Marlowe Drama Analysis

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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

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,

The five stages - exposition, complication of plot action, turning point, climax, and denouement - are all marked by irony, which helps to create the distance between playwright and character.

The first stage in dramatic development, exposition, introduces themes, characters, and conflicts. In Tamburlaine, Part I, Marlowe introduces these elements with an irony that shows him to be the objective observer of the forces he puts into motion. One theme is the invincible warrior - the super hero - and in order to ironically prove his hero’s capabilities, Marlowe uses the “looks” imagery. In Scene 1 of Act I, Mycetes, king of Persia, sends Theridamas to stop Tamburlaine’s invading army: “Go, stout Theridamas; thy words are swords, / And with thy looks conquerest all thy foes.” (p.5)

Mycetes’ reliance on the looks of Theridamas is ironic because Tamburlaine too is known for savage looks. In Scene 2, Techelles, a lieutenant to Tamburlaine,