Is Faustus a Tragic Hero Essay

Much of the in take a leakation in Dr Faustus is derived from a collection of semi-fictitious German stories (the Faustbuch) in which the life of German scholar and purported necromancer, Georgius Faust atomic number 18 narrated. Where the Faustbuch narrates a fair tale of crime and retribution, Marlowe creates a tragedy in which a man being makes a clear choice for good or bad, with to the highest degree knowledge of the possible outcome. In order to do this, Marlowe has drawn on the conventions of classical Greek tragedy, many of which dictate the nature of the supporter or heroine.In ancient durations, a hero achieved heroic status not because of saintliness or wickedness, but because of the acts he performed in life. The hero should have a socially elevated status and suffer a reversal of opportunity in which he experiences great suffering. This is all for sure true of Faustus, who is exceedingly regarded as both a lecturer at the University of Wittenberg, and an accom plished scholar. During his life, he performs extraordinary feats, which were unlike anything experienced by lesser mortals.Even by modern standards, the notion of necromancy is disturbing for a contemporary Elizabethan audience, for whom religion permeated all aspects of life, it would have been inconceivably horrific. Once Faustus is glutted with encyclopaedisms golden gifts and surfeited upon cursed necromancy he uses his powers to embark upon amazing adventures (for example learning the secrets of astronomy upon the summit of mount Olympus) which, again, be decorous of the tragic hero. Faustus reversal of fortune is also typically tragic.During the final movie of the play, in which we witness Faustus final hour out front being taken off to hell, he is, like all heroes of classical tragedy, completely isolated. in that location is a poignant contrast in Faustus degeneration from the successful, revered visionary of the previous scenes, to the disillusioned scholar we im agine here. In despair, he tries to contract and command the earth to gape open but realises that, o no, it go forth not harbour him. His terror, desperation and frantic hopes are all conveyed by the final soliloquy, which is both graphic and physical in its nature.The dramatic second base of Faustus death, as his flesh is torn by devils, is at the same time horrendous and moving. His experiences the type of physical anguish reminiscent of the blind Oedipus, and this portraying of the spectacle of pain and death is at the heart of a true tragedy. In order for the audience to engage with the hero, and go through empathy and pathos as a result of his suffering, it is essential that he is presented with the opportunity to make conscious decisions more or less his fate, all be they the wrong ones. The plot of Dr Faustus contains several such opportunities.Faustus is presumption a chance to repent on several occasions before signing the contract with Mephastophilis, he seems to he ed the voice of the good angel, and is about to turn to God again, but denies this as a surmise because God does not love him. However, despite the vain fancies of God and nirvana which clearly plague him, Faustus is resolute and clear about what he is committing himself to. Here, we see another trait of the classical tragic hero, hell bent on a course of action which he believes is right, even thought he knows it will eventually bring about his d sustainfall.Even at the precise end of his 24 years, when the hope of salvation comes a consider commensurate in the form of the old man, Faustus (fearful of the wrath of Lucifer) instructs sweet Mephastophilis to torture his would-be saviour. When Faustus chooses to kiss the video of Helen of Troy, whom he knows is nothing more than a demonic spirit in disguise, we feel that he must realise he has made a fatal choice. By now the tragedy is inevitable of his own throw in the towel will Faustus has rejected all hope of salvation and th e audience waits in trepidation for his impending doom.The question of fate versus unloose will is a key theme in Dr. Faustus, and one which is important when considering Faustus himself as a tragic hero. If, indeed, Faustus has the freedom necessary to change or reverse his troth then he is truly a tragic hero. The chorus financial statement that cut is the branch which might have grown full straightforward, does seem to support the idea that Faustus was not doomed from the beginning, but was addicted choices and opportunities to repent his wicked ways.Mephastophilis sums this up perfectly when, in response to Faustus desperate, contrite accusation thou hast deprived me of the joys of heaven, he reminds Faustus that twas thine own pursuancethank thyself. However, when we consider the religious beliefs held by around of Marlowes contemporaries, there appears to be a contradiction in Faustus apparent free will. In Elizabethan times, the ideas of a popular branch of Christianit y known as Calvinism (of which Marlowe himself would certainly have been aware) were widespread.Calvinists held the belief that human beings, as a direct government issue of original sin, have no free will. Also, Christianity has traditionally taught of Gods omnipotence and omniscience- i. e. God knows all and sees all. It follows, therefore that God has planned our fate and knows it long before we are even born. If this is the case, then doubt must be cast upon the notion of Faustus as a true tragic hero if his fate was already mapped out then all the choices presented to him are rendered arbitrary.When debating with himself at the beginning of the play, Faustus does seem to have some awareness of this, reasoning that we are all inherently sinful and therefore are condemned to die, because the reward of sin is death. Despite the fact that Faustus essentially cheats, twisting quotes from the Bible in order to justify his intended pursuit, one cannot help but feel that he shows insi ght into the problems raised by fate/free will, concluding that what is meant to be shall be (che sara, sara).In conclusion I would say that for the most part, Faustus is the perfect example of the tragic hero. He is an engaging character who holds the audiences direction until the very last, even when we do not find his personality oddly appealing. Indeed, the arrogance and blasphemy apparent in many of Faustus speeches (a greater subject fitteth Faustus wit, Faustus, try thy brains to gain a deity etc) are characteristic of the classical tragic hero.For example, Faustus pride and arrogance (which the Greeks called hubris) is strikingly akin to that of Aeschylus tragic hero, king Agamemnon. As far as the issue of free will is concerned, I think that Faustus does have the opportunity to make his own decisions, despite Marlowes paradoxical portrayal of a God whom, whilst able to control our predestination, cannot (when it comes down to it) control or undo the contract which Faust us makes.