The Tragical History of the Life and Death of Doctor Faustus - Movie Review Example

THE SIGNIFIСАNСЕ (OR INSIGNIFIСАNСЕ) OF СОMЕDY IN DR FАUSTUS Name: Professor: University: City: Date: The Signifiсаnсе (Or Insignifiсаnсе) Of Соmеdy in Dr. Faustus Introduction Doctor Faustus, also known as The Tragical History of the Life and Death of Doctor Faustus is among the most famous plays that were released in 1588. The play was launched by Christopher Marlowe, a well-known figure in the acting industry displaying the life of Faust as a dramatic character within the plot. Since its production, the play has acquired considerable criticism based on the unique application and presentation of the characters all around the scenes. Over the years, the use of the comic display in plays was limited because of the conforming aspect that artists had to consider such as the social life, religion, and romanticism. However, after the display of comic connection within the characters at different scenes, tragic and solemn plays have accommodated the many comical interludes that artists use to offer their pieces a sense of defection from the major themes that are under scrutiny. An analysis of the play reveals some funny episodes that are used to perform various functions that have become a sensation among most of the audiences. Body Marlowe attempts to lighten up a dramatic scene through trying to create humor in a serious situation, a case where Faustus has to come to terms with the fact that he conjures Mephistopheles but is still encountering significantly higher costs for any little pleasures that he receives. The scene before a confrontation between Faustus and Mephistopheles stirs fear within the audience. However, the next scene where Faustus terms Mephistopheles ugly acts as comic relief by eliminating any level of tension within the audience and turns it into a joke. Faustus terms Mephistopheles incredibly ugly to become his servant (Marlowe & Dunster 2011). It forms a predominantly larger aspect of stirring the emotional sense and weakening the audience through the application of interludes often used in bad plays. Most audiences often build an emotional connection with the protagonist figures, and other characters, therefore, are likely to adapt to their condition with the application of comical interludes as seen in the case of Faustus and Mephistopheles. In the same scene, the audience comes across a conversation between Wagner and many servants featured in the film. The discussion takes a scholarly approach different from what most fans would have determined. Servants are considered limited when it comes to academic issues such as conversations and vocabularies. However, during this scene, Marlowe tries to develop an alternative opinion regarding the servants as learned and well versed with language (Burton & Marlowe 1967). He depicts them as fellow-scholars instead of separating their characters. Nonetheless, the humorous approach in this conversation has been achieved by drawing significant attention to the level of parody used particularly by Wagner. His responses seem justified but contain a certain degree of intelligence such as the use of corups natural to imply a sudden change in position. The scene is structured to display the diminished level of knowledge within the servants but shows exactly a different aspect. To the audience, such an element may be viewed as an appeal towards comic delivery based on the alternating depictions of the three characters. The opinion that a rather dangerous play can be considered significantly comical may raise the question regarding the level of knowledge, expertise, and experience that Faustus possesses as a scholar. In the opening scene, Faustus avowals of his academic sovereignty but does not seem to make any impact in the lives of others or use such prowess to make informed decisions. The depiction offered in this scene delivers the character as a professor of logic who would apply every level of reasoning, particularly in universities making them succeed to become the best (Hamlin 2001). Despite having such a high acumen among the servants, they are worried that Faustus may fall prey to a world that he does not know. In this scene, the idea that even smart and intelligent people do not have knowledge of everything around them. The perception that all avenues of exploitation have positive and desirable results and may lead to achieved ambitions blinds them to the dangers that are imminent and what is at stake. Marlowe extends the conversation to show a sense of comic relief among the characters and the audiences. An attempt to show humiliation and promote entertainment through juggling verbal material and quibbles between Wagner and the servants appeals greatly to the audience warranting keenness and veracity in seeking to understand other forms of comics used within the plot. It acts as a call for the public to indulge in a sound understanding of other forms of verbal comics based on scholarly approaches (Sofer 2009). Furthermore, it shows a sense of comic relief at a scene where the protagonist is considering to sell his soul to the devil. Emotions that are raised throughout this act may display negative values and attitudes towards the importance of life and the desire for worldly pleasures. Such an aspect is common in the real world where people have to make a decision on challenging and life threatening situations. However, this entertaining nature releases the tension among the audience to assist them in accommodating the fact that the divine doctor may sell his soul to the devil. It forms a large part of the play regarding structural positioning. A primary form of comics is evident when Wagner and the clown engage in constant quips. In the fourth section of the first act, Marlowe seeks to develop a connection between the weaknesses of the protagonist regarding displaying greed and magic. It is visible when Wagner and Robin, typically identified as the clown within the play engage in a conversation relating to the level of poverty that would cause them to sell their soul to the devil. Wagner seeks to offer the clown a job as his personal servant. However, as much as the clown may seem to be naïve and uneducated, it is likely that he will not accept the offer. In comparison to the conversation that Robin and Wagner have, selling a person’s soul to the devil because of a single shoulder of mutton would be entirely irrelevant considering the diminishing value it possesses (Burton & Marlowe 1967). In this case, the petitions that for him to accept the job, Wagner has to offer a better deal that may imply better living conditions and pay. In this case, the devil has more to gain therefore rendering Faustus’s ambitions for pleasure diminished. It displays a sense of foolishness that the protagonist of the play has since he fails to understand the fundamental aspects of life. In the same scene, Marlowe uses the clown to entertain the audiences through the character of the clown. Clowns can be utilized as intriguing characters to build humor and offer the audience the opportunity to be amused. In the play, the clown appears in the presence of two devil-like figures, Balliol and Belcher and are seen to jump up and down. It is quite amusing since the devil is not known to entertain certain forms of activities and only concentrates on the grotesqueness offered by their natural emotions. During the scene, Wagner appeals to the clown that he can alter his physical appearance to a rat or a mouse (Hamlin 2001). The scene is quite comical since the clown instead of accepting to become a four-legged animal chooses to be a flea. In this case, he can move freely without any restrictions as well as interact with women. The clown tries to infer meaning by reflecting on the restricted nature that such animals are exposed to and builds humor by using the excuse of tickling women as the primary reason why he would want to become a flea. Evidently, the structuring of this scene in the play proves to be intriguing and pleasurable to the audience. Among the major scenes that seem to appeal comics in the play is depicted in the second scene of the second act. The scene is primarily based on the conviction of Faustus by displaying the Seven Deadly Sins. The depiction of the sins appears as an amusement to the audience instead of appealing negative and fearsome thoughts based on the wrath that may befall Faustus (Marlowe & Dunster 2011). The author develops the debaucheries to replace the characteristics of people but forms a larger aspect of questioning the morality that people possess. The seven sins include pride, greed, wrath, envy, gluttony, covetousness, and disdain. An exposition of the characters relays that pride leads to the lack of guardians, greed leads everyone to turn into gold, wrath tends to inflict pain using a dagger with the absence of an opponent, and resentment is caused by an oyster-wife while gluttony is blessed with bacon and beer as great grandfathers. The personification of the violent scene appeals to the funny feelings causing certain levels of laughter. While comic relief seems to be highly evident during the first two scenes, Marlowe blends distinct features in writing to deliver a brilliant piece through suspicious humor. In the first scene of the third act, Faustus can meet with the pope in Rome. Events preceding this situation had seen Faustus sell his soul to the devil and acquire powers that would last for about 24 years (Stevenson 2013). This presumption leads him to believe that he can manipulate his way around people and the judicial system in search of freedom. In this scene, Faustus is led to believe that he is playing tricks on the Pope who alternatively considers that he is being haunted by another evil spirit. The reaction that is displayed by the Pope once Faustus steals his meals and curses him intrigues the audience. For instance, the pope instructs the friars to carry out a curse on the spirits that are being manipulated. As much as the Friars are considered among the divinities, Faustus and Mephistopheles defeat them and use fireworks as a means of showing domination. Marlowe uses this scene to depict a sense of mockery, childish behavior, and deceit that people are often exposed. After acquiring his powers, Faustus attempts to get back at his enemies and opposition that includes people at the courts. In the next scene, Faustus is seen to dubiously humiliate the knights that guard the emperor’s gates as a means of creating an entertaining experience for the emperor. The scene takes place at Charles V. and the papal court and is a depiction of the vengeful and inconsiderate nature that Faustus has acquired from the devil (Burton & Marlowe 1967). Although this stirs the interest and comical emotions within the audience, the vindictive nature that the knights choose to take becomes more intriguing. Again in the scene, Marlowe attempts to entertain the audience with the funny characters of the transformed knights. It is intriguing how Faustus achieves revenge through humiliation. Although the structure of this scene does not entirely connect with the major themes highlighted, it is impossible not to identify with the humorous aspect that the author attempts on conveying. The conversation between Ralph and Robin in the second scene of the fourth act also seems to appeal comically to the audience considering the extensive application of humorous activities taking place. In this scene, Marlowe develops Robin’s character as a manipulator of magic after learning from Faustus’s magic book. They both use acquired the power to steal a wine cup from a beer vendor who chases them just to be malice. The permanent shift in the scenery through the play stirs comic as the barman is forced to play to the tune, therefore, promoting the continuity of tricks (Marlowe & Dunster 2011). Events that follow continually invoke the laughter and emotions of the audience once Mephistopheles converts them both to a dog and an ape. It is considered humorous since the tricks they were using on the barman has been in turn used on them in a much worse and efficient way. The final comic aspect of the play is seen in the fifth act of the fifth scene. It involves a transaction that takes place between a horse seller and Faustus. The confrontation between the two takes a while as they try to reach an argument on the price of Faustus’s horse. Although the dealer can acquire the horse at a cheaper cost, he is wary of the warnings that were given by Faustus (Stevenson 2013). However, during his journey, the buyer is forced to ride the horse through a river which later turns into a stack of hay. In a bid to acquire his money back, Faustus plays a rather alarming trick that sends fear to the audience. He tricks the horse buyer who pays a similar amount of compensation. The comic used in this scene is unscrupulous and ludicrous since it appeals a negative aspect of the characters. Evidently, such appeals to humor disembowel the structure of the play as well as underplot the theme under scrutiny. Conclusion The film demonstrates to be one of the most popular and studied pieces when trying to understand the introduction and application of the unique element of comic characters and elements within the plot. Although the concept seems to have raised significant concern among literature critics who argue on the dubious application of the concept that often divulges the attention of the audience from the issues at hand, it is likely that most artists have accommodated its implementation based on the ability to create entertainment and build the understanding of the audience. Concentration is granted to Dr. Faustus who seeks to show his ambition by selling his soul to the devil. The comic underplot parodies the action and cast of the main plot, throwing ironical light upon the variety of human pride and aspiration Comic underplot within the play is not continuously articulated within the scenes but may have a significant effect on the understanding of the audience. The comic underplot affects the action and performances of the individual plot delivering a caustic relevance on the diversity that people display through their arrogance and ambition drove behaviors. References Top of Form Burton, R, Coghill, N, & Marlowe, C, 1967, Doctor Faustus, IMDB.com. Available at: http://www.imdb.com/title/tt0062898/. Accessed 16 May 2017. Hamlin, W, M, 2001, Casting Doubt in Marlowe's Doctor Faustus. SEL Studies in English Literature 1500-1900, 41(2), pp.257-275. Marlowe, C, & Dunster, M, 2011, Doctor Faustus / Shakespeare's Globe, Shakespearesglobe.com, Available at: http://www.shakespearesglobe.com/discovery-space/previous-productions/doctor-faustus. Accessed 16 May 2017. Sofer, A, 2009, How to Do Things with Demons: Conjuring Performatives in Doctor Faustus, Theatre Journal, 61(1), pp.1-21. Stevenson, R, 2013, The Comic Core of Both A-and B-Editions of Doctor Faustus, SEL Studies in English Literature 1500-1900, 53(2), pp.401-419. Read More

He depicts them as fellow-scholars instead of separating their characters. Nonetheless, the humorous approach in this conversation has been achieved by drawing significant attention to the level of parody used particularly by Wagner. His responses seem justified but contain a certain degree of intelligence such as the use of corups natural to imply a sudden change in position. The scene is structured to display the diminished level of knowledge within the servants but shows exactly a different aspect.

To the audience, such an element may be viewed as an appeal towards comic delivery based on the alternating depictions of the three characters. The opinion that a rather dangerous play can be considered significantly comical may raise the question regarding the level of knowledge, expertise, and experience that Faustus possesses as a scholar. In the opening scene, Faustus avowals of his academic sovereignty but does not seem to make any impact in the lives of others or use such prowess to make informed decisions.

The depiction offered in this scene delivers the character as a professor of logic who would apply every level of reasoning, particularly in universities making them succeed to become the best (Hamlin 2001). Despite having such a high acumen among the servants, they are worried that Faustus may fall prey to a world that he does not know. In this scene, the idea that even smart and intelligent people do not have knowledge of everything around them. The perception that all avenues of exploitation have positive and desirable results and may lead to achieved ambitions blinds them to the dangers that are imminent and what is at stake.

Marlowe extends the conversation to show a sense of comic relief among the characters and the audiences. An attempt to show humiliation and promote entertainment through juggling verbal material and quibbles between Wagner and the servants appeals greatly to the audience warranting keenness and veracity in seeking to understand other forms of comics used within the plot. It acts as a call for the public to indulge in a sound understanding of other forms of verbal comics based on scholarly approaches (Sofer 2009).

Furthermore, it shows a sense of comic relief at a scene where the protagonist is considering to sell his soul to the devil. Emotions that are raised throughout this act may display negative values and attitudes towards the importance of life and the desire for worldly pleasures. Such an aspect is common in the real world where people have to make a decision on challenging and life threatening situations. However, this entertaining nature releases the tension among the audience to assist them in accommodating the fact that the divine doctor may sell his soul to the devil.

It forms a large part of the play regarding structural positioning. A primary form of comics is evident when Wagner and the clown engage in constant quips. In the fourth section of the first act, Marlowe seeks to develop a connection between the weaknesses of the protagonist regarding displaying greed and magic. It is visible when Wagner and Robin, typically identified as the clown within the play engage in a conversation relating to the level of poverty that would cause them to sell their soul to the devil.

Wagner seeks to offer the clown a job as his personal servant. However, as much as the clown may seem to be naïve and uneducated, it is likely that he will not accept the offer. In comparison to the conversation that Robin and Wagner have, selling a person’s soul to the devil because of a single shoulder of mutton would be entirely irrelevant considering the diminishing value it possesses (Burton & Marlowe 1967). In this case, the petitions that for him to accept the job, Wagner has to offer a better deal that may imply better living conditions and pay.

In this case, the devil has more to gain therefore rendering Faustus’s ambitions for pleasure diminished. It displays a sense of foolishness that the protagonist of the play has since he fails to understand the fundamental aspects of life.

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