The Conflict Between Medieval and Renaissance Values
Scholar R.M. Dawkins famously remarked that Doctor Faustus tells “the story of a Renaissance man who had to pay the medieval price for being one.” While slightly simplistic, this quotation does get at the heart of one of the play’s central themes: the clash between the medieval world and the world of the emerging Renaissance. The medieval world placed God at the center of existence and shunted aside man and the natural world. The Renaissance was a movement that began in Italy in the fifteenth century and soon spread throughout Europe, carrying with it a new emphasis on the individual, on classical learning, and on scientific inquiry into the nature of the world. In the medieval academy, theology was the queen of the sciences. In the Renaissance, though, secular matters took center stage. Faustus, despite being a magician rather than a scientist (a blurred distinction in the sixteenth century), explicitly rejects the medieval model. In his opening speech in scene 1, he goes through every field of scholarship, beginning with logic and proceeding through medicine, law, and theology, quoting an ancient authority for each: Aristotle on logic, Galen on medicine, the Byzantine emperor Justinian on law, and the Bible on religion. In the medieval model, tradition and authority, not individual inquiry, were key. But in this soliloquy, Faustus considers and rejects this medieval way of thinking. He resolves, in full Renaissance spirit, to accept no limits, traditions, or authorities in his quest for knowledge, wealth, and power. The play’s attitude toward the clash between medieval and Renaissance values is ambiguous. Marlowe seems hostile toward the ambitions of Faustus, and, as Dawkins notes, he keeps his tragic hero squarely in the medieval world, where eternal damnation is the price of human pride. Yet Marlowe himself was no pious traditionalist, and it is tempting to see in Faustus—as many readers have—a hero of the new modern world, a world free of God, religion, and the limits that these imposed on humanity. Faustus may pay a medieval price, this reading suggests, but his successors will go further than he and suffer less, as we have in modern times. On the other hand, the disappointment and mediocrity that follow Faustus’s pact with the devil, as he descends from grand ambitions to petty conjuring tricks, might suggest a contrasting interpretation. Marlowe may be suggesting that the new, modern spirit, though ambitious and glittering, will lead only to a Faustian dead end. Christopher Marlowe’s ‘Dr.Faustus’, A Play of Renaissance
Faustus as a man of renaissance: Renaissance means the great revival of art. Faustus insatiable desire and thirst for knowledge and learning, his deep interest in necromancy, his fanaticism, his supra-mundane aspirations and strong will in the pursuit of ideas of beauty or power proved him to be a man of renaissance. Faustus rejection of the traditional subjects of study and turning to magic and practicing it for obtaining profit, delight, power, honour and omnipotence show that he was a man of renaissance. He dwells upon the advantages which he will gain as a magician. His ardent curiosity, his desire for power and pelf, and his nationalism are sound qualities of the renaissance. Renaissance was the great age of discovery of English history. Faustus desire for gold, pearls, pleasant fruits and princely delicacies for far off places speak of his enlarged outlook and extended horizon.
In his last soliloquy, Faustus offers to burns his books of magic. It gives us the impression that he attributed his downfall considerably to his wrong learning. He certainly embodies the new enquiring and aspiring spirit, audacity of thought and temper to renaissance. He is exuberant and bold in his actions, thoughts, deliberations, disputing, conjuring, philosophizing, defying God and undertaking the...
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