Christopher Marlowe’s ‘Golden World’: Ekphrasis and Sidney’s Apology in Part 1 of Tamburlaine the Great

2018 ◽  
Vol 65 (1) ◽  
pp. 37-42
Author(s):  
Lucy Potter
Keyword(s):  
Tamburlaine The Great

scholarly journals The iconoclastic theatre: transgression in Christopher Marlowe’s Tamburlaine

2020 ◽  
Vol 7 (1-2) ◽  
pp. 281-293
Author(s):  
Emad A. Alqadumi
Keyword(s):  
Christopher Marlowe ◽  
Renaissance Drama ◽  
Cultural Relations ◽  
Norms And Values ◽  
Official View ◽  
The Universe ◽  
Tamburlaine The Great

This article examines Christopher Marlowe’s iconoclasm as a dramatist by probing transgressive features in his Tamburlaine the Great, parts I and II. By depicting instances of excessive violence, from the perspective of this study, Marlowe flouts everything his society cherishes. His Tamburlaine demystifies religious doctrines and cultural relations; it challenges the official view of the universe and customary theatrical conventions of Renaissance drama. It destabilizes the norms and values of the Elizabethans and brings about a crisis between the Elizabethan audience and their own culture. Furthermore, Marlowe’s experimentalism in Tamburlaine expands the imaginative representations to include areas never formerly visited, consequently creating an alternative reality for his audience and transforming the popular English theatre in an unprecedented manner. Keywords: Drama, Christopher Marlowe, Elizabethan theatre, Literature, Iconoclasm

Endless Sacks: Soldiers’ Desire in Tamburlaine*

1993 ◽  
Vol 46 (4) ◽  
pp. 734-753 ◽  
Author(s):  
Alan Shepard
Keyword(s):  
Graphic Representation ◽  
The World ◽  
Ways Of Life ◽  
Tamburlaine The Great

Christopher Marlowe's two-part Tamburlaine the Great (published 1590) captures all of the spirit and something of the scope of legendary violence the historical Tamerlane levied against his enemies. In the course of ten acts Tamburlaine's armies roll over several nations and cultures, leaving thousands of civilians enslaved or worse. Marlowe's graphic representation of the trail of blood and brutality is itself notorious.In the interest of founding his own legend as the hypermasculine “Generall of the world” (1:5.1.451), Tamburlaine practices virtual genocide against his enemies and ethnocide against their cities, religions, and ways of life. By no means does he work alone. The soldier-males who serve in his armies eagerly follow his lead.

Marlowe's Tamburlaine the Great

1979 ◽  
Vol 37 (4) ◽  
pp. 21-22
Author(s):  
Robert S. Miola
Keyword(s):  
Tamburlaine The Great
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