From A.D. Hope's "'Tamburlaine': The Argument of Arms" as found in Christopher Marlowe: Modern Critical Views (ed. Harold Bloom, Chelsea House Publishers: NY, 1986; pp 53-54); also found in A.D. Hope's collection of essays The Cave and the Spring. (The essay can be found online.)
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In one sense the coherence of the play [Tamburlaine Pts I and II] resides in its poetry. Taken in terms of the action alone the play is not free of absurdity. If Tamburlaine were merely a supreme military genius, the argument which asserts his total superiority and perfection would be unconvincing. But Tamburlaine is a poet. He conceives poetry as concentrating in its highest conceivable form, the whole of beauty, imagination and music into 'one poem's period', just as he concentrates all power in himself. It is in this alliance of the poetic imagination with temporal power, in a sense of their identity, that the magnanimity of Tamburlaine consists. Poetry is his medium, as power is his nature and his genius. Poetry shares the supremacy of nature, for it is the natural language of beauty, of intellect and of power, the three perfect things. It is poetry alone which makes all three comprehensible:
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Wherein as in a mirror we perceive
The highest reaches of a human wit—
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The poetry of Tamburlaine is indeed the poetry of power, and the absolute morality of power which the play exemplifies is allied to the absolute standards of poetry, which it recognizes. For poetry accepts only success, and grants lasting life only to absolute success. It recognizes no gradations and no second best. What Hazlitt, in a very curious passage for an avowed republican, says of Coriolanus, is even more apt of the poetry of Tamburlaine:
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The language of poetry naturally falls in with the language of power. | |
