Rhetoric in mirrors

This project examines the blending of verbal and visual discourse in three of Christopher Marlowes early works: Dido Queen of Carthage and Tamburlaine the Great, Parts I and II. Through the process of appeals, both Dido and Zenocrate become more than feminine counterparts in a heroic tale and ultimately engage in rhetorical conquest themselves. Marlowe's treatment of Dido and Zenocrate portrays them as dynamic figures whose ambitions emerge upon the stage. In each drama, the feminine agency legitimizes the action of the play. Dido utilizes visual appeals to contest the fate of the gods and persuade Aeneas to become the male counterpart in her empire. Zenocrate serves as the focus of Tamburlaine's appeals because she will become the legitimating presence for his ambition. I show that these Marlovian women hold a significant place in his canon and that the force of their presence is undeniable.