The Tragical History of Dr. Faustus, Acts 3-5

1. Create 2 discussion questions (total) for Acts 3 and 4 of The Tragical History of Dr. Faustus. Give the full context to understand your question and your literary reasons for asking. The models for 10-2 may be helpful. I also encourage you to draw on our previous class discussion and previous responses (yours or others students') in framing these. If one of your questions for 10-2 relates to Acts 3, 4, or 5, just repost that and create one more. 

2. For Act 5, choose a passage that you regard as significant to this part of the play, or to the entire play, and support your choice. The passage can be one speech, a dialogue of two or more characters, even a short scene. Give the line numbers and be sure to quote from the play at least briefly in your response.

1. In Act 4, Scene 1, the Knight at Emperor Charles V’s court is skeptical of Dr. Faustus’ magical ability. He disdainfully remarks of Dr. Faustus, “I’faith, he looks much like a conjurer,” and “I’faith, that’s as true as Diana turned me to a stag” (Lines 12, 64). What is the significance of the repeated “I’faith,” particularly in relation to the Knight’s character? Is Marlowe satirizing the Knight like Chaucer did?

2. In Act 5, Scene 1, Lines 36-47, the Old Man encourages Dr. Faustus to repent. Is he supposed to be a wise counselor or a prophetic fool? How do the religious references influence our perception of him? I am interested in this character because I would like to know about the origins of either of those archetypes for old man characters.

In Act 5, Scene 2, Dr. Faustus’ death draws near, in accordance with his deal with the devil. From when he hears the clock strike eleven to when it strikes eleven-thirty, he bemoans that he has but one hour to live, and he desperately tries to come up with an alternative to going to hell. This segment of this speech runs from Line 66 to 97.

Dr. Faustus is left all alone to face death, which is why he addresses himself in the third person. There is no one with which to converse, save himself. He cries out to the planets, the sun, God, Christ, Lucifer, mountains, hills, the ground, and the stars, but none of them acknowledge him. His plea to the devil, “oh spare me Lucifer!” is as futile as commanding the planets to “stand still” and the mountains to “come, come, and fall on me” (Lines 82, 69, 86). He knows he cannot escape hell; everyone and everything knows he cannot escape hell. In this speech, Dr. Faustus’ fate is realized.

Christopher Marlowe’s The Tragical History of Dr. Faustus

Blog prompt for October 2, Marlowe, The Tragical History of Doctor Faustus, Prologue and Acts 1-2  

One of the main issues in starting this play is dealing with the language and the dramatic form.

1.  In three or four sentences, give the gist (main sense) of lines 7-28 of the play’s Prologue, starting “Only this, gentlemen: we must perform / The form of Faustus’ fortunes, good or bad” and ending “And this the man that in his study sits.” Be sure to show that you examined some of the footnotes defining terms and concepts.

2.  In several sentences, give the gist of one of these speeches by Faustus. Be sure to show that you examined some of the footnotes defining terms and concepts. Then set the speech in context—where and to whom it is spoken (if that is clear), Faustus’s tone, his apparent purpose, and any other context that seems relevant.

3.  Frame two discussion questions for Tuesday.  

Discussion Questions

1. Dr. Faustus reads the terms of his agreement with Mephastophilis and Lucifer in Lines 96-108. He is unable to find one word to entirely describe a being’s physical body. He first says that he “may be a spirit in form and substance,” and then that Mephastophilis may “appear… in what form or shape soever he please” (Lines 97, 101). What Elizabethan ideas about the being would have influenced this uncertainty? Is there a different word we would use today?

2. In Lines 36-47, the Old Man encourages Dr. Faustus to repent. Is he supposed to be a wise counselor or a prophetic fool? How do the religious references influence our perception of him? I am interested in this character because I would like to know about the origins of either of those archetypes for old man characters.

The Prologue (Lines 7-28)

The chorus introduces Dr. Faustus and his alarming ambitions. Eerily similar to Marlowe, Dr. Faustus grew up in a family “base of stock” and received a good Protestant education, followed by his doctorate, despite difficulties with the university (Line 11). (See footnotes 4-6.) Then however, Dr. Faustus’ scholarly thirst for knowledge becomes an arrogant search for power. He is interested in necromancy.

                   

Dr. Faustus’ Speech in Act 1, Scene 1, Lines 79-100

            The Angels of Good and Evil each state their case concerning Dr. Faustus’ interest in dark magic, but he is excited by the Evil Angel’s suggestions of great power. Dr. Faustus considers all the things he could do with a magic spirit, from gathering riches to changing geography. Most importantly, he could replace Alessandro Farnese as king.

            Dr. Faustus is still in his study, perhaps pacing back and forth, as he mulls over what the Angels told him. He is thinking out loud, not really addressing anyone but himself, until he calls for Valdes and Cornelius at the end of his monologue. He becomes increasingly agitated, as evidenced by the lengthy sentence in which he lists what might be possible with such power (Lines 83-98). He intends to think rationally, but he gets caught up in his excitement.

English Sonnets

Your comments on the audio program by Boland and Hirsch on the sonnet (see syllabus), a short paragraph. Be sure to include some specifics from the program. 

A detailed, longer paragraph comparing two of the assigned sonnets by different authors. Emphasize the assumed audience for the sonnet and the strategies used, not only the subject(s) treated. Try to apply what you learned from the Boland and Hirsch discussion here.

            The main concept I focused on in this audio program is the universality of the sonnet. Eavan Boland discussed how the sonnet is “infinitely adaptable”. Edward Hirsch agreed, saying it “moves from country to country and language to language quite fluently.” The sonnet form exists even outside the Western world, in Israel and Arab republics. They offered several explanations for its universal popularity. First, it “has the quality of the argument.” The turn allows for an alternate perspective, prediction, or admonition – some sort of change that is not in thorough agreement with the first part of the poem. Any claim that can be argued for and against can be the basis for a work of literature. Next, Shakespeare and his brand of sonnets often “distill one emotion down to its essence,” according to Hirsch. Emotions transcend political and linguistic boundaries. Finally, Boland says that sonnets are frequently an “interior conversation in a poet’s life… and we recognize something of ourselves in that interior dialogue.” They are personal, yet relatable, which makes any connection we find to the poem more profound.

Edmund Spenser’s Amoretti Sonnet 15 and Shakespeare’s Sonnet 20

            Both selected sonnets deal with love. They also use some of the same literary techniques to craft entirely different tones. Spenser praises his wife’s virtues, while Shakespeare bitterly regrets the gender of a lover.

            The English sonnet is composed of fourteen lines, usually with an abab cdcd efef gg rhyme scheme, and often in iambic pentameter. Sonnet 15 follows these guidelines, but Sonnet 20 is composed on eleven-syllable lines to mirror the motif of “adding one thing” (Line 12). In another structural difference, Sonnet 15 is neatly divided into four sentences, marked with indentations. It is attractive to look at, which reflects Spenser’s description of his wife’s beauty. Sonnet 20 indents the couplet, as something added on to the rest of the poem. Theses variations coincide with Boland and Hirsch’s comments on the versatility of the sonnet’s structure, which gives it the universality to encompass any emotion or message.

            Spenser’s Amoretti is written about the first years of his relationship with his girlfriend and wife, Elizabeth Boyle, so he likely penned his poems with her eyes in mind. Sonnet 15 however, is addressed to unknown “tradefull Merchants” (Line 1). These merchants could be a fictional audience merely for narrative and metaphorical sake, or they could be men who frequently change romantic partners. It is possible then, that Spenser intended for Boyle and any admirers she might have, to be aware of his sincere admiration of her. Shakespeare’s addressee and audience are much more ambiguous. A confusing jumble of gendered pronouns makes it difficult to discern h the lover is male or female. This poem seems like a personal matter, but as a member of The Lord Chamberlain’s Men, Shakespeare knew his works were read by many people. Therefore, it is possible that he wrote this sonnet to encourage others to sympathize with the speaker and consider his predicament.

Historical Background for 16th and 17th British Literature

You should read the entire introduction, and you will be responsible for major ideas from it on our next exam. Your blog response for September 24 should include four substantial and substantive paragraphs as follows. Remember that detailed questions can be part of your response. Give yourself 2-4 hours for this assignment.  

 The Renaissance and Humanism

Although it is clear that the Dark Ages were not so dark and ignorant as we often portray them to be, there is nevertheless a wide gulf of disconnect between the medieval period and the eras that follow, in which modern times are rooted. The cultural and intellectual movements that make up the Renaissance, which in turn influenced Humanism, are much more comfortable to study. Perhaps the Renaissance and Humanism are more credible, because they were responses to “works from classical Greece and Rome” (467). While the Dark Ages have less relevance to the times preceding and following, classical and Renaissance thought are still in effect today.

Wales, Scotland, and Ireland

The term British arose after “the accession of King James VI/I brought a de facto union of England and Scotland” (466). Does this mean then, that works written in Scotland after this date are included in our anthology of British literature? Politics can influence thought and culture, but it seems more appropriate to define British literature based on when the literature of the four nations began to interact in a historically relevant way. If “the Welsh language does not seem to have been threatened… despite English incursions,” and if “Irish resentment of and resistance to English colonial policies would continue far into the future,” it does not seem likely that their literature was cohesive (475, 477).

Elizabeth I and Gender

Elizabeth I is an interesting paradox. On one hand, “men tended… to think of her as manly,” but on the other, she was “an icon of female virtues” (479, 480). Her male colleagues would have approved of her more if she had married, yet in their eyes a King “would have brought a diminution of [her] authority” (480). Her political advisor’s “sleight-of-hand” with legal jargon must have been highly and widely effective; I would have thought that the Elizabethan paradox would have sparked a theme of confusion over irreconcilable forces in the literature written during her rule (480). Several centuries later, when England’s socioeconomic structure is mangled by the Industrial Revolution, the literature of the period does address this theme. For example, Robert Louis Stevenson’s “Strange Case of Dr. Jekyll and Mr. Hyde” is about the mental gymnastics of accepting that two opposing entities can be housed in one body.

Literature in Prose and the Development of Print Culture

This section quickly brought up two questions about the evolution of English and rhetorical culture. First, did Gutenburg’s printing press in 1476 and the invention of moveable type cause a decrease in oral tradition? Today, film is taking the place of books, in terms of how society shares stories. Before books, the primary way of sharing stories was by word of mouth. Furthermore, what was lost when stories were created to be written? With film, we lose some analysis of literary devices that can be done only by looking at the text. Before stories were written, they could be changed easier; maybe they were more fluid and imaginative. Second, when and how did the transition from Middle English to Latin occur in Britain? At the beginning of the 1400’s, Julian of Norwich and Margery Kempe thought it best to write in Old English. Less than a hundred years later, Latin takes center stage. My guess is that Christianity is the cause, since Latin is the language of Christianity. Religion became prominent with all the political attention it received, and the printing press increased the availability of the Bible.

The English Language

            The printing press gradually resulted in “the standardization of spelling,” and the standardization of pronunciation soon followed (515). What was the effect of this conformity on the British psyche, and which social themes encouraged unifying the language? Was Britain able to feel more united than it had before? When people have a better ability to communicate with more people, they gain more knowledge and can then increase their power. Ideas and counterarguments are spread faster. It is easier to find similarities with others. Judging by the emerging strength of the British Empire during the sixteenth and seventeenth centuries, the conformity of language did not inspire negative connotations, but fostered pride and confidence in the nation.

Female Authors of Middle English Works

"A Revelation of Love" and "The Book of Margery Kempe"

Frame three detailed questions you have about A Revelation of Love by Julian of Norwich. By detailed I mean grounded in specific chapters and passages. I encourage you to address what is disturbing or confusing about this work.  Try to answer your questions by using the intro material and by engaging with other passages / chapters of the Revelation.

1. What is the significance of the number sixteen? Julian of Norwich deliberately numbers her visions, one through sixteen: “the second is… the third is… the fourth is…” (349).

Keeping an accurate account is part of Norwich’s style. In Chapter 3, she very precisely recounts that she “lay [sick] three days and three nights; and on the fourth night I took all my rights” (351). The factual tone lends credibility to the story of her visions.

2. Why is the “mind and feeling of his [God’s] blessed passion” referred to as a “wound” (351)?

Chapter 2 mentions “three gifts of God: the first was mind [remembrance or recollections, according to the footnotes] of the passion, the second was bodily sickness… the third was to have of God’s gift three wounds… the wound of very contrition, the wound of kind compassion and the wound of willful longing to God” (350). The wound in question is the “second wound, of Our Lord’s gracious gift,” which would be the compassion of the third gift (351). The narrator desires to empathize with Christ’s pain. This allusion to the crucifixion sheds light on why the word “wounds” was chosen, but I still do not understand it completely.

3. Are “pain” and “sin” interchangeable? See Chapters 27 and 28. “Thus I saw how Christ hath compassion on us for the cause of sin. And right as I was before in the passion of Christ fulfilled with pain and compassion… (355).” Usually, I think of pain as the cause or result of sin.

In Chapter 27, sin includes “all the pains that ever were or shall be” (354).This supports my claim about pain. However, when Norwich says that Christ’s compassion provides “comfort in our pain,” it seems that the meaning of pain is very close to the meaning of sin (355).

Do the same for The Book of Margery Kempe.

1. Why does Kempe refer to herself as a “creature” when she describes how she wrote this tale (367)?

Julian of Norwich does the same thing in her introduction, who calls herself “a simple creature that could no letter [i.e. who could not read]” (350). It could be a reflection of how women perceived themselves. Their familiarity with worship and the church would have made them aware of the limitations of their knowledge; they were not scholars, but they would have known that there were studious men reading and writing about Christianity. Norwich and Kempe may have regretted their lack of education.

Alternatively, “creature” may serve to highlight the magnificence of God over fragile, sinful humans. The book begins with the assertion that “whatever grace he works in any creature if for our benefit” (366). In this case, it seems that everyone can be labeled as a creature.

2. Who is the devil, to Margery Kempe? How tangible, real, or personable is he? While “the devil put it into her mind that God had forsaken her,” he seems to be more of an anti-Holy Spirit-like force, rather than a person (372).

When “Christ said in her soul, ‘Daughter, there is much tribulation coming to you,’” it seems that Kempe experienced a gut feeling rather than heard a direct voice (374). However, Kempe and Christ go on to have a conversation. This makes ethereal communication more human, yet the deity or devil is not thought of in terms of human characteristics.

3. Why does the story end early?

I looked this text up on SparkNotes, which said that the story goes on to describe the end of Margery’s life, including the death of her husband and a journey with her daughter-in-law. Her character is aptly described where our class version chooses to end, with Margery “greatly thanking God” for an act most would curse (380). If this is the main message of Margery’s life, then perhaps this is a reasonable place to conclude the story.

The General Prologue of “The Canterbury Tales”

The General Prologue of “The Canterbury Tales”

If you have never read the General Prologue before (and even if you have): What is the point of the first 18 lines (“Whan that Aprill . . . seeke)? Why do you think it takes so long – one very long sentence – for Chaucer to say it? Which lines are the most confusing or problematic for you?

The first sentence of The General Prologue introduces the pilgrimage. It sets the stage for a journey full of unknowns through the wilderness, against a backdrop of timelessness and dominating power of nature. Since travelers in Chaucer’s time lived off the land during their journeys, the weather dictates when a pilgrimage can take place. If the pilgrims leave before April, they will not be able to find enough water along their journey (Lines 1-2). Spring also means that vegetation is growing, so the pilgrims can forage for food (Lines 4, 7). The position of the sun could indicate that winter is completely gone, and it is warm enough to live outdoors (Lines 7-8). This could have already been implied by the sweetness of the wind (Line 5). However, the wind also pushes the pilgrims along or becomes a deterrent. It is unclear if Zephirus blows towards the west or from the west. If he goes towards the west, he would be encouraging the pilgrims, or perhaps creating a sense of urgency, to reach Canterbury. If he comes from the west, the wind becomes a trial to overcome and a warning to turn back to Southwark. Either way, Canterbury is on the western coast of England, so it is the place where Zephirus begins or ends. After only ten lines, the setting has been described. When the specifics are introduced – there is a pilgrimage to Canterbury – the pilgrims easily appear in the mind’s eye on a journey through England.

Compare and contrast three of the portraits, such as the Knight, the Yeoman, and the Shipman; the Prioress, the Monk, and the Wife of Bath; or the Monk, the Clerk, and the Parson.

The Knight, the Yeoman, and the Shipman would probably not interact on a personal level, unless they found themselves in a situation outside the usual protocol of hierarchical society, like a pilgrimage. The Knight is of significantly higher status than the Yeoman and the Shipman. While the Yeoman is only a servant, his fine clothes and weaponry may earn him more respect for his station than the drunken Shipman (Lines 103-4, 112-3, 396). Nevertheless, all three men possess qualities important to their work and that will make them hardy travelers. The Knight is worthy and chivalrous (Lines 43, 45). The Yeoman is Christian, which the Knight probably values, and a forester, which makes him a good choice for a journey (Lines 105, 107). The Shipman is fair and compassionate, and experienced in navigating dangerous situations (Lines 399-402).

Compare and contrast these three: the Friar, the Pardoner, and the Summoner.

The Friar, the Pardoner, and the Summoner are all men of the Christian church. They are also all hypocrites; their positions demand that they be pious and pure, but each man has his fault. The Friar performs some of his duties, but neglects helping the poor in favor of enjoying women and collecting money for himself. The Summoner encourages law-breaking even though he works in a court. Not only does the Pardoner sell indulgences, he also sells fake holy relics. They share two strange characteristics. They are irresistible to women, despite having a lisp, bad skin, and being unable to grow a beard. They also view money as a cure-all for earthly problems. The Friar and the Pardoner evade poverty and the Summoner recommends bribes.

Sir Gawain and Lanval

Write on both of these.

1) What is going on in the opening lines (ll. 1-24) of Sir Gawain and the Green Knight? Why do you think it opens this way? 

2) As you read Sir Gawain and the Green Knight, what seems to be similar to Lanval? What is different?

Sir Gawain and the Green Knight, The Reasons Behind Lines 1-24

The poem begins in antiquity, will the fall of Troy. It then speedily progresses through the founding of other great city-states and kingdoms, ending with the settlement of Britain. It transitions into the main story, set during Arthur's reign, by claiming that the war-ready, "valiant" Brits attracted momentous events of both "joy and turmoil" (Lines 21, 18).

This historical introduction serves to glorify the infallible strength of Britain. In contrast to Troy, Britain and the other nations established by impressive men are eternally successful. Rome, that pinnacle of civilization to which all other attempts are compared, receives two whole lines. Little description is offered of Tuscany or Lombardy, but Britain is clearly robust. It is set on a pedestal on lower than Rome’s. In fact, Britain’s settler Felix Brutus, is described in the same manner as Rome’s Romulus; they are both “noble” (Lines 8, 20). Although this connection is not as strong in the original Anglo-Norman text, the “rych” Brutus is reminiscent of “riche Romulus” (Lines 20, 8). Britain and its people are a power on par with Rome.

Lines 2 through 21 also establish the significance of a nation’s founder. The character of the man correlates to the majesty of his kingdom. Great kingdoms require great men to sustain them. Therefore, the abundance of legendary men in Camelot is explained by the qualities of its founder.

Finally, it is common for legends to begin in a historical context. That a story is important even when viewed on a scale that spans much time, adds drama to a tale. However, the fantastic is counterbalanced by the historical references, which create a backdrop of credibility.

Sir Gawain in Comparison to Lanval

            Both poems were written in the Anglo-Norman period of feudalism and chivalry. Therefore, the knight and his qualities are central in each work. Sir Gawain and Lanval are both men of their word, expected to be brave, loyal, and respectful of women. They are tested by temptresses, and succumb pardonably. They differ in that Lanval has a lady to be faithful to, and Sir Gawain does not. Lanval’s lady is a main character. She comes to his rescue, which slightly diminishes his masculine solidarity and chivalry. Sir Gawain on the other hand, exemplifies these characteristics exactly by refusing to abandon his mission and abstaining from romance.