Faustus and Conflict Essay

delivereropher Marlowes encounter Doctor Faustus presents a written report that is fill with divers(a) framings of significant philosophical booking. While, on the surface, the tinker is intended to center on on the form of Faustus fortunes, the scope of the take to the woods includes commentary on some(prenominal) opposite Copernican themes (Prologue.8). Marlowe uses Faustuss position to demonstrate a precipitate contrast betwixt the values of the medieval conviction period with the ontogeny values associated with the Renaissance movement.Faustuss story shows a direct conflict mingled with the handed-d protest and the modern in its form, its ideology, and its view of religion. Since Marlow maintains an ongoing crusade between these various elements end-to-end the play, a struggle as well as exists between the sad and comedic elements of the story. Marlowes ambiguity toward the primary direction of the play creates a situation in which the ultimate purpose of th e plays comedic movies system uncertain even after Faustuss final moments.The content of Faustuss story superficially focuses on Faustuss struggle to maintain ascendency over the destiny of his own sense. Faustuss desire to pose a mighty god leads him to guess a enshroud with Lucifer, in which he exchanges his soul for twenty four years of demonic indicator (1.62). end-to-end the play Faustus struggles with rueance and disbelief, and he is eventually condemned to Hell for his actions. Symbolically, Faustuss story is more appropriately a representation of the struggle, seeming(a) during Marlowes time period, between the traditional ideas of the medieval period and the modern ideas of the Renaissance.This conflict is evident within the archetypical few lines of the play. Marlowe begins the play by having Faustus announce that he has given up on the traditional schools of thought, such as the train of religion, law, and medicine. Instead, he plans to study that damned art of necromancy or shady magic (2.29). While traditional medieval thought encouraged the unquestioning acceptance of ancient philosophical system, Renaissance thought encouraged experimentation and a rethinking of previously accepted beliefs. While Faustuss actions may show his tolerate of these Renaissance beliefs, his ultimate demise suggests that Renaissance thought may in addition be imperfect because it does not include a belief in God.This dualism between modern and traditional thought is as well evident in the structure of the play. Marlowe employs elements that would be reciprocal in near traditional plays, such as the use of a chorus. He also uses mythical comparisons, characterization Faustus as some other Icarus, a man who pull up stakes eventually pot above his reach (Prologue.21). Faustus is also depicted as a tragically flawed character. Faustus is portrayed by the Chorus as being fruitless with cunning (Prologue.20).Like Achilles, Hercules, or other tradi tional Greek heroes, Faustus has a character flaw that depart mostly likely lead to his demise, only when the eternal damnation of Faustus, to the Elizabethan audience, would be the equivalent of damning enormous Greek heroes, and thus creates artificial traditional expectations of the play. Simultaneously, Marlowe also ignores many of the important characteristics of traditional tragedies. While most tragedies depict historically important characters, Faustuss story is a tale of an ordinary man, not of the courts of kings or the display of proud audacious deeds (Prologue.4-5). By focusing on the common man and also by writing in blank verse, a style that was uncommon during this period, Marlowe breaks away from the traditional expectations of a tragic play.Faustuss view of religion also constantly vacillates between a traditional acceptance of Christianity and a modern rejection of it. When Faustus initially reads that the reward of sin is death, and that if we rank we that we realize no sin, / We deceive ourselves, and there is no truth in us he suggests that Christianity is a futile endeavor and decides that What will be, shall be Divinity, adieu (1.40-43, 48). He mistakenly characterizes Christianity as being based on punishment rather than on forgiveness, a mistake that he repeats throughout the play.Later, he believes his heart has become so hardened that he cannot repent (5.196). While he initially suggests that Hell is nothing but a fable, Faustuss religious convictions continue to grow. Upon seeing Lucifer and Mephistopheles, he cries out, O Faustus, they atomic number 18 come to fetch thy soul and even murmurs Consummatum est, meaning it is finished, which were Christs dying words on the cross, after signing his deal with Lucifer (5.264, 74).In this manner, Marlowe detains ambiguous throughout most of the play as to his position on the various conflicts he has depicted. For the audience, Faustus position as a modern man and Marlowes portrayal of religion remain in doubt. For this reason, the comedic scenes also remain ambiguous throughout the play. The audience clay uncomfortably unsure as to whether the clowning is intended to garner last for Faustus as the ultimate hero of the story or to mock Faustus by foreshadowing his own demise. The conclusion of the play demonstrates that the comedy depicted in the play, in addition to its theatrical purpose of providing a comedic interlude, provides a life-sustaining depiction of Faustuss fall from grace.One of the first comedic scenes in the play occurs when Faustus asks the demon Mephistopheles to reappear in the habit of a friar since that holy shape becomes a devil best (3.26). While the depiction of a devil in the garb of a Catholic friar would have undoubtedly been hysterical to Marlowes staunchly Protestant audience, the scene also carries significant meaning. By having Mephistopheles disguise his true count on, Faustus, despite his fearless speech, seems ineffectua l to stomach the true nature of Hell. Even when Mephistopheles seems to warn Faustus that his own superciliousness and insolence have forever barred him from the face of heaven and that he is now tormented with ten thousand hells, Faust clings to his own diluted adaption of Hell (3.67-68, 79). He delusionally envisions Hell as a continuation of an earthbound existence, and criticizes Mephistopheles for his lack of manly fortitude (3.85).The comedy within the play is proceed by the antics of the characters Wagner, Robin, Rafe, and the Clown. Most of these comedic actions seem to foreshadow Faustuss own downfall. The first depiction of Wagner and the Clown mirrors Faustus signing his soul over to Lucifer. During this scene, Wagner convinces the Clown to become his servant for seven years, and the Clown jokes about how he would sell his soul for a shoulder of well-seasoned mutton.While represented in a comedic fashion, this scene foreshadowing the triviality of the office Faustus has obtained in exchange for his soul. As suggested by Mephistopheless unwillingness to discuss things that are against our kingdom, Faustus soon discovers that there are severe limitations placed upon the power wielded by Lucifer and his minions (5.247).In another comedic scene involving these characters, Robin, the stable hand, and Rafe steal a cup from a tap house and are pursued by the tavern wine-maker. Robin summons Mephistopheles to shake the vintner, and is chastised by the demon for being summoned for a practical joke. Mephistopheles threatens to turn the deuce men into a dog and an ape. While Mephistopheles is obviously angered by the triviality of Robins request, his anger also reflects his own insinuation that Faustus abandon his frivolous demands (3.81). This scene foreshadows how Faustus will eventually abandon his own ideal goals and will also use his power primarily to play practical jokes.Much of the comedy in the play is related to the bending of Faustuss goals and the ways in which he employs his power. Faustus begins the play with many lofty goals. With his powers, Faustus plans to have spirits bring him jewels from around the world, teach him vast secrets of the universe, and make him king of Germany.He planed to change the course of the Rhine River and remake the entire comprise of Europe. Initially, Faustus appears to be on the path toward reaching these goals. Wagner tells how Faustus has ridden through the cosmos on the back of a dragon learning the secrets of astronomy from Mephistopheles. But Faustus chop-chop losses momentum, and, upon reaching Rome, decides to use his power to play practical jokes on the Pope. While this idea would, once again, be extremely funny to Marlowes Protestant audience, it represents the beginning of Faustuss digression.As time progresses, Faustuss audiences also decrease in their level of importance. Following his time with the Pope, one of the most influential figures during this time period, Faust us meets the German Emperor Charles V, who is also an important figure but not as important as the Pope. During this meeting, Faustus, unable to action the requests made by Charles due to more limitations on his powers, embarrasses a sarcastic knight in the Kings court by placing antlers on his head. This digression continues as Faustus final audience is with a simple noble and his wife. Faustuss display of power consists of fetching out of season grapes for the overlords wife. The comedy during these scenes primarily includes a practical joke Faustus plays on a horse-courser. Like Robin and Rafes practical joke, Faustus now uses his power to play jokes on people his has already angered.Like many other aspects of the play, the comedy depicted by Faustuss gradual demise also remains ambiguous. For many, this demise can be seen as a ill luck in Renaissance thought. Faustuss search for power and knowledge has odd him disconnected from God, the ultimate source of both. By not incl uding God or morality in his search for truth, Faustus has become corrupted by the influences of power and no longer retains his somewhat nobler purposes.But Faustus also simultaneously fails in his attempts to incorporate a more traditional view of religion into his life. He recalls that Christ did call the thief upon the cross, believing that he too will be brought into paradise. Faustus, particularly during his last hours on Earth, seems to exhaust every porta of incorporating religion into his life. He offers to make deals with God, begs for mercy if not redemption, and even turns to Helen of Troy, a representation of feminine virtue or Mother Mary, for reprieve. Faustuss swearing demonstrates how Faustus has been simultaneously failed both by traditional religion and by the beliefs held by modern Renaissance thinkers.In conclusion, the comedy within this play serves a variety of purposes. Like many of the other elements in the play, the comic and tragic elements seem to strug gle with one another throughout the play. This struggle is also seen in Faustuss struggle between Renaissance thought and form and a more traditional view of life and religion. When coupled with these various forms of conflict, the comedic scenes within Doctor Faustus cause the play to constantly waver between tragedy and comedy, leaving the audience without any knowledge of how the play will ultimately end or of the true meaning of the play. Most of the comedy seems to mock Faustuss decision to embrace a modern philosophy toward life, but, when religion ultimately fails him as well, Faustus seems to be a completely despondent representation of man. The plays comedic scenes are another method, employed by Marlowe, to create confusion and veil the true significance of the play.