Marlowe's Doctor Faustus as a Tragic Hero
Doctor Faustus, a Renaissance tragedy in five acts by Christopher Marlowe, was published in 1604 but was first performed a decade or so earlier. Marlowe’s play was followed by only a few years by the first translations into English of the medieval legend on which the play is based.
Tragedy, according to Aristotle, is an imitation of an action that is serious, complete, and of a certain magnitude; in the language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear affecting the proper purgation-catharsis of these and similar emotions.
The idea of the tragic hero was first defined by the ancient Greek philosopher Aristotle based on his study of Greek drama in his Poetics. According to him, a tragic hero is a character who is noble by birth, has a hamartia or a tragic flaw that leads to his downfall, undergoes a peripeteia or a reversal of fortune due to his flaw, has an anagnorisis or a moment of recognition of his flaw, faces a nemesis or an unavoidable fate that causes his misery and death, and evokes a catharsis or a feeling of fear and pity in the audience.
Doctor Faustus as a Tragic Hero: Analysis of Faustus' Character
The idea of the characteristics that make a tragic hero has changed over time, leading critics to analyse Doctor Faustus in light of modern interpretations. It can now include characters of all genders and class backgrounds. Tragic heroes no longer have to be only nobles or only men. It can also include characters who don’t fit the conventional definition of a hero. This might mean that a tragic hero could be a regular person who lacks typical heroic qualities, or perhaps even a villainous or semi-villainous person, as seen in the protagonist of this narrative.
Dr Faustus is a character who on the surface, might not initially appear as the archetype of a stereotypical hero. However, on deeper analysis, Faustus does possess many heroic qualities that are defining characteristics of what constitutes a literary tragic hero. Dr. Faustus is described as being an incredibly wise man of stature who has risen to great heights in life.
According to Aristotle’s definition, Faustus is not worthy to be called a tragic hero as the principal element of being a man of noble birth is not present in his character, making him a tragic figure instead. On the other hand, when talking about the English Renaissance tragedies, this element can be overlooked. This is the only Aristotelian element that is not included in his character.
Now is he born of parents’ base of stock In Germany within a town called Rhode. (Marlowe 1.1.23-24)
The fact that Faustus is a well-known man has also been mentioned in the play, emphasizing his role as the title character. Though he wasn’t a noble-born he strived to claim the title of Doctor of Divinity, as mentioned;
So much he profits in divinity that shortly he was graced with doctor’s name, excelling all, and sweetly can dispute in th’ heavenly matters of theology, showcasing the hubris that often accompanies the title character. (Marlowe 1.1.11-14)
The fatal flaw that caused his damnation was his ultimate pride and ambition to gain all the divine knowledge. At the beginning of the play, it’s clear that Faustus could be a master of many professions if he so desired to in life. However, what Faustus wanted was something greater: true power and abilities that are beyond the limits of what a normal man can achieve. His ambitions illustrate him as someone heroic and admirable in character, yet they also lead him to make a pact with the devil.
By him I’ll be great emperor of the world, illustrating his desire for power through a deal with the devil. (Marlowe 1.1.56)
As a character, Faustus suffers from a few fatal flaws, which can be seen in his vain self-pride, a struggle of faith, and blindness to the truth that surrounds him. All three of these can be seen as his ‘hamartia’ and are vital in bringing about his ultimate tragedy and degradation as a character.
Throughout the story, Faustus profoundly struggles with his faith. He is drawn closer to the dark knowledge and is deprived of God’s mercy. Faustus further represents a tragic hero because his ultimate fall is not purely a loss: he does gain some wisdom and knowledge throughout his journey. His tragic downfall causes everyone to feel sympathy as well as it invokes a degree of terror for him.
Now, Faustus, must thou needs be damned; canst thou not be saved, after having sold thy soul to the devil? (Marlowe 5.2.77)
At the close of the play, Faustus does attempt to repent, and this further helps in resonating with pity on his character. He, in some sense, finally comes to realize the truth that he is the one who has brought his own demise by shutting off God completely from his life. In an attempt to save his own life, or make his fate a less damned one, he asks for forgiveness and that his time in hell is for a thousand years, instead of an eternity.
The play constantly hints at Faustus’s ultimate damnation, serving as a warning about the consequences of his pact with the devil. His blood congeals when he tries to sign away his soul; the words Homo fuge, meaning Fly, man, appear on his arm after he makes the pact; and he is constantly tormented by misgivings and fears of hell.
Faustus’s final desperate pleas toward the end of the text bring Faustus’s character full circle. Here, he tries to return to divinity, calling out to God to forgive him, a moment that highlights his tragic figure status. At the beginning of the play, Faustus throws his divinity away to seek dark magic, but in these final lines, Faustus is begging to go back to God. The play uses Faustus’s character to teach a moral lesson, favouring redemption and warning against sin.
My God, my God! Look not so fierce on me! Adders and serpents, let me breathe awhile! Ugly Hell, gape not! Come not Lucifer! I’ll burn my books!—O Mephostophilis! (Marlowe 5.3.112-115)
Conclusion
In conclusion, Dr. Faustus is a tragic hero who possesses many heroic qualities but also suffers from hubris, a fatal flaw that leads to his eventual downfall. He is a brilliant scholar who seeks to transcend the limits of human knowledge and power, but he also succumbs to pride, ambition, and temptation that blind him to the truth and grace of God. He experiences a reversal of fortune, a moment of recognition, and a cathartic effect on the audience as he faces his inevitable doom. The play uses Dr. Faustus’s character to teach a moral lesson, favouring redemption and warning against sin.