The Tragedy of Mustapha: struggle of the throne
- History and Plot
Queen Elizabeth I was formally cursed by the Catholic church by Pope Pius V in February 1570. The religious Brexit labelled Elizabeth as illegitimate and a nonbeliever, while also declaring Protestant England a lawless nation, separated from the rest of Catholic Europe. Elizabeth was faced with an invasion and financial ruin as a result of the Low Countries prohibiting the country's main wool exports. Her counsellors suggested that the only means of survival was to create an alliance with the adversary of her enemy. The negotiations started with the Ottoman Empire, the great power of the 16th century which was an Islamic empire.
- Ottoman Turks: from a dream to a reality
Elizabeth's policies aimed to be closer to Ottoma, but probably these policies were not supported by the people. We came across the reactions of William Shakespeare and his peers in a short time, and from the late 16th century, the Elizabethan theatre was full of Turks, Moors, Persians and Saracens.
- The Tragedy of Mustapha: the story of power struggle
A concept of a father-son war for power. Grevilleillustrates both the history and the present condition of the religion-military confrontations of the two parties and thus reproduces the hostile rhetoric about the Turk as the perpetual threat to Christendom.
- Ottoman Danger: god's punishment
Greville’s interpretation of the history of Christian-Muslim struggles does not differ much from his sources. Greville’s narration of the history of the conflicts between the parties through the chorus of “Mahometan priests”, presents a different perspective, but by revealing the boastful comments of the Ottomans about their deeds, it only serves to confirm the hostility and the threat they pose for Christianity. Greville depicts the Sultan of Ottoman as a tyrant. Nicholas de Moffan’s slave account is one of the first historical sources of the death of Mustapha, probably it is the major source of Greville. This source interests the Ottoman political structure, admiring the way the offices are gained not for wealth or nobility, but for talent and success.
Analysis
The representation of the historical Ottoman prince Mustapha, the oldest son of Suleiman I (Magnificent Suleiman) is symbolic in the Elizabethan Age as a reflection of paternal filicide. Initially, I want to throw light on the events in the play. The author provides information about the Ottoman dynasty as if he lived in Topkapı Palace. Therefore, I can say the play was written perception of Europeans. The Ottoman Empire was very much in contact with the European countries during the Renaissance time. And in this time, for the most part, largely the Ottoman Muslims were reflected as some negative people. Greville was very much impacted by some historical sources. Also, he had a creative intellectuality while trying to fictionalise his historical knowledge. This is totally fiction. The Tragedy of Mustafa is a fictional work.
The tragedies were altered twice. The initial revision flooded the area with extensive political debates in its choruses to elaborate on the matter of the desires of aspiring leaders. As Gravel has clearly stated, the issues discussed by the choruses were not a result of the current action. However, these were included to indicate a potential timeframe and to demonstrate the lack of success. This would render the tragedies more acceptable to the objectives of every good reader in the second revision.
Roxolana, Sultan Suleiman and the supporters of Suleiman, also Mustafa, all people in the play reflect their individualistic power expectations. We can observe the Christianity perspective through the execution of Mustapha. Mustafa was in some way to be alike and to the crucifixion of Christ or Jesus because he was an innocent and he was very much loved and respected by the whole society. Soleiman, Rosa, and Rostan are depicted as avaricious, aggressive, and cruel, as required by the story for dramatic purposes. In contrast, other characters are portrayed less negatively and thus last. Mustafa, Ahmed, and Camena are commonly associated with discussing Soleiman's faithful decision from political, religious, or moral perspectives. To sum up, the play revolves around the struggles for power, love, and loyalty among the characters. Even if this play is fiction, Greville's depictions pertain to political, religious, and law.
