Dr Faustus

fixate Faustus ( con) From Wikipedia, the free encyclopedia Jump to navigation, inquisition The tragical storey of the Life and Death of adulterate Faustus Frontispiece to a 1620 print of concern Faustus showing Faustus conjuring Mephistophilis. Written byChristopher Marlowe Char turningers specify Faustus Chorus Wagner Good apotheosis Bad Angel Valdes Cornelius Three scholars daystar Mephistophilis Robin Beelzebub heptad Deadly Sins Dick Pope Adrian VI Raymond, King of Hungary Bruno two Cardinals Archbishop of Rheims Friars wine leaser Martino Frederick Benvolio Charles V Duke of Saxony Two soldiers Horse courser CarterHostess of a tap house Duke and Duchess of Vanholt Servant Old worldly concern MuteDarius Alexander the Great Alexanders Paramour Helen of troy Devils Piper Date premieredc. 1592 Original language side of meat GenreTragedy Setting16th century Europe The Tragical History of the Life and Death of renovate Faustus, commonly referred to simply as amend Faus tus, is a play by Christopher Marlowe, based on the Faust story, in which a man sells his mortal to the inconvenience for power and knowledge. recreate Faustus was scratch create in 1604, eleven years after Marlowes death and at to the lowest degree twelve years after the number 1 performance of the play. No Elizabethan play outside the Shakespeargon canon has raised more controversy than specify Faustus. There is no agreement concerning the nature of the textual matter and the date of report and the centrality of the Faust leg finis in the history of the Western world precludes any univocal agreement on the interpretation of the play 1 Contents 1 murder 2 Text o2. 1 The two adaptations o2. 2 derisory moving-picture shows 3 Sources 4 mental synthesis 5 Synopsis o5. 1 Faustus learns necromancy o5. 2 The pledge with fi block off o5. 3 Wasting his skills o5. 4 damnation or salvation o5. 5 The Calvinistical/anti-Calvinist controversy 6 Quotations 7 Themes and motifs 8 Mephistophilis 9 Adaptations 10 little history 11 See as well as 12 Notes 13 References 14 External associate edit Performance The Admirals manpower performed Doctor Faustus twenty-five times in the three years betwixt October 1594 and October 1597. On 22 November 1602, the Diary of Philip Henslowe recorded a ? 4 wages to Samuel Rowley and William Bird for additions to the play, which suggests a revival soon after that date. 2 The powerful incumbrance of the early outputs is manoeuverd by the legends that quickly accrued around them.In Histriomastix, his 1632 polemic against the drama, William Prynne records the bosh that crookual ogres once pop outed on the stage during a performance of Faustus, to the nifty amazement of twain the actors and spectators. many people were allegedly driven mad, flurry with that fearful sight. fundament Aubrey recorded a related legend, that Edward Alleyn, atomic number 82 actor of The Admirals Men, devoted his later years to cha ritable endeavors, like the innovation of Dulwich College, in direct response to this incident. 3 edit TextThe play may have been entered into the Stationers story on 18 December 1592though the records atomic number 18 conf apply, and appear to indicate a conflict over the rights to the play. A subsequent Stationers Register en interpret, date 7 January 1601, assigns the play to the bookseller Thomas Bushnell, the publisher of the 1604 root discrepancy. Bushnell transferred his rights to the play to potty Wright on 13 September 1610. 4 edit The two versions Two versions of the play be 1. The 1604 quarto, printed by Valentine Simmes for Thomas lawfulness well-nightimes termed the A text.The title varlet attri plainlyes the play to Ch. Marl. . A second edition (A2) in 1609, printed by George historic period for John Wright, is merely a reprint of the 1604 text. The text is short for an position Renaissance play, only 1485 line of works long. 2. The 1616 quarto, published b y John Wright, the enlarged and neutered text sometimes assureed the B text. This second text was reprinted in 1619, 1620, 1624, 1631, and as late as 1663. The 1616 version omits 36 lines only when adds 676 new lines, make it roughly one third longer than the 1604 version.Among the lines shared by twain versions, at that place are some small but significant multifariousnesss in wording for example, Never too late, if Faustus can rue in the 1604 text becomes Never too late, if Faustus allow repent in the 1616 text, a change that offers a very different possibility for Faustuss hope and repentance. A study change between texts A and B is the take in of the devil summoned by Faustus. Text A states the name is generally Mephastophilis, charm the version of text B commonly states Mephostophilis. 5 The name of the devil is in each geek a lengthiness to Mephistopheles in Faustbuch, the stem work, which appeared in English variation in near 1588. 67 The relationship between the texts is uncertain and many redbrick editions print both. As an Elizabethan playwright, Marlowe had nonhing to do with the publication and had no control over the play in performance, so it was possible for scenes to be dropped or shortened, or for new scenes to be added, so that the resulting publications may be modified versions of the original script.The 1604 version is believed by nigh scholars to be close together(predicate) to the play as originally performed in Marlowes life-time, and the 1616 version to be a posthumous adaptation by separate hands. However, some disagree, seeing the 1604 version as an abbreviation and the 1616 version as Marlowes original fuller version. edit Comic scenes In the past, it was assumed that the nonsensical scenes were additions by other writers. However, most scholars like a shot consider the comic interludes, whoever wrote them, an integral part of the play. 89 Their tone shows the change in Faustuss rivalrys, suggesting Marlowe did oversee the composition of them. citation take ined The cl suffer is seen as the archetype for comic relief. citation needed edit Sources Doctor Faustus is based on an older tale it is believed to be the first dramatization of the Faust legend. 6 Some scholars10 believe that Marlowe developed the story from a touristy 1592 translation, commonly called The English Faust Book. 11 There is thought to have been an earlier, lost, German edition of 1587, which itself may have been influenced by even earlier, equally unpreserved pamphlets in Latin, much(prenominal) as those that likely inspired Jacob Bidermanns treatment of the damnation of the doctor of Paris, Cenodoxus (1602).Several sooth maintainers or necromancers of the late fifteenth century adopted the name Faustus, a reference to the Latin for favoured or auspicious typical was Georgius Faustus Helmstetensis, calling himself astrologer and chiromancer, who was expelled from the t admit of Ingolstadt for such practices. Su bsequent commentators have identified this individual as the first Faustus of the legend. 12 Whatever the inspiration, the development of Marlowes play is very faithful to the Faust Book especially in the commission it mixes comedy with tragedy. citation needed However, Marlowe also introduced some changes to make it more original. here, he made three main additions in the play Faustuss soliloquy in the influence 1 on the vanity of charitable science Good and Bad Angels substitution of Seven Deadly Sins for a rascalant of Devils He also emphasized his intellectual aspirations and curiosity and minimise the vices in the character of Faustus to lend a Renaissance aura to the story. edit Structure The play is in blank verse and prose in thirteen scenes (1604) or twenty scenes (1616). ashen verse is largely reserved for the main scenes while prose is used in the comic scenes. Modern texts divide the play into five acts act 5 being the shortest. As in many Elizabethan plays, there is a chorus that does non interact with the other characters but alternatively provides an introduction and conclusion to the play and deed overs an introduction to the events that have unfolded at the starting signal of some acts. Along with history and language style, scholars have critiqued and analyzed the social system of Doctor Faustus and its effects on the play as a whole. Leonard H.Frey wrote a document entitled In the Opening and Close of Doctor Faustus, which generally focuses on Faustuss uncloudeding and closing soliloquies. He stresses the importance of the soliloquies in the play, saying the soliloquy, perhaps more than any other dramatic device, complicated the audience in an imaginative concern with the happenings on stage. 13 By having Doctor Faustus de have it offr these soliloquies at the beginning and end of the play, the focus is pull to his inner thoughts and bumpings about succumbing to the devil. The soliloquies have parallel concepts.In the introd uctory soliloquy, Faustus begins by contemplative the fate of his life and what he wants his career to be. He ends his soliloquy with the root and closing to give his soul to the devil. Similarly in the closing soliloquy, Faustus begins pondering, and terminal examly comes to terms with the fate he created for himself. Frey also explains The whole pattern of this final soliloquy is olibanum a grim parody of the opening one, where decision is reached after, non prior to, the survey. 14 edit Synopsis edit Faustus learns necromancy As a prologue, the Chorus tells us what type of play Doctor Faustus is.It is not about war and courtly love, but about Faustus, who was born of lower ground level parents. This can be seen as a departure from the medieval usance Faustus holds a lower status than kings and saints, but his story is still deserving telling. It gives an introduction to his wisdom and abilities, most notably in academia, in which he excels so tremendously that he is award ed a doctorate. During this opening, we also get our first clue to the source of Faustuss downfall. Faustuss tale is likened to that of Icarus, who flew too close to the sun and cut back to his death when the sun melted his waxen wings.This is indeed a nethertone to Faustuss end as well as bringing our attention to the desire of hubris (excessive arrogance) which is re beared in the Icarus story. Faustus comments that he has reached the end of every open(a) he has studied. He appreciates Logic as being a tool for careen Medicine as being unvalued unless it allowed raising the dead and immortality Law as being upstanding and above him Divinity as profitless because he feels that all humans commit sin, and thus to have sins punishable by death complicates the logic of Divinity. He dismisses it as What school of thought call you this?Que sera, sera (What will be, shall be). He calls upon his handmaid Wagner to bring forth Valdes and Cornelius, two know magicians. The Good An gel and the Bad Angel dispense their own lieu of his interest in friction match. Though Faustus is momentarily dissuaded, proclaiming How am I overfull with conceit of this? , he is apparently won over by the possibilities deception offers to him. Valdes declares that if Faustus devotes himself to Magic, he must vow not to study anything else and points out that smashing things are indeed possible with someone of Faustuss standing.Faustuss absence is noted by two scholars who are less accomplished than Faustus himself. They re following that Wagner reveal Faustuss set up location, a request which Wagner haughtily denies. The two scholars worry about Faustus falling deep into the art of Magic and leave to inform the King. Faustus summons a devil, in the presence of Lucifer and other devils although Faustus is unaware of it. After creating a magic circle and speaking an incantation in which he revokes his baptism, Faustus sees a devil named Mephistophilis appear before him.Faust us is unable to tolerate the hideous looks of the devil and commands it to change its appearance. Faustus, in seeing the obedience of the devil (for changing form), takes pride in his skill. He tries to bind the devil to his service but is unable to because Mephistophilis already serves Lucifer, the prince of devils. Mephistophilis also reveals that it was not Faustuss power that summoned him but preferably that if anyone abjures the scriptures it results in the Devil coming to claim their soul.Mephistophilis introduces the history of Lucifer and the other devils while indirectly telling Faustus that the pits has no circumference and is more of a state of mind than a physical location. Faustus inquiries into the nature of hell fall out to Mephistophilis saying Oh, Faustus, leave these frivolous demands, which strikes a terror to my fainting soul. edit The pact with Lucifer Using Mephistophilis as a messenger, Faustus strikes a locoweed with Lucifer he is to be allotted twenty-f our years of life on Earth, during which time he will have Mephistophilis as his personal servant.At the end he will give his soul over to Lucifer as payment and spend the rest of time as one diabolical to Hell. This deal is to be sealed in Faustuss own blood. After virulent his arm, the wound is divinely healed and the Latin words Homo, fuge (Flee, man ) then appear upon it. Despite the dramatic nature of this divine intervention, Faustus disregards the inscription with the assurance that he is already damned by his actions thus far and thus left with no place to which he could flee. Mephistophilis brings coals to break the wound open again, and thus Faustus is able to take his oath that was written in his own blood. edit Wasting his skills Faustus begins by asking Mephistophilis a series of science-related questions. However, the devil looks to be instead evasive and finishes with a Latin phrase, Per inoequalem motum respectu totius (through unequal movement with respect to the whole thing). This sentence has not the slightest scientific value, thus giving the impression that Mephistophilis is untrustworthy. Two angels, one good and one bad, appear to Faustus the good angel urges him to repent and revoke his oath to Lucifer.This is the largest fault of Faustus passim the play he is blind to his own salvation. Though he is told ab initio by Mephistophilis to leave these frivolous demands, Faustus runs set on his souls damnation. Lucifer brings to Faustus the personification of the seven deadly sins. Faustus fails to see them as warnings and ignores them. From this point until the end of the play, Faustus does nothing worthwhile, having begun his pact with the attitude that he would be able to do anything. Faustus appears to scholars and warns them that he is damned and will not be long on the earth.He gives a public lecture about how he is damned and eventually seems to repent for his deeds. Mephistophilis comes to collect his soul, and we are to ld that he exits back to hell with him. edit Damnation or salvation The text leaves Faustuss final confrontation with Mephistophilis offstage, and his final fate obvious. The scene following begins with Faustuss friends discovering his clothes strewn about the stage from this they conclude that Faustus was damned. However, his friends decide to give him a final party, a religious ceremony that hints at salvation.The find of the clothes is a scene present only in the later B text of the play in the earlier version of the play devils extract Faustus off the stage. 15 edit The Calvinist/anti-Calvinist controversy The theological implications of Doctor Faustus have been the subject of considerable debate throughout the last century. Among the most complicated points of leaning is whether the play supports or challenges the Calvinist doctrine of absolute preordination, which dominated the lectures and books of many English scholars in the latter half of the sixteenth century.Accord ing to Calvin, predestination meant that God, acting of his own free will, elects some people to be saved and others to be damned thus, the individual has no control over his own ultimate fate. This doctrine was the source of great controversy because it was seen by the so-called anti-Calvinists to limit mans free will in regard to faith and salvation, and to present a dilemma in terms of theodicy. At the time Doctor Faustus was performed, this doctrine was on the rise in England, and under the direction of puritan theologians at Cambridge and Oxford had come to be considered the orthodox position of the Church of England. 16 Nevertheless, it remained the source of vigorous and, at times, heated debate between Calvinist scholars, such as William Whitaker and William Perkins, and anti-Calvinists, such as William Barrett and Peter Baro. 17 The dispute between these Cambridge intellectuals had quite nearly reached its zenith by the time Marlowe was a student there in the 1580s, and likely would have influenced him deeply, as it did many of his fellow students. 18 Concerning the fate of Faustus, the Calvinist concludes that his damnation was inevitable.His rejection of God and subsequent inability to repent are interpreted as evidence that he never really belonged to the elect, but rather had been predestined from the very beginning for reprobation. In his Chiefe Points of Christian Religion, Theodore Beza, the successor to John Calvin, describes the category of sinner into which Faustus would most likely have been cast To conclude, they which are most miserable of all, those climb a degree nobleer, that their fall qualification be more grievous for they are raised so high by some generate of grace, that they are little moved with some taste of he heavenly gift so that for the time they seem to have received the seed But this is plain, that the spirit of adoption, which we have utter to be only proper unto them which are never cast forth, but are written i n the secret of Gods people, is never communicated to them, for were they of the elect they should remain still with the elect. All these therefore (because of necessity, and in so far willingly, as they which are under the slavery of sin, submit to their vomit, and fall away from faith) are plucked up by the roots, to be cast into the fire. 19 For the Calvinist, Faustus represents the worst kind of sinner, having tasted the heavenly gift and rejected it. His damnation is justified and deserved because he was never unfeignedly adopted among the elect. According to this view, the play monstrositystrates Calvins three-tiered concept of causation, in which the damnation of Faustus is first willed by God, then by Satan, and finally, by himself. 20 As Calvin himself explains it in his Institutes of Christian Religion We see therefore that it is no absurdity, that one self act be ascribed to God, to Satan, and to man but the diversity in the end and mode of doing, causeth that therei n appeareth the justice of God to be without fault, and also the wickedness of Satan and man, bewrayeth itself to their reproach. 21 The anti-Calvinist view, however, finds such thinking repugnant, and prefers to interpret Doctor Faustus as a reproval of such doctrines.One of the greatest critics of Calvinism in Marlowes day was Peter Baro, who argued that such teachings fostered despair among believers, rather than repentance among sinners. He claimed, in fact, that Calvinism created a theodical dilemma What shall we say then? That this question so long debated of the Philosophers, most wise men, and yet undetermined, cannot even of Divines, and men endued with heavenly wisdom, be discussed and decided? And that God hath in this case laid a crosse upon learned men, wherein they might perpetually torture themselves? I cannot so think. 22 Baro recognized the threat of despair which faced the Protestant church if it did not come to an agreement of how to understand the fundamentals . For him, the Calvinists were overcomplicating the issues of faith and repentance, and thereby ca using great and unnecessary confusion among struggling believers. Faustus himself confesses a like sentiment regarding predestination The reward of sin is death. Thats hard. If we say that we have no sin, We deceive ourselves, and theres no truth in us. Why then probably we must sin, And so consequently die.Ay, we must die an undying death. What doctrine call you this? Che sera, sera, What will be, shall be? Divinity, adieu 23 Ultimately, however, the theology of Marlowe and the text of Doctor Faustus remain far too ambiguous for any kind of decisive interpretation. edit Quotations Faustus includes a known speech addressed to the summoned shade of Helen of Troy, in Act V, scene I. The following is from the Gutenberg project e-text of the 1604 quarto (with footnotes removed). Faustus Was this the face that launchd a yard ships, And burnt the topless towers of IliumSweet Helen, make me immortal with a kiss. &8212 kisses her Her lips suck forth my soul see, where it flies &8212 Come, Helen, come, give me my soul again. Here will I dwell, for heaven is in these lips, And all is dross that is not Helena. I will be Paris, and for love of thee, Instead of Troy, shall Wertenberg be sackd And I will combat with weak Menelaus, And wear thy colours on my plumy crest Yea, I will wound Achilles in the heel, And then afford to Helen for a kiss. O, thou art fairer than the evening air Clad in the beauty of a thousand stars Brighter art thou than flaming JupiterWhen he appeard to hapless Semele More lovely than the monarch of the sky In motiveless Arethusas azurd arms And none but thou shalt be my paramour Excerpts from this speech appear in the film Shakespeare in Love and the Star trek episode The Squire of Gothos it also served as inspiration for the title of intensity level 1 of the popular Age of Bronze comic book. Another well-known quote comes after Faustus asks Mephistophilis how he is out of Hell, to which Mephistophilis replies Why this is hell, nor am I out of it. Thinkst thou that I, who axiom the face of God,And tasted the eternal joys of heaven, Am not tormented with ten thousand hells In being deprived of never-ending bliss? This quote comes from a translation of Saint John Chrysostom, and implies that Mephistophilis has both a deep knowledge of God and a desire to outcome to heaven. edit Themes and motifs One theme in Doctor Faustus is sin. Throughout the play, Faustus is continuously qualification wrong choices. His first sin was greed. Faustus began his downfall by making a pact with the devil. Doctor Faustus is a German scholar who is well known for his accomplishments.He grows sick of the limitations on human knowledge, which leads him to his interest with magic. 24 Faustus summons a demon, Mephistophilis, parliamentary law him to go to Lucifer with the offer of Faustuss soul in return for twenty-four years of servit ude from Mephistophilis. At the news of acceptance from Lucifer, Faustus begins his years change with sinful nature. Faustus feeds sin with his need for power, acclamation, and trickery. 25 He becomes absorbed in the way people look up to him, believing him to be a block out of hero. In the end, Faustus realizes his mistake in believing power will bring him happiness.At the end of his twenty-four years, Faustus is filled with fear and he becomes repentant for his past actions, yet this comes too late. When fellow scholars find Faustus the next morning, he is torn limb from limb, with his soul carried off to hell. In terms of diachronic context, a major thematic idea is that related to knowledge and the quest for it. With Enlightenment thinkers demonstrating the extent to which the sciences and rational speculation could inform human knowledge of the cosmos and other pressing mysteries of the age, Marlowe presents the idea of hubris which undamentally relates to the search for k nowledge in a religious age. Marlowe also draws significant attention to feelings experienced both by himself and other thinkers of his time the unsatisfying nature of the answers found as part of this quest and the impossibility of learning everything in a sprightliness as brief as that of a human. Satanism and death are also prevalent themes. Marlowe sets the story in Wittenburg, Germany with Faustus selling his soul to the devil and declaring his servitude to Satan, Mephistophilis I am a servant to great Lucipher and may not follow thee without his leave.No more than he commands we must perform (p 13 line 39-41). Marlowe shows throughout the play that his vow to forever be a servant of Satan negatively affects his life and how had he known what he was get into, then he would never have made a deal with the devil. Magic is also a motif that plays a major grapheme in Dr. Faustus. Faustuss downfall began with his love of knowledge, which leads for his need to use magic. Faustus lo ves the praise that he gets when people view him as a genius, which supports his need to have special powers. 26 Faustus enjoys playing tricks on people by using his powers, and even goes so far as to use his powers on a dragon. He summons demons with magic, and later brings Helen of Troy to comfort him in his final hours. The use of magic is a show of Faustuss demoralization. He no longer wants to be a mere mortal he wants to be as powerful as the devil himself. 27 One of the most apparent themes in Doctor Faustus is the competitiveness between good and evil. At the beginning of the play, Faustus finds himself torn between good and evil, knowing the distinction and consequences of the two, but overwhelmed by his desire for worldly pleasures.Faustuss desire for mortal blessedness is personified through the seven deadly sins who all speak to him and tempt him. Nicholas Kiessling explains how Faustuss sins brings about his own damnation, saying Faustuss indulgence in stifling diver sions, for, once being committed to the pact with Satan, Faustus partakes of the sop of sensuality to filth out his fears of impending damnation28 Another illustration of Faustuss battle between good and evil is shown through the good and evil angels which try to influence his decisions and behavior.Kiessling says, Although Faustus does not heed the plea, Marlowe very evidently implies that the chance for repurchase still exists. 29 Although Faustus recognizes the consequences of choosing to listen to the evil spirit over the good spirit, he cannot resist the temptations of the devil and the worldly and mortal pleasures he offers. edit Mephistophilis Mephistophilis is a demon which Faustus conjures up while first using his magical powers. postulateers initially feel sympathy for the demon when he attempts to dissuade Faustus from giving his soul to Lucifer.Mephistophilis gives Faustus a description of hell and the continuous horrors it possesses. He wants Faustus to know what he i s acquire himself into before going through with the plan. Thinkst thou that I who saw the face of God And tasted the eternal joy of heaven Am not tormented with ten thousand hells In being deprived of everlasting bliss? O Faustus, leave these frivolous demands Which strikes a terror to my fainting soul 30 Sadly, his attempts fail with Faustus believing that supernatural powers were worth more than a lifetime in hell. Say he (Faustus) surrender up to him (Lucifer) his soul So he will spare him four and twenty years, Letting him live in all voluptuousness Having thee (Mephistophilis) ever to attend on me (Marlowe 15) Some scholars argue that Mephistophilis depicts the sorrow that comes with separation from God. Mephistophilis is foreshadowing the pain Faustus would have to endure, should he go through with his plan. 31 In this facet, Faustus can be likened to Icarus, whose insatiable ambition was the source of his harm and the cause of his plight. edit AdaptationsThe play was adap ted for the screen in 1967 by Richard Burton and Nevill Coghill, who based the film on an Oxford University Dramatic Society ware in which Burton starred opposite Elizabeth Taylor as Helen of Troy. A stage production at the Greenwich Theatre in London in 2009, which was directed by Elizabeth Freestone and which starred Tim Treolar as Mephistopheles and Gareth Kennerley as Faustus, was filmed for DVD release by Stage on Screen. It played in repertoire with School for Scandal. edit Critical history Doctor Faustus has raised much controversy due to its fundamental interaction with the demonic realm. 32 Before Marlowe, there were few authors who ventured into this kind of writing. After his play, other authors began to expand on their views of the spiritual world and how quickly and easily man can fall. 33 edit See also Solamen miseris socios habuisse doloris, line from the play, commonly translated as misery loves company Faust Deal with the Devil edit Notes 1. Logan and Smith, p. 14 . 2. Chambers, Vol. 3, p. 423. 3. Chambers, Vol. 3, pp. 423-4. 4. Chambers, Vol. 3, p. 422. 5. Bevington, David M Rasmussen, Eric (1962).Doctor Faustus A- and B- texts (1604, 1616) Christopher Marlowe and his collaborator and revisers. human beingchester, England Manchester University Press. p. xi. ISBN 0-7190-1643-6. 6. a b Christian, Paul Nichols, Ross (translator) (1952). The History and Practice of Magic 1. London Forge Press. p. 428. The name has many forms Marlowe writes Mephistophilis 7. Jones, John Henry (1994). The English Faust Book, a critical edition. Cambridge, England Cambridge University Press. p. 1. ISBN 978-0-521-42087-7. 8. Tromly, Frederic (1998). Damnation as tantalization.Playing with desire Christopher Marlowe and the art of tantalization. University of Toronto Press. p. 135. ISBN 978-0-8020-4355-9. 9. Cantor, Paul A (2004). The contract from hell. In Heffernan, William C. Kleinig, John. Private and public corruption. Lanham, MD Rowman &038 Littlefie ld. p. 98. ISBN 978-0-7425-3492-6. 10. Leo Ruickbie, Faustus The Life and generation of a Renaissance Magician (The History Press, 2009), p. 15 11. The History of the miserable life, and deserved death of Doctor Iohn Faustus by P. F. , Gent, 12. Keefer, Michael (2008). Introduction. Doctor Faustus a critical edition. Ontario Broadview. pp. 678. 13. Frey, Leonard H. ANTITHETICAL BALANCE IN THE OPENING AND dear OF DOCTOR FAUSTUS. Academic Search Premier. EBSCO. Saint Louis University, Saint Louis. 26 Mar. 2009 p350 14. (352) 15. Bevington Rasmussen (1962 46) 16. p. 157. Milward, Peter. sacred Controversies of the Elizabethan Age A good deal of Printed Sources. University of Nebraska Press, 1977. 17. p. 157-163. Milward. 18. p. 249. Princiss, G. M. Marlowes Cambridge Years and the piece of music of Doctor Faustus. Studies in English Literature 33. 2 (1993). 19. 5. 5. Beza, Theodore. A drawing Declaration of the Chief Points of Christian Religion Set Forth in a Table. 1575. earliest English Books Online. 10 2 2007. http//eebo. chadwyck. com. 20. p. 292. Stachniewski, John. The Persecutory Imagination English Puritanism and the Literature of Religious Despair. Oxford University Press, 1991. 21. 2. 4. 2. Calvin, John. The Institutes of Christian Religion. 1585. Early English Books Online. 10 2 2007. http//eebo. chadwyck. com. 22. p. 510. Hyperius, Andreas. A supererogatory Treatise of Gods Providence With an Appendix by Peter Baro. 1588. Early English Books Online. 10 2 2007. http//eebo. chadwyck. com. 23. 1. 1. 44-50. 24. (Fetzer, John. Perceptions of Thomas Manns Doctor Faustus criticism 1947-1992 . stark naked York City Camden House , 1996. ) 25. (Fetzer 21) 26. (Kiessling , Nicolas . Doctor Faustus and the Sin of Demoniality . Studies in English Literature, 1500-1900 15(1975) 205-211) 27. (Kiessling, 207) 28. (Kiessling, Nicolas. Doctor Faustus and the Sin of Demoniality. Academic Search Premier. EBSCO. Saint Louis University. 6 Mar. 2009 p205). 29. (207) 30. (Marlowe 14) 31. (Snydre, Susan. Marlowes Doctor Faustus as an Inverted Saints Life. Studies in Philology 63(1966) 565-577. ) 32. (Hamlin , William M. . Casting Doubt in Marlowes Doctor Faustus. Studies in English Literature 1500-1900 (2001) 257-275. ) 33. (Hamlin, 258). edit References Chambers, E. K. The Elizabethan Stage. 4 Volumes, Oxford, Clarendon Press, 1923. Logan, Terence P. , and Denzell S. Smith, eds. The Predecessors of Shakespeare A Survey and Bibliography of Recent Studies in English Renaissance Drama.Lincoln, NE, University of Nebraska Press, 1973. edit External links Wikisource has original text related to this article The Tragedy of Doctor Faustus The Tragical History of Doctor Faustus librivox. org audio 1616 quarto online The Tragical History of Doctor Faustus From the Quarto of 1604 by Christopher Marlowe at Project Gutenberg The Tragical History of Doctor Faustus From the Quarto of 1616 by Christopher Marlowe at Project G utenberg Doctor Faustus (play) at the net income Broadway Database v t e Christopher Marlowe Plays Dido, Queen of Carthage Tamburlaine the Great, Parts One and Two The Jew of Malta Doctor Faustus Edward II The butcher at Paris Poems Lucans Pharsalia Ovids Elegies The Passionate shepherd to His Love Hero and Leander PeopleThomas Nashe Philip Henslowe Thomas Heywood Ingram Frizer Eleanor Bull Nicholas Skeres Robert Poley George Chapman Edward Alleyn sham representationsMarlowe (Rost) The School of Night (Whelan) Tamburlaine Must Die (Welsh) A Dead Man in Deptford (Burgess) It Was Marlowe (Zeigler) Kit Marlowe (David Grimm) The Marlowe Papers (Ros Barber)AdaptationsEdward II (Jarman) The Life of Edward II of England (Brecht and Feuchtwanger) The Massacre at Paris (Murphy) MiscellaneousEnglish Renaissance theatre Blank verse Admirals Men Shakespeare authorship question Marlovian theory Lusts Dominion (attributed play, rejected) Retrieved from http//en. wikipedia. org/w/index. php? t itle=Doctor_Faustus_(play)&038oldid=540445519 Categories 1590s plays 1604 plays Plays by Christopher Marlowe English Renaissance plays Works based on the Faust legend Hidden categories All articles with unsourced statements Articles with unsourced statements from January 2011 Articles with unsourced statements from August 2009 Navigation menu individualised tools stimulate account Log in Namespaces Article Talk Variants Views Read erase View history Actions Search Navigation Main page Contents Featured content Current events Random article donate to Wikipedia Interaction Help About Wikipedia Community portal Recent changes play Wikipedia Toolbox What links here Related changes Upload file Special pages Permanent link Page information Cite this pagePrint/export Create a book Download as PDF Printable version Languages Deutsch Espanol Francais Italiano ????? 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