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By Ekaterina Nikolaevna Vinogradskaya

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Perseda flatly refuses to accept Soliman’s advances and remains faithful to her husband. The story ends tragically: Soliman executes Erastus for treason; Perseda, disguised as a man, challenges Soliman to a duel in which she dies; and the Sultan sorely repents his cruel deeds. Charles Vion Dalibray, Le Soliman; tragi-comedie (Paris: T. Quinet, 1637). See Jean Desmares, Roxelane; tragi-comedie (Paris: A. de Sommaville et 32 33 A. Covrbé, 1643), 102. See also my foreword and Andrzej Dziedzic’s translation of Acts IV–V of Desmares’s Roxelane in Chapter 11 of this volume, as well as the play’s synopsis in Appendix I.

The reader will also be able to experience the neoclassical atmosphere of the play, as the events are related in a tone evocative of the fatalism permeating ancient Greek tragedies, such as Oedipus Rex. ” One can also view Soliman here as a new For the list of such sources, see n. 5 in Chapter 1 of the present volume. This is particularly evident in the Venetian Senate scene, at the end of Act I, where 80 81 the doges admire Titian’s portrait of Rosa. A copy of this portrait is featured on the cover of the present volume and is described in the Illustration list and at the beginning of Chapter 1.

Covrbé, 1639). 28 Roxolana in Europe Fig. 4 33 Frontispiece of Prospero Bonarelli’s tragedy, Il Solimano (Florence, 1620); etching by Jacques Callot. Courtesy of the Rosenwald Collection of The Library of Congress. Roxolana in European Literature, History and Culture / Yermolenko 34 In addition to creating a more psychologically complex portrait of Roxolana, mid-seventeenth-century French drama provided two new developments in the Mustapha story itself. Charles Vion Dalibray significantly changed its tone by developing a happy resolution in his play, Le Soliman (1637).

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