Tamburlaine the Great — Part 2

"Tamburlaine the Great — Part 2" by Christopher Marlowe is a historical play written during the late 16th century. The work continues the saga of the infamous conqueror Tamburlaine, known for his brutal conquests and the ambitious drive to expand his empire. This second part likely explores the ramifications of his victories, his turbulent relationships, and the challenges he faces from various kingdoms and characters. The opening of "Tamburlaine the Great — Part 2" sets the stage for the conflict that awaits as it introduces multiple factions preparing for war, including Orcanes, King of Natolia, and Sigismund, King of Hungary, who are wary of Tamburlaine's rising power. With tensions escalating, discussions of peace are overshadowed by the looming threats of war against the relentless Tamburlaine. Additionally, the prologue hints at personal stakes, emphasizing the poignant narrative of Zenocrate, Tamburlaine’s wife, and her state in this unfolding drama. These elements pave the way for a storyline rich in political intrigue, familial loyalties, and the tumult of battle, while establishing a powerful emotional undertow connected to Tamburlaine's character and his ambitions. (This is an automatically generated summary.)

Christopher Marlowe, also known as Kit Marlowe, was an English playwright, poet, and translator of the Elizabethan era. Marlowe is among the most famous of the Elizabethan playwrights. Based upon the "many imitations" of his play Tamburlaine, modern scholars consider him to have been the foremost dramatist in London in the years just before his mysterious early death. Some scholars also believe that he greatly influenced William Shakespeare, who was baptised in the same year as Marlowe and later succeeded him as the preeminent Elizabethan playwright. Marlowe was the first to achieve critical reputation for his use of blank verse, which became the standard for the era. His plays are distinguished by their overreaching protagonists. Themes found within Marlowe's literary works have been noted as humanistic with realistic emotions, which some scholars find difficult to reconcile with Marlowe's "anti-intellectualism" and his catering to the prurient tastes of his Elizabethan audiences for generous displays of extreme physical violence, cruelty, and bloodshed.