Islam | Project Gothic

The Adventures of Capt. Duncan

The Adventures of Capt. Duncan, A Journey From Europe, Over The Arabian Deserts, To the British Settlements in India; Containing, Among Other Particulars, An Account Of The Perils he experienced in those terrific Regions, The Eccentric Humours of His Tartarian Guide, His Shipwreck, and Distresses In The War With Hyder Ally, &c.

Author: Mary Anne Radcliffe
Publisher: Thomas Hurst
Publication Year: 1802
Language: English
Book Dimensions: 11.5cm x 19cm
Pages: 36
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2.R345 1802

Dubiously attributed to Mary Anne Radcliffe when published in 1802, this chapbook tracks a captain’s journey across what’s east of England

Material History

The Sadleir-Black Collection edition of The Adventures of Capt. Duncan wears its history well. Despite its age, the book has maintained its blue cover, bound by a thick string. Frayed and whittled down on the sides, the cover sheets are thinner and frailer than the sheets containing the book’s text, perhaps indicating that the covers have borne the brunt of the wear and tear. The exterior cover notes an extravagant number of salesmen across England responsible for the publishing of the book. The interior cover recognizes this edition as the premium printing copy of the story, costing an additional three pence, up to a total of nine. That distinction, as a premium publication, likely enabled the cover’s survival, as this edition supplied a superior set of craftsmanship and materials.

The bluebook cover of *The Adventures of Captain Duncan*

With regards to the pages, The Adventures of Capt. Duncan is relatively short. Even amongst these few pages, they are uneven, jetting outward or inward, indicating some combination of both uneven page-cutting and the wear of centuries. The pages themselves are brittle, dry, and yellowed, yet firmer than the cover. When turning the pages, they tend to crunch a bit and move with rigidity.

Following the initial pages that note the book’s publication information, there is an illustration of Captain Duncan in his armor. This serves as a frontispiece, with the inelaborate title The Adventures of Capt. Duncan. On the very next page, the expansive title takes up a full page, declaring The Adventures of Capt. Duncan, A Journey From Europe, Over The Arabian Deserts, To the British Settlements in India; Containing, Among Other Particulars, An Account Of The Perils he experienced in those terrific Regions, The Eccentric Humours of His Tartarian Guide, His Shipwreck, and Distresses In The War With Hyder Ally, &c. This title uses an array of fonts, spacings, and capitalizations on the page, ranging from robotic, direct fonts, to floral and italicized fonts. On the cover, there is a similar mixing of fonts. There are variations even among the spaces between the letters within words, as well as the spacing between lines.

The rest of the book is not nearly as unique. The text itself is fairly plain. There is little spacing between lines and a 1.5 to 2 centimeter margin on the pages. The book is brief, at only thirty-six pages, in the style of gothic chapbooks. The back cover of the book shares the same physical qualities as the blue front cover: it is thin, fragile, and is more sparsely populated with printed text.

Textual History

The Adventures of Captain Duncan was one of two installations in Radclife’s New Novelist’s Pocket Magazine (Brown et al). The magazine’s publishers hoped the magazine would “contain an elegant & chaste collection of Original Novels, Tales, Romances, Lives, Memoirs, Voyages, Travels, &c. together with a judicious Selection from the Writings of those Authors, whose works have in any degree excited public notoriety” but after those first two issues, the project was abandoned (quoted in Potter 64).

The preface of *The Adventures of Captain Duncan*

As a chapbook, The Adventures of Captain Duncan holds a small place in the larger chapbook publishing landscape. From roughly the late 1790s to the early 1800s, Thomas Hurst published gothic chapbooks from his office at 32 Paternoster Row. He was integral in many of the gothic chapbooks published between 1798 and 1803, including The Adventures of Captain Duncan. Hurst spearheaded the serial Radclife’s New Novelist’s Pocket Magazine, and was also the exclusive seller in England, while the rest of the magazines were sold in Scotland (Potter 64). Another gentleman, Thomas Brown, joined Hurst in publishing Radcliffe’s New Novelist’s Pocket Magazine, as well as The Marvelous Magazine (Potter 64–5).

As the eighteenth century turned to the nineteenth, chapbooks were sold with practices that echo modern multi-level marketing schemes. The primary distributor (Thomas Hurst, for example) would collect a group of subordinates to sell the chapbooks, with the option to sell the books individually or further distribute them to other sellers (Potter 67). Booksellers’ advertisements in newspapers and such reveal an extensive network of this wholesale distribution (Potter 67–8).

Mary Anne Radcliffe was billed as the writer, compiler, and editor of Radclife’s New Novelist’s Pocket Magazine. Her name immediately begets ambiguity with its similarities to the well-known Gothic novelist Ann Radcliffe, but that is not where the issues end. Mary Anne Radcliffe was certainly a real person. She was born Mary Clayton of Nottingham. She was well educated, considering her status and gender (Brown et al). At the mere age of fourteen, she married Joseph Radcliffe, giving her the fateful Radcliffe name. Following her marriage, she dotted across England between Edinburgh, London, and Nottingham (Brown et al). Mary Anne Radcliffe certainly wrote as well. The works most clearly attributable to her are The Female Advocate; or An Attempt to Recover the Rights of Women from Male Usurpation and Memoirs … in Familiar Letters to Her Female Friend. Scholars have doubted her other attributed works, however, which include an array of gothic novels as well as translations of foreign novels (Brown et al).

The frontispiece for *The Adventures of Captain Duncan*

Most modern scholarship focuses on Mary Anne Radcliffe’s larger Gothic novels rather than her chapbooks, but they reveal a larger practice of misattribution, where certain publishers attached Mary Anne Radcliffe’s name to books in an attempt to sell more—relying on her proximity to Ann Radcliffe’s name (Garside et al). Some of Mary Anne Radcliffe’s attributions are more suspect than others. One such novel, Radzivil, was attributed to her several years after publication. The Fate of Velina de Guidova, which is a translation from Russian that is set in France, was attributed after an even greater wait (Brown et al). Both novels focus on material entirely distinct from The Female Advocate and point to a different author entirely (Brown et al).

Radclife’s New Novelist’s Pocket Magazine has fewer suspect circumstances but still exists within the context of those other misattributions. The magazine correctly identifies Mary Anne Radcliffe’s address and she was attributed at the time of publishing (Brown et al). Some modern scholars are skeptical of Mary Anne Radcliffe being the true author or editor of the pocket magazine, but it nevertheless holds a sharper connection than her other attributions (Garside et al). Whether Mary Anne Radcliffe truly wrote and edited for the magazine or someone else did, The Adventures of Captain Duncan remains a valuable part of the history of chapbooks in England.

Narrative Point of View

The Adventures of Captain Duncan switches between an unidentified third-person narrator and the first-person narration of Captain Duncan, through what appears to be a set of direct statements from Duncan. The third-person narrator functions as an interpreter of those notes. Both styles delve into the captain’s emotions, but his first-person interjections serve as sharper confirmations of the preceding paraphrases of the narrator.

Sample Passage:

As the Captain became familiarised to his Tartar guide, he found him a fellow of infinite humour and much humanity, well acquainted with the world, and endeavoring all he could to alleviate the gloom that frequently clouded his countenance. One principal object with him seemed to be to impress the Captain with an idea of his high importance as a messenger belonging to the Sultan, and that his authority wherever he came was not to be disputed. “ Thus,” says Capt. Duncan, “ whenever we stopped at a Caravansera, he immediately called about him, in the name of the Sultan, for fresh horses, victuals, &c. And though the utmost submission was shown to his will, he nevertheless frequently exhibited his muscular powers by unmercifully belaboring all indiscriminately with his whip, and I was afraid to interfere, fearful that he might think it necessary to give me a flogging to avoid suspicion.” (15)

These two modes of narration function within the larger historical implications of The Adventures of Captain Duncan, an international story that has the power to shape English understandings of lands and cultures beyond England. The reports of Captain Duncan thus operate as a historical primary source within this fictional text. This adds a sense of realism, because it seems as though these could be the words of a real man, who had a real story, who is being studied by a real person. Additionally, several times throughout the book, there are extended passages explaining local customs, none more prominently than when the text explains that during Hajj, in Mecca, the worshippers “enter the former [Masjid al-Haram], and, walking seven times round the little building contained within it, say, ‘This is the house of God and of his servant Abraham’” (10–11). These insights into other cultures gain veracity the same way Captain Duncan’s own story does: through the book’s presentation of his journals as a primary source within the narration.

Summary

Captain Duncan’s journey begins as any journey does: with a departure. In May 1781, he receives word that he must go to India to help sort out his father’s affairs. Duncan leaves his spouse and two daughters in England. Rather than directly sail around the Cape of Good Hope, he travels over land, across Europe and the Middle East en route to India. He dots between European cities like Brussels, Venice, and Augsburg. In Augsburg, Duncan finds himself in a church when a friar indulges him in drink, issuing vague religious proclamations about his journey. The friar is welcoming, joyful, and telling stories that keep Duncan enthralled before continuing his journey.

The title page of *The Adventures of Captain Duncan*

He reaches a fork in the road at Venice, deciding whether to travel directly through Syria or through Egypt. After opting for a boat ride to Egypt, he meets a young English woman he hopes to bring with him to India, but her guardian stops his pursuits. When he lands in Alexandria, he still heads through Syria, taking his longest stop at Aleppo. His journey is largely defined by the different British people he meets along his travels, and Aleppo is no different. Those expatriates offer comfort, refuge, and rescue to Duncan throughout his trek. He connects with a large, traveling caravan going towards Mecca; one large enough to withstand bands of robbers along their path. It eventually links up with a few more caravans, each boasting legions of soldiers and beasts to fortify their trip.

Once he reaches Mecca, he meets yet another woman who wants to run away, this one suffering in the clutches of an older husband. With their plan hatched, Captain Duncan is quite prepared to sneak away, but the British Consul hears of this scheme and shuts it down. Duncan even faces local legal trouble resultant from his infringement upon a legal marriage, but the Consul smuggles him out of town with a Turkish guide.

The captain quickly irritates the overbearing guide with his mocking of the guide’s sense of seriousness and superiority, leading to some scuffles over horses and such. He specifically objects further when the guide traffics several women via their traveling party, but to no avail. They eventually reach Mosul, where their partnership ends and the captain links up with an Armenian merchant to assist him in his travels. The merchant brings him to the last leg of his journey, where he boards a ship to take him to India.

However, calamity strikes and they misjudge the monsoon patterns of the waterway and condemn their ship to ruin. Despite battling the waters and waves, the ship collapses when a hurricane forms and the crewmates subsequently drift across the sea. They wash ashore at Hydernagur, where Indian locals, who do not take kindly to British colonizers, capture them.

This page introduces traveling actions of the story

When leader Hyder Ally finds out that Captain Duncan is the son of the renowned Colonel Duncan, he wishes to turn Captain Duncan to his side in the war. At first, it comes in bribes, where Hyder offers men and money, but it later comes in threats, where Hyder’s men temporarily hang and torture Captain Duncan, before eventually conceding.

Duncan has a British companion in these troubles, one Mr. Wall. Mr. Wall came on this journey out of financial necessity; he was in love with a woman, and his previously wealthy father had wasted his riches on some poor investments, leaving him destitute and unable to wed. He came to India to try to recoup some wealth, enough to get married. But Mr. Wall never returns to England and dies in Hydernagur, shackled at the feet to the still-living Captain Duncan.

There is still another English expatriate, however, for General Matthews marched into town to save Captain Duncan from his captors. After gaining freedom, Duncan enlists as a negotiator between British and Jemadar forces, who are an independent sect of forces who revolted from Hyder Ally’s son, Tippoo Sahib. The British military wants Jemadar’s support to help gain a valuable garrison to fight back against Sahib. Successful in these negotiations, Captain Duncan continues on his journey, moving farther across India before even venturing out to China. He finally returns to England some three and a half years later.

Bibliography

Brown, Susan, Patricia Clements, and Isobel Grundy, eds. “Mary Ann Radcliffe: Writing.” Orlando: Women’s Writing in the British Isles from the Beginnings to the Present. Cambridge: Cambridge University Press Online, 2006. http://orlando.cambridge.org 3 November 2021.

P. D. Garside, with J. E. Belanger, A. A. Mandal, and S. A. Ragaz. “The English Novel, 1800–1829: Update 4 (June 2003–August 2003).” Cardiff Corvey: Reading the Romantic Text 12 (Summer 2004). http://www.romtext.org.uk/reports/engnov4/ 3 November 2021.

Potter, Franz J. Gothic Chapbooks, Bluebooks and Shilling Shockers, 1797–1830, University of Wales Press, 2021.

Radcliffe, Mary Anne. The Adventures of Captain Duncan. London, Hurst, 1802.

Researcher: Yusuf Ragab Hacking

Roxalana

Roxalana: Or, the Step-Mother. An Historic Tale

Author: Unknown
Publisher: Ann Lemoine and J. Roe
Publication Year: 1806
Language: English
Book Dimensions: 11.5cm
Pages: 36
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2 .R736 1806

Published in 1806 by an unknown author, Roxalana: Or, the Step-Mother is tragic tale of family disputes and an undying jealousy leading to a family’s demise.

Material History

Roxalana: Or, the Step-Mother. An Historic Tale is a gothic text in English originally published in London by an unknown author. The text comes in the form of a chapbook with no indication of the title on the cover page, however we do know it was published in 1806 and “by and for J. Roe.” As the book was gifted to the Sadlier-Black Collection, there is no concrete history of the potential author or the context in which it was written. The title appears often, most notable on the inside of the cover page and again on the second page. Its first appearance is under a black and white illustration depicting the inside of a living room and a woman who we can assume to be the stepmother. The illustration is carefully drawn with meticulous lines shaping the room and person within. The second page portrays the title in large, spacious lettering in black ink with still no indication of the author. The title appears again at the top of every page as Roxalana.

These pages capture the illustration and title page for the opening of the chapbook

The chapbook itself is only 36 pages long with a length of 11.5 cm, its size is quite a bit smaller than the average hand. The condition of the text is extremely fragile with the first and last page hardly retaining their attachment to the rest of the pages. The paper is very thin and brittle, banded simply together with no distinct border. The faint binding remnants reflect a somewhat thicker cardboard material decorated with once brown and gold details. The only stylistic elements on the cover page is the faint impression of the illustration on the inside cover. We can easily observe the delicate nature of the chapbook, with the yellowing brown pages and pages threatening to fall out. Its worn state indicates its usage and its light weight contributed to its easy, cheap exchange. As the illustration is also in black and white, we can expect this book to have cost a small amount of money.

When analyzing the inside of the book, we can see the font is precise and aligned to allow greater space on the inner margins of the pages as opposed to the outer margins. Despite this, there is not a lot of blank space as the words have assumed a large portion of the compact page. The font initially seems small, however it still allows for easy reading without an overcrowding of words. There are no other illustrations within the chapbook save for the illustration on the inside of the cover page. In exploring potential signs to indicate prior ownership, there are no visible marks in the text nor on the cover pages; there are no stamps, stains, or names besides “I. Roe.” Staying true to making the most of out of the available space, the ending of the book finishes on the second side of the last page. Despite the compact size, the story covers a large amount of geographical space within the Middle East; this contrast seems to give the physicality of the chapbook another dimension.

Textual History

Roxalana: Or, the Step-Mother, An Historic Tale was published in 1806 by John Roe and Ann Lemoine and printed by Thomas Maiden in London. The author of the text is unknown and there are no concrete sources definitely tracing a potential author. John Roe and Ann Lemoine were book publishers in the late eighteenth century; both partook in bookselling and often worked alongside Thomas Maiden to publish numerous texts. However, because of the sheer number of books these three collectively worked on, there is still no positive inclination towards one particular author of Roxalana. Despite this ambiguity, there are a few avenues that can provide for greater contextualization of the story.

One of the inside pages containing text of *Roxalana*

This text is a chapbook published in English. There are no prefaces, introductions, prequels, or sequels to further guide the direction of the narrative. In approaching Roxalana through a historical lens, however, the character is indeed based off of a real historical figure in the 1500s, Aleksandra Lisovska or Hurrem Sultan in Turkish. Roxalana was a Slavic woman who was sold into the slave market at a young age to an acquaintance of Sultan Suleiman. Soon thereafter, she entered the harem and eventually became the legal wife of the sultan, a feat considered quite extraordinary. She bore him five sons and amounted a great deal of power over the course of her relationship. In grappling with Roxalana from this perspective, the reader can see the realistic aspects of the story as it derives from a nonfiction narrative (Parry).

An earlier version of Roxalana appeared in The London Magazine, Or, Gentleman’s Monthly Intelligencer in 1769 as The History of Mustapha and Roxalana. The content of the story mirrors the 1806 version despite the changes in details and writing. In the 1769 story, a major difference in the plot is the father killing one of the sons rather than servants proceeding with the murder.

Another version appears in The British Moralist; or, Young Gentleman and Lady’s Polite Preceptor, a two-volume collection of “novels, tales, fables, visions, dreams, allegories” published in 1771. The collection’s title page lists several authors and then further indicates the inclusion of other “Celebrated Moderns.” Within this collection, Roxalana appears in The Merciless Mother-in-law; or, The History of Mustapha and Roxalana; a story similar to the 1806 version and the authorship listed as“from Dr. Robertson’s Charles the Fifth” (276). Dr. William Robertson was a Scottish minister and Principal of the University of Edinburgh, his work History of Charles the Fifth is part of a larger volume of works. His work A History of the Middle Ages: Describing the Progress of Society in Europe from the Subversion of the Roman Empire to the beginning of the sixteenth century extensively covers historical and geographical details, such as a deeper look into the Ottoman Empire, omitted from other versions.

The multiple versions in addition to the 1806 printing indicate that there was a market for this story. The various places Roxalana can be located also implies that the audience ranged from those who could only afford chapbooks to those who had the money to purchase Dr. Robertson’s historical books. There are no reviews of the story that can readily be found in eighteenth- and nineteenth-century newspapers, however Roxalana reflects a longer tradition of European fascination with the Middle East.

Narrative Point of View

Roxalana, or the Stepmother is narrated from a third-person point of view. The narrator remains anonymous and never self-identifies through any means throughout the story. The narrator uses simple yet regal language; the plot is not overly detailed, however the specific vocabulary used reflects royal aura of the main ruling family. Further, the narrator is very exact in tone as the story unfolds and the audience is invited to read the story as if it were true. This echoes in the latter half of the title—An Historic Tale—as the narrator contextualizes the tale by providing historic details and geographical mobility. While the narrator does not provide excessive details, the narration still offers interiority of the multiple characters in a transparent, thorough way.

Sample Passage:

Roxalana being now raised in a co-partnership in the empire, and absolute mistress of the Sultan’s will, took upon her the administration of affairs; and soon made those that composed the Ottoman court, feel the powerful effects of her hatred or good-will. Her aversion for Mustapha increased with the report of his virtues, and her blind tenderness for Bajazet with the knowledge of his vices. She even thought it her duty to repair his visible defects, by the procession of an empire, and that a dignity of that high nature was alone capable of justifying her ill-grounded preference. As for Selim, a blended mixture of vice and good qualities composed his character; and if he sympathised in any thing with Bajazet, it was only in their desire of reigning. (8)

In this passage, the style of the narrator is evident, displaying evocations of empire and a regal atmosphere. While the focus is on Roxalana’s thoughts, the narrator also codes Mustapha, Bajazet, and Selim by explaining just enough for the audience to understand their respective characters. Another significant feature of the narrative style is how the narrator is able to adopt a classic oral storytelling voice.

Summary

Roxalana: Or, the Step-Mother, An Historic Tale centers on a royal Turkish family in the Ottoman Empire period. The story opens up with a discussion of women and their feminine charm, specifically how women can manipulate their charm to be powerful enough to rule over men and societies.

The first page with the beginning of *Roxalana*

The narrator then introduces the family through this sentiment by bringing in Solyman, the current Sultan, and characterizing him as a just, respected ruler. Solyman had a Georgian wife, who passed away, with whom he had his first son, Mustapha. Solyman continues to have affairs with other women and a particularly powerful relationship with one Turkish servant, Roxalana. The story describes Roxalana as an evil stepmother capable of severe malevolence and intensely wicked in intention and actions. Together, Roxalana and Solyman have four boys and one daughter: Mahomet, Selim, Bajazet, Zeangir, and Cameria.

Solyman’s prized possession is his first son Mustapha and it is through this love that Mustapaha eventually marries and becomes a respected Prince of Amazia, a neighboring region. Roxalana utterly despises Mustapha and desires her son, Bajazet, to be the successor after Solyman’s death. To execute such a role, she realizes the importance of formally wedding Solyman and thus deceives a religious figure into blessing the matrimony of the pair; she then unleashes her limitless cruelty in securing her son’s position as Sultan. Bajazet and Selim take after their mother’s temperament while Zeangir imitates Mustapha’s renowned demeanor, prompting him to join Mustapha. During Zeangir’s stay with Mustapha they fall into battle with the Sophi of Persia and his army, resulting in Mustapha’s win over the Sophi. Mustapha’s grace extends to even the war prisoners, creating an almost peaceful, mediated space between the rivaling forces. Zeangir assumes power over one of Persia’s territories and falls in love with the Sophi’s daughter, Perselia. Zeangir confides in Mustapha about his love for Perselia and eventually, with Mustapha’s permission, leaves to pursue her after she returns to her home in Tauris. There, Zeangir meets with an anxious Perselia to profess his love and further intensify his goal of marrying her. Perselia responds by indicating the inappropriateness of their private conduct (regarding different sexes) and encourages him to offer a truce with the Sophi, who similarly wants an end to the conflict. Zeangir realizes the critical nature of securing this truce in wanting to marry Perselia, thus he quickly leaves and returns to Mustapha.

Mustapha accepts the news willingly and secretly, unbeknownst to Solyman, sends an offer to the Sophi through a servant, Achmet, who later proves to be disloyal. Throughout this unfolding, Roxalana continues to wreak havoc by inducing paranoia in Solyman regarding his sons and taking steps to ensure the destruction of Mustapha. Solyman discovers the offer Mustapha makes and through Roxalana’s authoritative influence becomes enraged over his son’s actions. He then issues for the kidnapping of Perselia and summons his sons in Amazia to return to his palace. Roxalana continues to scheme and employs Rustan, the husband of her daughter, as her loyal ally in carrying out her horrors. When Bajazet falls in love with the captive Perselia, Roxalana and Rustan deceptively create traps for the other men to fall into: they prevent Bajazet from seeing Perselia (whom Roxalana despises), distract Zeangir by letting him meet with Perselia, and convince Solyman of his ultimate demise due to Mustapha wanting to overthrow him. Roxalana creates a lie regarding Mustapha’s desire to replace Solyman and elicits terror in Solyman.

This page shows the closing of the chapbook

Solyman, fearing replacement, orders Rustan and his men to murder Mustapha in order to retain his position as Sultan. Rustan and his men pursue Mustapha, who has realized his stepmother’s evil character, and succeed in murdering him despite Mustapha’s fighting stance. Zeangir, whom Perselia warned about the cruelty in Roxalana and Rustan, discovers he is too late and rushes to the bloody scene of his dead brother. Zeangir and many army men endure great agony in seeing the death of their beloved leader and mobilize to discover the cause. Zeangir then faces his father and accuses him of submitting to Roxalana’s influence and his own weaknesses. Zeangir then stabs himself in the breast and dies while Solyman finally realizes the truth of the situation.

Despite Solyman acknowledging the truth, he still persists in obeying Roxalana’s wishes and mourns her greatly after her natural death two years later. Prior to her death, Roxalana and Rustan force Solyman to consent to the death of Mustapha’s wife and child. Perselia returns to her father and is followed by Bajazet, who is still strongly in love with her in spite of Perselia’s disgust towards him. Solyman, overcome with grief and guilt, orders for the murder of Bajazet in the same fashion Mustapha had been murdered. Solyman eventually passes away with old age and Selim assumes the role of the next Sultan, a role portrayed as respected and fair.

Bibliography

“The History of Mustapha and Roxalana.” The London Magazine or, Gentleman’s Monthly Intelligencer, vol 38, 1769. https://books.google.com/books?id=RxUrAAAAYAAJ&pg=PA345&lpg=PA345&dq=roxalana+or+the+step-mother&source=bl&ots=U_Wbsu68Zk&sig=ACfU3U3MgAbpB7t8EGLD9roeELty0juQqA&hl=en&sa=X&ved=2ahUKEwjyqIHc357lAhVyiOAKHb0gBQsQ6AEwA3oECAgQAQ#v=onepage&q=roxalana%20or%20the%20step-mother&f=false

“The Merciless Mother-in-law; or, The History of Mustapha and Roxalana.” The British Moralist; or, Young Gentleman and Lady’s Polite Preceptor. London. 1771, https://books.google.com/books?id=7KQ_AAAAYAAJ&pg=PA275&lpg=PA275&dq=the+merciless+mother+in+law+mustapha&source=bl&ots=lUz0QVB9SY&sig=ACfU3U3ijflLtapqlNzwqR0ef1zPs9g0uw&hl=en&sa=X&ved=2ahUKEwit_IH84p7lAhXIV98KHUWcAuAQ6AEwA3oECAYQAQ#v=onepage&q&f=false

Parry, V.J. “Süleyman the Magnificent.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 16 May 2019, https://www.britannica.com/biography/Suleyman-the-Magnificent.

Robertson, William. “General History of Europe During the Reign of The Emperor Charles V.” History of the Middle Ages. London. 1850.

Roxalana: Or, the Step-Mother. An Historic Tale. London, I. Roe, 1806.

Researcher: Iqra Khalid Razzaq