Faustus and Conflict Essay Example for Free

Faustus and Conflict Essay Christopher Marlowes play Doctor Faustus presents a story that is filled with various forms of significant philosophical conflict. While, on the surface, the play is intended to focus on the form of Faustus fortunes, the scope of the play includes commentary on several other important themes (Prologue.8). Marlowe uses Faustuss position to demonstrate a sharp contrast between the values of the medieval time period with the developing values associated with the Renaissance movement. Faustuss story shows a direct conflict between the traditional and the modern in its form, its ideology, and its view of religion. Since Marlow maintains an ongoing struggle between these various elements throughout the play, a struggle also exists between the tragic and comedic elements of the story. Marlowes ambiguity toward the primary direction of the play creates a situation in which the ultimate purpose of the plays comedic scenes remains uncertain even after Faustuss final moments. The content of Faustuss story superficially focuses on Faustuss struggle to maintain control over the destiny of his own soul. Faustuss desire to become a mighty god leads him to make a deal with Lucifer, in which he exchanges his soul for twenty four years of demonic power (1.62). Throughout the play Faustus struggles with repentance and disbelief, and he is eventually condemned to Hell for his actions. Symbolically, Faustuss story is more appropriately a representation of the struggle, evident during Marlowes time period, between the traditional ideas of the medieval period and the modern ideas of the Renaissance. This conflict is evident within the first few lines of the play. Marlowe begins the play by having Faustus announce that he has given up on the traditional schools of thought, such as the study of religion, law, and medicine. Instead, he plans to study that damned art of necromancy or black magic (2.29). While traditional medieval thought encouraged the unquestioning acceptance of ancient philosophy, Renaissance thought encouraged experimentation and a rethinking of previously accepted beliefs. While Faustuss actions may show his support of these Renaissance beliefs, his ultimate demise suggests that Renaissance thought may also be imperfect because it does not include a belief in God. This dualism between modern and traditional thought is also evident in the structure of the play. Marlowe employs elements that would be common in most traditional plays, such as the use of a chorus. He also uses mythical comparisons, depicting Faustus as another Icarus, a man who will eventually mount above his reach (Prologue.21). Faustus is also depicted as a tragically flawed character. Faustus is portrayed by the Chorus as being swollen with cunning (Prologue.20). Like Achilles, Hercules, or other traditional Greek heroes, Faustus has a character flaw that will mostly likely lead to his demise, but the eternal damnation of Faustus, to the Elizabethan audience, would be the equivalent of damning great Greek heroes, and thus creates artificial traditional expectations of the play. Simultaneously, Marlowe also ignores many of the important characteristics of traditional tragedies. While most tragedies depict historically important characters, Faustuss story is a tale of an ordinary man, not of the courts of kings or the pomp of proud audacious deeds (Prologue.4-5). By focusing on the common man and also by writing in blank verse, a style that was uncommon during this period, Marlowe breaks away from the traditional expectations of a tragic play. Faustuss view of religion also constantly vacillates between a traditional acceptance of Christianity and a modern rejection of it. When Faustus initially reads that [t]he reward of sin is death, and that [i]f we say we that we have no sin, / We deceive ourselves, and there is no truth in us he suggests that Christianity is a futile endeavor and decides that What will be, shall be! Divinity, adieu! (1.40-43, 48). He mistakenly characterizes Christianity as being based on punishment rather than on forgiveness, a mistake that he repeats throughout the play. Later, he believes his heart has become so hardened that he cannot repent! (5.196). While he initially suggests that Hell is nothing but a fable, Faustuss religious convictions continue to grow. Upon seeing Lucifer and Mephistopheles, he cries out, O Faustus, they are come to fetch thy soul! and even murmurs Consummatum est, meaning it is finished, which were Christs dying words on the cross, after signing his deal with Lucifer (5.264, 74). In this manner, Marlowe remains ambiguous throughout most of the play as to his position on the various conflicts he has depicted. For the audience, Faustus position as a modern man and Marlowes portrayal of religion remain in doubt. For this reason, the comedic scenes also remain ambiguous throughout the play. The audience remains uncomfortably unsure as to whether the comedy is intended to garner support for Faustus as the ultimate hero of the story or to mock Faustus by foreshadowing his own demise. The conclusion of the play demonstrates that the comedy depicted in the play, in addition to its theatrical purpose of providing a comedic interlude, provides a critical depiction of Faustuss fall from grace. One of the first comedic scenes in the play occurs when Faustus asks the demon Mephistopheles to reappear in the habit of a friar since [t]hat holy shape becomes a devil best (3.26). While the depiction of a devil in the garb of a Catholic friar would have undoubtedly been hysterical to Marlowes staunchly Protestant audience, the scene also carries significant meaning. By having Mephistopheles disguise his true figure, Faustus, despite his fearless speech, seems unable to stomach the true nature of Hell. Even when Mephistopheles seems to warn Faustus that his own pride and insolence have forever barred him from the face of heaven and that he is now tormented with ten thousand hells, Faust clings to his own diluted version of Hell (3.67-68, 79). He delusionally envisions Hell as a continuation of an earthly existence, and criticizes Mephistopheles for his lack of manly fortitude (3.85). The comedy within the play is continued by the antics of the characters Wagner, Robin, Rafe, and the Clown. Most of these comedic actions seem to foreshadow Faustuss own downfall. The first depiction of Wagner and the Clown mirrors Faustus signing his soul over to Lucifer. During this scene, Wagner convinces the Clown to become his servant for seven years, and the Clown jokes about how he would sell his soul for a shoulder of well-seasoned mutton. While represented in a comedic fashion, this scene foreshadowing the triviality of the power Faustus has obtained in exchange for his soul. As suggested by Mephistopheless unwillingness to discuss things that are against our kingdom, Faustus soon discovers that there are severe limitations placed upon the power wielded by Lucifer and his minions (5.247). In another comedic scene involving these characters, Robin, the stable hand, and Rafe steal a cup from a tavern and are pursued by the tavern wine-maker. Robin summons Mephistopheles to frighten the vintner, and is chastised by the demon for being summoned for a practical joke. Mephistopheles threatens to turn the two men into a dog and an ape. While Mephistopheles is obviously angered by the triviality of Robins request, his anger also reflects his own suggestion that Faustus abandon his frivolous demands (3.81). This scene foreshadows how Faustus will eventually abandon his own lofty goals and will also use his power primarily to play practical jokes. Much of the comedy in the play is related to the digression of Faustuss goals and the ways in which he employs his power. Faustus begins the play with many lofty goals. With his powers, Faustus plans to have spirits bring him jewels from around the world, teach him vast secrets of the universe, and make him king of Germany. He planed to change the course of the Rhine River and remake the entire map of Europe. Initially, Faustus appears to be on the path toward reaching these goals. Wagner tells how Faustus has ridden through the cosmos on the back of a dragon learning the secrets of astronomy from Mephistopheles. But Faustus quickly losses momentum, and, upon reaching Rome, decides to use his power to play practical jokes on the Pope. While this idea would, once again, be extremely funny to Marlowes Protestant audience, it represents the beginning of Faustuss digression. As time progresses, Faustuss audiences also decrease in their level of importance. Following his time with the Pope, one of the most influential figures during this time period, Faustus meets the German Emperor Charles V, who is also an important figure but not as important as the Pope. During this meeting, Faustus, unable to fulfill the requests made by Charles due to more limitations on his powers, embarrasses a disrespectful knight in the Kings court by placing antlers on his head. This digression continues as Faustus final audience is with a simple nobleman and his wife. Faustuss display of power consists of fetching out of season grapes for the noblemans wife. The comedy during these scenes primarily includes a practical joke Faustus plays on a horse-courser. Like Robin and Rafes practical joke, Faustus now uses his power to play jokes on people his has already angered. Like many other aspects of the play, the comedy depicted by Faustuss gradual demise also remains ambiguous. For many, this demise can be seen as a failure in Renaissance thought. Faustuss search for power and knowledge has left him disconnected from God, the ultimate source of both. By not including God or morality in his search for truth, Faustus has become corrupted by the influences of power and no longer retains his somewhat nobler purposes. But Faustus also simultaneously fails in his attempts to incorporate a more traditional view of religion into his life. He recalls that Christ did call the thief upon the cross, believing that he too will be brought into paradise. Faustus, particularly during his last hours on Earth, seems to exhaust every possibility of incorporating religion into his life. He offers to make deals with God, begs for mercy if not redemption, and even turns to Helen of Troy, a representation of feminine virtue or Mother Mary, for reprieve. Faustuss condemnation demonstrates how Faustus has been simultaneously failed both by traditional religion and by the beliefs held by modern Renaissance thinkers. In conclusion, the comedy within this play serves a variety of purposes. Like many of the other elements in the play, the comic and tragic elements seem to struggle with one another throughout the play. This struggle is also seen in Faustuss struggle between Renaissance thought and form and a more traditional view of life and religion. When coupled with these various forms of conflict, the comedic scenes within Doctor Faustus cause the play to constantly waver between tragedy and comedy, leaving the audience without any knowledge of how the play will ultimately end or of the true meaning of the play. Most of the comedy seems to mock Faustuss decision to embrace a modern philosophy toward life, but, when religion ultimately fails him as well, Faustus seems to be a completely hopeless representation of man. The plays comedic scenes are another method, employed by Marlowe, to create confusion and veil the true significance of the play.

The Eclectic Model Essay -- Education

For my presentation I chose the Eclectic teaching method used in Physical Education. Going into the project I had no idea what the model was or what it involved. I quickly learned the importance of the Eclectic model and how it is the most vital and widely used teaching method out. The reason for this is because it is the combination of all the teaching models and grouping them to the different age levels of the students. Obviously, there are certain games or activities that you would not do with 3rd graders because they are not developed enough to handle them. On the other hand you may not do an activity with high schoolers because they are over developed for it and they will not gain any benefits from it. To better explain how the eclectic model would be used I researched other teaching models and broke them down into 3 categories where they fit best: Elementary, Middle School, and High School. Elementary Physical Education is usually the first time when young children are being professionally taught how to control their bodies and perform basic skills that they will need to succeed in physical activity throughout their lifetime. This is the most important part of a child’s Physical Education because without these skills and abilities they will not be able to exercise properly through life and it could also discourage them from trying different activities. If this happens our country will become even more obese and out of shape. The models we decided fit best in this age group of students were Developmental Education, Tactical Games Model, Movement Model, Interdisciplinary Elementary Education, and Inquiry Model. We discovered that these in particular taught objectives that younger children need before they could move onto m... ...entary school ages as well. When a school district decides to use the eclectic model in their PE program they do it in hopes that the students will apply what they have learned grades K-12 to the rest of their life. As PE teachers it is our job to give students the information needed to live a long, healthy life. When taught correctly, the eclectic model does just that. Works Cited 1. Siedentop, Daryl, Jacqueline Herkowitz, and Judith Rink. Elementary Physical Education Methods. Englewood Cliffs, NJ: Prentice-Hall, 1984. Print. 2. Physical Education for Lifelong Fitness: The Physical Best Teacher's Guide. Leeds: Human Kinetics Europe, 2005. Print. 3. Manimtim-Florescar, Ruth. "Teaching Method: Eclectic | The Manila Bulletin Newspaper Online." The Manila Bulletin Newspaper Online. 27 May 2008. Web. .

Musical Theatre – Fiction Assignment

Andrea drives a car through busy New York traffic (‘A Good Start of the Day’) and receives a phone call from Miranda who orders her to get her car from auto care, her dog from a vet, and bring them to Miranda’s house. When Andrea comes to report to Miranda that everything has been done, her boss tells her that she was supposed to bring the car and the god to the office instead of Miranda’s house. She tells her assistant that everything should be by the door of her office in 15 minutes (‘15 Minutes’). The atmosphere in the headquarters of ‘Runway’ is tense and almost hysterical (‘The World of Fashion’). When Andrea fulfills these directions, they leave for a preliminary show of the latest collection of a prominent designer (‘Behind the Scenes’). Andrea proves to be more qualified than Emily, and Miranda decides to take Andrea on an important business trip to Paris — the fact that deeply offends and disappoints Emily (‘Paris, Je T'aime Moi Non Plus’). When Andrea comes home that night, she realizes that she forgot about her boyfriend’s birthday (‘This Not-so-special Day’), and their relationship teeters at the lip of abyss. Act 2 Miranda and Emily arrive to Paris; they attend top-notch fashion shows and receptions (‘Eurostar’). Andrea occasionally meets Christian whom she knows from New York, and the romantic atmosphere of Paris makes her spend a night with him. However, in the morning she realizes that she made a mistake and finds herself missing Nate (‘Charms Are Frail’). On board of the plane that carries her back to New York, Andrea reconsiders her lifestyle and values (‘Home Again’). She is unhappy to return to her busy workplace (‘The World of Fashion: Reprise’). She decides to quit her job and strike a better balance between her professional and private life. Before leaving, she presents all the designer clothes to Emily (‘These Little Pieces of Fabric’) and in this way denounces the importance of looks and fashion. The musical ends with a scene of Andrea reunion with Nate (‘Being True to Yourself’). Character List Andrea Sachs: She is a young graduate from Midwest who has just moved to New York to look for a job at a magazine or newspaper. At the beginning, she is confident of her abilities, yet she is easily confused by vibrant New York life and tough approach of her new boss. Miranda Priestley: She is a powerful and authoritarian editor of the ‘Runway’ magazine. She has connections both in the press world and in the world of fashion; however, she often demonstrates her power by maltreating her subordinates. Emily: She used to be the first assistant to Miranda before the arrival of Andrea who proved to be more competent and was promoted to Emily’s position. Nigel: He is the art director of ‘Runway’ who often advices Andrea on how to dress with taste and deal with Miranda’s whims. Nate: He is Andrea’s boyfriend who suffers from lack of attention and condemns her girlfriend paying too much attention to her job and her looks. Christian: He is a magazine writer who fancies Andrea and eventually seduces her into a romantic adventure in Paris. Chorus: Chorus, together with Nigel, performs ‘The World of Fashion’ song and serves the purpose of conveying the atmosphere of fashion industry characterized by (quoting ‘Sunset Boulevard’ musical) ‘whispered conversations in overcrowded hallways.’ Song List Act 1 A Good Start of the Day (upbeat) 15 Minutes (upbeat) The World of Fashion (dance) Behind the Scenes (upbeat) Paris, Je T'aime Moi Non Plus (ballad) This Not-so-special Day (ballad) Act 2 Eurostar (upbeat) Charms Are Frail (ballad) Home Again (ballad) The World of Fashion: Reprise (dance) These Little Pieces of Fabric (upbeat) Being True to Yourself (ballad) Spectacle There are three different set: headquarters of the ‘Runway’ magazine, Andrea and Nate’s apartment, and Paris. The first set features the use of bright lights, crowd, hallstands, and various posters from fashion shows. The second set should convey the calm and comfortable atmosphere of New York middle-class couple. The third set features some of the landmarks of Paris (e.g. Eiffel Tower) and creates the atmosphere of excess, lush, and festivity. Almost all costumes used in the musical should be expensive and fashionable designer clothes; the only character that wears casual clothes in Nate. No special effects are used, but the song ‘The World of Fashion’ is accompanied by a ballet. The theme of the musical is the balance between professional and public life and hard choices people have to make. It also deals with the ability to stay honest and kindhearted under the pressure from inhibiting circumstances.

Computer Crime Hacking - 839 Words

Throughout the years the rate of computer crime has only been getting worse. For one thing the security development is falling behind the hackers’ knowledge how to bypass the latest security advancements. If the hackers’ are ahead of the newest security breaches then it does no good on helping the average person because they are at risk of having information stole from them at any point in time (Martin). If new security advancements don’t find a way to get back in front of the hackers’ knowledge then this worldly known problem will only continue to escalate throughout the next generations and the following making them have to work harder to solve the problems that we created for them and did nothing to fix it (Bellmore). Right now it is a major problem that needs to be resolved but it has to be acted upon very soon with determination or else it will just continue until the point where we lose control and hackers’ rule the world and nobody can stop t hem (OHarrow). In order to unravel this difficult situation it is important that these current issues we are involved in are throw of the track of going on a express train the wrong direction to the dark side of the hackers’ we need help to bring it back to the light. One of the issues that this brings up is legal since it is highly illegal to hack anything for any purpose. It doesn’t matter whether you are one person at his home or a whole company no one has ever heard about because it is top secret since they are top rankedShow MoreRelatedComputer Crimes And The Most Famous One Is Hacking857 Words   |  4 PagesThere are many types of computer crimes and the most famous one is hacking. Hacking is the ability of gaining unauthorized access to systems or resources. Hacking is now commonly defined as someone breaking into a computer system. Trojan Horses is a program designed to breach the security of a computer system. 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