The play that I want to write on is Othello by William Shakespeare. This play is about the misplacement of trust that has been casted upon some people which lead to the downfall of man. The betrayal of trust is driven by the jealousy towards the main character’s achievements and stature.
The themes that I want to relate to the story are overlapping with each other which is the trust on one cannot be too malicious that it can be the downfall of your own self, jealousy is a very ill-driven motivation that will cast chaos towards one’s life and displacement of honesty can surely destroy a man’s life.
My one point is in the entanglement of three major points. The explanation would be done in a simple manner where we will see that a jealous individual that has been portrayed as honest and has been looked upon as someone who is trustworthy will lead to the downfall of the immediate friends and relatives.
In the play, we could see that Iago is the main villain in the story whereas Othello is the main character. It is said that Iago is jealous of Othello’s position and power in the Venice as he, Othello is a Moors and married to Desdemona, a daughter of a Venetican’s senator. He found that this should not be happening as he cannot see why and how is it possible for an intermarriage to happen. Below are a few lines from a dialogue that is said by Iago in first Scene first Act.
“...Against the Moor: for, I do know, the state,...Though I do hate him as I do hell-pains...I must show out a flag and sign of love,...”
Just based on the above quotation, it is already being included that Iago hates Othello but he needs to get Othello’s good side so he can instigate Othello towards his demise. Thus he masked himself with the word honesty and influenced everyone around him to loath Othello in any way possible. Besides that, he already pointed it out clearly that he hates Othello for his colour skin.
Each of everyone in the play has made a consensus within themselves that Iago is innocent, and a very honest person. He is someone who is modest and humble in front of Othello maybe due to the stature differences or he is trying to fool Othello. At the same time, he is acting very intelligent and more outspoken in front of Cassio and Iago. This implication is probably due to the fact that he is trying to instigate them to bring calamity in Othello’s life directly and indirectly. The alibi stating that Iago to be honest as a man can get was given out by Othello himself as they have been working together for as long as they can remember.
Based on that acclamation, he managed to sway everyone judgement of themselves and everyone around them easily. Thus, he gave doubt within them and paranoia between them.
“Yet, I persuade myself, to speak the truth”
(Act 2, Scene 3)
In addition to it, all of the characters in the play trust Iago’s word as if his word is an absolute truth. We can see it in many instances where people will go to Iago for advice and guidance. Iago has given out advices and suggestions to all of the characters in the play including Othello, Desdemona and even Emilia. Throughout the play, we will see Iago instigate everyone around him to do something that would cause at least a disturbance in Othello’s life. In Act 1, we can see that Iago developed Roderigo despise Othello and further complicate Othello’s life by making Brabantio rushed to Othello and ask for his’ daughter safe return. In Act 2, he instigated Cassio to be stripped out of his status and tried to make a scandal between Cassio and Desdemona. He managed to influence Othello in making him believe that Desdemona is having an affair with Cassio. One particular event that truly portrayed the absolute truth of Iago’ word when Othello and Desdemona confront each other. Othello believed in all his heart to what Iago had said that Desdemona is impure and untrustworthy even though Desdemona has claimed that it was not what he thought it is.
In conjunction to it, we can see that Iago even manipulated Emilia, his wife, a little by pulling a small trick. He persuaded Emilia steals the handkerchief that Othello gave to Desdemona so he can plot his malevolent plan towards the destruction of Othello.
Furthermore, we can interrelate all of the themes that I have stated into our own life as we also have needs and friends. We move ourselves because of motivation regardless whether it is positive or negative. We tend to compete with the people that we sometimes awe and respect. We tried to surpass everyone that is higher than us in the related field that we interested in using any ways possible. To survive in this world that people have said to be unjust, we need pillars and we will get it by having a bond of relationship with people; family and friend all the same. Thus, we invoke trust to make sure that we can depend on them in any way possible so we would not feel alone or fragile in the world.
To conclude, Othello play has multifarious themes that we also go through in real life.
Sunday, February 13, 2011
My Part
STRICTLY NO COPYING! I'LL SUE YOU PLAGIARIZERS ;)
“Othello” is one of the most prominent works of William Shakespeare that was first performed in the earliest years of the 17th century. “Othello” is considered as a much appreciated play because of the issues that have been depicted in the play that relate to the people of that particular era and - to a certain extent – profoundly related our era as well. There are multifarious themes that heavily influence the storyline of the play, such as the issue of race, friendship and betrayal, jealousy, honesty and pride.
The issue of race can easily seen in “Othello”, and it somewhat brings us modern readers back into the 17th century to have a look into how the Western society at that time perceive the people of the East, in other words, the others. In many cultures ranging from the East to West, a name is a person’s pride, and we call other people by their name to show our respect to them. By not referring a person by his name indicates that that person is somewhat of lower in status and undeserving of receiving the same level of respect from them, mainly the West. An example of this can be seen in Part I scene I, Iago, the villain of “Othello”, seems to degrade Othello by only referring him by the term “the Moor” several times as can be traced in line 39 and 57. Apart from that, Edward Said’s “Orientalism” has clearly touches on the issue of degenerating a human into smaller body parts. One can see that Iago seems to degenerate Othello into referring him by his body parts alone, not referring to him as a complete man. One can see an instance in line 66 where Rodrigo deems Othello as “thick-lips”. This act of degenerating Othello into body parts flamboyantly illustrates us that the Venetian society, primarily the whites, at that time felt they were superior in term of self-dignity and status than the Moors, or the blacks, or the entire Eastern world for that matter. The issue of race doesn’t only halt there. We can see the putrid descriptions of the Moors in “Othello” through the horrible words that Iago has put together in line 88 and 89;
“Even now, very now, an old black ram, Is tupping your white ewe; arise, arise,”
Apart from that, during the hearing at Othello’s compound yard, much to his surprised, Brabanzio was seemed to be very unpleased that his daughter, Desdemona, married Othello in secret. The instigation made by Rodrigo and Iago earlier further infuriate the enraged father into believing that Desdemona has been somewhat cursed by Othello using the dark magic to fall in love with him, (Part 1 Scene 3 line 60 – 61)
“She is abus’d, stol’n from me and corrupted, By spells and medicines, bought of mountebanks”
This further illustrates that the study of the dark arts are usually practiced by the Eastern community, indicating that the East are filled with evil and corrupted minds that often tempt to manipulate the West. This is absolutely absurd, and cannot be taken as a valid argument as the author that wrote “Othello” was from the West.
Apart from the issue of race, the theme on friendship versus betrayal has also been placed in this play. Cassio is depicted as being extremely loyal towards Othello, while Iago is being depicted otherwise since the beginning of the play where he already started to instigate Rodrigo against Othello, (Part I Scene I). Othello, being a figure with power in the play, shows some sense of kinship with his fellow comrades, Cassio and Iago, primarily the latter one even though Iago has been masterminding devilish plots against his superior, Othello himself. Emilia is another character that strongly suggests that the theme of friendship exists in “Othello”. In Part 5 Scene 2 line 110 onwards, the bond that has been established by Emilia and Desdemona can be seen as Emilia is strictly grieved after seeing Desdemona dead on the bed. While she can easily cling to her husband, Iago, she chose to reveal the truth and this action acts as a primary enlightenment to those people presence, especially Othello, towards Iago’s misdoings, (Part 5, Scene 2). In addition to the issue of friendship, the issue of betrayal is indeed important as well, as it indirectly pinpoints us to different matters in Othello such as lust for power and greed. Iago furtively betrays Othello behind his back while plotting to raze Othello’s life because Iago did not receive the recognition that he thinks he deserves and this can be traced in line 7 to 30 in Part 1 Scene 1.
Jealousy is another important theme that Shakespeare has centralized in “Othello”. Two main characters in this play implicitly help to reveal this theme in accordance to the plot and those two are Iago, and ironically, the main character, Othello, himself. Iago’s jealousy is sparked by his pride where he thinks he’s a better man than Michael Cassio (Part 1 Scene 1 line 20 – 25), while Othello’s jealousy is rooted from love, convinced that Cassio and Desdemona are romantically involved in a relationship where in truth both Desdemona and Cassio are working together on helping Cassio getting his position back in the army, (Part 4 Scene 1). In other words, Michael Cassio, is the root for the theme of jealousy for the play “Othello”. This is pretty interesting, as Cassio doesn’t know that he is the cause of jealousy for both the protagonist and the antagonist of the play. The theme of jealousy is being portrayed here because of its destructive nature. It doesn’t only affect one’s soul and emotions, but it also allows one to harm others physically. For example, because of Othello’s blind jealousy towards Desdemona and Cassio, it has caused Desdemona to lose her life in the hand of Othello, even after Desdemona innocently tried to plead not guilty to her husband’s accusations of her as being a whore (Part 4, Scene 3).
In conclusion, there are many themes in Othello that deal with many issues that are still considered as relevant to our modern days such as the themes of race, friendship versus betrayal, jealousy, pride and honesty.
Saturday, February 12, 2011
Doctor Faustus Text - Reading Pointers for sharper Insights
There are many versions and interpretations of the play, The Tragical History of Dr. Faustus, written by Christopher Marlowe in the late 1500s. The basic story, however, remains consistent throughout all the versions. The play is based on an old legend regarding Dr. Faustus, a man of knowledge and excessive pride, who sells his soul to the devil to gain power and knowledge of the universe.
Dr. Faustus is a drama, meaning that it was meant to be performed, rather than read as a novel. The following information will assist you in reading the play:
Marlowe was an English playwright, so the dialect is Elizabethan, which can be a challenge to read and comprehend. Sidebar notes and the glossary will be helpful in deciphering the text.
Latin words and phrases are used liberally, as was common during that time. Aside from the passages that seem to require the use of Latin (e.g., Catholic prayer), Marlowe seems to use Latin to emphasis a point. We have provided translations.
The play incorporates elements of comedy. While you are reading, take note of the comical scenes. Sometimes a comedic scene can provide a break from the intensity of the serious scene that precedes it, known as comic relief. Other times comedy is used to mask a serious or sensitive issue. Comedy is also used at face value purely for entertainment purposes.
Aside from Faustus and Mephistophilis, the characters in the play are flat—undeveloped, one-dimensional. It's possible that Marlowe did this to ensure that the focus stays on the main characters and to use the other characters as symbols (e.g., good, evil, politics, compassion, beauty, ignorance, etc.).
Marlowe's Dr. Faustus, is a product of the Renaissance—a time of rebirth from the Medieval period. As you read Dr. Faustus, note the following characteristics of the Renaissance that are reflected in the story:
explosive growth of knowledge
improvement in literacy across the classes
the rise of Renaissance Individualism, which encouraged people to better themselves and pursue personal fulfillment
a lessening of the power of the Catholic Church due to the Protestant Reformation, which created political changes and conflicts
the belief and the practice of magic despite of advances in science
Marlowe uses many allusions in the play. Note that the allusions illuminate the transitional nature of the Renaissance—the blending old beliefs with new ideas and knowledge. Look for these allusions throughout the play and consider the purpose of their usage:
Biblical stories
figures and stories in Greek mythology
famous writers, poets, physicians, alchemists, and magicians from antiquity
Spanish rule
The primary motif of the play is the conflict between good and evil. There are, however, other motifs that permeate the story of Dr. Faustus:
Knowledge and Power—Knowledge is powerful, especially during the Renaissance when knowledge was becoming more accessible to people, allowing them to improve their status in life. Knowledge and power can be used to help others or for personal gain. Faustus's motivation for pursuing knowledge and power, the method he uses to obtain them, and the consequences of his actions form the crux of the play.
Old Testament vs. New Testament—between the two, there is a difference in how God is viewed regarding the concept of sin and redemption. In the Old Testament, God punishes sinners. In the New Testament, God is forgiving. Faustus's view of sin is based on a misinterpretation of Jerome's Bible; this is a major factor in the decisions he makes.
Christian beliefs vs. the practice of magic—People of that time were very religious and quite superstitious. How does the lure of magic affect the various characters in the play? In particular, note how the “religious” characters respond to magic.
The duality of humans—There are elements of good and bad in all of us. As the play unfolds, Faustus struggles internally with this duality, and it creates doubt about the choices he's made. Each of us has personality traits that have the power to affect the balance of our nature. Faustus is not inherently evil, but his excessive pride, greed, selfishness, and weakness of character cloud his judgment, causing him to make poor decisions. As you read the play, be aware of the moments where Faustus struggles with duality.
After reading both the biography of Christopher Marlowe and The Tragical History of Dr. Faustus, you may find interesting parallels between Marlowe and Faustus.
Taken from
http://www.enotes.com/faustus-text/reading-pointers
Dr. Faustus is a drama, meaning that it was meant to be performed, rather than read as a novel. The following information will assist you in reading the play:
Marlowe was an English playwright, so the dialect is Elizabethan, which can be a challenge to read and comprehend. Sidebar notes and the glossary will be helpful in deciphering the text.
Latin words and phrases are used liberally, as was common during that time. Aside from the passages that seem to require the use of Latin (e.g., Catholic prayer), Marlowe seems to use Latin to emphasis a point. We have provided translations.
The play incorporates elements of comedy. While you are reading, take note of the comical scenes. Sometimes a comedic scene can provide a break from the intensity of the serious scene that precedes it, known as comic relief. Other times comedy is used to mask a serious or sensitive issue. Comedy is also used at face value purely for entertainment purposes.
Aside from Faustus and Mephistophilis, the characters in the play are flat—undeveloped, one-dimensional. It's possible that Marlowe did this to ensure that the focus stays on the main characters and to use the other characters as symbols (e.g., good, evil, politics, compassion, beauty, ignorance, etc.).
Marlowe's Dr. Faustus, is a product of the Renaissance—a time of rebirth from the Medieval period. As you read Dr. Faustus, note the following characteristics of the Renaissance that are reflected in the story:
explosive growth of knowledge
improvement in literacy across the classes
the rise of Renaissance Individualism, which encouraged people to better themselves and pursue personal fulfillment
a lessening of the power of the Catholic Church due to the Protestant Reformation, which created political changes and conflicts
the belief and the practice of magic despite of advances in science
Marlowe uses many allusions in the play. Note that the allusions illuminate the transitional nature of the Renaissance—the blending old beliefs with new ideas and knowledge. Look for these allusions throughout the play and consider the purpose of their usage:
Biblical stories
figures and stories in Greek mythology
famous writers, poets, physicians, alchemists, and magicians from antiquity
Spanish rule
The primary motif of the play is the conflict between good and evil. There are, however, other motifs that permeate the story of Dr. Faustus:
Knowledge and Power—Knowledge is powerful, especially during the Renaissance when knowledge was becoming more accessible to people, allowing them to improve their status in life. Knowledge and power can be used to help others or for personal gain. Faustus's motivation for pursuing knowledge and power, the method he uses to obtain them, and the consequences of his actions form the crux of the play.
Old Testament vs. New Testament—between the two, there is a difference in how God is viewed regarding the concept of sin and redemption. In the Old Testament, God punishes sinners. In the New Testament, God is forgiving. Faustus's view of sin is based on a misinterpretation of Jerome's Bible; this is a major factor in the decisions he makes.
Christian beliefs vs. the practice of magic—People of that time were very religious and quite superstitious. How does the lure of magic affect the various characters in the play? In particular, note how the “religious” characters respond to magic.
The duality of humans—There are elements of good and bad in all of us. As the play unfolds, Faustus struggles internally with this duality, and it creates doubt about the choices he's made. Each of us has personality traits that have the power to affect the balance of our nature. Faustus is not inherently evil, but his excessive pride, greed, selfishness, and weakness of character cloud his judgment, causing him to make poor decisions. As you read the play, be aware of the moments where Faustus struggles with duality.
After reading both the biography of Christopher Marlowe and The Tragical History of Dr. Faustus, you may find interesting parallels between Marlowe and Faustus.
Taken from
http://www.enotes.com/faustus-text/reading-pointers
Character Profile of Doctor Faustus
Faustus- The main character of the story. Once a brilliant scholar and professor at Wittenberg, his interest in the dark arts and necromancy lead him to a deal with Lucifer. In this pact, he surrenders his soul for twenty-four years of luxury and power on earth. Self-doubt, repentance and fear gnaw his soul frequently throughout the play, but it is not until the very end that he realizes the folly of his actions.
Valdes Cornelius- Friends of Faustus. Infamous for practicing magic and sorcery, they persuade him to join them in studying necromancy.
Wagner- Servant to Faustus. He is faithful to Faustus till the end and receives all of his money and property.
Mephostophilis-The principal devil that lured Faustus into selling his soul. As part of the deal between Lucifer and Faustus, Mephostophilis acted as Faustus's servant for twenty-four years, granting his every wish.
Lucifer- Monarch of hell. He is delighted to receive Faustus's once devout soul into his dominions in exchange for twenty-four years of luxurious life.
Beelzebub-Assistant devil to Lucifer.
Good Angel Evil Angel- They frequently accompany Faustus and advise him on a course of action. They represent the struggle between good and evil in his soul.
The Seven Deadly Sins- Appear at Lucifer's command before Faustus for his entertainment.
Clown/Robin-Acts as a servant for Wagner, interested in the dark arts; Mephostophilis punishes him by giving him an ape's face.
Dick- Stableboy that Mephostophilis turns into a dog because he stole Faustus's magic book.
Rafe- Dick's partner in crime; similarly punished by Mephostophilis.
Vintner-Innocent witness to Dick, Rafe Robin's devilish mischief.
Carter- Faustus tricks this man by eating all of his hay for only three farthings.
Chorus- Acts as narrator and interpreter of the story for the audience.
The Pope- Faustus plays tricks on this "proud" Pope by releasing a political prisoner right under his nose.
Bruno-Political/religious prisoner that Faustus releases to cause mischief in Rome; later becomes Pope in Germany.
Raymond, King of Hungary- Assistant to the Pope; fooled by Faustus and Mephostophilis.
Charles, the German Emperor- Greatly entertained by Faustus; commands to see various spirits.
Martino, Frederick Benvolio- Officers at the Emperor's court; they are severely punished by the devils for scoffing at Faustus's magical powers and attempting to kill him.
Duke Duchess of Vanholt- Guests entertained by Faustus.
Old Man- Devout Christian who pleads with Faustus to save his soul; serves as a foil against Faustus's sin-loving ways.
Spirits in the shapes of Alexander the Great, Darius, Paramour and Helen of Troy- Summoned by Faustus to entertain his guests.
Scholars, soldiers, devils, courtiers, cardinals, monks, cupids, saxony
Taken from
http://www.novelguide.com/doctorfaustus/metaphoranalysis.html
Valdes Cornelius- Friends of Faustus. Infamous for practicing magic and sorcery, they persuade him to join them in studying necromancy.
Wagner- Servant to Faustus. He is faithful to Faustus till the end and receives all of his money and property.
Mephostophilis-The principal devil that lured Faustus into selling his soul. As part of the deal between Lucifer and Faustus, Mephostophilis acted as Faustus's servant for twenty-four years, granting his every wish.
Lucifer- Monarch of hell. He is delighted to receive Faustus's once devout soul into his dominions in exchange for twenty-four years of luxurious life.
Beelzebub-Assistant devil to Lucifer.
Good Angel Evil Angel- They frequently accompany Faustus and advise him on a course of action. They represent the struggle between good and evil in his soul.
The Seven Deadly Sins- Appear at Lucifer's command before Faustus for his entertainment.
Clown/Robin-Acts as a servant for Wagner, interested in the dark arts; Mephostophilis punishes him by giving him an ape's face.
Dick- Stableboy that Mephostophilis turns into a dog because he stole Faustus's magic book.
Rafe- Dick's partner in crime; similarly punished by Mephostophilis.
Vintner-Innocent witness to Dick, Rafe Robin's devilish mischief.
Carter- Faustus tricks this man by eating all of his hay for only three farthings.
Chorus- Acts as narrator and interpreter of the story for the audience.
The Pope- Faustus plays tricks on this "proud" Pope by releasing a political prisoner right under his nose.
Bruno-Political/religious prisoner that Faustus releases to cause mischief in Rome; later becomes Pope in Germany.
Raymond, King of Hungary- Assistant to the Pope; fooled by Faustus and Mephostophilis.
Charles, the German Emperor- Greatly entertained by Faustus; commands to see various spirits.
Martino, Frederick Benvolio- Officers at the Emperor's court; they are severely punished by the devils for scoffing at Faustus's magical powers and attempting to kill him.
Duke Duchess of Vanholt- Guests entertained by Faustus.
Old Man- Devout Christian who pleads with Faustus to save his soul; serves as a foil against Faustus's sin-loving ways.
Spirits in the shapes of Alexander the Great, Darius, Paramour and Helen of Troy- Summoned by Faustus to entertain his guests.
Scholars, soldiers, devils, courtiers, cardinals, monks, cupids, saxony
Taken from
http://www.novelguide.com/doctorfaustus/metaphoranalysis.html
Summary of Doctor Faustus
Doctor Faustus, a talented German scholar at Wittenburg, rails against the limits of human knowledge. He has learned everything he can learn, or so he thinks, from the conventional academic disciplines. All of these things have left him unsatisfied, so now he turns to magic. A Good Angle and an Evil Angel arrive, representing Faustus' choice between Christian conscience and the path to damnation. The former advises him to leave off this pursuit of magic, and the latter tempts him. From two fellow scholars, Valdes and Cornelius, Faustus learns the fundamentals of the black arts. He thrills at the power he will have, and the great feats he'll perform. He summons the devil Mephostophilis. They flesh out the terms of their agreement, with Mephostophilis representing Lucifer. Faustus will sell his soul, in exchange for twenty-four years of power, with Mephostophilis as servant to his every whim.
In a comic relief scene, we learn that Faustus' servant Wagner has gleaned some magic learning. He uses it to convince Robin the Clown to be his servant.
Before the time comes to sign the contract, Faustus has misgivings, but he puts them aside. Mephostophilis returns, and Faustus signs away his soul, writing with his own blood. The words "Homo fuge" ("Fly, man) appear on his arm, and Faustus is seized by fear. Mephostophilis distracts him with a dance of devils. Faustus requests a wife, a demand Mephostophilis denies, but he does give Faustus books full of knowledge.
Some time has passed. Faustus curses Mephostophilis for depriving him of heaven, although he has seen many wonders. He manages to torment Mephostophilis, he can't stomach mention of God, and the devil flees. The Good Angel and Evil Angel arrive again. The Good Angel tells him to repent, and the Evil Angel tells him to stick to his wicked ways. Lucifer, Belzebub, and Mephostophilis return, to intimidate Faustus. He is cowed by them, and agrees to speak and think no more of God. They delight him with a pageant of the Seven Deadly Sins, and then Lucifer promises to show Faustus hell. Meanwhile, Robin the Clown has gotten one of Faustus' magic books.
Faustus has explored the heavens and the earth from a chariot drawn by dragons, and is now flying to Rome, where the feast honoring St. Peter is about to be celebrated. Mephostophilis and Faustus wait for the Pope, depicted as an arrogant, decidedly unholy man. They play a series of tricks, by using magic to disguise themselves and make themselves invisible, before leaving.
The Chorus returns to tell us that Faustus returns home, where his vast knowledge of astronomy and his abilities earn him wide renown. Meanwhile, Robin the Clown has also learned magic, and uses it to impress his friend Rafe and summon Mephostophilis, who doesn't seem too happy to be called.
At the court of Charles V, Faustus performs illusions that delight the Emperor. He also humiliates a knight named Benvolio. When Benvolio and his friends try to avenge the humiliation, Faustus has his devils hurt them and cruelly transform them, so that horns grow on their heads.
Faustus swindles a Horse-courser, and when the Horse-courser returns, Faustus plays a frightening trick on him. Faustus then goes off to serve the Duke of Vanholt. Robin the Clown, his friend Dick, the Horse-courser, and a Carter all meet. They all have been swindled or hurt by Faustus' magic. They go off to the court of the Duke to settle scores with Faustus.
Faustus entertains the Duke and Duchess with petty illusions, before Robin the Clown and his band of ruffians arrives. Faustus toys with them, besting them with magic, to the delight of the Duke and Duchess.
Faustus' twenty-four years are running out. Wagner tells the audience that he thinks Faustus prepares for death. He has made his will, leaving all to Wagner. But even as death approaches, Faustus spends his days feasting and drinking with the other students. For the delight of his fellow scholars, Faustus summons a spirit to take the shape of Helen of Troy. Later, an Old Man enters, warning Faustus to repent. Faustus opts for pleasure instead, and asks Mephostophilis to bring Helen of Troy to him, to be his love and comfort during these last days. Mephostophilis readily agrees.
Later, Faustus tells his scholar friends that he is damned, and that his power came at the price of his soul. Concerned, the Scholars exit, leaving Faustus to meet his fate.
As the hour approaches, Mephostophilis taunts Faustus. Faustus blames Mephostophilis for his damnation, and the devil proudly takes credit for it. The Good and Evil Angel arrive, and the Good Angel abandons Faustus. The gates of Hell open. The Evil Angel taunts Faustus, naming the horrible tortures seen there.
The Clock strikes eleven. Faustus gives a final, frenzied monologue, regretting his choices. At midnight the devils enter. As Faustus begs God and the devil for mercy, the devils drag him away. Later, the Scholar friends find Faustus' body, torn to pieces.
Epilogue. 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.
Taken from
http://www.gradesaver.com/dr-faustus/study-guide/short-summary/
In a comic relief scene, we learn that Faustus' servant Wagner has gleaned some magic learning. He uses it to convince Robin the Clown to be his servant.
Before the time comes to sign the contract, Faustus has misgivings, but he puts them aside. Mephostophilis returns, and Faustus signs away his soul, writing with his own blood. The words "Homo fuge" ("Fly, man) appear on his arm, and Faustus is seized by fear. Mephostophilis distracts him with a dance of devils. Faustus requests a wife, a demand Mephostophilis denies, but he does give Faustus books full of knowledge.
Some time has passed. Faustus curses Mephostophilis for depriving him of heaven, although he has seen many wonders. He manages to torment Mephostophilis, he can't stomach mention of God, and the devil flees. The Good Angel and Evil Angel arrive again. The Good Angel tells him to repent, and the Evil Angel tells him to stick to his wicked ways. Lucifer, Belzebub, and Mephostophilis return, to intimidate Faustus. He is cowed by them, and agrees to speak and think no more of God. They delight him with a pageant of the Seven Deadly Sins, and then Lucifer promises to show Faustus hell. Meanwhile, Robin the Clown has gotten one of Faustus' magic books.
Faustus has explored the heavens and the earth from a chariot drawn by dragons, and is now flying to Rome, where the feast honoring St. Peter is about to be celebrated. Mephostophilis and Faustus wait for the Pope, depicted as an arrogant, decidedly unholy man. They play a series of tricks, by using magic to disguise themselves and make themselves invisible, before leaving.
The Chorus returns to tell us that Faustus returns home, where his vast knowledge of astronomy and his abilities earn him wide renown. Meanwhile, Robin the Clown has also learned magic, and uses it to impress his friend Rafe and summon Mephostophilis, who doesn't seem too happy to be called.
At the court of Charles V, Faustus performs illusions that delight the Emperor. He also humiliates a knight named Benvolio. When Benvolio and his friends try to avenge the humiliation, Faustus has his devils hurt them and cruelly transform them, so that horns grow on their heads.
Faustus swindles a Horse-courser, and when the Horse-courser returns, Faustus plays a frightening trick on him. Faustus then goes off to serve the Duke of Vanholt. Robin the Clown, his friend Dick, the Horse-courser, and a Carter all meet. They all have been swindled or hurt by Faustus' magic. They go off to the court of the Duke to settle scores with Faustus.
Faustus entertains the Duke and Duchess with petty illusions, before Robin the Clown and his band of ruffians arrives. Faustus toys with them, besting them with magic, to the delight of the Duke and Duchess.
Faustus' twenty-four years are running out. Wagner tells the audience that he thinks Faustus prepares for death. He has made his will, leaving all to Wagner. But even as death approaches, Faustus spends his days feasting and drinking with the other students. For the delight of his fellow scholars, Faustus summons a spirit to take the shape of Helen of Troy. Later, an Old Man enters, warning Faustus to repent. Faustus opts for pleasure instead, and asks Mephostophilis to bring Helen of Troy to him, to be his love and comfort during these last days. Mephostophilis readily agrees.
Later, Faustus tells his scholar friends that he is damned, and that his power came at the price of his soul. Concerned, the Scholars exit, leaving Faustus to meet his fate.
As the hour approaches, Mephostophilis taunts Faustus. Faustus blames Mephostophilis for his damnation, and the devil proudly takes credit for it. The Good and Evil Angel arrive, and the Good Angel abandons Faustus. The gates of Hell open. The Evil Angel taunts Faustus, naming the horrible tortures seen there.
The Clock strikes eleven. Faustus gives a final, frenzied monologue, regretting his choices. At midnight the devils enter. As Faustus begs God and the devil for mercy, the devils drag him away. Later, the Scholar friends find Faustus' body, torn to pieces.
Epilogue. 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.
Taken from
http://www.gradesaver.com/dr-faustus/study-guide/short-summary/
Dr Faustus - Biography of Christopher Marlowe
Biography
Christopher Marlowe was an innovative writer who was alternately considered an atheist and a devout Christian. His plays reflect this extraordinary diversity in his beliefs and morals and his inquisitive mind. Marlowe introduced moral thinking in his plays and was considered to be a man deeply concerned with religion, suffering and evil. He was born in 1564 in Canterbury, the same year as Shakespeare. Although he was the son of a shoemaker, Marlowe was a brilliant scholar. He attended King's School in Canterbury and later Corpus Christi College in Cambridge.
He was awarded a scholarship during his college years, but the grant was meant for men interested in priesthood. Quite apparently, Marlowe must have drastically changed his career plans after college. After earning his B.A. and M.A degrees he became a spy for Queen Elizabeth's government. At twenty-three Marlowe came to London and associated with other recent university graduates who survived by writing plays and pamphlets.
Marlowe had several brushes with the law and was accused of making scandalous and seditious speeches. He got into a street fight and landed in jail. A few days before the case was to be heard, Marlowe spent the day with some shady acquaintances. Many scholars believe that he died instantly at the age of twenty-nine from a two-inch dagger wound inflicted above the eye during a fight about the bill at a tavern on that day. Theories about his death are still circulated.
Although his life was short, Marlowe did succeed in publishing seven dramatic poems that were tragedies, including Doctor Faustus. His heroes are usually "overreachers," men who are self-driven by greed and ambition. They fail to recognize their responsibility to God and their fellow creatures. Many scholars believe that Marlowe's dramatic style showed Shakespeare what was possible in dramatic poetry and greatly influenced him.
Doctor Faustus is based on an old German folktale. The real John Faust, or Faustus, was a travelling magician who died about 1540. After death, he became a legendary figure. People attributed his skills as a magician to a pact that he had made with the devil. Marlowe transformed this tale into an ambitious scholar at Wittenberg who sells his soul to the devil to satiate his thirst for power and knowledge. Marlowe's audiences firmly believed in the existence of the devil, which made the play all the more tragic and horrific.
Taken from
http://www.novelguide.com/doctorfaustus/biography.html
Christopher Marlowe was an innovative writer who was alternately considered an atheist and a devout Christian. His plays reflect this extraordinary diversity in his beliefs and morals and his inquisitive mind. Marlowe introduced moral thinking in his plays and was considered to be a man deeply concerned with religion, suffering and evil. He was born in 1564 in Canterbury, the same year as Shakespeare. Although he was the son of a shoemaker, Marlowe was a brilliant scholar. He attended King's School in Canterbury and later Corpus Christi College in Cambridge.
He was awarded a scholarship during his college years, but the grant was meant for men interested in priesthood. Quite apparently, Marlowe must have drastically changed his career plans after college. After earning his B.A. and M.A degrees he became a spy for Queen Elizabeth's government. At twenty-three Marlowe came to London and associated with other recent university graduates who survived by writing plays and pamphlets.
Marlowe had several brushes with the law and was accused of making scandalous and seditious speeches. He got into a street fight and landed in jail. A few days before the case was to be heard, Marlowe spent the day with some shady acquaintances. Many scholars believe that he died instantly at the age of twenty-nine from a two-inch dagger wound inflicted above the eye during a fight about the bill at a tavern on that day. Theories about his death are still circulated.
Although his life was short, Marlowe did succeed in publishing seven dramatic poems that were tragedies, including Doctor Faustus. His heroes are usually "overreachers," men who are self-driven by greed and ambition. They fail to recognize their responsibility to God and their fellow creatures. Many scholars believe that Marlowe's dramatic style showed Shakespeare what was possible in dramatic poetry and greatly influenced him.
Doctor Faustus is based on an old German folktale. The real John Faust, or Faustus, was a travelling magician who died about 1540. After death, he became a legendary figure. People attributed his skills as a magician to a pact that he had made with the devil. Marlowe transformed this tale into an ambitious scholar at Wittenberg who sells his soul to the devil to satiate his thirst for power and knowledge. Marlowe's audiences firmly believed in the existence of the devil, which made the play all the more tragic and horrific.
Taken from
http://www.novelguide.com/doctorfaustus/biography.html
Thursday, February 10, 2011
Wrapping up The Winter's Tale
"Merry or sad shall't be?
As merry as you will.
As merry as you will.
A sad tale's best for winter...
Well, as we already discussed all the main issues and important features in the play, now let us discover some interesting facts and information added in the play's trivia.
- Some critics believe that Leontes's jealous behavior toward Hermione in The Winter’s Tale is a thinly veiled allegory about King Henry VIII’s second wife, Anne Boleyn, who was beheaded after being tried and convicted of adultery in 1536. (Source: Stephen Orgel, Introduction to The Winter’s Tale.Oxford World’s Classics 1996 edition.)
- The Winter’s Tale teaches us that mouth bling was pretty popular in Shakespeare’s day. When Autolycus pretends to be a nobleman in Act 4, Scene 4, the Clown remarks that Autolycus must be rich because “the picking [gold toothpick] on’s teeth” is so fancy.
- What’s Up With the Title? - The term “winter’s tale” isn’t used a whole lot in the 21st century, but in Shakespeare’s day, everyone knew that a “winter’s tale” was the kind of story one might tell in order to pass the time on a long winter evening. Like a fairy tale, a winter’s tale may be entertaining, but it doesn’t have a whole lot of credibility.
- Everyone knows that Bohemia is completely landlocked, but Shakespeare either didn’t know or didn’t care. At the beginning of Act 3, Scene 3, Antigonus asks “Thou art perfect then, our ship hath touch'd upon / The deserts of Bohemia?” (3.3.1)
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