Tamburlaine the great

CONCLUSION
In Tamburlaine the Great, Christopher Marlowe presented a new method to theatre and modified the old theatrical conventions in 1587. Death's appeal may be traced back to ancient Greek and Roman writings, but Marlowe's presentation of the Death-topos differs from customary renderings on many dimensions. My main goal in this essay is to highlight Marlovian developments in the theatrical representation of death through the use of modern popular culture. I also plan to emphasize the complementary relationship between rhetoric and imagery in order to demonstrate the value of both verbality and imagery.
Marlowe's Tamburlaine plays are examples of the playwright's stagecraft talent, demonstrating the creative intricacy of his medium. The two parts of Tamburlaine the Great demonstrate Marlowe's knowledge with the contemporary mind: he used popular and topical issues in Elizabethan England as crowd-pleaser characteristics in his plays. To make his plays topical and easily digestible for his audience, he leaned largely on conventions and public knowledge. Simultaneously, he presented familiar issues from new, intriguing perspectives, and he frequently distorted common implications in order to perplex the audience.
Although he used an ancient story as the major motif of his Tamburlaine plays, the traditional meanings are presented in a new and refreshing way. Marlowe's stage portrayal of Death draws not only on the medieval legacy of morality and mystery plays, but also on contemporaneous pictorial portrayals. I contend that Death's arrival on the Marlovian stage was revolutionary in the sense that it combined several fields of art to depict its multifaceted presence. Unlike past depictions, the understanding of Death was not constrained by descriptive language or the medium of fine arts. Although the key role of rhetoric is frequently emphasised, the depiction of the same idea is equally important. When these two branches are combined, perception becomes more sophisticated and less constrained.
The fruitful combination of complexity and ambiguity is critical in terms of dramatic development since, as the Platonic idea holds, it supplies the foundation for the individual's progress. Character development and identity transition are anchored not just in Death's changing quality, but also in the transformative power of theatre itself. In the theatrical framework, death and words become ritualized. The ritualistic repetition of the performances not only presents the play repeatedly, but also implies some type of re-displaying the same impulses over and over. As a result, the audience is allowed to rediscover and redefine mortality, in a manner comparable to Marlovian practice of recycling and reinterpreting death as the theme of greatest conceptual and metaphorical complexity in his plays.
In this course work, I have used that mouth as my counter-authoritarian justification for discovering the inferior variants and materialist readings they create in early copies of Marlowe's Tamburlaine plays. These readings are definitely contingent, and no doubt as speculative as the ones they seek to refute.
Unstopping the mouths of the later early editions, however, exposes the Tamburlaine plays to be messier, richer in texture, and more radical than the regimented Tamburlaine plays of modern editorial tradition. Marlowe's spirit haunts the text of his plays even into the twenty-first century, thanks to the weaker versions of the early copies.