馬婁是英國文藝復興時期一位才華洋溢的劇作家，其作品中展現出顛覆的精神，作品中的主角都熱切追求現世的獎賞。在《帖木兒大帝》中，主角帖木兒終其一生都渴求權力，也汲汲追求權力。對他而言，握有權力也代表擁有主體性、自主性、統治權等等。「駭人之詞」及「征服之刀」是他施展權力的工具。帖木兒主要在三方面運用其演說技能：招募同伴、終結敵人、及型塑自我。此外，他也使用「權力的景象」去創造出「視覺的力量」，最常見的例子便是軀體。帖木兒常凌虐其敵人的軀體以取悅及提昇他自己。另外，他挺拔的體格、兵營色別、及其地圖都是他展現權力的工具。
　　另一方面，權力的施展是展現在掌控女人。帖木兒把陽剛之氣當作是威嚴的展現，他頌揚陽剛特質而摒棄一切有關陰柔的事物。所以，劇中的女性沒有得到善終。然而，儘管帖木兒握有了權力且征服了大半個世界，但他仍有能力不足的地方。他的口才與行動力並沒有完全的契合。再者，他否定陰柔特質，但並無法抹煞其存在的事實。雖說如此，帖木兒追求無限知識及現世功名的精神，仍舊是文藝復興人的象徵。他雖無法將其所有的抱負付諸實現，但他的存在展現一股力量，驅使觀看者能夠有所抱負，藉由權力的施展，建立永生的名望、並向世人證明自己的主體性及存在的意義。

　　Christopher Marlowe is a brilliant playwright in the Renaissance England. His works reveal the subversive spirit of the author. The protagonists in Marlowe’s plays are eager to pursue secular rewards. In Tamburlaine the Great, the protagonist Tamburlaine desires and pursues power throughout his life. For him, getting power means reaching subjectivity, autonomy, dominion, etc. And “high astounding terms” and the “conquering sword” are his instruments to practice power. Tamburlaine exerts his rhetorical skills mainly in three dimensions: to recruit companions, to eradicate his enemies, and to fashion himself. In addition, Tamburlaine utilizes different “sights of power” to create “power of sight.” The most frequent and obvious example of the sights of power is his strategy toward body. Tamburlaine tortures his enemies’ bodies to please and elevate himself. The enemies' bodies aside, Tamburlaine’s strong physique, his camp colors, and his maps are also elements for him to represent power.
　　On the other hand, power is also demonstrated in the control of women. Tamburlaine's masculinity is purposely displayed to demonstrate his majesty and power control to the extent that he worships masculinity and rejects any indication of femininity, even the femininity in the women characters. Therefore, women characters in the plays do not receive any good ending: too much masculinity will be regarded as potential rival thus must be terminated; too much femininity will be regarded as a weakling and thus does not deserve to live. However, there are some limitations: his eloquence and action do not fully correspond to each other. Also, he rejects feminized characters, but rejection doesn’t mean non-existence. Despite all the limitations, Tamburlaine represents the typical Renaissance Man, desiring for infinite knowledge and secular fame. Though Tamburlaine fails to fulfill all his ambitions, he acts as inspiring force driving the beholders to aspire for, to achieve everlasting fame, and to demonstrate to the world one’s subjectivity and existence is derived through power and power control.

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