Literary Analysis Of Marlowe's Tamburlaine, Part I

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The virgins are taken away and killed, and later their bodies are hung on the city’s walls. This “mirror” reflects Tamburlaine’s determination, but there is no honour in the slaughter of virgins. Thus, Tamburlaine’s happiness at the end of the play is ironic, especially when the results of his accomplishments are considered: two human beings commit suicide, and virgins are slaughtered. These are mirrors meant to reflect Tamburlaine’s honour, but the reflection is not what he thinks it to be. This irony illustrates the truth that Tamburlaine is not what he inclines himself to be and he is no different from all the too confident enemies he has previously conquered. Every stage of dramatic development in Tamburlaine, Part I has ironic undertones, as Marlowe emphasizes flaws and weaknesses in his characters, distancing himself from them. The plot structure reveals Marlowe to be an objective playwright. As an ironist, Marlowe presents life as it is, and he emphasizes the differences between what appears to be and what is. Thus…show more content…
In Tamburlaine, Marlowe creates a highly individual style in which stage directions and stage-setting combined with the long speeches to create a new kind of unity. When the curtain is drawn, a living picture is revealed, whose stylized and symbolical grouping lends it a special expressiveness and power. Christopher Marlowe had been considered the founder of English dramatic poetry. The playwright perceived the capacities for noble art inherent in the Romantic Drama and adapted it to a higher purpose by his practice. Marlowe considered that the earlier metre of the Romantic Drama had to be abandoned and the blank verse was seen to be the right vehicle. To employ blank verse in the romantic drama was the first step in Marlowe’s revolution. Both form and matter had to be transfigured. This transfiguration of the right dramatic metre showed Marlowe as a creative

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