Volume 02 Issue 08-2022
9
International Journal Of Literature And Languages
(ISSN
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2771-2834)
VOLUME
02
I
SSUE
08
Pages:
09-14
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
OCLC
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1121105677
METADATA
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–
5.914
Publisher:
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ABSTRACT
The given research analyzes how the East appears in the play "Tamerlane the Great" by K. Marlo. The author analyzes
how this image correlates with the literal Tamerlane and the contemporary East, what are the connections between
the European and Eastern worlds in the play, and how licit it's to include Marlowe's play (and, in principle, the
workshop of his coevals) into the now popular post-colonial converse. The factual thing of the given exploration is to
dissect and determine the creative impact of the East and its ethno-artistic tricks upon the erudite heritage of the
prominent English playwright, minstrel and translator of the Elizabethan period Christopher Marlowe, grounding our
methodological analysis on one of his topmost plays, named Tamburlaine the Great. Tamburlaine the Great. Who,
from a Scythian Shephearde, by his rare and awful Vanquishing, came a most important and potent Monarque. And
(for his despotism, and terror in War) was nominated, The Scourge of God., and for Part II, The Alternate Part of The
bloody Vanquishing of potent Tamburlaine. With his impassionate fury, for the death of his Lady and loue faire
Zenocrate; his fourme of exhortacion and discipline to his three sons, and the maner of his own death The composition
also examines how the East appears in the play" Tamburlaine the Great" by K. Marlowe. The author analyzes how this
image relates to the literal Tamerlane and the East of his day, what's the relationship between the European world
and the East in the play, and also how licit it's to include Marlowe's play (and, in principle, the workshop of his coevals)
in the now popular postcolonial converse.
KEYWORDS
K. Marlowe; Tamerlane; Orientalism; postcolonial studies; English literature; Renaissance English drama, Eastern
motives, internal motives.
Research Article
THE CHARACTER OF STRONG PERSONALITY ACCORDINGLY WITH
EASTERN THEMATICS IN CHRISTOPHER MARLOWE’S PLAY
"TAMBURLAINE THE GREAT"
Submission Date:
August 11, 2022,
Accepted Date:
August 21, 2022,
Published Date:
August 26, 2022
Crossref doi:
https://doi.org/10.37547/ijll/Volume02Issue08-03
Tasheva Nafisa Zayniddinovna
EPS teacher, English Language Department Bukara State Medical Institute named after Abu Ali ibn Sino,
Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijll
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 02 Issue 08-2022
11
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
02
I
SSUE
08
Pages:
09-14
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
OCLC
–
1121105677
METADATA
IF
–
5.914
Publisher:
Oscar Publishing Services
Servi
INTRODUCTION
In the history of world literature, the theme of the East
is associated with the names of numerous notorious
pens and muses of different ages and times. And, over
all, in the history of English romanticism, this is the
name of the great English minstrel George Gordon
Byron, and in German poetry, it's the great Goethe. But
many people know that this content is also associated
with the name of an outstanding representative of the
"University minds" of the period of Elizabeth I-
Christopher Marlowe, who's considered a precursor of
another brilliant English minstrel and playwright W.
Shakespeare. Queen Elizabeth I of England (1558-1603)
was the last monarch of the Tudor dynasty, which ruled
England from 1558 to 1603. The period from the medial
1500s to the early 1600s is generally named after her.
During this period, called the Elizabethan era, English
writers and poets created many of the greatest
masterpieces of poetry and drama that entered the
treasury of world literature, deeply read and revered to
this day.
MATERIALS AND METHODS
A number of events contributed to this outstanding
literary boom in the Elizabethan era. One of the most
important events took place in 1476, when William
Caxton invented the printing press and founded the
first printing house in England. Printing made it
possible to produce many more books at a much lower
cost. The greater availability of books and their lower
cost stimulated the desire of many to learn to read. As
literacy increased, so did the demand for books. During
the 1500s, English scholars, along with other European
scholars, rediscovered the culture, philosophy and
literature of Ancient Greece and Rome, which they had
largely neglected over hundreds of previous years.
Translations of Greek and especially Roman literary
works had a strong influence on the writers of the
Elizabethan era. In addition, new literary forms were
introduced into English literature. For example, English
authors directly borrowed or modified such literary
forms as essays from France (Michel Montaigne is the
founder of this genre) and sonnets from Italy. Another
significant historical event is when, in 1588, the English
fleet defeated the invincible Spanish Armada. This
great victory caused a surge of patriotism, which was
reflected in poetry and especially in the drama of the
time. Another landmark event in the Elizabethan era
was the fact that in 1576 James Burbage built the first
theater in England called The Theater. Until that time,
dramas were played out in the streets, in the homes of
the nobility or palaces, and in the backyards of English
universities. After Burbage built the "Theater", other
theaters appeared, which also contributed to the rapid
increase in the popularity of the drama of the era of
Elizabeth, which was distinguished by new features -
passion and liveliness [Encyclopedia, p. 317]. In this, a
special role belongs to a group of leading Elizabethan
playwrights, which were known as "university minds"
because they studied at well-known English
universities - Oxford or Cambridge. These playwrights
included Robert Green, Christopher Marlowe, and
George Peel. C. Marlowe was the most significant
figure in the dramatic genre among the "University
minds". Christopher Marlowe (ca. 26.02.1564,
Canterbury - 30.05.1593, Deptford) - English playwright
of the 16th century, the founder of the genre of high
tragedy of the Renaissance in England. He is a true
representative of the art of the Renaissance, when
“the ideals of individualistic humanism were clearly
expressed, affirming the greatness of the earthly,
Volume 02 Issue 08-2022
11
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
02
I
SSUE
08
Pages:
09-14
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
OCLC
–
1121105677
METADATA
IF
–
5.914
Publisher:
Oscar Publishing Services
Servi
human principle in all its fullness and creative activity”
(Frolov, p. 268). It is also true that the creative activity
of Cr. Marlowe falls on the beginning of the modern
period of the history of England (1485-1603) of the
reign of the Tudor dynasty and, in particular, of its last
representative Elizabeth 1. He is the initiator of the
tragedy about powerful historical figures. And among
these works - the drama "Tamerlane the Great" (about
1587). Christopher Marlowe gained his resounding
theatrical reputation with the writing of this very
drama "Tamerlane the Great", where he portrayed the
awe-inspiring conqueror Amir Timur, or as he was also
called, Tamerlane the Great, with striking poetic prose
and entertainment. The play reflects the widespread
admiration of the scope and limits of the human will's
striving for powerful domination, which was
widespread in the time of Carl Marlo. The liberation of
the individual from the ascetic medieval morality, the
atheistic pathos also characterizes the tragedy
"Tamerlane the Great" (1587-89, published in 1590).
RESULTS AND DISCUSSION
A true triumph was the appearance in the theatrical
season 1587-88 of the tragedy of Cr. Marlowe
"Tamburlaine the Great". With the writing of this
drama, C. Marlowe influenced the later drama of the
era, focusing on the creation of a heroic figure and
transforming poetry into a flexible poetic form of
tragedy. In the center of the play is a titanic personality,
a man who sets himself grandiose goals, which fit well
with the spirit and letter of the Renaissance, when a
person and his dignity were considered his only
worthy. Accordingly, Marlowe draws the image of
Tamerlane this way: goldenhaired, "tall and straight ..."
he is so wide in the shoulders that he could easily ... lift
the whole world "," tight muscles of long, flexible arms
an excess of proud strength is betrayed in him. " This
"testifies to his power and to become, that he was
born to command the world" (translated by E.
Linetskaya). In the drama, Tamerlane is an “unknown
Scythian, a simple shepherd,” possessing a strong will
and physical strength, striving to create a huge empire
and become the ruler of the world. Tamerlane the
Great is a play in which Marlowe demonstrates the
most consistent intensity, the most enduring creative
power, and the most lavishly expended poetic
resources of which he possessed skillfully. This is an
unusually strong and distinctive creation, and most of
the energy of the author's creativity is focused on the
personality of the protagonist. Tamerlane is the
famous Timur, who ruled in Samarkand in the XIV
century, conquering the Persians, Tatars, Syrians and
Turks, and only death prevented him from fighting the
Chinese. In Marlo's play, he is a Scythian shepherd who
achieved greatness due to his character, followed by
brave and strong-minded men, beloved by a beautiful
and kind woman, always victorious. It may seem that
these are not the strokes from which a great drama is
built, for one may ask what is the vital element of the
conflict, if not in a simple confrontation (repeated in
many episodes) of one side against the other. But the
conflict in the drama "Tamerlane the Great" takes on a
special form, including reactions and judgments.
“Look, but his reflection is in this tragic mirror,” says
the Prologue, And then applaud his luck as you wish
[Marlowe, p. 105]. There is a characteristic note of
challenge in this, since soon, both for the audience and
for the characters themselves, the question arises as to
how the fate of this conqueror should be viewed: That
God, or demon, or spirit of the earth, Or the monster
has turned into a human form. ... ... It grows out of
earth, hell or heaven. (c.131) This is the question asked
by Ortigius at the beginning of the play (act 2, scene 6),
and it firmly directs our attention to the conflict of
Volume 02 Issue 08-2022
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VOLUME
02
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(2021:
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OCLC
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IF
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Publisher:
Oscar Publishing Services
Servi
judges, which is fundamental. For Christian judgment
should tell the audience that the fate of this person
should not be applauded at all; nevertheless, drama
helps counteract this and inspire admiration for those
whose values are opposite to those of Christians. The
protagonist is a fighter with tremendous ambition and
tremendous vitality. He spills out his soul in the long
monologues full of pathos, which Marlowe introduced
into the arsenal of techniques of Elizabethan drama.
The poet saw the true origins of the tragic character
not in the external circumstances that determine his
fate, but in the internal spiritual contradictions tearing
apart this truly gigantic personality, who had risen
above everyday life and common norms: already in the
prologue of Tamerlane the Great, the author's
intention to pave new paths to dramatic art is noticed.
to intrigue the public with the image of world-historical
events, pictures of the fall of kingdoms and peoples
(wikipedia).
CONCLUSION
To sum up, it should be noted that C. Marlowe was the
first to attempt to put the action of the drama on a
psychological basis, to comprehend it with internal
motives. And for this he chose the image of the eastern
ruler. In the person of Tamerlane, he brought out the
type of an ambitious person who is consumed with an
insatiable thirst for power; Tamerlane is absorbed only
by a passion for conquest. At the same time, he is a
living person, capable of love. But even in love dreams
next to his beloved woman, he indulges in dreams of
future power. Tamerlane's monologues are devoted to
reflections on human greatness and beauty. In battles,
he is cruel and merciless. And even knowing that death
awaits him, he continues the battle and wants to
subordinate both illness and death to his will. He wants
to be victorious even over the natural course of things.
The writer sees the unity of the tragedy in the fact that
all faces are brought in connection with this tragic
character trait of the eastern conqueror, they rise and
die through it.
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Volume 02 Issue 08-2022
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International Journal Of Literature And Languages
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VOLUME
02
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Pages:
09-14
SJIF
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FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
OCLC
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1121105677
METADATA
IF
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5.914
Publisher:
Oscar Publishing Services
Servi
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