Well before the rise of the public playhouses religion provided an irresistible current of imaginative material for the ordinary person in sixteenth-century England. It is worthwhile to inquire into the ways in which this reservoir of imagery and emotional
experience infl uenced the stage in its formative years, particularly at the hands of an innovative artist like Christopher Marlowe, who knew and used religion in this dimension—as opposed to religious ideas—to great advantage in his plays. Marlowe came to London not only with considerable religious learning, but also a creative rhetorical talent that helped him to use language and performance to manipulate audiences’ feelings. How he applied this knowledge and talent in Tamburlaine will be the focus of this article.
The University of Kansas prohibits discrimination on the basis of race, color, ethnicity, religion, sex, national origin, age, ancestry, disability, status as a veteran, sexual orientation, marital status, parental status, gender identity, gender expression and genetic information in the University’s programs and activities. The following person has been designated to handle inquiries regarding the non-discrimination policies: Director of the Office of Institutional Opportunity and Access, IOA@ku.edu, 1246 W. Campus Road, Room 153A, Lawrence, KS, 66045, (785)864-6414, 711 TTY.