![]() ![]() As he is always a victor, there is no chance of testing his character. Tamburlaine is not so much a human being as "Voice" of the authour's longing for infinite self-realization. As above mentioned, Dido is, after all, a narrative of love affair. The Massacre at Paris, except the monologue where Guise declares his arrogant will, simply follows the thread of the plot. Barabas in the Jew of Malta encounters difficulties, but with few groans he rises up against them. Death-theme is introduced in Part II, but it is used only to emphasize the greatness of the spirit which is indomitable in the face of death. Tamhurlaine is a "hymn of human will" in the purest form. In the rest of his plays, the hero is a superman with power and undaunted will and none but Dr. In Dido the heroine's sufferings were hardly dwelt upon unless the plot requires Marlowe's aim was to narrate an ill-fated love in the dramatic form. The present essay aims at substantiating the last point after making a brief survey of his other plays concerning the first two points. ![]() Faustus, to human sufferings, but in that the hero here is drawn, if imperfectly, as a character with a fatal trait with the result that Marlowe had created the tragedy of character before Shakespeare did. The significance of Edward II is not only in the fact that Marlowe's concern turns, as it did in Dr. ![]()
0 Comments
Leave a Reply. |