Dr Faustus' medieval morals vs.

his renaissance ideals

Faustus's inner turmoil shows the dominant meaning within the play: Medieval morals versus Renaissance ideals. Marlowe's characterization of Faustus leads one to the predominant idea of duality in society of his era in which Medieval values conflict with those of the Renaissance. His refusal to see what is fact and what is fiction is a result of his portentous and proud persona. In his quest to become omnipotent, Faustus fails to see that there is life after death and that his material possessions are of no consequence. Faustus is a combatant in his own internal war of knowledge or salvation. In the opening of the play, the line "Heavens conspired his overthrow" could be a reference to Lucifer's attempt to overpower God. Thus, the Chorus would ultimately be making reference to Faustus' attempt to outwit God. This is the contrast between Medieval and Renaissance values; the medieval world shunned all that was not Christian while the Renaissance was a re-birth of learning in which people openly questioned divinity. The chorus makes it seem that Faustus is a bad man because he seeks knowledge. In essence, it portrays Faustus as a "Renaissance man who pays the medieval price for being one. Faustus's constant struggle to explore Renaissance principles is heightened by the Good Angel and the Bad Angel. The Good Angel pulls Faustus towards Medieval values. He represents Faustus's medieval instincts. The Good Angel is Faustus key to salvation. Again, Faustus's inner conflict gives way to the ultimate theme of redemption and sin. While the Good Angel represents the medieval era, the Bad Angel signifies the Renaissance. The Bad Angel feeds Faustus's hunger for knowledge by telling him that all nature's treasure is contained in his books. Going even further, the Angel tells Faustus to be lord and commander of these elements ultimately telling Faustus that he could be God if he chooses. Both angels are signifying the duality within society. Where half are pulled towards the righteous medieval morals and the others toward liberated Renaissance ideals. Faustus embraces his Renaissance persona by acknowledging his life choices. In his never ending quest to obtain knowledge, Faustus conjures Helen of Troy so that he may marvel at her beauty. Helen was considered to be the most beautiful mortal woman in the world. Faustus suggests that Helen has taken his life. This is ironic on many levels, most noticeably being that many men died to rescue Helen from the Trojans. In addition, Faustus is the only one responsible for his lost soul. The conjuring of Helen of Troy represents Faustus's decision to accept what he has done with his life and follow his Renaissance persona. In calling on Helen, Faustus has yielded himself to immortal sins.

Faustus's epic battle between medieval morals and Renaissance ideals results in his eternal damnation. Faustus has many chances to repent, yet not once does he decided to put an end to seeking knowledge and practicing magic. His decision is ultimately a signal for the end of medieval beliefs in the idea of religion being the key and the emergence of free thinking. Faustus has been said to be "a Renaissance man who paid the Medieval price for being one" (R.M. Dawkins). Though Faustus is the tragic hero of the play one must really consider if in fact Faustus's demise is tragic. Faustus makes his own decisions and knows where they will take him to in the end. He refuses to see that heaven and hell do exist and despite the many warnings given to him of hell, he still follows the path of damnation. Faustus is a man with the charisma and courage to follow his passions in life despite the duality within society and the constant pulling of morals and ideals. Faustus is told time after time that he can still repent and save himself from the wrath of God. Several times he does in fact repent, yet because of his inner conflict he takes it back. Not till Faustus utters his last words is one completely sure that Faustus's story is tragic, at best. At the end of the play, the Chorus emphasizes that Faustus is gone, his once-great
potential wasted. The Chorus warns the audience to remember his fall, and the lessons it offers.

Ultimately, he dies unhappy and he's still a combatant in his own internal war. We can say that in spite of being a man of medieval period, Faustus was a Renaissance man. And by his activities we find the elements of Renaissance where medieval values are buried because of the emergence of Renaissance ideals.

Written by: Nesma Mohamed Saied Code: 111