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Analysis Of Dramatic Irony In Marlowe

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hristopher Marlowe has been characterized by various critics as a subjective playwright, one whose passions are reflected in the passions of his characters. Michel Poirier states that Marlowe’s mind “is spurred on by a passion similar to the one he has ascribed to some of the characters in his dramas.” Poirier concludes that there is a definite connection between Marlowe’s temperament and ideas. His desires govern his thoughts and his passions are the basis for his philosophy. Poirier considers that egotism is at the centre of his life and works. Paul Kocher goes so far as to say that Marlowe’s degree of subjectivity as a dramatist is the most important problem of all interpretation of his work. Kocher further notes that any theory of …show more content…

R. B. Sharpe defines irony as “an attitude, a temper, a spirit in which one looks at life and art. It brings to light and emphasizes by art the contradictions of living.” G. G. Sedgewick gives the following definition of dramatic irony: “Dramatic irony, in brief, is the sense of contradiction felt by spectators of a drama who see a character acting in ignorance of his condition. This is dramatic irony in its concentrated and specific form: it grows … out of that pervasive and controlling knowledge which we have called general irony and which is the property peculiar and essential to the illusion of the theatre.”
Sharpe’s and Sedgewick’s definitions of irony and dramatic irony are especially meaningful when one considers Marlowe’s plays. The plays contain many contradictions of life - contradictions between what appears to be truth and what is truth, between aspiration and achievement, between speech and action. And Marlowe’s characters consistently act ignorant of their conditions. In Tamburlaine, Faustus, Edward, Mortimer, Barabas, Guise, Dido, and other minor characters, Marlowe has created characters in whom every speech and action involve ironic undertones resulting from this ignorance. This irony establishes an objective position on the part of the playwright,

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