Tamburlaine the great

THE POWER OF ABSOLUTE RULE IN CHRISTOPHER MARLOWE'S "TAMBURLAINE THE GREAT"

CONTENTS:	Pages
INTRODUCTION	5
MAIN PARTS	8
The life of Christopher Marlowe’	8
The main characteristics of ‘Tamburlaine the Great’	11
CONCLUSION	24
REFERENCE	26

INTRODUCTION
Christopher Marlowe is rightfully regarded as the father of English drama. He is frequently referred to as the "morning star" of English play. He is frequently referred to as the "morning star" of English play. Because he represents the conclusion of the first period in the history of theatre and the start of the second, which he rule over. His appearance signals the end of Medieval drama and the beginning of the great Renaissance drama. When Marlow began writing drama, English drama was in a state of disarray. He was instrumental in rescuing English drama from the clutches of Miracle and Morality plays. In addition, he delicately recreated the blank poem. As a result, he is widely regarded as the father of English blank verse. Now we will attempt to evaluate Marlowe's contribution to the evolution of English play.
Various types of drama were popular during the start of the Renaissance Period. Comedies, tragedies, farces, melodramas, interludes, chronicles, poetry and courtly plays, and scholastic compositions after Seneca, Plautus, and Terence were all presented with varying degrees of success. Theatres were sprouting up everywhere. Acting has become a recognized profession. The populace reveled in buffoonery and slaughter, while the scholar loathed it. A powerful group of locals regarded the stage with disdainThe preconceptions of a literary class, as well as the opposition of traditional moralists, were fundamental impediments to the growth of the stage. Marlowe rescued English drama from this peril.
Tamburlaine's obsession on displaying his sovereign power to his audience is a technique for him to organize and regulate change by anchoring himself in specular relation to his objects. Tamburlaine's sights of power, as tactile manifestations of his identity, provide dramatic literalization effects that allow him to preserve his unified and stable position as only emperor: the play regulates its field of view by building an imaginary subject in fixed connection to its objects. The drama establishes a delusional realm in which ultimate sovereignty becomes feasible by positing stable linkages between a subject and its representations, and between signifiers and signifieds in general. The effects of sovereignty, on the other hand, continue to define not only the theatrical space of the play, but also the space of interpretation: critics have attempted to account for Tamburlaine's contest between aspiration and limitation by invoking concepts of theme, genre, character, and author in order to make sense of and thus stabilize the play's conflicting gestures. The critic, like Tamburlaine, creates an imaginary realm by generating things in relation to which he can confirm his own unity and authority. Tamburlaine thus becomes a symbol for the assertions of sovereignty that characterize all acts of interpretation.
Tamburlaine the Great Parts I and II were the first plays Christopher Marlowe composed for an Elizabethan audience in order to capitalize on popular antipathy for the Ottoman Turks, whose military conquests in Europe had given them the moniker "the present Terror of the World." In this paper, I intend to argue that Marlowe's rhetorical style transforms his military hero, Tamburlaine, from a merciless tyrant, indulging in the unjust profiteering of plundering, ravaging and killing to satisfy his insatiable lust for dominion, into "the Scourge and Wrath of God," a divine agent adorned with God-ordained madness, to mete out punishment to those who have sinned against the God.