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Mode of language: The grand, monumental style of the
speeches, with their lyricism and their strong appeal to the
emotions, has found its counterpart in the stage. For instance, the
last scene of the second part of Tamburlaine is a death-bed scene, at
the end of which the protagonist himself dies. In its construction
this scene again illustrates Marlowe’s development of a
‘monumental’ style of presentation, a style which no longer leaves
the set speech in a vacuum. The few critics consider the style and
observe that Marlowe is a master of metaphor. His language style is
enthusiastic commendation. More recent criticism has been more
attentive to the variety of Marlowe’s language in the plays;
especially in Doctor Faustus, the Helen speech, as Harry Levin
notes, stands out from ‘the pithy prose, sharp dialectic, nervous
soliloquies and rhythmic variations of Marlowe’s maturing style’.
5
The language of the play is at times reminiscent of Tamburlaine the
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Great, but as M.C. Bradbrook followed by many others – points
out, ‘it can also be more relaxed and colloquial’.
6
In the final soliloquy, antithesis seems to be ‘a mere
rhetorical trick’ but is overlaid with reality’. By these means
Wolfgang Clemen considers that Marlowe created a new dramatic
language for the expression of spiritual conflict.
7
If we examine again, the series of important speeches at the
end of Part I of Tamburlaine solely from the point of view of the
language they employ, we cannot avoid the conclusion that here, as
in other episodes, Marlowe’s starting-point was the epic style.
However, he always succeeded in combining these forms of
expression with a dramatic setting. Indeed he created for himself a
dramatic style of presentation which was capable of absorbing a
very large proportion epic language.
8
There are six chapters in the thesis. The following is the
summary contents of these chapters.
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In Chapter I, I have dealt with how the knowledge places in
one’s hands the key to power, desires, ambitions and aspirations
and how in their fulfilment one strays from the path of
righteousness. There is the main social-background of Marlowe’s
dramas.
Chapter II depicts the Renaissance essentially as an
intellectual awakening. It was an effort of the human individual to
rise above the rigidity and narrowness of feudalism and Churchism
and find an expression of his mind and heart in various ways. For
example, the Renaissance spirit stood against self-control and
asceticism on the one hand; it expired after freedom, humanism,
beauty, versatility and such other things which granted the human
soul its utmost scope of expression on the other hand. As a result of
this new spirit of learning and thinking, God went into the
background while man came to the forefront. And also other main
characteristics of Renaissance can be recounted as:
i)
Discovery.
ii)
Expedition.
iii)
Concurrence of the Renaissance with Reformation.
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iv)
Fine Arts besides poetry, etc.
Chapter III depicts undoubtedly, the fact that all the heroes of
Marlowe are brave, boastful, ambitious, adventurous, rebellious and
thoughtful. The analytical view eventually emerged to explain
Tamburlaine’s ambivalent character. The first view stresses that
Tamburlaine is a brutal and un-Christian tyrant whose power and
ambition is reprehensible. “Tamburlaine’s rise to power is usually
at the expense of a series of legitimate rulers. Might is shown to
triumph over right.” The second main analytical view stresses,
instead, that Tamburlaine’s glory and majesty inspire the audience
to recognize the highest limits of human achievement. There is
certainly some evidence to support a reading of Tamburlaine as a
reaffirmation of its author’s supposed atheism, since almost
invariably the calls for divine intervention seem to be ignored by a
heaven indifferent to human plight. Therefore, those who have
argued that the play works within a moral and religious framework
can point to the blasphemy of burning the Moslem holy books as
evidence that Tamburlaine is punished, the sudden sickness that
finally lays him low acting as Mahomet’s revenge. For instance, in
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