In the structure of his plots Marlowe forsook the Senecan models and began with the methods of the chronicle play. "Tamburlaine" is a chronicle history, presenting the story of the events of a life and ending with death. Originally the play contained comic scenes, omitted in the published form and evidently of no value in structure or conception. Without these there is enough of a medley, though the amazing succession of conquests, defiances, murders, harangues, battles, funerals, wooings, and horrors is arranged with considerable skill. There is manifest regard for contrast in the alternating exhibitions of Tamburlaine's power and his enemies' weakness; his love for Zenocrate, an addition to the source, is integrated with the main story of conquest; and in Part I the climactical arrangement is emphasized by the division into acts. Each act comprises an important stage in Tamburlaine's career, act v presenting the culmination in the suicide of the Turkish emperor and empress, the conquest of Arabia, Zenocrate's former betrothed, and the submission of her conquered father to her marriage with Tamburlaine. Part II, the prologue implies, was an afterthought due to the popularity of Part I. The climax is carried on somewhat loosely up to the harnessing of the jades of Asia; but the reversal of fortune, though developed in the death of Zenocrate, the unworthiness of the eldest son, and the approach of death to Tamburlaine, is not given effective emphasis. Tamburlaine's death is merely the end of the play, not a tragic catastrophe. Epical and crude though their structure is, the two plays possess a firmer organization and a greater unity than any preceding popular tragedy. Everything centres in the protagonist; he keeps the middle of the stage; his towering passion and incessant declamation fix one's attention; episodes like the deaths of the Turks or of Olympia hardly divert the mind from his titanic personality.