Places: Tamburlaine the Great

  • Last updated on December 10, 2021

First published: 1590

First produced: part 1, c. 1587; part 2, 1587

Type of work: Drama

Type of plot: Tragedy

Time of work: Fourteenth century

Asterisk denotes entries on real places.

Places Discussed*Asia

*Asia. Tamburlaine the GreatLargest continent on Earth, stretching from the Black Sea in the west to the China Sea in the east, and from the Arctic Circle in the north to the Indian Ocean in the south. Tamburlaine the Great dramatizes the rise and fall of the historical conqueror Timur, who reclaimed much of Asia from the Mongols in the late fourteenth century. The location of some of the world’s most powerful dynasties, Asia represents the ultimate achievement for Tamburlaine, who is driven to conquer the world.

Royal courts

Royal courts Marlowe sets most of the action in Tamburlaine the Great in the imperial court of Persia, and in the courts of the king of Arabia, the king of Jerusalem, the governor of Damascus, the king of Hungary, and the governor of Babylon, among others. The courts are the scenes of political duplicity, at which characters boast about their strength and plot the overthrow of their enemies. They are also places where the specter of Tamburlaine continually gains substance, as his military conquests bring him closer to controlling all of Asia. Throughout the play, Marlowe uses court settings to reveal the human and political dimensions of his characters. He does not stage the many battle scenes in the play. Rather, he emphasizes the forces that shape his character’s decisions and the consequences of those decisions.

Tamburlaine’s camps

Tamburlaine’s camps. As he moves through Asia, conquering Persia, Damascus, Turkey, and North Africa, Tamburlaine is generally depicted throughout the play in his camps near the sites of his many military victories. Marlowe portrays Tamburlaine’s valor as a soldier and his vicious cruelty as a tyrant, not on battlefields, but rather in the personal settings of his military camps. There, Tamburlaine gives way to the mitigating influence of Zenocrate, the daughter of the Soldan of Egypt, with whom he is in love.

In the second part of Marlowe’s play, the death of Zenocrate removes the last restraints on Tamburlaine’s lust for blood and power. He then demonstrates his brutality by humiliating and murdering his enemies, who include his own son Calyphas, whom he kills. As with the imperial courts of the kings of Asia, Tamburlaine’s camp provides an intimate portrait of the forces that contribute to his rise and fall as the king of Persia.

BibliographyBattenhouse, Roy W. Marlowe’s Tamburlaine: A Study in Renaissance Moral Philosophy. 1941. Reprint. Nashville, Tenn.: Vanderbilt University Press, 1964. Battenhouse contends that the play upholds traditional morality and the Christian worldview.Friedenreich, Kenneth. Christopher Marlowe: An Annotated Bibliography of Criticism Since 1950. Metuchen, N.J.: Scarecrow Press, 1979. Eighty-three annotated citations to Tamburlaine point the reader to interpretive articles and books.Knoll, Robert E. “Caesarism.” In Christopher Marlowe. New York: Twayne, 1969. A good starting place for the general reader. Knoll considers the hero appealing in his diabolic aspirations.Kocher, Paul H. Christopher Marlowe: A Study of His Thought, Learning, and Character. Chapel Hill: University of North Carolina Press, 1946. Argues that Marlowe’s view in Tamburlaine the Great is highly iconoclastic and unconventional.Levin, Harry. “The Progress of Pomp.” In The Overreacher: A Study of Christopher Marlowe. Cambridge, Mass.: Harvard University Press, 1952. One of the most influential books on Marlowe. Presents the Marlovian hero as a rebel and explores the use of language and irony in Tamburlaine the Great.Ribner, Irving, ed. Christopher Marlowe’s Tamburlaine Part One and Part Two: Text and Major Criticism. New York: Odyssey Press, 1974. The most comprehensive book on the plays. Features an authoritative text edited and glossed by Ribner. Also reprints eleven influential essays (one from Ellis-Fermor’s milestone 1927 book on Marlowe), and concludes with a useful bibliography. The final essay by Kenneth Friedenreich surveys the critical history of the plays.
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