Dr. Faustus
Dramatic Quality of the Central Scenes in ‘Dr Faustus’ by Christopher Marlowe 'Dr Faustus' is considered by many to be a tragic play, in fact, Marlowe himself called it, ‘The Tragicall History of the Life and Death of Dr. Faustus’. However, there are several scenes in the middle of the play (scenes 6 to 11) which can be considered to be comical scenes, which do not fit into the stereotype of tragedies of the time. They can be considered to be interesting scenes in their own right, but their overall purpose and their closely linked end dramatic quality, is examinable.
The central scenes are in place chiefly to interject humour into what would otherwise be a grave and serious play. They also work to parody the main plot and at the same time aid foreshadow Faustus’ downfall later on in the play. Both of these effects add to and improve the dramatic quality of 'Dr Faustus'. They add another dimension to the play and prevent it from being purely a grim and flat tragedy; without these central scenes, the play may not be as interesting and may be lacking in dramatic quality. The central scenes add another level to Faustus’ character, showing the audience how his behaviour and attitude to life have changed giving us a break from the overall tragedy of the play.
They also contribute to plot development in that they help further the play’s themes.
For example, the scenes with Robin and Rafe (scenes 6 and 8) parallel the main plot.
Although the pace here is faster, one must remember that the central scenes are relatively short, so the meaning and purpose of including these scenes must be more obvious. The comedy in these scenes adds to the tragedy of Faustus, showing comedy against Faustus as he is given great powers but uses them to perform petty tricks, therefore ridiculing his character and making the themes more complex.
Several new characters are introduced in the central scenes. Their purpose is primarily to develop the plot and to shape the audience’s opinion of Faustus by showing how he interacts with those characters and by drawing parallels to him. The two most normal characters in the comic scenes could be said to be Robin and Rafe, featured in scenes 6 and 8. They can be seen to be used by Marlowe in scene 6 to show how easily the common man can become distracted by magic and could be a subtle warning to the audience of Faustu...
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...r returns wet and crying with no horse, the audience would find this visually interesting primarily due to the black comedy involved but also because it is a contrast to other events in the play. It is uncertain whether or not the audience would perceive the part of the scene where Faustus’ leg falls off as humourous or not, it depends on their view of slapstick comedy in relation to and included in this play. As a part of the contemporary audience, I feel that it is unnecessary and lowers the dramatic quality at this point, however I would think that an Elizabethan audience would disagree. They would be going to the theatre to be entertained, and may have expected some comedy even in a play as tragic as 'Dr Faustus'.
In spite of this, I feel that the overall dramatic quality of the central scenes is positive and effectively worked to further Marlowe’s themes. One should bear in mind that even though the type of humour that operates in these scenes is not directed at a contemporary audience and therefore they may not find it as humourous as an audience of the time, modern advantages of better props, settings and stage techniques would improve the dramatic quality of the play.
Minor characters play a very crucial role in Shakespear's Hamlet. They serve as narrators for events that occurred outside the immediate play: the Dane's ghost. Distinct contrasts are created through the usage of the play's minor characters. The reader gains new perspective on Hamlet's character when he is compared with Laertes. The presence of these minor characters can also have a direct effect on the action of the play. The actors in the play within the play are used to expose the guilt of Claudius; Hamlet then has proof of the King's crimes. The expertise use of these characters - either to exemplify good and purity, or to spread the vile corruption which permeates Elsinore - is one of the main reasons for Hamlet's success as one of the greatest plays ever written.
1, scene 5 is an essential scene in the play. The main two themes are
In Christopher Marlowe’s The Tragical History of the Life and Death of Doctor Faustus, the ill-fated protagonist serves as stark example of what is to come of man when he strays from God’s grace. In the play, Dr. Faustus deliberately shuns religion and rationalizes his ever-unsatisfied pursuit of knowledge, ultimately leading to a pact with the demon Mephistopheles. The Doctor’s sinful actions and inability to repent are a display of his own free choices and how he willingly chooses his downfall. A key scene in which Faustus ignores a warning of his fate-to-come is when Mephistopheles presents an outdated and unfulfilling explanation of the cosmos. While some critics have argued his lacking description of the universe is simply to torment Faustus, upon further scrutiny it becomes evident this is only one of many red flags Faustus disregards out of pride in intelligence, a reflection of his deliberate choosing to discount God.
Kostić, Milena. "The Faustian Motif in Christopher Marlowe’s Dr. Faustus." Facta Universititas 7.2 (2009): 209-22. Web. 04 Dec. 2013.
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.
Faust’s extreme subjectivity explains why the love affair with Margarete, so quickly displaces the original plot. The scene between Mephistopheles and the student adumbrates the turn to love, and after a brief traditional episode from the Faust chapbook in ‘Auerbach’s Tavern’ – into
...ibutes to the play's charms as William is summarily dismissed by Touchstone (using his wit as usual); this satire of the pastoral convention of overcoming obstacles to love is humorous. Likewise, Phebe's insults of Silvius and Ganymede's chiding of Phebe draws laughter from the audience.
Among the tragedies of Shakespeare Othello is supreme in one quality: beauty. Much of its poetry, in imagery, perfection of phrase, and steadiness of rhythm, soaring yet firm, enchants the sensuous imagination. This kind of beauty Othello shares with Romeo and Juliet and Antony and Cleopatra; it is a corollary of the theme which it shares with them. But Othello is also remarkable for another kind of beauty. Except for the trivial scene with the clown, all is immediately relevant to the central issue; no scene requires critical justification. The play has a rare intellectual beauty, satisfying the desire of the imagination for order and harmony between the parts and the whole. Finally, the play has intense moral beauty. It makes an immediate appeal to the moral imagination, in its presentation in the figure of Desdemona of a love which does not alter ‘when it alteration finds’, but ‘bears it out even to the edge of doom’. (139)
Both Hamlet and Faustus contain a clash of themes and traditions, all catalysed by Religion. This is used to establish a theme of deception, which greatly impacts the protagonist’s procrastination. Procrastination is considered to be Hamlet’s tragic flaw, however Faustus’s flaw is considered to be his hubris.
How long will a man lie i' th' earth ere he rot? - Hamlet, V, i, 168
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.
Doctor Faustus, also referred to as The Tragical History of the Life and Death of Doctor Faustus is a play by Christopher Marlowe. This play is based on a German story where a man sells his soul to the devil in quest for knowledge and power (Sales 340. The protagonist in this play is Doctor Faustus. Doctor Faustus was hungry of power and knowledge and in search for them; he sold his soul to the devil. At first, he was very happy with the praise he received from the people as they considered him a hero. Later on, Faustus learns that he committed a grave mistake of selling his soul to the devil for twenty-four years. Even though he felt remorseful for his mistakes, it was already late for him. He is later found by his fellow scholars dead and torn from limb to limb. Faustus was a heroic fool who only thought of power and never thought of eternal damnation.
Doctor Faustus can only be described as a man that had a fervent hunger for power. The Tragical History of the Life and Death of Doctor Faustus, or, which is commonly known as, just ‘Doctor Faustus’, is an Elizabethan story written by Christian Marlowe. The work represents the tragic life of a scholar, John Faustus, who later finds himself into damnation because of his decision to practice sorcery. Since he had deliberately sold his soul to the devil, he gains incredible knowledge and power through his involvement of necromancy. Though he feels he has endless power, he is later forced to face his downfall. When his 24 year period, the time he had agreed to, is over, he is taken and dragged to Hell realizing his lack of good sense.
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.
Besides Faustus, another significant character in the story is Mephistophilis. The most interesting aspect of Mephistophilis’s character is that he has mixed motives. At the beginning of the story, it is clear that he wants to play a role in Faustus’s damnation: