Marlowe's Doctor Faustus As A Moral Play

The tragedy of Doctor Faustus marked a period of transition from traditional morality play centered drama to a type which focused on new Renaissance individualism. Marlowe used the stage as a vehicle to raise contentious issues to the Elizabethan audience to which Doctor Faustus was first performed. Through the play’s alluring combination of magic, fantasy and danger throughout the performance, audience members become inextricably intertwined with the character of Faustus and ultimately are forced to question elements of their own beliefs and moral stances.

The provocative nature of the character of Faustus is evident in the extract as he postulates that “hell’s a fable”- an outlandish remark that would shock an Elizabethan spectator. The

In the case of traditional Greek tragedy, the protagonist’s downfall was centered upon the omnipotence of the gods – and likewise is the Calvinist concept of predestination that is central to the understanding of Faustus. The play raises problems that are intrinsic to the idea of the elect - primarily through Faustus’ deal with Lucifer. It is questionable whether the tragic ending of Faustus was a direct result of his decision to trade his soul, or whether Faustus was in fact damned from the beginning and was aware of this – therefore choosing instead to have the best life he can through his limitless desire. The latter may be evident in Faustus’ fatalistic “Che sará, sará” attitude during his opening soliloquy (Marlowe, Act 1: Line 47). Faustus rejects the Christian idea of redemption; as he declares: “Why then belike we must sin / And so consequently die” and that we only “deceive ourselves” (Marlowe, Act 1: Lines 44-46) by believing that sin does not exist and that ultimately, Christianity can only promise

While Faustus blindly dismisses his plea and urges him to have “manly fortitude” (Marlowe, Act 3: Line 85), the audience would be able to see that Mephistopheles is issuing a warning and a chance for redemption to Faustus, and that hell is enough to bring horror to him, even as a devil. A cathartic effect is produced as the audience would feel pity for Faustus’ blindness, and all the while fear the effects of his necromancy – ingraining the audience further into the theatrical