Category Archives: Doctor Faustus

Beatrice-joanna: Victim of desperation

Posted on May 8, 2013 by melissacarbuccia

Was Beatrice really a sociopath or was she just desperate? I sympathize with Beatrice because even though she was responsible for the deaths of two innocent people, it seems she didn’t really know what the consequences would be. Similar to Doctor Faustus, Beatrice was naive enough to believe her extreme actions would have no repercussions. She was so naive that she trusted De Flores, a man she loathes and has treated like dirt, without thinking he would use this information to easily blackmail her. From the start of the play, Beatrice seems to be acting out of desperation.

As the play starts off, I was immediately on Beatrice’s side because she was the victim of an arranged marriage. As we’ve witnessed throughout the semester with different plays, arranged marriages are very difficult or near impossible to get out of. Beatrice, like many strong women of her time might’ve done, decided to take matters into her own hands and get Alonzo killed in order to have her freedom. When her plan goes awry, she only gets more desperate and digs herself a deeper hole by getting Diaphanta killed. Beatrice’s reasons for doing what she did were in fact selfish, but at least they weren’t for the sake of greed or advancing in society. I could understand a woman scheming in order to marry the person they love. Beatrice felt she had no way out, and took extreme measures without putting much thought into how her actions would affect others (ie. Tomazo) and herself for that matter.

Posted in Doctor Faustus, Love relationships, Power struggles, The Changeling, Uncategorized | 2 Comments

Shades of Mephistopheles in Bosola

Posted on April 28, 2013 by Lyaman

During my reading of The Duchess of Malfi, the character of Bosola at times kept reminding me of Mephistopheles from Doctor Faustus. To me they seem to be an extension of the same archetype, not to say they are particularly similar but rather they seem to be part of the same string extending in different directions.

Mephistopheles is the fallen angel who makes the bargain with the Faustus to serve him for 24 years in return for Faustus’s soul. Throughout the play Mephistopheles keeps urging and helping Faustus to damn himself and waste his time, but at the same time he shows striking signs of trying to make Faustus believe in G-d and heaven, as well as showing signs of regret for his fall and banishment from heaven. Mephistopheles says, “I am a servant to great Lucifer/And may not follow thee without his leave. No more than he commands must we perform” (1.3.41-3) and then he follows it up with, “Why this is hell, nor am I am out of it. Think’st thou that I, who saw the face of God/ And tasted the eternal joys of heave, / Am not tormented with ten thousand hells/ In being deprived of the ever lasting bliss?”(1.3.78-82).  He  later repeats his knowledge of hell and thus heaven by saying, “For I am damned and am now in hell” (2.1.138). The quotes show that not only is Mephistopheles bound and subservient to Lucifer (and Faustus, but that’s besides the point) but he shows self-awareness of what he is and what he has lost.

We meet Mephistopheles already damned, and in the middle there are small instances of him trying to (futilely) dissuade Faustus from condemning his soul, thus doing a good deed. However, when that fails, Mephistopheles reverts to his prime directive as a servant of Lucifer, which is pushing Faustus into abandoning G-d and thus gaining Faustus’s soul.

It seems to somewhat mirror Bosola’s path. Just like Mephistopheles made a bad decision that damned him in following Lucifer to turn against G-d and heaven, so has Bosola made a bad decision in killing for the Cardinal (the first time).  We meet Bosola when he is already damned, having effectively sold his soul to the devil (the Cardinal), because as seen as the play unfolds, once fallen into the Cardinal’s clutches there is no escaping.  It is that first deed that leads Bosola to further irretrievably damn himself, as he falls into the life of spying on the Duchess. Bosola makes the comparison to Mephistopheles himself when he says to Ferdinand on his new job, “Why a very quaint invisible devil, in flesh:/An intelligencer” (1.1.261-2).  Just as Bosola is Ferdinand’s and Cardinal’s “creature” (1.1.289), so is Mephistopheles Lucifer’s creature. And as Bosola says, “Sometimes the devil doth preach” (1.1.293), both he and Mephistopheles preach a cautionary tale.

There are other similarities between the two characters like the disguises they take on, Bosola because he can’t bear to appear as himself to the Duchess and Mephistopheles because Faustus commands it and because he needs to disguise his true nature. As Mephistopheles plays a deceptive confidant to Faustus, so is Bosola to the Duchess.

The difference between the two characters emerges in in the closing of Doctor Faustus. Mephistopheles embraces his damned fate and his servitude to Lucifer. Bosola, on the other hand, repents his role in the death of the Duchess (as for the motives, there is a healthy mix of its wrongness and once again being cheated by the Duchess’s brothers).  The Duchess takes on the role of a deity to him. Bosola says, “am angry with myself, now that I wake” (4.2.326-8) and then, “What would I do, were this to do again? / I would not change my peace of conscience / For all the wealth of Europe.  …. Return, fair soul, from darkness, and lead mine/ out of this sensible hell! ” (4.2.340-50)

Like the theme in Doctor Faustus, penitence plays a large part in The Duchess of Malfi and in both cases all the characters fail to achieve it. When Bosola says, “I’ll be my own example” and “O, penitence let me truly taste thy cup that thrown men down only to raise them up” (5.2.366-67), it is his attempt to save himself, to make some sort of amends in saving Antonio. But much like Mephistopheles attempts to stop Faustus from making the bargain had the oppose reaction, so did Bosola’s actions – killing Antonio.  What Bosola says about himself, “That we cannot be suffered to do good when we have a mind to it” (4.2.364), relates to Mephistopheles too. Both these characters are damned because of their initial alliance.

The final difference between them is that Bosola is able to tear the string that ties him to his Lucifer figure , the Cardinal, when he kills him. And though that act is not enough to salvage him, it does at least just make him a damned soul, rather than one of the devils.

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Dr. Faustus is a man.

Posted on March 6, 2013 by eg129177

Although the play centers itself very obviously amidst a fervent religious debate, that is, a conversation about the nature of redemption and damnation, a more pressing topic is implied. Dr. Faustus claims to be bored by his accomplishments, having obtained everything he wished to seek form academia and the safe sciences, and thus his interest in necromancy is fostered. But the root of this interest lies in power, and a desire to obtain such power as no man can compete with, committing the classic folly of reaching beyond his own capacity. His arrogance is betrayed by his blood oath, his inconsiderate use of Mephistopheles, and a constant wavering between Christian moral standards.

The futility of his plight is in Faustus’ inability to accept his own morality. Indeed, he seems to claim that his blood oaths are non-binding in the sense that hell is pure fiction, which might seem illogical considering who he is conversing with. In fact, it is apparent that he has no grand powers, only the terms of a business deal, in which Mephistopheles is the muscle behind his bizarre displays of occult prowess. This reaffirms the idea that he, as a mortal, is unable to contain such godly, or ungodly, powers in his own being. It is only his willingness to abandon God that calls the devils, and his human lust for power and acclaim that drive his decisions. One could even argue that his moral status is negligible, and that it is the paradox of being human with a penchant for the taste of divinity that unravels him, and rushes him to his end. It’s a funny thing, to want powers, that by their very definition, separate a mortal from humanity. In obtaining them they can no longer be used to propagate human desire, and instead come with the full consequence of removal from the realm of living. He is no longer able to repent like all other people, having wrapped himself so tightly in the arms of “sinful” strength, amongst the other demons. His academic learning, his scholarly colleagues, even the voice of wisdom is unable to reverse the damage incurred.

An interesting parallel is drawn to the story of Eve, when Faustus laments his misfortune, because although the serpent who distributed knowledge can be saved from wrath, there is no saving him from the depth of his betrayal. In an interesting twist, this forces Faustus into the role of Eve, another figure who eschewed the rules of Christian Morality to obtain beyond her supposed capacity. So the real concern becomes, what is the drive behind the human quest for inhuman power? The only escape for Faustus, as he acknowledges in his final moments, is to suspend reality. If the second runs on eternally, or he can absorb a half a drop of redeeming blood, his fate is less tragic. “Earth Gape!” he cries, “it will not harbor me.” In the final day of judgment there is only heaven an hell, and no earth, which on a surface level is solely the realm of the religious. But, in truth, it is a statement that reflects the predicament of Faustus, which he only discovers too late, that it is, and remains, impossible to combine divine creation (ultimate power) and human existence without an incomparable sacrifice at one extreme or the other.

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Doctor Faustus: Role of Religion and Morals in a Theatrical World

Posted on March 5, 2013 by J Gritz

In Christopher Marlowe’s Doctor Faustus, the audience is enthralled by a classical version of good versus evil battling for the soul of a disgruntled scholar. As the play continues, we understand how much symbolism is displayed in the words of Marlowe’s Mighty Lines. Is desiring the world’s most precious gifts condemning one’s soul to hell for all eternity? This is the message that is being delivered, the same message that is delivered even in modern times. Though God barely plays a role and is merely mentioned once or twice, the audience is made to understand that the sinners will be condemned for wanting more than their means. Yet Doctor Faustus, who was born a commoner, is trying desperately to attain a higher level of possessions and knowledge. It is as if the Church, written from the perception of Marlowe, is trying to convey the message to not wish for this classified knowledge that only God, and apparently Lucifer, knows. It points a finger to those in the audience during the Elizabethan era that lived richly and may desire more power above their earthly capabilities to feed their boredom.

This same message is constantly delivered now a day, and even in recent history, through films and books. When parents teach morals to their children, they let them watch Disney movies and television shows that communicate to them the Seven Deadly Sins. Even novels and children’s books have some moral to the story that teaches what is right and what is wrong. Yet there is always a happy ending to the story where the person learns their lesson. Doctor Faustus repents in the end and prays God for forgiveness, yet there is no happy ending. He still goes to hell.

Though Doctor Faustus digs deeper into the mind of a person encompassing every part of the deadly sins, Marlowe seems to be rejecting a part of the religion though, sometimes even clandestinely mocking Christianity. Doctor Faustus and Mephistopheles play tricks on the Pope, sort of pointing that he is a mere mortal man and has no protection from bad spirits. It undermines the Catholic religion, one that believes the Pope to be a saint above mortals. Another hidden key in many plays, novels, and films that is open to interpretation is the writer’s own viewpoint masked by the grandiose of his words. The audience would assume Marlowe was praising religion, but others, like myself, will believe he was mocking it. Yet whatever morals or enlightenment Doctor Faustus conceives in the mind of the reader, Faustian literature throughout the ages will always be either conceptually right, morally wrong or both.

 

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Dilemmas and Devils

Posted on March 5, 2013 by Yevgeniy Kharonov

Christopher Marlow’s Doctor Faustus deviated from the Elizabethan tradition of presenting plays on the subjects of love, war, or courtly transgressions. The prologue’s Chorus focused our attention on our “muse,” Faustus whose fate was of considerable interest to the newly protestant Elizabethan/Jacobean audiences. Faustus was a man of great intellect who sold his soul to the devil for god-like powers, only to waste both his powers and his soul for what seemed like trivial achievements.
Faustus was described as the son of lower class parents who had excelled tremendously at the University of Wittenberg and was granted a Doctorate in Medicine and Theology. In his first soliloquy Faustus informed the audience that he had reached the pinnacle of every subject that he had studied (including philosophy, medicine, law, and theology) and that the only thing left to expand his mind and abilities was necromancy. Faustus knew that pursuing necromancy was a fatal sin against his god but came to the conclusion that divinity was baseless because all humans commit sin and thus to adhere to a religion that punished sin was illogical. Faustus asked “What doctrine call you this? Que sera, sera” (What will be, shall be). Faustus focused his desires and decided through some contemplation (with spirits like the Good Angel and Evil Angel and the magicians Valdes and Cornelius) that he would sell his soul to the devil for ultimate power.
One of the most comical scenes was when Faustus first performed the incantations to summon the devil Mephistopheles who appeared as an ugly fiend, to which Faustus commanded that he return in the image of a Friar. This scene was both comical and heretical in Marlowe’s time and furthered what seemed like a highly secular, almost atheistic jest of a play. The pact that Faustus made with Lucifer enabled him to use Mephistopheles as his personal servant for twenty-four years. Throughout this period Faustus pursued and personified the seven deadly sins, that were also presented to the audience in a dumb-play, and achieved nothing of any worth. He managed to play a trick on the pope, summon the spirit of Alexander the Great for Charles the V, and garner fresh grapes for a German Duke’s wife.
In the end, Faustus stood the fool for his time ran out and Lucifer owned his soul. He was torn to shreds and dragged off to hell. Faustus achieved nothing during his time as a great necromancer except sleeping with succubi and performing party tricks, however a deeper issue was presented to the audience. The issue of eternal damnation which was and is a terribly frightening issue for devout Christians. I imagine that the audience, being very religious, was left with a sense of content at Faustus’ fate.

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Doctor Faustus: A battle between good and evil, The accepted and The Unaccepted

Posted on March 4, 2013 by shazia.ahmed

As mentioned in class Faustus is sometimes overcome with dual decisions or whether what he is doing is good or bad or whether he should continue his work. I would also like to point out the other phase in the audience perspective. During the time period practicing black magic or any form of magic was considered devilish and against religion. Yet the play allows the audience experience the study of magic, which I am sure many people were surprised by.  However curiosity led them to continue watching.

Beginning with the dual decisions in context Dr. Faustus is visited by the good angel and the bad angel when he decides that he wants to study witchcraft. In scene one act one the good angel says “O Faustus, lay that damned…” and the bad angel says “Go forward Faustus in that famous art.” If you think about it in literal terms an angel will not be on your shoulders telling you right from wrong. The angels can be seen as an inner conflict. One side is trying to convince him not to further his action because he knows that it is looked down upon in society. The other side I would say is his curious side which pushes him to challenge the wrongs.

In scene one act three Faustus himself speaks to himself and says “Then fear not, Faustus but be resolute.”  Then again in Scene two act one he says “Now Faustus must though needs be damned…Despair in God and trust in Beelzebub.” These two lines are him talking to himself trying to convince himself to move forward. But if you think of why people convince themselves it is because there is a part of them that is losing some type of motivation, understanding and even faith. I think these moments play along with the dual action of right and wrong.

To understand how the audience is affected by the good and the evil and the accepted and the unaccepted is based on the context of the historical time period. As mentioned before such practiced were condemned as evil and unacceptable. Many viewers may look down on such practices yet I am sure many stayed to see the outcome of the play. Even the audience has to come to make a decision of whether what they are seeing is right or wrong. Dr. Faustus challenges the norms of his society and now the audience is also faced with that dilemma as well.

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Dr. Faustus: A Victim of Temptation or Sinner by Choice?

Posted on March 4, 2013 by jbajraktari

In Christopher Marlowe’s play Doctor Faustus, a question that arises throughout the course of the play is whether or not Faustus damns himself or if he is a victim of the temptations of the devil.  Faustus is attracted to the forces of dark magic due to his insatiable desire for knowledge and his dissatisfaction with the limitations of human knowledge.  In the beginning of the play, Faustus reflects on various fields of scholarship and ultimately determines that none of them offer him what he truly desires.  He rejects Divinity, reading from the Bible, “the reward of sin is death.”  Faustus views religion as promising him only death, and fails to see that the Bible says that God will forgive our sins if we confess.  This proves to be a belief that will affect Faustus throughout the play.

Faustus comes to the conclusion that magic is the only way to satisfy his needs.  Faustus’ quest for knowledge and sinful pride and greed is what leads him to give up God for the devil.    However, it is by Faustus’ complete own will that he chooses this fate.  Faustus’ ability to choose his own fate is highlighted by the appearances of the good and evil angels.  We see Faustus struggle internally with making the decision of either selling his soul for what he covets most or repenting.  Faustus chooses to reject God in order to satisfy his need to have more power than human beings would normally be allowed, and to attempt to learn the absolute truth about the universe.  We quickly see Faustus’ mistake and realize that no one can be more powerful and knowledgeable than God when Faustus asks Mephistopheles who created the world and Mephistopheles replies that the answer is “against our kingdom,” suggesting that  only God is capable of the absolute knowledge that humans or evil can never be capable of.

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The Internal Struggle

Posted on February 28, 2013 by thomash

Christopher Marlowe’s “Doctor Faustus” is a dark theatrical piece that draws attention to conflict in the main character, Doctor Faustus. Many great works of literature involve a troubled main character or lead role who experiences some sort of conflict, whether it is internal or external.  In works such as “The Tell Tale Heart” by Edgar Allen Poe and “Hamlet” by Shakespeare, the main characters are tortured by the internal conflict of man vs himself in their troubling situations. Dr. Faustus also finds himself in a struggle with his own conscience, as well as with external forces in society as well. Many times, characters are torn between doing what is right and what is beneficial, and they often suffer the consequences of making the wrong choice. Despite his own skepticism of promising his soul to Lucifer and the warnings of the Good Angel, Dr. Faustus ignores his internal conflict and suffers at the hands of the devil.

Dr. Faustus, feeling bored with the world and seeking a new challenge, takes to the black arts and thrusts himself into a difficult situation. He enslaves a demon, Mephistopheles, with his newfound power and abandons God and Catholicism. In exchange for Mephistopheles’ service, Doctor Faustus promises his soul to Lucifer. This is where the conflict begins.

In act 1.1, the Good Angel and Evil Angel appear on stage and depict the classic battle of good vs. evil in an argument to influence Doctor Faustus’ decision to pursue the black arts. The angels are the external forces that are guiding Doctor Faustus’ decisions, showing the conflict of man vs. society. The skepticism that the Good Angel raises regarding the decision that Dr. Faustus makes to promise his soul to the devil raises Doctor Faustus’ own skepticism as well, showing the conflict of man vs. himself. However, in an entertaining instance of irony, Doctor Faustus’ soul is enslaved by the very devil that is at his service throughout the play because of his decisions.

The conflicts that arise in a story or play can add a strong storyline and sense of anticipation to a plot, but they often lead to similar outcomes. Like we have seen all too many times before, Doctor Faustus was torn between doing what was right and doing what felt right. He chose selfishly and paid the ultimate price with his soul.

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Dr. Faustus: Naturally Evil

Posted on February 28, 2013 by Angelic Rivera

In the beginning of Dr. Faustus, Dr. Faustus is contemplating on professions that can further his intelligence. He goes through various professions briefly, but does not chose any of them. Suddenly, he becomes interested in magic.  The rapidness of his desire to see Valdes and Cornelius can portray his true feelings towards religion all together.

Prior to hearing what the good and bad angel had to say, Dr. Faustus arranges to see Valdes and Cornelious, but doesn’t re-evaluate his decision to learn about magic. He knows that learning about magic goes against his religion, yet until he is reminded by the good angel, he doesn’t second guess learning magic. Even after listening to both angels, he still decides to meet with Valdes and Cornelious.

Dr. Faustus knows the consequences he may be given, but intelligence and superiority is more important to him. He was not persuaded to learn about magic, but intentionally does it. In order to further his intelligence, he ultimately loses his soul and salvation.

“It is a man’s own mind, not his enemy or foe, that lures him to evil ways.”
-Buddha

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