Justification of comical and farcical scenes in doctor faustus sparknotes

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Justification of comical and farcical scenes in doctor faustus sparknotes

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Worksheet downloads Critical approaches: Textual scholarship Textual scholarship seeks to establish the most reliable text of a literary work: Doctor Faustus presents a special problem in that the published texts of the A-text and the B-text are very different It is generally accepted that some parts of both texts, particularly in the more comic and farcical scenes, were written by playwrights other than Marlowe Over the years, scholarly opinion has swung between these two texts: Some prefer the shorter, faster and more intense A-text and argue that the B-text is straggling and less coherent and that its comic scenes are unworthy of Marlowe and clash with the serious elements in the play Others argue that the longer text, with its extra scenes of comedy and trickery and the critique of the Church and political power, are an essential part of the play's purpose and truer to the mixture of styles to be found in many Elizabethan plays.

Generic and formalist criticism This explores Marlowe's use of different theatrical styles and asks questions about the formal category to which the play belongs: Is it to be seen as tragedy? Or is it a kind of savage or black comedy?

Justification of comical and farcical scenes in doctor faustus sparknotes

What use does it make of styles and practices inherited from the morality play? Answers to these questions may influence any choice we make between the A and B texts and, therefore, will influence our interpretation of the play. Further discussion of these matters can be found in the sections Theatrical context and Structure Biographical criticism This kind of criticism relates the content and themes of the play to Marlowe's life: It is not simply a matter of finding specific contemporary references in the text, but of understanding the general context within which the play was written, performed and received: The play was written and first performed at a time of great political uncertainty in England Queen Elizabeth I was ageing and there was no obvious successor to the throne There was unease concerning the possibility that she might be deposed from the throne by an internal rebellion At the same time, there was a fear of external invasion, particularly from Spain and other Catholic powers in Europe Indeed, there was a general anxiety about a reassertion of Catholic influence, from both outside and within England — this was the context in which Marlowe worked as a government agent The form and content of the play can also be related to the demands of theatrical practice It was also a period of exploration and the acquisition of new knowledge about the world to which we can relate Faustus' own quest for knowledge and understanding The scenes in Rome and at the Emperor's court offer a critical view of the power structures of the time at which the play was written.

There is the historical context of the clash between Henry VIII and the Papacy and the struggle between Catholics and Protestantsreflected in the scenes in which the Pope appears The play also relates to contemporary fears about witchcraft, magic and alchemy — all regarded as potentially dangerous to Christian belief and, therefore, threatening to the power wielded by the Christian Churchwhether it be Protestant or Catholic Some critics interpret the play in terms of Faustus' sins and whether or not Marlowe condones his actions: Questions are asked about what it is that Faustus does that leads to his being damned.

Mostly, he plays tricks and summons up visions and luxuries for his own pleasure — he harms no one Other critics might argue that Faustus' sin lies in his defiance of God echoing that of Lucifer and in dabbling with forbidden knowledge. He is damned by intention rather than deed. Further discussion of this topic can be found in the sections: Humanist criticism The humanist approach often removes the play from its context and interprets Faustus' story in terms of an eternal struggle to understand the cosmos and humanity's place in it: This approach lies behind the comments on the play by the Romanticsin which Faustus is idealised and seen as a hero for daring to defy the mightiest of powers in his quest for knowledge Faustus then becomes a mythical figure, an archetype of the human desire to cross the boundaries that appear to set the limits of human capacity.

Two things to notice about this approach are: It tends to ignore or dismiss those parts of the play inconvenient to its argument — the comic and farcical scenes It works with the assumption that there is such a thing as an essential human nature that is the same at all times and in all places.

This is not an assumption shared by all scholars and critics, many of whom argue that literary texts are inevitably and decisively shaped by the historical era to which they belong. This is an approach often taken by feminist critics who would point out that Doctor Faustus contains no significant role for a woman.

Such women as do appear are seen entirely as the adjuncts or possessions of men This applies especially to Helen of Troy, a possession the theft of which led to a long war.

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She appears in the play only as a passive vision, entirely at Faustus' command. Marlowe's plays are also read in terms of speculation about his own sexuality: It is argued that Marlowe's time at school and university may have brought him into contact with homosexual circles There is a remark quoted from Marlowe in a contemporary document, written by an acquaintance, that anyone who didn't love tobacco and boys was a fool.

However, it should be noted that the document was designed to tarnish Marlowe's reputation This issue doesn't particularly concern Doctor Faustus, but is certainly relevant to his later play Edward II, in which the king is clearly engaged in a homosexual relationship with his favourite, Piers Gaveston.

Psychoanalytic criticism Psychoanalytic criticism reads texts in terms of how they relate to: It is related to Biographical criticism in terms of how Marlowe's own life experiences, attitudes and beliefs might be reflected in his work: It might consider Marlowe's persistent concern with power and ask questions about his relationship with various forms of authority It might also see in Faustus' situation something of Marlowe's own anxieties about religion and the desire for knowledge It is a mode of criticism that is particularly drawn to texts that dramatise perverse or transgressive situations: In performance, Doctor Faustus should be in a dynamic relationship with its audience In Marlowe's own time its representations of Faustus' spell-making and dealing with the devil would have seemed shocking, dangerous and even blasphemous.

Justification of comical and farcical scenes in doctor faustus sparknotes

In today's world, it still asks hard questions about the limits of human knowledge, our relationship to the universe and to European Christian belief systems. Marlowe wishes to entertain his audiences but he also wants them to think about what they are witnessing on the stage.

Further exploration of critical approaches A good starting-point for further exploration of critical approaches to Marlowe's work would be the anthology The Cambridge Companion to Christopher Marlowe Cambridge University Press,edited by Patrick Cheney.

There are several general essays on Marlowe's life, religion and politics, textual issues and the literary context, as well as a good essay on Doctor Faustus.

An older anthology which is still useful is Marlowe: This offers a generous selection of brief comments on the years up some of which also appear earlier in this section and a number of essays or substantial extracts from books published up to A drama in which the main character falls from power, dignity and prosperity to misery, defeat and usually death Humour based on a dark topic such as death or violence, or amusement found in the midst of awful circumstances.

Medieval plays in which the forces of Good and Evil battled for the souls of individuals."The abundance", according to a critic, "of the comic scenes here weakens the dramatic quality". Many time the comic scenes are not up to the mark. In the harassment of the Pope, comedy degenerates into farce.

The practical jokes played on the horse-courser is sheer-clownage and unworthy of a somber and great play such as Doctor Faustus. Christopher Marlowe, Doctor Faustus A- and B-Texts (, ): Christopher Marlowe and His Collaborator and Revisers, ed. David Bevington and Eric Rasmussen (Manchester: Manchester Univ.

Press, ), act 1, scene 1, line 3. Hereafter the A-text is cited parenthetically by act, scene, and line number, unless otherwise indicated. Doctor-Faustus-By-Christopher-Marlowe. Table of Contents. INTRODUCTION TO CHRISTOPHER MARLOWE () (A) LIFE OF CHRISTOPHER MARLOWE () (B) WORKS OF CHRISTOPHER MARLOWE.

Dramatic Activity of Six Brief Years. The events that occur in Act – IV, Scenes I & II with Ralph, Robin and Mephistophilis are also comical. Robin is preferring magic on the basis of what he has learnt from Faustus’s book. He summons Mephistophilis in order to teach the innkeeper a lesson.

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THE COMIC SCENES IN CHRISTOPHER MARLOWE’S DOCTOR FAUSTUS Purwarno & Jumat Barus Faculty of Literature Islamic University of North Sumatra, Medan Abstract This article is the result of a study which consists of the writer’s description of the comic or farcical scenes in Christopher Marlowe’s play “Doctor Faustus”.

We have five comic scenes in Doctor Faustus in which low comedy, burlesque and crude buffoonery have been introduced. These scenes are: Act-I, Scene IV; .

Critical approaches: the last hundred years » Doctor Faustus Study Guide from urbanagricultureinitiative.com