Tamburlaine the Great In this chapter we shall discuss Christopher Marlowe’s Tamburlaine the Great ,the earliest of Marlowe’s plays, the two-part Tamburlaine the Great (c. 1587; published 1590), where we find Marlowe’s characteristic “mighty line” (as Ben Jonson called it). Marlowe breathed fresh blood into the otherwise dry blank verse and established the same as the staple medium for later Elizabethan and Jacobean dramatic writing. It appears that originally Marlowe intended to write only the first part, concluding with Tamburlaine’s marriage to Zenocrate and his making “truce with all the world.” But the popularity of the first part encouraged Marlowe to continue the story to Tamburlaine’s death. This gave him some difficulty, as he had almost exhausted his historical sources in part I; consequently the sequel has, at first glance, an appearance of padding. Yet the effort demanded in writing the continuation made the young playwright look more coldly and searchingly at the hero he had chosen, and thus part II makes explicit certain notions that were below the surface and insufficiently recognized by the dramatist in part I. The play is based on the life and achievements of Timur (Timurlenk), the bloody 14th-century conqueror of Central Asia and India. Tamburlaine is a man avid for power and luxury and the possession of beauty. When for a moment he has no immediate opponent on earth, he dreams of leading his army against the powers of heaven, though at other times he glories in seeing himself as “the scourge of God”; he burns the Qurʾān, for he will have no intermediary between God and himself, and there is a hint of doubt whether even God is to be granted recognition. Certainly Marlowe feels sympathy with his hero, giving him magnificent verse to speak, delighting in his dreams of power and of the possession of beauty, as seen in the following of Tamburlaine’s lines: Nature, that fram’d us of four elements Warring within our breasts for regiment, Doth teach us all to have aspiring minds: Our souls, whose faculties can comprehend, The wondrous architecture of the world, And measure every wandering planet’s course, Still climbing after knowledge infinite, And always moving as the restless spheres, Wills us to wear ourselves and never rest, Until we reach the ripest fruit of all, That perfect bliss and sole felicity, The sweet fruition of an earthly crown. But, especially in part II, there are other strains: the hero can be absurd in his continual striving for more demonstrations of his power; his cruelty, which is extreme, becomes sickening; his human weakness is increasingly underlined, most notably in the onset of his fatal illness immediately after his arrogant burning of the Qurʾān. In this early play Marlowe already shows the ability to view a tragic hero from more than one angle, achieving a simultaneous vision of grandeur and impotence. Tamburlaine the Great, a play in two parts by Christopher Marlowe, as said earlier, is loosely based on the life of the Central Asian emperor, Timur "the lame". Composed in 1587 or 1588, the play is a landmark in the Elizabethan public drama; it signals a drifting away from the clumsy language and loose plotting of the earlier Tudor dramatists, and incites a new interest in fresh and vibrant language, impressive action, and intellectual complexity. Along with Thomas Kyd's The Spanish Tragedy, it may be considered the first popular accomplishment of London's public stage. [Picture from thegreatbooklist.com] Marlowe, generally believed to be the most outstanding of the University Wits, influenced playwrights well into the Jacobean period, and resonances of Tamburlaine's bombast and ambition can be heard in English plays all the way to the Puritan closing of the theatres in 1642. While Tamburlaine is considered inferior to the great tragedies of the late-Elizabethan and early-Jacobean period, its importance in building a stock of themes and, especially, in demonstrating the potential of blank verse in drama, is still recognized. Publication The play in both parts was registered into the Stationers' Register on 14 August 1590 as "two comical discourses". Both parts came in print together in a single black letter octavo that same year by the printer Richard Jones; its text is usually referred to as O1. A second edition was issued by Jones in 1592, and a third reprint emerged in 1597, essentially reprinting the text of the first edition. The plays were next published separately in quarto by the bookseller Edward White, Part 1 in 1605 and Part 2 in 1606, which reprinted the text of the 1597 printing. Christopher Marlowe is not actually cited as the author in the first printings of the play- there is no author attributed to Tamburlaine. The first clear mentioning of Marlowe as the author are much later than 1590 (too much later to be conclusive that he is indeed the author). However, the reason scholars put forward the play to Marlowe is because of its similarity to other works. Many passages in Tamburlaine presage and echo passages from another one of his works, and there is a clear parallel between the character development in Tamburlaine and that of the majority of Marlowe's other characters. This data alone leads scholars to deem that Marlowe alone wrote Tamburlaine.[1] [Picture from catholicworldreport.com] Characters of the Play. Mycetes, King of Persia. Cosroe, his Brother. Meander, Theridamas, Ortygus, Ceneus, Menaphon, Persian lords. Tamburlaine, a Scythian shepherd. Techelles, Usumcasane, his followers. Bajazeth, Emperor of the Turks. King of Fez. King of Morocco. King of Argier. King of Arabia. Soldan of Egypt. Governor of Damascus. Agydas, Magnetes, Median lords. Capolin, an Egyptian. Philemus, Bassoes, Lords, Citizens, Moors, Soldiers, and Attendants. Zenocrate, Daughter to the Soldan of Egypt. Anippe, her maid. Zabina, wife to Bajazeth. Ebea, her maid. Virgins of Damascus. Plot In the “Prologue” Marlowe informs the audience that they are going to witness a “tragic glass” and the audience is then introduced to the Scythian shepherd scourging those kingdoms that are led by rulers weaker than him. The tragedy of the play is of those rulers who are more concerned with pomp and outward appearances that they must fall. The “De Casibus Tragedy” was concerned with showing the downfall of those sultans who believe they were rising on the wheel of fortune however once they reach the top they will go down. The instability of the fortune’s wheel means that these rulers will always meet their end unless one can be both a lion and a fox. In the first scenes Tamburlaine is described by the King of Persia, Mycetes, in Machiavellian terms as a “fox in the midst of harvest- time/Doth prey upon my flocks of passengers”, creating the impression that Tamburlaine is a brave, resourceful and a military leader. This description puts in contrast the failings of the weak king Mycetes who finds himself “aggrieved/Yet insufficient to express the same”. The King of Persia far from being a “fox” and a “lion” is a weak, inarticulate king who cannot quite express his “conceived grief”. Part 1 begins in Persepolis. The Persian emperor, Mycetes, sends out army to settle Tamburlaine, a Scythian shepherd and at that point a nomadic bandit. In the same scene, Mycetes' brother Cosroe plots to depose Mycetes and usurp the throne. The scene shifts to Scythia, where Tamburlaine is shown wooing, capturing, and winning Zenocrate, the daughter of the Egyptian king. Confronted by Mycetes' soldiers, he persuades first the soldiers and then meets Cosroe to join him in a fight against Mycetes. Although he promises Cosroe the Persian throne, Tamburlaine reneges on this promise and, after defeating Mycetes, takes the control of the Persian Empire on his own. Now a powerful figure, Tamburlaine turns his attention to Bajazeth, Emperor of the Turks. He defeats Bajazeth and his tributary kings, capturing the Emperor and his wife Zabina. The victorious Tamburlaine keeps the defeated ruler in a cage and feeds him scraps from his table, releasing Bajazeth only to use him as a footstool. Bajazeth later kills himself onstage by bashing his head against the bars upon hearing of Tamburlaine's next victory, and upon finding his body Zabina does likewise. After conquering Africa and naming himself emperor of that continent, Tamburlaine sets his eyes on Damascus; this target places the Egyptian Sultan, his father-in-law, directly in his path. Zenocrate pleads with her husband to spare her father. He complies, instead making the Sultan a tributary king. The play ends with the wedding of Zenocrate and Tamburlaine, and the crowning of the former as Empress of Persia. M.C. Bradbrook observes: “The unity of Part-I is supplied by Tamburlaine himself. He is hardly thought of as a man, though it is not in Part-I that he is most frequently equated with a god or a devil. He is a dramatic figure symbolizing certain qualities, and he defines himself in the famous ‘Nature that framed us of four elements.’*All quotations from U.M. Ellis-Fermor’s edition of Tamburlaine, 1930] The most direct statement of his nature is, however, given by Meander. Some powers divine or else infernal mixed There angry seeds at his conception: For he was never sprung of human race Since with the spirit of his fearful pride He dares so doubtlessly resolve of rule And by profession be ambitious. Tamburlaine’s ambition has no definite object; it exists in and for itself. His aspiring mind is drawn upward as naturally as gravitation draws a stone downward. Herein Marlowe encounters a difficulty, for Tamburlaine’s aims can never be the objective correlative of this divine striving.