shes the deception aside
with scorn.

Not last, Techelles! no, for I shall die.
See where my slave, the ugly monster Death,
Shaking and quivering, pale and wan for fear,
Stands aiming at me with his murdering dart,
Who flies away at every glance I give,
And, when I look away, comes stealing on!--
Villain, away, and hie thee to the field!
I and mine army come to load thy back
With souls of thousand mangled carcasses.--
Look, where he goes! but see, he comes again
Because I stay!

When we consider _Doctor Faustus_ we shall see the same thought. In
electing to follow his desires to the uttermost Faustus reaps the reward
but also incurs the punishment of all who choose the upper road of
complete self-expression. He approaches the last gate, confident that
his strength will suffice to open it; he finds it locked and keyless. In
that hour of bitter disappointment that which is withheld seems more
desirable than the total of all that has preceded it.

The dramatic greatness of _Tamburlaine_ lies in the perfect harmony of
the central figure with the general purpose of the play. Marlowe sought
to present a world conqueror and he creates no less a man. Outwardly the
shepherd is formed in a mould of strength and grace; his countenance
might serve as a model for a bust of Achilles. Inwardly his mind is full
of towering ambition, supported by courage and inflexible resolution.
Those who meet him are profoundly impressed with a sense of his power.
Theridamas murmurs in awe to himself, 'His looks do menace heaven and
dare the gods.' Menaphon reports, 'His lofty brows in folds do figure
death.' Cosroe describes him as 'His fortune's master and the king of
men.' His own speeches and actions reveal no unsuspected flaw, no
unworthy weakness; rather they almost defeat their own purpose by their
exaggeration of his greatness. It would be possible to show by numerous
quotations how Marlowe has everywhere selected epithets and imagery of
magnitude to enhance the impressiveness of his hero in proportion to his
astounding achievements. We will be content with only one more. It
describes Tamburlaine's attitude towards those that resist him, and, by
its slow, measured intensification of colour to a terrible climax,
forces home resistlessly the suggestion of invincible power and
relentlessness.

The first day when he pitcheth down his tents,
White is their hue, and on his silver crest