There, probably the same year and the next, he astonished the public with the two parts of 'Tamburlaine the Great,' a dramatization of the stupendous career of the bloodthirsty Mongol fourteenth-century conqueror.
The Prolog to 'Tamburlaine' makes pretentious announcement that the author will discard the usual buffoonery of the popular stage and will set a new standard of tragic majesty:
Tamburlaine himself as Marlowe presents him is a titanic, almost superhuman, figure who by sheer courage and pitiless unbending will raises himself from shepherd to general and then emperor of countless peoples, and sweeps like a whirlwind over the stage of the world, carrying everywhere overwhelming slaughter and desolation.
For several other reasons 'Tamburlaine' is of high importance.
The greatest significance of 'Tamburlaine,' lastly, lies in the fact that it definitely established tragedy as a distinct form on the English popular stage, and invested it with proper dignity.
These are Marlowe's great achievements both in 'Tamburlaine' and in his later more restrained plays.
Tamburlaine the man is an exaggerated type; most of the men about him are his faint shadows, and those who are intended to be comic are preposterous.
Naumann has been painting the Saints drawing the Car of the Church, and I have been making a sketch of Marlowe's Tamburlaine Driving the Conquered Kings in his Chariot.
Do you intend Tamburlaine to represent earthquakes and volcanoes?"
This article shows how Marlowe departs from his primary historical sources (Mexia and Perondinus) in his retelling of the life of
Tamburlaine. Marlowe employed the heavily ironic tone of Lucan's discussion of Julius Caesar's apparently 'divine' barbarism in his characterization of tyranny, obedience, and rebellion in
Tamburlaine.