What does Marlowe's presentation of Mephastophilis tell an audience about sixteen century ideas of hell and damnation?
What does Marlowe's presentation of Mephastophilis tell an audience about sixteen century ideas of hell and damnation? Literary works in sixteenth- century England were rarely if ever created in isolation from other currents in the social and cultural world and Marlowe's Dr Faustus is no exception. It is significant that Marlowe's great play was written at a time in which the possibility of sorcery was not merely a theatrical fantasy but a widely shared fear. Dr Faustus was also performed at time in which many artists such as Bosch and Jacques Callot were depicting horrific images of hell in their paintings making the play all the more disturbing to the medieval audience. Marlowe's tragedy emerges not only from a culture in which bargains with the devil are imaginable as real events but also from a world in which many of the most fundamental assumptions about spiritual life were being called into question by the movement known as the reformation. The character of Mephastophilis plays a pivotal role in Dr Faustus as it is through him that Marlowe expresses his views on sin, redemption and damnation. Mephastophilis presents a particularly intriguing portrayal of hell and encapsulates the audience from his very first appearance on stage. The audience first encounter Mephastophilis when he is summoned by Faustus' chants. This is significant as one of the central questions in
Doctor Faustus -a morality play? we will discuss how the Renaissance tragedy Doctor Faustus by Christopher Marlowe can be read as belonging to the realm of Morality plays with some significant deviations that indicate the ideological frameworks within whi
Together with the Mystery play and the Miracle play, the Morality play is one of the three main types of vernacular verse drama produced during the medieval period in England. The Morality plays attempted to educate via entertainment. It is thought that the Dominican and Franciscan orders of Christian monks developed the morality play in the 13th century by adding actors and theatrical elements to their sermons. By doing so, the (mainly illiterate) masses could more easily learn the basics of Christianity through the dramatic spoken word. The Morality plays were most popular in Europe during the 15th and 16th centuries. Doctor Faustus, though a Renaissance text, is like the medieval Morality plays Everyman and The Castle of Perseverance based on the theoretical concept of the human predicament as a sequence of innocence, fall and redemption. In the following paragraphs we will deal with the elements of the Morality play visible in Doctor Faustus as well as the points at which the play is different from the traditional Morality. According to M.H. Abrams, "Morality plays were dramatized allegories of a representative Christian life in the plot form of a quest for salvation, in which the crucial events are temptations, sinning and the climatic confrontation with death." The protagonist who is often representative of mankind is met by personifications of various moral attributes
Would You Consider Doctor Faustus to be a Medieval Morality Play or a Renaissance Drama?
Would You Consider Doctor Faustus to be a Medieval Morality Play or a Renaissance Drama? When considering as to whether Marlowe's Doctor Faustus is a medieval morality play or a renaissance drama one could make a legitimate case on either side of this question. On the one hand, the play seems to offer the very basic moralistic message of avoiding temptation and sin, but if tempted repent when the chance is offered, which falls within the tradition of the morality play. However, parts of the play and its conclusion can be interpreted as straying away from the orthodox pattern of morality plays in order to conform to conventions of renaissance drama. Probably the most significant influence on the play is the social upheaval that was taking place at the time it was written. It is thought that it was first performed around 1594 and this was a time of tremendous change in Europe, with medieval times being replaced by the renaissance stage, and influences from both times can be found in the play. Therefore, the play could be described as a transitional play where beliefs from both sides are inextricably entwined. From a medieval point of view, Doctor Faustus can be looked upon as a morality play, because he overreaches himself, aspiring beyond his God-given place in the world, and to push the boundaries beyond the limitations set by God was a medieval sin. However, from a
Discuss the presentation of Faustus' inner conflict in Act 1 scene 5 of Doctor Faustus.
Discuss the presentation of Faustus' inner conflict in Act 1 scene 5 of Doctor Faustus During Act 1 Scene 5 of Doctor Faustus it becomes evident to the audience that Faustus is suffering a great deal of internal discord as regards his impending contract with Lucifer. One way in which this becomes apparent is through the most clearly allegorical figures in the play, the "Good" and "Evil" Angels who are the personification of the two sides of Faustus' conscience. They first appear at the very beginning of Act 1 Scene 5 and serve both to tempt Faustus into the Devil's clutches and to warn him of his fate. The "Good" Angel delivers a number of warnings to Faustus by saying " Sweet Faustus, leave that execrable art" and "Sweet Faustus, think of heavenly things". The latter quote is in direct contrast to the advice given by Lucifer later on in the scene when he tells Faustus to "think on the devil". The "Good" and "Evil" Angels always appear together as a matched pair and function as binary opposites. The "Good" Angel tries to make Faustus repent by focusing on how much he is angering God however, the "Evil" Angel offers all the pleasures of the flesh in graphic detail and contradicts everything the "Good" Angel says especially that Faustus can be forgiven. Every time the Angels appear and speak Faustus believes the angel who speaks last and does not detect the "Evil" Angel's
Dr. Faustus: Show how Elizabethan beliefs in heaven and hell influence the play.
DR. FAUSTUS: Show how Elizabethan beliefs in heaven and hell influence the play. By Hayley Sheath 12MF. This essay will explore how Marlowe uses Renaissance beliefs in heaven and hell to direct the play. This essay will include how Elizabethan views influence Faustus' character, the Renaissance curiosity of heaven and hell, how heaven and hell are represented by the Good and Evil angels, how beliefs in heaven and hell are used to shock the audience and the fear of hell. This essay will focus mainly on Scene 5 of the play. The Elizabethan audience had traditional Christian beliefs of heaven and hell; and tried their best to obey God and join Him in heaven. Marlowe deliberately challenges Elizabethan beliefs in the play, by making the character of Faustus dare God and religion, which was typical of the Renaissance period. Faustus is an Atheist; this is shown in Scene 5- 'Come, I think hell's a fable.' In discussing hell, Faustus shows his Atheism, because Christians believe that God will always forgive, and so as long as you believe in God, you will go to heaven. It shows the Renaissance arrogance, and how Faustus is unable to accept the Chain of Being; he sees himself as superior to all. Faustus also defies God; demonstrated in Scene 3, 'This word damnation terrifies not him.' This quote shows that Faustus is not scared of hell, and that he sees himself as being able to
How does Faustus use the magical gifts that he receives?
How does Faustus use the magical gifts that he receives? Faustus is an extremely ambitious and clever man. This is seen to the extent that he sells his soul to fulfil his ambitions. He uses magic in order to strengthen his power and knowledge and thus this makes him dangerous. He is hubristic and aims to posses knowledge that no other mortal should have. In doing so he becomes synonymous to God. Faustus states "O what a world of profit and delight/Of power, of honour, of omnipotence/Is promis'd to the studious artisan!" This is what he intends to do with the magical gifts he receives but it soon becomes clear that ultimately everything Faustus does is for his own selfish needs. By comparing himself to a 'studious artisan' he hopes to gain the recognition of a scholarly work however, he fails to understand that scholars study for personal enlightenment and not material gain. Therefore ultimately Faustus achieves nothing with his magical gifts throughout the whole play. He gains no wealth, no recognition and no delight from his magic. Instead he condemns himself to death and illustrates that no man can ever be God as all men are fallible. Faustus's attempts to use his magical gifts are futile and thus he gains nothing and is forever in debt to Mephostophilis. The pursuit of knowledge is directly linked with obtaining power. Faustus intends to acquire a greater intellect so
There are many aspects in act one scene one of Doctor Faustus which illustrates identical or parallel themes that derive from the Prometheus myth. Throughout the scene Faustus appears to be discontented
There are many aspects in act one scene one of Doctor Faustus which illustrates identical or parallel themes that derive from the Prometheus myth. Throughout the scene Faustus appears to be discontented with the result of all his learning, he reveals that, 'a greater subject fitteth Faustus wit1'. His obsession to obtain the ability to develop his knowledge reveals his determination to gain power and enlightenment. Faustus rejects the thought of being an esteemed physician; he dismisses the study of law as work that 'fits a mercenary drudge2'. On the other hand, he argues that Divinity cannot offer him the glory he seeks as he concludes that as we are all sinners we must 'die an everlasting death3'. Therefore, he turns to necromancy, the study of black arts. His strive to gain power is further emphasized by his belief that 'a sound magician is a mighty god4', implying he regards a magician to be able to sustain power equal to that of which God possesses. This rivalry over power between the magician and God is explored in Prometheus Bound, where we establish the antagonism between Prometheus and Zeus as they compete for greater strength and power. The tone of Faustus' soliloquy can be identified as confident and powerful; nevertheless, this could purely be a tone of excitement and curiosity. Both interpretations however, support the primary theme, power, and emphasize
How far would you say that the novel is not so much about Brighton as about Heaven and Hell?
How far would you say that the novel is not so much about Brighton as about Heaven and Hell? The choice of Brighton as a setting in the novel 'Brighton Rock' proves to be a well-drawn pitch for the action; for its atmosphere of constant bustle and goings on; for its close alignment with Pinkie and also as a metaphorical device for depicting the eternal realities of heaven and hell. Although the writer goes into detail about place names in the town (he mentions the Palace Pier, Montpellier road, the West Pier and the racetrack) the specific setting of Brighton appears to have little significance, as it could be any seaside town - "yesterday Southend, today Brighton, tomorrow..." Greene's opening description of Brighton appears to be quite vulgar and this is represented through Hale's eyes, distancing himself from the bank holiday crowd he likens it to a "twisted piece of wire," uncoiling "endlessly past him." Hale removes all identity from the crowd, which appears only to exist as a collective to which individuals are surrendered. "With immense labour and immense patience they extricated from the long day the grain of pleasure" Greene indicates here how the crowd almost force themselves into a sense of enjoyment, as if this is the only diversion they know, Greene focuses on the extensive promenades and piers with amusements, sideshows and kiosks. The amusements are a series
Can Faustus truly be regarded as a tragic hero?
Elena Solaro 13M Can Faustus truly be regarded as a tragic hero? Much of the information in Dr Faustus is derived from a collection of semi-fictitious German stories (the 'Faustbuch') in which the life of German scholar and purported necromancer, Georgius Faust are narrated. Where the Faustbuch narrates a simple tale of sin and retribution, Marlowe creates a tragedy in which a human being makes a clear choice for good or bad, with some knowledge of the possible outcome. In order to do this, Marlowe has drawn on the conventions of classical Greek tragedy, many of which dictate the nature of the hero or heroine. In ancient times, a hero achieved heroic status not because of saintliness or wickedness, but because of the acts he performed in life. The hero should have a socially elevated status and suffer a reversal of fortune in which he experiences great suffering. This is all certainly true of Faustus, who is highly regarded as both a lecturer at the University of Wittenberg, and an accomplished scholar. During his life, he performs extraordinary feats, which were unlike anything experienced by lesser mortals. Even by modern standards, the notion of necromancy is disturbing; for a contemporary Elizabethan audience, for whom religion permeated all aspects of life, it would have been inconceivably horrific. Once Faustus is "glutted with learning's golden gifts and surfeited
Marlowe's Mephistophilis is a brilliant but ultimately unsatisfactory creation because Marlowe cannot decide whether to make him a gleeful medieval devil or a romantically suffering fallen angel
"Marlowe's Mephistophilis is a brilliant but ultimately unsatisfactory creation because Marlowe cannot decide whether to make him a gleeful medieval devil or a romantically suffering fallen angel." Discuss the presentation of Mephistophilis in the light of this statement. Mephistophilis is a striking central character in the play 'Doctor Faustus', written by Christopher Marlowe in the late sixteenth century. His role in this flamboyant yet tragic play is ultimately to aid Faustus' downfall from renowned scholar to foolhardy prey of Lucifer. However, Mephistophilis' motives are perceptibly ambiguous throughout 'Doctor Faustus'; he seemingly alternates between a typically gleeful medieval devil, and a romantically suffering fallen angel. Mephistophilis first appears in 'Doctor Faustus' in the third scene, when he is summoned by Faustus' experimental necromancy, as taught to him by Valdes and Cornelius. Faustus becomes intrigued by the notion of employing dark magic to supply him with what he most craves: knowledge. Mephistophilis first appears to Faustus in his true, terrifying form (suggested on the Elizabethan stage by a lowered dragon). This wholly terrifying image is in keeping with the medieval concept of the devil as a hellish supernatural being that encapsulated horror. Mephistophilis' appearance shocks Faustus to the extent that he implores him to return in a
