Self-Presentation In Tamburlaine

Language features such as dramatic monologue and symbolism are a key component in understanding significant messages of a play, as well as expressing the Author’s overall purpose in a text. “ The Merchant Of Venice”, by William Shakespeare- demonstrates a number of key ideas, one being to teach us the concept of mercy being righteous and morally acceptable than justice. Shakespeare does this explicitly by modelling his characters to represent this idea through forms of language features, in specific dramatic monologue.

William Shakespeare’s play, Romeo and Juliet, elicits sympathy from the reader through the theme of how love can kill. Shakespeare’s use of many literary devices such as metaphor, imagery and symbolism causes this theme to be evident. Therefore, the beauty of love disguises the violence or death it may also cause. The powerful nature of love throughout the poem is easily interpreted through Shakespeare’s use of metaphors.

During the dawn of the Second World War, a new era began for women across America. As men departed to fight the war, women were left to fill their void in the workplace. Familiar role models such as “Rosie the Riveter” radiated strength and know-how traits historically emphasized only in men. As woman’s role in society broadened, new visions of attractiveness developed to accommodate this unprecedented aspect of femininity. Raymond Chandler’s portrayal of women in The Big Sleep (1939) highlights these changes in social construction of female sexuality and appeal in the setting of a male dominated society.

This shows that the narrator is willing to risk the safety of his land just to have Helen and her love. The using of personification, hyperboles, and metaphors in the poem reveals the theme that the world crumbles for the most loved. Christopher Marlowe, the writer of the poem, through his life wrote many more

In this essay I will compare two poems: “To His Coy Mistress” by Andrew Marvell and “The Ruined Maid” by Thomas Hardy. I will look at the style and the tones that are used in both of these poems in order to compare them.

Hardy (2006) recognized self-talk as distant from other cognitive process (imagery), being statement athletes say to themselves. These statements may be in a planned manner or automatically occurred, such as thought-stopping technique ( Hardy et al., 2009).Several overlapping dimensions was identified by hardy for overlapping the nature of talk ( e.g., what self-talk is ). The nature of self-talk includes: a) a frequency dimension, that more or less often the self-talk can be employed) a self-determined dimension, it can be freely or assigned) an overtness dimension, it can be heard as one own inside voice (covert self-talk) or loud so that others can hear (overt self-talk).d) a valence dimension, it can range from positive to negative. Positive in the form of praise ( e.g., well done) (moran,1996), negative in the form of criticism ( e.g., you fool) (moran,1996);e) a motivational interpretation dimension, that individual can learn their self-talk from motivating to de-motivating for themselves ( Hardy , hall & alexander, 2001).Hardy proposed self-talk as a (a) verbalizations or statements addressed to the self; (b) multidimensional in nature; (c) having interpretive elements associated with the content of statements employed; (d) is somewhat dynamic; and (e) serving at least two functions; instructional and motivational, for the athlete (Hardy, 2006, p. 84).

In this he rights of a beautiful and powerful love that burns in him like a flame. With his silky words, he describes the great passion he feels towards this person. Martin and Shakespeare both write of burning desire which flows through their veins and from there into the paper. The love is pure and beautiful, casting away any of the negative influences that the person gives off. “… I like the way you misbehave / When we get wasted…” and “Are cause that by love my self I destroy / Yours is the fault and mine the great annoy” (“I Love You Lyrics”; “Poems (sonnets)”). Although both selections have a sweet sound to them, they both have an underlining darkness that shrouds their light. Martin and Shakespeare also wrote of the wonders and beauty in a first love.

By focussing on the tone of the two poems one can draw similarities within how the male imperative and female reluctance mirrors the social context of time and religious morality. Marlowe evokes this message through the utilisation of the hyperbolic use of the possessive pronoun ‘my’ in accordance with imperatives; “Come live with me and be my love, / And we will all the pleasures prove”.

orn only two months before Shakespeare and dead before he was thirty, Christopher Marlowe, considered to be the first English tragic poet, began and ended his literary work while Shakespeare was still at the beginning. His earliest tragedy, Tamburlaine the Great, was a path opener for the possibilities of Elizabethan tragedy. It was followed by other three tragedies, Dr Faustus, The Jew of Malta, and Edward II. In the prologue to his first piece, Tamburlaine, the playwright announced his intention to use in tragedy “high astounding terms.” Arrogantly, he denounced “the jigging veins of rhyming mother wits” who had previously been devoted to tragedy.

One conflict resides in the two drastically opposed attitudes that the other characters show toward Tamburlaine, and this divergence of opinion is illustrated by names applied to the warrior. Mycetes speaks of a Tamburlaine “That, like a fox in midst of harvest time, / Doth prey upon my flocks of passengers.” (p.4) In calling Tamburlaine a fox, Mycetes is alluding to all the deprecatory connotations of the word. But Techelles compares Tamburlaine to princely lions, (p.9) alluding to the great connotations associated with lions. Making the characters carry out this kind of name-calling, Marlowe has an objective position, because Mycetes has every reason to have a low opinion of the tyrant who threatens his kingdom. In the same way, Techelles has every reason to admire the qualities in Tamburlaine that make him a successful military leader. Any one character’s opinion of Tamburlaine depends on that character’s position in relation to Tamburlaine’s position, not on any preferences of the playwright. Marlowe’s objectivity is emphasized again by the irony of the two different attitudes toward Tamburlaine.

In Tamburlaine, Marlowe used this device in a different way. Instead of giving the neutral account of the character’s origin, name and nature, in Tamburlaine the self-representation is informed in every line by the individuality of this character. In previous plays, the monologue had usually combined its expository function with that of reinforcing the moral of the whole play. In Tamburlaine is in a much fuller sense a means of self-expression because the ‘moral’ in Tamburlaine is identified with the feelings and wishes of the main character.

He regularly uses epithets as mighty or great when speaking of himself. When Bajazeth addresses him unceremoniously, he is deeply affronted, demanding dars’t thou bluntly call me Tamburlaine? His name is not just a label, it is more than a title. Greenblatt comments that “[I]n this turbulent life and, more importantly, in his writing, Marlowe is deeply implicated in his heroes.” The author compares Tamburlaine to Marlowe, identifying both men as over-reachers. Just as Tamburlaine never escapes the attraction of the earthly crowne, so Marlowe remains “an ineffective saboteur fighting a doomed battle against the overwhelming forces of Renaissance cultural discipline.” He cites values of transience as a means to fight the Renaissance order, never acknowledging that transience is an essential quality of this order. It is transience that dictated the success of his plays, the nature of his rebellion and the circumstances of his death. The point at which Marlowe’s lines become mighty is always that where transience intercedes with

In line one, the two words used to talk about love are “guilty” and “blood” which both have negative connotations. For example, “blood”, is a word typically used to describe death or an injury, and “guilty”, is a word used to admit to wrongdoings. Therefore, the use of these two words pushes the idea that love can either end in death or guilt. Sometimes the first line of a story helps set the tone for the rest of it and by starting the poem with this negative viewpoint on love, it can suggest the idea that love never ends well. This in turn can further suggest that love in general, doesn’t guarantee happy endings, even though Marlowe doesn’t include the lovers’ deaths in his poem. Moreover, the beginning of the poem gives the ending of the myth away, so that could be another reason for why Marlowe neglected the original ending of the Greek myth about the two lovers. Consequently, the first line of the poem is important because it is the first glance the reader gets at understanding the story and for Marlowe to begin it in a negative way can show his purpose for writing the poem. Marlowe could be saying that because love can end badly, there isn’t a need to include the deaths of Hero and Leander, because there is a tragic end is expected.

“The chief presupposition for the rise of genuine dialogue is that each should regard his partner as the very one he is. I become aware of him, aware that he is different, essentially different from myself, in the definite, unique way which is peculiar to him, and I accept whom I thus see, so that in full earnestness I can direct what I say to him as the person he is. Perhaps from time to time I must offer strict opposition to his view about the subject of our conversation. But I accept this person, the personal bearer of a conviction, in his definite being out of which his conviction has grown – even though I must try to show, bit by bit, the wrongness of this very conviction” (Stewart, 71).

Ellis-Fermor considers that in Tamburlaine, “there is much that is not effective rhetoric.” In this case, Marlowe’s images are not in harmony with the emotions forming the background of the passage and serve rather to illustrate them than to imply any association. There is no harmony between the individual image and its setting. The imagery in Tamburlaine does not lack power, though it is most effective when one rhetorical image leads on to another. Tamburlaine’s description of his triumph in the last act of Part I is an example of such effective, cumulative series of little pictures which according to Ellis-Fermor “no one… can be picked out as having the quality of poetry.” There are showers of blood and meteors in Africa, there are mentions of Jove, the Furies and Death, dead kings lie at Tamburlaine’s feet. This is not a way of poetic