Appendix 1 Plot Summaries
Lope de Vega, LA SANTA LIGA (1603)[600]
Act I
The first act deals with the great love of Sultan Selim II for his favorite concubine Rosa Solimana. In her presence, after taking a bath, he declares his great love for her, even kneeling at her feet.
While this is happening, he is interrupted three times: first by his two pashas and then by the King of Algiers, who urge him to abandon his comfortable lifestyle (baths and women) and to embark on new war campaigns in order to preserve what he had inherited from his father and to extend his domains further. The pashas and the King of Algiers make Selim angry, and he throws them out threatening to have their heads cut off. While watching this, Rosa tries to calm the Sultan and speaks in defense of these three men. That night, Selim has a vision of the ghost of his father followed by an army and himself. This vision makes him change his mind and, after leaving Rosa in the middle of the night, he summons back his three advisors. The Sultan shares with them his plans and entrusts one of the pashas, Mustapha, with an errand: to go to Venice and ask the Venetians to give him back Cyprus; otherwise, war will be declared. The day Mustapha arrives in Venice and before reaching the Senate, the senators are already assembled to celebrate an event: the arrival of the famous Venetian painter Titian who has just come from Constantinople where he had stayed for some time in order to paint Rosa Solimana’s portrait. Titian tells the senators about Selim’s easy life of idleness, love, and sleep. Later Titian shows the senators a copy of Rosa Solimana’s portrait, and they exclaim in wonder and admiration of her beauty. Titian leaves, and unexpectedly Mustapha enters with the Sultan’s mission, which is not accepted by the Venetians. Mustapha returns home.Act II
The news about the Venetians’ refusal to surrender Cyprus—which is brought back to the Sultan’s court by Ali, a Turk who went with Mustapha to Venice—reaches Selim when he is in the company of another concubine, Fatima, who is very jealous of Rosa.
Rosa enters the scene and, upon seeing Fatima, becomes jealous of her as well. In the presence of the two women, Ali tries to gain favor with the Sultan by speaking evil of Mustapha Pasha. Selim questions Ali in order to find out what has happened between him and Mustapha. Finally, he discovers that Ali feels a grudge against Mustapha for a matter of love. Constance, the beautiful Christian captive—who was on board of Mustapha’s brig on his way to Venice and supposed to have been left in Cyprus, once freed from her captivity in Constantinople by a Trinitarian friar—has been coveted by both Mustapha and Ali, and hence rivalry arose. Then Mustapha enters the scene and tries to explain himself. But both Ali and Mustapha begin to argue and accuse each other in the presence of the Sultan and his two concubines. While listening to their personal complaints, Selim finally gets cross with both men, even threatening to have them impaled, but through the intercession of the two women, who speak in favor of the two men, the Sultan entrusts the Cyprus campaign to both men. Ali is appointed commander-in-chief of the fleet and Mustapha, commander-in-chief of the army. Once the decision concerning the two men is made, the Sultan arrives at another decision concerning his two concubines, trying to appease each other’s jealousy. Addressing only Rosa, the Sultan entrusts one woman with his body, and the other, with his soul. He does not make explicit, though, which of the two women is entitled to which part of him: “Rosa, you two, do the same: / Share me between you both, / one is to have my body, / and the other one, my soul.” The campaign against Cyprus takes place, and the island is captured by the Turks under the leadership of Ali and Mustapha.Act III
After the Venetian defeat at Cyprus and the capture of Famagusta, which was the last stronghold in Cyprus against the Turks, Pope Pius V summons several countries to prepare an alliance against the Sultan. The alliance, called the “Holy League,” is concluded between the Pope (Pius V), the King of Spain Philip II, and the Venetians.
The principal leaders of the alliance will be King Philip’s brother, Juan of Austria, and Giovanni Andrea Doria, an Italian admiral from Genoa and great-nephew of the famous Genoese admiral Andrea Doria, the one who entered the service of Emperor Charles V. Meanwhile in Constantinople, Mami, an envoy from Ali—commander-in-chief of the Ottoman fleet— has arrived. He has been sent to ask Selim’s advice about the opportunity to go into battle against the Holy League in the Gulf of Lepanto, where it has retreated. The reason for his arrival has been that there was no accord among the Sultan’s men-of-arms. Uluc Ali, King of Algiers, who had bravely taken part in the Cyprus campaign helping the Turks, considers the advisability of returning to Constantinople. Contrary to Ali and Mustapha, the King of Algiers is not in favor of fighting the Christian league in Lepanto. Once the Sultan has heard the envoy’s news in the presence of his two concubines, he takes the two women’s advice and grants him permission to embark on the battle against the “Holy League.” After a fierce sea battle, seen from the Christian allies’ point of view, the Ottomans are defeated. Ali is beheaded, and his head displayed on a pike, and Uluc Ali is forced to flee. The song of two Spanish rogues puts an end to the play, whose lyrics serve to glorify the Spanish and insult the Turks.Prospero Bonarelli, IL SOLIMANO (1620)[601]
Act I
Scene 1: Soliman, King of Thrace, thinks that the Persian King will come humbly to declare defeat and that the Persians’ famous empire will fall under his, the true dominator of the East. Acmat and Rusten, Soliman’s counselors, pledge faith in and commitment to the Sultan. Rusten takes leave to go to the Queen.
Scene 2: Osman, Rusten’s relative, sent by Soliman to get news from Prince Mustafa, comes on the scene with news that Mustafa will soon arrive in Aleppo. Acmat advises that Soliman do the honorable thing and go greet Mustafa in the camp. Soliman agrees.
Scene 3: Aluante, Despina’s minister, warns Despina that they should return to her father, the Persian King, to warn him about Soliman’s plan to move the camp of 10,000 men against him. Despina would rather stay to witness Mustafa’s arrival. But Aluante insists that she return to safety, as fortune may change for her. Despina notes that if she were to leave, she would leave her happiness, her kingdom, and her honor. She also reveals to Aluante her love for Mustafa.
Scene 4: The Queen’s inner conflict: her hatred for Mustafa, her attendant’s advice to feign love, and the Queen’s admission that her love for Soliman has weakened. This weakening of her feelings for Soliman was caused by her discovery that Soliman will pass his reign to Mustafa.
Scene 5: Mulearbe, the King’s soothsayer, prepares a book of the Queen’s past and future exploits. His son Corimbo delivers the book to the Queen. Through the book the Queen discovers what happened to her infant son Selino. She learns that the attendant gave him to another woman, who is shown in queen’s clothing, and that he will die by Mustafa’s hand.
Act II
Scene 1: Soliman and Mustafa confer about war. Soliman tells Mustafa to ready for war with Persia.
Scene 2: Rusten complains to Osman that Soliman has shown preference for Mustafa, charging him with a task that will bring him glory, when in fact he, Rusten, has the experience and, for his position, the right to carry out Soliman’s orders. Rusten now seeks revenge. He asks Osman to spy on Mustafa and his camp.
Scene 3: Rusten visits the Queen. Rusten and the Queen discuss what benefits Mustafa’s death would bring to them. The Queen learns from Rusten of Soliman’s directive to Mustafa.
Scene 4: The Queen and Rusten visit Soliman at the Palace. The Queen tells Soliman that she suspects Mustafa of planning to usurp his kingdom.
Scene 5: Aluante encourages Despina to tell her story about her encounter with Mustafa. Despina relates the story of their encounter during battle, in which she revealed herself to Mustafa, and he pledged his sword and his heart to her.
Aluante warns that love born in war can only end in blood and death.Act III
Scene 1: Despina and Aluante discuss Mustafa’s supposed betrayal of Despina, when Mustafa had not recognized Despina. Aluante advises Despina to think about her life, but Despina resolves to take her life in front of Mustafa and instill in him eternal regret and horror.
Scene 2: Soliman tells Acmat he is calling Mustafa to his court to talk to him personally. Acmat reminds Soliman that Mustafa has always been loyal. He tells Soliman that the worst monster is suspicion; that Soliman, a wise man, would have already perceived it, if in fact Mustafa were disloyal to him, and that out of all of Soliman’s children, Mustafa is the rightful heir of his kingdom. Soliman concedes that Acmat’s assessment of the situation is most likely correct.
Scene 3: Rusten gives Soliman a letter written by the Persian King to Mustafa.
Scene 4: Osman reveals to the Queen’s Nursemaid that the letter in question was in reality falsified by Rusten. He tells her that the Queen was not told of this plot so that she would react naturally when reading about it in the letter.
Scene 5: Ormusse, rector and Mustafa’s counselor, warns Mustafa about the meeting with Soliman, because he suspects that Rusten and the Queen have a hand in it. He tells Mustafa that Rusten is motivated by envy of Mustafa’s position. The Queen, for her part, worries that she and her children will die by Mustafa’s hand once he is sultan. Mustafa affirms his love for Despina, a fact he realizes Rusten and the Queen could hold against him. He vows to kill himself if his father is hurt or his own love betrayed.
Scene 6: Adrasto, Mustafa’s lieutenant, advises the Prince to leave quickly, or he will be killed. He tells Mustafa that Rusten and the Queen have already planted seeds of vengeance in Soliman’s heart. Mustafa pledges to face the false accusations and defend himself.
Scene 7: The Messenger warns Mustafa that his life is in danger.
Ormusse advises Mustafa to rectify the lies before they spread among the soldiers.Act IV
Scene 1: Rusten tells Osman that he hopes Soliman will kill his son today, or his (Rusten’s) plot will be discovered.
Scene 2: Rusten sees Soliman talking to Acmat. Soliman worries that Mustafa’s return to the camp is a sign of his guilt. He tells Rusten that Mustafa must pay for his felony. Acmat reminds Soliman that he is a father and a man and that he should therefore act honorably. He should not allow Mustafa to die unheard. Acmat tries to convince Soliman to be humble, while Rusten tries to convince him of the contrary. Soliman remains steadfast in his plan for vindication.
Scene 3: Mulearbe tells Soliman that Mustafa will be the reason for all his worries, but that he is innocent.
Scene 4: Giafferro, a guard at the city gate, tells Soliman about Despina’s arrest: dressed as a man, she appeared with trembling heart and eyes full of horror. Her appearance and demeanor raised suspicion, so she was imprisoned. In prison, she revealed she is a Persian spy.
Scene 5: Aluante begs Soliman to calm his ire against Despina, and says that if he spares her life, he could win the kingdom too. Soliman demands to know who Aluante is, but Despina asks him to not reveal her identity so that she may die. Aluanate tells him that the King of Persia would give Soliman the bigger part of his kingdom if he spares her life. Aluante reveals Despina’s identity and that she loves Mustafa. Soliman is angry and calls Mustafa “a crude and unjust son.” He orders that Despina be taken to a dungeon and that Aluante be made a slave. Despina confesses her happiness with her sentence.
Scene 6: Giafferro reveals that his pity for Despina is born of her beauty, age, sex, status, and love for Mustafa. Despina sees Mustafa arriving and is overwhelmed.
Scene 7: Mustafa says he has returned to die honorably rather than live an unworthy life. Despina, who does not realize that Mustafa had not recognized her, lashes out at him, telling him he has a villainous heart and belongs with the beasts. Mustafa is in disbelief to see that it is Despina and demands that she be released. Mustafa asks her to pardon him for his involuntary error, but she remains convinced of his betrayal. Despina lists his betrayals, including his tearing up the letter she had sent declaring her love and negating that he had promised his hand in marriage to her. Mustafa is mystified about the letter and negates denigrating her name.
Scene 8: Aluante is happy to see Despina and Mustafa together. He confesses that he himself had torn the letter and spread falsities about Despina, motivated by his hatred of their love. Mustafa pardons Aluante. Aluante warns Mustafa and Despina that Soliman has sentenced them and requested that the pair be conducted together to him. Despina is still perplexed, because she thinks that the error committed against Mustafa is graver than that committed against her.
Scene 9: Aidina, Mustafa’s nursemaid, declares that the Queen will orchestrate Mustafa’s death to secure the throne for her son, but thinks that if the Queen sees Mustafa, her resolve will fall away. Alicola, Mustafa’s servant, warns that they need to proceed lightly with the Queen, so that she may reveal her thoughts.
Scene 10: The Queen reveals to Aidina and Alicola that the thought of Mustafa dying stirs pity in her heart. But she remembers how his death will preserve her sons’ lives and her own. Aidina pleads for Mustafa’s life. She asserts that Mustafa is not his real name and that his status is different. The Queen is moved by their maternal feelings and asks how they know Mustafa is not the heir to the throne. Aidina tells her Mustafa is not Soliman’s first-born son. His first-born, born three days before the Queen’s, died and was buried outside the city walls and replaced by another infant. Alicola reveals that she received the child from an unknown woman.
Scene 11: In the presence of the Queen and Aidina, Alicola recognizes the Nursemaid who had given her the child, and produces swatches of the infant’s swaddling cloth.
Act V
Scene 1: Ormusse wonders who the man is who is approaching him—a man with tear-filled, downcast eyes and arms folded. The messenger tells Ormusse that both Mustafa and Despina are dead, and recounts the circumstances of their death. Soliman told Mustafa to accompany Despina to her appointed room, guided by Rusten. Mustafa wanted Despina spared, but she refused and said she alone was guilty. Despina is beheaded and her head rolls until it reaches Mustafa. Mustafa is so distraught that his cries sadden even Rusten. Mustafa, stabbed in the heart, declares his happiness to be with Despina in death.
Scene 2: Soliman admits to Acmat his discovery of his son’s innocence, Rusten’s fraud, and the Queen’s discovery of Mustafa’s true identity. After Aluante had inadvertantly torn Rusten’s letter, the Queen had tried to reach Soliman to have him alter the sentence against Mustafa.
Scene 3: The second messenger recounts to Soliman how the Queen arrived on the scene of Despina and Mustafa’s death, mourned her son’s death, and felt guilty for having caused it. She poisoned herself and grabbed Mustafa’s head.
Scene 4: The dying Queen holds her son’s head for Soliman to see, begs him to placate his ire so that she may find peace in death, and entreats him to take care of her son Selino. Soliman bemoans his role as his son’s murderer.
Scene 5: Adrasto calls for vengeance against the tyranneous Soliman.
Jean Desmares, ROXELANE (1643)[602]
Act I
In the first scene, Circasse, the former favorite concubine of Sultan Soliman, laments her former glory and implores sympathy and consolation from Acmat Bassa, her only friend. She not only fears for her son, Mustapha, but also expresses deep sorrow for her abandonment and her replacement by concubine Roxelane in Soliman’s affections. Acting on an impulse, Circasse talks of using a dagger and poison to take action against Roxelane. Acmat advises dissimulation and patience. In response to this, Circasse vows to find allies at the court by bribing them with money. Using a more rational argument, Acmat compels Circasse to think again about the posible unfortunate consequences, should her secret plan be discovered. He then encourages her to meet with Roxelane in order to find out the latter’s true intentions. The second scene witnesses an encounter between Roxelane and the Mufti, an interpreter of the Islamic Law. With her own fears for the day when the son of her rival may come to power, Roxelane reveals to the Mufti her resolve to legitimize her own sons. The Mufti believes that the absolute power bestowed upon her by Soliman should suffice and questions the need to gain the crown. He then cites the traditional Ottoman law, which forbids sultans to marry. In no way discouraged by this obstacle, Roxelane hints at a scheme that will make the Sultan himself entreat her to accept the crown. In the third scene, the two rivals, Circasse and Roxelane, engage in a lengthy conversation, with mutual hatred and fear masked by sweet words. Roxelane purposely uses evasive language and false modesty to obscure her intentions. The act ends with the fourth scene, a long soliloquy by Roxelane. Undeterred by Circasse’s threat of revenge, she is willing to use any possible means, including murder, and make her sons gain the throne, to the detriment of Mustapha. While justifying crime as a pious act and assassination as a virtue, she swears to shelter and protect her children.
Act II
The act opens with Soliman’s statement about the great treasure that he has found in Roxelane. Comparing his love to his victories, he wishes to be remembered by posterity not only as a courageous prince, but a happy lover as well. Acmat ventures to warn him that Roxelane’s increasing authority is weakening his position and causing his people to feel that his love for them is diminishing. Soliman asks Acmat to keep this speech secret. Surprised at the suggestion of Roxelane becoming queen, he insists that he does not intend to break the law and tradition. The Mufti opposes Acmat’s stance and defends the Sultan. In the second scene, Soliman summons Roxelane to defend herself. She piously condemns herself for wordly preoccupations and asks for a permission to build a temple and other charitable institutions for the good of her soul. Soliman orders the Mufti to carry out her wishes, but the latter wonders whether the work will be credited only to the good of her master’s soul. Soliman exits with Acmat, while Roxelane rejoices at the first victory in her scheme. In the third scene, the Mufti expresses his skepticism, doubt, and fear for Roxelane’s quest for the throne and for power. At Roxelane’s request not to abandon her in this difficult endeavor, he pledges his unconditional support.
Act III
In the first scene, Soliman is very surprised when a page informs him that Roxelane has refused to admit him to her bedchamber, claiming that from now on, physical love is a crime for her. In a fit of anger Soliman orders her head brought to him. Rustan dissuades Soliman from making a hasty decision and asks to give Roxelane a chance to defend her actions. Soliman agrees and sends Rustan to bring Roxelane. In the second scene, Acmat and Circasse attempt to find various reasons, which may have prompted Roxelane to rebel against Soliman. In the end, they both agree that this is one of the tricks planned by her. In the following scene, Acmat suggests to Circasse that they go see the Emperor in order to regain his favor, even at the risk of their deaths. The fourth scene is comprised of four stances in which Roxelane, once again, ponders the motives propelling her actions. Going through ambivalent and often contradictory feelings of love, fear, hope, ambition, and yet unwilling to yield to hesitation, she is determined to carry on her plot and marry the king. In the fifth scene, Rustan confronts Roxelane with an ultimatum: either find a way to appease the King’s wrath or die. Roxelane’s daughter, Chamerie, begs her mother to change her mind. Roxelane persists in refusing to love a king who adores her. She is ready to die, especially since her death would come from the King. Soon after, she claims that only a tyrant would kill an innocent person. Ormin enters with two Janissaires, bringing her a summons to appear immediately before Soliman.
Act IV
This act opens with several verses pronounced by Soliman. Unable to control his feelings, he is torn apart and oscillates between wrath and love. Faced with an alternative to follow the law and punish Roxelane, or to forgive her, he defers his decision until after hearing Roxelane’s defense. In the second scene, Circasse pleads with Soliman to judge Roxelane fairly. When, in the third scene, Roxelane enters, she admits her crime, refuses to defend herself, and demands punishment without delay. Soliman reiterates that he is a just and fair king, not a tyrant, and although he abhors the crime that has been committed, he does not despise the person who committed it. After Roxelane states that she feels unhappy to no longer be his slave, the Sultan relents and passionately begs Roxelane not to complicate his life with formalities. She remains firm in her adherence to Divine Law, which forbids a free woman to be a man’s mistress. Enraged, Soliman sends her back to prison. In the fourth scene, Roxelane demands death as a punishment for her crime. Soliman refuses her request claiming that in this situation, death would be a grace, and not a torment. The act closes with him confirming his love for Roxelane.
Act V
In the opening scene, Acmat reveals to Circasse a rumor spreading at the court that Soliman intends to marry Roxelane. Outraged, Circasse awaits a verification of these suspicions and a decision of the council of advisors (Acmat, Rustan, Osman, Ormin, and the Mufti), summoned by Soliman. In the second scene, Soliman is so captivated by Roxelane that he is unable to control his feelings of love and desire. The Mufti insists that Roxelane’s interpretation of the Koran is correct, but he is somewhat confused, and he finds it difficult to offer useful advice. However, after giving it some thought, the Mufti reluctantly comes up with a decision that Soliman may marry Roxelane. Acmat opposes this decision on the grounds that it violates the law forbidding sultans to marry. But Soliman is swayed by the Mufti’s point that human laws are changable, while Heaven’s law is inviolable. In the final scene, the Sultan welcomes Roxelane as his wife, gives her half his rights and declares her children to be successors to the Empire. Hopeless Circasse invites Acmat to go seek death with her, while Roxelane, until the very end of the play, is still protesting all the accusations of her untruthful intentions.
Daniel Casper von Lohenstein, IBRAHIM BASSA (1653)[603]
Act I
“Kaiser Solimann’s” Grand-Vizier, Ibrahim, a French Count from Genoa, and his beloved Isabelle, the Countess of Monaco, have fled the court. Isabelle attracted Süleyman’s amorous attentions during Ibrahim’s absence in Persia. Süleyman asks Grand Admiral, Ali Pasha (“Hali Bassa”) and Ahmed Pasha (“Achmat Bassa”) for news of the fugitives and how to punish Ibrahim when he is captured. Ahmed responds he should be condemned to death. Rüstam Pasha (“Rustan Bassa”) brings the pair before Süleyman who admonishes Ibrahim. Ibrahim denies treachery, stating he fled only to protect Isabelle. Rüstam Pasha accuses him of plotting with the Holy Roman Emperor in Vienna. Isabelle protests her innocence. En route to prison, they lament their unhappy situation and part with assertions of mutual love. Ahmed and Ali discuss the dangerous situation. A Chorus of Christian prisoners bemoans its fate and call on God for rescue.
Act II
Süleyman mulls over the situation. He decides to risk gaining Isabelle’s love after Ibrahim’s execution. Rüstam reports on Ibrahim’s and Isabelle’s behavior in prison, news which dismays Süleyman. His wife, Sultana Roxolana (“Roxelane”), attempts to calm him. She advises he get rid of Ibrahim. Süleyman objects reminding her of Ibrahim’s great military achievements and of their former friendship. He succumbs to Roxolana’s insistent arguments, promising to order Ibrahim’s death. Yet he remains restless and doubtful. The Chorus, Desire, and Reason, argue with each other over their relative powers.
Act III
The imprisoned Isabelle laments the many mishaps her love for Ibrahim has caused. Süleyman visits her, threatening to kill her after Ibrahim and adding violently that she must love him. She remains unmoved and Süleyman leaves angry. Rüstam announces the death sentence to Ibrahim and gives him the condemned man’s garment and silk cord. Ibrahim prepares himself during a quiet meal. As he lies on the floor with the cord placed around his neck, Süleyman enters, tells Ibrahim to get up, and embraces “his friend.” Ibrahim promises with profuse thanks to always put the Sultan and Empire before his own well-being. A Chorus of Saracen priests celebrate the approaching Ramadan and thank Mahomet and the other prophets for the rescue of Ibrahim.
Act IV
Rüstam tells Roxolana that Ibrahim and Isabelle have been spared. Roxolana is astounded and vilifies the Sultan as “a womanly man.” She confers with Rüstam on how best to advance Ibrahim’s death. Süleyman enters and tells his wife about a strange encounter with ghosts in the garden, which he interprets as an indication of his own future misfortune. She scoffs at this and sternly rebukes him for having changed his mind over Ibrahim, telling him to revert to his original decision and advising him to consult the Mufti who has devised a plan to insure Ibrahim’s death on Rüstam’s urging and Roxolana’s bribes. The Mufti meets Süleyman and persuades him to have the death sentence carried out while Ibrahim is asleep, since a sleeping man may be considered dead. Nor would this violate the vow in which Süleyman promised always to keep Ibrahim from harm. Süleyman adopts the Mufti’s reasoning and again orders the death sentence to be carried out. A chorus of the Senses and Sleep argue their powers and fight over their dominance.
Act V
Ibrahim and Isabelle celebrate their release from confinement. Rüstam enters and orders their return to prison. Süleyman commands Rüstam to have Ibrahim strangled as soon as he falls asleep. A Chorus of singers praises Süleyman’s power and warns the high court officials to see themselves in Ibrahim’s situation. The ghost of Prince Mustafa (“Mustapha”) comes to Süleyman in a dream, condemning his father’s cruelty and showing him the corpses of Cihangir (“Giangir”), his wife, his son, and Ibrahim. Süleyman wakes in horror, regretting Ibrahim’s death sentence and criticizing Rüstam for carrying it out. Rüstam will be punished severely for having killed the Sultan’s “best friend.” Ali Pasha is ordered to bring Rüstam’s head and heart to the Sultan, while Ahmed Pasha is sent to Isabelle trying to find an excuse for Ibrahim’s execution. The play ends with her laments and her blaming Süleyman.
August Adolph von Haugwitz, OBSIEGENDE TUGEND: ODER DER BETHORTE DOCH WIEDER BEKEHRTE SOLIMAN;
MISCH-SPIEL (1684)5
Act I
Doria, Alphons, Horaz (Genoese countrymen of Ibrahim’s) and the Markgraf of Turin sing an Ode thanking the Sultana for having bestowed honor on Ibrahim who has returned victorious from a campaign against the Persians. Horaz and the Markgraf thank Isabelle (“Isabella”) and the support she gave her fiance Ibrahim at which she is happy. The Markgraf comments on secrets among friends and how one should never desire anything belonging to a friend. The Markgraf and Emilia, Isabelle’s chambermaid, reveal that while Süleyman (Solimann) enjoys respect, he is not to be trusted. The Markgraf sings about the danger caused by a certain “rival lover.” Then Süleyman confesses his uncontrollable love for Isabelle, recounting a vision of her surrounded by thorns and looking angrily at him, from which he awoke shaking. He is puzzled by this upsetting image, perhaps sent by the gods, and feels confronted by his own mortality. He tries to pressure Isabelle into loving him but she rejects him for Ibrahim. He gives her eight days to live before she must either give in to his desires or be executed. Isabelle claims she does not fear death but respects her honor and virtue. Süleyman leaves in frustration. Asterie, Süleyman’s daughter, enters, whom Süleyman had once offered unsuccessfully to Ibrahim in marriage. She and Emilie console Isabelle. One of Süleyman’s slaves enters telling Isabelle she is now a prisoner. Süleyman visits Isabelle in prison and describes his emotions to her, promising to hold her equal to Sultana Roxolana (“Roxana”) until his death, besides as an Emperor he does not brook disobedience especially from his slaves.
Isabelle complains to Emilie and Asterie about Süleyman’s betrayal of Ibrahim, who had been a faithful prince and warrior, eager to die for his Sultan’s honor. She cannot believe that Süleyman wants to dishonor her in such a way. Süleyman‘s feelings for her are not love, but lust. Emila says if Isabelle dies, that would mean
5 Prepared by Beate Allert from August Adolf von Haugwitz, “Obsiegende Tugend,” Prodromus Poeticus, ed. Pierre Behar (Tübingen: M. Niemeyer, 1984), 3-112.
Ibrahim’s death. A Chorus of Love Gods sings to the enamored Süleyman about their poison, their fire, and their invisibility, saying they come when least expected. They admit that they cannot do anything about Isabelle for the only one ever able to move her is Justinian (Ibrahim’s Genoese name) to whom she is completely devoted.
Act II
Süleyman muses over Ibrahim’s successes and the problems they pose. Ibrahim enters, informs Süleyman of the military successes and asks permission to visit Isabelle. They meet and he is upset to learn what has happened. His friends advise him to flee immediately in order to save Isabelle. There is a long interlude sung by the Chorus of the Passions over the misled Süleyman, in which Love, Hatred, Desire, Happiness, Sadness, Hope, Despair, Anger, Jealousy, Cruelty, and other Passions comment upon their influences over Süleyman and Roxolana.
Act III
Roxolana (“Roxolane”) reviews her family history and how she used her wiles to influence Süleyman. She and Rüstam (“Rustan”) plot how to get rid of Ibrahim and how to exert influence on Süleyman. Süleyman responds to Roxolana’s proposal by citing Ibrahim’s military successes, his loyalty and popularity. Eventually he is persuaded Ibrahim should be beheaded. Rüstam reports Ibrahim is already planning to escape and that speed is essential. Süleyman orders Ibrahim summoned and then receives a letter in which Ibrahim explains that his concern for Isabelle is the reason for his departure. An angry Süleyman condemns letter and author. A Chorus of the Courtiers bemoans Ibrahim’s ill fortune, singing Ibrahim will soon be hanged and praising the high seas as a much safer place than the court, where everything depends on the favor of the powerful.
Act IV
Ibrahim summarizes his life, his past friendship with Süleyman and everything the Sultan has done for him. He reflects on life’s instability. After assertions of mutual love, Isabelle and Ibrahim agree to die together rather than give in to Süleyman’s demands. On Roxolana’s advice, Süleyman is about to kill Ibrahim and orders Rüstam to bring Ibrahim the black garment and the final meal. Rüstam does so, and Ibrahim accepts his fate. A Chorus of the Murdered Grand Viziers lament over the imprisoned Ibrahim.
Act V
Süleyman and Roxolana ask the Mufti for help to find a way to have Ibrahim killed without violating the law or compromising Süleyman’s vow not to harm Ibrahim. The Mufti tells Süleyman that whatever is done during sleep does not count as related to life and if Ibrahim is killed while sleeping, then Süleyman is not responsible. Süleyman approves of this plan. He is seen asleep surrounded by the personified virtues warning him of Ibrahim’s approaching death. Rüstam approaches and assuming Süleyman asleep is ready to order Ibrahim’s death. Süleyman awakes and describes his dream which has made him reconsider Ibrahim’s execution. Reason prevails. Süleyman lets Ibrahim and Isabelle leave peacefully, illustrating how one at first beguiled has now recovered his senses. Süleyman has regained his integrity and taken control of his unruly desires. He offers the happy couple peace and friendship as they depart.
Christian Felix Weisse, MUSTAPHA UND ZEANGIR: EN TRAUERSPIEL IN FÜNF AUFZÜGEN, (1776)[604]
Act I
Scene 1: Rüstam (“Rustan”) reports to Roxolana (“Roxane”) how Mustafa (“Mustapha”) is welcomed by the entire city. She responds by saying if he humiliates Mustafa, he will marry her daughter. She plans for her son Cihangir (“Zeangir”) to inherit the throne. Rüstam’s objections are silenced and he agrees to provoke Süleyman anger against Mustafa, accusing him of having a “female heart” for idolizing his wife and son. Roxolana worries about Mustafa’s persuasive powers, but knows Süleyman’s anger is not easily assuaged. Roxolana leaves matters to Rüstam having achieved her goal.
Scene 2: Roxolana is visited by Cihangir, happy at Mustafa’s arrival. She declares Mustafa not worthy being called “brother.” Cihangir affirms his love for Mustafa who has fallen from Süleyman’s graces. Roxolana attempts to change his mind saying things are not always what they seem and that he could very well desire the throne for himself, there being “only one small life” between him and that goal. Cihangir completely rejects the idea and is upset with his mother.
Scene 3: Süleyman (“Solimann”), informed of Mustafa’s arrival, notices the excitement in the people’s welcome. Rüstam says there is treason and rebellion afoot in which Mustafa is involved and Roxolana tries to open a gap between father and son. Cihangir asks Süleyman of the source of his bad mood; the Sultan scolds Roxolana for Cihangir’s bold question, and is further angered at Cihangir’s tears. Rüstam is to seal the building as soon as Mustafa enters. Amurath is to spy on Mustafa’s friends and to ensure that Ahmed (“Achmet”) does not escape.
Scene 4: Cihangir reaffirms to Rüstam his solid relationship with Mustafa, who is innocent. Cihangir values their friendship more than the throne. Rüstam, impressed by this response, embraces the Prince, warning him that Süleyman cannot refuse Roxolana, and there is no escaping Süleyman’s wrath.
Scene 5: Rüstam predicts this brotherly love will vanish when blood flows.
Act II
Scene 1: Mustafa reveals that the reported slaying of Ahmed indicates a threat to his own life. He expresses tender feelings for his wife Fatimah (“Fatime”) and his son “Zopyf’ as Cihangir enters.
Scene 2: Cihangir and Mustafa embrace. Mustafa realizes his step-brother still loves him. Cihangir reveals Ahmed has escaped, wounded but alive. Mustafa hopes to assure Süleyman of his innocence. Cihangir knows Süleyman has issued a death sentence and tells Mustafa that he would rather die than see him leave a wife and a son behind. They embrace again.
Scene 3: Mustafa asks Süleyman for a hearing to defend himself before being executed. Mustafa, upset his father no longer loves him, offers him his own life. Süleyman orders him to leave.
Scene 4: Süleyman tells Roxolana he feels Mustafa is innocent and a faithful son. She tells him everyone wants Mustafa dead. She loves him but Süleyman is much dearer. Besides if Ahmed and Mustafa join forces, they would wish revenge. Süleyman agrees.
Scene 5: Roxolana determines that Mustafa, Fatimah, and Zopyr must die. Cihangir will then occupy the throne alongside her.
Act III
Scene 1: Fatimah, with Zophyr, asks Cihangir of Mustafa’s whereabouts. Cihangir signals danger by looking around with a fearful expression.
Scene 2: Mustafa enters for a joyous reunion with his family and Cihangir thinking Süleyman has forgiven him. Cihangir affirms his friendship, and they discuss if Rüstam can be trusted. Fatimah reports a dream in which Cihangir appeared as an angel. Mustafa had a dream in which he is brought across the waters to a place of golden trees and a palace with golden pillars and a diamond door. There two youths offer him a plate of the fruit of eternal life. He awoke after a wise man’s welcoming voice said he had reached the Palace of Light after suffering in Labyrinth of Time. Distressed at being back in the world, he now fears nothing, neither father nor death.
Scene 3: Mustafa bids farewell to Fatimah and Zopyr, entrusting them to Cihangir, who he knows will succeed him.
Scene 4: Mustafa scolds Rüstam for betraying him. Rüstam says it is all a matter of fate and that Fatimah and Zophyr should leave. People are enraged after being informed of Mustafa’s situation by Ahmed. Süleyman has ordered Mustafa and Fatimah’s death. Anguished, Mustafa takes leave of Fatimah and Zopyr.
Scene 5: Mustafa laments his separation from his family.
Act IV[605]
Scene 1: Roxolana and Rüstam plot to punish Fatimah and Zophyr if Mustafa is spared by Süleyman.
Scene 2: Süleyman doubts Mustafa’s guilt but is persuaded to kill Fatimah. Roxolana says Süleyman must punish Mustafa because of the ongoing rebellion among Mustafa’s supporters.
Scene 3: Cihangir says the people only want to know if Mustafa still lives, adding even if he were given an entire world—here Süleyman abruptly leaves followed by Roxolana, who firsts scolds her son.
Scene 4: Rüstam tells Cihangir that Mustafa is still alive. However Fatimah must die at Mustafa’s hands. In accordance with his and Roxolana’s plot, Rüstam suggests Mustafa write a letter to the Persian King asking for his daughter’s hand and by this save Fatimah by demonstrating to the Sultan her small importance. But this letter will show Mustafa guilty of making overtures to the Empire’s chief enemy.
Scene 6: Rüstam reflects on Cihangir, a naive and trusting child, and on Mustapfa, martyr to his own simplicity. Mustafa enter carrying a letter.
Scene 7: Mustafa requests Rüstam and Cihangir to tell Süleyman that he would rather die than see his wife killed. Rüstam tells him to go ahead, adding that nothing will prevent Fatimah’s being strangled on his grave. Rüstam reads aloud Mustafa’s letter.
Scene 8: Mustafa, unaware of the fateful letter, leaves Cihangir ready to die now he has rescued Fatimah.
Scene 9: Mustafa anticipates heaven, where he will be eventually reunited with Fatimah, Zopyr, and Cihangir.
Act V
Scene 1: Süleyman, sword in one hand and Mustafa’s letter in the other, finds Mustafa guilty of treason and orders him killed.
Scene 2: Mustafa writes a letter. Süleyman and his attendants enter. Mustafa gets up quickly but is warned off from approaching his father, and mortally wounded. Süleyman orders the still breathing Mustafa to sign the letter with his own blood. He reads the note intended for Fatimah explaining that Mustafa was never unfaithful to her and that the letter to the Persian King was an attempt to save her life. Süleyman understands Mustafa has revealed innocence, but it is too late. Mustafa dies reconciled with his father, who puts the blame on Rüstam. Süleyman fears the vengeance of Mustafa’s supporters.
Scene 3: Ahmed arrives ready to fight and finds the dying Mustafa. Süleyman claims he has been betrayed for he loved his son. Rüstam is responsible and orders Ahmed to take revenge, offering to make him Grand-Vizier and promising the throne to Zopyr. Ahmed expresses grief over his death.
Scene 4: Süleyman addresses Ahmed, Mustafa, and the hell around him, voicing suspicion that Roxolana is somehow involved.
Scene 5: Roxolana expresses happiness to see Süleyman alive and, feigning surprise, notices Mustafa’s corpse. She praises Süleyman for his victory over the traitor. She sees Süleyman’s regret when he refers to Mustafa as his soul’s darling. Roxolana shifts all the blame on to Rüstam. Süleyman vows vengeance on all who speak against Mustafa.
Scene 6: Roxolana thanks heaven for her intuition to blame Rüstam, expressing fear he may betray her. Instead of a throne, Mustafa has obtained his grave.
Scene 7:[606] Cihangir enters. Finding Mustafa dead, he calls his father a tyrant and accuses his mother of complicity. She orders him to be quiet, but he identifies her as the true villain. Cihangir embraces Mustafa saying he will soon be reunited with him. Speaking of another kind of happiness and ambition, he makes Roxolana angry. She confesses she was the one who wanted Mustafa dead. Cihangir pulls out a dagger and stabs himself falling beside Mustafa’s body. He replies to Roxolana’s anguished cry that he has taken revenge on her crime. She asks where she should flee to and he answers to remorse, if that is possible.