BS English (3) Classical Drama-Dr. Faustus by Christopher Marlowe

 

1. MARLOWE AS A DRAMATIST OR

MARLOWE’S CONTRIBUTION TO RENAISSANCE DRAMA

Marlowe is considered a revolutionary poet of Elizabethan drama. He is considered the product and "The Morning Star" of Renaissance. It was he who gave many new touches to the English drama. It was Marlowe who more than any other rescued English drama from old rut of morality and led it to the smooth road of success and greatness. As a young man of twenty-three, he made it clear and claimed to liberate the English drama from its past futility.

First Major Quality: Breaking Conventions

In Tamburlaine, he boldly asserts: "From jigging verses of rhyming mother wits, And such concepts of clownage keeps in pay, We'll lead you to the stately tent of war." This shows that he made many reforms regarding the direction of versification and subject-matter. He announces that he will break the conventions in two important directions. Here 'High astounding terms' of Scythian's are contrasted with 'the jigging veins of rhymesters.' Similarly, his heroic exploits are set off against the mere 'conceits of clownage.'

Second Major Quality: Concept of Tragedy

Before Marlowe, Senecan characteristics were followed in the works but Marlowe freed the Elizabethan tragedy from the awkward features of the Senecan tragedy. He created the tragedy of an individual not of a king, prince, a man of high status or any royal personality whose downfall may affect the nations. Marlowe's tragedy is in fact "The tragedy of one man." So, the fate of protagonist affects only one man, not the whole nation.

Third Major Quality: Use of Blank Verse

Before Marlowe, the use of blank verse by the English writers was not accepted as the authentic one because it was artificial, inflexible, unformed, and monotonous. But with Marlowe, blank verse became full of vigor, full of variety and rhythm. Marlowe infused new blood in the artificial and inflexible blank verse used by the writers like Surrey and Wyatt.

Fourth Major Quality: Subject Matter

Marlowe raised the subject matter of his plays to a higher level by providing heroic subjects that readily appealed to the imagination of the audience. For instance, we find in Marlowe's plays that Tamburlaine is a great conqueror, that Faustus is a great seeker of knowledge and power, that Barabas has the strongest lust for unlimited wealth, and that Edward II has great nobility mingled with worthlessness.

Fifth Major Quality: Weaknesses

Marlowe's first flaw as a dramatist is the shadowy portrayal of female characters in his plays. His dramas lack humor. His plays lack unity of action, consisting of loosely connected scenes and events. He overuses rhetoric and bombast, with characters often speaking in elaborate, poetic language that can come across as artificial and overly dramatic.

Despite these flaws, Marlowe's contributions to Renaissance drama are undeniable. He revolutionized the use of blank verse, created complex, tragic heroes, and explored themes of power, ambition, and mortality. His influence can be seen in the works of later playwrights, including William Shakespeare.

In conclusion, Marlowe's impact on Renaissance drama is immense. He broke away from traditional dramatic conventions, creating a new kind of tragedy that focused on the individual rather than the state. His use of blank verse, his exploration of complex themes, and his creation of flawed, human heroes all contributed to a new kind of drama that captivated audiences and influenced generations of playwrights to come. Despite his flaws, Marlowe remains a major figure in the history of English drama, and his plays continue to be studied, performed, and admired to this day.

AUTOBIOGRAPHICAL ELEMENTS IN DR. FAUSTUS

Christopher Marlowe is a distinguished and a renowned writer in English literature. It is he who has the full grip and power to show his personality through the depiction of his characters. We can say that like Milton, one of the chief elements of success in his works is the pure touch of autobiographical elements. This is the point which creates great difference as writers between Marlowe and Shakespeare. In Shakespeare’s works, there is no line or passage which offers some touch to his personality in any detectable manner. He has so lost in his works and yet so skillfully kept himself away from them that it is almost impossible to say with any stress of certainty that a particular play or even isolated passage reveals his mind or personality. But Marlowe has the great power to project himself in his characters. All the characters introduced by Marlowe have great resemblance with his personality. Now, let’s discuss these autobiographical elements one by one.

First, we know that Marlowe came of “parents of base-stock.” He was the son of a shoe-maker. All the heroes introduced by Marlowe except Edward 2 are born of “parents of base-stock.” We see Tamburlaine proclaiming:

                                    “I am a lord, for so many deeds will prove,

                                    And yet a shepherd by my parentage.”

In Edward 2, Edward is not a poor fellow but the clerk, Beldock proudly claims:

                                    “My name is Beldock, and my gentry,

                                    I fetch from Oxford, not from Heraldry.”

Second autobiographical touch in Marlowe’s works is the touch of his Renaissance spirit and Machiavelli spirit. We all know that Marlowe was “the product and a man of renaissance.” He was fully saturated with the spirit of lust for wealth, lust for classical and limitless knowledge, sensual pleasures, honour, power and pelf. “Marlowe was the first champion and morning star of Renaissance drama.” In so far as his Machiavelli spirit is concerned, we can say without any hesitation that Marlowe was impressed and influenced by the ideas of Machiavelli who was a revolutionary writer in that period. Not only Marlowe but the other writers also got encouragement to revolt and disregard against the accepted ethical and social values to get their aim by hook or by crook. All the heroes introduced by Marlowe fully display Marlowe’s temperament as a man of Renaissance. In fact, he has projected himself into all his heroes with all vigour and diversity of Renaissance. Intense passions and unceasing struggle to achieve their ends is the main center of attention of all his heroes. A critic observes: “All of Marlowe’s heroes were slaves of passions.” We see that Tamburlaine has a craze for limitless power. With his craze, he goes beyond the limit and defies all the authorities on the earth as well as in Heaven. Similarly, Barabas in “The Jew of Malta” has craze for gold. In his craze, he is ready to commit any type of heinous crime to achieve his goal. Of all Marlowe’s heroes, Dr. Faustus has great resemblance with Marlowe in so far as Marlowe’s renaissance is concerned. The very opening scene clearly shows Faustus as a man of Renaissance. Faustus rejects all the branches of knowledge and resolves to adopt necromancy or Black Magic to attain his ends.

                                    “O what a world of profit and delight,

                                    Of power, of honour, of omnipotence.”

Similarly, Faustus’ fondness for sensual pleasure and beauty is very obvious in these lines. He is fully impressed by the beauty of Helen and says: “Was this face that launched a thousand ships and burnt the topless towers of Ilium?” Further, he values Helen’s heavenly beauty uttering: “Sweet Helen, Make me immortal with a kiss.”

Similarly, Faustus’ desire to have limitless knowledge comes before us when he talks to Mephistophilis to know the mysteries of the unknown worlds and get all the hidden treasures of the world through his necromantic art. (Text)

Here he displays Machiavelli spirit and pays no attention to the advice of good angel who advises him. “To lay that damned book aside.”

Third autobiographical element is Marlowe’s “Egotism and Irreligious mind.” All Marlowe’s heroes have no regard and reverence for religion. Through them he actually wants to display his spirit of atheism. That’s why, a critic remarks: “He (Marlowe) persuades men to atheism, willing them not to be afraid of bugbears and hobgoblins.” In “The Jew of Malta”, his spirit of atheism is clearly visible in these lines: “I count religion but a childish toy.” Dr. Faustus also claims: “Divinity is basest.”  Similarly, we see Tamburlaine also showing disregard for religion.

                        “I hold the fates bound fast in tron chains,

                        And with mu hand turns fortunes wheet about.”

Another touch of autobiographical element is that Marlowe himself was a great poet. This autobiographical touch can be observed in all his heroes. They all give vent to their feelings in poetical tone. Definitely, their lyrical quality is reflection of their creator’s passion root and branch. Of all the heroes, Faustus is a poet par-excellence just like Marlowe himself. The superb oft-quoted apostrophe to Helen begins with these words and conveys fully the poetical temperament and genius of Marlowe.

“Was this face that launched a thousand ships

And burnt the topless towers of Ilium?”

            Wynne remarks: “This passage has probably never been surpassed in its magic idealization of that which is essentially base and carnal.”

            Another autobiographical touch can easily be observed in the career of Marlowe and Faustus. Though Marlowe was poor but he was fortunate enough to get doctorate in Divinity. As an Archbishop Parker’s scholar, he was intended for a church career but he connived it altogether and abandoned it to become a dramatist. Same is the case with Faustus. He even after getting the degree of doctorate and studying all the branches of bearing like philosophy, physics, law and divinity feels that he is “Still but Faustus and a man.” He realizes that he is unable to “raise the dead to life again.” He thinks that none of these subjects can help him become “as powerful on the earth, as Jove in the sky.” That’s why, now he wants to go beyond the moral limits and says, “Tis magic, magic that hath ravished me.” Magic captures his imagination because it can bring him power, profit, delight and honour; and he says, “A sound magician is a mighty god.” A critic has observed: “Marlowe himself, like Faustus came of parents of “base of stock” and was destined for church but turned elsewhere.”

            Another autobiographical element is of sense of superiority in Marlowe and all his heroes. Marlowe belonged to a low class family but had a great sense of superiority because of his inferiority complex as a poor man and sense of superiority after getting the degree of doctorate and being respectable and renowned in their societies. Tamburlaine utters:

“I hold the Fates bound fast in iron chains

And with my hands turns fortune’s wheel about.”

            Another autobiographical touch can be observed in the repentance of Faustus. Marlowe’s craze led him to revolt against religion and he defied laws of man and laws of God. As a result, he faced humiliation at the end of his life. He became a victim of disappointment and certain defeat. In this way, he suffered inner conflict in his life and knew but very late in life that worldly pleasures are mortal. Marlowe introduced this tragic conflict and repentance in almost all the plays. In “The Jew of Malta”, this inner conflict is not so articulate. It is on external level. Ferneeze deprives Barabas of all his wealth while Barabas cunningly manages to take back and even becomes himself the governor of Malta there. He commits a fatal mistake and takes Ferneeze in confidence and discloses his further plan and quite naturally meets his tragic end. In the same way, Faustus also goes beyond the limits and faces humiliation in the end.  He exchanges his soul and gets slavery. Throughout the play, he must choose between earthly pleasures and his salvation. This conflict is intensified due to many factors brought on by Mephistophilis, such as Faustus’ good intentions turning bad, and Faustus’ losing touch with reality. In the end, we see him repenting because such defiance is bound to bring about acute mental conflict resulting in deep despair and certain defeat. So, both Marlowe and his creation Faustus experience same mental conflict, pains and agonies. A critic remarks: “It is certain that the author of Dr. Faustus must himself have walked some way along the path of religious doubts and must have known the sufferings attendant upon that journey.”

            Another autobiographical touch can be observed in the death of Marlowe and Faustus. There is real affinity in the death of Marlowe and Faustus. Marlowe’s boisterous and Bohemian life came to a tragic and premature end in a tavern brawl at the hands of a shady character of the London underworld at the age of twenty nine. In the same way, Marlowe after living twenty four years a life of sensual pleasures and superhuman achievements, Faustus had to surrender his soul to the Devil for eternal damnation. There is really something occult in the mournful melody of the Chorus in the closing lines of this tragedy.

                                    “Cut is the branch that might have grown full straight

                                    And burned is Apollo’s laurel bough

                                    That sometimes grew within this learned man.”

            To sum up, we can say that all the heroes introduced by Marlowe have great resemblance with the life of Marlowe. They are the spontaneous expression of their writer’s innermost thoughts and authentic experiences. However, of all the heroes, the character of Faustus has great reflection of Marlowe’s personal life. Marlowe, like Faustus, seems to have realized that what all he had learnt and known, what all he had attempted and achieved with the help of his intellectual equipment, helped not to strengthen his soul but to lose it, by being cut off from the rich natural resources of inspiration and of faith. Marlowe has skillfully projected his life in the guise of his creation, Faustus. He is at home in presenting his characters to show his personal experiences. We fully agree with the remarks of a critic who comments: “Dr. Faustus is spiritual history of Marlowe himself.”                              (Words: 1713)

FAUSTUS AS A TRAGIC CHARACTER

            Faustus is one of the renowned and popular characters like Shylock, Barabas, Oedipus Rex and Hamlet, etc in English Literature. As Marlowe was the product and “Morning Star” of Renaissance, Faustus is also saturated with the same spirit as had Marlowe. All the Marlovian heroes are the central figures of his dramas. Faustus is also a dominating figure around whom the whole story moves. He is a Titanic figure of super human size rising head and shoulder above all the other minor characters. He is so dominating in the story that all the other characters seem to be tiny Lilliputians moving around towering Gulliver. It means, we can say that Marlowe’s tragedy is different from the classical tragedies. In classical tragedies, the audience believes that hero is not merely an individual in the pangs of misery and desperation, but a symbol of the whole fate of kingdom. On the other hand, Marlowe’s tragedy is in fact “The tragedy of one man.” So, the fate of protagonist affects only one man, not the whole nation. A critic remarks: “Marlowe for the first time gave life-like characters who are not mere puppets but who live their own lives.” Faustus can be considered a tragic hero like all the other heroes such as Oedipus and Hamlet, etc but first of all, we must keep in mind the conditions of a tragic hero mentioned by Aristotle because whenever a true tragic hero is analyzed, it is Aristotle’s measurement which is preferred to confirm a tragic hero. According to Aristotle, the first major quality of a hero is: “A tragic hero should be a high-minded, renowned and prosperous person i.e. a king, a prince or a monarch, etc. At the same time, he should neither be too good nor too bad.” Faustus is not a king or a monarch on whom the fate of a nation depends but as an individual, he has great reputation and reverence in his society. His reputation as a scholar has been mentioned both in the beginning and at the end of the play. “Yet for he was a scholar once admired.”  It is one of the clues to accept Faustus as a tragic hero. In so far as his qualities are concerned, he is neither thoroughly good nor bad. Actually, the desire for learning is a part of human nature and it can never be condemned rather it should be appreciated. As a man of Renaissance, he has the lust for power, knowledge, pelf and wealth. He is bent on achieving his end by any means, fair or unfair. He is ready to violate any accepted moral code. Like Tamburlaine, the atheist, and Barabas as the representative of Machiavelli spirit, he has astounding passions and inordinate ambition that urges him to violate all the moral and ethical laws. Marlowe has endowed him with great vigour and vehemence with passion to struggle against tremendous odds. As a Marlovian hero, he culls a wrong path to fulfill his dreams. He weaves the threads of his tragedy with his own hands and signs his death warrant. He is a scholar of great reputation but still he is unsatisfied with what he is. He even after getting the degree of doctorate and studying all the branches of bearing like philosophy, physics, law and divinity feels that he is “Still but Faustus and a man.” He realizes that he is unable to “raise the dead to life again.” He thinks that none of these subjects can help him become “as powerful on the earth, as Jove in the sky.” That’s why, now he wants to go beyond the moral limits and says, “Tis magic, magic that hath ravished me.” Magic captures his imagination because it can bring him power, profit, delight and honour; and he says, “A sound magician is a mighty god.” He knows what result he will have to face as a result of his choice but he cares for nothing and exchanges his soul to Lucifer and ruins his life. Here is a point worth mentioning that this the point where most of the critics do not accept Faustus a true tragic hero because they believe that Faustus is totally aware of his repentance. This fact also goes against the conditions of a tragic hero laid by Aristotle. But some critics like Michael believe: “Facing one’s doomed end or death is more tragic and agonizing than suddenly facing an inescapable situation.”

            Another main feature of a tragic hero is: “A tragic hero undergoes sufferings and reversal of fortune, not from some vice and depravity in his character, but from ‘Hamartia’ or tragic flaw.”

Faustus also meets this requirement fully because he suffers in the end. As the final hour approaches, he is horrified to think of the impending doom. He yearns to make a last minute effort to save his soul by sincere repentance and fervent prayer. He sees the blood of Christ flowing in the sky. He thinks that one drop of Christ’s blood can save him and then he yearns for even half drop to save himself. He says: “One drop of blood would save my soul, half a drop: Ah my Christ--.” And when in the end, clock strikes twelve the devils enter and carry away his soul to hell for unending damnation. The craving, prays and repentance of Faustus all are in vain.

                                    “Cut is the branch that might have grown full straight

                                    And burned is Apollo’s laurel bough

                                    That sometimes grew within this learned man.”    

            Another feature of a tragic hero determined by Aristotle is: “The end of a tragic hero should arouse feeling and pity in the audience.” Faustus also meets this requirement fully. The craving, prays, repentance and finally the demise of Faustus in the last scene move the audience and the feel pity for Faustus. The coming of the devils creates fear. We can say that is also one of the clues to accept Faustus a tragic character because the last scene has the quality to arouse pity and fear in the audience. In the closing lines, the scholars put emphasis on this aspect more than anything else when they lament about the death of their professor.

                                    “Yet for he was a scholar once admired

                                    For wondrous knowledge in our German schools

                                    We’ll give his mangled limbs due burial

                                    And all the students, clothed in mourning black

                                    Shall wait upon his heavy funeral.”

            To sum up, we can declare Faustus a true tragic hero. Definitely there are still some critics who believe that it is not so but I think they have confined their thoughts to the classical Greek tragedies and the conditions applied by Aristotle. But the modern tragedy is different in most of the respects. It is the tragedy of an individual facing inner conflicts and having the choice of free will. It is the tragedy of an extraordinary human being who with some inordinate ambitions struggles passionately to achieve his end by fair or foul means and faces a defeat which brings pity and fear. We can say without any hesitation and fear of contradiction that Faustus is a true tragic hero.  He is truly made of the stuff of which heroes are made. He has unbridled passion for knowledge, a limitless desire for the unattainable, a spirit of reckless adventure and a tremendous confidence in his own will and spirit. We fully agree with the remarks of a critic who observes: “Tragedy has become not the presentation of history, myths, or events of any sort, but the presentation of passionate struggle and pitiful defeat of an extraordinary human being.”                                                                                   (Words: 1271)

PLOT CONSTRUCTION OF DR. FAUSTUS

            Dr. Faustus is recognized as “One of the master-pieces of English Drama.” Its strongest point is no doubt the portrayal of a tragic hero who barters away his soul to the Devil for twenty four years of omnipotence and pleasure. By Marlowe, it was this master-piece which paved the way for Shakespeare and other dramatists to take the Renaissance Drama to the greatest heights. However, no other except Shakespeare could maintain the heights got by Marlowe. But even after becoming a great success in the world of literature and a model for the writers like Shakespeare, a close study of this drama leads us to a fact that one of the major drawbacks of this master-piece is its lack of well-knit or well-constructed plot. We observe that there are so many events and scenes are irrelevant to the main theme of the play. It is the stringing together of just fourteen important scenes in its original form. That’s why, it is very much linked with the old Miracle and Morality plays. Schelling remarks: “It (The Play) is little more than a succession of scenes void of continuity or cohesion except for the unity of main figure and the unrelenting progress of the whole towards the overwhelming catastrophe.”

            It is common belief that a loose-structured play can in no way be divided into different acts. In the play, we trace six main episodes.

            In the very first stage, we see Faustus ruminating over the choice of new and interesting field for his future. In the end, we see him rejecting all the branches of knowledge and embracing the Black Art to fulfill all his desires. “Tis magic, magic that hath ravished me.”

            In the second stage, we see Faustus exchanging his soul to Lucifer and getting slavery. He sells his soul for twenty four years in order to enjoy the world of happiness.

            In the third stage, there is touch of uncertainty in the action of the play. We see Faustus excogitating and giving final touches to the pledge.

            In the fourth stage, Faustus starts repenting because he realizes that he has done the wrong but it is too late to be dejected.

            In the fifth stage, we see the loss of ideas and in the sixth stage, we see two forces of evil and good making last attempt. We also see the old man striving hard to convince Faustus but it is all futile. But after that, all goes towards catastrophe.

            But we have another option to test the authenticity of the plot. Aristotle’s views regarding a well-structured plot can be quoted here to examine the plot of Dr. Faustus. Aristotle divides the plot of a drama in five parts. These are Paritass, Epitass, Peripetora, Denouncement and Catastrophe. Now let’s examine Dr. Faustus on the basis of these five divisions.

            Paritass is the very first stage in which the conflict is created. No doubt, some scenes at the veru first stage are really well-constructed to foster conflict in the drama. We see Faustus rejecting all the branches of knowledge and accepting necromancy.  Epitass is the second stage in which the intensity of the situation takes place. But it is absolutely null and void in the play. Peripetora is the third stage in which the climax of the situation is observed. This stage is present in the play. We see Faustus raising the spirit of Mephistophilis and in the end selling his soul to the Devil by writing a deed of gift in blood. In this way, we have the rising action and climax of the drama. Denouncement is the fourth division in which we observe the falling action leading to the fifth division namely Catastrophe. Here Faustus repudiates his existence. The demons come and the plot is over. Faustus cries: “My God, my god, look not so fierce on me”, and the rest is the eternal death for which he bargains. In Dr. Faustus, after the third division in which Faustus exchanges his soul, comic scenes occur and are of ordinary value in the development of the plot and lead to the catastrophe. We can say without any hesitation that first portion and third portion have been executed with great mastery and sublime and poignant manner but the middle portion is weak. A critic remarks: “Examined more technically, the play has a strong beginning and even a stronger end but its middle section is unquestionably weak.”

            For further discussion, the views of modern critics can also be applied to the plot of Faustus. The modern critics apply three plots to Dr. Faustus. These three plots are the main plot, the under plot and the over-plot. The main plot deals with Faustus craze to get super-human power by getting hold over necromancy. The under plot having fun and frolics is more or less a foil to the main plot. These two plots i.e. the main plot and the under plot represent two main facts of life. These two facts are pleasant and painful or comic and tragic. They think that the over plot is a philosophical one that shows the conflict between the forces of good and evil in the external world as well as in the soul of man. The views regarding the significance of the main plot and the over plot hold water but the views regarding the significance of comic scenes do not have any influence at all because the comic scenes have no value for the theme of the play.

Goethe does not lag behind in this race of giving vent to his feelings regarding the plot of the play. He comments: “How greatly it is all planned?” It seems very confusing when he says so. But our confusion is over when we see him commenting: “The structural unity, in fact, has been given to the play through a unifying force of the hero. Marlowe was deeply concerned with the conflict between the Good Angel and Evil Angel, between conscience and passion in the soul of hero leading to his doom and damnation.”

            To sum up the discussion, we can say without any hesitation and fear of contradiction that no doubt the plot of Dr. Faustus is not a well-knit plot and well-structured plot; rather it is a loose-structured plot. The plot of the drama is full of shortcomings and deficiencies. Marlowe was a genius and genius like alchemists can transform base metal into gold. Marlowe produced a master-piece from the crude Faustus legend. The greatness of drama lies not in its structure rather it is found in the inner conflict. That is what wins our admiration for Marlowe. We fully agree with the remarks of a critic who observes and comments: “The rejection of humanity which constituted the character of Faustus is complete and the plot closes, as it had opened, with this. It is in these terms that Marlowe achieves unity.”                                                                                           (Words: 1146)

NO MARLOWE, NO SHAKESPEARE

            Marlowe, “The Morning Star of English Drama” and Shakespeare are the two prominent and renowned dramatists of Elizabethan age. There is no doubt in the fact that these two Elizabethan dramatists gave new vigour and potential to English Drama. It is Marlowe who liberated English Drama from old rut of morality and rambling Interlude. He was a genius who broke through and paved the way for his contemporaries and followers to follow a new direction mapped out by Marlowe. Except Shakespeare, no other writer could follow Marlowe in the true sense. That’s why, often it is remarked: “If there had been no Marlowe, there would have been Shakespeare.” It is true to a large extent because there is no one who is ready to have a confusion regarding Shakespeare’s great indebtedness to Marlowe. A critic comments: “What Shakespeare would have been without Marlowe, cannot even be surmised. Shakespeare completed and developed to the utmost that national embryo of art which Marlowe drew from the womb of darkness, anarchy and incoherence.”

            If we have a minute observation and analysis of master-pieces composed by these two dramatists, we are forced to have resemblance between these two. Considerable resemblance can easily be noted in Shakespeare’s Richard 2, Richard 3 and Merchant of Venice and Marlowe’s Edward 2, and The Jew of Malta. Definitely, Marlowe’s Barabas was in Shakespeare’s mind when he created a great character like Shylock in “The Merchant of Venice.” Paying tribute to Marlowe, he declares him “Dead Shepherd.” Shakespeare’s Richard 2 is no doubt modeled on Marlowe’s Edward 2 from internal evidence. Now let’s discuss the points of similarities between both the dramatists. The points where they differ will be discussed later.

            First, it was Marlowe who gave the English Drama a new sense through the use of medium of blank verse. He liberated blank verse from regularity and conventional restrictions which had been its distinguished point before Marlowe. We can say without any hesitation that Marlowe gave the English Drama a great and powerful way of expression. But after Marlowe, it was Shakespeare who gave it maturity and perfection and played “upon its hundred stops.”

            Second, both Marlowe and Shakespeare followed Aristotelian conception of tragic hero. Their tragic heroes have some inherent tragic flaw in their personalities and ultimately this tragic flaw causes their downfall. In the end the downfall of these characters creates feelings of pity and fear that ultimately cause the feelings of catharsis in the audience. Marlowe’s Barabas, Faustus and Edward 2 and Shakespeare’s Hamlet, Macbeth and Lear have inner flaws that cause their downfall.

            Third point which shows resemblance between Marlowe and Shakespeare is the use of inner conflicts present in the mind of their heroes. It is their inner conflict which creates pity and fear in the audience and catharsis is no exception. Marlowe’s Faustus, Barabas and other heroes and similarly the heroes introduced by Shakespeare like Hamlet, Macbeth and Lear display inner conflicts.

            Fourth, various studies suggest that the poems and plays written by Marlowe and Shakespeare share a common vocabulary, versification, diction and other literary elements. In a study of “The Influence of Faustus on Hamlet”, Harry Levin finds a striking similarity in the way Faustus and Hamlet appear on the stage and deliver their lines.

            Now let discuss the points where both these dramatists differ sharply.

            First, both the writers have different approaches in the presentation of their tragic heroes. Marlowe does not use any type of mystery to deepen the effect of tragedy of a tragic hero. Any reader can easily the course of events and foresee the tragic doom without any hindrance. Unlike Marlowe, Shakespeare uses the device of supernatural machinery to deepen the effect of a tragic hero. He uses superbly and skillfully witches in Macbeth and ghosts in Hamlet.

            Second, another point which shows dissimilarity between the approaches of these dramatists is “Characterization.” Marlowe does not introduce secondary characters in his plays. His dramas are “One man show.” His hero in his drama is a Titanic figure of super human size rising head and shoulder above all the other minor characters. He is so dominating in the story that all the other characters seem to be tiny Lilliputians moving around towering Gulliver. A critic remarks: “All his heroes by their greatness stand alone.” Unlike Marlowe, in Shakespeare’s dramas, we observe many secondary characters like Horatio, Banquo and Kent who are used as a foil to the central figure of a drama. Further, in Marlowe’s dramas, we come across just some shadowy characters and there is hardly any female character with whom we come across. However, in Shakespeare’s plays, we meet great female characters like Cleopatra, Desdemona and Lady Macbeth.

            Third, plot construction is another point which fosters great difference between these two dramatists. Except Edward 2, almost all the plays written by Marlowe have technical faults. Further, there are no sub-plots to intensify the meaning of the main plot in his plays. A critic observes: “In structure, we see that all Marlowe’s plays are faulty. Tamburlaine has no unity except such as lies in the presence of hero; Dr. Faustus is largely a collection of heterogeneous ideas, loosely pinned together, The Jew of Malta opens well, but sinks into mediocrity toward the middle and the close.” On the other hand, Shakespeare was a great master in the field of plot construction. All the plays like Hamlet, Merchant of Venice and Macbeth have been well constructed and well knit.

            Fourth, unfortunately, genius like Marlowe was not gifted with sense of humour. That’s why, in Marlowe’s dramas, there is a little touch of genuine humour. The humour introduced by Marlowe is of little warmth and without any genuine touch. That’s why, we see that this type of humour does not bring any relief in tense situation of drama. Rather it makes the scenes low and cheap, often full of puerile pranks and coarse buffoonery. On the other hand, Shakespeare believed: “Life is blend of pleasure and sadness.” That’s why, even in his great tragedies, he introduced comic scenes for the relaxation in tense situations. We get wonderful examples of comic relief in the porter scene in Macbeth and the grave-digger scene in Hamlet.

            Fifth, Marlowe has the ability to project his personality in almost all the characters introduced by him. All the characters like Faustus, Barabas and Tamburlaine are a true reflection of his personality. Like Marlowe, all his heroes except Edward 2 are born of “parents of base-stock”, saturated with the spirit of Renaissance and Machiavelli, having egotism and no regard for religion. Marlowe himself was a great poet. His heroes give vent to their feelings in poetical tone. However, in Shakespeare’s works, there is no line or passage which offers some touch to his personality in any detectable manner. He has so lost in his works and yet so skillfully kept himself away from them that it is almost impossible to say with any stress of certainty that a particular play or even isolated passage reveals his mind or personality.

            To sum up, we can say without any hesitation and fear of contradiction that no doubt whatever Shakespeare wrote in the beginning, it seemed true to some extent that he borrowed his ideas from Marlowe but it is useless to say that all was borrowed from Marlowe. We can say that if he has tried to do so, he gave it more perfection than that of Marlowe. He gave perfection to blank verse more than any of his contemporary. Like Marlowe, he did not try to project his personality into his characters but even then he created great heroes meeting the demands of an Aristotelian hero. He dolled his tragedies with the pure magic of humour in which Marlowe was completely a failure.  We fully agree with the remarks of F.S. Boss: “What the world has lost by Marlowe’s untimely close of his career we cannot know; but we do know that, even had he lived, he could never have been ‘another Shakespeare.’ He lacked humour and the faculty of interpreting commonplace human experience. He did not know the secrets of woman’s hearts. In fact, Marlowe is the rapturous lyrist of limitless desire, Shakespeare the majestic spokesman of inexpressible moral law.”                  (Words: 1374)

 

 

 

THEME OF DR. FAUSTUS OR

THE THEME OF DAMNATION IN DR. FAUSTUS

Dr. Faustus penned by great Marlowe is a master-piece in the history of English literature. One of the major reasons of its success is that it can be studied on many levels. Different readers adopt different approaches regarding the theme of the play but the theme which is accepted and recognized by most of the readers is of “Eternal Damnation.”

 “Marlowe concentrated all his energies on the delineation of proud life and terrible death of man, in revolt against the eternal laws of his own nature.”

            The word “Damnation” means unceasing process of a man’s humiliation and eternal punishment in hell. Faustus’ first step toward damnation is his “Pride.” Before the action of the play starts, the chorus tells that Faustus becomes puffed up with pride for his knowledge in many branches. He is dominated by inordinate ambition and decides to become a necromantic. He is going to be punished by God for his evil action.

                                                “Till with the cunning of self-conceit,

                                                His waxen wound did mount above the reach,

                                                And melting, heavens conspir’d his overthrow.”

            In the very first scene, we see Faustus who even after getting the degree of doctorate and studying all the branches like philosophy, physics, law and divinity feels that he is “Still but Faustus and a man.” He realizes that he is unable to “raise the dead to life again.” He thinks that none of these subjects can help him become “as powerful on the earth, as Jove in the sky.” That’s why, now he wants to go beyond the moral limits and says, “Tis magic, magic that hath ravished me.” Magic captures his imagination because it can bring him power, profit, delight and honour; and he says, “A sound magician is a mighty god.” This is where his pride leads him and he chooses the path of destruction and damnation in the end. When at the end of the first scene, during his conversation with his friend, Valdes, Faustus shows his steadfastness and perseverance in the following words.

                                                “Valdes, as resolute am I in this,

                                                As though to live: therefore, object it not.”

            Faustus’ step towards damnation occurs when in his pride and arrogance, he gives no regard to the voice of conscience. Good Angel and Evil Angel strive to convince him in their own way. Good Angel advises him to lay aside “Damned Book” and to have a study of the scriptures. On the other hand, the Evil Angel urges Faustus to study black art and assures him that the study of black art would make him powerful on the earth “as Jove in the sky.” Next in the third scene of Act 1, we see Faustus succeeding in raising Mephistophilis, the “Commander of all spirits.”  Mephistophilis also makes it clear to Faustus:

                                                “--------the shortest cut for conjuring

                                                Is stoutly to abjure the Trinity.”

            But Faustus pays no heed to any threat and is fully determined to surrender his soul to the devil, Lucifer. Even he replies that he has done so and has full knowledge of it. He replies with full pleasure and confidence.

                                                “This word damnation terrifies not him

                                                For he confounds Hell in Elysium.”

            So, he decides to exchange his soul not only to gain “limitless knowledge” and power but also to live in all voluptuousness for the next twenty four years.

                                                “So he will spare him four and twenty years,

                                                Letting him live in all voluptuousness.”

In the first scene of Act 2, Faustus signs the bond with the blood from his veins. He writes “a deed of gift of body and soul” for the prince of devils. This is the main step towards damnation because he does it deliberately. The worst of it is that he does it knowingly what he is going to do and what result he will have to face in the end. In the same scene, when Mephistophilis tells him that he is going to be condemned to hell, here Faustus replies in a negative way. His reply is insolent according to Christian theology.

                                                “Thinkest that thou Faustus is so fond to imagine

                                                That, after this life, there is any pain:

                                                Tush these are trifles and merely old wives’ tales.”

            Faustus’ third step towards damnation occurs when Faustus is disgusted with Mephistophilis for his refusal to tell him about the creator of this universe. He dismisses all the answers given by Mephistophilis with contempt. He says to Mephistophilis: “Well, I am answer’d. Now tell me who made the world?” But Mephistophilis replies: “I will not.” But very soon, he listens to the voice of his conscience.

                                                “Ah Christ my savior

                                                Seek to have distressed Faustus’ soul.”

But at the same time Lucifer intervenes personally and threats Faustus with the show of seven deadly sins. He forces Faustus to sign the bond for the second time.

            Thus, we see that Faustus’ agreement with the devil is “that Faustus may be a spirit in form and substance.” We also see that by ‘Devils’ Mephistophilis means ‘the unhappy spirits that fell with Lucifer.” So, in the play ‘Spirits’ means ‘Devils.’ We see that Faustus’ soul does not avoid embracing the status of an abject devil even he knows “The reward of sin is death.” The point is made absolutely clear when Lucifer declares: “Christ cannot save your soul, because he is just. He won’t interfere with the soul which has been pledged to me.”

            Faustus’ fourth step towards damnation is his union with the immortal beauty of Helen. This is the last chance of Faustus’ repentance but it is the stage where his damnation is confirmed. As a critic remarks: “Faustus’ meeting with Helen who is in the shape of demon is the decisive point of Faustus’ damnation.” Slow moral degradation and disintegration reaches its final stage when Faustus passionately kisses the spirit of Helen-and a spirit is nothing but a devil-and makes a frantic appeal to this apparition in the following words: “Sweet Helen make me immortal with a kiss.” And in this way, Faustus gives up his last chance of redemption to become ultimately an object prey to his own despair and dejection. Even, the Old Man leaves him with a heavy heart saying:

                                                “Accursed Faustus, miserable man,

                                                That from the soul exclud’st the grace of heaven,

                                                And fly’st the throne of his tribunal seat.”

            But as soon as the earthly hour of his life comes, he finds himself depressed and dejected. He finds nobody to save him from his eternal damnation. He is in agony any cries:

                                                “Mountains and hills, come, come and fall on me

                                                And hide me from the heavy wrath of God.”

But alas! He has lost all the chances to avoid him from his damnation. He utters at the last moment of his life, “My God, my God, look not so fierce on me.” The chorus also comments on the miserable death of Faustus. There is really something occult in the mournful melody of the Chorus in the closing lines of this tragedy.

                                    “Cut is the branch that might have grown full straight

                                                And burned is Apollo’s laurel bough

                                                That sometimes grew within this learned man.”

            Thus, by depicting Faustus’ end and eternal damnation, Marlowe has presented in this play the most ‘awe-inspiring’ doctrine of the medieval Christianity that tells us: “To practise more than heavenly powers means eternal damnation.” A man must work within the framework of his limitations because if he goes beyond the limits, he will definitely face damnation in the end.

            To conclude, we can say that Faustus is truly the embodiment of his epoch which is marked with the spirit of new inquiry and aspiring spirit of his age. He denounces Christianity and God’s laws to acquire limitless power to rule the world and fulfill all his desires which he can never fulfill with the knowledge he has except Black Art. However, we see him ignoring all and becoming just a magician performing tricks before others to impress them with his magical power. Pride, weak prick of conscience, abjuring God, adopting Black art, the exchange of his soul to evil spirit Lucifer, spiritual and mental deterioration, agony, his insulting attitude with Pope, disobedience of the Old Man’s advice, fearing from Satan but not from God and little faith in God’s mercy all become the cause of his damnation step by step.  As a man of Renaissance, “He does not believe in God’s mercy, rather he believes in penalty of God.” His belief is also the main reason of his damnation. His damnation is surely the result of his free will more than anything else. His damnation is fully acceptable and justified.                                                                      (Words: 1438)

MARLOWE’S MIGHTY-LINE OR

MARLOWE’S BLANK VERSE

Critics agree: “Marlowe’s mighty line is Marlowe’s blank verse.”

Blank verse may be defined as “An iambic pentameter in which each line is divided into five feet. However, each feet contains two syllables. Out of these two syllables, the second one is aaccented.” Simply, we can say that a blank verse contains ten syllables and five feet in each line. 

Blank verse actually got its appearance in Italy and from here, it came into the hands of Surrey who tried to use it skillfully to translate for his translation of Virgil’s Aenied. Sackville and Norton used it for dramatic purpose in Gorboduc, the first English tragedy. Later English dramatists also used it in their works. But the use of blank verse by these English writers was not accepted as the authentic one because it was artificial, inflexible, unformed and monotonous. It was based on formalism, regularity and conventional restraints. The dialogues in the dramas became unnatural due to this ineffective blank verse. A critic remarks: “The blank verse previous to Marlowe was like a dried preparation, like something waiting for the infusion of blood, for the inflation of living breath.” But with Marlowe, blank verse became full of vigour, full of variety and rhythm. Marlowe infused new blood in the artificial and inflexible blank verse used by the writers like Surrey and Wyatt. Swinburne remarks: “He created the modern tragic drama. Before him there was neither genuine tragedy in our language.” In Tamburlaine, Marlowe makes a bold assertion:

                        “From jigging verses of rhyming mother wits,

                        And such concepts of clownage keeps in pay,

                        We’ll lead you to the stately tent of war.”

In doctor Faustus, Marlowe’s use of blank verse is of great significance. It brings before us the following characteristics of his blank verse.

First major quality of Marlowe’s blank verse is the variety he gives to the blank verse. He uses iambic meter, spondee and trochee meters for variety. He changes the place of pauses and uses run-on-lines, sometimes with weak endings varying the accent here and there and shifts the caesura. Thus, through blank verse he introduces paragraph in poetry. Faustus says:

                        “O what a world of profit and delight,

                        Of power of honour, of omnipotence,

                        Is promised to studious artisan,

                        All things that move between the quiet poles,

                        Shall be at my command.”

Similarly, we see Marlowe creating rhythm of extreme flexibility and power by introducing feet other than iambic ones. Let’s have a look at the following in which an opening pyrrhic is followed by a spondee.

            And to/show thee/what magic can/ perform.

Similarly, look at the following line in which we can easily see the use of run-on-lines conveying the sense that flows from line to line until the idea or image is completed.

                        “Think’st thou that I who saw the face of God,

                        And tasted the eternal joys of Heaven,

                        Am not tormented with ten thousand hells,

                        In being deprived of everlasting bliss.”

Second major quality of Marlowe’s blank verse is that it is spontaneous and contains plasticity or flexibility. Run-on-lines are used frequently and the position of medial pause is also much varied. All this confers great plasticity or flexibility to his verses. Let’s have a look at the following paragraph which has ever been celebrated in England’s dramatic literature for its poetic excellence, lyrical beauty and romantic rapture. It is believed that there is nothing else in the play to match these lines.

                        “Was this the face that launched a thousand ships,

                        And burnt the topless towers of Ilium?

                        Sweet Helen, make me immortal with a kiss,

                        O, thou art fairer than the evening air,

                        Clad in the beauty of a thousand stars……

Third major quality of Marlowe’s blank verse is its cadence. Let’s have a look at the following passage. It follows the stress of passion as well as expresses its intensity in unforgettable cadence.

“The stars move still, time runs, the clock will strike,

The devil will come, and Faustus must be damn’d.

O, I’ll leap up to my God! Who pulls me down?

One drop couls save my soul, half a drop: ah, my Christ.”

Fourth major quality of Marlowe’s blank verse is its musical quality it creates in its verses. A critic remarks: “Marlowe’s gretest achievement was the introduction of poetry into English drama. He is the first and foremost lyricist of English stage.” Let’s have a look at the sonorous musical appeal of words in the following lines.

                        “O soul, be changed into little water-drops,

                        And fall into the ocean, ne’er be found!”

Fifth major quality of Marlowe’s blank verse is that it creates an effect of ‘stately rigidity.’ The speeches of the Chorus are the best examples to prove it. These speeches are straight-forward utterances and have regularity in their consistency. Thus, they produced an effect of ‘stately rigidity.’ Let’s have a look at the following lines.

                        “Not marching now in the fields of Thrasimeae,

                        Where Mars did mate the Carthaginians,

                        Nor sporting in the dalliance of love;

                        In courts of kings where state is overturned,

                        Nor in the pomp of proud audacious deeds,

                        Inends or Muse to vaunt his heavenly verse.”

No doubt, blank verse used by Marlowe has many qualities but its flaws cannot be overlooked. Its major flaw is that is is full of strange and swelling phrases. A critic remarks: “It is over-adorned with classical allusions. It is declamatory and lyrical rather than dramatically suited to character and situation.”

To sum up, the use of blank verse by Marlowe was extraordinary great in its essence. It may have some drawbacks but it was Marlowe who first time in the history of English literature donated British Drama a useful as well as strong source of expressing ideas through his mighty line. He freed it from monotony, tameness and lifelessness and gave it a new vigour and force to suit his heroic themes. A critic remarks: “What a great innovator he was and what a great revolution he brought in the poetry of the stage through his blank verse!” It is considerd one of his major contributions to English drama because with it, he paved the way for a genius like Shakespeare to give it perfection. A critic remarks: “It was Marlowe who guided Shakespeare into the right way of work and left it for Shakespeare’s inimitable genius to purity, to perfect and ‘to play upon its hundred stops.’”  Except Shakespeare, Milton also used it in his “Paradise Lost” and Wordsworth in his autobiographical poem, “The Prelude.” One of the major features of the success of these writings was the use of blank verse. Thus, we can say that Marlowe’s art of using blank verse got perfection and it was one of his major achievements in the history of literature.   (Words: 1129)

SEVEN DEADLY SINS

            Christopher Marlowe was quite unique and matchless in his skill as a play writer. He changed the idea of tragedy and made it the tragedy of an individual. He invigorated blank verse which was called Marlowe’s ‘mighty-line.” Similarly, he became quite an extraordinary figure when he presented ‘Seven Deadly Sins” in his famous Renaissance Tragedy, “Doctor Faustus.” Actually, the drama of Renaissance Period was marked with the presentation of these evils which contaminate a man’s mind and soul. Marlowe also took the advantage of presentation of these evils and revealed the influence of those Mystery and Morality plays in the form of a great tragedy. Before Marlowe, the show of ‘seven Deadly Sins’ was introduced by Spenser in his ‘Faerie Queene. Perhaps, Marlowe was inspired by Spenser and presented “Seven Deadly Sins” before us. William Langland also presented this concept in “Piers Plowman.” But there are also examples from outside of England. The best example outside of England is the Divina Commedia by Dante Alighieri.

But what is the concept of deadly sins?  When we look at the origin of the Seven Deadly Sins, it is important to first look at the tradition they belong to. Firstly, it is imperative to understand that the number seven has played a very important part in Judaism and Christianity, having as a result a huge influence on society, especially in Medieval and Early Modern society. When looking at the Bible, this becomes clear. The Bible immediately opens with the number seven, namely in the form of the seven days that God took to create the earth. He rested on the seventh day and even sanctified it as a rest day on which we should honour Him. Even when we look at the number itself, there is undeniably meaning to the number seven. The first wholly odd number is three, and the first wholly even number is four. These two added up make seven. When we look at the concept of sin, one of the clearest sources to look at is St. Augustine. He makes clear that sin is any thought, word or deed against God.  He also makes clear that sin is the death of the soul, meaning that sin is that which can endanger our soul, for it makes our pure, immortal soul mortal. Still, the distinction between normal sins and deadly sins remains very unclear. Still, it appears that, as Rogers concludes “A sin is therefore deadly when it is of sufficient magnitude to have consequence far-reaching and large, and is the result of a deliberate act of the will.”

Now let’s discuss Marlowe’s concept of seven deadly sins in Dr. Faustus.

            This show of seven deadly sins including ‘pride, Coveteousness, wrath, envy, jealousy, gluttony and laziness’ takes place in Act 2, Scene 2. Faustus is very upset because Mephistophilis is not ready to answer Faustus’ questions related to the creator of the euniverse. “Talk not of Paradise nor creation” says Lucifer. Faustus’ soul has been wavering between good and evil. Being disgusted with Mephistophilis’ impudence and after listening to the advice of Good Angel, he makes an appeal:

                                    “Ah Christ, my Saviour,

                                    Seek to save distressed Fausts’ soul.”

            But soon after this, we see the dramatic appearance of Lucifer, Beelzebub and mephistophilis and try to misguide Faustus taking him away from the right path and even getting success in their evil aim. We see Faustus telling them:

                                    “And Faustus vows never to look to heaven.

                                    Never to name God, or to pray to him.”

These seven deadlu sins are discussed now one by one. The first to appear is Pride. Pride does not acknowledge that he has any parents. This puts him in the same category as the angels, who don’t have parents but were created by God. With this connection between Pride and angels, Lucifer immediately springs to mind. Hereby, the prominent position of Pride is again established. In this source, Marlowe links the Sin of Pride to women. He, or she, says that he can settle on every part of a woman’s body like a flea. After this boasting, he continues with some more: “Indeed I do – what do I do not!” (Marlowe, 1007). Pride here boasts that he can do everything. This reinforces the statement that Pride is the root of all evil. The reader and viewer are brought back into the normal time by his comments that the place that Lucifer has summoned him to is beneath him and that it should be perfumed and draped.

The second Deadly Sin that is summoned is Avarice. He is “begotten of an old churl in an old leathern bag” (Marlowe, 1007). Here again we see the distinctive feature of Avarice, namely that he is old. The leather bag is the purse in which his covetous self keep his money. Avarice wishes that everything surrounding him is turned into gold and locked into his chest. This description is similar to the description that Spenser gives of him as a man who doesn’t care about the world around him and the morals that people act upon, but just cares for gold.

 The third Sin that is summoned is Wrath. In the text itself he claims to have no parents. This could mean several things. Firstly, he is born in all of us, and needs no direct cause. Wrath does say that some men will be his father. This leads to the notion that Wrath can indeed have multiple fathers, or is born of every human being. However, Marlowe may also be basing himself on the idea that Wrath is related to Satan himself. When Satan was still Lucifer (the archangel), he was created by God himself, and therefore did not have a mother or father (in a literal sense). Furthermore, Wrath states that he jumped out of the mouth of a lion. This further points to Satan as the lion is seen as a fierce creature, but also as the monarch of the animal kingdom. Satan was seen as a wild and terrible monster, but he was also the monarch of Hell. When considering the Early Modern ideas about cosmology, another link becomes visible. The final evidence for this statement comes from Wrath himself: “I was born in hell” (Marlowe, 1.5.299). Wrath says that he has run up and down the world with a box of rapiers. The rapier being primarily a European weapon favoured by the wealthier classes, it may indicate that Wrath also affects the wealthier classes. It was primarily a thrusting weapon, creating a stab wound. Therefore, one could feel a stab of Wrath in one’s hart. Wrath says he wounds himself if he has nothing to fight. This self mutilation is possibly a mockery of the Christian practice of corporal mortification, intended to purify the soul by inflicting pain on the body. However, Wrath hurts himself not to purify himself, but commit a sin. Wrath in Doctor Faustus is associated with physical violence. There is no indication that this personification of Wrath is a troublemaker who sows discord among men.

Then comes Envy. He is the child of a chimney sweeper and an oyster wife, two careers with little social status. Therefore, he will look at the luck of others and be prone to envy them.  Envy cannot read and therefore wishes that nobody else can read either. He wishes that he could burn all books. This in fact can be connected to the lack of appreciation of poetry that Spenser describes. He wants everybody to starve and die, so that he can be alone in this world.

The fifth Deadly Sin that is described is Gluttony. It is immediately obvious that Gluttony is not paying attention and has to ask if it’s his turn. His parents have died and have left him an abundant inheritance, which he still finds too little to satisfy his appetite. He then explains his ancestry, saying that he was born of good food and good ale. Lastly, he claims a reward for his explanation and asks Faustus to feed him.

The last two Deadly Sins are described in brief terms. First, there is Sloth, born on a sunny bank, meaning that the person who lay there didn’t want to leave and do his duty. Sloth hates that he had to go to the trouble to come to Faustus and wants Gluttony and Lechery to carry him around so he does not have to move anymore. He even refuses speak, since that is too much of a bother for him.

The last Deadly Sin described is Lechery, a woman, whom Faustus called "Mistress Minx” (Marlowe, 1007). Lechery “loves an inch of raw mutton better than an ell of dryed stockfish” (Marlowe, 1007). This means that she loves the genitals of a man (raw mutton) more than anything. She then says the first letter of her name is Lechery. This can be seen as Lechery being the start of all sorts of trouble (the other letters of her name) but it can also be seen as a sign of Lechery’s character. She says that she will only give the first letter, as someone might say to be chaste until marriage. However, Lechery cannot be chaste and cannot hold herself in check and therefore gives her name (and herself) entirely at once.

In so far as the importance of the presentation of these deadly sins is concerned, its first major characteristic is its dramatic significance. They play a vital role in leading Faustus’ soul from right path to the wrong path. They persuade him to adopt the path of evil which in the end brings his disaster. Secondly, these vices have also symbolic significance. They are part and parcel of human nature. It is man’s duty to fight against these evils and win against them. If he follows these evils, his degradation and eternal damnation is a must. Same is the case with Faustus. He falls a victim to pride in his learning and knowledge and is saturated with some of these evils. These evils work as warning signals for Faustus to avoid the path of evil but pride becomes the man obstacle in his way and leads him to a wrong direction. Thirdly, these deadly sins also show the significance of the Mystery and Morality plays prevailing in Renaissance drama. To preach the message of God and Christ through the presentation of evils was the prominent feature of these dramas. Such scenes were meant to delight the groundings of tht age. So, this show also meets the need of the time prevailing at that time. This feature also paved the way for the success of this drama and show Marlowe’s indebtedness to the Morality plays in which these sins played colorful roles. Lastly, no doubt, this play by Christopher Marlowe is again a good piece on the Seven Deadly Sins and gives us some new viewpoints. However, we must remember that Marlowe’s parade of the Sins was probably meant as entertainment, and not as something moral or educating. This can be proven by the fact that they are entertainment within a play, making it entertainment-within-entertainment.

To sum up, no doubt the scene has great significance but it does not mean that the depiction of these evils plays complete role in causing Faustus’ tragedy. They do not play full role in the development of drama. There are so many factors which contribute a lot in creating dramatic significance. We can say that this show plays a good role but if had not been presented, even then it would have created no effect on dramatic effect. We fully agree with the remarks of a critic who opines:  

 (Words: 1943)