As his life would suggest, his works are not of a pleasant nature. Tamarlane is no exception. It is an epic centred around the historical figure Tamarlane (more commonly known as Timur) but while it is written in the dramatic monologue or epic style, Tamarlane is not a story of redemption or heroics, but one of regret. Like Ulysses, it finds its subject in the final stages of life, only unlike Tennyson's Greek king, Tamarlane does not dream of heroics and new adventures, but mourns over the mistakes he made and the pleasures he has lost.
Please note the poem's vast length will prevent the writer from dissecting each individual paragraph and stanza, but the themes of the poem will become clear through smaller samples of the work. It may become necessary for the writer to revisit this post on numerous occasions to add pieces to further the intensity of the analysis.
But now back to the subject; Tamarlane was a real historical figure, though he is usually known as Timur. Timur was a Turkic king who ruled from 1336-1403. He aimed to reconstruct the empire of his ancestor, Genghis Khan, through military force and political trickery. His conquests stretched across multiple continents and resulted in the death of approximately 17 million people, of 5% of the world population at the time.
Regardless, Timur is often viewed historically as being a more humane figure then Genghis. Excessive pillaging and rape was not documented in relation to his conquests nearly as much as it was with Genghis. Furthermore, Timur was a brilliant military tactician,diplomat and an intellectual who often utilized elements of his faith (Islam) to impose power over regions by appealing to fellow Muslims without bloodshed.
A similarity between the two was their mythical status. Such was their conquests that even hundreds of years later in the time of Edgar Allan Poe, few solid facts were known of Tamarlane (A good example being that his real name was not even known). Like Coleridge with Kublai Khan, Poe's lack of knowledge regarding Tamarlane lead to romanticism of his character. Poe, throughout the poem, inserts many aspects of Tamarlane's life that did not occur in order to make the figure more human. Poe also likely did this to insert aspects of his own character into Tamarlane, as was Poe's custom. In other works, such as The Raven or Annabel Lee, Poe's writing is almost always in the first person and always reflects his own personal experiences throughout his life.
The poem opens with an elderly man approaching a dying Tamarlane ("Kind solace in a dying hour!").
Tamarlane initially shuns and rejects the old man, but later bids him to join him in his final hours. Tamarlane then begins to do something that is in greater custom with Christians than Muslims; he begins to confess.
" will not madly deem that power
Of Earth may shrive me of the sin
Unearthly pride hath revell'd in-
I have no time to dote or dream:
You call it hope-that fire of fire!
It is but agony of desire:"
Tamarlane is confessing the sins that he has committed, admitting that no earthly power could cleanse him of them. He also hints that many sins he has committed were due to his greed, though what he lusted for is not revealed.
This is obviously a device for Poe to visit Tamarlane's past. It is also more evidence that Poe clearly does not know many solid facts about his subject- he begins the poem with a devout Muslim confessing his sins in the fashion of Christianity, complete with an elderly consoler at his bedside! It should be remembered, however, that Poe was a gothic writer who specialized in the macabre. Death, confessions, and sins were common themes in his writing. It makes sense for him to utilize them to connect with his work, as well as to please his adoring audience.
Structurally, the poem is fairly standard, using basic rhyme schemes in a very organized fashion. The tone is clear and concise, with the sorrow of the poem being reflected mostly in the diction.
Many of the following lines continue Tamarlane's themes of regret. He calls his jewelled throne a "Halo of hell" and scoffs at what mortal pleasures he still retains. He then proceeds to his rise to power:
Poe may not have been aware of Tamarlane's religious beliefs or of his real name, but at least he knows his family tree. The influence of Genghis Khan on the actions of Tamarlane in claiming his kingdom are seen. Tamarlane does not just view his empire as something that he wishes to attain, but as a birthright. We now see Tamarlane as having once been a proud, ambitious man.
The allusion to the ill-fated conquerer Caesar was likely chosen by Poe for the purpose of foreshadowing. Poe is clearly stating that Tamarlane's dreams will not come to fruition. In the meantime, however, the conquerer is succeeding. The next few stanzas find Tamarlane conquering and ascending his throne through conquest- but not without cost to his soul.
Tamarlane again references Genghis Khan, who he believes he has succeeded, proving himself a warrior but admitting himself a tyrant. He then states that even that man, Genghis, was subject to wounds of love, administered by a beautiful woman.
Oh boy, here we go.
Those familiar with the works of Poe could forgive themselves from groaning. Virtually all of Poe's greater works deal with "The loss of a beautiful woman". This is influenced by the death of many women in Poe's life, including his mother (he was raised an orphan and never knew her) his first love and his cousin (and later, wife). Poe is clearly using Tamarlane as a metaphor to explore his relationship with one of these women (Most likely his first love, Sarah Royster). He may also be using it to explore his relationship with his father- Tamarlane is striving to succeed to prove himself worthy of being the descendant of Genghis Khan. Poe's stepfather often expressed dissatisfaction with him, sending him for some time to boarding school in England. Much of Poe's depression likely resulted from attempts to impress or prove himself to his stepfather.
Back to the poem! Poe now introduces Tamarlane's Sarah Royster, in the form of a beautiful (but unnamed) woman. And of course, she is beautiful beyond compare. Tamarlane compares her to everything up to and including the moon, life, and his crown. The writer of this post will not directly address one of these stanzas (and there are many) because the facts of the situation are much better imparted then by what he has already written, and because the stanzas in question are rather cheesy.
As this stage, with a woman he loves by his side and the world underneath his finger, Tamarlane could not be happier.
Alas, this does not persist.
We see in this series of stanzas that the woman Tamarlane pledges himself to passes away. Poe's use of metaphor and simile is often cited as being near flawless, but is particularly beautiful in these stanzas, conveying sadness perfectly with images of dying flowers and lost innocence. He shows that he is haunted by his dead lover- he hears her voice throughout his home and even sees her through the dates of heaven and death. Love has struck him like an arrow, and at the poems conclusion, Tamarlane reveals that his love did not die of natural causes. It was his ambition, his need to conquer and rule, which ended her life. The moral in the end is very Christian (ironically enough); that greed and envy, should it be taken too far, will bring ruin to a man and those he loves.
Of Earth may shrive me of the sin
Unearthly pride hath revell'd in-
I have no time to dote or dream:
You call it hope-that fire of fire!
It is but agony of desire:"
Tamarlane is confessing the sins that he has committed, admitting that no earthly power could cleanse him of them. He also hints that many sins he has committed were due to his greed, though what he lusted for is not revealed.
This is obviously a device for Poe to visit Tamarlane's past. It is also more evidence that Poe clearly does not know many solid facts about his subject- he begins the poem with a devout Muslim confessing his sins in the fashion of Christianity, complete with an elderly consoler at his bedside! It should be remembered, however, that Poe was a gothic writer who specialized in the macabre. Death, confessions, and sins were common themes in his writing. It makes sense for him to utilize them to connect with his work, as well as to please his adoring audience.
Structurally, the poem is fairly standard, using basic rhyme schemes in a very organized fashion. The tone is clear and concise, with the sorrow of the poem being reflected mostly in the diction.
Many of the following lines continue Tamarlane's themes of regret. He calls his jewelled throne a "Halo of hell" and scoffs at what mortal pleasures he still retains. He then proceeds to his rise to power:
"I have not always been as now:
The fever'd diadem on my brow
I claim'd and won usurpingly-
Hath not the same fierce heirdom given
Rome to the Caesar-this to me?
The heritage of a kingly mind,
And a proud spirit which hath striven
Triumphantly with human kind."
The fever'd diadem on my brow
I claim'd and won usurpingly-
Hath not the same fierce heirdom given
Rome to the Caesar-this to me?
The heritage of a kingly mind,
And a proud spirit which hath striven
Triumphantly with human kind."
Poe may not have been aware of Tamarlane's religious beliefs or of his real name, but at least he knows his family tree. The influence of Genghis Khan on the actions of Tamarlane in claiming his kingdom are seen. Tamarlane does not just view his empire as something that he wishes to attain, but as a birthright. We now see Tamarlane as having once been a proud, ambitious man.
The allusion to the ill-fated conquerer Caesar was likely chosen by Poe for the purpose of foreshadowing. Poe is clearly stating that Tamarlane's dreams will not come to fruition. In the meantime, however, the conquerer is succeeding. The next few stanzas find Tamarlane conquering and ascending his throne through conquest- but not without cost to his soul.
"My passions, from that hapless hour,
Usurp'd a tyranny which men
Have deem'd, since I have reach'd to power,
My innate nature-be it so:
But father, there liv'd one who, then,
Then-in my boyhood-when their fire
Burn'd with a still intenser glow,
(For passion must, with youth, expire)
E'en then who knew this iron heart
In woman's weakness had a part."
Usurp'd a tyranny which men
Have deem'd, since I have reach'd to power,
My innate nature-be it so:
But father, there liv'd one who, then,
Then-in my boyhood-when their fire
Burn'd with a still intenser glow,
(For passion must, with youth, expire)
E'en then who knew this iron heart
In woman's weakness had a part."
Tamarlane again references Genghis Khan, who he believes he has succeeded, proving himself a warrior but admitting himself a tyrant. He then states that even that man, Genghis, was subject to wounds of love, administered by a beautiful woman.
Oh boy, here we go.
Those familiar with the works of Poe could forgive themselves from groaning. Virtually all of Poe's greater works deal with "The loss of a beautiful woman". This is influenced by the death of many women in Poe's life, including his mother (he was raised an orphan and never knew her) his first love and his cousin (and later, wife). Poe is clearly using Tamarlane as a metaphor to explore his relationship with one of these women (Most likely his first love, Sarah Royster). He may also be using it to explore his relationship with his father- Tamarlane is striving to succeed to prove himself worthy of being the descendant of Genghis Khan. Poe's stepfather often expressed dissatisfaction with him, sending him for some time to boarding school in England. Much of Poe's depression likely resulted from attempts to impress or prove himself to his stepfather.
Back to the poem! Poe now introduces Tamarlane's Sarah Royster, in the form of a beautiful (but unnamed) woman. And of course, she is beautiful beyond compare. Tamarlane compares her to everything up to and including the moon, life, and his crown. The writer of this post will not directly address one of these stanzas (and there are many) because the facts of the situation are much better imparted then by what he has already written, and because the stanzas in question are rather cheesy.
As this stage, with a woman he loves by his side and the world underneath his finger, Tamarlane could not be happier.
O, human love! thou spirit given
On Earth, of all we hope in Heaven!
Which fall'st into the soul like rain
Upon the Siroc-wither'd plain,
And, failing in thy power to bless,
But leav'st the heart a wilderness!
Idea! which bindest life around
With music of so strange a sound,
And beauty of so wild a birth-
Farewell! for I have won the Earth.
On Earth, of all we hope in Heaven!
Which fall'st into the soul like rain
Upon the Siroc-wither'd plain,
And, failing in thy power to bless,
But leav'st the heart a wilderness!
Idea! which bindest life around
With music of so strange a sound,
And beauty of so wild a birth-
Farewell! for I have won the Earth.
Alas, this does not persist.
What tho' the moon-the white moon
Shed all the splendour of her noon,
Her smile is chilly, and her beam,
In that time of dreariness, will seem
(So like you gather in your breath)
A portrait taken after death.
And boyhood is a summer sun
Whose waning is the dreariest one-
For all we live to know is known,
And all we seek to keep hath flown-
Let life, then, as the day-flower, fall
With the noon-day beauty-which is all.
Shed all the splendour of her noon,
Her smile is chilly, and her beam,
In that time of dreariness, will seem
(So like you gather in your breath)
A portrait taken after death.
And boyhood is a summer sun
Whose waning is the dreariest one-
For all we live to know is known,
And all we seek to keep hath flown-
Let life, then, as the day-flower, fall
With the noon-day beauty-which is all.
I reach'd my home-my home no more
For all had flown who made it so.
I pass'd from out its mossy door,
And, tho' my tread was soft and low,
A voice came from the threshold stone
Of one whom I had earlier known-
O, I defy thee, Hell, to show
On beds of fire that burn below,
A humbler heart-a deeper woe.
For all had flown who made it so.
I pass'd from out its mossy door,
And, tho' my tread was soft and low,
A voice came from the threshold stone
Of one whom I had earlier known-
O, I defy thee, Hell, to show
On beds of fire that burn below,
A humbler heart-a deeper woe.
Father, I firmly do believe-
I know-for Death, who comes for me
From regions of the blest afar,
Where there is nothing to deceive,
Hath left his iron gate ajar,
And rays of truth you cannot see
Are flashing thro' Eternity-
I do believe that Eblis hath
A snare in every human path-
Else how, when in the holy grove
I wandered of the idol, Love,
Who daily scents his snowy wings
With incense of burnt offerings
From the most unpolluted things,
Whose pleasant bowers are yet so riven
Above with trellis'd rays from Heaven,
No mote may shun-no tiniest fly-
The lightning of his eagle eye-
How was it that Ambition crept,
Unseen, amid the revels there,
Till growing bold, he laughed and leapt
In the tangles of Love's very hair?
I know-for Death, who comes for me
From regions of the blest afar,
Where there is nothing to deceive,
Hath left his iron gate ajar,
And rays of truth you cannot see
Are flashing thro' Eternity-
I do believe that Eblis hath
A snare in every human path-
Else how, when in the holy grove
I wandered of the idol, Love,
Who daily scents his snowy wings
With incense of burnt offerings
From the most unpolluted things,
Whose pleasant bowers are yet so riven
Above with trellis'd rays from Heaven,
No mote may shun-no tiniest fly-
The lightning of his eagle eye-
How was it that Ambition crept,
Unseen, amid the revels there,
Till growing bold, he laughed and leapt
In the tangles of Love's very hair?
We see in this series of stanzas that the woman Tamarlane pledges himself to passes away. Poe's use of metaphor and simile is often cited as being near flawless, but is particularly beautiful in these stanzas, conveying sadness perfectly with images of dying flowers and lost innocence. He shows that he is haunted by his dead lover- he hears her voice throughout his home and even sees her through the dates of heaven and death. Love has struck him like an arrow, and at the poems conclusion, Tamarlane reveals that his love did not die of natural causes. It was his ambition, his need to conquer and rule, which ended her life. The moral in the end is very Christian (ironically enough); that greed and envy, should it be taken too far, will bring ruin to a man and those he loves.
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