Christopher Marlowe’s play Tamburlaine has often been analysed in respect of various factors and characters including power, the motive of overreaching, religion and many more. What has been treated with less interest is the role of females in this play. As C. L. Barber states, Marlowe “knew the available sources for the history of the great conqueror remarkably well” but the character of Zenocrate is not mentioned in the sources of the historical Timur who lived from 1336 until 1405 and “was widely known in the West as the conqueror of Baghdad (1401) and Damascus (1403).” Therefore it is suggested that Marlowe must have had a special reason for he “created the role of Zenocrate in Tamburlaine out of whole cloth.”
When Part I was first staged in 1587, the society at that time was greatly different in its conception of gender and gender-related attributes in comparison with modern thinking about men and women and their roles in society. It was “highly gendersegregated [and] [d]ifferent physical, emotional and intellectual qualities were ascribed to men and women, and to a significant extent they inhabited distinct social spaces.”
From the traditional patriarchal perspective, therefore, qualities conventionally approved in women - passivity, sensitivity, tenderness, compassion, self-sacrifice, silence - are scorned in men as effeminate. Similarly, the attributes most admired in the male - activity, assertiveness, resourcefulness, resolution, eloquence - are deplored and sometimes even excoriated in the female as unnatural.
Women were therefore commonly characterised as being associated with “the earth, sensuality, personal relationships, imagination, intuition, nature, and so on,” whereas men were perceived as the powerful, mighty, aggressive intelligent human beings who manage politics and war, from which women were mostly excluded. According to these values, “women [in literature often] function as apolitical, moral arbiters and men as monstrous Machiavells.”
Table of Contents
1. Introduction
2. Marlowe’s concept of women
3. Zenocrate’s character
3.1 Zenocrate as captive
3.2 Zenocrate as loving maid
3.3 Zenocrate as equal partner for Tamburlaine
3.4 Zenocrate’s influence on Tamburlaine
4. Conclusion
5. Bibliography
Objectives and Core Themes
This paper examines the role of Zenocrate in Christopher Marlowe’s play "Tamburlaine" to challenge the traditional interpretation of her as a merely silent, passive, and decorative character. By analyzing the interaction between gender expectations and personal agency, the research questions whether Zenocrate serves as a significant, multifaceted individual who exerts meaningful influence on the protagonist's development and the play's outcome.
- The subversion of traditional patriarchal gender roles in Renaissance drama.
- Zenocrate’s character development from captive to empress.
- The nature of the relationship and mutual influence between Zenocrate and Tamburlaine.
- The impact of Zenocrate’s moral values on Tamburlaine’s decision-making process.
- The interplay between love, honor, and political power within the play.
Excerpt from the Book
3.4 Zenocrate’s influence on Tamburlaine
As could be seen from previous chapters Tamburlaine’s love for Zenocrate is real and faithful. Moreover he does not only value her beauty but also approves of her eloquent speech and her social status as the sole heiress to Egypt. Tamburlaine therefore estimates Zenocrate as an individual being and, although he shows traits of traditional patriarchal thinking, he also is aware of her characteristics as a multifaceted person being able to exert influence on him.
Zenocrate’s first act of trying to influence Tamburlaine is her plea for her country but her attempt to deter Tamburlaine from destroying Damascus is very tentative. She asks Tamburlaine: “Yet would you have some pity for my sake, / Because it is my country’s, and my father’s.” When Tamburlaine refuses her request with the words “Not for the world, Zenocrate, if I have sworn” he expresses his high moral code not to adhere to his threats which are known to his enemies.
Summary of Chapters
1. Introduction: This chapter contextualizes the role of women in Marlowe's "Tamburlaine" and presents the research hypothesis that Zenocrate is a complex character rather than a passive trope.
2. Marlowe’s concept of women: This section explores how Marlowe navigated and challenged the restrictive gender norms of the late 16th century by creating active female characters.
3. Zenocrate’s character: This main section is subdivided into four parts, detailing Zenocrate's evolution from a prisoner of war to a powerful, influential partner who shapes the protagonist's moral compass.
4. Conclusion: The concluding chapter synthesizes the arguments to affirm that Zenocrate functions as a moral touchstone and a vital force in the play, rather than a minor, secondary figure.
5. Bibliography: A comprehensive list of the primary and secondary sources used to support the analysis of Marlowe’s work.
Keywords
Christopher Marlowe, Tamburlaine, Zenocrate, gender roles, patriarchal society, power, influence, Renaissance drama, moral values, character development, feminine honor, agency, love and war, identity, female empowerment.
Frequently Asked Questions
What is the primary objective of this academic paper?
The paper aims to refute the common critical view that Zenocrate is a "pale and silent" character by demonstrating her active role, moral influence, and status as a multifaceted individual within "Tamburlaine".
What are the central thematic fields discussed?
The discussion focuses on Renaissance gender concepts, the dichotomy of male/female attributes, political power, the nature of romantic love in literature, and the exercise of influence within marriage.
What is the core research question?
The research asks whether Zenocrate is merely a passive female archetype or a lively, influential individual who challenges the patriarchal structures of her environment.
Which scientific methodology is applied?
The paper employs a literary analysis approach, engaging with various critical texts and scholarly perspectives on Marlowe’s work, while closely examining the play's text and character interactions.
What is covered in the main section of the study?
The main section analyzes Zenocrate’s trajectory through the play: her initial state as a captive, her transformation into a loving companion, her role as an equal partner, and her direct influence on Tamburlaine’s actions and moral code.
Which keywords best characterize this work?
The analysis is centered around terms like gender roles, Renaissance drama, character agency, moral influence, and the subversion of patriarchal literary traditions.
How does the author interpret the "rape" of Zenocrate?
The author argues against the modern interpretation of the events as sexual violence, suggesting that in the Renaissance context, the term implies an act of political seizure and that Tamburlaine maintains a legal, strategic relationship with her.
What role does Zenocrate play in Tamburlaine’s change of character?
Zenocrate acts as a moral touchstone, introducing a necessary dimension of mercy, diplomacy, and restraint that counterbalances Tamburlaine’s inherent ruthlessness and desire for conquest.
- Citar trabajo
- Anonym (Autor), 2006, Tamburlaine's Zenocrate - only a pale and silent character or a lively individual?, Múnich, GRIN Verlag, https://www.grin.com/document/65159
