Tartarian Cripple, The (Emperor of Constantinople)
Historical Records
S.R. I (Arber, 3.63)
| master Burbie | Entred for his copie vnder ye handes of Master HARSNET, and ye wardens. The Famous Tragicall history, of ye Tartarian Crippell Emperour of Constantinople ……… vjd |
| Master Welby | Assigned over vnto hym by mistres Burby in full Court holden this day with the consent of the master wardens and Assistentes here present in Court All her right in these copies folowinge vnder this condycon that yf there shalbe found any indirecte Dealinge herein by any of the parties to the same Then these copies to be at the disposicon of the Company and this entrance to be void ……… xixs | |||
| (Under this heading is a list of 38 items, a mix of prose tracts, drama, and poetry; the 32nd item in the list is below.) | ||||
| 32. Tertarian Criple Emperour of Constantinople |
Theatrical Provenance
It is not certain that Cuthbert Burby was registering a playbook when he registered The Tartarian Cripple. And if it was a play, there is no reliable information on its theatrical provenance. It is not in Henslowe's Diary ; inferentially, therefore, it was not in the repertory of the Admiral's men c. 1598-1600, when it is most likely to have been current. For the possibility that it might have been owned by the Chamberlain's men, see For What It's Worth, below.
Probable Genre(s)
Heroical History, but see For What It's Worth, below.
Possible Narrative and Dramatic Sources or Analogues
In his narration of Tamburlaine's conquests, Knolles includes an episode concerning Constantinople (EEBO, 221-22). It occurs in 1397 or so, just following the defeat of Bajazeth, 4th king of the Turks by Knolles's accounting. The episode, an interlude in Tamburlaine's campaign against the Turks, has three major components: (1) Tamburlaine approaches Constantinople; (2) Tamburlaine reacts to the peace offering of the Greek ambassadors; (3) Tamburlaine's R&R in Constantinople.
Tamburlaine approaches Constantinople: After he had defeated Bajazeth, Tamburlaine sent his captain, Axalla, ahead to Prusa (Bursa) with 40,000 horse and a 100,000 foot soldiers to round up the rest of the Turkish army along with the Turkish bassas and Bajazeth's children. These had fled, but Axalla took prisoner Bajazeth's "wiues & concubines," including Despina [Marlowe's Zabina], Baiazet his best beloued wife" (221). The Greek emperor, Emanuell, hearing of Tamburlaine's approach and knowing his success against Bajazeth, sent ambassadors to meet with the conqueror and turn over his city: "the Greeke emperour submitted all his empire together with his person, vnto Tamerlane the great conquerour, as his most faithfull subject and vassaile" (221). Emanuell's professed reason for doing so was that "hee was by him [Tamburlaine] deliuered from the most cruell tirant in the world [Bajazeth]: as also for that the long journey he [Tamburlaine] had passed, and the discommodities he had endured, with the losse of his people, and the danger of his person, could not bee recompenced, but by the offer of his owne life [Emanuell's], and his subjects" (221). Emanuell pledged his loyalty and praised Tamburlaine for "his so many vertues, and rare accomplishments, which made him famous throughout the world" that led the Greek emperor to deliver not only "his cheefe citie" but also "all the empire of GREECE" (221).
Tamburlaine reacts to the Greek emperor's offer: The Greek ambassadors expected "to fall into bondage to Tamerlane, thinking that which they offred to be so great and delicate a morsell, as that it would not be refused, especially of such a conquering prince as was Tamerlaine" (221). They thought "the best bargaine they could make" would be Tamburlaine's acceptance of their offer "in kindnesse, and friendship" (221). They were therefore shocked by his reaction:
- "For he with a mild countenance beholding them, answered them, That he was not come from so farre a countrey, or vnderaken so much paines for the enlargement of his dominions alreadie large inough, (too base a thing for him to put himselfe into so great danger and trauaile for, but rather to winne honour, and thereby to make his name famous vnto all posteritie for euer" (221).
In a grand gesture, Tamburlaine claimed that he had come to aid his friends and allies, that his power had come from God above to bruise "the head of the greatest and fiercest enemie of mankind that was vdner heauen," and that he to get himself "an immortall name, would make free so great and fourishing a citie as was CONSTANTINOPLE, gouerned by so noble and ancient an house as the emperours" (221). After further praise of the Greek emperor, Tamburlaine, sounding for all the world like some Christian knight out of a medieval romance, finished his statement with this flourish:
- That vnto his courage, hee had alwaies faith joyned, such as should neuer suffer him to make so great a broach in his reputation, as that it should be reported of him, That in the colour of a friend, he came to inuade the dominions of his allies: That he desired no more, but that the seruice he had done for the Greeke emperour, might be euer be ingrauen in the memorie of his posteritie, to the end that they might for euer wish well vnto him and his successours, by remembring the good he had done them" (221-2).
The Greek ambassadors, rejoicing at this answer, accepted the offer of a feast with Axalla.
Tamburlaine relaxes at Constantinople:
References to the Play
Information welcome.
Critical Commentary
- Greg (BEPD, 1.16; 2.970) included The Tartarian Cripple among his list of lost plays despite his concern that the work was "not necessarily dramatic."
- Knutson, trusting W. W. Greg's instinct that the The Tartarian Cripple was a playbook, considers the repertorial context to which the play would have belonged if it belonged to the late 1590s as its registration date implies.
For What It's Worth
Company Ownership
On the same day that Cuthbert Burby entered The Tartarian Cripple into the Stationers' Register, he also entered Every Man In his Humour. For that entry, however, he was joined by Walter Burre. The Burby-Burre entry for Jonson's play immediately precedes the entry for The Tartarian Cripple, and it has a separate payment of 6 pence. Therefore, only the proximity of the entries and the coincidence of Burby's participation implies that the two works were obtained from the same company. That company would have been the Chamberlain's men, to whom the Jonson play indisputably belonged.
Genre
story = more of recreative than military
Works Cited
Knolles, Richard. A Generall Historie of the Turkes. London 1603. EEBO
Knutson, Roslyn L. "Evidence for the Assignment of Plays to the Repertory of Shakespeare's Company," Medieval and Renaissance Drama in England 4 (1989): 63-89.
Site created and maintained by Roslyn L. Knutson, Professor Emerita, University of Arkansas at Little Rock; updated 7 March 2011.