Bajazeth

Turkish emperor confined to a cage by Tamburlaine. [Br. Drama: Tamburlaine the Great in Magill I, 950]

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Imprisonment

References in periodicals archive ?

In one of the most shocking scenes of Christopher Marlowe's Tamburlaine plays, the central character imprisons the defeated ruler Bajazeth in an iron cage.

"Another Bloody Spectacle": Excessive Violence in Christopher Marlowe's Tamburlaine Plays

(6) Sweet Bajazeth, I will prolong thy life, As long as any blood or sparke of breath Can quench or coole the torments of my griefe.

Can in Shakespeare and Marlowe

Even though the Orient is present in several Renaissance plays, Renaissance dramatists did not devote a whole play to the Orient, except for Christopher Marlowe's Tamburlaine the Great (1587) in which Bajazeth, the Turkish sultan, is depicted as a staunch Muslim ruler and conqueror of Asia, Africa and Europe.

Power and virtue in Elkanah Settle's Ibrahim

En la segunda parte de la tragedia de Marlowe, por ejemplo, el dramatis personae de la tragedia incluye a Almeda, "keeper" (157) de Callapine, prisionero de Tamburlaine e hijo de Bajazeth, emperador de Turquia y personaje de la primera parte de la tragedia.

Reflexiones sobre el monologo dramatico en Borges: "Tamerlan (1336-1405)"

"[H]ere, eat sir, take it from my swords point, or Ile thrust it to thy heart," Tamburlaine says, offering "meat" to his encaged hostage and dinner guest, Bajazeth, the just-conquered Turkish king (Tamburlaine 4.4.40-1).

Kings, cakes, and carnival: the politics of feasting in Christopher Marlowe's Tamburlaine

The deaths of the Turkish emperor, Bajazeth, and his wife, Zabina, offer one of the plays' most memorable instances of Muslim despair.

Justice is a mirage: failures of religious order in Marlowe's Tamburlaine plays

and there in griefe / Dashe out thy braines" (1.1.193-94), the deity reenacts the fate bestowed upon Bajazeth, Emperor of Turkey, at the hands of Tamburlaine in the final act of Part I (5.1.286-304).

Performing Places in Thomas Dekker's Old Fortunatus

The central paradox of the play is the ambiguous portrayal of Tamburlaine as the conqueror who vanquished the Ottoman king Bajazeth.

Christopher Marlowe's Tamburlaine and the Politics of English Trade

This large-scale complex scene, with twelve named characters and numerous "others," ends with Tamburlaine's defeat of Bajazeth. The scene has an inset structure, in which the war of words between Zenocrate and Zabina mirrors the off-stage battle between Bajazeth and Tamburlaine.

Marlowe's boy actors

175-76) And in a verbal battle with Bajazeth in the third act, Tamburlaine, without acknowledging the irony in his boasts, compares himself to Lucan's tyrant:

Lucanic irony in Marlowe's Tamburlaine

'Marlowe's Map', in Ethel Seaton's phrase, takes form here as Tamburlaine's own map, a stage property as concretely visible to the audience as the royal crown of Persia or Bajazeth's cage had been in Part One, or Tamburlaine's own king-drawn chariot earlier in Part Two.

'A world of ground': terrestrial space in Marlowe's Tamburlaine plays

(13.) "Do greet" presumably would have worked just as well, and made more idiomatic sense: before Shakespeare's use of it here to mean simply "greet," the word means "greet again" or "greet in return." OED cites 1 Tambudaine as containing the first recorded use of regreet: Bajazeth says to a messenger he is sending to the king of Persia, "if before he sun have measured heaven / With triple circuit thou regreet us not, / We mean to take his morning's next arise / For messenger he will not be reclaimed, / And mean to fetch thee in despite of him" (3.1.36-40).