Doctor Faustus by Christopher Marlowe #ignou #britishdrama #studyasmr #asmr #pyq

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[00:00:00]use of Renaissance aspirations is neither axiomatic nor ideological but one of perceptive intellectual sensitivity fosters despair fluctuating among several alternatives without being able to affirm or reject anything decisively reveals the rich complexity of the Elizabethan mind making him simultaneously Renaissance hero and a reformation casualty.

[00:00:16]Yes, Faustus is a Renaissance man because you know, he had aspirations his intellectual energy and his rejection of the limitations because he was not happy with whatever he had and he wanted something more. But we also have to keep in mind that he is a reformation casualty because his despair and fluctuating among various alternatives without being able to affirm or reject anything decisively because sometimes he thinks "I would have to ask for forgiveness from God."

[00:00:40]And then when Lucifer, you know, threatens him again he backs off, you know, so he is very indecisive. So yes, he is a Renaissance man but also he is a reformation casualty.

[00:00:51]The reformation strain.

[00:00:53]There was one more question in here.

[00:00:55]I'll show you.

[00:00:59]Yes. So examine the Renaissance and reformation strains in Faustus. So we will now look at the reformation strain.

[00:01:04]The reformation strain operates with equal dramatic force throughout the play. For Campbell Dr. Faustus is basically neither a tragedy of medieval Christianity nor of the Renaissance but specifically that of the Protestant faith uppermost in the 16th century English mind. Faustus is confirmed in sin most disastrously not by yielding to the excitements of pleasure but by yielding to the councils of despair asked by Mephistopheles and the bad angel. He consequently rejects the mercy of God promised by the good angel and the old man casting off faith and hope.

[00:01:29]The so-called medieval elements of Marlowe's play are not medieval but belong to the reformation. They constitute the essential dramatic of the play culminating in Faustus's final speech where theme, plot and poetry converge in magnificent tragic grandeur. The tragedy of Faustus does emanate from an individual's right to a particular kind of religious experience vehemently and tragically asserted which is the very essence of reformation thinking. So what it says is that uh Faustus's tragedy is emanating from his individual right to a particular kind of religious experience.

[00:01:58]Like he rejected God and he accepted Lucifer's, you know, ploy to, you know, sell his soul for omnipotence. So, he's confirmed in sin most disastrously not by yielding to the enticement of pleasure but by yielding to the counsels of despair as by Mephistophilis and the bad angel.

[00:02:17]Usne bhagwan ki baat nahi suni. But usne Mephistophilis and bad angel ke usme aake influence me aake usne yield kiya and usne sin kiya. Hm, he consequently rejects the mercy of God promised by the good angel and the old man casting off faith and hope.

[00:02:31]By he did not listen to the good angel.

[00:02:33]And last me old man bhi aaya tha usko samjhane ke liye. But wo tabhi nahi mana. Ekdam end me jab half an hour tha tab wo roya, bilbilaya but tab tak to you know, all hope was lost. So, in conclusion, Dr. Faustus is a tragedy of both the Renaissance and Reformation.

[00:02:47]The Renaissance gives it human ambition and grandeur while the Reformation gives it moral concepts and tragic accountability. Together they create one of the most profound and enduring tragedies in English literary history.

[00:02:58]So, what we can say is that Dr. Faustus