Asadova chexrangiz salim qizi saydullayev nuriddin zayniddin o‘G‘li 35 – O‘zbek theme: idealism in tamburlane the great- the work of christopher marlowe contents

Well, soldiers, Mahomet remains in hell;
He cannot hear the voice of Tamburlaine,
Seek out another godhead to adore. (Part II, 5.1.196–198)
Marlowe’s hero is a master of his fate. He is a different figure of morality. More recent scholars such as Emily Bartels and Mark Thornton Burnett have downplayed the idea of Tamburlaine as a morality play.⁵ Tamburlaine’s and other characters’ speeches, who labour to describe him, abound in allusions to the rebels and the usurpers of classical legends. Irving Ribner adds that Tamburlaine “conquers the world in opposition to gods” (1968:87). Marlowe moulds Tamburlaine in order to challenge the deity. Tamburlaine selected the Prophet Muhammad as a divine figure to revolt against his Tamburlaine’s acts. However, Tamburlaine says:
Now Mahomet if you have any power,
Come down thy self and work a miracle,
Thou art not worthy to be worshipped. (Part II, 5.1.185–187)
Marlowe unmistakably establishes a stand of blasphemy for Tamburlaine to violate the Qur’ān. He devotes a whole grim landscape to a public burning of the Qur’ān. Gorley Putt remarks that “in the context, the destruction of the Qur’ān is hardly a pledge of allegiance to the Christian God” (1981:42). Marlowe tries to display the idea of pseudo-prophecy which is wholly traditional. His suspicion is natural in which a Christian lives. Consequently, he deeply felt that this Book causes a conflict with the Christian Scripture. Marlowe challenges the Qur’ān at its holiness with no apparent doubt or hesitation. He insists constantly that it is totally impossible that the Qur’ān should be true or that Muhammad should have been a Prophet. Muhammad and the Qur’ān are the most fatal enemies of Tamburlaine. Marlowe presupposes to discuss the differences between European and Islamic traditions. It is a way to show his style to convince the Muslim Turks to turn Christian. Tamburlaine attempts to force Muslim characters to accept the Bible by recalling a medieval tradition of Islam on Elizabethan stage. This portrayal depicts the Elizabethan defiance over the Prophet Muhammad and the Qur’ān. By burning it and mocking its Prophet, he has brought down the pride of the Turks in his time. Tamburlaine says: O Muhammad, I do not at all believe that you have received this Qur’ān from God (Part II, V.i.185–187). Tamburlaine treats the Qur’ān in the second part as alien to the Eastern life. Marlowe, psychologically, gave a pace or pause for preparing the audience in the scene to an argumentative answer by Muhammad but there was no answer. The theme suits the Elizabethan audience in which it goes deep to the Western tradition of falsifying Muhammad’s book.
Tamburlaine pronounces his end as natural before his confronting scene with Muhammad by burning the Qur’ān. This end is not a divine damnation which might be interpreted as a victory of heaven over him. Ribner notes that “There is certainly nothing of divine retribution in the death of Tamburlaine” (Ibrahim 1996: 47). Tamburlaine’s hell on earth is a challenge for Heaven. Marlowe says, “For Tamburlaine, the scourge of God, must die” (Part II, V.iii.248). Marlowe was not liberal enough to allow Tamburlaine, as his hero, finally to escape fate to death, though at the thought of vaster delights has ceased to care for finite splendours of an earthly crown. As Marjorie Garber remarks that the scene might reasonably have been thought gratifying to a Christian audience likely to enhance rather than to worsen the hero’s prospects for salvation and survival (Ibrahim 1996:43). The inevitable death of Tamburlaine does not make the play a tragedy, though it is a tragedy of ambition. The destruction of Islamic symbols and objects is a presentation of hatred to Turks in England.
The last act is a final challenge when he threatens to march against the powers of heaven and “set black streamers in the firmament”. There is nothing here of Christian recognition of sin and repentance before death. He turns the colour of massacre into the man of war, sacrifice into peaceful men to oppose the attitudes towards death. The last moments of the play appeal to the spectator’s pity insisting on the tragic limitation of Tamburlaine as a human being. “For Tamburlaine, the scourge of God, must die” is a classic traditional paradox. The death approaches Tamburlaine as a judgment to burn the sacred text of the Qur’ān.