This dissertation examines the early modern representation of the Ottoman sultan as merciless murderer of his own family in dramas depicting Islam that are also revenge tragedies or history plays set in empires. This representation arose in part from historical events: the civil wars that erupted periodically from the reign of Sultan Murad I (1362-1389) to that of Sultan Mehmed III (1595-1603) in which the sultan killed family members who were rivals to the throne. Drawing on these events, theological and historical texts by John Foxe, Samuel Purchas, and Richard Knolles offered a distorted image of the Ottoman sultan as devoid of pity for anyone, but most importantly family, an image which seeped into early modern drama. Early modern English playwrights repeatedly staged scenes in the dramas that depict Islam in which one member of a family implores another for pity and to remain alive. However, family killing became diffuse and was not the sole province of the Ottoman sultan or other Muslim character: the Spanish, Romans, and the Scythians also kill their kin. Additionally, they kill members of their own religious, ethnic, and national groups as family killing expands to encompass a more general self destruction, self sacrifice, and self consumption. The presence of the Muslim character, Turk or Moor, serves to underscore the political and religious significance of other characters' family killing. Part of the interest of English playwrights in the Ottoman history of family killing is that England had suffered its own share of family killing or the specter of it during the Wars of the Roses, the Babington Plot against Queen Elizabeth's life, and the martyrdom of many English during the Protestant Reformation. Through an analysis of such plays as Thomas Kyd's The Spanish Tragedy , William Shakespeare's Titus Andronicus , and Christopher Marlowe's Tamburlaine I and II , among others, I argue that English playwrights represented family killing to contend with England's past of civil war, its Protestant Reformation present, and its political future. The dramas that depict Islam portray rulers who elevate empire building above kinship bonds and who feel no pity for those in their own kinship, national, or religious groups. The plays illustrate that the emotion, pity, leads a ruler to the just action of extending mercy and that the converse, lack of pity, leads a kingdom or empire to injustice and destruction. The plays ultimately declare empire building unjust because it is pitiless, creating an argument against empire for English audiences.

xiv, 485 p. / The organizing principle of this dissertation is that Las Casas's most famous work, the Brevisima relacion , is primarily an intricately reasoned legal argument against the excesses of early Spanish colonialism rather than a fiery polemical diatribe by the "first human rights activist." Contrary to such anachronistic (though enduringly popular) characterization, this study employs a historical perspective to view this influential text as belonging to the genres of the early modern juridical tradition. Accordingly, this investigation begins by examining the historical matrix of fifteenth-century and early sixteenth-century Spain to properly contextualize Las Casas's early life and certain initial colonial institutions of the Spanish Indies. Similarly, his juridical expertise is firmly rooted in an explication of his contemporaneous formation in canon law and theology. From these foundational strands of his life and work, his maturing juridical voice spoke most decisively in certain of the major debates among Spanish jurists, theologians, and politicians--as well as in the Brevísima relación --in the wake of the Iberian "discovery" of what was for all concerned a physical as well as philosophical "New World." The combined focus of subsequent chapters elucidates the fundamentally juridical dimensions of the text, beginning with the specific context accompanying its genesis in 1542 until its publication a decade later. The treatise's legal character as an official publication based on various evidentiary sources is further revealed by the text's triple function--to inform, to denounce, and to petition, which in turn corresponds to the genres of relaciones, denuncias , and peticiones of the civil juridical tradition. The Brevísima relación 's content unveils far more than this; the epistemological rationale and analytic framework are intimately linked to canonistic, Thomistic, and biblical genres of the ecclesial juridical tradition. Continuing this historical investigation, the concluding chapter demonstrates anew the fundamental grounding of Las Casas's approach in the vibrant first generations of juristic discourse of the so-called Spanish colonial era. His multifaceted juridical voice was distinctively encoded in a powerful melding of civil and ecclesial legal traditions. This dissertation intends to communicate this voice intelligibly with the proper accents of the past. / Committee in charge: Dr. Robert Haskett, Chairperson; Dr. Carlos Aguirre, Member; Dr. Stephanie Wood, Member; Dr. David Luebke, Member; Dr. Stephen Shoemaker, Outside Member