The truth that ambition and desire for material objects does not always satisfy the soul is a major theme depicted in Christopher Marlowe’s Doctor Faustus. The poem on page 93, lines 96-113 is the essence of this theme. It describes Faustus meeting, what he believes, is the icon of perfection. This perfection is a mere human women, yet, to Faustus, she is worth his life. Marlowe’s use of syntax and diction, allusions and references, and other literary devices throughout this monologue give support to the theme while adding rich symbolic images.
	The first example of diction in the monologue is the use of the saying, "the face that launched a thousand ships" (l. 96). This is a commonly applied expression when speaking about Helen of Troy. Throughout the play, Faustus fluctuates between the use of advanced and lesser vocabulary. Here, he is so shocked by Helen’s beauty that he knows nothing else but this typical phrase. This implies that Faustus is in a state of hypnosis. He is taken over by Helen’s beauty, and in the process, loses his soul. Another illustration of the trance Faustus is in, is by the use of alliteration in the first two lines of the poem. This device causes the reader to read the lines more slowly. The pronunciation of words in a moderate fashion suggests this trance, and makes the rest of the passage more comprehensible. In contrast to the first two lines, the rest of the section can be read more easily and therefore, faster. Few caesuras are utilized in this part, making the paragraph flow better. The quick pace of the these lines indicate excitement on Faustus’ part. If this is the case, it is understandable how he loses his soul without resistance. The last line is brought back to a slower pace. The word "paramour" lends itself to a laggard pronunciation, which enforces Faustus’ realization that his soul has been taken. This is all due to Marlowe’s choice of words and sentence structure. Because the reader can experience Faustus’ state of mind through the writing, they can relate to the upcoming circumstances. Faustus’ excitement of the need for the material aspects of life, lead to his downfall.
	Allusions and references also add to the comprehension and depth of this piece. Many references are made to familiar Greek mythology characters, including Paris, Menelaus, Achilles, Jupiter, ...
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...ted at as being a demon, their kiss makes him cursed. In the Catholic church, relations with a demon is unpardonable, and in turn kills any chance of Faustus being redeemed by G-d. Because he wanted Helen for her material beauty, he had to sacrifice his soul. When he finally does sacrifice his life to Helen he gives a brief cry for help. He underestimates the damage he has done and screams, "Her lips suck forth my soul. See where it flies" (l. 99)! He returns to her asking her to kiss him again, soon forgetting the damage he has done. This example of a litotie is contrasted with Faustus’ hyperbole of Helen’s magnificence. The juxtaposition of these concepts against each other prove that Faustus cared little for his spiritual body, and more for Helen – the material body.
	Marlowe’s use of strong literary devices in lines 96-113 on page 93 greatly supported the theme that only striving for material objects will only lead to harm. Faustus exemplified this theme in his Helen of Troy monologue, where he asked for her in return for his soul. In the end, Helen took Faustus’ soul, leaving him with neither, the material pleasures, nor a spiritually complete life.
As first introduced, Dr. Faustus appears to be an individual full of ambition that has made a name for himself within the academic community and is well respected by his peers. However, because the knowledge of man was something that he had appeared to have easily mastered, Faust becomes discontent with it much like a child tires of an old toy. Here Marlowe establishes the binary of want versus need, in which a gift is bestowed upon an individual who has put forth little to no effort in obtaining it and as a result possesses an overall lack of appreciation for its value. This applies to the young doctor in the sen...
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.
This essay takes a look at how the given passage from Christopher Marlowe’s Doctor Faustus reflects the play as a whole, and what the passage contributes to the play. Doctor Faustus deals with many issues, for instance: the failure of ‘Renaissance man—of his dreams and aspirations and, more particularly, his failures and illusions.’ This idea of overreaching is central to the excerpt. Moreover, religion plays a large role in the extract, and continues to resonate throughout the entire play. This paper looks at both, the overreaching Renaissance man and religion, closely to show the importance of the passage under analysis to the complete work. Moreover, during Marlowe’s time, drama was considered to be ‘a satanic opposition to the Word of God’; therefore, this essay will determine whether Doctor Faustus was originally created to challenge or subvert such criticism. Furthermore, the poetic style, rhetorical devices, and intertextuality Marlowe employs are analysed to show how they may be different to the rest of the play, and how this affects the play as a whole. It is important to recognise that Marlowe’s personal life and beliefs may have had an impact on his work; however, this paper focuses on the play itself, and does not draw parallels with Marlowe and, the protagonist, Faustus. All in all, this essay considers whether one can see the entirety of the play in the chosen section.
Marlowe’s Faustus (Latin for ‘lucky’) is a reworking of the Faust story, a German legend that shares the same story. Hamlet has also been identified to share certain themes and plots (revenge, regicide and madness) with previously written scriptures, one is the Saga of Hrolf Kraki, believed to be Scandinavian, the other ...
Dr Faustus is a short play written by Christopher Marlowe. The play is a masterful insight into the paradoxical soul of mankind and its ironically self inflicted corruption. The play could be classified as a theological allegory. It can be assumed that the play specifically speaks to the religious motivations of the time, but can be adapted to the present as well. Marlowe portrays Faustus’ ambition as dangerous; it was the cause of his demise. Perhaps Marlowe used the theme of over-ambition as a warning to the audience, who would be likely to be wary of ambition - it was looked down on as a negative personality trait in Christian England (Calvinism) (Munteanu, Class notes). An on going theme within the story is the corruption of a soul which is played out through the use of religious beliefs. Specifically, the use of the seven deadly sins is a precursor to man kinds self inflicted death. Marlowe uses sin, redemption and damnation to get his point across to the audience. The sins that Marlowe specifically uses are those of: pride, covetousness, wrath, envy, gluttony, sloth and lechery. Theses sins are colourfully displayed through the character traits of Dr Faustus. In the process we view them and can adapt them to our own lives and how they are all parts to the corruption of our souls.
Do not fancy anything right, do not fancy that I could teach or assert what would better mankind or what might convert. I also have neither money nor treasures, nor worldly honors or earthly pleasures; no dog would want to live this way!(p. 95) Obviously, Faust has fallen into an inhumane state of living, through the pursuit of the unattainable. He becomes greedy, desperate and feels justified in whatever it takes to achieve a position of the over-man. At that time, Christians and society in general considered his pursuit of lust immoral, unjust and irresponsible.
The play progresses to Faustus gaining power but doing nothing productive with it because he has no wisdom to guide himself on. Faustus wishes for power and has plans looking forward to his future life but as he gains it, he starts to lose his wisdom as power clearly took a toll on his mind. He becomes a performer for an emperor and finally ends up believing there is no redemption for his life as he knows he has sinned against God before and after his deal with the devil which what he believes - his last straw with God. Faustus crumbles after he has too much of the weight of power in his hands to the point it ruins him, as he has no wisdom to properly organize his goals or
Marlowe, Christopher. The Tragedy of Doctor Faustus. Ed. Louis B. Wright. New York: Washington Square Press, 1959.
The parallels between Marlowe and Faustus emerge far before their forays into the supernatural and the risk taking. Marlowe “enters the twenty-first century arguably the most enigmatic genius of the English Renaissance. While the enigma of Marlowe’s genius remains difficult to circumscribe, it conjures up that special relation his literary works have long been held to have with his life” (Cheney 1). From the very onset of their respective births, it is evident their early life and education are closely mirrored. Christopher Marlowe came from humble roots. His “father, John, was a shoemaker by trade and his shop was also located in the parish” (Marlowe Society). His family was “relatively poor,” but Marlowe managed to rise above his...
The Tragic History of Doctor Faustus is Marlowe's misreading of the drama of the morality tradition, the Faust legend, and, ironically, his own Tamburlaine plays. In the development of the character of Doctor Faustus, we find one of the supreme artistic achievements of English dramatic literature, a milestone of artistic creativity and originality. The force of Marlowe's dramatic poetry resonates with lyrical intensity in its dialectic between world and will. Not only is Faustus the first true dramatic character of any psychological, moral, and philosophical depth in English literature of the modern period, but in his creation of this unique character we see Marlowe on the verge of Shakespearean characterization, that supreme artistic achievement that Harold Bloom calls the invention of the human personality.
Christopher Marlowe’s 14th century play “The Tragical History of the Life and Death of Doctor Faustus” demonstrates not how the Devil can lead mankind to temptation, but how mankind through free-will can ultimately lead itself to suffering through sin. I believe that Marlowe heavily uses Christian doctrine through the actions of John Faustus in order to criticize those who do not partake in or see the seriousness of religion.
Marlowe reflects ambition in the character of Faustus to deter the audience from being ambitious, and over-reaching their place in the ‘Chain of Being’. However, if Marlowe chose to be ‘dangerously over-ambitious’ and regarded himself as this, it is likely that he may have written ‘Dr. Faustus’ differently, not viewing ambition in such a negative way. Whatever Marlowe’s view on ambition was, it is not made clear in the play, through Faustus or other characters. Certain aspects of his personality are indeed reflected in Faustus, which make reading the play and exploring Faustus as a character even more intriguing.
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
In this essay the critical approach on (Mythological and Archetypal Approach) played a big role in forming my opinion of the signet classic book, "Doctor Faustus" It is to my knowledge that mythology does not meet our current standards of factual reality, but unlike the 16th century which this play was presented, men like Faustus saw myth as fundamental and a dramatic representation of the deepest instinctual life in the universe.
The Romanticism period is marked by changes in societal beliefs as a rejection of the values and scientific thought pursued during the Age of Enlightenment. During this period, art, music, and literature are seen as high achievement, rather than the science and logic previously held in esteem. Nature is a profound subject in the art and literature and is viewed as a powerful force. Searching for the meaning of self becomes a noble quest to undertake. In the dramatic tragedy of “Faust” by Johann Wolfgang von Goethe, we find a masterpiece of Romanticism writing that includes the concepts that man is essentially good, the snare of pride, and dealing with the supernatural.