Abstract Pride, anger, avarice, gluttony, sloth, lust, and envy all manifest themselves in Dr. Faustus throughout the play. Not only do they manifest themselves within the psychological understanding of the play, but the seven deadly sins also appear as characters in the plot. Through his use of the seven deadly sins, then, Marlowe is demonstrating the path to damnation in relation to the developing Christian theology of his day.
This paper looks at the fall from grace of the title characters in the plays "The Picture of DorianGray" by Oscar Wilde and "Dr. Faustus" by Christopher Marlowe.
Abstract In this article, the writer looks at the characters DorianGray in "The Picture of DorianGray" and Dr. Faustus in the play of the same name. The writer notes that in both Marlowe's and Wilde's tales of men overreaching the natural order, evil is primarily construed as transcending the natural, specifically of desiring eternal life, rather than bowing to the natural processes of change that are inherent in nature. Further, the writer points out that God's law is synonymous with nature, and both Faustus and DorianGray go against nature and embrace artifice and art. The writer concludes that for all of their unnaturalness and evil, the protagonists remain the most 'naturally' compelling characters of their respective dramas, given the unrealistic and 'unnatural' one-dimensionality and weakness of those individuals who are unfortunate enough to encounter Dorian and Faustus.
From the Paper "The seductiveness of both protagonists' ambitions for the reader, however, has provoked contradictory interpretations in the responses of critics and its more general audience. On one hand, both works seem to argue that obeying God's natural order and law regarding knowledge and morality is best. In short, do not seek to become a magician or seek to be young forever. But although Dorian Gray may read like an argument against art and artifice on one hand, it itself is a work of art. Furthermore, although "Dr. Faustus" argues against magic, the actors on the stage need to make use of 'magic' to portray the morality tale of the fall of the scholar from Wittenberg. This confuses the question of what is good or bad in both plays, especially since the 'good' characters like the old man who counsels Faustus to repent, or Basil and Sybil in Wilde's work, are the weakest characters."
Abstract In Oscar Wilde's novel "The Picture of DorianGray", concepts of mortality and death are tied to concepts of aesthetics. This paper shows how DorianGray fears death but also considers art as a way of overcoming death. He then makes himself into a work of art, while the true artwork, the painting of him produced by Basil Hallward, is subject to all the mortal disintegration which rightfully should be suffered by Dorian himself.
From the Paper "Gray also embodies the New Hedonism expressed by Lord Henry, another challenge to aging and death. However, aging and death are part of the natural order and cannot be escaped in any way except through art. Dorian does see himself as a work of art, but he lives not for an aesthetic but for the love of self. In the end, age and death come to him because he has not lived a balanced life. Critics point out ways in which ideas of aesthetics are embodied in the novel along with moral issues concerning immortality and the ability to evade responsibility for one's actions."
Abstract This paper analyzes the book "The Picture of DorianGray" by Oscar Wilde. The characters are described and their influences on each other are discussed. The paper portrays Lord Henry Wotten as Dorian's devil, his evil inner self, and Basil Hallward as Dorian's conscious, his guardian.
From the Paper "Oscar Wilde's "The Picture of Dorian Gray" continues to mystify its audience. First published in 1890, it was originally criticized for being immoral. Wilde rewrote the novel and published it again the following year, this time with a pre-face announcing its theme of immorality. Set in late 19th century London, the novel centers around Dorian Gray and two of his "friends" ? Basil Hallward and Lord Henry Wotten."
Abstract This paper discusses Annamarie Jagose's book, "Queer Theory" in relation to DorianGray's character in "The Picture of DorianGray" by Oscar Wilde. The paper contends that Jagose and Wilde's discussion and portrayal of queerness reflects how this concept is associated to an almost utopian mind state, where the individual has no biases, prejudices and malicious intents in life. The paper assesses that according to these books, queerness is a state where equality and ambiguity is accepted and considered the norm.
From the Paper "What makes the queer concept vital to the study of gays and lesbians, as well as issues of homosexuality and heterosexuality is that it provides a 'gray area' in which no distinctions between male and female and gay and lesbian are found. Queer appeals to the 20th century philosophers and social scientists simply because it offers an avenue through which gender and sex can be discussed without the political inequality often found between male and female genders and the similarly dichotomous relationship between gays and lesbians. As Jagose had asserted, the queer concept was able to transcend the "natural sexuality" framework-that is, "queer's transcendent disregard for dominant systems of gender"-that society had often used as reference in order to fully understand the identity of an individual."
Abstract This paper discusses several aspects of the central theme of "The Picture of DorianGray". The portrait and the soul are identified as being synonymous, so that Dorian is affected not by an object, but by his own true image.
Abstract This paper discusses Oscar Wilde's play, "The Picture of DorianGray" and how the origins of sin are presented in the play. The paper uses examples from the play to show how, for Wilde, sin has its origin in awareness and knowledge of desire, just like the fall from grace in Eden. The paper explains how the main character, Dorian, becomes sinful in his knowledge and his awareness of his own beauty and this leads to his downfall.
From the Paper "Again, there is scarlet, but this is the scarlet of blood letting, not an innocent blush of the young Dorian's lips. Once again, at the words of Lord Henry, even the older and more jaded Dorian is moved to tremble. He blanches at the sight of the picture, but for a different reason, because he can see the monster he has become, rather than fears the passage of age as he did as a young man. His own portrait is described as loathsome, like a serpent, and the diction of the passage is Biblical and elevated, "the scarlet of blood," "desire," and "scarlet dew" as a euphemism for blood."
Abstract This paper begins by exploring the three distinct themes or influences from Darwin that shaped the course of the works, "DorianGray", by Oscar Wilde, and "Dracula", by Bram Stoker. First, the theme of ambivalence toward religion is discussed. Next, the paper discusses the theme concerning the overwhelming fear of monsters hidden within our own genetic code. The paper then examines the last theme of degeneration and entropy. In addition, the issue of racism and how it arose from this fear of degeneration is looked at, as well as how the sexual abuse of African women was justified because of these racist views. Furthermore, cannibalism as a form of sexual lust is discussed and related to the notion of devolution. Finally, the paper compares and contrasts how all of these themes are expressed in both novels.
From the Paper "At the fin de siecle, a great confusion settled over the intellectual communities. Darwin's theories of natural selection had radically altered the scope of society and the popular imagination since the Origin of Species was released in 1858. By the end of the century, however, scientific criticism of the theory had combined with an increased popular paranoia regarding its logical (and less than logical) consequences. Specifically, the idea that we had evolved from the animals began to develop into a fear that we might retrace our steps and descend once more into bestiality. Fear of intrinsic degeneration and the beast within was heightened by its symbolic merger with a sort of imperial self-doubt, as the poets and prophets of the era increasingly foresaw coming changes to the British Empire and a waning of national power. The basic foundations of the British world were crumbling, though they still appeared outwardly bulwarked."
Abstract Analysis of the play focusing on the character of the old man, and scholars in Dr. Faustus, and how they can be compared to saints and holy figures. Looks at the themes of redemption, eternal life and instant gratification and how these are connected to the character of DrFaustus.
From the Paper "In Christopher Marlowe's play ?Dr. Faustus,? the reader or viewer is treated to a strange sight early on in the play. The central character, the scholar Dr. Faustus, is subjected to the cartoon-like debate of two characters upon his shoulders, that of a good angel and a bad angel. The good angel states that it is ?never too late if Faustus will repent.? The angel means if the Doctor repents of his evil decision to turn from God and make a deal with the devil for conjuring powers, he can still be saved. (2.1.82) However, the bad angel on Dr. Faustus? shoulder soon responds that it is too late, ?If thou repent devils will tear thee in pieces.? (2.1.83-83) This debate highlights the very clear dichotomy between good and evil set up quite early on in the moral economy of the play. However, as the play progresses these highly schematic characters begin to retreat in their importance, and instead the characters of the scholars of Wittenberg where Dr. Faustus dwells and a mysterious old man becomes more prominent in Faustus? conscience. Marlowe does not do this to make the drama seem either more realistic, as the language "Dr. Faustus" is quite heightened and surreal. Nor does the author do this to make the representations of good and evil seem more human, as most of even the human characters in the play are quite broadly drawn. Rather, Marlowe does this to suggest the nature of Dr. Faustus? dilemma."
This paper discusses the book, ?Reverend Malthus, Meet Dr. Faustus? an essay by Peter W. Huber that discusses two important theories which explain and predict the outcome of mankind.
Abstract This paper discusses Huber essay that presents two extreme theories of population: the Malthusian Theory, a pessimistic viewpoint formulated by Thomas Malthus, and the Faustian Theory, the opposite extreme advocated by Dr. Faustus. The paper summarizes Malthus as saying that the world will out populate itself and Faustians as saying that through technology humankind will balance the supply to meet the population. The author states that Huber's essay is critical of the two extreme theories but does not provide his own theory.
From the Paper "While Malthusians subsist to the pessimist view of mankind's fate, Faustians are those who subsist to the belief that contrary to the pessimistic Malthusians, who claimed that humankind will end in a catastrophe through famine or war (Thomas Malthus), or by natural disasters (neo-Malthusians). To the Faustians, the world and humankind will continue to flourish and develop. They predicted that instead of experiencing a downfall, humankind would develop even greater ?waves of technology,? wherein these waves of technology are said to have been ?propelling huge increases in productivity and "explosive" growth.? Ultimately, Faustians declare that a fifth wave of technology is yet to come, which is through hydrogen ?as an alternative source of energy that will save the environment.? "
Abstract This research explores the quest for knowledge and supports the thesis that the end result of the quest for knowledge in "Dr. Faustus" and with Adam and Eve in "Paradise Lost" was the ultimate demise and fall of the characters. The circumstances that led to the fall demonstrate many different perspectives about crime and punishment during the Renaissance.
From the Paper "Man has been on an endless quest for knowledge from his humble beginnings. However, many religious scholars of old seem to view knowledge, at least of certain types, to be inappropriate for mere mortals. They have concluded that humans are not ready for certain types of knowledge and that this is better left for God. However, like a child, humans are in a constant quest for that which is forbidden and as many literary masters would have it, this quest for knowledge has many times been man's downfall."
Abstract This paper examines the concept of free will and Dr. Faustus addiction to power, which makes him let go of his free will. The author takes into account the concept of free will and the considerations an individual has to keep in mind while making choices.
Abstract This paper compares and contrasts the final scenes of "Everyman" and Christopher's Marlowe's "Dr. Faustus" by analyzing textual structure and contemporary religious innuendos. It looks at how the last scenes in both plays, though structurally similar, present final confrontations of two completely different personalities with the fate of their souls, while stressing how thin and fragile the line between heaven and hell is within the Christian belief.
From the Paper "Dr. Faustus gives his last speech (the soliloquy in V, ii, 130-187) after the departures of Wagner, the three scholars, Mephistopheles, the Good Angel, and the Bad Angel. Everyman faces the hasty farewells of Beauty, Strength, Discretion, and Five-Wits. By the end of their moral introspection, Faustus is taken to Hell whereas Everyman descends into the grave. Following their exit, three scholars come onto the stage in Dr. Faustus while Knowledge and Angel appear in Everyman. These are the last characters to appear in the plays. The epilogue is constructed in Everyman by the Doctor (a theologian who concludes the play and explains its moral) and in Dr. Faustus by the Chorus."
Abstract The paper presents an understanding of the term "Renaissance" that shows both Marlowe's "DrFaustus" and Shakespeare's "Richard III" as indicative of an era concerned with the questioning of fundamental ideas and immense exploration. The paper also explains the term "Renaissance" as indicative of moral turmoil as we see morality playing a major role in both works. The paper interprets the literature as making us consider what are essentially universal human problems, this being a major preoccupation of that era known as the "Renaissance".
From the Paper "The term 'Renaissance' literally means rebirth. There are many views as to the exact dates of the Renaissance period in history, and indeed the essential characteristics of this 'rebirth'. For this essay, I will take the term to indicate the period in history between the early fourteenth century and the late sixteenth century, a time of exploration and 'a time of intellectual ferment that laid the foundations for the thinkers and scientists of the 17th Century.' This human endeavour inevitably lead to a renewed questioning of old ideas and was aided by the invention of the printing press, which made ancient works including Greek and Latin classics and the Bible available to the public for critical reading. This in turn lead to a new approach to religion in general, which can be seen in the later reform of the church from Catholic to Protestant. This change in the church is today known as the Reformation, and can be defined as a secularisation of the church which ended the ecclesiastical supremacy of the Pope and placed a new emphasis on the relationship of the individual to God."
A comparison of the ethical dilemmas dealt with by the protagonists in William Shakespeare's "Tragedy of Hamlet, the Prince of Denmark," and Christopher Marlowe's play "Dr. Faustus."
Abstract This paper discusses and compares William Shakespeare's "Tragedy of Hamlet, the Prince of Denmark," and Christopher Marlowe's play "Dr. Faustus," both of which are Elizabethan dramas that feature protagonists grappling with profound ethical issues that address the limits of human life and power. The paper discusses the plot of each play and the issues that they address, as well as the role of the protagonists.
From the Paper "Hamlet realizes that murder only leads to more murder, thus he says "let be," when called to a duel, and when he enacts vengeance, it is more in self-defense rather than in cold, calculated vengeance, or stabbing a man in the back. Although Hamlet dies, he dies in triumph, knowing that Horatio will reveal the truth to the world of what happened to his father. Caught in an evil world of court intrigue, Hamlet at least dies a moral man, a man who has given his life significance because of his ability to question the ethics that govern his society, even seem to govern the world beyond. Faustus, in contrast, claims not to be satisfied with the rewards of knowledge gained from books, but uses his intellect in a way that leads him down a path of hollow pleasures, and ultimately damnation. His damnation is evident from the first moment he sells his soul, but Hamlet's moral position is always unclear, much like moral decisions in the world outside of the theater."
