Representation of Death in Cristopher Marlowe’s Tamburlaine the Great, Parts One and Two

In 1587, Christopher Marlowe introduced a new approach to theatre in Ta mburlaine the Great and reformed the reigning theatrical practices. The popularity of the plays’ main motif, Death, can be traced back to ancient Greek and Roman texts, but Marlowe’s portrayal of the Death-topos differs from the traditional depictions on many levels. My main aim in this essay is to point out the Marlovian innovations concerning the theatrical representation of death by relying on contemporary popular culture. I also intend to emphasise the complementary relationship of rhetoric and imagery in order to prove the shared importance of verbality and imagery

Representation of Death in Cristopher Marlowe’s Tamburlaine the Great, Parts One and Two

In 1587, Christopher Marlowe introduced a new approach to theatre in Ta mburlaine the Great and reformed the reigning theatrical practices. The popularity of the plays’ main motif, Death, can be traced back to ancient Greek and Roman texts, but Marlowe’s portrayal of the Death-topos differs from the traditional depictions on many levels. My main aim in this essay is to point out the Marlovian innovations concerning the theatrical representation of death by relying on contemporary popular culture. I also intend to emphasise the complementary relationship of rhetoric and imagery in order to prove the shared importance of verbality and imagery