Volume 03 Issue 02-2023
36
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
I
SSUE
02
Pages:
36-43
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
The article is dedicated to the problem of the determination of historical validity degree of Amir Temur’s image in
Christopher Marlowe’s drama "Tamburlaine the Great". Basing on variety of sources, the author c
omes to conclusion
that when writing the drama "Tamburlaine the Great" Marlowe did not address to the historical sources deserving
confidences and in the result the drama as a whole does not correspond to historical truth in sufficient degree.
KEYWORDS
Primary literary component, process of the translation, plausibility of the records, unauthentic tales, change into
legend, artistic fiction.
INTRODUCTION
The civilizational differences between the West and
the East at all times naturally produced certain
differences in the nature of the literary process. The
main reason for these differences, in our opinion, lies
in the huge distances that separated these two worlds
like a dense veil. Therefore, the artists of the word
were often captivated by the mystery of the political,
economic and social life of unknown peoples and their
leaders, prompting them to turn to relevant topics,
ideas and images. Thus, the geniuses of Oriental
literature Nizami Ganjevi and Alisher Navoi were
inspired by the personality of the great Western
conqueror Alexander the Great. Famous European
writers such as Christopher Marlowe, Charles Sanders
Research Article
CHARACTERIZATION OF THE IMAGE OF AMIR TEMUR IN CHRISTOPHER
MARLOWE'S DRAMA "TAMERLANE THE GREAT"
Submission Date:
February 13, 2023,
Accepted Date:
February 18, 2023,
Published Date:
February 23, 2023
Crossref doi:
https://doi.org/10.37547/ijll/Volume03Issue02-08
Tasheva Nafisa Zayniddinovna
Bukhara State Medical Institute, Esp Teacher, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijll
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 03 Issue 02-2023
37
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
I
SSUE
02
Pages:
36-43
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
and Nicholas Rowe, in turn, chose the historical figure
of the East, the great commander of Asia Amir Temur,
as the theme of their works. The military campaigns of
the great conqueror and his life, rich in secrets and
secrets, served for many Western writers as an object
of image.
In a sense, this process is still going on. In 1402, Amir
Temur defeated the two hundred thousandth Turkish
army led by Sultan Bayezid the Lightning, effectively
preventing the capitulation of one of the centers of the
Christian world of Constantinople and delaying the
establishment of Turkish oppression over the peoples
of Southern Europe for half a century. From about this
time, the historical truth and various legends about the
life and work of the conqueror Amir Temur began to
attract the attention of Europeans. Over time, the
historical figure turned into a legendary figure.
Travelers from West to East, traders and captives who
came from East to West spread legends and legends
about the great ruler. Thus, historical reality,
sometimes embellished with fictions, has created a
figure that is in many ways far from life and historical
reality. The image of Amir Temur and his biography
surrounded by legends have penetrated into the
literatures of different peoples, spreading all over the
world, each time being interpreted from the positive,
then from the negative side, depending on various
historical and subjective factors. It should also be taken
into account that "in most cases, the primary literary
component reaches the recipient through translations
from various languages.
In addition, in the process of oral transmission,
information is subject to changes" [3, p.23]. Naturally,
in the process of translation and oral transmission, the
facts of the original source may be distorted.
Unfortunately, in different cultural areas with very
different languages, this phenomenon is usually
unavoidable. Nevertheless, the study of the
interpretation of the image of Temur is of great
importance in the inter-literary process and opens up
opportunities for understanding the historical basis of
the legend. It should be noted that in Uzbekistan, with
the achievement of independence, many sources
about the life and work of Amir Temur became
available. Currently, our people feel the need for a
reliable story. To meet this need, it is necessary to
scientifically substantiate all historical events, to clarify
from which sources the historical facts described are
taken. For example, Uzbek students are naturally
curious about the authenticity of the events described
by the author in the drama "Tamerlane the Great" by
Christopher Marlowe, as well as the sources on which
the author relied when writing the drama.
Therefore, it is expedient and natural to raise the
question of the degree of conformity of the course of
events described in the drama. Some Western literary
critics claim that the events in the drama are described
on the basis of authentic historical events. At the same
time, the hypothesis put forward by them that
Christopher Marlowe relied on the work of Ibn
Arabshah "Ajoib al-makdur fi tarihi Taimur" when
writing the drama seems to be illegitimate. This book
of Ibn Arabshah was first translated into French in 1658
.Published in Paris, i.e. actually through the 94th
Eurasian Union of Scientists (ECU) # 6 (27), 2016 |
PHILOLOGICAL SCIENCES 65 years after the death of
Marlowe. There is no information that Marlo knew
Arabic. In Marlowe's drama "Tamerlane the Great", the
chronological sequence of historical events, some
phenomena and persons are presented in a modified
form, geographical names are also unreliable. The
Volume 03 Issue 02-2023
38
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
I
SSUE
02
Pages:
36-43
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
"historical" events described in the drama can be taken
as legends that contradict historical truth.
Consider one episode from the first scene of the fourth
act of the first part of the drama. Here the herald
informs about the event: But does the glorious sultan
know How terrible the enraged Tamerlane is? When he
spreads his camp, His tent is white as snow on the
rocks; His armor is made of silver, His helmet is
crowned with a milky white Feather: this means that
the Scythian is fed up with revenge and wants peace.
When Aurora rises to the sky again, the leader puts on
purple and purple: He is consumed with anger, he
craves blood And then does not know mercy To the
enemies who raised swords against him. But if the
enemy persists here, on the third day Tamerlane comes
out All in black: a horse, armor, shield, spear And
mourning feathers broadcast death, And then there is
no mercy for anyone - Neither the elderly, nor women,
nor children. The symbolic change of color in the first
act of the fifth act of the drama is mentioned in two
more places. Curiously, there is no information about
the legend told by Marlowe in the written sources of
Eastern and Western authors of the middle Ages. Even
in the work of Ibn Arabshah there is not a word about
this legend. This is mentioned only by the American
orientalist Harold Lamb in his book "Tamerlane. The
stunner of the universe." But he also claims: "This
message is not confirmed by authoritative sources, but
this way of acting is typical for Timur" [5, p.319]. It is
obvious that the theoretical calculations made in G.
Lamb's book are based on the Marlowe drama itself,
perceiving it as a kind of primary source. In reality, this
legend refers to wandering plots, legends transmitted
orally.
In particular, it is known that Amir Temur never
ordered the total execution of the common people,
especially the elderly, women and children, which
radically differed, for example, from the Mongol-Tatar
commanders. This is evidenced not only by Eastern
authors such as Nizamiddin Shami and Sharafiddin Ali
Yazdi, but also by many modern Western historians.
For example, the French orientalist Jean Paul Roux
writes: "Tamerlane preferred to capture cities not
destroyed, and it was necessary to bring this to their
attention. When they agreed to pay tribute, it was the
turn of the capitulation procedure, and then the
propaganda service began to operate, operating
interspersed with notifications and threats. The first
steps were taken by diplomats, but most often the
outcome of the case depended on heralds, monks and
dignitaries" [7, p.244]. Therefore, when approaching
each city, even taking into account the advantage of a
sudden
offensive,
Temur
never
attacked
unexpectedly, but in the hope that the citizens
themselves would open the gates, he besieged the
city, so that sometimes the siege lasted up to a month.
Amir Temur understood very well that the economy of
the state is based on the state of dehkanism
(peasantry), handicrafts, trade and other industries.
That is why, before handing over the city to the
soldiers, Temur often ordered the population to leave
the city. The main purpose of such orders is to keep the
population away from the army in an effort to save
lives. Thus, no unacceptable damage was inflicted on
agriculture and handicrafts, and the economic
condition of the population was quickly restored. It
follows from this that the common people were never
considered by Timur as an enemy. In our opinion,
speaking about the "character of Temur", Mr. Lamb
should have clarified exactly what qualities are in
question, and on what exactly the conclusions are
based. The first part of the drama describes Temur's
Volume 03 Issue 02-2023
39
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
I
SSUE
02
Pages:
36-43
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
victory over the Turkish army and Bayezid's capture.
However, in our opinion, the interpretation of these
events in the drama unreasonably discredits the one
who was called the Sword of Islam in the Muslim East.
So, the drama depicts how Temur carries Bayezid with
him, putting him in a cage. This episode undoubtedly
contradicts the historical truth and therefore has long
been the cause of disputes between European
orientalists of late times. They expressed radically
different opinions about the similarity between the
plot of the tragedy of Marlowe and historical events in
the interpretation of Ibn Arabshah [12, pp.255-266].
The first similarity between the information of Ibn
Arabshah and Marlo about the life of Amir Temur, as
well as the degree of their reliability, was stated by
historians and anthropologists, bearing in mind, in
particular, the physical (somatic) characteristics of
Temur given in both sources, confirmed also during the
1941 autopsy of the grave and the study of the remains
of the great commander. Based on the information
obtained, P. Frogat in 1962 in his work writes about the
plausibility of the records of Arabshah and Marlowe
[10, pp.328-342]. Indeed, the episodes of Bayezid's
capture and humiliation by Amir Temur in the tragedy
are similar to the information in Ibn Arabshah's book.
Both in the work of Ibn Arabshah and in the drama of
Marlowe, Temur fought with Sultan Bayezid of Turkey.
In both cases, Temur won and imprisoned Bayezid in a
cage. In Ibn Arabshah's book, information about
Bayezid's stay in a cage is found in two places: "Ibn
Uthman, having missed his prey, was captured like a
bird in a cage" [2, p. 271], "He was with Temur and was
imprisoned in an iron cage" [2, p. 286]. And in
Christopher Marlowe's drama, at the beginning of the
second act of the fourth act, Bayezid is described in a
cage. Some European literary critics suggest that the
word kafas (cage) is incorrectly translated into
European languages [12, pp. 255-266]. In their opinion,
the Turkic word kafes means not only a cage, but also
a stretcher, which in the process of translation could
lead to a misunderstanding.
The American orientalist Justin Marozzi also says that
the story of Ibn Arabshah is misinterpreted. He also
claims that the Turkic word kafes has two meanings - a
cage and a stretcher, and perhaps Bayezid, wounded in
the fight, was placed not in a cage, but on a stretcher
[6, p.354]. A similar thought is found in the Uzbek
literary critic H.Karomatova. "Francesco gave the
Turkic word kafas (cage) the opposite meaning,
misinterpreting it, and this caused a great discrepancy
- Eurasian Union of Scientists (EUU) # 6 (27), 2016 |
PHILOLOGICAL SCIENCES 95th of this legend in the
West" [4, p.29] - the scientist writes in his book "The
Koran and Uzbek literature". In the eastern sources,
there is evidence that Amir Temur treated his prisoners
as courtiers. According to the historian of the XX
century Granovsky, witnesses of the battle that took
place in 1402, as well as Eastern and Western historians,
unanimously assert that Amir Temur treated Bayezid
with respect. Temur's contemporaries left no
information about this, and the assumptions of
subsequent historians are far from the truth [1, p. 9].
Clavijo in his diary also says nothing about this cage.
Schiltberger, captured by the Turks in Nikopol in 1396,
also wrote nothing about it. The statement of the
translator John Buchan Telfer is logical: "The legend of
the iron cage is not worth mentioning. If there was
even a little truth in it, Schiltberger would have known
about it" [6, p.354]. Ellis-Fermor accuses Ibn Arabshah
of embellishing the historical truth, especially insisting
that the case of Bayezid's imprisonment in a cage is
completely unreliable [9, p.16]. D. Herbelot also says
Volume 03 Issue 02-2023
40
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
I
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02
Pages:
36-43
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
that there is not a single source about the case of the
"cage", except for the book published in 1588 in Latin
"Chronicle of the Ottoman Turks" [11, p.2]. The work of
medieval European writers was greatly influenced by
the Turkic legends about Amir Temur and as a result he
"... turned into a legend - a fantastic image created
from unreliable tales of the Greeks and Turks" [5, p.
293]. In the literary contexts of that time, Bayezid's
enemy Tamerlane, the Turkic ruler, is portrayed as a
Scythian leader.
In the minds of European writers, the image of Amir
Temur has long been associated with the Turks and
incomprehensible events related to the conquests of
Anatolia, Jerusalem, Babylon, as well as the victory
over Bayezid. "It should be noted," writes Harold
Lamb, "that the European descriptions of Timur's
victory at Ankara were very biased in the past. They
were borrowed mainly from the reports of the
Ottoman Turks and Greeks, rarely from documents,
almost never from Tatar documents [5, p.282]. This
battle is given importance from the point of view of the
Greeks and Turks, with little reference to historical
sources and completely ignoring Turkic sources.
Isabelle Gortazar claims that the case of the iron cage
is also found in the works of Pedro Mexia and Perondini
[11, p.3].
There is reason to think that Marlowe used these
sources, which explains the appearance of the "iron
cage" in his drama. At the time of the death of Amir
Temur Ibn Arabshah was 14 years old. Young men at
this age did not serve in the Temur Palace. Ibn
Arabshah left Samarkand and in 1408-1412 lived in
Mongolia and the Golden Horde, for another nine years
(1413-1421) he was a scribe in the palace of the Turkish
Sultan Muhammad I, where the Genghisids and
supporters of Bayezid the Lightning spread many
fictional stories that inked Amir Temur, some of them
Ibn Arabshah included in his book. So, in conclusion, we
can say that when writing the drama "Tamerlane the
Great", Marlowe did not turn to trustworthy historical
sources, as a result of which the drama as a whole does
not correspond sufficiently to historical truth.
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Pages:
36-43
SJIF
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Oscar Publishing Services
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OCLC
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Publisher:
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