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136–137).  The whole first movement of the play thus presents us with a sense of ritualistic formality, supported by public oratory and gesture, at the core of which there is inexpressible pain—a kind of emotional chaos that can only be conveyed indirectly and of which the physical deaths are somehow the outward manifestation. 164).  Incapable of summarizing the events of the tragedy, an anonymous Roman lord, if we may accept the first quarto's ascription of the lines (some modern editors assign the words to Marcus), urges Lucius to speak for him: My heart is not compact of flint nor steel, Nor can I utter all our bitter grief, But floods of tears will drown my oratory, And break my utt'rance.

Sooner or later the playwrights were bound to encounter that linguistic barricade that Marlowe's Tamburlaine defines so poignantly for us: If all the pens that ever poets held Had fed the feeling of their masters' thoughts And every sweetness that inspired their hearts, Their minds and muses on admired themes; If all the heavenly quintessence they still From their immortal flowers of poesy, Wherein as in a mirror we perceive The highest reaches of a human wit— If these had made one poem's period And all combined in beauty's worthiness, Yet should there hover in their restless heads One thought, one grace, one wonder at the least, Which into words no virtue can digest.

The eye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, his tongue to conceive, nor his heart to report, what my dream was.  You think I'll weep; No, I'll not weep. Storm and tempest.  O fool, I shall go mad!  By the very nature of their subject such plays necessitated techniques of dramaturgy in which Tamburlaine's "immortal flowers of poesy" might somehow be accommodated to situations and states of feeling for which the primal scream or dumb­struck impotence would, in the nonfictional world, be the truly commensurate reactions.

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