A 20-page, 8000-word full quotation bank that covers Marlowe's 'Doctor Faustus' in its entirety. Organised by AO2 (textual analysis) and relevant AO3 (Context). Alive to critical discourse beyond A-Level -- eg humanism, stagecraft, Calvinist predestination, moral philosophy.
This was crucial to...
‘Now he is born, his Evokes an initially favourable depiction of Biographical: this reflects Marlowe’s own
parents base of stock ‘ Faustus: he is risen from a humble background humble upbringing – Marlowe’s father was
to an esteemed scholar. a shoemaker. Faustus is born ‘base of stock’
like Marlowe, arguably making him redolent
of the ‘Everyman’ in Morality Plays.
Literary: Faustus established as a relatable
‘everyman’.
‘good and bad’; ‘Good Conflict/ dichotomy between binary ethical The Good and Evil Angel are conventions of
Angel’ and ‘Evil Angel’ values of good and evil fronted in the Prologue Morality Plays and represent the abstract
– structurally significant. moral qualities of good and evil. Contrary to
the nascent psychological complexity
Distinction manifests itself in the allegorical presented in Renaissance and
figures of the ‘Good Angel’ and the ‘Evil Angel’, Shakespearean tragedy, the Good and Evil
who reflect ‘Vice’ and ‘Virtue’ in Morality Plays. Angle represent binary and arguably
Such figures employed to convey universally simplistic dogmatic moral qualities.
accessible homoleptic message: to conform to
the Elizabethan Great Chain of Being alongside
social and religious convention.
‘Till, swoll’n with The adjective ‘swoll’n’ reveals Faustus’ Biographical: Marlowe is often counted
cunning of a self- propensity to be hubristic; this is established as amongst the School of the Night, a group of
conceit / His waxen his tragic flaw here. atheists in the 16th century, therefore it is
wings did mount feasible to suggest that he is subtly
above his reach, / And The verb ‘conspired’ suggests Faustus was impugning the notion of a benevolent God
melting heavens subject to a machination against him. That this through this allegory.
conspired his occurs at the start of the play arguably voices
overthrow’ Marlowe’s overarching presentation of Faustus Universe governed by capricious/vindictive
as a victim of manipulation and coercion. It is entities.
particularly shocking that God is the
perpetrator of this as he would usually be
associated with salvation and redemption, not
conspiring an ‘overthrow’.
This further establishes Faustus as a tragic hero
as his fate is inexorable from the very
beginning.
‘Glutted more with Marlowe employs the Greek Tragedy Chorus to Literary: With part of heaven made from
learning’s golden gifts, convey the dangers the pursuit of necromancy ‘pure gold’ (Revelations 21:21), Faustus’
/ He surfeits upon entails. He manipulates the Elizabethan decline into necromancy could
cursed necromancy’ audience’s dogmatic piety, initially appearing to microcosmically reflect Lucifer’s fall from
convey Faustus as sinful in the eyes of a firmly heaven.
religious England. However, Marlowe more
subtly undermines this idea – link to the Would have been particularly shocking as
‘conspired’ quote. James I was an advocate for seeking out
witches and prosecuting them.
The plosive alliteration ‘glutted… golden gifts’
creates a scathing tone, making the Chorus
seem biased in their usually impartial
commentary.
‘Settle thy studies’ Faustus addresses himself in the second person, The Renaissance inaugurated a new
conveying his split personality. Writers have emphasis on scholarly learning; it is
since used this device to suggest a lack of significant that this starts the first Act.
integrity e.g. in Othello.
This was a mode of address often adopted in
Elizabethan drama by kings and other rulers,
indicating Faustus’ hubris.
Arguably, Faustus detaches/ divorces himself
from the repercussions of his actions so he can
, explore necromancy without feelings of guilt.
‘The reward of sin is Faustus reads despairing portions of the Bible He has omitted the merciful modifications
death’ but omits the optimistic phrases that follow. He that follow and so was left with a syllogism
fails to consider repentance and mercy. supporting a Calvinist view of man as
naturally depraved and sinful, and destined
to eternal death.
‘All things that move Illustrates hubris and ambition. For structural Faustus’ speech is inflected with the
between the quiet point, contrast initial ambitions with his use of seventeenth-century scientist's and
poles / Shall be at my power at the end towards the end of the play. coloniser's desire for control over the
command’ natural world.
‘necromantic books The paradoxical association of religious Biographical: Marlowe is often counted
are heavenly’, ‘a language with necromancy brings Faustus’ amongst the School of the Night, a group of
sound magician is a naivety to the fore. Although Marlowe is sure to atheists in the 16th century, therefore it is
mighty god’ conceal the subtext behind the disguise of a feasible to suggest that he is subtly
megalomaniac’s rhetoric, we might infer these impugning the notion of a benevolent God
lines to be subversive. In conflating a ‘magician’ through this allegory.
and ‘god’, Marlowe is arguably expressing the
atheist view that God is superficial and little Faustus echoes the nascent humanist
more than an illusion. secularism during the Renaissance.
Ironic juxtaposition of human ‘brains’ and Link to Religio Medici (Browne) – trying to
‘deity’ – Faustus shown to be myopic – trying to displace empirical faith in God with belief
reconcile human and divine. predicated on reason, logic etc. One should
harness intellectual faculties to form belief
in God.
‘necromantic books The emerging humanist school of thought
are heavenly’ denounced simply following the church’s
commands, advocating the use of reason to
direct one’s own duty. Marlowe, however,
presents Faustus as failing to adequately apply
humanist philosophy, using a bizarre and
twisted logic to justify his temptation. This is
present in Faustus’ use of oxymoronic
statements, claiming the ‘necromantic books
are heavenly’. Thus, Marlowe presents Faustus
as defying religious convention and fallaciously
subverting humanist though, demonstrating the
folly in pursuing temptation.
‘Of power, of honour, Marlowe immediately presents Faustus as
of omnipotence tempted by forbidden knowledge, attempting
to abandon the scholastic traditionalism of the
Medieval era and superseded his position as a
Renaissance man. Through his vituperative
rhetoric denouncing the established works of
Aristotle, for example, Marlowe communicates
that Faustus is abandoning the Medieval mode
of thought which stressed tradition. Faustus’
desire of ‘power, of honour, of omnipotence’,
however, highlight how he desires to become
godlike, with the triadic structure here denoting
a steadfast conviction on his behalf. The
plosives in 'power’ and ‘omnipotence’ also
draws the audience’s attention particularly to
his desire for absolute authority, thereby
, rivaling God and abandoning Elizabethan
religious dogma.
‘Here, Faustus, try thy Structurally, this line is uttered by Faustus To an Elizabethan audience, this would have
brains to gain a deity’ before any other characters, other than the constituted a serious breach of the Great
Chorus, have appeared on stage; the blame lies Chain of Being, which dictated that each
clearly with him. person had a fixed position in a rigid
hierarchy.
Faustus’ dismissal of conventional occupations
as too ‘servile and illiberal for me’ highlights the …highlights the conundrum that faced many
conundrum that faced many esteemed scholars esteemed scholars during the Renaissance
during the Renaissance period: it is likely that period: it is likely that Marlowe’s Faustus
Marlowe’s Faustus was influenced by the was influenced by the renowned scholar,
renowned scholar, John Dee, who collected the John Dee, who collected the largest library
largest library in England. Like Faustus, Dee felt in England. Like Faustus, Dee felt that he
that he had consumed all available knowledge – had consumed all available knowledge –
during the early modern/ Renaissance period, during the early modern/ Renaissance
knowledge was finite. And, like Faustus, he was period, knowledge was finite.
later accused of ‘conjuring’ – imprisoned.
Faustus reaches same conclusion: ‘try thy
brains to gain a deity’.
Internal rhyme of ‘try thy’ and ‘brains to gain’,
alongside rhythm and lyrical tone, encodes
Faustus’ mounting sense of childish excitement
– concludes that he will pursue desires
established at opening of scene. ‘Deity’ lent
further emphasis through polysyllabic nature
which disrupts the lilting rhythm in the rest of
the rhyme. This emphasis communicates finality
in Faustus’ decision – BUT undermined by
Faustus’ experiences throughout the rest of the
play – though inner conflict seemingly resolved/
quelled, temptation marks primary source of
conflict throughout remainder of play.
‘Enter the Good and Marks a moment of psychomachia. The Good and Evil Angel are conventions of
Evil Angel’ Morality Plays and represent the abstract
moral qualities of good and evil. Contrary to
the nascent psychological complexity
presented in Renaissance and
Shakespearean tragedy, the Good and Evil
Angle represent binary and arguably
simplistic dogmatic moral qualities.
However, as a modern-day audience we
might read the Good and Evil Angels as
metaphorical externalisations of Faustus’
psyche. A psychoanalytic critic might view
the angels as the id and superego – aspects
of Faustus’ psyche.
‘Be thou on earth as Arguably, the Evil Angel is appealing to Faustus’
Jove is in the sky’ ego and is compelling him to pursue
necromancy, insinuating he can reach even
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