Key points about
"Tamburlaine the Great":
Authorship and Publication:
- Written
by Christopher Marlowe around 1587-1588
- Published
in two parts (Part I in 1590, Part II in 1593)
- One
of Marlowe's first and most successful plays
- Performed
by the Admiral's Men theater company
Plot Essentials:
- Follows
Tamburlaine's rise from Scythian shepherd to powerful conqueror
- Shows
his military conquests across Asia and the Middle East
- Features
his romance with Zenocrate, daughter of the Egyptian Sultan
- Ends
with Tamburlaine's death after conquering most of the known world
Key Characters:
- Tamburlaine:
The ambitious protagonist
- Zenocrate:
His beloved wife
- Theridamas:
His loyal friend and general
- Bajazeth:
The Turkish Emperor he defeats
- Calyphas:
His cowardly son whom he kills
Important Themes:
- Ambition
and its consequences
- Power
and leadership
- Social
mobility
- Language
and authority
- Love
and conquest
- Religion
and fate
Literary Significance:
- Introduced
blank verse to English theater
- Created
the model for Renaissance tragedy
- Influenced
later English dramatists including Shakespeare
- Established
the character type of the "overreacher"
Innovations:
- Used
spectacular stage effects
- Combined
politics with poetry
- Created
complex, morally ambiguous hero
- Mixed
tragedy with epic elements
Detailed Summary of Tamburlaine
the Great
Act 1, Scene 1
The play starts in the Persian
king’s court. The king, Mycetes, is shown as a weak ruler. He asks his brother,
Cosroe, to give a speech, but Cosroe uses the chance to criticize Mycetes
instead. Mycetes gets angry and threatens his brother, but doesn’t actually do
anything.
The Persians are worried about
an approaching warlord named Tamburlaine, but Mycetes believes he can easily
handle him by sending a thousand horsemen. He sends his general, Theridimas, to
take care of it.
After Mycetes leaves, Cosroe
openly insults him, saying that the people don’t respect him because he’s weak.
Cosroe then tells another character, Menaphon, that there is a secret plan to
make him (Cosroe) the king of Asia. Soon, a group of nobles and generals
arrive. They tell Cosroe that, because Mycetes is so ineffective and
Tamburlaine is taking over the empire, they want Cosroe to be the new king of
Persia. Cosroe accepts and promises to restore Persia’s glory.
Scene 2 – Tamburlaine’s Camp
In
a makeshift camp, Tamburlaine appears with his small group of followers, along
with Zenocrate, a princess he has captured, and her servants. He reassures
them, claiming he treats his captives well and has grand plans to become a
world ruler. He’s particularly interested in Zenocrate, hinting that her beauty
deserves to belong to someone like him, who will soon rule all of Asia.
Tamburlaine
is interrupted by news that a thousand Persian soldiers, led by Theridimas, are
approaching. Instead of attacking, Tamburlaine plans to talk with them.
Theridimas arrives and, after hearing Tamburlaine’s bold vision of ruling the
world, is persuaded to join him. The two unite, strengthening Tamburlaine’s
forces and ambition.
Act 2
Scene 1 – Cosroe’s Camp
In
Cosroe’s camp, he reveals his plan to ally with Tamburlaine against Mycetes,
hoping to take over the Persian throne. Cosroe plans to conquer new lands,
leaving Persia under Tamburlaine’s control. Cosroe underestimates Tamburlaine’s
ambition, unaware that Tamburlaine aims to take even more.
Scene 2 – The Persian Army
Mycetes,
still underestimating Tamburlaine, leads his army with a poorly planned
strategy, showing his weak leadership. His general, Meander, proposes they
scatter gold on the battlefield to distract Tamburlaine’s men, hoping it will
give them an advantage.
Scene 3
Cosroe,
Theridimas, and Tamburlaine prepare for battle with Mycetes. Tamburlaine’s
inspiring words rally his forces, setting the stage for an intense
confrontation.
Scene 4
After
the battle, Mycetes tries to escape, lamenting the horrors of war. Tamburlaine
catches him and mocks him for his cowardice, briefly taking his crown before
casually giving it back, leaving Mycetes humiliated.
Scene 5
Tamburlaine’s
forces defeat Mycetes’ army, and Cosroe takes the Persian throne. He
immediately starts giving orders to expand the empire, unaware of Tamburlaine’s
growing ambition. Cosroe exits, leaving Tamburlaine with his generals, who
start to admire the power that comes with being king. Tamburlaine then
surprises them by declaring he wants to take the throne for himself and orders
his army to attack Cosroe’s forces.
Scene 6
Cosroe,
furious at Tamburlaine’s betrayal, rallies his troops, realizing too late the
full extent of Tamburlaine’s ambition.
Scene 7 – The Final Battle
In
the heat of battle, Cosroe is mortally wounded. Tamburlaine reflects on how
ambition and power drive humanity, using grand poetic language to justify his
betrayal and desire for power. As Cosroe dies, he curses Tamburlaine. Tamburlaine
then places Cosroe’s crown on his own head, declaring himself the new King of
Persia. His followers cheer him on, celebrating their ambitious leader’s
victory.
This
act establishes Tamburlaine as an unstoppable force driven by a thirst for
power, setting the stage for his conquests.
Act 3
Scene 1: Near
Constantinople
Bajazeth, the Emperor of the
Turks, enters with the Kings of Fez,
Morocco, and Algiers, along with a grand entourage. Bajazeth, who calls
himself the “Dread Lord” of Africa, Europe, and Asia, believes he is the
world’s most powerful ruler. His massive army is so large that he claims it
even blocks out the rain from reaching the earth. He and his forces are laying
siege to Constantinople.
Bajazeth has heard about
Tamburlaine’s threats and is furious. He orders one of his commanders, a basso (or Turkish governor), to go tell
Tamburlaine to back down. If Tamburlaine refuses, Bajazeth will personally lead
his army against him. Once the messenger leaves, Bajazeth and his generals
return to planning their siege on Constantinople.
Scene 2
Zenocrate enters with Agydas, Anippe, and others. She’s
fallen deeply in love with Tamburlaine, who has treated her with respect.
Tamburlaine secretly enters and overhears Zenocrate confessing her love for
him. However, her advisor Agydas criticizes Tamburlaine harshly.
Tamburlaine steps forward, takes
Zenocrate’s hand gallantly, and gives Agydas a dark look. Left alone, Agydas
regrets his words, realizing he’s been overheard. Techelles enters with a
dagger, which he gives to Agydas as a silent command from Tamburlaine to take
his own life. Agydas bravely makes a speech and then stabs himself, impressing
Techelles and Usumcasane with his dignity.
Scene 3
Tamburlaine is with his generals,
Techelles, Usumcasane, and Theridamas, along with Zenocrate, when the basso
(messenger) from Bajazeth arrives with his warning. Tamburlaine dismisses the
threat, vowing to fight and defeat the Turkish Sultan, and promises to free the
Christians held as slaves by Bajazeth.
Suddenly, Bajazeth himself
enters with his attendants. The two leaders taunt each other like rival gangs.
Each man seats his queen on a throne to watch the upcoming battle: Bajazeth has
his wife, Zabina, watch, while Tamburlaine does the same with Zenocrate. The
two men then exchange threats and insults before heading off to fight.
The queens, Zabina and
Zenocrate, remain on stage and immediately start trading insults, each one
mocking the other’s downfall if her husband loses. This scene would have been
entertaining for audiences, as both queens try to outdo each other in insulting
their rivals’ status. Trumpets and cannon fire are heard offstage to signify
the start of the battle, and each queen insists her husband is winning.
Then Bajazeth runs on stage,
defeated and pursued by Tamburlaine, who forces him to surrender. Zabina mourns
her husband’s loss, while Theridamas takes her crown and hands it to Zenocrate.
With this victory, Tamburlaine gains control over Bajazeth’s lands, including
much of North Africa.
Bajazeth begs for mercy,
offering a ransom, but Tamburlaine scornfully refuses, saying he doesn’t need
money; when he conquers India, its rulers will shower him with gold and jewels.
He orders that Bajazeth and Zabina be bound and taken away.
Act 4
Scene 1: Egypt
The
Egyptian ruler, the Soldan, enters with his court, angry and shouting orders.
He’s furious that his daughter, Zenocrate, has been taken by Tamburlaine, whom
he calls a "Scythian thief." (After defeating the Turks, Tamburlaine
has moved to lay siege to Damascus, which belongs to Egypt—hence the Soldan's
involvement.)
A
messenger reports that Tamburlaine’s army now has 300,000 cavalry and 500,000
infantry. Despite this, the Soldan swears to stand against him. But an adviser
warns that Tamburlaine’s forces are well-prepared while Egypt’s are not, and he
explains Tamburlaine's tactics for sieges:
- On
the first day, Tamburlaine’s tents are white, signaling that if the city
surrenders, no one will be harmed.
- On
the second day, he switches to red tents, meaning only soldiers will be
killed if the city submits.
- On
the third day, everything turns black, warning that if the city holds
out, he’ll kill everyone inside.
Outraged
by this cruelty, the Soldan orders Capolin to ask their ally, the King of
Arabia (who was once engaged to Zenocrate), for reinforcements.
Scene 2: Outside Damascus
Tamburlaine,
his generals, Zenocrate, and others enter. Bajazeth, defeated and trapped in a
cage, is forced to kneel so Tamburlaine can use him as a step to his throne.
Bajazeth and his wife, Zabina, angrily protest. Tamburlaine instructs Zenocrate
to keep Zabina in line, which Zenocrate’s maid passes on to Zabina with a
threat of whipping. Tamburlaine has Bajazeth locked back in his cage and tells
him he’ll be fed table scraps like a dog.
Tamburlaine
then turns to Damascus, repeating his siege signals with white flags on the
first day, red on the second, and black for a massacre on the third.
Scene 3: Outside Damascus
The
Soldan, the King of Arabia, Capolin, and soldiers enter, ready to confront
Tamburlaine. The Soldan reminds the King of Arabia of their shared grievances
against Tamburlaine, calling him a mere peasant with no right to power. He
orders the trumpets to sound, warning of their arrival.
Scene 4: Tamburlaine’s Banquet
Tamburlaine,
dressed in scarlet, feasts with Zenocrate, his generals, and others, while
Bajazeth and Zabina are kept in cages. Bajazeth curses Tamburlaine, and
Tamburlaine taunts him by offering food scraps, which Bajazeth refuses. They
mockingly offer Bajazeth a knife to kill his wife while she’s still healthy,
but he angrily throws it away. When they offer him water, he throws that away
too.
Zenocrate
is visibly sad, revealing it’s because her homeland, Egypt, is being destroyed.
She asks Tamburlaine to make peace with her father, but Tamburlaine insists on
becoming ruler of the world. He does, however, promise to spare her father’s
life. Confident of victory, he starts giving titles and lands to his followers.
Act 5
Scene 1: Inside Damascus
The
Governor of Damascus and his citizens, including four young women with laurel
branches, know they’re in trouble now that Tamburlaine’s tents have turned red
on the second day. The governor asks the virgins
to plead with Tamburlaine for mercy.
Scene 2: Tamburlaine’s Camp
Tamburlaine,
dressed in black, receives the virgins' pleas but remains unmoved, ordering
their execution. Later, a messenger reports that the virgins’ bodies have been
displayed on the walls of Damascus.
Tamburlaine
then reflects on his love for Zenocrate, though he quickly snaps out of it. His
generals announce Damascus has fallen, and Tamburlaine learns that the Soldan
and the King of Arabia’s forces are nearby. Theridamas requests mercy for the
Soldan, hoping to please Zenocrate, and Tamburlaine agrees.
Bajazeth
and Zabina lament their suffering from inside their cage. Eventually, Bajazeth
kills himself by banging his head against the bars. Zabina sees his body, has a
fit, and kills herself the same way.
Zenocrate
enters, horrified by the massacre in Damascus and the sight of the dead
Bajazeth and Zabina. She reflects on how even the greatest emperors can fall,
wondering if this could also be her and Tamburlaine’s fate.
A
messenger arrives, announcing that her father, the Soldan, and the King of
Arabia are now fighting Tamburlaine’s forces. Torn between duty to her father
and love for Tamburlaine, Zenocrate feels conflicted.
The
wounded King of Arabia stumbles in, declaring his love and sacrifice for Zenocrate
before he dies in her arms.
Tamburlaine
enters, bringing the defeated Soldan with him. Zenocrate is relieved to see her
father alive, though he mourns his defeat. Tamburlaine, now consumed by
ambition and feeling invincible, declares that even the god of war fears him.
He proclaims he will conquer the world and crowns Zenocrate as Queen of Persia.
He promises her father an annual tribute from all the lands he has conquered.
Finally, he vows to give Bajazeth, Zabina, and the King of Arabia honorable
funerals, and he declares his intention to marry Zenocrate.
Textual Questions
What is Renaissance?
The Renaissance, meaning "rebirth"
in French, was a cultural movement in Europe from the 14th to the 17th century.
It marked a transition from the Middle Ages to modernity, characterized by a
renewed interest in classical art, literature, and science. Originating in
Italy, the Renaissance emphasized humanism, individual potential, and secular
thought. This period saw significant advancements in various fields, including
painting, architecture, and exploration, with notable figures like Leonardo da
Vinci and Michelangelo leading the way. The Renaissance laid the groundwork for
the modern world through its innovations and ideas.
Discuss the Historical
background of the play Tamberlaine the Great?
"Tamburlaine the Great" is based on
the life of Timur (1336-1405), a historical Central Asian ruler, though Marlowe
takes creative liberties with the actual history. Here's the key historical
context:
The Real Timur: Timur (also called Tamerlane)
was a powerful ruler who built a vast empire in Central Asia. Like Marlowe's
character, he really did rise from humble beginnings to become one of history's
most successful military leaders. He conquered territories from India to
Turkey, becoming known for both his military genius and his brutality.
Elizabethan Context: Marlowe wrote the play
in the 1580s, during Queen Elizabeth I's reign. At this time, England was
becoming more interested in foreign lands and trade, especially with the
Islamic world. The English were fascinated by stories of exotic places and
powerful Eastern rulers. The play fed this curiosity about the East.
Sources: Marlowe likely got his information
about Tamburlaine from various sources available in English at the time,
including George Whetstone's "The
English Mirror" (1586) and other historical accounts. He combined
these with popular stories about Eastern rulers to create his version of
Tamburlaine.
Contemporary Relevance: The play spoke to
issues important to Elizabethan audiences:
- Social mobility (could someone rise above their birth
status?)
- The nature of power and leadership
- Relations between Christians and Muslims
- The role of ambition in society
While Marlowe changed many historical facts,
he kept some key elements of Timur's story: his rise from a low position, his
military success, his strategic brilliance, and his reputation for cruelty. He
transformed this historical material into a drama that explored issues relevant
to his own time while entertaining audiences with spectacular scenes of
conquest and power.
How does Marlowe use
Tamburlaine's transformation from shepherd to conqueror to explore themes of
social mobility and ambition in Renaissance society?
In Tamburlaine
the Great, Christopher Marlowe uses the character of Tamburlaine to explore
themes of social mobility and ambition within
Renaissance society.
Transformation from Shepherd to Conqueror: Tamburlaine starts as a lowly
shepherd, symbolizing the potential for individuals to rise above their birth
status. His ascent to power illustrates the Renaissance belief that ambition
and determination can lead to significant social change. This reflects a
growing idea during the Renaissance that one's social position is not fixed and
can be altered through personal effort.
Ambition and Its Consequences: Tamburlaine's ambition drives him
to conquer vast territories, showcasing both his extraordinary will and the
darker side of unrestrained ambition. While he achieves great power, his
methods are brutal—he displays the bodies of his enemies and shows little
regard for human life. This raises questions about the morality of his
ambitions and whether such ruthless pursuit of power is justified.
Challenging Social Norms: Through Tamburlaine’s rise, Marlowe challenges traditional
notions of nobility. Tamburlaine, despite his humble beginnings, often displays
greater strength and leadership than those born into privilege. This blurs the
lines between noble and common, suggesting that true worth comes from one’s
actions rather than social class.
Ultimate Limitations: Despite his successes, Tamburlaine’s story serves as a
cautionary tale. His eventual downfall reminds the audience that while ambition
can lead to greatness, it can also result in destruction and tragedy,
highlighting the limits of human aspiration.
In
summary, Marlowe's portrayal of Tamburlaine reflects the complexities of
ambition and social mobility in Renaissance society, illustrating both the
possibilities and perils that come with striving for power.
How does Marlowe use the
character of Zenocrate to explore the tension between love and war, beauty and
violence in play Tamburlaine the Great?
In Tamburlaine
the Great, Christopher Marlowe uses the character of Zenocrate to explore
the complex relationship between love and war, as well as beauty
and violence.
Love Amidst War: Zenocrate, an Egyptian princess, is initially captured by
Tamburlaine, who is driven by his ambition to conquer. Despite her forced
situation, she eventually falls in love with him. This love is complicated by
Tamburlaine's violent actions, as he wages war against her father and her
homeland. Zenocrate's internal conflict highlights the tension between her
loyalty to her family and her love for Tamburlaine, illustrating how personal
relationships can be overshadowed by the brutality of war.
Beauty and Violence: Marlowe frequently emphasizes Zenocrate's beauty,
portraying her as a symbol of grace and nobility. However, this beauty
contrasts sharply with the violence surrounding her. For example, after
witnessing the slaughter of innocents during Tamburlaine's conquests, Zenocrate
is horrified. Her reaction underscores the devastating impact of Tamburlaine's
ambition on those he claims to love. This juxtaposition of beauty and violence
raises questions about the cost of power and conquest.
Influence on Tamburlaine: Zenocrate serves as a moral compass for Tamburlaine, often
urging him to show mercy. Her presence humanizes him, revealing moments of
vulnerability amidst his ruthless persona. However, as he becomes more consumed
by his ambition, her pleas are often ignored, illustrating how love can be both
a motivating force and a source of conflict in a world dominated by violence.
In
summary, through Zenocrate, Marlowe effectively explores the interplay between
love and war, as well as the stark contrast between beauty and violence,
reflecting the complexities of human relationships in a tumultuous era.
Compare and contrast
Tamburlaine with other rulers in the play (like Mycetes and Bajazeth). What
makes Tamburlaine different as a leader?
In
Tamburlaine the Great, Christopher Marlowe contrasts Tamburlaine with
other rulers, such as Mycetes and Bajazeth, to highlight what makes Tamburlaine
a unique and powerful leader.
1. Tamburlaine’s Strength vs. Mycetes’ Weakness
Mycetes,
the King of Persia, is portrayed as a weak and ineffective ruler. He lacks the
intelligence, charisma, and decisiveness needed to lead. His inability to
inspire loyalty or command respect makes him an easy target for Tamburlaine’s
ambition. In contrast, Tamburlaine is a natural leader, using his strategic
mind, commanding presence, and confidence to rally others to his cause. His
soldiers follow him not out of obligation, but because of his vision and
strength.
2. Tamburlaine’s Ruthless Drive vs. Bajazeth’s Pride
Bajazeth,
the Emperor of the Turks, is initially powerful but overly proud and reliant on
his status. He underestimates Tamburlaine, which leads to his defeat. While
Bajazeth clings to his royal title, Tamburlaine rises from humble beginnings as
a shepherd. His relentless ambition and adaptability allow him to challenge and
surpass even the mightiest rulers. Bajazeth’s pride and rigidity contrast with
Tamburlaine’s ability to seize opportunities and bend the world to his will.
3. Vision and Charisma
Tamburlaine’s
difference lies in his ability to inspire fear and admiration through his
larger-than-life vision. While other rulers are content with their existing
power, Tamburlaine is never satisfied and constantly seeks to expand his
empire. His belief in his destiny makes him unstoppable.
To
conclude, Tamburlaine’s intelligence, ambition, and charisma set him apart from
weaker or overly prideful rulers like Mycetes and Bajazeth, making him a
formidable and extraordinary leader.
Analyze the significance
of language and rhetoric in the play. How does Tamburlaine use speech to assert
and maintain his power?
In Tamburlaine
the Great, Christopher Marlowe highlights the significance of language
and rhetoric as tools for Tamburlaine to assert and maintain his
power.
Persuasive Speech: Tamburlaine's eloquence is central to his character. He
uses powerful rhetoric to justify his violent conquests and to inspire loyalty
among his followers. His speeches often invoke grand imagery and historical
references, positioning himself as a figure of destiny, akin to gods and
legendary heroes. For instance, he compares his ambitions to those of Jove,
enhancing his credibility and asserting his right to rule.
Emotional Appeal: By employing pathos, Tamburlaine connects with his
audience's emotions, stirring feelings of awe and fear. His dramatic
declarations about power and ambition captivate both his followers and enemies,
reinforcing his authority. His ability to articulate desires for glory and
conquest makes him a compelling leader.
Intimidation and Control: Tamburlaine also uses language as a weapon. He threatens
opponents with vivid descriptions of violence, creating an atmosphere of terror
that ensures compliance. This combination of charisma and intimidation allows
him to dominate not only through military might but also through psychological
manipulation.
In
summary, Tamburlaine's mastery of language serves as a crucial mechanism for
consolidating his power, illustrating how rhetoric can elevate an individual's
status and influence in a world marked by conflict and ambition.
How does Marlowe’s use of
blank verse contribute to the play’s dramatic and rhetorical impact?
In Tamburlaine
the Great, Christopher Marlowe's use of blank verse significantly
enhances the play's dramatic and rhetorical impact.
Flexibility and Rhythm: Marlowe's blank verse, characterized by unrhymed iambic
pentameter, allows for a natural flow of speech that mirrors human emotion and
thought. This flexibility enables characters, especially Tamburlaine, to
express intense feelings and grand ambitions in a powerful manner. The rhythm
of the verse contributes to the dramatic tension, making speeches feel urgent
and compelling.
Rhetorical Flourish: Tamburlaine’s speeches are filled with vivid imagery and
hyperbolic expressions that elevate his character to a near-mythical status.
Phrases like “Nature, that fram’d us of four elements” showcase Marlowe’s
ability to blend poetic beauty with philosophical ideas, reinforcing
Tamburlaine’s grandeur and ambition. This rhetorical richness captivates the
audience and emphasizes the themes of power and aspiration.
Emotional Resonance: The use of blank verse allows for emotional depth.
Tamburlaine's soliloquies reveal his inner turmoil and relentless drive for
conquest, creating a complex character who is both admirable and terrifying.
The language evokes sympathy and awe, making his violent actions more
impactful.
In
summary, Marlowe’s mastery of blank verse not only enhances the play's
emotional and dramatic intensity but also establishes a powerful rhetorical
framework that amplifies Tamburlaine’s character and the overarching themes of
ambition and power.
Is Tamburlaine a hero or a
tyrant? Can he be categorized as either?
Tamburlaine
in Tamburlaine the Great is both a hero and a tyrant, making it
difficult to categorize him as one or the other. His character embodies traits
of both, which creates tension and complexity in the play.
As
a hero, Tamburlaine is a symbol of ambition, strength, and determination. He
rises from humble beginnings as a shepherd to become a world-conquering leader,
defying the rigid class structures of his time. His intelligence, charisma, and
ability to inspire loyalty in his followers make him an admirable figure.
Tamburlaine represents the Renaissance ideal of human potential and the belief
that greatness can be achieved through effort and willpower.
At
the same time, Tamburlaine is a tyrant, driven by an insatiable thirst for
power. He uses extreme violence, cruelty, and destruction to achieve his goals,
showing little regard for the suffering of others. His treatment of defeated
rulers, such as humiliating Bajazeth and massacring entire cities, reveals his
ruthless and merciless nature. His ambition often crosses into arrogance, as he
sees himself as a god-like figure.
Tamburlaine’s
dual nature challenges simple categorization. Marlowe presents him as a
larger-than-life figure who inspires awe but also raises questions about the
morality of unchecked ambition. Whether he is a hero or a tyrant depends on how
one interprets his actions and their consequences. He is ultimately both,
embodying the complexities of human ambition and power.
Discuss the setting of drama
Tamberlaine the Great?
The
setting of Tamburlaine the Great is vast and spans many regions,
reflecting Tamburlaine's grand ambition and desire for power. The play moves
across different parts of Asia, the Middle East, and North Africa, including
places like Persia, Turkey, and Babylon. This broad setting symbolizes
Tamburlaine’s relentless drive to conquer the known world.
The
changing locations highlight the scale of his conquests and his journey from a
humble shepherd in Scythia to a mighty emperor. The settings range from royal
courts, representing wealth and power, to battlefields, where Tamburlaine
displays his strength and ambition. These contrasting locations emphasize his
role as a disruptor of traditional rulers and their kingdoms.
The
wide setting also reflects the Renaissance fascination with exploration and
expansion. During Marlowe's time, people were increasingly interested in
discovering new lands and questioning boundaries, and Tamburlaine’s world
mirrors this sense of limitless possibility.
At
the same time, the expansive setting underscores the cost of Tamburlaine’s
ambitions. His conquests bring destruction and suffering to the lands he
invades, showing the darker side of his relentless pursuit of power. The
shifting settings remind the audience that while empires may rise, they are also
fragile and temporary.
In
summary, the vast and varied setting of Tamburlaine the Great mirrors
the themes of ambition, conquest, and the fleeting nature of power, making the
play a powerful exploration of human desire and its consequences.
Character Analysis
In
Tamburlaine the Great, Part 1, Christopher Marlowe presents a cast of
characters who each serve to explore themes of ambition, power, and destiny.
1. Tamburlaine
Ambitious and Ruthless Conqueror: Tamburlaine is the play’s central
character and a figure of raw ambition. He begins as a lowly shepherd and
bandit, but through his unwavering ambition, he quickly rises to become a
powerful conqueror. His development is marked by a single-minded pursuit of
power, and he sees himself as almost god-like, with a destiny to rule the
world.
- Complex
Leadership:
Though ruthless and violent, Tamburlaine is a complex leader, admired by
his followers for his courage, charisma, and visionary ambition. He is
strategic, intelligent, and highly confident, which inspires loyalty among
his soldiers. This combination of qualities makes him a captivating leader
who consistently defies expectations.
- Limitless
Ambition and Hubris:
Tamburlaine’s ambition drives him to challenge kings, emperors, and even
the gods. This relentless drive is also his main flaw, as he often uses
excessive force to achieve his aims and disregards the well-being of
others. His hubris, or excessive pride, grows as he wins more battles,
leading him to believe that he is unstoppable.
- Romantic
Side with Zenocrate:
Tamburlaine’s romantic relationship with Zenocrate, the daughter of the
Egyptian king, adds a softer dimension to his character. Though his love
for her does not hinder his ambition, it reveals a more vulnerable and
affectionate side, showing that he values loyalty and beauty alongside
power.
2. Zenocrate
- Love
Interest and Symbol of Beauty: Zenocrate is introduced as the daughter of the
Egyptian king and is initially taken captive by Tamburlaine. She becomes
Tamburlaine’s love interest, representing beauty and loyalty. Unlike other
female characters in Marlowe’s works, Zenocrate’s character is somewhat
developed as she undergoes emotional turmoil due to Tamburlaine’s ambition
and violence.
- Conflicted
Loyalties:
Zenocrate’s internal conflict centers around her loyalty to her family and
her growing love for Tamburlaine. Though she comes to love him, she is
often troubled by his violent actions and the suffering he causes. This
conflict deepens her character, as she must reconcile her feelings for
Tamburlaine with her horror at his methods.
- Role
in Tamburlaine’s Development: Zenocrate helps humanize Tamburlaine, showing that
even someone as ambitious and ruthless as he can experience genuine love.
Despite her reservations about his violent ways, Zenocrate remains loyal
to Tamburlaine, reinforcing his belief in his power and destiny.
3. Mycetes
- Weak
and Ineffective Ruler:
Mycetes is the king of Persia at the start of the play, portrayed as a
weak and foolish ruler. His inability to assert control and his lack of
charisma make him a target for Tamburlaine’s ambition. Marlowe presents
Mycetes as the opposite of Tamburlaine: timid, lacking vision, and mocked
by those around him.
- Foil
to Tamburlaine:
Mycetes’ character serves as a contrast to Tamburlaine’s strength and
ambition. While Tamburlaine seizes opportunities and rises to power,
Mycetes struggles to maintain his position, ultimately losing his throne.
Through Mycetes, Marlowe critiques rulers who lack ambition and strength,
implying that power should belong to those who can truly command it.
4. Cosroe
- Ambitious
Brother of Mycetes:
Cosroe, the brother of Mycetes, is another character motivated by
ambition. Disgusted by Mycetes’ weakness, he allies with Tamburlaine to
overthrow him. Cosroe is presented as a more capable leader, but his
ambition pales in comparison to Tamburlaine’s.
- Brief
Rise and Fall:
After helping Tamburlaine seize the Persian throne, Cosroe is betrayed by
Tamburlaine, who desires power for himself. Cosroe’s rapid rise and fall
serve as a warning about trusting Tamburlaine and showcase Tamburlaine’s
relentless desire to eliminate any threat to his dominance.
- Highlights
Tamburlaine’s Ruthlessness: Cosroe’s character arc emphasizes Tamburlaine’s
ruthless ambition. Although Cosroe shares Tamburlaine’s drive for power,
he is no match for Tamburlaine’s unyielding nature and ambition, leading
to his defeat.
5. Theridamas
- Loyal
Follower of Tamburlaine: Theridamas is initially a Persian general sent by
Mycetes to capture Tamburlaine, but he quickly becomes captivated by
Tamburlaine’s charisma and joins him instead. He is one of Tamburlaine’s
most loyal followers and represents the allure of Tamburlaine’s ambition.
- Symbol
of Tamburlaine’s Charisma: Theridamas’s decision to betray Mycetes and follow
Tamburlaine reflects Tamburlaine’s ability to inspire loyalty and attract
followers who are drawn to his vision of greatness. Theridamas is loyal
and often awed by Tamburlaine’s ambition, illustrating the seductive power
of Tamburlaine’s personality.
6. Techelles and Usumcasane
- Faithful
Companions of Tamburlaine: Techelles and Usumcasane are two other important
followers of Tamburlaine. Like Theridamas, they are devoted to Tamburlaine,
helping him carry out his conquests and sharing in his ambitions. They are
loyal, obedient, and fully committed to his vision.
- Reinforce
Tamburlaine’s Authority: These characters function mainly as loyal supporters
who assist Tamburlaine in his quest for power, emphasizing his influence
and authority. Their loyalty reinforces the idea that Tamburlaine’s
ambition and power are not just personal but have the ability to inspire
others to follow him unconditionally.
