Nature, that framed us of four elements
Warring within our breasts for regiment,[66]
Doth teach us all to have aspiring minds:
Our souls, whose faculties can comprehend
The wondrous architecture of the world,
And measure every wandering planet's course,
Still climbing after knowledge infinite,
And always moving as the restless spheres,
Will us to wear ourselves, and never rest,
Until we reach the ripest fruit of all,
That perfect bliss and sole felicity,
The sweet fruition of an earthly crown.
We have used the extreme superlative, but in reality a point just below it should have been struck. For the dramatist, sending his imagination beyond earth to heaven, reserves one peak unscalable in the ascent of man towards the summit of his aspirations.
There is one potentate whom even Tamburlaine cannot overcome—Death. Zenocrate dies, nor will 'cavalieros higher than the clouds', nor cannon to 'batter the shining palace of the sun, and shiver all the starry firmament', restore her. Tamburlaine himself must die, defiantly, it may be, yielding nothing through cowardice, but as certainly as time must pass and age must come. Techelles seeks to encourage him with the hope that his illness will not last. But he brushes the deception aside with scorn.
Not last, Techelles! no, for I shall die.
See where my slave, the ugly monster Death,
Shaking and quivering, pale and wan for fear,
Stands aiming at me with his murdering dart,
Who flies away at every glance I give,
And, when I look away, comes stealing on!—
Villain, away, and hie thee to the field!
I and mine army come to load thy back
With souls of thousand mangled carcasses.—
Look, where he goes! but see, he comes again
Because I stay!
When we consider Doctor Faustus we shall see the same thought. In electing to follow his desires to the uttermost Faustus reaps the reward but also incurs the punishment of all who choose the upper road of complete self-expression. He approaches the last gate, confident that his strength will suffice to open it; he finds it locked and keyless. In that hour of bitter disappointment that which is withheld seems more desirable than the total of all that has preceded it.
The dramatic greatness of Tamburlaine lies in the perfect harmony of the central figure with the general purpose of the play. Marlowe sought to present a world conqueror and he creates no less a man. Outwardly the shepherd is formed in a mould of strength and grace; his countenance might serve as a model for a bust of Achilles. Inwardly his mind is full of towering ambition, supported by courage and inflexible resolution. Those who meet him are profoundly impressed with a sense of his power. Theridamas murmurs in awe to himself, 'His looks do menace heaven and dare the gods.' Menaphon reports, 'His lofty brows in folds do figure death.' Cosroe describes him as 'His fortune's master and the king of men.' His own speeches and actions reveal no unsuspected flaw, no unworthy weakness; rather they almost defeat their own purpose by their exaggeration of his greatness. It would be possible to show by numerous quotations how Marlowe has everywhere selected epithets and imagery of magnitude to enhance the impressiveness of his hero in proportion to his astounding achievements. We will be content with only one more. It describes Tamburlaine's attitude towards those that resist him, and, by its slow, measured intensification of colour to a terrible climax, forces home resistlessly the suggestion of invincible power and relentlessness.
The first day when he pitcheth down his tents,
White is their hue, and on his silver crest
A snowy feather spangled-white he bears,
To signify the mildness of his mind,
That, satiate with spoil, refuseth blood:
But, when Aurora mounts the second time,
As red as scarlet is his furniture;
Then must his kindled wrath be quenched with blood,
Not sparing any that can manage arms:
But, if these threats move not submission,
Black are his colours, black pavilion;
His spear, his shield, his horse, his armour, plumes
And jetty feathers menace death and hell;
Without respect of sex, degree or age,
He razeth all his foes with fire and sword.
Much has been said of Marlowe's poetry. His originality in the use of blank verse has probably been over-estimated. Quite good blank verse had been used in drama some years before his plays were written. Gorboduc, the 1572 version of Tancred and Gismunda, and at least two long speeches in The Arraignment of Paris arise in one's mind as containing very creditable examples of it. Moreover it would be wrong to suppose that this earlier blank verse was always stilted and cut up into end-stopt lines and unrhymed couplets. True, the overflow of one line into another was not common, but neither is it so in Tamburlaine. Marlowe accepts the end-stopt line almost as naturally as did his predecessors. Overflow may be found in Gorboduc. The following passage from Tancred and Gismunda is worth quoting to show how far liberty in this respect had been recognized by 1572.
[Tancred protests against any second marriage of his young widowed daughter, Gismunda.]
Sister, I say, ...
Forbear, and wade no farther in this speech.
Your words are wounds. I very well perceive
The purpose of this smooth oration:
This I suspected, when you first began
This fair discourse with us. Is this the end
Of all our hopes, that we have promised
Unto ourself by this her widowhood?
Would our dear daughter, would our only joy,
Would she forsake us? would she leave us now,
Before she hath clos'd up our dying eyes,
And with her tears bewail'd our funeral?
No other solace doth her father crave
But, whilst the fates maintain his dying life,
Her healthful presence gladsome to his soul,
Which rather than he willing would forego,
His heart desires the bitter taste of death.