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study of the significance of Marlowe's use of the unforgivable sin as a plot device in "Dr. Faustus"
Title
A study of the significance of Marlowe's use of the unforgivable sin as a plot device in "Dr. Faustus".
Creator
Rudasill, Michael Carlton., Florida Atlantic University, Nathan, Norman
Abstract/Description
A crucial turning point in Christopher Marlowe's play Dr. Faustus occurs within the Latin chant in the conjuring scene. It is Faustus's commission of what is within the Christian universe the only unforgivable sin: the blasphemy against the Holy Spirit. This blasphemy is noted by Mephostophilis and is a deliberate device used by the playwright to make the work an irreversible tragedy. This ominously important act gives the play a certain dread impetus as events build to a sadly predictable...
Show moreA crucial turning point in Christopher Marlowe's play Dr. Faustus occurs within the Latin chant in the conjuring scene. It is Faustus's commission of what is within the Christian universe the only unforgivable sin: the blasphemy against the Holy Spirit. This blasphemy is noted by Mephostophilis and is a deliberate device used by the playwright to make the work an irreversible tragedy. This ominously important act gives the play a certain dread impetus as events build to a sadly predictable conclusion. After Faustus's unforgivable words redemption from death and hell is impossible within the Christian cosmology in which the play is set. The irrevocable demise of the protagonist due to this own regrettable hubris parallels the similar demise of protagonists in Greek tragedies. Through this one unforgivable deed Faustus is unsavable, unsalvageable, unforgivable, and unable to ascend with the help of grace above the reach of Satanic power, which he chose, and into the paradise promised by the doctrine of divinity, which he has despised (I.i.102-104).
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Date Issued
1992
PURL
http://purl.flvc.org/fcla/dt/14843
Subject Headings
Marlowe, Christopher,--1564-1593--Doctor Faustus, Marlowe, Christopher,--1564-1593--Criticism and interpretation
Format
Document (PDF)
ZODIACAL CONSTRUCTION OF "TAMBURLAINE I AND II."
Title
THE ZODIACAL CONSTRUCTION OF "TAMBURLAINE I AND II.".
Creator
JEFFERSON, ESTELLE FUGATE., Florida Atlantic University, Collins, Robert A.
Abstract/Description
While the text of Tamburlaine I and II contains the classic pattern of act and scene divisions, the organic structure of the play is governed by the twelve signs and houses of the zodiac. The play's metaphorical patterns are consciously formulated to correspond to the zodiacal year, and consequently represent a circular pattern. The play's well-known rising and falling movement (Parts I and II) is analogous to both solar day and solar year. As hero, Tamburlaine's role is that of Sol, the...
Show moreWhile the text of Tamburlaine I and II contains the classic pattern of act and scene divisions, the organic structure of the play is governed by the twelve signs and houses of the zodiac. The play's metaphorical patterns are consciously formulated to correspond to the zodiacal year, and consequently represent a circular pattern. The play's well-known rising and falling movement (Parts I and II) is analogous to both solar day and solar year. As hero, Tamburlaine's role is that of Sol, the central planet in the Ptolemaic system, ascending with the vernal equinox in Part I and descending with the autumnal equinox in Part II. The imagery traverses, in sequential fashion, the signs and houses, with one radical adjustment: Pisces is removed from the end of the cycle and placed at the beginning of Act I, an alteration which probably has concealed the metaphorical pattern heretofore.
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Date Issued
1978
PURL
http://purl.flvc.org/fcla/dt/13929
Subject Headings
Marlowe, Christopher,--1564-1593--Tamburlaine the Great, Astrology in literature
Format
Document (PDF)
Historical reductionism in Christopher Marlowe's "Edward II"
Title
Historical reductionism in Christopher Marlowe's "Edward II".
Creator
Crawford, Kevin Scott., Florida Atlantic University, Collins, Robert A.
Abstract/Description
Marlowe's adaptation of chronicle history for the composition of Edward II entails a multi-leveled process in which the playwright reduces the political and patriotic strife of his source material into a fierce contention of personal will driven by greed, pride, and lust for personal gratification. In opposition to the providential control apparent in Elizabethan accounts of English history, and influenced by the social machinations of the English and Scottish courts in the 1590's, Marlowe...
Show moreMarlowe's adaptation of chronicle history for the composition of Edward II entails a multi-leveled process in which the playwright reduces the political and patriotic strife of his source material into a fierce contention of personal will driven by greed, pride, and lust for personal gratification. In opposition to the providential control apparent in Elizabethan accounts of English history, and influenced by the social machinations of the English and Scottish courts in the 1590's, Marlowe boldly alters the chronology of historical events to achieve a reactionary effect that is not evident in his main source, Holinshed's Chronicles; the ages and backgrounds of many characters are also altered to create almost archetypal antagonists in order to illuminate the human forces at work in the play. Moreover, Marlowe manipulates the staging of military action, personal discord, and Edward II's murder itself to accentuate his reductionist treatment of source material.
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Date Issued
1995
PURL
http://purl.flvc.org/fcla/dt/15184
Subject Headings
Marlowe, Christopher,--1564-1593--Criticism and interpretation, Edward--II,--King of England,--1284-1327--Drama, English drama--Early modern and Elizabethan, 1500-1600--History and criticism, Marlowe, Christopher,--1564-1593--Edward the Second
Format
Document (PDF)
Rhetoric in mirrors
Title
Rhetoric in mirrors: the rising image of conquest.
Creator
Gregory, Courtney N., Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description
This project examines the blending of verbal and visual discourse in three of Christopher Marlowes early works: Dido Queen of Carthage and Tamburlaine the Great, Parts I and II. Through the process of appeals, both Dido and Zenocrate become more than feminine counterparts in a heroic tale and ultimately engage in rhetorical conquest themselves. Marlowe's treatment of Dido and Zenocrate portrays them as dynamic figures whose ambitions emerge upon the stage. In each drama, the feminine agency...
Show moreThis project examines the blending of verbal and visual discourse in three of Christopher Marlowes early works: Dido Queen of Carthage and Tamburlaine the Great, Parts I and II. Through the process of appeals, both Dido and Zenocrate become more than feminine counterparts in a heroic tale and ultimately engage in rhetorical conquest themselves. Marlowe's treatment of Dido and Zenocrate portrays them as dynamic figures whose ambitions emerge upon the stage. In each drama, the feminine agency legitimizes the action of the play. Dido utilizes visual appeals to contest the fate of the gods and persuade Aeneas to become the male counterpart in her empire. Zenocrate serves as the focus of Tamburlaine's appeals because she will become the legitimating presence for his ambition. I show that these Marlovian women hold a significant place in his canon and that the force of their presence is undeniable.
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Date Issued
2011
PURL
http://purl.flvc.org/FAU/3332261
Subject Headings
Criticism and interpretation, Criticism and interpretation, Feminism and literature
Format
Document (PDF)