Chapter 04
Analysis and Discussion
4.1. Intellectual Hubris and Ambition
4.1.1. Faustus Rejection of traditional knowledge
“Divinity, adieu! These metaphysics of magicians, and necromantic books are heavenly”
(Marlowe, 1604).Faustus radically bid farewell to divinity as divinity (The study of God and
Religion) was considered the high discipline in deeply religious society by dismissing it
symbolically it rejects the moral and spiritual frame of his time. The line clearly shows criticism
on academia of that time as in early soliloquy Faustus rejects fields of logic, medicine. Law and
theology which is unfit for his ambition. Faustus a tragic hero who profited in divinity and shorty
he graced with the doctor’s name was fed off from traditional knowledge the line from the play
depicts that Faustus got widespread attention in Germany was famous in Logic and Reasoning
and theological disputes. While settling his study First he chooses logic and Reasoning after
reading he sarcastically comments that “To dispute well logic chiefest end, and live and die in
Aristotle works” (Marlowe, 1604). It clearly portrayed the excessive pride of Faustus over
knowledge of logic and reasoning and claimed that “thou hast attained that end”. If you attained
the end of that knowledge then no need to read and die in Aristotle works a kind of criticism on
Aristotle works. The rejection of Divinity leads to unworthiness for traditional path of wisdom
“The reward of the sin is death that’s hard” (Marlowe, 1604). Followed by the idea that if we
say we have no sins we deceive ourselves portrayed the idea of critique on theology and biblical
ideology and considering it not worthy for the path of real wisdom.
4.1.2. Ambition to transcend Human limits
“A sound magician is a mighty God. Here, tire thy brains to gain a deity” (Marlowe, 1604).
Faustus asserts that practicing magic elevates man beyond mortal limits and make human semi-
god. By resolving to exhaust his intellect and want to ascend further and attain full godhood he
intends to practice necromancy the phenomenon clearly shows his refusal to accept human
limitations that’s why he wants to practice magic and ascend these boundaries. Faustus desire to
become deity mirrors overreaching ambition and his hubris exemplifies believing on that he can
rival divine authority through forbidden art of magic. Ambition and desire for transcending and
surpassing human limits is the hidden wish of human psychology and often echoed in some
pieces of literature. The early lines foreshadow the downfall of Faustus which sets him to bargain
with lucifer on behalf of his soul leading to his damnation and committing him tragic sin. In
dramatic context this is the tragic flaw of Faustus and inability to recognize human limits and
shows his moral blindness. In religious context the play reflects the Protestant anxieties of
salvation and devil lure, the quest for godhood parallels with biblical fall of lucifer who sought to
be like God (Isaiah 14:12-15) reflecting overreaching ambition that led to destruction.
The same concept mirrors in “The strange Case of Dr. Jekyll and Mr. Hyde”
“I had learned to dwell with pleasure, as a beloved daydream, on the thought of separation of
these elements” (Stevenson, 1886). Like Faustus Jekyll also want to transcend human limits and
duality to shake off the humanity bonds through experimentation.
4.1.3. The Pact and Supernatural Temptation
“First, that Faustus may be a spirit in form and substance…. Mephistopheles shall be his
servant, and at his command” (Marlowe, 1604). After he summons the demon Mephistopheles
and making a 24 years bargain of his soul with lucifer in exchange of unlimited knowledge,
power and servitude of Mephistopheles. Faustus demanded supernatural transformation to shed
Human mortal limitations and becomes a spirit which is free from frailty of beings depicting the
rejection of his earthly identity and quest for acquiring godlike powers. Mephistopheles seems to
be submissive but his service was actually to ensnare Faustus and offers fleeting powers in
exchange of eternal damnation though seemingly submissive, is a deceptive tempter. The same
thematic pact can be seen in “The picture of Dorian Gray” by Oscar Wilde where Dorian Gray
made a pact with devil for eternal youth and beauty highlighting the moral decay and hedonism
of the protagonist. “They say he has sold himself to the devil for pretty face” (Wilde, 1890). A
woman a silent vengeful admirer of Dorian Gray comments that he had sold his soul to the devil
for eternal beauty and youth symbolizes the phenomenon of pact with devil as similar to the
Faustian pact. “Each of us has Heaven and Hell in him” (Wilde, 1890). The duality and
unconscious awareness of damnation also found in Dorian Gray which are the consequences of
making pact with devil similar to the Faustus.
4.1.4. Theological Despair and Damnation
“My heart’s so hardened, I cannot repent: Scarce can I name salvation, faith, or heaven,” (Act
II Scene II, Marlowe, 1604). The line truly captures the Faustus spiritual agony who sold his soul
to lucifer for power, knowledge is tormented by his inability to repent while knowing the gravity
of his damnation his “Hardened heart” reflects state of theological despair where his soul is
paralyzed by power pride and knowledge and he feels divine grace unattainable. It echoes the
christian doctrine that that salvation requires faith and repentance alone in Christ. It also
highlights the internal conflict torn between fleeting worldly leisures and eternal damned
consequences reflecting the tragedy of spiritual desolation. The same theological depair also
echoed in The Divine comedy by Dante Alghieri “All Hope abandon, ye who enter here”
(Alghieri, 1308 and 1320). The lines encapsulates the finality of despair for souls who rejected
repentance, eternal and theological despair Dante inscribed on the gates of Hell. The same
despair also echoed in The Brother Karamazov By Fyoder Dostoevsky “If God doesnot exist,
everything is permitted” (Dostoevsky, February 1880). Ivan Karamazov nihilistic despair shows
the world without moral order parallel to the Faustus Rejection of Divine authority for temprory
powers.
4.1.5. Moral Decline and Trivial Exploits
“Will, thou wilt have one. Sit there till I come, I’ll fetch thee a wife in the Devil’s name”
(Marlowe, 1604). Mephestophilis mocks Faustus that you will have demonic wife showing his
moral degeadation. Faustus squanders his newfound power for baseless desires rather than
meaningful persuit, while offering a wife which is hollow, illusory substitute shows the
deceptive nature of demonic offers. Mephestophilis mockery symbolize his role entity as
manipulator exploiting Faustus earthly appetites to deepen his damnation. Instead of using power
for intellectual or noble end, faustus indulges in fleeting and sinful pleasures highlighting the
futility of his pact.
4.1.6. Final Monologue and Tragic Awareness
“See see, where Christ’s blood streams in the firmament” (Marlowe, 1604).In the final moments
faustus desperately knows the christian doctrine of salvation through christ’s sacrifice. The blood
symbolize redemption and divine grace on which faustus believe that it would save him. The
moment highlight the tention between free will and predestination, Fautus suggestion that one
drop could save him show that grace is available but his psychological agonies fueled by pride
and fear traps him in damnation. The moment showcase his tragic self-awareness he understand
his mistake but feel powerless to undo it. “Ugly hell, gape not! Come not, Lucifer! I’ll burn my
book!__Ah, Mephistophilis!” (Marlowe, 1604).The book symbolize the Faustus persuit for
forbidden knowledge, magic and hubris and burning the book shows his rejection of the
forbidden path that led to his damnation. In these lines there is a hidden agenda of knowledge as
a double edged sword, also depicts overreaching and prioritizing power over morality results
permanent damnation. The best example of self-awareness without agency hides when faustus
bounded to hell. Marlowe used these lines to criticize theological rigidity and the Hubris of the
Renaissance quest for power.
4.2. Faustus as a Renaissance Humanist
Faustus rejection of traditional knowledge reflects Renaissance humanism shows unworthiness
for medieval scholasticism. As Faustus rejects theology, medicine, law as odious, obscure and
vile declaring “Divinity is basest of the three Unpleasant, harsh, contemptible and vile ‘Tis
magic, magic that hath ravished me” (Marlowe, 1604). These lines epitomize the human desire
and drive to transcend divine limits, his vision of reshaping Europe political landscapes
underscore his over pride. “His waxen wings did mount above his reach and melting heavens
conspired his overthrow” (Marlowe, 1604) a metaphor used for Renaissance overreached
compared Faustus with Icarus (Greek Mythology) son of Daedalus while escaping from Crete
with his father using the wings Daedalus had made, he flew too close to the sun and the wax
melted and he fell into the Aegean and drowned.
4.2.1. Christian Doctrine and the Medieval Moral Framework
The moral framework of the play is grounded In Christian allegory. Good angel warning “O
Faustus lay that damned book aside, and gaze not on it, lest it tempt thy soul” (Marlowe, 1604).
While the Bad angel provokes Faustus to pursue power externalize his internal conflict,
Mephistopheles lament “Why, this is hell, nor am I out of it” (Marlowe, 1604) concrete the
medieval concept of damnation as a paradox spiritual state from which escape is impossible.
While conjuring “This night I’ll conjure though I die therefore” (Marlowe, 1604) rejects divine
authority and his pride mirrors Lucifer fall.
4.2.2. Sociohistorical Context Marlowe’s critique of competing Ideologies
The setting of Wittenberg’s in Prologue reflects the tension of Protestant’s reformation between
faith and doctrine of that time. Protestants emphasis on solo fida (faith alone) clashed with
Catholics on sacraments as Faustus rejecting traditional knowledge and pursuit for forbidden art
embodied the renaissance towards ambition and human reason. His rejection of theology mirrors
rejection of both Catholic and Protestant frameworks. Faustus damnation criticize Renaissance
excess mirrors anxieties about the dangers of unchecked intellectual, Marlowe’s warned that the
pursuit of knowledge divorced from moral and spiritual ground leads to self-destruction. Yet his
final cry “I’ll burn my books” also questioned Christian mercy as his repentance was rejected
despite his plea. The rejection of his plea challenges the Christian notion of divine mercy. A
Christian dogma named Calvinist predestination “that salvation was preordained” Marlow’s left
audience in paradox that if Faustus plea was genuine then why his repentance was rejected
4.2.3. Legacy and Interpretation Faustus as a Timeless Paradox
In the Epilogue of the play closing lines “Cut is the branch that might have grown full straight
and burned is Apollo’s laurel-bough” (Marlowe, 1604) the metaphor branch represent Faustus
squandered potential, as a brilliant scholar he could achieve great things through legal and
virtuous means as in lines “grown full straight” but the pact with lucifer cut this leading to his
damnation and framing Faustus as a symbol of humanity’s struggle between morality and
ambition. Modern interpretations consider him as a proto-modern individualist whose tragedy
warns against defying societal and moral limits. Scholars like Oswald Spengler link Faustus to
“Faustian Soul” of western civilization characterized by restlessness, expansion, and
challenging of traditional and ethical beliefs (Spengler, 1926).
4.3. Calvinist Predestination vs Renaissance Free will
Doctor Faustus embodies theological conflict between Calvinist predestination and Renaissance
Free will reflecting the intellectual turmoil of Elizabethan era. Calvinism teaches that damnation
or Salvation is preordained by God that wrench violently human actions irrelevant to divine
judgement. The doctrine often led to existential despair defining the individual feared their fate is
sealed regardless of moral choices. “Why, this is hell, nor am I out of it”. This line underscores
inability to escape from damnation. Mephistopheles remain trapped in hellish state symbolizing
fixed spiritual outcomes. His beliefs that he is “Damned perpetually” reflects Calvinist despair,
Despite of repentance Faustus thinks that he is preordained for hell shows that his actions cannot
change God preordained plans. Renaissance Humanism emphasizes in choice and individual
agency. Faustus rebellion against divine authority reflects this phenomenon. Faustus willingly
pact driven by ambition and curiosity with lucifer highlights human agency. This can be views
his downfall was not from predestination but from misusing Free will.
4.3.1. The illusion of Free will External influences vs internal Agency
Marlowe’s Doctor Faustus interrogates Free will by blurring the line between Faustus
independence and external forces that deviated his choices. The play questioned whether Faustus
damnation emanate from his own agency or external influence beyond his limits mirroring the
Renaissance anxieties about human limitations in a world shaped by Divine or Demonic powers.
“A sound magician is a mighty god” (Marlowe, 1604) The line clearly reflects his ambition to
transcend human mortal limits, his choice for necromancy seems autonomous driven by pride
and intellectual hunger. In Act 2 scene 1 Faustus claims “Faustus gives to thee his soul”
(Marlowe, 1604) seems a deliberate use of free will negotiating terms with Mephistopheles
questing and demanding for power, Knowledge and pleasure. This bargain was deeply rooted in
Renaissance individualism. Marlowe also revealed how external forces erode his autonomy.
Mephistopheles manipulation is one of external factor he withholds truths means the horror of
hells distracting Faustus in fleeting entertainments i.e., mocking of Pope, conjuring Helen of
Troy keeping him distracted and complacent in his damnation. Another external force that erodes
Faustus autonomy was societal pressure in the lines “All things that moved between quiet poles
shall be at my command” (Marlowe, 1604) reflects his desire for fame and societal glorification
of individualism. The blood congealing “My blood congeals, and I can write no more”
(Marlowe, 1604) reflects the choice that ironically undermines his agency this phenomenon can
be interpreted in two ways, congealing blood could be divine intervention God wants to halt
Faustus damnation or it was Faustus subconscious repressed guilt or fear hinting internal moral
struggle. In later acts Faustus completely loss agency and becomes increasingly dependent on
Mephistopheles as Faustus repeatedly asking that “Who made the world” but demons refuses
leaving him spiritually empty.