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Dr faustus by christopher marlowe essay
Dr faustus by christopher marlowe essay
Why did henry VIII break away from the roman catholic church for money
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Doctor Faustus by Christopher Marlowe
Elizabeth I came to the throne of England during a time of intense religious turmoil and political uncertainty. By the end of her reign, England stood as the first officially Protestant nation in Europe; however, tensions between Protestants and the repressed Catholic minority continued to plague the nation. Much of the literature produced during the time of her reign reflected sensitivities to religion and resulting political intrigues. In his play Doctor Faustus, Christopher Marlowe places the title character in a power struggle similar in form to those conflicts dominating Elizabethan life. Yet rather than a battle among courtiers for royal favor, the battle in Doctor Faustus pits god against the devil in a struggle for the possession of a man’s soul. Reflecting the cultural and religious context of the sixteenth century, Marlowe’s Doctor Faustus comments on prideful ambition, which leads to a loss of salvation for human pawns in the cosmic power-struggle for souls.
In a conflict similar to that existing between English Protestants and Catholics, Faustus must choose between God and the Devil, risking his eternal life in anticipating which will be the winning side. When Henry VIII broke from the Catholic Church and established the monarch as the head of a new English Protestant Church, he made religion largely dependent on politics. In reference to Marlowe’s treatment of religion in Dr. Faustus, John Cox writes, “Marlowe’s implicit reduction of the Reformation to a struggle for power is an acute response to the secularization introduced by the Tudors. . . . Protestants made religion a matter of crown policy, and thus comparatively a matter of mere power” (114). When Ma...
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...he struggle for power between God and Lucifer reflects the religiously-based political struggles under the reign of Elizabeth I. The horrors of the struggle for a man’s soul in which the need for power outweigh the gifts of God’s grace reflect on the consequences of a secularized state in which religious devotion is largely reduced to a matter of political supremacy.
Works Cited
Bowman, Glen. “Elizabethan Catholics and Romans 13: A Chapter in the History of Political Polemic.” Journal of Church and State 47.3 (2005): 531-44.
Cox, John D. “The devils of ‘Doctor Faustus.’” The Devil and the Sacred in English Drama, 1350-1642. Cambridge: Cambridge UP, 2000. 107-126.
Marlowe, Christopher. “Doctor Faustus.” Norton Anthology of English Literature, Vol. 1B. Edited by M.H. Abrams and Stephen Greenblatt. New York: W. W. Norton and Co. 2000. 991-1023.
English Catholicism had significantly changed by the time of James’s accession to the throne. Under Henry VIII, England broke away from the Catholic Church in Rome. The King was now the head of the Church of England. By the time Elizabeth came into power a substantial number of the population were still Catholic. Principled dissent to the Elizabethan Settlement came from two directions: Catholic and radical Protestant. Of the two the Roman Catholic menace seemed the more important and the government and the Church spent more time combating it. In this essay I will examine whether efforts to destroy English Catholicism during the Elizabethan era were successful. Traditionally, historians argued that Catholicism was hopelessly fractured but heroic efforts by Catholic missionaries had saved the Catholic English community. The Act of Uniformity in 1558 meant that everybody had to go to Church once a week or be fined. This included the Catholic community. Many conformed to avoid punishment but still believed in the Catholic doctrines. Ordinary clergy helped maintain the Catholic doctrines in English society. By the time of James’s accession to the throne it was clear that the Catholic community were an important issue because a part of English society was still Catholic. Furthermore, it was soon clear that King James would be more tolerant to the Catholic community in comparison to Elizabeth.
Alongside a broad spectrum of entertainment, creativity, and exquisite craftsmanship, William Shakespeare’s works exhibit more than an ideal playwright’s masterpieces; they unearth political, social, and even religious agendas. While writing in seventeenth century England, Shakespeare undoubtedly had the church on his mind during many of his writing endeavors. King Lear permits no exceptions. Though it has often been fractured and split into many different realms in order to fit the lenses through which it has been criticized, (such as feminism, psychoanalysis, and cultural materialism) it is evident that King Lear places an exaggerated emphasis on the idea of separation and forgiveness, both of which are extremely stressed concepts within the Bible as well. In her article, “King Lear and the Prodigal Son,” Susan Snyder asserts that King Lear parallels the Biblical parable of The Prodigal son, found within the book of Luke. This parable is regarded as one of Jesus’ most famous parables, as it refers to salvation as something to be obtained by faith rather than good works. The Protestant Reformation marked the first time that this idea had been put to practice within churches, as the former corrupt Catholic Church had been known for selling indulgences to pay for sin. Needless to say, this parable was probably a heavily sought out item during this time in which Shakespeare was writing. Through Cordelia’s meek, mild, and at times gender-reversed portrayal and King Lear’s childish antics and love for immediate gratification, Snyder’s “King Lear and the Prodigal Son” perfectly illustrates the blatant similarities between the play and the parable.
10. Walter N. King. Studies in English Literature, 1500-1900 , Vol. 8, No. 2, Elizabethan and Jacobean Drama (Spring, 1968) , pp. 283-306
Goethe, Johann W. V. “Faust.” The Norton Anthology of World Literature: 1800-1900. Eds. Sarah Lawall and Maynard Mack. 2nd ed. Vol. E. New York: W. W. Norton, 2002. 774. Print.
Spinrad, Pheobe. The Summons of Death on the Medieval and Renaissance English Stage. Columbus: Ohio State University Press, 1987.
Tantillo, Astrida Orle. " Damned to Heaven: The Tragedy of Faust Revisited."Monatshefte Für Deutschsprachige Literatur Und Kultur 99.4 (2007): 454-468. Print.
Bevington, David M; Rasmussen, Eric. “Doctor Faustus A- and B- texts (1604, 1616): Christopher Marlowe and his collaborator and revisers.” Manchester, England: Manchester University Press. (1962). Academic Search Complete. Web. 5 Dec. 2013 (Bevington)
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.
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.
Marlowe reflects ambition in the character of Faustus to deter the audience from being ambitious, and over-reaching their place in the laws of the church. Marlowe uses symbols of religion to fill the play such as the use of the dark arts, angles, demons, God, the Devil, quotes from the bible, the symbol of blood, and the use of the seven sins. With the use of these icons he humou...
Existing between two opposing currents of Western thought – the Enlightenment and Middle Ages - the Renaissance can be seen as a time of internal conflict, one that originates from the forced reconciliation between more progressive modes of thought and traditional Christianity. Christopher Marlowe’s dramatic work, Dr. Faustus captures these intrinsic contradictions of the time period. The literal and spiritual demise of the title protagonist results from a failed attempt to become a learned Renaissance Man.
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’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.
Snow, Edward A. "Marlowe's Doctor Faustus and the Ends of Desire." Two Renaissance Mythmakers: Christopher Marlowe and Ben Jonson. Ed. Alvin Kernan. Baltimore, MD: The Johns Hopkins University Press, 1997. Print.