THE DRAMATURGY OF CHRISTOPHER MARLOWE IN ELIZABETHAN ENGLISH DRAMA

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Similarly, when friars Jacomo and Barnadine shunned the canon law, and let Barabas know that Abigail confessed his complicity in the death of the governor’s son, he baits them with money, which they are yet to get before he treacherously sends them to the great beyond.

Furthermore, when the sweet thing between the tighs of women causes Bellamira to entrap Ithamore who, in the enjoyment of it, betrays Barabas to her, in a world akin to Shakespeare Belmonth, Barabas disguises himself as a French musician and poisons the lovers even as Ithamore thaws in Bellamira’s laps, foreshadowing Bassanio:

Love me little, love me long; let music rumble

Whilst I in thy icony lap do tumble (Act IV Scene VI)

Barabas’s treacherous activity reaches its zenith when Governor Ferneze learns that he devised the death of his son, and his friend, and prepares to force him to embrace the spread arms of law. To escape death, Barabas drinks juice of mandrake and feigns death. Perceived dead, he is thrown over the wall to feed the vultures. To pay Ferneze back in more than like terms, he joins Calymath of Turkey to overrun Malta. Although he is made governor, he prefers Ferneze to ransom himself. However, when Barabas is assured of huge sum of money, he sets in motion, a dastard process of destroying Calymath and his soldiers; but while he is almost ready to realise his aim, Ferneze causes him to suffer agonising death in a caldron he intends to use to destroy Calymath. And in an intolerable pang of extremity of heat, he confesses, fumes and abuses both God and men, before the dark cloud of death finally envelops him.

Barabas’s nefarious means of wealth acquisition, his heartlessness, lack of compassion and fellow-feeling, his inability to be moved by blood, nor touched by piteous situations, are by all standards, hair-raising and spine-chilling, but his catastrophic death, is an indication that there is no smartness in evil; that treachery must necessary beget treachery. Thus, as he pines and smoulders away in the caldron, and we no longer hear from his, “my gold!, my gold!” we heave a sigh of relief, and join Sophocles to say, “evil never dies; the gods take care of that.”

Lisa Hopkins (1996) expresses the view that Marlowe’s world intersects with the Renaissance geographical discoveries and attitudes. In the Jew of Malta and Tamburlaine the Great, for example, what is dramatised is the significance of power and gold to the men of the Elizabethan world. The barbaric financial exploits of Barabas, and the onward expansionism of Tamburlaine, remind us of the wandering English adventurers such as Raleigh, Hawkins, Cavendish, among others, who in search of colonies and gold, became a menace to the entire world during the great age of Renaissance. Hopkins further posits that:

Marlowe’s eastern world is a mirror that transcends mere orientalism. What we see reflected, of course, are English privateers such as Hawkins.

The characters of Tamburlaine and Barabas are mirrors of human beings in a predatory world, where dominance and exploitation have become a resonant evil. As a result of their belief that men are the sum of their appetites, these characters crossed the boundaries between the human and the monstrous to acquire power and wealth. Like Shakespeare’s Shylock, Barabas is an “embodiment of pure evil, a savage spirit of darkness and revenge” (Lester, 1999: 256). Though he has more than cruel disregard for the Christians, he sends Abigail, his daughter to the nunnery for the purposes of recovering his gold and revenging his perceived Christian offenders. As a master dissembler, he emphasises danger through humour, and masks his evil intentions with palatable but deceitful speeches before his unsuspecting victims.

Although Tamburlaine is painted as a treasonable and Machiavellian character, a being who thinks about nothing except power, war, blood and murder, he does not, I believe, lack completely, the tender touch of humanity. His iron heart is thawed by the seductive power of feminine beauty. Zenocrate’s love is “worth more to Tamburlaine than the possession of the Persian crown” (Part I Act I Scene II). This is an

indication that the only thing that is supreme to political power for Tamburlaine, is feminine love. When love competes with power, Tamburlaine is often thrown into emotional crisis; to him:

A doubtful battle with my tempted thoughts

For Egypt’s freedom and the Soldan’s life

His life that so concerns Zenocrate

Whose sorrows lay more siege unto my soul

Than all my army to the Darmascus’ walls

And neither Persian’s sovereign nor the Turk

Troubled my senses with conceit of foil

So much by much as doth Zenocrate

(Part I Act V, Scene I).

Again when Zenocrate died, Tamburlaine mourns her with all passions put to use. For example, in proud fury and intolerable fit, he tells Theridamas:

Draw thy sword

And wound the earth

That it may cleave in twain

And we descend into the infernal values

To hale the Fatal Sisters by the hair

And throw them into the triple moat of hell

For taking hence my Zenocrate

(Part II, Act II, Scene IV)

Yet, in spite of this outburst of anger, he still wishes that Zenocrate lives:

For she is dead!

Thy words do pierce my soul!

Ah, sweet Theridamas!

Say so no more!

Though she be dead,

Yet let me think she lives

And feed my mind that dies for want of her

(Part II, Act II, Scene IV).

The above statement reveals Tamburlaine’s limitless capacity for enduring love. Cope (1996) submits that Tamburlaine has certain admirable qualities. He notes that “Tamburlaine is true to his word”, and “true to those loyal him as they are to him”. This loyalty is reflected in his relationship with Zenocrate and her father as well as Techelles, Usumcasane and Theridamas.

CONCLUSION

This article examines the plays of Marlowe and interprets his treatment of the eternal and ubiquitous twists and turns inherent in excessive quest for power and wealth. In Tamburlaine, Edward II, and the Jew of Malta, Marlowe reveals the internal dynamics of power struggle and malevolent wealth acquisition; he shows us the intricate interplay between self and others, how the images of the self clash and collide with that of others. Marlowe elevates the lust for power and wealth to the level of monstrosity, to show us the loose morals of an impatient and greedy age as well as to comment on the concept of the ‘fortune wheel’. In the three plays, he demonstrates that life itself is characterised by ebb and flow, and like the theatre, has its own denouement.

This article examines the life and dramaturgy of Christopher Marlowe. It pays attention to the ideas that shaped his life and plays, and the ideas of power, wealth and treachery in his plays all which hinge on Machiavellian ethics.

 

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