Elizabethan Drama

1. Elizabethan Drama • In the sixteenth century, the Elizabethan stage became almost wholly professional and public. • The new theater groups devoted their entire time to the art and producing plays. The art of acting became a profession during the Elizabethan period which would provide a good livelihood for the actor. Likewise, the production of plays at this time was a good financial source. • The actors were decorative and wore elaborate Elizabethan dress. • Companies built their own theatres.

3. a three-tiered circular building with a large protruding platform extending out into the center of the enclosure. It was an open structure so that natural light entered through the top. The spectators sat in either the gallery around the sides or down in the "pit."

4. ChristopherMarlowe - An actor, poet, andplaywrightduringthereign of Britain’sQueenElizabeth I (ruled1558–1603). He waseducatedtobecome a clergyman He wasaccused of heresy Amongthemostwellknown of his playsareTamburlaine, TheJew of Malta,andDoctorFaustus In his writing, he pioneeredtheuse of blank verse—nonrhyminglines of iambicpentameter.

5. Dr. Faustus • Written in early1590s in England • DoctorFaustus is a Christianplay, it dealswiththethemes at theheart of Christianity’sunderstanding of theworld. • The idea of an individualselling his or her soultothedevilforknowledgeandpower is an old motif in Christianfolklore. • The motif of fall: Icarus in Mythologyandfallenangel, Lucifer

7. What lies at the heart of the play? Conflict between the medieval world and the world of the emerging Renaissance • ThemedievalworldplacedGod at thecenter of existenceand put aside manandthenaturalworld. • WithRenaissance, a newemphasis on theindividual, on classicallearning of Greek, and on scientificinquiryintothenature of theworld. • Inthemedievalacademy, theologywasthequeen of thesciences. IntheRenaissance,secularmattersbecameimportant. • Inthemedieval model, traditionandauthority, not individualinquiry, werekey.

8. CHARACTERS • Valdesand Cornelius • Chorus • OldMan • goodandevilangels • Lucifer • Pope • King, knight • Wagner • Clown, Robinand his friendRafe as comicrelief • Horse-courser • TheScholars

9. Setting • Europe, mostly Germany and Italy

10. Plotstructure • Prologue: chorus, Tradition of GreekTragedy • What is thefunction of Chorus? • theChorus, whichappearsbetweenscenes, provides background informationandcomments on theaction. • Classicalandmedievalliteraturetypicallyfocuses on thelives of thegreatandfamous—saintsorkingsorancientheroes. • the life of an ordinaryman, borntohumbleparents. Themessage is clear: in thenewworld of theRenaissance, an ordinarymanlikeFaustus, a common-bornscholar, is as important as anykingorwarrior, and his story is just as worthy of beingtold.

11. Who is Faustus? • Faustus, brilliantsixteenth-centuryscholar • He studiedandmasteredthesciences of logic, mathematics, medicine, law, astrology, chemistryandreligion. • learntopracticemagic • twenty-fouryears of service • Pact / blood (Whydoes his bloodfreeze? Whatappears on his armafter he signedthepact?) • “Homofuge,” Latin for “O man, fly” (5.77). • Blindness, one of his definingcharacteristicsthroughouttheplay

12. ForWhatdoesFaustusdesirepowerandknowledge • misreading of the New Testament: anyone who sins will be damned eternally—ignoring the verses that offer the hope of repentance. • The reward of sin is death? That’s hard. If we say that we have no sin, We deceive ourselves, and there’s no truth in us. Why then belike we must sin, And so consequently die.Ay, we must die an everlasting death. What doctrine call you this? What will be, shall be! Divinity, adieu!These metaphysics of magicians,And necromantic books are heavenly! (1.40–50) • Faustus neglects to read the very next line, which states, “If we confess our sins, [God] is faithful and just to forgive us our sins, and to cleanse us from all unrighteousness” (1 John 1:9).

13. he is themostbrilliantscholar in theworld, his studieshave not broughthimsatisfaction, and he is depressedaboutthelimitations of humanknowledge • Ambitionforknowledgeabouttheuniverse, wealth, andworldlypowerandsupernaturalpower • At first he is potentially a greatmanwhodesirestoperformbeneficialactsforhumanity • To be theruler of Germany • Gainwealthfromthefourcorners of theglobeandreshapethemap of Europe (bothpoliticallyandphysically) • transgressthenaturallaws of theuniverse • gobeyondtherestrictionsplaced on humanity. • the modern questforcontrolovernature • havegodlikequalities. • Desireforforbiddenknowledgebringsaboutdestruction. Supernaturalpowersarereservedforthegodsandthatthepersonwhoattemptstohandleordeal in magicalpowersmustfaceeternaldamnation.

14. Howdoes he representthespirit of theRenaissance? • rejection of themedieval, God-centereduniverse • His belief in humanpossibility. InMedieval time a manshouldremaincontentwith his station in life. Anyattemptorambitiontogobeyond his assignedplacewasconsidered a great sin of pride. Forthemedievalperson, pridewasone of thegreatestsinsthatonecouldcommit. • Faustus is thepersonification of possibilityandpride. • he goesthrougheveryfield of scholarship, beginningwithlogicandproceedingthroughmedicine, law, andtheology. • He resolves, in fullRenaissancespirit, toacceptnolimits, traditions, orauthorities in his questforknowledge, wealth, andpower.

15. Mediavel vs Renaissance • AccordingtotheRenaissanceview, Faustusrebelsagainstthelimitations of medievalknowledgeandtherestriction put uponhumankind. • His desire, accordingtotheRenaissance, is totranscendthelimitations of humanityandrisetogreaterachievementsandheights. Inthepurest sense, Faustuswantstoprovethat he can becomegreaterthan he presently is.

16. WhydoesLuciferwant Dr. Faustus’ soul in exchange of 24 years’ service? • to enlarge his kingdom and make humans suffer as he suffers.

17. What is his internalconflict? • Faustus is constantly undecided about whether he should repent and return to God or continue to follow his pact with Lucifer. • Faustus constantly turns his mind to God and he wonders if it is too late for him to repent. • The good angel and the evil angel, both of whom appear at Faustus’s shoulder symbolize this struggle. • “[m]y heart’s so hardened I cannot repent!” • personifications of the Seven Deadly Sins to offer entertainment • Faustus begins to appeal to Christ for mercy, but then Lucifer and Mephastophilis enter. They tell Faustus to stop thinking of God and then present a show of the Seven Deadly Sins. Each sin—Pride, Covetousness, Envy, Wrath, Gluttony, Sloth, and finally Lechery—appears before Faustus and makes a brief speech. The sight of the sins delights Faustus’s soul, and he asks to see hell. Lucifer promises to take him there that night.

18. What has he done withthenewlyacquiredpower? • Faustus traveled through the heavens on a chariot pulled by dragons in order to learn the secrets of astronomy. • He travels throughout Europe—first from Germany to France and then on to Italy • Attack to Catholic Church, a day of feasting in Rome, to celebrate the pope’s victories, and Faustus and Mephastophilis agree to use their powers to play tricks on the pope • Disguise themselves as cardinals and come before the pope. The pope gives Bruno to them, telling them to carry him off to prison; instead, they give him a fast horse and send him back to Germany. • During the meal, Faustus and Mephastophilis make themselves invisible and curse noisily and throw dishes and food as they are passed around the table. The churchmen suspect that there is some ghost in the room. The pope and all his attendants run away.

19. What has he done withthenewlyacquiredpower? • invitedtothecourtbyGermankingtoentertainhimbyplayingtricks. he wouldliketosee Alexander the Great and his lover • a pair of hornsontothehead of theknightwhomakesfun of Faustus. • Faustus’ head is cutoff but he comesbackto life • He meets a horse-courserandsellshim his horse. Faustuswarnshim not toridethehorseintothewater • He is sent forbythe Duke of Vanholttoentertainhimand he triestoimpresshimwith his tricks. TheDuchessasksforout-of-seasongrapes. • Somescholarsasksfor Helen. Wasthisthefacethatlaunched a thousandships, Andburntthetoplesstowers of Ilium? Sweet Helen, make me immortalwith a kiss:Her lipssucksforthmysoul, seewhere it flies! Come Helen, come, give me mysoulagain. Here will I dwell, forheaven be in theselips,Andall is drossthat is not Helena! • Nowhastthou but onebarehourtolive, Andthenthoumust be damnedperpetually. Uglyhellgape not! Come not, Lucifer! I’llburnmybooks—ah, Mephastophilis • Toconclude, he uses his unlimitedpowertoplaycheaptricks on people. He has done nthmagnificientandglorious. He is graduallybecoming a clownwithnoheroicaimtocarryout.

20. Ah Faustus, Nowhastthou but onebarehourtolive, Andthenthoumust be damnedperpetually. . . . Thestarsmovestill, time runs, theclockwillstrike,Thedevilwillcome, andFaustusmust be damned.O I’llleapuptomyGod! Whopullsmedown? See, seewhereChrist’sbloodstreams in thefirmament (sky/heaven)! Onedropwouldsavemysoul, half a drop: ah myChrist—Ah, rend not myheartfornaming of myChrist;Yet will I call on him—O spare me, Lucifer!. . . O God, ifthouwilt not havemercy on mysoul, . . . LetFaustuslive in hell a thousandyears, A hundredthousand, and at last be saved.. . . Cursed be theparentsthatengenderedme: No, Faustus, cursethy self, curseLucifer,Thathathdeprivedthee of thejoys of heaven. . . . MyGod, myGod, look not sofierce on me! . . . Uglyhellgape not! Come not, Lucifer! I’llburnmybooks—ah, Mephastophilis!           (13.57–113)

21. Mephastophilis • Thephysicalappearance of Mephistophilis • His motivationsareambiguousandambivalent. • he himself is damnedandspeaksfreely of thehorrors of hell. • Sympatheticliterarydevil • MEPHASTOPHILIS:Whythis is hell, noram I out of it. Think’stthouthat I, whosawtheface of God, Andtastedtheeternaljoys of heaven, Am not tormentedwith ten thousandhellsInbeingdeprived of everlastingbliss? O Faustus, leavethesefrivolousdemands, Whichstrike a terrortomyfaintingsoul. • FAUSTUS:What, is greatMephastophilissopassionateForbeingdeprivèd of thejoys of heaven? Learnthou of Faustusmanlyfortitude, Andscornthosejoysthounevershaltpossess.           (3.76–86) • whenwehearonerackthe name of God/ Wefly in hopetoget his glorioussoul” (3.47–49)

22. Mephastophilis • questionsabouttheplanetsandtheheavens. • whomadetheworld? • Theanswer is “againstourkingdom”; whenFaustuspresseshim, Mephastophilisdepartsangrily (5.247).

23. Mephastophilis • His description of hell • where is helllocated? • Mephastophilissaysthat it has no exactlocation but existseverywhere. It is not a place, but a conditionorstate of being. Hell is everywherethatthedamnedarecutofffromGodeternally. AnyplacewhereGod is not, is hell. Beingdeprived of everlastingbliss is alsohell. Inotherwords, heaven is beingadmittedintothe presence of God, andhell, therefore, is deprivation of the presence of God • Hellhath no limits, nor is circumscribedInone self-place; forwhereweare is hell, Andwherehell is, theremustwe ever be. . . . Allplacesshall be hellthat is not heaven.FAUSTUS: Come, I thinkhell’s a fable.MEPHASTOPHILISs.: Ay, thinksostill, tillexperiencechangethymind.. . .FAUSTUS: Think’stthouthatFaustus is sofondtoimagineThatafterthis life there is anypain? Tush, thesearetriflesandmereoldwives’ tales.            (5.120–135)

24. Criticism • Renaissance, which pushed God to one side and sought mastery over nature and society • the desire for complete knowledge about the world and power can be destructive