jeffrey Glover’s unfailingly practical advice and professional insight were not only useful to the project but were instrumental to my growth as a scholar. Dr. Suzanne Gossett’s summer session on early modern drama introduced me to some of the texts that would become central to this project, and it was during our time together on an independent study that I began to entertain many of the questions that would eventually frame this dissertation.
    [Show full text]
  • Philip Massinger by A
    The Project Gutenberg EBook of Philip Massinger by A. H. Cruickshank This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Philip Massinger Author: A. H. Cruickshank Release Date: February 23, 2011 [Ebook 35365] Language: English ***START OF THE PROJECT GUTENBERG EBOOK PHILIP MASSINGER*** Philip Massinger By A. H. Cruickshank Sometime Scholar and Fellow of New College, Oxford Canon of Durham, and Professor of Greek and Classical Literature, in the University of Durham Oxford Basil Blackwell, Broad Street 1920 Contents Dedication . .2 Preface . .4 Philip Massinger . .5 Appendix I. The Small Actor In Massinger's Plays . 161 Appendix II . 165 Appendix III. The Collaborated Plays . 168 Appendix IV. On The Influence Of Shakspere . 181 Appendix V. Warburton's List . 188 Appendix VI. A Metrical Peculiarity In Massinger . 189 Appendix VII. “Believe As You List” ........... 200 Appendix VIII. Collation Of Ms. Of “Believe As You List” 207 Appendix IX. “The Parliament Of Love” .......... 224 Appendix X. The Authorship Of “The Virgin Martyr” ... 228 Appendix XI. The Authorship Of “The Fatal Dowry” ... 230 Appendix XII. The Tragedy Of “Sir John Van Olden Barnavelt” ........................ 231 Appendix XIII. “The Second Maiden's Tragedy” ..... 232 Appendix XIV. “The Powerful Favorite” .......... 234 Appendix XV. “Double Falsehood” ............ 235 Appendix XVI. Middleton's “A Trick To Catch The Old One” ........................... 236 Appendix XVII . 239 Appendix XVIII. Alliteration In Massinger .
    [Show full text]
  • Philip Massinger and His Associates
    - PHILIP MASSINGER AND HIS ASSOCIATES Donald S. Lawless A SAE MOOGA UME E PHILIP MASSINGER AND HIS ASSOCIATES Donald S. Lawless Assistant Professor of English Ball State University A SAE MOOGA UME E bltn n Enlh, . 6 ll Stt Unvrt, Mn, Indn 6 O O SAE ® Donald S. Lawless 1967 Library of Congress Catalog Card Number: 67-65489 r - To Mother and to the memory of Father and Professor Charles Jasper Sisson ..■M■ Preface T HIS WORK IS AN ABRIDGMENT of Part I of my doctoral dissertation for the Shakespeare Institute of the University of Birmingham (England), wherein I treat of Philip Massinger and his known associates. But in this monograph I have, for an obvious reason, been unable to present the de- tailed studies of various members of the playwright's circle, which comprise Part II of the thesis; I have, however, in the notes often referred the reader to this part of the original work. One of the aims of this work is to present as comprehensive an account of Massinger's life as possible; and here I have been able to add to his biography, discovering, among other things, that on his mother's side he was related to the Crompton family of Stafford. I have also been able to show, to cite another example, that the Arthur Massinger who died in the parish of St. Dunstan's-in-the-West, London, in June, 1603, was the poet's father. Besides treating of Massinger's personal life and dramatic activities as fully as possible, I have also tried to see him in relation to his patrons and other members of his circle (whom I have been able to trace), who are considered collectively.
    [Show full text]
  • “Turkishness” in Two Jacobean Plays
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Anna Mikyšková The Image of “Turkishness” in Two Jacobean Plays Bachelor‟s Diploma Thesis Supervisor: Mgr. Filip Krajník, Ph. D. Consultant: Mgr. Alexandra Stachurová 2015 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. .............................................................. Anna Mikyšková I would like to thank to my consultant, Mgr. Alexandra Stachurová, for her assistance and valuable advice. Table of Contents Introduction ....................................................................................................................... 1 1. Historical Context ......................................................................................................... 5 1.1. The Powerful Ottoman Empire .......................................................................... 5 1.2. Anglo-Muslim Relations in the Renaissance Period ........................................ 10 1.3. Perception of the Turk within the European Literary Tradition ...................... 17 1.3.1. Turkish Sources Circulating Europe ......................................................... 18 1.3.2. The Scourge of God .................................................................................. 21 1.3.3. Response of the English Drama ................................................................ 24 2. Literary Analysis ........................................................................................................
    [Show full text]