Tamburlaine Rhetorical Analysis

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Stylistic texture as part of the implicit characterization process is established as a characteristic of the literary text. First, the reader/audience is faced with the question of the way individual sentences of a speech relate to one another. Whether they are connected in a strictly logical way, whether they form a more associative series, they always emphasize the structure of a character’s level of awareness. All significant deviations from the normal frequencies in the areas of syntactic and lexical selection and combination can also serve to delineate a character: the frequency of certain sentence types (such as statements or questions), the predominance of active or passive forms, the use of parallelisms and antitheses, an abstract or concrete vocabulary, figurative speech, the emphasis on certain semantic groups and the frequency of idiomatic or clichéd expressions.
Another aspect is the one that is concerned with the way in which the speeches of different characters interact. These relationships allow the
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Tamburlaine often begins a speech by addressing some other person, but within a few lines is talking about himself. According to Clemen, this practice of disregarding the other participant in a dialogue finds its dramatic justification in Tamburlaine in the nature of the protagonist because he has eyes for himself alone. Tamburlaine was considered to be a one-man play because each of Tamburlaine’s own speeches and those of his admirers or his defeated adversaries have the same purpose: to explore and to exhibit the nature of the qualities the historical Timur seemed to illustrate. This happens even in the “conversion speeches.” When Theridamas takes the field against him with a large army and appears before him to talk to him, Tamburlaine succeeds by the persuasive power of his words in shaking his loyalty to his king and attracting him over to his

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