![]() ![]() Perhaps, it is wrong to say that the tragedy is not the poet’s. It is said that the tragedy is not the poet’s it is a part of history. ![]() ![]() The fact may be unhistorical but it serves as an artistic recipe. Though we also find that he is not totally Greek in the presentation of the murder of the king, yet he presents it with the modern cunning of an artist. Perhaps Marlowe saw that the results would be substantially fruitful if he acted on the Greek dramatic principle of pity and terror, and it really worked. The compression and the processes of elimination have been deployed with courage and foresight. The historical truth has been sacrificed on the altar of artistic convenience. As a conscious artist he visualizes the tragic possibilities in re-arranging facts of history, and for this the method of condensation is employed by him. It takes away the chronological dreariness from the bare frame of history and adds to it the pathos and the fictitious tragic circumstances of his own imagination. The tragedy of Edward II has been imaginatively intensified by Marlowe basing the substance on the historical facts. ![]()
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