In the world of theatre, there are many plays in which the central figure is one who harnesses extreme personality traits above all others. For example, Sophocles' Oedipus is a fatherly king with great ambition and strength; and Shakespeare's Macbeth is evilly ambitious, while Romeo and Juliet are driven solely by their love for one another. These traits give these characters unbelievable success... for a time. In these stories, these attributes bring about each character's downfall and death, qualifying each as a tragic hero, one whose strength leads to weakness. Christopher Marlowe's Dr. Faustus is a definite member of this class of characters, an arrogant yet impressively ambitious scholar who desires grandiose knowledge without the help and guidance from the world's major religion, Christianity. In Dr. Faustus, Marlowe uses tragic irony concerning Faustus' misunderstanding and rejection of God to illustrate the downfall of this tragic hero.
Faustus' character is established with his first soliloquy in the very first scene. Desiring to acquire knowledge, he distrusts logic, medicine, and law, claiming that he "hast attained [the] end[s]" and mastered these areas (253 , lines 1-36). When he considers religion, "divinity," he quotes Romans 6 :23 which says, "The reward of sin is death," and continues with 1 John 1 :8 , saying that everyone sins and therefore there is "no truth in us" (253 , lines 37 , 40 , 44). From this, Faustus concludes that there is no reason in believing in a seemingly hopeless faith where the only outcome is death, and so with a haughty goodbye he says, "What doctrine call you this? ... Divinity, adieu!" (253 , line 49).
Faustus is entirely too quick to form conclusions. If he wants knowledge, the last action he should take is not learning all about a possible flaw. Modern journalist Lee Strobel says in his faith- strengthening book The Case for Faith about difficult questions people pose about the Bible, "[B]ecause [someone isn't] able to answer them [doesn't] mean there [aren't] answers" (196 ). The astounding irony of this scene is Faustus' failure to read the next verse after 1 John 1 :8: "If we confess our sins, [God] is faithful and just and will forgive us our sins and purify us from all unrighteousness" (1 John 1 :9). Faustus' arrogance and conceit will not let him become fully knowledgeable to see hope, and therefore he has personally lost all hopes for his dreams by painting Christianity in a negative light.
Faustus further condemns himself by looking to magic in order to be a "demi-god," but even more so by believing a pact with the highest devil, Lucifer, will give him his dreams (253 , line 63). He gives a message to Mephistophilis, a devil, that says:
He surrenders up to [Lucifer] his soul,
So he will spare him four and twenty years,
Letting him live in all voluptuousness,
...
To give [him] whatever [he] shall ask. (256 , lines 91-93 , 95)
In his pursuit of knowledge, now believing his soul-selling has proven successful, Faustus asks Mephistophilis questions about the planet, and the heavens, which are very readily answered. However, when Faustus asks, "[T]ell me who made the world," Mephistophilis replies, "I will not" (260, lines 71-73). Now that Faustus believes he has been granted all knowledge, the irony exists in his inability to discover the answers to the ultimate questions of how the universe came to be, and more important, who made the universe. If he knew this, his knowing it would lead him directly back to God the Creator, and therefore to all knowledge whatsoever. But Faustus is now detached from God, unable to acquire the knowledge he desires.
By the end of the play, Faustus is so far detached from God that he literally has no chance of salvation. Faustus, of course, doesn't believe this. Although he recognizes his impending end ("What art thou, Faustus, but a man / condemned to die?"), he assumes he can have salvation at the last second, for "Christ did call the thief upon the cross," alluding to Christ's forgiving of a thief the day of Christ's (and the thief's) crucifixion (271 , lines 36 , 40). But as the sky runs with Christ's blood at Faustus' end, and as he cries out,
O, I'll leap up to my God...
See, see, where Christ's blood streams in the firmament!
One drop would save my soul, half a drop! Ah, my Christ! (277 , lines 154-156)
It becomes apparent that Faustus is doomed, unworthy of God's free grace as he is taken to Hell. His tragic end reiterates his misunderstanding of Christianity by taking out of context the passages from Romans and 1 John. If Faustus really were knowledgeable, he would have known Jesus' statement:
I tell you, whoever acknowledges me before men, the Son of Man will acknowledge him before the angels of God. But he who disowns me before men will be disowned before the angels of God. And everyone who speaks a word against the Son of Man will be forgiven, but anyone who blasphemes against the Holy Spirit will not be forgiven. (Luke 12 : 8-10)
Faustus lived for twenty-four years completely devoted to Lucifer, the chief opposition to God, never choosing right, thus signing his eternal death warrant.
Marlowe details the life of someone who misses completely the idea of God. The Christian faith does not teach a hopeless future that was given to Faustus through his ambition and stubborn delusion of grandeur. Instead, there is hope and was for Faustus. The Good Angel appears to Faustus to tell him to return to God, because "if [Faustus] hadst given an ear to [him], / Innumerable joys [would have] followed [him]" (276 , lines 108-109 ). Also, the Old Man who comes to Faustus near his end urges him to repent, telling him to "call for mercy and avoid despair" (274 , line 65). God's power is implied to be frightfully stronger than that which Lucifer gives, as when Faustus is in Rome with the devil Mephistophilis, who says even he fears the friars' chants from God (266 , lines 95-96). Faustus continually contemplates his decision to sell his soul, whether it was right or if he has condemned himself, however, he ultimately chooses to keep his satanic pact. Marlowe emphasizes through his tragic hero that no matter how condemned and sinful one feels, there is always a chance for salvation if one is willing to see it.
Showing posts with label Doctor Faustus. Show all posts
Showing posts with label Doctor Faustus. Show all posts
Wednesday, October 14, 2009
Renaissance elements in Doctor Faustus Renaissance ideals vs. Medieval morals
Renaissance elements in Doctor Faustus
Renaissance ideals vs. Medieval morals
Faustus's inner turmoil gives way to the dominant meaning within the play: Medieval morals versus Renaissance ideals. Marlowe's characterization of Faustus leads one to the predominant idea of duality in society of his era in which Medieval values conflict with those of the Renaissance. His refusal to see what is fact and what is fiction is a result of his pompous persona. In his quest to become omnipotent, Faustus fails to see that there is life after death and that his material possessions are of no consequence. Faustus is a combatant in his own internal war of knowledge or salvation.
In the opening of the play Marlowe uses the chorus to announce the time, place, and most importantly, to introduce Faustus. The chorus refers to the Greek myth of Icarus while characterizing Faustus - " Till swoll'n with cunning, of self conceit,/ His waxen wings did mount above his reach/ And melting, heavens conspired his overthrow!"(Prologue. 19-21.). " His waxen wings did mount above his reach" is an ironic comparison between Icarus and Faustus. It is ironic because Icarus directly disobeys his father, which ties into the idea of moral sin. However, in Faustus' case it is disobedient to become too learned. Also, the line " heavens conspired his overthrow" could be a reference to Lucifer's attempt to overpower God. Thus, the Chorus would ultimately be making reference to Faustus attempting to outwit God. This is the contrast between Medieval and Renaissance values; the medieval world shunned all that was not Christian while the Renaissance was a re-birth of learning in which people openly questioned divinity as with much more. The chorus makes it seem that Faustus is a 'bad' man because he seeks knowledge. In essence, it portrays Faustus as a "Renaissance man who pays the medieval price for being one."
Faustus's constant struggle to explore Renaissance principles is heightened by the Good Angel and Bad Angel. The Good Angel pulls Faustus towards Medieval values. He represents Faustus's Medieval instincts: "O Faustus, lay that damned book aside/ And gaze not on it lest it tempt thy soul/ And heap God's heavy wrath upon thy head!/ Read, read the Scriptures - that is blasphemy!" ( 1.1.67-69 ). The Angel is eluding to Medieval ideals by saying that books are 'damned' and will bring 'God's heavy wrath'. 'That is blasphemy' is yet another reference to books not being of God. The Good Angel is Faustus key to salvation. Again, Faustus's inner conflict gives way to the ultimate theme of redemption and sin. While the Good Angel represents the medieval era, the Bad Angel signifies the Renaissance : "Go forward Faustus, in that famous art/ Wherein all nature's treasure is contained./... / Lord and commander of these elements!"( 1.1.71-74 ). The Bad Angel feeds Faustus's thirst for knowledge by telling him that 'all nature's treasure is contained' in his books. Going even further, the Angel tells Faustus to be 'Lord' and 'commander' of these elements ultimately telling Faustus that he could be God if he so chose. Both angels are ultimately signify duality within society. Where half are pulled towards the righteous Medieval morals and the others toward liberated Renaissance ideals.
Faustus embraces his Renaissance persona by acknowledging his life choices. In his never ending quest to obtain knowledge, Faustus conjures Helen of Troy so that he may marvel at her beauty: "Was this the face that launched a thousand ships/ And burnt the topless towers of Illium? / Sweet Helen, make me immortal with a kiss./ Her kiss suck forth my soul. See where it flies!" ( 5.1.95-99 ). Helen is an apt person for Faustus to gawk at. She was considered to be the most beautiful women in all the world. However, Faustus lives in a time and place of sexual repression. Thus, Helen represents sin and sexual freedom - an end to Medieval morals. The word 'immortal' implies that Helen's kiss allows men to live forever and that Helen herself is 'immortal'. This ironical comparison demonstrates that Faustus is still in denial about death. However, with 'Her kiss suck forth my soul', Faustus suggests that Helen has taken his life. This is ironic on many levels, most noticeably being that many men died to rescue Helen from the Trojans. In addition, Faustus is the only one responsible for his lost soul. The conjuring of Helen of Troy represents Faustus's decision to accept what he has done with his life and follow his Renaissance persona. In calling on Helen, Faustus has yielded himself to immortal sins. First and foremost, Faustus has sinned by using black magic to call on Helen. Lastly, Faustus is openly sexual with Helen of Troy. His kissing of Helen is ultimately a symbol of accepting that which has already been done and preparing to face eternal damnation.
Faustus's epic battle between Medieval morals and Renaissance ideals results in his eternal damnation. Faustus has many chances to repent, yet not once does he decided to put an end to seeking knowledge and practicing magic. His decision is ultimately a signal for the end of Medieval beliefs in 'religion being the key' and the emergence of free thinking. Faustus has been said to be "a Renaissance man who paid the Medieval price for being one" ( R.M. Dawkins). He was an intellectual in a society of ignorance imposed upon by the clergy of the Catholic Church.
Though Faustus is the tragic hero of the play one must really consider if in fact Faustus's demise is tragic. Faustus makes his own decisions and knows where they will take him to in the end. He refuses to see that heaven and hell do exist and despite the many warnings given to him about the heinousness of hell, he still follows the path of damnation Faustus's harrowing demise results in eternal damnation is tragic. Though he is a man with the charisma and courage to follow his passions in life despite the duality within society and the constant pulling of morals and ideals. Faustus is told time after time that he can still repent and save himself from the wrath of God. Several times he does in fact repent, yet because of his inner conflict he 'takes it back'. Not till Faustus utters his last words is one completely sure that Faustus's story is tragic, at best. Ultimately, he dies unhappy and still a combatant in his own internal war.
At the end we can say that in spite of being a man of medieval period, Faustus was a Renaissance man. And by his activities we find the elements of Renaissance where medieval values are buried because of the emergence of Renaissance ideals.
Renaissance ideals vs. Medieval morals
Faustus's inner turmoil gives way to the dominant meaning within the play: Medieval morals versus Renaissance ideals. Marlowe's characterization of Faustus leads one to the predominant idea of duality in society of his era in which Medieval values conflict with those of the Renaissance. His refusal to see what is fact and what is fiction is a result of his pompous persona. In his quest to become omnipotent, Faustus fails to see that there is life after death and that his material possessions are of no consequence. Faustus is a combatant in his own internal war of knowledge or salvation.
In the opening of the play Marlowe uses the chorus to announce the time, place, and most importantly, to introduce Faustus. The chorus refers to the Greek myth of Icarus while characterizing Faustus - " Till swoll'n with cunning, of self conceit,/ His waxen wings did mount above his reach/ And melting, heavens conspired his overthrow!"(Prologue. 19-21.). " His waxen wings did mount above his reach" is an ironic comparison between Icarus and Faustus. It is ironic because Icarus directly disobeys his father, which ties into the idea of moral sin. However, in Faustus' case it is disobedient to become too learned. Also, the line " heavens conspired his overthrow" could be a reference to Lucifer's attempt to overpower God. Thus, the Chorus would ultimately be making reference to Faustus attempting to outwit God. This is the contrast between Medieval and Renaissance values; the medieval world shunned all that was not Christian while the Renaissance was a re-birth of learning in which people openly questioned divinity as with much more. The chorus makes it seem that Faustus is a 'bad' man because he seeks knowledge. In essence, it portrays Faustus as a "Renaissance man who pays the medieval price for being one."
Faustus's constant struggle to explore Renaissance principles is heightened by the Good Angel and Bad Angel. The Good Angel pulls Faustus towards Medieval values. He represents Faustus's Medieval instincts: "O Faustus, lay that damned book aside/ And gaze not on it lest it tempt thy soul/ And heap God's heavy wrath upon thy head!/ Read, read the Scriptures - that is blasphemy!" ( 1.1.67-69 ). The Angel is eluding to Medieval ideals by saying that books are 'damned' and will bring 'God's heavy wrath'. 'That is blasphemy' is yet another reference to books not being of God. The Good Angel is Faustus key to salvation. Again, Faustus's inner conflict gives way to the ultimate theme of redemption and sin. While the Good Angel represents the medieval era, the Bad Angel signifies the Renaissance : "Go forward Faustus, in that famous art/ Wherein all nature's treasure is contained./... / Lord and commander of these elements!"( 1.1.71-74 ). The Bad Angel feeds Faustus's thirst for knowledge by telling him that 'all nature's treasure is contained' in his books. Going even further, the Angel tells Faustus to be 'Lord' and 'commander' of these elements ultimately telling Faustus that he could be God if he so chose. Both angels are ultimately signify duality within society. Where half are pulled towards the righteous Medieval morals and the others toward liberated Renaissance ideals.
Faustus embraces his Renaissance persona by acknowledging his life choices. In his never ending quest to obtain knowledge, Faustus conjures Helen of Troy so that he may marvel at her beauty: "Was this the face that launched a thousand ships/ And burnt the topless towers of Illium? / Sweet Helen, make me immortal with a kiss./ Her kiss suck forth my soul. See where it flies!" ( 5.1.95-99 ). Helen is an apt person for Faustus to gawk at. She was considered to be the most beautiful women in all the world. However, Faustus lives in a time and place of sexual repression. Thus, Helen represents sin and sexual freedom - an end to Medieval morals. The word 'immortal' implies that Helen's kiss allows men to live forever and that Helen herself is 'immortal'. This ironical comparison demonstrates that Faustus is still in denial about death. However, with 'Her kiss suck forth my soul', Faustus suggests that Helen has taken his life. This is ironic on many levels, most noticeably being that many men died to rescue Helen from the Trojans. In addition, Faustus is the only one responsible for his lost soul. The conjuring of Helen of Troy represents Faustus's decision to accept what he has done with his life and follow his Renaissance persona. In calling on Helen, Faustus has yielded himself to immortal sins. First and foremost, Faustus has sinned by using black magic to call on Helen. Lastly, Faustus is openly sexual with Helen of Troy. His kissing of Helen is ultimately a symbol of accepting that which has already been done and preparing to face eternal damnation.
Faustus's epic battle between Medieval morals and Renaissance ideals results in his eternal damnation. Faustus has many chances to repent, yet not once does he decided to put an end to seeking knowledge and practicing magic. His decision is ultimately a signal for the end of Medieval beliefs in 'religion being the key' and the emergence of free thinking. Faustus has been said to be "a Renaissance man who paid the Medieval price for being one" ( R.M. Dawkins). He was an intellectual in a society of ignorance imposed upon by the clergy of the Catholic Church.
Though Faustus is the tragic hero of the play one must really consider if in fact Faustus's demise is tragic. Faustus makes his own decisions and knows where they will take him to in the end. He refuses to see that heaven and hell do exist and despite the many warnings given to him about the heinousness of hell, he still follows the path of damnation Faustus's harrowing demise results in eternal damnation is tragic. Though he is a man with the charisma and courage to follow his passions in life despite the duality within society and the constant pulling of morals and ideals. Faustus is told time after time that he can still repent and save himself from the wrath of God. Several times he does in fact repent, yet because of his inner conflict he 'takes it back'. Not till Faustus utters his last words is one completely sure that Faustus's story is tragic, at best. Ultimately, he dies unhappy and still a combatant in his own internal war.
At the end we can say that in spite of being a man of medieval period, Faustus was a Renaissance man. And by his activities we find the elements of Renaissance where medieval values are buried because of the emergence of Renaissance ideals.
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