This essay examines representations of violence in I Tamburlaine. In the play, Marlowe weds Tamburlaine’s desire for recognition to brutal spectacular violence and attunes audiences to the normative violence that recognition entails for the vulgar or common classes to which Tamburlaine, a poor Scythian shepherd, belongs. In a world that marks certain bodies, social classes and even names as unworthy of certain kinds of recognition, the creation of bloody spectacles, such as the slaughtering of the virgins of Damascus, becomes Tamburlaine’s only means to gain political visibility. By yoking Tamburlaine’s ascendance and eventual triumph to his increasingly effective use of spectacle, Marlowe’s I Tamburlaine makes a case for the narrative possibilities of spectacle to make a life like Tamburlaine’s both visible and compelling.

本文探讨了《坦布尔莱恩》中暴力的表现形式。在剧中，马洛（Marlowe）嫁给了坦布拉伯恩（Tamburlaine）对残酷的壮观暴力的认可的愿望，并使听众适应这种规范化的暴力行为，这种承认意味着坦布拉伯恩（Scythian牧羊人）属于低俗或普通阶级。在一个将某些机构，社会阶级甚至名字都标记为不值得某种承认的世界中，制造血腥的眼镜（例如，屠杀大马士革的处女）成为坦布尔莱恩获得政治知名度的唯一手段。通过赞扬Tamburlaine的崛起并最终获得对他日益有效地使用眼镜的胜利，Marlowe的I Tamburlaine 为眼镜的叙事可能性提供了理由，使坦布拉·莱恩的生活既可见又引人注目。