Abstract This article examines Act 2, Scene 1, of Christopher Marlowe’s The Tragedy of Dido, Queen of Carthage (printed 1594) through the lens of the mural ekphrasis in Book 1 of Virgil’s Aeneid. It argues that this scene is Marlowe’s attempt to stage the mural ekphrasis and thereby appropriate to himself an aesthetic enterprise that Virgil authorizes: the construction of a new version of an old story, the fall of Troy, as an ekphrasis. It demonstrates that Aeneas’s Troy narrative in Dido is a “speaking picture” that Aeneas constructs in his mind’s eye and responds to emotionally with a kind of catharsis yet to be recognized in the critical history of the term, which is called ekphrastic catharsis. Further, it argues that Marlowe imitates Virgil’s labor of artistic fashioning in dramatizing the Troy narrative, and hands to his Aeneas, as does his classical precursor, the emotional construction of an artwork that brings Aeneas into poetic being as another Achilles. Special attention is paid to Marlowe’s use of the “cinematic silhouettes” and “sonic tapestries” of classical ekphrasis, devices he puts to work in the narrative’s many references to hands, and in the emotion literally written into the narrative’s text. Tracing the intricate linguistic patterns of Aeneas’s Troy story enables one to see it as a pictorial tableau comprising eight panels, that is, as Marlowe’s mural of Troy’s fall. This new artwork reveals a post-Virgilian Priam and Hector as signifiers of Marlowe’s ekphrastic ambition, and a “Virgilian-ness” that resides in, and is condoned by, its differences from the mural ekphrasis. After assessing Marlowe’s engagement with the ut pictura poesis doctrine, it is concluded that his mural of Troy’s fall is a bridge linking “ancient” and “modern” traditions of ekphrasis.

中文翻译：

---

狂热的宣泄：克里斯托弗·马洛（Christopher Marlowe）的壁画在迦太基女王迪多的悲剧中落入特洛伊

摘要本文通过《维吉尔的埃涅提书》第1卷中的壁画内脏散发来探讨克里斯托弗·马洛（Christopher Marlowe）的《迦太基王后的狄多的悲剧》的第2幕第1幕。它辩称，这一场景是马洛（Marlowe）试图上演壁画内脏的尝试，从而使他自己成为维吉尔授权的美学事业：建造一个旧故事的新版本，特洛伊的陷落，作为内脏。它表明埃涅阿斯在狄多中的特洛伊叙事是埃涅阿斯在他的脑海中建构的“说话画面”，并在情绪上以一种宣泄的方式作出反应，而这种宣泄在该术语的批判历史中尚未得到认可，这被称为狂妄宣泄。此外，它认为马洛（Marlowe）模仿了维吉尔（Virgil）在将特洛伊（Troy）叙事戏剧化的过程中所做的艺术创作工作，并转交给他的埃涅阿（Aeneas），就像他的古典先驱一样，一件艺术品的情感建构将埃涅阿斯带入了诗意之中，成为另一个致命弱点。特别注意的是马洛（Marlowe）使用古典内脏话的“电影剪影”和“声挂毯”，他在叙事中对手的许多引用中以及在叙事文本中写出的情感中使用的装置。追溯埃涅阿斯（Aeneas）特洛伊（Troy）故事的错综复杂的语言模式，就可以将它看作是由八个面板组成的图画形式，即马洛（Marlowe）的特洛伊（Troy）堕落壁画。这幅新艺术品揭示了维吉尔时代的Priam和Hector代表着Marlowe狂热的野心，以及一种“维吉尔式”的存在，并被其宽恕与壁画的湿疹不同。在评估了Marlowe对ut pictura poesis主义的参与之后，