Christopher Marlowe's Tamburlaine the Great presents a powerful literary reimagining of the historical figure Amir Temur (Tamerlane), exploring the complex dynamics of ambition, conquest, and mortality. This article analyzes Marlowe’s portrayal of Tamerlane through the lens of Renaissance drama, assessing how the playwright dramatizes the rise and eventual moral descent of a self-made conqueror. By examining thematic, structural, and rhetorical elements, this study highlights how Marlowe fuses historical narrative with tragic grandeur to construct a compelling dramatic portrait.
| Mualliflar | Kholmuradova, Madina, Холмурадова, Мадина, Xolmuradova, Madina |
|---|---|
| Jurnal | Хорижий лингвистика ва лингводидактика |
| Nashr sanasi | 2025-05-25 |
| Jild | 3 |
| Son | 5/S |
| Betlar | 477-481 |
| Til | Ingliz |
| DOI | 10.47689/2181-3701-vol3-iss5/s-pp477-481 |
DOI: 10.47689/2181-3701-vol3-iss5/s-pp477-481 · Maqolaning asl sahifasi
Renaissance, drama, tragic hero, historical representation, Elizabethan theatre, motif, hubris in drama, Ренессанс, драма, трагический герой, историческое представление, елизаветинский театр, мотив, высокомерие в драме, Uyg'onish davri, drama, tragik qahramon, tarixiy spektakl, Yelizaveta teatri, motiv, dramada g'urur
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