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Dr. Faustus, by Christopher Marlowe
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Marlowe’s stage play adaptation of the classic German folk legend, Dr. Faustus is a familiar tale of hubris and damnation. It centers on none other than the eponymous Dr. Faustus, a man who sells his soul to the devil in exchange for wisdom and power. While Faustus’ pact with Lucifer earns him the services of Mephistophilis, a lesser demon, Faustus ultimately squanders these services and is blinded to several opportunities for salvation. One of the most familiar and popular iterations of the classic “deal with the devil” motif, Dr. Faustus remains an intriguing and surreal work that still inspires controversy to this day.
- Sales Rank: #6939019 in Books
- Published on: 2013-02-12
- Original language: English
- Dimensions: 9.00" h x .20" w x 6.00" l,
- Binding: Paperback
- 88 pages
Review
"This edition is absolutely essential for any serious student or teacher of this perpetually intriguing and vexing play." (Peter G. Platt Studies in English Literature 48.2 (Spring 2008) )
"Michael Keefer's revised edition of Marlowe's Doctor Faustus is now all the more an indispensable text for students, teachers, and scholars of early modern English drama. It combines immense learning with perfect clarity and accessibility. It gives us a solidly reconceived text and also a brilliant historical introduction that fills each line of this strange and moving play with the sounds of a world in intellectual and religious crisis." (Paul Yachnin ) --Paul Yachnin
From the Publisher
This is a full cast production with sound effects and original music produced at the Canadian Broadcasting Centre.
Length is approximately 2 hours.
From the Back Cover
Christopher Marlowe (1564-93), a man of extreme passions and a playwright of immense talent, is the most important of Shakespeare's contemporaries. This edition offers his five major plays, which show the radicalism and vitality of his writing in the few years before his violent death. Tamburlaine Part One and Part Two deal with the rise to world prominence of the great Scythian shepherd-robber; The Jew of Malta is a drama of villainy and revenge; Edward II was to influence Shakespeare's Richard II. Doctor Faustus, perhaps the first drama taken from the medieval legend of a man who sells his soul to the devil, is here in both its A- and its B-text, showing the enormous and fascinating differences between the two. Under the General Editorship of Michael Cordner of the University of York, the texts of the plays have been newly edited and are presented with modernized spelling and punctuation. In addition, there is a scholarly introduction and detailed annotation.
Most helpful customer reviews
85 of 98 people found the following review helpful.
The English Faust
By Dmitrij Gawrisch
Not everybody knows Faust(us). But a lot do. Most readers know this tragic personnage who allied himself with the devil and finally paid the price for his betrayal of God from a famous play written by J.W. Goethe. It was him who wrote the most famous version of Faust's history. (If you want to know more about Goethe's work, please visit my reviewer page.) But he wasn't the only dramatist who considered this lost magician worth a tragedy. Exactly 2 centuries and 1 year before Goethe published his work, a play by the Englishman Christopher Marlowe saw the light of the world.
Marlowe and Goethe are different personalities living in completely different times so that it's no wonder their plays vary in character. Goethe lived in prosperity and had all his life to think about subjects like human nature, social relationships, history and its influence on the present, love, religion and much more. He was a philosoph, and that's the reason why Goethe's "Faust" is sometimes difficult to understand because you have to dive under the surface of things to understand their true nature. Marlowe's work is different: This man was certainly very intelligent and knew a lot about the forces that moved the world, but, unlike Goethe, he didn't have a lifetime to think about one single play. You can imagine that Marlowe's "Faust" became more shallow, but still not shallow enough to be ignored by this imaginary institution we call World Literature. As a compensation, Marlowe's work contains more life and action in it, something I can't say about Goethe's. Both men were geniuses. In this review, I'd like to pay my tribute to the Englishman.
As stated above, the play tells the story of a medieval scientist who allies himself with the devil. The latter promises to serve the first in this world, whereas Faust must do the same in hell. The poor doctor doubts his choices because it's his soul being sold, still he follows the devil and has the time of his life. I beg your pardon, for I feel the need to return to Goethe to show you another important difference between both versions: Whereas Marlowe's Faust wants the devil to provide him with fun and all richness of the world (materialism), Goethe's alter ego feels the importance to be educated by the devil to get a complete picture of the world. At the end, Marlowe's Faust realizes that all experiences weren't worth his soul. He begs God to save him, but it is no longer possible. The devil tears his body apart and takes his soul with him to infinite sufferings.
The effect this play had on me was tremedous. Fascinated, I watched Faust's development. I particularly liked the 5th act where he realizes that all is finally lost. You can really feel his pain in those scenes; the effect is unbelievable.
So, if you want to be touched by human tragedy, I really advise you to read this book. It's done very quickly, so you needn't worry about the time it takes. If you want to make a step further and find additional material on Faust, read Goethe's "Faust 1" as well as Thomas Mann's "Doctor Faustus". It's a marvelous novel and the most modern narration based on the medieval German scientist named Johann(es) Faust(us).
36 of 40 people found the following review helpful.
The Best Retelling of the Faust Legend
By A Customer
In the Faust legend, a man by the name of Faust or Faustus sells his soul to the devil for twenty-four years of worldly power. This legend has been told many times over by such writers as Goethe and Mann, but no doubt the most famous retelling, and probably the best, is the play, Doctor Faustus by Christopher Marlowe.
The most prominent influence on Marlowe's version of the Faust legend was the social upheaval during the time period in which it was written. Doctor Faustus was probably first performed in 1594, a time of tremendous change in Europe. The Medieval times were over and the Renaissance was beginning, however, influences of both times can be found in the play. Doctor Faustus is a transitional play where beliefs from both time periods intermingle, sometimes with disastrous results.
Doctor Faustus, himself, is a man torn between two traditions. He is a man with medieval beliefs, but renaissance aspirations. When he first attempts to conjure Mephistopheles, Faustus believe that Mephistopheles was forced to come by his (Faustus's) words. In response, Mephistopheles says, "for when we hear one rack the name of God, abjure the Scriptures and his savior Christ, we fly in hope to get his glorious soul." Mephistopheles has, of course, come of his own accord, because he feels that there is a soul to be had. He states this blatantly, yet Faustus is clouded by his old beliefs and also by his desires.
From a medieval point of view, Doctor Faustus can be looked upon as a morality play; a play about one man who aspires beyond his God-given place in the world. On the other hand, from a renaissance perspective, this play is a tragedy. The Renaissance was a time of individuality unlike the Middle Ages where a man was trapped in whatever social class into which he was born. Faustus is "an essentially good man" by Renaissance ideals who believes he has reached the end of human knowledge and is thus justified is using the black arts to further his knowledge. As in most classical tragedies, his downfall is complete and is due to his pride.
After Faustus makes his deal with Lucifer, the question must be asked: Is there any way back for him? Faustus believes he is damned at the moment that he signs his name in blood, although he has many chances to repent during the course of the play. The first chance comes after his first conjuring. He says, "O something soundeth in mine ear, 'Abjure this magic, turn to God.' Aye, and Faustus will turn to God again. To God? He loves thee not." Something is pleading for Faustus to repent, but Faustus remains firm in believing God has already condemned him. Each time the Good Angel appears is yet another chance for Faustus to repent, but the Evil Angel continues to threaten him if he even thinks about repenting. If it were not possible for Faustus to save his soul, then the Evil Angel and his demons would have simply left Faustus alone to cry out in anguish to God.
The final indicator that Faustus could have been saved at any point over his twenty-four year bargain is given by Mephistopheles, himself, as Faustus's fate is sealed beyond irrevocability.
Christopher Marlowe's brilliant retelling of the Faust legend springs not only from his own creativity, but from the times in which he lived. Marlowe's life and times allowed him to create the greatest retelling of one of Western cultures more timeless stories. When put to words, the legend seems so simple, yet its possibilities and implications, as Marlowe proves, can be nothing less than monumental.
30 of 34 people found the following review helpful.
Yes, the English Renaissance CAN be humorous!
By Bob Lehner
Christopher Marlowe is a genius. This thorough, Oxfordiancompilation of his best known plays contains Tamburlaine the Great parts one and two, the Tragical History of Doctor Faustus in its original A-text and its later B-text, The Jew of Malta, and Edward II. The beauty of these dramas lies in the fact that they're short but powerful reading pieces. In five acts Marlowe was able to generate a story complete with action, classical allusions, and a bawdy humor one might not expect from otherwise generally classified stuffy English Renaissance drama. This book contains an exhaustive introduction that explains many details of the publication dates of the plays and the differences between versions (Faustus). It also contains a thorough section for notes that further explain the texts. Finally, it contains a glossary of the commonly used words from the texts. The bottom line? This book is a great read--it's funny (I can't begin to stress that enough), and you will appreciate Marlowe's wit and talent just as much as William Shakespeare did. Buy it today!
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