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Analysis of doctor faustus by marlowe
Dr faustus as a tragedy
The tragic history of doctor faustus thesis
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Christopher Marlowe's The Tragical History of the Life and Death of Doctor Faustus
For a play that has retained much of its scholarly value over the four hundred and ten years, there is surprisingly little known about Christopher Marlowe’s masterpiece, The Tragical History of the Life and Death of Doctor Faustus. The date of its first performance is unknown, and is highly obscured by the added facts that there are two texts of Doctor Faustus, one published in 1604; the other in 1616 (Ribner viii). Christopher Marlowe, even in these early times, set a standard for tragic plays, which would not be rivaled until Shakespeare unleashed his literary landmarks at around the same time Marlowe’s career ended. Despite the lack of specifics on this seminal work, it is still easy to feel the pain Christopher Marlowe wished to convey with this text. Within the rich dialogue of The Tragical History of Doctor Faustus, Christopher Marlowe attempts to communicate a personal struggle; both emotional and spiritual, between what Marlowe views as human nature and what the world views as God’s desires for man, and the overwhelming feelings of loss which accompany this struggle.
Doctor Faustus is a play that thrives primarily on the discourses that abound throughout its length. In the dialogue between the two main characters, Doctor Faustus himself, and the demon Mephistophilis, one finds almost the entirety of the play. Doctor Faustus “…is a man who of his own conscious willfulness brings tragedy and torment crashing down on his head…”(Cole 191). Faustus finds himself melancholic with the pursuit of knowledge he has thus far attained, commenting:
“Be a physician, Faustus; heap up gold,
And be eternized for some wonderous cure…
Why, Faustus, hast thou not attained that end?
Is it not thy common talk sound aphorisms?” (Ribner 5)
He has grown sick of the pursuit of knowledge as he sees it, and believing himself to have become educated in all of the worlds major subjects, seeks the power of God himself (Ellis-Fermor, 74). Through the art of conjuring spirits, commenting, “…A sound magician is a mighty God…” (Ribner 7). The human lust for power has reached a new height in Faustus, and to attain what he desires, the easiest means are demonic. On his way to making the decision to enlist infernal forces in his quest for power, Faustus is prodded by friends, Valdes and ...
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...ssey Press, 1966.
Masinton, Charles G. Christopher Malowe’s Tragic Vision, a Study in Damnation.
Athens: Ohio University Press. 1972.
Thomas, Vivien, and Tydeman, William, ed. Christopher Marlowe : the Plays and Their
Sources. London ; New York : Routledge, 1994.
Sharma, Jitendra Kumar. Christopher Marlowe, Doctor Faustus : a Criticism. New Delhi : Sterling Publishers Private, 1985.
Marcus, Leah Sinanoglou. Unediting the Renaissance : Shakespeare, Marlowe, Milton.
London ; New York : Routledge, 1996.
Ellis-Fermor, Una Mary. “Faustus”. Christopher Marlowe’s Dr. Faustus, Text and Major
Criticism. ed. Irving Ribner. New York: The Odyssey Press, 1966.
Kirschbaum, Leo. “Marlowe’s Faustus: A Reconsideration”. Christopher Marlowe’s Dr.
Faustus, Text and Major Criticism. ed. Irving Ribner. New York: The Odyssey Press, 1966.
Dabbs, Thomas. Reforming Marlowe : The Nineteenth Century Canonization of a
Renaissance Dramatist. Lewisburg: Bucknell University Press ; London : Associated University Presses, 1991.
Aquinas, St. Thomas. “On the eternity of the world (De Aeternitate Mundi)”. Trans.
Vollert, Cyril. Milwaukee, Marquette University Press, 1964.
The work entitled Dr. Faustus centers around the character thus named who aims solely to lift every limitation and exceed every boundary he encounters. From the very opening of the play after the chorus in the first scene, Dr. Faustus explains his dissatisfaction with the boundaries he has already met:
Having attained all that he desires from the knowledge of man, Marlowe’s character Faustus turns to the only remaining school of thought that he feels he must master which is the art of necromancy. In his pursuits, he manages to summon the devil Mephistopheles, arch demon of hell, and strikes a deal to trade his immortal soul with Lucifer in exchange for being granted an infinite amount of power and knowledge that extends even beyond the limits of human understanding. However in the process of negotiating the terms of his pact, it becomes clear that Faust is in a constant state of uncertainty in terms of whether he should repent and forsake the arrangement or simply go through with it. This underlying theme of internal struggle is introduced very early and reappears in later acts with the appearance of established binaries that suggest a theme of division not only among the character of John Faustus, but within the written text as a whole. This suggests that Faustus is meant to serve as a symbol for the divided nature of man and the consequences of failing to negotiate the struggles that are a result of the divided self.
John Faustus - the main character - is educated in many fields: medicine, law, divinity, and philosophy, yet his appetite for knowledge is still insatiable. Despite his vast knowledge he is unfulfilled because he still lacks power. As the play unfolds, Faustus is overcome by a craving for power. He eliminates God from his life: "And Faustus vows never to look to heaven,/ Never to name God, or pray to him,/ To burn his Scriptures, slay his ministers,/ And make my spirits pull his churches down" (5.270-3). In western society today, people still lust for power - it is human nature to want. In Faustus' claim that he has nothing more to learn from this world his ambition turns to arrogance, and his intelligence turns into ignorance. Faustus believes that he can attain power beyond mortal ability. Why would God help Faustus, when he refuses to listen to God, and ignores the signs God gave him? Faustus makes several choices in ignorance of the final consequence. When he is having an argument (with the Good Angel and Evil Angel), and chooses to ignore the Good Angel (1.70-73).
Dr. Faustus has been renamed and changed throughout history by many different authors. Each variation contains the same plot and main characters, but the theme, resolution, and structure vary based upon the time period. For example, the first acted version of Dr. Faustus was written in 1592, by Christopher Marlowe, but Marlowe stole the plot from the original version “Historia and Legend of Dr. Johannes Faustus. The most updated version is “the Devil and Daniel Webster,” which was written in 1937. Here, the difference in obvious. The titles were changed, so the play is more appealing to the people in the era. Furthermore, these changes have occurred in two different versions, which were written in different times. Ultimately, these variations have altering themes, resolutions, and structure, which change the message of the story in slight ways.
Although Christopher Marlowe's Doctor Faustus has outclassed every one at Wittenberg with his academic studies, he is "still but Faustus, a man." Proud of his accomplishments, he desires to become a superman. His judgment clouded by the sin of his pride, he misunderstands his knowledge and dismisses the disciplines of medicine, philosophy, law, and divinity. He lusts for God's capability to "make men live eternally or being dead raise them to life again," believing the devil's arts of magic and necromancy can provide the power, honour, omnipotence and, most importantly, the wealth he craves. His deluded pursuit of the immediate pleasures such wealth can yield brings upon himself the risk of eternal damnation. By conjuring the devil, Faustus removes himself from the influence of the Holy Ghost and God's love, instigating attacks of despair, and internal conflicts as personified by the Good and Bad Angels.
III. Faustus is portrayed as a very individual character. He changes and is shaped by the events that happen all around him. Everything he does affects his future outcome. For example his decision to give up his studies of medicine were very un-stereotypical of a character that is studying to be a doctor to do. Even more so is his decision to take upon the necromantics of the devil. He says, “Then read no more; thou hast attain'd that end: A greater subject fitteth Faustus' wit.” (1.11) He believes that he has learned enough information about all the great things of the world and there is nothing left to study that will intrigue him as much as magic will. His curious personality affects the play because his decisions determine the plot. For example the Seven Deadly Sins entice him so he becomes convinced not to repent his sin. This characterizes him as gullible, curious and adventurous. He becomes obsessed with his magic and he absolutely loves having the powers to do anything he pleases. An example of this is when he conjures up Helen. He knows he can do whatever he wants without reservation so he chooses to conjure the woman who launched a thousand ships. This shows that not only is he gullible, curious and obsessed but also Faustus only wishes for the best in whatever he does; the best that will please him.
Faustus sells his soul for what he believes to be limitless power, with the full logical, as opposed to emotional, knowledge as to consequences of such a transaction. He knows the stakes of his gamble with the ...
Doctor Faustus is a doctor of theology that wants no limits on what he can know or see or do so he sells his soul to the devil to gain these desires. While reading or observing Marlowe's fascinating play the reader or observer should apply the "New Historicism Approach," and take in to consideration Marlowe's and the 1590s society's beliefs, habits of thought, and biases about various concepts of obtaining the "forbidden knowledge". Like the people of the 1590s, Doctor Faustus searches for the "forbidden knowledge", begins to deny God during his quest for greater knowledge, and gains nothing from his vain activities throughout his lifetime. After these listed characteristics have been established one can begin to visualize the relationship between Marlowe's, Doctor Faustus and the beliefs and thoughts of the people of the 1590s.
(Munteanu, 2002). Therefore it can be said that Marlowe is attempting to alter the doctrines his fellow country men with whom are questioning their religions. Marlowe uses the renaissance ideals with the medieval myths to master his point. This work is a forewarning of damnation by those who attempt to alter the doctrines or moral standards, and a beacon of caution to those in search of the unknown. Dr Faustus, the work of good and evil. When man becomes idle his mind wanders and he wants more. With the wealth of knowledge Dr Faustus wanted more, he was no longer content with his academia since they could no longer provide him with wealth and fame as well as fulfill his souls want, he turned to the mastering of the dark arts.
Marlowe, Christopher. The Tragedy of Doctor Faustus. Ed. Louis B. Wright. New York: Washington Square Press, 1959.
I can go as far as saying that Faustus lusts to be God, similarly to Lucifer, considering everything he has asked for. Lucifer was envious of God before he fell from grace, and with Faustus emulating Lucifer so closely, he also matches this unnecessary envy through his actions. He is too charmed with being a God in which he says “A sound magician is a mighty God.” The fact that Faustus wants to be an equal with God has him in complete denial of God 's power. But just as how Lucifer was damned for the same desires, Faustus was destined to follow the same fate. Despite Lucifer’s damnation, it is also as if he has succeeded in someone serving him as a God, seeing that Faustus has gave himself up to
“Marlowe’s biographers often portray him as a dangerously over–ambitious individual. Explore ways this aspect of Marlowe’s personality is reflected in ‘Dr. Faustus.’ ”
Marlowe, Christopher. The Tragical History of D. Faustus. In Renaissance Drama: An Anthology of Plays and Entertainments. Edited by A.F. Kinney. Massachusetts: Blackwell Publishers Ltd., 2002.
Austen, Glyn. “The Strange Ambiguity of Christopher Marlowe and Dr Faustus: Glyn Austen examines the powerful paradoxes of Dr Faustus in the light of its literary and intellectual context.” The English Review 14.1 (2003): 2
This play is about how Faustus puts on a performance for the Emperor and the Duke of Vanholt. The main thesis or climax of this play is when Faustus two friends Valdes and Cornelius who are magicians, teaches him the ways of magic. Faustus uses this magic to summon up a devil named Mephistophilis. Faustus signs over his soul to Lucifer (Satan), in return to keep Mephistophilis for 24 years. We also see what happens when magic power gets in the wrong hands when Mephistophilis punishes Robin, who is a clown and his friend Ralph for trying to make magic with a book they have stolen from Faustus. In the beginning angels visit Faustus, and each time he wonders whether or not to repent, but the devil appears and warns him not too by tempting him of magic to posses. In the end of the play the two good and evil angels have been replaced by an old man, who urges Faustus to repent? But it is to late for and the play ends with the devil carrying him off the hell.