Doctor Faustus by Christopher Marlowe – Critical Analysis (UGC NET/ Unit I - Drama)

 

Doctor Faustus – Critical Analysis

Christopher Marlowe’s Doctor Faustus (first performed c. 1592; published 1604 in the A-text, and 1616 in the B-text) is one of the most significant works of the English Renaissance. It dramatizes the tragic downfall of a brilliant scholar whose overreaching ambition leads him to sell his soul to the Devil in exchange for knowledge, pleasure, and power.

Marlowe adapts the German Faust legend, but infuses it with Renaissance humanist concerns — particularly the tension between medieval Christian doctrine and the spirit of scientific inquiry and individualism.

Summary

·         Exposition:
Dr. Faustus, a scholar at Wittenberg, grows dissatisfied with traditional forms of knowledge—philosophy, medicine, law, and theology—and turns to necromancy. He summons Mephistophilis, a servant of Lucifer.

·         Pact with the Devil:

Faustus signs a contract in blood, granting Lucifer his soul after 24 years of service from Mephistophilis. He rejects warnings from the Good Angel and embraces temptation from the Evil Angel.

·         Middle Acts:

Faustus wastes his powers on frivolous tricks—summoning historical figures for amusement, playing pranks on the Pope, and entertaining nobility—rather than pursuing profound knowledge.

·         Approaching Doom:

As the 24 years near their end, Faustus is plagued with fear and remorse, but still fails to repent, deceived by the belief that his sins are unforgivable.

·         Climax and Conclusion:

In the final hour, Faustus desperately begs for time to stop, but at midnight, demons drag him to Hell. The Chorus delivers the moral warning: those who seek forbidden power without moral restraint will be damned.

Critical Analysis

1. Faust as a Renaissance Over-reacher

Faustus embodies the Renaissance ideal of the “overreacher” — one who strives beyond human limits, akin to Marlowe’s Tamburlaine. His quest for ultimate knowledge reflects the era’s fascination with human potential but also its moral anxieties.

2. Conflict Between Medieval and Renaissance Worldviews

·         Medieval Morality Play: Like earlier morality plays, Doctor Faustus uses allegorical figures (Good Angel, Evil Angel, Old Man) to dramatize spiritual conflict.

·         Renaissance Individualism: Faustus rejects the scholastic tradition for personal ambition, representing the humanist break from medieval orthodoxy.

3. Tragic Structure

Faustus’ downfall follows the Aristotelian tragic model:

·         Hamartia (fatal flaw): Pride and intellectual arrogance.

·         Peripeteia (reversal): Realization of the cost of his pact.

·         Catharsis: Audience experiences pity for Faustus’ wasted potential and fear of similar damnation.

4. Religious and Moral Dimensions

The play reflects the Calvinist doctrine of predestination (suggesting Faustus was doomed from the start) but also leaves room for free will — Faustus could repent, yet chooses not to.

5. Theatrical Innovation

Marlowe blends serious theological debate with comic interludes, catering to both learned and popular audiences in the Elizabethan public theatres.

Major Themes

1.      Overreaching Ambition:
The desire to transcend human limitations drives Faustus to ruin.

2.      Knowledge and Power:
The play critiques the misuse of intellectual potential for trivial purposes.

3.      Good vs. Evil:
Represented through allegorical characters and moral dilemmas.

4.      Damnation and Salvation:
Explores repentance, grace, and the permanence (or reversibility) of sin.

5.      Illusion vs. Reality:
Faustus gains magical powers but achieves nothing of lasting substance.

MCQs (UGC NET Style)

1.      Where is Dr. Faustus a scholar in Marlowe’s play?
a) Heidelberg
b) Wittenberg
c) Leipzig
d) Prague
Answer: b) Wittenberg

2.      How many years of service does Faustus bargain for with Mephistophilis?
a) 7 years
b) 14 years
c) 21 years
d) 24 years
Answer: d) 24 years

3.      Who warns Faustus in the final act to repent?
a) Lucifer
b) The Old Man
c) The Clown
d) Cornelius
Answer: b) The Old Man

4.      Which of the following is NOT a source of the Faustus legend?
a) German chapbooks
b) English translations by P. F. Gent
c) Italian epics of Ariosto
d) Lutheran sermons
Answer: c) Italian epics of Ariosto

5.      In the end, Faustus is taken away by:
a) Lucifer and Beelzebub
b) Angels
c) Mephistophilis and other devils
d) The Good Angel
Answer: c) Mephistophilis and other devils

PYQs (Based on UGC NET Pattern)

1.      (NET 2014) The opening soliloquy of Doctor Faustus shows his dissatisfaction with:
a) Alchemy and necromancy
b) Philosophy, medicine, law, and theology
c) Astrology and astronomy
d) Politics and governance
Answer: b) Philosophy, medicine, law, and theology

2.      (NET 2016) Match the following characters with their functions in Doctor Faustus:
i. Good Angel – 1. Tempts Faustus toward sin
ii. Evil Angel – 2. Urges Faustus toward repentance
iii. Mephistophilis – 3. Servant of Lucifer
iv. Wagner – 4. Comic relief
Answer: i–2, ii–1, iii–3, iv–4

3.      (NET 2018) The moral of Doctor Faustus is best summarized by which statement?
a) “The wages of sin is death.”
b) “Knowledge is power.”
c) “Fortune favors the bold.”
d) “To thine own self be true.”
Answer: a) “The wages of sin is death.”

4.      (NET 2020) Which source did Marlowe most directly adapt for Doctor Faustus?
a) Goethe’s Faust
b) The English translation of the German Faustbuch
c) Chaucer’s Parson’s Tale
d) Holinshed’s Chronicles
Answer: b) The English translation of the German Faustbuch

Public Theatres and Drama Companies during Elizabethan Times (UGC NET/ Unit I - Drama)

 

Public Theatres and Drama Companies during Elizabethan Times

The Elizabethan Age (1558–1603), named after Queen Elizabeth I, was the golden age of English drama. It witnessed the transformation of theatrical performance from temporary, makeshift stages in inn-yards to permanent public theatres and organized acting companies.

1. Rise of Public Theatres

Before permanent theatres were built, plays were performed in inn courtyards, noble households, or at festivals. The first purpose-built public theatre in England was The Theatre, constructed in 1576 by James Burbage in Shoreditch, London. Its success inspired the construction of several others:

·         The Curtain (1577) – near The Theatre, associated with early performances of Shakespeare.

·         The Rose (1587) – built by Philip Henslowe, on Bankside.

·         The Swan (1595) – famous for Johannes de Witt’s sketch of its interior.

·         The Globe (1599) – most closely associated with Shakespeare and the Lord Chamberlain’s Men.

·         The Fortune (1600) – a rectangular open-air theatre.

These were public theatres, open to a broad audience for an affordable fee (as low as a penny for standing in the yard). They were typically polygonal or circular in structure, with open roofs over the yard and a covered stage.

2. Audience and Social Composition

Elizabethan theatres attracted a diverse audience:

·         Groundlings – Commoners who stood in the yard for a penny.

·         Gentry and Nobility – Paid more for covered gallery seating.

·         Audiences ranged from apprentices to merchants, aristocrats, and sometimes foreign visitors.

Theatre was both entertainment and social commentary, often dealing with politics, morality, and human nature.

3. Drama Companies

Professional acting companies evolved from troupes of travelling players. Because of laws against vagrancy, companies had to be licensed and placed under the patronage of a nobleman. Prominent companies included:

·         The Lord Chamberlain’s Men – Shakespeare’s company, later renamed The King’s Men under James I.

·         The Admiral’s Men – Led by Edward Alleyn and managed by Philip Henslowe, often performing Marlowe’s plays.

·         The Queen’s Men – Formed by royal order in 1583, serving as a propaganda tool.

·         The Earl of Leicester’s Men – One of the earliest touring troupes.

These companies had a repertory system, performing different plays in rotation, and actors often specialized in certain roles.

4. Theatre Practices

·         No women acted on stage; female roles were played by boys.

·         Minimal scenery; emphasis on costumes and language to set scenes.

·         Playhouses operated in the afternoon, relying on natural light.

·         Many plays were printed as inexpensive quartos; others survived only in folios.

5. Impact on Literature

The Elizabethan public theatre created an environment for the flourishing of playwrights like William Shakespeare, Christopher Marlowe, Ben Jonson, and Thomas Kyd. The competitive nature of drama companies led to a diversity of genres—history plays, tragedies, comedies, and romances.

MCQs (UGC NET Style)

1.      Which was the first permanent public theatre built in England?
a) The Globe
b) The Rose
c) The Theatre
d) The Curtain
Answer: c) The Theatre

2.      Who built The Rose theatre in 1587?
a) James Burbage
b) Philip Henslowe
c) Edward Alleyn
d) Richard Burbage
Answer: b) Philip Henslowe

3.      The Lord Chamberlain’s Men later became known as:
a) The Admiral’s Men
b) The King’s Men
c) The Queen’s Men
d) The Swan Players
Answer: b) The King’s Men

4.      In Elizabethan theatre, the term “groundlings” referred to:
a) Actors in minor roles
b) Playwrights’ apprentices
c) Audience members standing in the yard
d) Stagehands
Answer: c) Audience members standing in the yard

5.      Which Elizabethan theatre was famously associated with Shakespeare’s plays after 1599?
a) The Swan
b) The Globe
c) The Curtain
d) The Fortune
Answer: b) The Globe

PYQs (Based on UGC NET Pattern)

1.      (NET 2015) Match the following Elizabethan theatres with their founders:
i. The Theatre – 1. Philip Henslowe
ii. The Rose – 2. James Burbage
iii. The Globe – 3. Richard Burbage and associates
iv. The Fortune – 4. Edward Alleyn
Answer: i–2, ii–1, iii–3, iv–4

2.      (NET 2018) Which one of the following statements about Elizabethan drama companies is NOT correct?
a) They required noble patronage to perform legally.
b) They had a repertory system.
c) Women frequently acted in female roles.
d) Boys often played women’s parts.
Answer: c) Women frequently acted in female roles.

3.      (NET 2020) The term “public theatre” in Elizabethan times refers to:
a) Courtly drama performed for the monarch.
b) Open-air theatres accessible to paying public.
c) Amateur performances in villages.
d) Religious mystery plays in churches.
Answer: b) Open-air theatres accessible to paying public.

4.      (NET 2021) Identify the correct chronological order of the following Elizabethan theatres:
i. The Rose
ii. The Curtain
iii. The Globe
iv. The Swan
Answer: ii → i → iv → iii

Soliloqy and Aside : A Note (UGC NET UNIT I - DRAMA)

 

Soliloquy and Aside – A Note

Soliloquy

·         Definition: A soliloquy is a dramatic device in which a character speaks his/her thoughts aloud, usually alone on stage, to let the audience know his/her inner feelings, motives, or plans.

·         Function:

o    Reveals psychological depth.

o    Allows the audience privileged access to a character’s mind.

o    Moves the plot forward without other characters overhearing.

·         Examples:

o    Shakespeare: Hamlet’s “To be, or not to be” (Hamlet, Act III, Scene I) is perhaps the most famous soliloquy in literature, exploring life, death, and moral hesitation.

o    Macbeth’s “Is this a dagger which I see before me” (Macbeth, Act II, Scene I) reveals his internal struggle before killing Duncan.

·         Difference from Monologue:

o    Monologue: Addressed to other characters.

o    Soliloquy: Addressed to self (and indirectly to the audience).

Aside

·         Definition: An aside is a brief remark by a character directly to the audience (or sometimes to another character) that others on stage are not meant to hear.

·         Function:

o    Provides commentary, humor, or secret insight.

o    Often used for irony or to reveal hidden intentions.

·         Examples:

o    In Shakespeare’s Othello, Iago frequently speaks asides to reveal his schemes to the audience.

o    In The Tempest, Prospero uses asides to comment on events without other characters’ awareness.

Key Differences

Feature	Soliloquy	Aside
Length	Extended speech	Short comment or phrase
Audience	Audience only	Audience (and sometimes a single character)
Purpose	Reveal deep inner thoughts	Give quick insight, irony, or secret info
Stage Presence	Character usually alone	Other characters present but do not hear

MCQs on Soliloquy & Aside (UGC NET Style)

1.      Which of the following is not true of a soliloquy?
A. It reveals the innermost thoughts of a character.
B. It is always delivered in the presence of other characters who react to it.
C. It is addressed directly to the audience.
D. It is often used to advance the plot.
Answer: B

2.      Identify the soliloquy from the options below:
A. “Friends, Romans, countrymen, lend me your ears…” (Julius Caesar)
B. “Is this a dagger which I see before me…” (Macbeth)
C. “Et tu, Brute?” (Julius Caesar)
D. “A horse! A horse! My kingdom for a horse!” (Richard III)
Answer: B

3.      In which of the following plays does Iago frequently use asides?
A. King Lear
B. Hamlet
C. Othello
D. Macbeth
Answer: C

4.      An aside is generally:
A. A speech addressed to another character.
B. A song performed for comic relief.
C. A brief remark unheard by other characters.
D. A poetic digression in the plot.
Answer: C

5.      Which of the following statements is correct?
A. A soliloquy is always shorter than an aside.
B. An aside may be directed to the audience or a character, but is unheard by others on stage.
C. A soliloquy requires another character to be present.
D. Asides are always written in prose.
Answer: B

Previous Year Questions (PYQs – UGC NET)

PYQ 1 (UGC NET, 2014)
Which dramatic device allows a character to express thoughts aloud while alone on stage?
A. Monologue
B. Dialogue
C. Soliloquy
D. Aside
Answer: C

PYQ 2 (UGC NET, 2016)
When a character speaks to the audience in a short comment that others on stage cannot hear, it is called:
A. Monologue
B. Soliloquy
C. Aside
D. Apostrophe
Answer: C

PYQ 3 (UGC NET, 2019)
Which of the following is a primary function of the soliloquy in Shakespeare’s plays?
A. Provide comic relief.
B. Reveal the inner workings of a character’s mind.
C. Address another character’s query.
D. Deliver a moral lesson.
Answer: B

PYQ 4 (UGC NET, 2021)
Match the dramatic devices with their correct descriptions:

Device	Description
a) Aside	i) Extended speech revealing inner thoughts while alone on stage
b) Soliloquy	ii) Brief remark to audience unheard by other characters

Options:
A. a-i, b-ii
B. a-ii, b-i
C. a-i, b-i
D. a-ii, b-ii

Answer: B

Tragi-comedy (Unit I Drama)

 

TRAGI-COMEDY

Definition:
Tragi-comedy is a literary genre that blends elements of both tragedy and comedy. It is neither entirely tragic nor entirely comic, but integrates aspects of both to reflect the complexities of human experience.

Key Features:

• A serious plot with tragic situations that are ultimately resolved.
• Comic relief or humorous elements embedded within a grave storyline.
• The ending is usually happy or hopeful, despite dark themes.
• Often involves characters of both high and low social ranks, which is typical of Renaissance drama.
• Uses suspense and surprise, sometimes avoiding tragic catastrophe at the last moment (a device called deus ex machina).

✦ HISTORICAL BACKGROUND:

1. Classical Antiquity:
• Aristotle did not classify tragi-comedy as a separate genre.
• The fusion of tragic and comic elements was frowned upon in early classical poetics.
2. Renaissance Period:
• Tragi-comedy gained popularity as a hybrid form.
• Giovanni Battista Guarini’s Il Pastor Fido (1590) is considered a foundational tragi-comedy in Italy.
• In England, John Fletcher formalized tragi-comedy as a dramatic genre.
3. Fletcher’s Definition (preface to The Faithful Shepherdess):

"A tragi-comedy is not so called in respect of mirth and killing, but in respect it wants deaths, which is enough to make it no tragedy; yet brings some near it, which is enough to make it no comedy."

✦ FAMOUS EXAMPLES OF TRAGI-COMEDY:

Work	Author	Features
The Winter's Tale	William Shakespeare	Begins with jealousy and near-death; ends with forgiveness and reunion.
The Tempest	William Shakespeare	Themes of betrayal, but ends with reconciliation and marriages.
The Faithful Shepherdess	John Fletcher	Pastoral setting with mix of love, jealousy, and moral resolution.
The Merchant of Venice	William Shakespeare	A potentially tragic plot with comic resolution and romantic unions.
Cymbeline	William Shakespeare	Misunderstanding, poison, exile – but concludes with revelation and peace.
Waiting for Godot (Modern example)	Samuel Beckett	Comic dialogue set in an existential void – blurs genre distinctions.

✦ FUNCTIONS & PURPOSE:

• Allows for emotional complexity.
• Reflects the uncertainty of life, where joy and sorrow are intertwined.
• Offers social commentary using satire and irony within serious plots.
• Facilitates audience engagement with shifts in tone and expectation.

✦ TRAGI-COMEDY VS. OTHER FORMS:

Aspect	Tragedy	Comedy	Tragi-Comedy
Tone	Solemn, serious	Light, humorous	Mixed (serious with comic elements)
Ending	Sad, catastrophic	Happy, celebratory	Happy or at least redemptive
Characters	Nobility, great figures	Commoners, fools	Both high and low characters
Themes	Fate, death, downfall	Love, marriage, wit	Misfortune, recovery, reconciliation

✦ SAMPLE MCQs ON TRAGI-COMEDY:

1. Who among the following gave a formal definition of tragi-comedy in his preface to The Faithful Shepherdess?
A) William Shakespeare
B) Ben Jonson
C) John Fletcher
D) Thomas Middleton
Answer: C) John Fletcher

2. Which of the following Shakespearean plays is considered a tragi-comedy?
A) Hamlet
B) Macbeth
C) The Winter's Tale
D) Julius Caesar
Answer: C) The Winter's Tale

3. What is the essential characteristic of a tragi-comedy according to John Fletcher?
A) It includes elements of horror and satire.
B) It has no deaths but brings characters close to it.
C) It always ends in death.
D) It is a farce in a tragic setting.
Answer: B) It has no deaths but brings characters close to it.

4. Which Renaissance Italian writer helped shape tragi-comedy with Il Pastor Fido?
A) Dante Alighieri
B) Petrarch
C) Giovanni Battista Guarini
D) Machiavelli
Answer: C) Giovanni Battista Guarini

5. Which of the following best describes tragi-comedy?
A) A satire with a moral message
B) A tragedy with comic elements and a happy ending
C) A farce with tragic consequences
D) A romance with political themes
Answer: B) A tragedy with comic elements and a happy ending