The Elizabethan poet-dramatist Christopher Marlowe is one of the most distinguished literary figures who put a touchable print and significantly contributed to the English literature through various masterpieces such as The Tragical History of the Life and Death of Doctor Faustus. The main character is Doctor Faustus, who surpasses in many fields of learnings but unfortunately, he detours his track searching for unlimited power and influence. The paper attempts to shed light on some critical and condemnatory points of view on Elizabethan theater with particular reference to Doctor Faustus as a person of extravagant ambition, an experienced philosopher who rejects natural sciences to metaphysical powers. This task might be extended with more investigations to deal with the two broad points fully; the Elizabethan theater and Doctor Faustus. This study comes to an end with a concise summary as an initial conclusion.
this is my Renaissance literature's presentation. this presentation is a part of my academic study in M.A at Department of English M. K. Bhavnagar university, it is submitted to Dr. Dilip Barad.
this is my Renaissance literature's presentation. this presentation is a part of my academic study in M.A at Department of English M. K. Bhavnagar university, it is submitted to Dr. Dilip Barad.
Contains a crisp overview of Marlowe as a playwright and briefly discusses the plot surrounding one of his most successful plays 'Tamburlaine'. The PowerPoint also consists of Major themes in the play, the criticism it received and the lasting impact it had on literature.
Uploaded by Subrata Halder, Assistant Professor in English, Sivanath Sastri College, Kolkata, For more , feel free to contact through email address- subratahalder7878@gmail.com
Contains a crisp overview of Marlowe as a playwright and briefly discusses the plot surrounding one of his most successful plays 'Tamburlaine'. The PowerPoint also consists of Major themes in the play, the criticism it received and the lasting impact it had on literature.
Uploaded by Subrata Halder, Assistant Professor in English, Sivanath Sastri College, Kolkata, For more , feel free to contact through email address- subratahalder7878@gmail.com
Dr. Faustus is a Renaissance tragedy written by the Cambridge scholar Christopher Marlowe.
The full title of the play is “The Tragical History of the Life and Death of Doctor Faustus”.
It was adopted from a German story ‘Faust’ translated in English as The English Faust Book.
The name Faustus is a reference to the Latin word for "favoured" or "auspicious“.
The play is in blank Verse and prose in thirteen scenes (1604) or twenty scenes (1616).
Blank verse is largely reserved for the main scenes while prose is used in the comic scenes.
History of English Literature an outline 2Mohan Raj Raj
This HIstory of English literature an outline 2 ppt covers some ideas which is based on the Thiruvalluvar University B.A. English syllabus Sem II (Unrevised). It is an outline and designed like a mind-map.
English Language has been blessed with a number of playwrights ,poets and others.Here is a presentation on different English dramatists and playwrights.A detailed description on Shakespeare,Marlowe,Harold Pinter,Bernard Shaw along with their major plays are given.
Evidence for the Re-Attribution of the British Renaissance to 6 GhostwritersAnaphora Literary Press
The BRRAM series solves most of the previously critically discussed mysteries concerning the authorship of British Renaissance texts (including the “William Shakespeare” and 122 other bylines) by applying to 303 texts a newly invented for this study computational-linguistics method that uses a combination of 27 different tests. This testing derived that six ghostwriters wrote all of these works: Richard Verstegan, Josuah Sylvester, Gabriel Harvey, Benjamin Jonson, William Byrd and William Percy. This computational method, together with structural, biographical and various other attribution approaches that led to the attribution conclusions, are discussed in the Re-Attribution of the British Renaissance Corpus. A larger portion of this series are the volumes in the Modernization of the Inaccessible British Renaissance section, which test the quantitative attribution-conclusions by closely analyzing and explaining the contents of individual re-attributed texts. The modernized works are uniquely consequential in explaining the revised history of this period, and yet have never been translated into Modern English before. Some of these texts were initially anonymous, others were self-attributed by the ghostwriters, and yet others were credited in bylines to pseudonyms or ghostwriting-contractors. The annotations to each of their translations provide thousands of new confirming clues of shared authorship within a given authorial-signature. Even without this history-changing attribution evidence, these are neglected texts that are here edited for the first time to allow their beauty and intelligence to shine so that readers can see how they rival the standard “Shakespeare” canon. This series is cataloged in the World Shakespeare Bibliography and in the Play Index (EBSCO). A few pieces out of BRRAM have been published in scholarly journals. “Manipulation of Theatrical Audience-Size: Nonexistent Plays and Murderous Lenders” was published in Critical Survey, Issue 34.1, Spring 2022. “‘Michael Cavendish’s’ 14 Airs in Tablature to the Lute (1598)” was published in East-West Cultural Passage, Volume 22, Issue 2, December 2022. The Journal of Information Ethics published two articles on Faktorovich’s re-attribution method: “Publishers and Hack Writers: Signs of Collaborative Writing in the ‘Defoe’ Canon” (Fall 2020) and “Falsifications and Fabrications in the Standard Computational-Linguistics Authorial-Attribution Methods: A Comparison of the Methodology in ‘Unmasking’ with the 28-Tests” (Spring 2022). See more on the series' website: https://anaphoraliterary.com/attribution
MODERN SAUDI POETRY: MOHAMMAD HASAN AWWAD’S NIGHT AND ME, IN BALANCE - الشعر ...Al Baha University
الشعر العربي هو جوهر كل الأنواع الأدبية في جميع الدول العربية، وتناغما مع هذا التعميم، من المنطقي أن يكون تطور الشعر في العصر الحديث، بين جميع العرب، يعتبر مدلول ومقياس إيجابي. بناء على هذا البرهان، يمكن القول بنفس المقياس على الأدب السعودي الحديث باعتباره جزءًا جوهرياً مكمل للشعر العربي. حاول الباحث في هذا البحث تبين بعض الجوانب والنقاط الأدبية للشعر العربي الحديث في المملكة العربية السعودية كنموذج على سمو الشعر العربي، مع استشهاد خاص بشاعر سعودي معاصر، وتبدأ الدراسة بمقدمة عن الشعر العربي في الجزيرة العربية. في الجزء الأول من الدراسة، يشير الباحث إلى أهمية الشعر العربي كأحد الأنواع الأدبية العربية، أما الجزء الثاني فيتناول الشعر والحركة الأدبية في المملكة العربية السعودية باعتباره المحور الرئيسي للدراسة، بعد ذلك ، تتقدم المهمة للتعامل مع نموذج الشعر العربي الحديث في المملكة، ومن ثمَ ينتقل البحث للتعامل مع نموذج ومثال للشعر العربي الحديث في المملكة، وهو محمد حسن عواد كشاعر ثائر معاصر وصاحب شعر صارخ، ثم يلقي الباحث الضوء على عدد من الأبيات المختارة لإحدى قصائد عوّاد ’أنا والليل‘، ولتي يتناولها الباحث تحليلاً ونقداً، وتنتهي الدراسة بمناقشة وخاتمة موجزة. الكلمات المفتاحية: الأدب العربي، الحداثة، الشعر العربي، الشعر الحر، سمو، المملكة العربية السعودية
------------
Arabic poetry is the heart of all types of literature in all Arabic realms. Consistent with this generalization, it can be right that the development of poetry in the modern age, among Arabs, is a positive measure. In that argument, the same would be focused on modern Saudi literature since it is typically considered a central, authoritative, and undivided part of Arabic poetry. In this paper, the researcher has attempted to illustrate some literary aspects of modern Arabic poetry in the Kingdom of Saudi Arabia as an instance of the greatness of Arabic poetry with a particular reference to a contemporary Saudi poet. The study starts with an introduction to the condition of poetry in Arabia. In the first section of the study, the researcher points up the importance of Arabic poetry as an Arabic literature genre. The second section deals with poetry and literary movement in Saudi Arabia as the central section of the investigation. After that, the task moves ahead to deal with a model of modern Arabic poetry in the kingdom, Mohammad Hasan Awwad, a modernized rebellious poet with stark poetry, then the researcher, analytically and critically, sheds light on some selected verses of one of the poems of Awwad, Night and Me. The study finishes with a discussion and a brief conclusion. Keywords: Arabic literature, Arabic poetry, free verse, greatness, Kingdom of Saudi Arabia, modernism.
Home in the Poetry of Saudi Arabia Poets: Abdus-Salam Hafeth an Example of a ...Al Baha University
المستخلص:
تهدف هذه الدراسة، التي تحمل عنوان
" Home in the Poetry of Saudi Arabia Poets: Abdus-Salam Hafeth an Example of a Distinguished Arab (2)"،
إلى إلقاء الضوء على بعض الجوانب الأدبية في الشعر العربي السعودي الحديث، مع التركيز على مفهوم الوطن كمثال على مكانة الشعر السعودي الحديث، في إشارة خاصة إلى الشاعر السعودي المعاصر عبد السلام هاشم حافظ، يسعى الباحث إلى إظهار فطنة وملكة الشاعر من خلال إبراز مدينته الرائعة، المدينة المنورة، كرمز لحبه للوطن الجلل الجليل - المملكة العربية السعودية، تبدأ الدراسة بمقدمة موجزة عن الشعر العربي ولغته العربية الفصحى. ثم تعرض الدراسة صورة رمزية للشاعر السعودي المتميز عبد السلام هاشم حافظ والشعر السعودي بشكل عام، بعد ذلك، تتبنى الدراسة نهجًا تحليليًا نقديًا لمتنن الدراسة المتمثل في شرح عدد من الابيات الشعرية – من البيت الشعري الخامس الى الثامن من قصيدة حافظ، "الشوق يا وطني"، مع التركيز على مفهوم الوطن باعتباره الموضوع الجوهري وكذلك التطرق الى موهبة الشاعر في استخدام اللغة العربية كلغة عظيمة وجليلة، في النهاية، ينتهي البحث بالفرضيات والتوصيات، ان وجدت.
-------
Abstract
This study aims to shed light on some literary aspects of modern Saudi Arabic poetry, focusing on the concept of homeland as an example of the standing of modern Saudi poetry, with a specific reference to a contemporary Saudi poet, Abdus-Salam Hashem Hafeth. The researcher seeks to show the poet's intellect by showing his gorgeous metropolis as a symbol of his love for the grand home - the Kingdom of Saudi Arabia. The study begins with a brief introduction to Arabic poetry and its language. Then it gives a symbolic picture of the outstanding Saudi poet – Abdus-Salam Hashem Hafeth and Saudi poetry in general. Following that, the study takes a critical-analytical approach to the second four verse lines of Hafeth's poem, 'Nostalgia, Oh my Home,' focusing on the concept of home as its main theme as well talent of the poet in using the grand Arabic language. Eventually, the research is concluded with a short premise and comments.
الوطن في شعر شعراء المملكة العربية السعودية: عبد السلام هاشم حافظ نموذج الشاع...Al Baha University
ملخص:
الشعر العربي الفصيح هو أحد اهم المرتكزات الادبية لجميع انواع الأدب في جميع البلدان والأقاليم العربية منذ عصر ما قبل الإسلام. هذه الدراسة عبارة عن محاولة لإلقاء الضوء على بعض الجوانب الأدبية للشعر العربي السعودي الحديث مع التركيز على مفهوم الوطن كتوضيح لمكانة الشعر العربي السعودي الحديث في إشارة خاصة للشاعر السعودي المعاصر عبد السلام هاشم حافظ.
قد يكون من البديهي أن تطور الشعر العربي في العصر الحالي بين الشعراء والكتاب والنقاد العرب هو مقياس إيجابي، ومن الطبيعي أن يعمم الأمر والسياق نفسه عن الشعر السعودي المعاصر من حيث كونه جزء من الشعر العربي الواسع ومتطابقاً معه نظرًا لأنه يعتبر بطبيعة الحال مقياساً أساسياً ومتصل بالشعر العربي، من خلال ذلك كله يسعى الباحث إلى توضيح فِكرُ الشاعر عبد السلام هاشم حافظ في تصوير مدينته المجيدة كممثل لعشقه للوطن الكبير - المملكة العربية السعودية.
تبدأ الدراسة بمقدمة موجزة عن الشعر العربي ووسيطه الأساسي المتمثل في اللغة العربية المجيدة، ثم تمضي قدماً تحليلياً لاستعراض مكانة وَمَلَكَةُ الشاعر السعودي عبد السلام هاشم حافظ، بعد ذلك، تجسد الدراسة موقفاً تحليلياً وناقداً للأربعة الابيات الأولى من قصيدة حافظ، التي تحمل عنوان ’الشوق، يا وطني‘ ، مع التركيز على مفهوم الوطن كونه الموضوع الرئيس في هذه الدراسة، وتنتهي الدراسة بالتوصيات، ان جدت، ثم خاتمة موجزة.
ABSTRACT:
Classical Arabic poetry is the core of all categories of literature in all Arabic lands, territories, and realms since the age of pre-Islam. This study is an attempt to shed light on some literary facets of modern Saudi Arabic poetry focusing on the concept of homeland as an illustration of the standing of modern Saudi Arabic poetry with a particular indication to a contemporary Saudi poet, Abdus-Salam Hashem Hafeth. It can be right that the progress of Arabic poetry in the present age, among Arab poets, writers, and critics has a positive measure. It is true to generalize that the same would be identical to current innovative Saudi poetry given that it is naturally considered a principal, commanding, and uninterrupted measure of Arabic poetry. The researcher endeavors to illustrate the poet's intellectuality in depicting his glorious city as a representative of his adoration for the big home - the Kingdom of Saudi Arabia. The study commences with a concise introduction. Then, it analytically moves ahead to inspect the noteworthy Saudi poet – Abdus-Salam Hashem Hafeth. After that, the study portrays a critical-analytical attitude to the first four-verse lines of the poem of Hafeth, ‘Nostalgia, Oh my Home’, focusing on the concept of home as its principal theme. In conclusion, the study ends with a concise assumption and recommendations.
Keywords: Abdus-Salam Hashem Hafeth, Al Madinah Al Monawarah, Arabic literature, Arabic poetry, home in poetry, Kingdom of Saudi Arabia, Saudi poetry,
The Influence of Ibrahim Khafaji as Arabic Lyric Poet - تأثير إبراهيم خفاجي: ...Al Baha University
This paper attempts to clarify some literary features of contemporary Arabic poetry in the Kingdom of Saudi Arabia as an illustration of the prominence of Arabic literature with a particular reference to a modern Saudi poet, Ibrahim Abd Al-Rahman Khafaji. The paper commences with a brief introduction. It is divided into four main parts; in which the first shows a general idea about Arabic poetry, presenting the status of Arabic poetry as a genre of the ancient-living Arabic literature. The subsequent segment deals with a short survey on contemporary poetry in the Kingdom of Saudi Arabia and its influence. After that, the study moves ahead to examine a significant Saudi poet – Ibrahim Khafaji analytically – and commenting on his influence and contribution to modern Arabic poetry. The fourth part presents a critical-analytical approach to a selected poem of Khafaji, ‘O Eyelid Slumbering.’ Finally, the paper comes to an end with a concise conclusion and recommendations.
A Voice of Arabs Taabbata-Sharran: A Bandit by Name a Poet of Pride - صوت من...Al Baha University
The magnitude of the Arabic language holds back from its being one of the unblemished languages in its brilliance and its reiterated capability to adapt to countless different sciences and knowledge. The Arabic language has reached creativity and ingenuity in diverse fields and genres of literature in which the supreme is poetry. This article attempts to present the inner landscapes of Taabbata-Sharran and his profession placing him in the context of both his social milieu and his age.
The paper aims at studying the figurative, allegorical and appealing images in Al-Gafiah of Taabbata-Sharran in which it follows the inferential inductive critical methodology concentrating analytically on his Al-Gafiah poem. The study attempts to divulge in the analysis the appealing qualities and poetic matters as well as the rhetorical images in it with particular reference to the first ten verse lines. The article begins with an introduction to Arabia and the Arabic Poetic Language then shifts to shed light on the poet Taabbata-Sharran as a great poet of Arabia, the center of the Arabic language. It is concluded with a brief examination and comments on the poem Al-Gafiah trying to catch on the original Arab ideals, morals, integrity, and beliefs in the pre-Islamic Epoch it contains.
Hassan ibn Thabit: An Original Arabic Tongue (1) حسان بن ثابت: لسان عربي أصيل Al Baha University
حسان بن ثابت واحد من أعظم الشعراء الذين عاشوا خلال عصرين متميّزين للأمة العربية في الجزيرة العربية، الفترة ما قبل الإسلامية والحقبة الإسلامية، قدم حسان خلالها صور حلو الشمائل عن العرب قبل الإسلام وبعده، في هذه الورقة الأدبية، يحاول الباحث سبر غور عمق الشعر العربي عند حسان بن ثابت كأنموذج على عظمة اللغة الشعرية العربية. يستحق الشاعر، حسان بن ثابت، دراسة أدبية، مركزاً، بشكل رئيسي على شعره كنوع من التراث والموروث للغة العربية الفصحى.
تعاملاً مع واحدة من القصائد الشهيرة لحسان بن ثابت، فإن هذه الورقة البحثية تستخدم الأسلوب التحليلي النقدي، والذي تبدأ بمقدمة موجزة عن الشعر العربي ثم تنتقل الورقة لإلقاء الضوء على العرب واللغة الشعرية العربية، ثم يلقي الباحث الضوء على الشاعر حسان بن ثابت، صاحب الملكات اللغوية العربية الغير عادية، وبعد ذلك، تنتقل الدراسة لتركز بشكل أوسع على التحليل والوصف لأول سِتة عشر بيتاً شعرياً من قصيدة حسان بن ثابت الشهيرة المعروفة باسم (قافية الألف). هذا الجزء هو الجزء الرئيسي التي تحاول الدراسة إثباتها من خلال شعر حسان بن ثابت، وتختتم هذه الورقة البحثية بملخص نهائي قصير.
Hassan ibn (son of) Thabit is one of the greatest poets who lived within two distinguished ages of the Arabic nations in Arabia, the pre-Islamic period and the Islamic period. He presented graceful pictures of Arabs before Islam and after Islam. In this literary paper, the investigator attempts to probe the depth of the Arabic poetry of Hassan ibn Thabit as an instance of the magnitude of Arabic poetic tongue. The poet Hassan ibn Thabit deserves a literary investigation paying attentiveness mostly to his poetry as a tradition and legacy of the classical Arabic poetic language.
In dealing with one of the famous poems of Ibn Thabit, the paper operates the critical-analytical method. It starts with a succinct introduction about Arabic poetry then the paper progresses to illuminate Arabs and Arabic poetic tongue. Subsequently, the researcher goes to shed light on the poet, Hassan ibn Thabit as a poet of an unusual Arabic language. After that, it goes on to focus more with analysis and wasf (description) on the first sixteen verse lines of Hassan ibn Thabit's renowned poem known as the Alef rhymed (قافية الألف). This part is the central division of the study in which it attempts to verify via the poetry of Hassan Ibn Thabit. The paper is ended with a short conclusion.
Thu Al-Ausb’a Al-'Adwani: An Arabic Poet of Acuity with Eternal Arguments - ...Al Baha University
The Arabic poetry, particularly the poetry of pre-Islam age, with its valuable tradition, is one of the major influences of the Arabic world. Thu Al-Ausb’a Al-'Adwani is one of the great poets in the age prior to Islam. He is one of the supreme poets who brings to light erudite pictures of Arab’s traditions and conventions before Islam. This paper focuses on illustrating the profundity of some verses of Thu Al-Ausb’a Al-'Adwani as a case of the prominence of the Arabic language as a result of poetry. The poet, Thu Al-Ausb’a, has been scarcely studied. For this reason, he and his poetry deserve to be given enough attention particularly his verse as a legacy of the graceful language.
The paper harnesses the descriptive-analytical approach. It commences with a succinct introductory outline on the Arabic language and its link with poetry. Then, in its first part, it moves ahead shedding light on the life and some events of Thu Al-Ausb’a Al-'Adwani. The next main point to be followed deals with the perceptive analysis of the poet, his wisdom, and eternal notions with reference to selected verse lines of his poetry. Through this part, the paper attempts to ascertain the importance of the Arabic language and to exemplify the capacities of Thu Al-Ausb’a Al-'Adwani through poetry. The study is concluded with a brief summary of the whole analysis and it comments on the findings if there is any.
On the Poetry of The Dog Beneath the Skin - حول الشعر في مسرحية: ’الكلب المتن...Al Baha University
تعتبر مسرحية ’الكلب المتنكر تحت الجلد‘ هي أولى المسرحيات التي اشترك في تأليفها كل من ’ويستن هيو اُودن‘ (Wystan Hugh Auden) و ’كريستوفر إيشروود‘ (Christopher Isherwood)، وهذه المسرحية تعتبر مسرحية شعرية تُحدِث لدى المؤلفين تحدٍ من أجل النجاح لسببين؛ الأول كون هذه المسرحية تكتب شعراً، والسبب الثاني كونها مشتركة في التأليف وما يصاحب ذلك من صعوبة، الدراسة من خلال الشريكين في التأليف، تحاول أن تعرض إلى أي حد استطاعا إنجاز نوع من النجاح في تعاملهما مع مسرحيةٍ شعريةٍ، الدراسة أيضاً تسعى إلى اقتفاء الخصائص الشعرية في مسرحية ’الكلب المتنكر تحت الجلد‘ وتسعى إلى التحقق من القدرة والامكانية في تأليف مسرحية شعرية بالمشاركة، ويتخذ هذا البحث طابع الدراسة التحليلية النقدية كنهج حول مسرحية اشترك في تأليفها كل من ’إيشروود و اُودن‘.
هذه الدراسة تتعقب بإيجاز نشأة وتطور المسرح الشعري منذ نشأته حتى القرن العشرين مروراً بنوعية التعاون في التأليف بين ’إيشروود و اُودن‘، وتُختَتَم في جزئها الرئيسي باستنباط وتحليل الخصائص والعناصر الشعرية في مسرحية ’الكلب المتنكر تحت الجلد‘.
The Dog Beneath the Skin is the first play to be coauthored between Wystan Hugh Auden and Christopher Isherwood. It is a play written in verse, which creates a challenge of success for the dramatists for two reasons, the first is that it deals with verse, the second it is collaborative. The study through the collaborators, trying to show, to what extent, both achieved attainment in dealing with verse drama. This study also endeavors to trace the poetic features in The Dog Beneath the Skin and to attempt proving the capability and controllability in writing successful drama in verse through collaboration. This paper is done by using an analytic-critical method. It is an approach to a drama shared by both Auden and Isherwood.
The study tersely traces the growth and elaboration of poetic drama until the twentieth century. It goes through the sort of collaboration between Auden and Isherwood. It is concluded by examining and analyzing, its central part, the poetic features and essentials in the play The Dog Beneath the Skin.
Eliot’s Treatment of the Chorus: A Steady Logical Structure (1): The Rock and...Al Baha University
This study is an investigative method on Thomas Stearns Eliot’s multipart theatrical development and progress in the use of a very ancient dramatic technique. It is the implementation of the chorus in his dramas. The paper is an attempt to shed light on the way Eliot employs the technique of the chorus into his plays. The study tries to track the procedure of Eliot in applying the chorus in his plays, tracing the development he reached with particular reference to The Rock and Murder in the Cathedral as Case in Point and as an imitation of the ancient Greek style and device. It equally, sheds light on the traditional Greek dramas from which Eliot hunted his themes. The study -analytically and critically – starts with an introduction on Eliot and his theory on the chorus. Then the task moves ahead to deal with the usage of the chorus in The Rock. After that, the work shifts to the second point that investigates the play Murder in the Cathedral and to be followed by the conclusion.
Milton’s Samson Agonistes: A Renaissance Image of Man - مسرحية شمشون اقونيستس...Al Baha University
جون ميلتون يعتبر شاعرا اكثر من كونه كاتب مسرحي، لهذا السبب فان شعره قد اخذ حيزا كبيرا من الدراسة والتمحيص والتحليل و/أو النقد لكن لم يعطى ذلك الاهتمام في مسرحيته، تحاول هذه الدراسة إلقاء الضوء على "سامسون اقونيستس" لميلتون كمسرحية أكثر من كونها قصيدة شعرية، الدراسة تستخدم النهج التحليلي والفلسفي والأدبي لأحد أبرز الشخصيات الأدبية في العصر التطهيري البيروتاني، جون ميلتون ومسرحيته "سامسون اقونيستس" كصورة أو مفهوم رجل عصر النهضة التي كثيرون ينسبون ارتباط ميلتون كأخر شخصية ادبية لهذا العصر، يستهل البحث بموضوع المعرفة – سواء المعرفة السماوية أو البشرية (من وجهة نظر ميلتون) وردة فعل الانسان فيما يتعلق بتلك المعرفة، الدراسة تحاول في هدفها ان تؤكد وتبرز النقائص المألوفة و اللافتة للنظر مثل المعاناة وسوء الحظ، الزوجة الغير ملائمة، المهمة الفاشلة والورطة بين كل من ميلتون وبطل مسرحيته، "سامسون".
الدراسة هي عبارة عن عملية تتبعيه لعصر "ميلتون" وأفكاره المعكوسة في مسرحيته " سامسون اقونيستس"، تحاول الدراسة إلقاء الضوء على كيفية توظيف ميلتون تقنياته الأدبية النابغة في المسرحية الشعرية قيد الدراسة، تستهل الدراسة بمقدمة متبوعة بالفقرة الأولى مفهوم رجل عصر النهضة ثم تتطرق الى معاينة المعاناة وسوء الحظ وبعد ذلك يتبع بوصف لمرئيات ميلتون نفسه حول المرأة كنتيجة لبغضه زوجته التي لم تعش معه، في القسم التالي تتبع تحليلي لمفاهيم المهمة الفاشلة والمأزق المصور في ذهن ميلتون عن نفسه وبطل مسرحيته.
John Milton is a poet more than a dramatist, hence, his poetry is plentifully studied, examined, analyzed, and/or criticized but his drama is sparsely done. This study tries to shed light on Samson Agonistes as drama. It is an analytical, philosophical and literary approach of one important figure in The Puritan age, John Milton, and his play as an image of the Renaissance man. The study takes up the theme of knowledge—divine or human knowledge and man’s reaction apropos that. The current study tries in its aim to highlight the frequent remarkable demerits such as misfortunes and suffering, unfortunate wife, unsuccessful mission, and plight between Milton and Samson. It is a pursuing process for Milton's age, and thoughts reflected in his work, Samson Agonistes. The study also attempts to shed light on how Milton employs his genius literary techniques in this verse play. The study starts with an introduction followed by the concept of the Renaissance man. The paper deals with views of misfortunes and suffering thereafter, it depicts Milton’s views concerning women as a result of his hatred to his wife. The research pursues analytically the concepts of ineffective mission, and plight imaged by Milton about himself and Samson, his main character of the play.
Eliot’s Treatment of the Chorus: A Steady Logical Structure (2) The Family Re...Al Baha University
This study is a follow up investigative method on T. S. Eliot’s complex theatrical growth and progress in the handling of a very ancient dramatic technique. It is the functioning of the chorus in his dramas. The study is a continuous attempt to shed light on the means Eliot employs the technique of the chorus into his dramas. The study tries to track the procedure of Eliot in employing the chorus in his plays, tracing the development he reached with particular reference to The Family Reunion and The Cocktail Party as Case in Point and comparing Eliot’s imitation of the ancient Greek technique and device in these two plays. The study – analytically and critically – commences with an introduction on Eliot and his theory on the importance of the chorus. Then the task moves ahead to manage and analyze the usage of the chorus in The Family Reunion. Subsequently, the work shifts to the second point that investigates the play The Cocktail Party and to be followed by a conclusion.
Milton’s On His Blindness: Eye Sight or Heart Vision - ’حول قصيدة ميلتون في ا...Al Baha University
John Milton, in his Sonnet 16 'On his Blindness,' meditates on the disturbing effect blindness has had on his whole life and literary works. He compares his lost vision with 'light spent' and grieves not the handicap in itself but the restrictions it carries out on his work as a literary figure, particularly a poet. His poetic skill is significant to him that he describes it as that one talent,' signifying it is the only talent that is of importance.
This study is an attempt to analyze the concepts of blindness, sight, light, vision, and obedience with particular reference to his poem, sonnet 18 or 'On his blindness.' It starts with an introduction to John Milton as a poet. After that, it shifts to discuss the concept of Vision or Sight. Then, the study goes on to deal with the concept of obedience. Next, it sheds light on the concepts of Blindness and Light. Afterward, the task moves to close with a conclusion. In this paper, the researcher applies the critical-analytical approach.
Eliot’s Treatment of the Chorus: A Steady Logical Structure (3) The Confident...Al Baha University
This study is a scrutiny investigative approach on T. S. Eliot’s complex dramaturgical development and progress in the implementation of a very olden dramatic practice. It is the operational of the chorus in Eliot’s verse dramas. This analysis is the third continuous effort to track the treatment that he employs in dealing with the chorus from antiquity to a modern approach. The study tries to pursue the procedure of Eliot in using the chorus in his dramas, tracing the progress Eliot reached with particular reference to his two final plays The Confidential Clerk and The Elder Statesman as Case in Point. The study uses descriptive-analytical and critical methodology. It begins with a brief outline of Eliot and his theoretical views on the merits and demerits of the chorus in drama. Then the task moves ahead to examine and analyze Eliot's usage of the chorus in The Confidential Clerk. Later, the work moves to the next part that explores the play The Elder Statesman. The study ends with discussion, conclusion, and recommendations if there is any.
The Eminence of Poetic Arabic Language: Lamiyyat Al Arab of Ash-Shanfara Exam...Al Baha University
إن أهمية اللغة العربية تعود إلى كونها واحدة من أكثر اللغات وضوحاً في تألقها وقدرتها المتكررة على التكيف مع عدد لا يحصى من العلوم والمعارف الأخرى، وصلت اللغة العربية إلى الإبداع والأصالة في مختلف مجالات الأدب المختلفة التي يكون فيها الشعر أعظم ما يكون.
تهدف الورقة البحثية إلى إمعان النظر في الصور الرمزية والبلاغية والجمالية في قصيدة "لامية العرب" للشنفرى والتي يتبع فيها الباحث المنهج النقدي الاستدلالي والاستقرائي الذي يركز بشكل تحليلي على الأبيات العشرة الأولى من القصيدة، وتحاول الدراسة أن تكشف تحليلا بتعمق للصفات الجمالية والمواضيع الشعرية وكذلك الصور الرمزية والاستعارية في القصيدة، حيث تبدأ الدراسة بمقدمة عن الجزيرة العربية ولغتها العربية الشعرية ثم تنتقل لإلقاء الضوء على الشاعر الشنفرى كشاعر عربي عظيم، تختتم بتحليل وتعليقات على قصيدة "لامية العرب" التي تحاول ابراز القيم العربية الأصلية، والاصيلة والأخلاق والمبادئ في عصر ما قبل الإسلام التي تحتوي عليها.
The significance of the Arabic language holds back from its being one of the most explicit languages in its brilliance and its repeated ability to adapt to countless other sciences and knowledge. The Arabic language has reached creativity and originality in different fields of literature in which the greatest is poetry.
The paper aims at scrutinizing the figurative, rhetorical and aesthetic images in Lamiyyat Al Arab by Ash-Shanfara in which it follows the deductive, inductive critical approach focusing analytically on the first ten verses of the poem. Applying the historical-analytical method, the study attempts to reveal in the in-depth analysis of the aesthetic qualities and poetic issues as well as the figurative images in the poem. It commences with an introduction on Arabia and Poetic Language then moves to shed light on the protagonist-poet Ash-Shanfara as a great Arabic poet to be concluded with analysis and comments on the poem Lamiyyat Al-Arab trying to find out the original Arab values, morals, ethics, and tenets in the pre-Islam era it contains.
Hassan ibn Thabit: An Original Arabic Tongue (2) حسان بن ثابت: لسان عربي أصيل Al Baha University
As it is suggested and recommended in the first part of a previous paper that carries the same title, this paper is a continuous effort not to claim to be wide-ranging in mastering a poetic piece as one sort of expressive manuscript in Arabic but an impartial effort through analytical assessment of a poem. The study is limited to a few selected verses of Hassan ibn Thabit poem named ‘Al Alef rhymed (قافية الألف).’ It is a representative of the Arabic tongue and its magnificence. It is a piece of poetry that cannot be examined and scrutinized in a short paper like this.
The study focuses, with analysis, on six verse lines – 17/22 – of Hassan ibn Thabit's poem mentioned above. It employs an analytical and critical method, makes an effort to illustrate the inspiration of Arabic poetry as a means of the tongue and its grandeur and glory. The study initiates with an introduction raising the importance of Arabic classical poetic tongue. Then it goes go forward to give a picture of Hassan ibn Thabit as a man and a poet. The researcher, then, shifts to the foremost segment of the study, attempting to bring an interpretation to some selected verses of Hassan’s above-mentioned long poem. The paper reaches its conclusion by a concise discussion and recommendatory afterword.
الملك لير والمهرج لشكسبير: تبادل الأدوار - Shakespeare’s King Lear and the Fo...Al Baha University
السلوك الطبيعي والمقبول هو أن أي الملك يفترض أن يسلك سلوك الملوك وفي المقابل فالمهرج، من الطبيعي أن يظهر من سلوكه نوع من السذاجة والحمق والفكاهة، لكن الفكرة في مسرحية ’الملك لير‘ King Lear لوليام شكسبير معكوسة، كقارئ للمسرحية، أعتقد أن ’لير‘ هو الملك ويفترض أن يتصرف كملك يتمثل المسئولية والواجب وفقاً لمنصبه، من المتوقع أن يكون سلوك المهرج ينم عن أنشطة فكاهية ومسلية.
تهدف هذه الدراسة، في محاولة، لسبر غور مفهوم ’انعدام العقلانية‘ ومقابلها ’الحكمة‘ من أجل إظهار الأدوار العميقة المقلوبة للشخصيتين الرئيسيتين ’لير‘ و’المهرج‘؛ يُعنى بالدراسة إيضاح السلوك الهزلي الفكاهي في شخصية الملك ’لير‘ وفي المقابل إبراز السلوك الحكيم والمتبصر لدى شخصية ’المهرج‘ من خلال إتباع المنهج التحليلي الناقد.
الدراسة تُستهلُ بمقدمةِ موجزةِ عن شكسبير وعن مسرحيتهِ ’الملك لير، King Lear، ثم تقومُ الدراسةُ في الجزءِ الرئيسي الأول بالتعليقِ تحليلياً عن سلوكياتِ ’لير‘ كشخصيةٍ هزليةٍ تمزجُ بين السخريةِ والتصرفِ الغير ملائم، ثم تُتبعُ بالجزءِ الرئيسي الثاني الذي يَتمحورُ حولَ أوجه الحكمة في سلوكيات شخصية ’المهرج‘، ومن ثم تنتهي بخاتمةٍ موجزةٍ.
The natural and accepted behavior is that a king should behave like a king. In a different way, a fool might show the conduct of a comedian or a silly person, but the notion in Shakespeare’s King Lear can be seen reversing. As a reader of the play, I believe that Lear is a king and should show responsibility and obligation according to his title. It is expected that the Fool behaves with amusing and humorous activities.
This study aims to explore the concepts of ‘irrationality’ and its conflicting ‘wisdom’ to illustrate the profound inverted roles of the two major characters ‘Lear and the Fool’. Through an analytical and critical examination, the study is meant to expose the comic conducts of King Lear and on the other side, the wisdom sides of the Fool.
The paper starts with an introduction about Shakespeare and the sources of the play, then analytically comments, in its first central part, on the behavior of Lear as a comic person mixing hilarity and inconvenient conduct. It is followed by the second central part which deals with the aspects of wisdom in the behavior of the Fool. Then the paper ends with a concise conclusion.
Emily Dickinson's I Died for Beauty: Saying too Much Using Few Terminologies ...Al Baha University
Emily Dickinson had a distinct talent for capturing the core of an event or emotion in her written expression. She is likened to a genius. She wrote hundreds of well-defined poems. This study attempts to spur the depth of one of the resounding poems, ‘I Died for Beauty.’ The paper tries to prove the greatness of the poem, Dickinson, in revealing too much using few words. The study starts with an introduction about the poet, then shifts to the next main point – critical-analytical description of the three-stanza poem, illustrating its style, themes, symbols, and the study ends with a brief conclusion and recommendation if there is any.
Critical Reflections on Frost’s The Road Not Taken - تأملات ناقدة حول قصيدة ف...Al Baha University
قصيدة "الطريق الغير مسلوك" للشاعر روبرت فروست تعتبر من القصائد البارزة والتي تتناول رحلة الحياة، وهي قصيدة غامضة ومن الممكن أن تتيح للنقاد إمعان النظر بعمق حول خيارات متعددة في الحياة، يبدأ الغموض من سؤال استفهامي عن حرية الإرادة في مقابل العزم سوى قيام الراوي باختيار الطريق الغير مأخوذ أو يقوم بذلك بسبب أنه لم يتصور الطريق ذو المنعطف.
تهدف الدراسة الى سبر غور عدد من المسائل الهامة في قصيدة " الطريق الغير مسلوك"، حيث تبدأ هذه الورقة البحثية بمقدمة موجزة عن الشاعر ’روبرت فروست‘ ومن ثم ينتقل الباحث لكشف النقاب تحليلاً ونقداً عن المجال لثلاث مسائل هامة، المسائل هي الاختيار والقرار، والفردية، وتختتم الدراسة بتقييم ناقد، ويتبع البحث في هذا البحث المنهج التحليلي الناقد.
Robert Frost’s The Road Not Taken is an eminent poem about the trip of life. It is an ambiguous piece of poetry that might allow critics to ponder about various choices in life deeply. The ambiguity launches from the interrogation of free will against determination, whether the narrator of the poem chooses to take the route that is off trodden track or merely does so since he does not imagine the route with the curve in it.
The study aims to probe the depth of some important themes of The Road Not Taken. The paper starts with a concise introduction to the poet Robert Frost then the researcher moves to analytically and critically explore the scope of three important points. They are the choice, the decision, and the individuality, then to close with critical judgment. In this research, the researcher applies the critical-analytical approach.
Shakespeare's Othello: Misrepresentations of the Arab Moors - عطيل لشكسبير: إ...Al Baha University
كثير من مسرحيي العصر الإليزابيثي شوهوا المصادر الأدبية التي كانت في منأى عن الحقيقة، فهؤلاء المسرحيين – بقصد أو بدون قصد – صوّروا العرب بوصف مليء بالمعلومات الخاطئة وكذلك الإسلام كديانة شرقية ومثل ذلك الشخصيات المغربية والتركية، كثير من المسرحيين صوّروا العرب بشكل منافٍ للحقيقة ومليء بالتشويهات مثل (فاسقين وجشعين وقساة وقتلة ومغتصبين وشهوانيين) خلافاً للواقع. الدراسة عبارة عن محاولة لتوضيح الصورة الانحيازية لمثل أولئك الكتاب المسرحيين في مسرحياتهم في إشارة إلى مسرحية ’عطيل‘ ’Othello‘ للكاتب المسرحي الإنجليزي وليم شكسبير كمثال على ذلك.
يستخدم الباحث في دراسته منهج التحليل كوسيلة تقنية للدراسة حيث تبدأ الدراسة بمقدمة عن الكاتب المسرحي شكسبير ثم تتبع بفاصل مختصر كمقارنة بين الشرق والغرب ملقياً الضوء على إسهامات وتأثير الحضارة الشرقية (العربية الإسلامية) على الغرب، بعد ذلك الانتقال إلى الجزء الرئيسي المتمثل في إظهار فكرة الكاتب المشوهة في هجومه على بطل المسرحية العربي ’عطيل‘.
Many Elizabethan playwrights demoralized the sources that were outlying from reality. They intentionally or unintentionally dramatized misinforming descriptions of Arabs and Islam as an oriental religion, character, Moors, and Turks. Several Elizabethan dramatists portrayed them fallaciously as lascivious, avaricious, envious, cruel, murderers, usurpers, pleasure-seekers, converters, and lusty. The study is an attempt to illustrate the partiality of such dramatists in their plays with reference to Shakespeare's Othello as an instance.
The researcher utilizes the critical-analytical literary device as a technique of the study. The study starts with an introduction to the dramatist William Shakespeare, to be followed by a brief section on Orient and Occident, shedding light on the contribution and influence of Oriental civilization on the occident. The central part of the study, so to speak, is made to illustrate the dramatist's notions attacking the hero Othello, the Arab.
Contemporary Drama in the Arab World: Commencement and Evolution (1) المسرح ا...Al Baha University
Drama has echoed and paralleled the life, customs, conduct, and general living traditions of society from its dim commencements on the ancient auditoriums and the banks of the Nile in olden Egypt approximately six thousand years ago. Drama is an advanced and simple means of recording and documenting human effort. There are many central playwrights significantly contributed to the progress and evolution of Arabic drama and theater and tended to perform dramatic representations within many Arabic countries throughout time and place.
This study is an attempt to shed light on two pioneer dramatists who were the first innovators, paving the way for the development of Arabic drama and theater. The first is the Lebanese Marun An-Naqqash, and the second is the Syrian Ahmad Abu Khalil Al-Qabbani. The paper is analytically and critically charted with an introduction. Then, it deals with a brief notion on the meaning of drama, focusing mainly on poetic drama and the origin and development of Arabic Drama. The central part copes with the two pioneers, An-Naqqash, and Al-Qabbani, shedding light on the struggle they made to give life to a very famous genre called drama. The paper reaches the end with a brief conclusion and recommendations if any.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
How to Create Map Views in the Odoo 17 ERPCeline George
The map views are useful for providing a geographical representation of data. They allow users to visualize and analyze the data in a more intuitive manner.
Ethnobotany and Ethnopharmacology:
Ethnobotany in herbal drug evaluation,
Impact of Ethnobotany in traditional medicine,
New development in herbals,
Bio-prospecting tools for drug discovery,
Role of Ethnopharmacology in drug evaluation,
Reverse Pharmacology.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
This is a presentation by Dada Robert in a Your Skill Boost masterclass organised by the Excellence Foundation for South Sudan (EFSS) on Saturday, the 25th and Sunday, the 26th of May 2024.
He discussed the concept of quality improvement, emphasizing its applicability to various aspects of life, including personal, project, and program improvements. He defined quality as doing the right thing at the right time in the right way to achieve the best possible results and discussed the concept of the "gap" between what we know and what we do, and how this gap represents the areas we need to improve. He explained the scientific approach to quality improvement, which involves systematic performance analysis, testing and learning, and implementing change ideas. He also highlighted the importance of client focus and a team approach to quality improvement.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
Judgmental Point of View on Marlowe’s Doctor Faustus (1) وجهة نظر ناقدة حول مسرحية دكتور فاوستس لكريستوفر مارلو
1. International Journal of English Research
4
International Journal of English Research
ISSN: 2455-2186; Impact Factor: RJIF 5.32
Received: 02-08-2019; Accepted: 03-09-2019
www.englishjournals.com
Volume 5; Issue 6; November 2019; Page No. 04-09
Judgmental Point of View on Marlowe’s Doctor Faustus (1)
Yahya Saleh Hasan Dahami
Associate Professor, English Department, Faculty of Science and Arts- Al Mandaq AL Baha University, Saudi Arabia
Abstract
The Elizabethan poet-dramatist Christopher Marlowe is one of the most distinguished literary figures who put a touchable
print and significantly contributed to the English literature through various masterpieces such as The Tragical History of the
Life and Death of Doctor Faustus. The main character is Doctor Faustus, who surpasses in many fields of learnings but
unfortunately, he detours his track searching for unlimited power and influence. The paper attempts to shed light on some
critical and condemnatory points of view on Elizabethan theater with particular reference to Doctor Faustus as a person of
extravagant ambition, an experienced philosopher who rejects natural sciences to metaphysical powers. This task might be
extended with more investigations to deal with the two broad points fully; the Elizabethan theater and Doctor Faustus. This
study comes to an end with a concise summary as an initial conclusion.
Keywords: black magic, damnation, Elizabethan drama, Faustus, infinite power, Marlowe, metaphysical, sin and repentance
1. Introduction
During Marlowe's time, the theater was not purely one form
of space; plays had to be flexible, resourceful, versatile and
multipurpose. The same play possibly will be produced in a
royal palace, an indoor theater, an outdoor playhouse or, for
a company on tour, in the yard of an inn. In any of these
situations, men and boys performed all the roles of the
characters; the roles of both male and female. Acting in the
Renaissance period was an entirely male occupation.
Audiences and spectators had their preferred performers,
looked forward to catching music with the creations and
productions, and appreciated the splendid and expensive
costumes of the principal characters. The theater itself was
moderately empty. On the whole, playwrights used brilliant,
dramatic, vivid, energetic, lively, and inventive words
instead of scenery to visualize and evoke the scene playing.
Christopher Marlowe built his play The Historical Tragedy
of Doctor Faustus on anecdotes about a professor whose
ambitions exceeded the permits of natural powers and
possessed with surpassed desires more than the sciences he
has acquired. It is magic that he has been influenced by.
Doctor Faustus allegedly sold his soul, flesh and body to the
devil to gain magical influences for a specific period of
time.
Closely dating Renaissance manuscripts can be problematic,
but Faustus creates particular challenges. Academics believe
that Christopher Marlowe read or took notice of the story of
Johann Faust and invented the play Doctor Faustus at some
point between 1588 and 1592. But the play entered the
certified records in 1601, in 1602; however, some writers
were paid for additions of the text of the play. “The most
striking feature of Marlowe's dramas is the concentration of
interest on an impressive central figure dominated by a
single passion, the thirst for the unattainable… in Doctor
Faustus universal knowledge” (Eliot, 2009, p. 198) [8]
. Many
critics accept as true that Marlowe inscribed the play’s
tragic opening and end, whereas his collaborators inscribed
a considerable amount of the comical pieces. “Clown scenes
in Marlowe’s Doctor Faustus re-enact the protagonist’s
demonic bargain to emphasize its absurdity” (Braunmuller,
2003, p. 289) [5]
. The Earl of Nottingham’s Men, A
theatrical company, generally identified as the Admiral’s
Men, acted the play more than twenty times between 1594
and 1597. Such reiteration of the performances proves the
importance of the play and the significance of what it bears
of a social theme. Thomas Busshell issued the play in the
year 1604, though John Wright issued a diverse version in
1609. Managing editors commonly combine fragments of
such versions of the manuscript to produce the play as it is
broadly read today.
Modern theatre records show that in the first performance,
Doctor Faustus may have put on the coat of a scholar,
ornamented with a cross, whereas the devil Mephostophilis
(it is also written as Mephistophile, Mephistophilis, or
Mephistopheles) emerged in the costume of a dragon. It has
been mentioned that performances of Doctor Faustus were
so scary that during the seventeenth-century spectators
believed that the evil spirit actually rolled up among them.
“The devil works through spiritual temptation: since his
autonomy is wholly bounded by divine permission, his
malign attendance provides occasions for human depravity,
the mainspring of suffering” (Macdonald, 2014) [17]
.
Regardless of a literary career precipitately shortened by his
ferocious life, Christopher Marlowe intensely and
profoundly influenced the English literature. In particular,
critics and scholars praise, credit, and acclaim his
play Tamburlaine with positively familiarizing blank verse
into English theatre and with emerging the Elizabethan
perception of tragedy as a way of reconnoitering key moral
matters of the Renaissance. Granting not a favorite with
early spectators, nowadays critics and theatre-goers
comparable believe Doctor Faustus Marlowe’s chef-
d'oeuvre.
The Dramatist
Born in 1564, the same year as equivalent to the
dramatist Shakespeare, Marlowe’s impressive dramatic
successes appeared on London’s theater a few years before
2. International Journal of English Research
5
Shakespeare came to dominate the English theater. In his
day, Marlowe’s dramas marked an acme in English theater,
particularly because Marlowe first effectively familiarized
blank verse into tragedy. “Doctor Faustus is generally
regarded as the first blank-verse tragedy in Early Modern
English” (Hirt, 2018) [10]
. This sort of verse is written in
poetic stanzas shown by the famous iambic pentameter,
which is defined that each line encompasses ten syllables
with stress on every second stress; the verse is collected
without rhyme. Furthermore, Marlowe’s classification
helped progress the Elizabethan perception of tragedy as a
means of exploring important moral matters of the
Renaissance.
Marlowe is a native of Canterbury and the son of a popular
shoemaker; he received a scholarship allowing him to join
Cambridge, Corpus Christi College, and arrange for a
profession. He inhabited at Cambridge for six years from
1581 to 1587, getting his B. A. in 1584. In 1587, he
obtained his M.A. During his life; nevertheless, Marlowe
caused a disputable argument. Primarily, Cambridge sought
to preclude Marlowe from getting his M.A. degree after
hearing that he had toured to France with ideas to pursue
ordination as a Catholic vicar. Suggestively, however, the
Privy Council denied these reports, asserting that Marlowe's
trips had been in the benefit of Queen Elizabeth's
administration and that he ought to, therefore, obtain his
degree. Though rigid evidence does not subsist, these
situations have directed some evaluators, and critics to
speculate and consider that Christopher Marlowe had been
involved by the administration as a spy, on this and
succeeding events.
Marlowe’s rough and coarse lifestyle challenged social
standards and traditions. Marlowe spent time in Newgate
jail because he was detained for his involvement in a scuffle
that led to his opponent’s decease. His delivery followed a
legal and permissible ruling of the brawl as self-defense. In
May 1593, administrators detained Marlowe’s roommate,
the prominent dramatist Thomas Kyd for possession of
profane and blasphemous writing. Kyd’s The Spanish
Tragedy thought to be the first English tragedy on
vengeance. Thomas Kyd claimed that the papers tangled
belonged to Marlowe. The Privy Council made a capture
warrant for Marlowe, but before the occasion could
advance, Marlowe was killed in another skirmish. The
quarrel arose over a dispute regarding a bill at a neighboring
tavern. Officials reigned the death self-defense; however,
some consider that Marlowe’s companions murdered him
for political or religious motives.
Marlowe's profession as a poet and playwright covered a
mere six years. Between his successful completion of the
program of study from Cambridge in 1587 and his demise in
1593, he wrote solitary a chief poem Hero and
Leander, incomplete at his decease and almost six dramas.
Seeing as the dating of numerous plays is uncertain, it is
difficult to put up a consistent history of Christopher
Marlowe's knowledgeable and artistic development.
Tamburlaine the Great, a play of two-parts, was
approximately published in 1590, however, was possibly
composed some years earlier. The imminent introduction to
the first fragment declares a new poetic and dramatic design
and quality:
From jigging veins of rhyming mother wits,
And such conceits as clownage keeps in pay
We'll lead you to the stately tent of war,
Where you shall hear the Scythian Tamburlaine
Threat'ning the world with high astounding terms
And scourging kingdoms with his conquering sword.
View but his picture in this tragic glass,
And then applaud his fortunes as you please (Marlowe,
1992, p. 7)
Tamburlaine the Great is an intrepid demonstration of
Tamburlaine's growth to authority and his single-minded,
often unfeelingly cruel exercise of that authority. The hero
brings about wonder but little compassion.
In spite of the fact that The Jew of Malta was written
sometime between 1588 and 1592, it was not published until
1633. The principal figure, the remarkably affluent
merchant-prince Barabas, is one of the furthermost
prevailing Machiavellian dignitaries of the Elizabethan
productive theatre. Different from Tamburlaine, who
emphasizes his will openly and without treachery, Barabas
is shrewd, deceitful, and mysterious. The previous two plays
of Marlowe are significant because they paved the way for
the advent of Doctor Faustus.
Judgmental points on sin-damnation-and-repentance
The ambition, drive, motivation, objective, and desire of any
person are rationally accepted the time they go with the
mental ability and capacity and its limits, however, when
such elements detour from their right path, nobleness, honor
morality and magnanimity are changed into damnation. The
most significant play, Doctor Faustus, has mostly
considered Marlowe's utmost work is perhaps his last. “The
main thematic idea is the quest for knowledge as rational
science of Enlightenment replaces religion and opens new
worlds” (Johnson, 2011, p. 21) [12]
. Such worlds in the mind
of Doctor Faustus, as well as his creator, makes the situation
debatable since knowledge and science have limits. If a
person believes in his limited knowledge, he is in the safe
side, but when the mind is occupied with unlimited
ambitions, then he is undoubtedly detouring backward not
forward. The consequences might be harmful as the end of
Doctor Faustus, Icarus and others. The key figure, a
professor who senses he has fatigued all the conventional
ranges of human knowledge, attempts to gain the eventual
and decisive in knowledge, supremacy, and power by
selling his body, soul and flesh to the evil spirit. The high
argument comes in the depiction of the hero's final minutes,
as he awaits the controls of darkness who demand his soul.
The chorus arrives, explaining that the performance tells the
anecdote of a professor named Doctor Faustus, who, similar
to Icarus, “his waxen wings did mount above his reach” (p.
49).
Doctor “Faustus typifies an incomparably nobler passion,
the thirst for boundless knowledge” (Verity, 1886, p. 32) [21]
but of a negative direction. His passion is rationally
accepted the time it goes with the mental ability and
capacity; however, when it detours from its right path,
nobleness is changed into damnation. Doctor Faustus
considers his activities, successes, attainments and arranges
for his future goings-on. He contemplates, then discards,
philosophy, medication, law, and divinity before
determining to take in the magic. Considerably, Doctor
Faustus attacks theology vigorously because of a confusion
of the relationship between godly justice and Christian
forgiveness. Doctor Faustus’s deal with the evil spirit has
3. International Journal of English Research
6
located him in need of supplications and prayers, though the
divine authority of the worldly pope, according to Marlowe,
continues doubtful.
Two angels appear, a good one and an evil angel, urging the
hero Doctor Faustus to struggle against goodness and
indulge in temptation, separately. "These two angels are an
interesting dramatic device in Doctor Faustus. They are
allegorical personifications of the sort found throughout the
medieval religious drama, here imported into a complex
Renaissance tragedy where they take on multiple
dimensions” (Bevington, 2014) [3]
. Then two conjurers,
Valdes and Cornelius, pass in, offering Doctor Faustus
books of spells and approving to teach him in the dark arts.
In this play, the Chorus is seen only four times; the first time
is when it appears to establish the heroic scenery of the play.
Next, the Chorus is committed to identifying and
categorizes the places and times of the events and actions. It
also assesses or comments on the events. As the majority of
the Renaissance manuscripts, this play should ‘teach and
delight’, and the Chorus ensures that the spectators and
readers understand the message. Later in the final scene, the
Chorus infers that there are acceptable limits for human
knowledge, portraying Doctor Faustus as a domain that
“might have grown full straight,1
” instead, he desired to
study illegal things “to practice more than heavenly power
permits” (Ashley, 2011, p. 32) [2]
.
In drama, the chorus is mostly more than one actor whose
role is to interpret and comment on the action displaying on
theatre. Finally, it relates the moral and helps the audience
understand the significance of the closing scene. Marlowe
has written The Tragical History of the Life and Death of
Doctor Faustus “for an audience that was inclined to see
Faustus's despair not as a natural function of his predestined
state but as a headstrong refusal to acknowledge his sin, turn
to god and amend his life” (Deats, 2012, p. 33) [7]
.
When Marlowe’s Doctor Faustus performed on the London
theater in 1594, spectators did not call it a great
accomplishment. However, theatre-goers and critics alike
consider it Marlowe’s magnum opus. Fashionable critical
negotiation concentrates on several, related critical
questions: does the play have a midpoint? What stimulates
Doctor Faustus’s character? And when does his eternal
punishment occur? Here is the main point of this
investigation.
Several critics interested in evaluating the play’s quality
reflect the unity of the play’s composition to be central. For
some critics, it has an opening, for instance, Doctor
Faustus’s deal with the devil Mephostophilis — it has a
conclusion known as Faustus’s damnation with slight
significance in between. The inconsequential ways Doctor
Faustus uses his authorities to support this spot, signifying
that the leading actor learns or changes little as the
descriptive action progresses. Bluestone (1970) [4]
, mentions
that the “unity of Doctor Faustus is in many respects,
something that we have to create for ourselves, answering
questions that were for Marlowe insoluble, pursuing
implications further than he was able or prepared to pursue
them (p. 113)”.
1
Marlowe, C. (2005). Doctor Faustus. Edited by John D.
Jump. London and New York: Routledge. p. 113. [All
passages on Doctor Faustus are quoted from this source (of
XX scenes) unless mentioned otherwise; number of pages
will be added.]
Doctor Faustus’s complex verbatim history does not make
the issue easier. Two unlike printed versions of the play are
seen in 1604 and 1616, in which Philip Henslowe, a theatre
manager, reduced modifications by other writers. This
leaves the authorship of the play’s midpoint segments open
to argument, though Marlowe unquestionably wrote the
play’s opening and end. Few critics believe that Christopher
Marlowe wrote the midpoint of Doctor Faustus alone, and
some accept as accurate that he had little share in it in the
least.
Many agree that this play is also critical of the official
political and religious ideology of its day. But few have
linked this critique to the play’s comic elements. This is
probably because most critics have thought of the comedy
of Doctor Faustus as confined to a few farcical scenes that
have often been deemed irrelevant or even, as Roma Gill
among others suggests, as material ‘added by different
authors at different times, and not always with the same
purpose (Ladegaard, (2017) [14]
.
Spectators, Viewers and critics approve that Doctor Faustus
seems a basically selfish, superficial fellow who uses
immeasurable power unwisely. The critic Knights,
investigates Doctor Faustus’s motivations as principally
immature, obsessed by “the perverse and infantile desire for
enormous power and immediate gratifications” (Jump,
2017, p. 205) [18]
. It does not tone down or underestimate
that desire, however, for “we should see the pact with the
devil and the magic . . . as dramatic representations of the
desire to ignore that ‘rightness of limitation’, which … is
essential for the growth of reality” (Knights, 1981, p. 22)
[13]
. While Doctor Faustus’s energies to go above limits
confuse him from apprehending reality, the spectators gain
insight from the magician’s blunders. Doctor Faustus’s
extreme ambition must be convicted, whether in stipulations
of Freudian psychoanalytic philosophy, where the ego’s
authenticity principle must bargain between the unpolluted
desire of the “id” and the complete law of the “superego” or
Renaissance Aristotelianism, that legalizes moderate
conduct and manner. The viewers learn to question
extravagant conduct or manner, but the play leaves the
viewers discontented about Doctor Faustus’s motivation.
Conceivably Doctor Faustus is doing so to realize what the
spectators already know, that perpetual suffering is of high
worth to pay for the sovereignty to perform a few,
insignificant jokes.
If Doctor Faustus’s distressing over whether or not to atone
forms the play’s theatrical and histrionic middle, the play’s
dramatic unity depends on the control of his damnation. If
he can hunt for clemency until the last moment—an option
open to him religiously and spiritually, though one he fails
to see—then the play has a sort of uncertainty until the end
as viewers wonder if Doctor Faustus is going to see his fault
and atone. If, in contrast, Doctor Faustus seals his destiny at
the beginning when signing the deed, then, as Brooks thinks
that all that follows would be purely elegiac. Still, "we can
sympathise with his fear and lamentations, yet we cannot
but feel that his end is the appropriate conclusion of his
career” (Tydeman, 1984, p. 19) [20]
.
The damnation of Doctor Faustus’ arises “not because he is
a reprobate but because of his actions and inactions
throughout his life; repentance, grace and salvation are
always at hand, but Faustus is at ease in the realm of sin and
will not repent” (López). Determining the particular
moment of Doctor Faustus’s damnation can be hard. Some
4. International Journal of English Research
7
critics believe that his damnation shadows his signing the
pact. On a morally legalistic root, Faustus’s case is seen
as desperate. Doctor Faustus “has made a contract and he
has to abide by it” (Jump, 2017, p. 213) [18]
. Furthermore,
“The active ‘agreement with the devil’ proves, however, a
form of ensnarement in which the sorcerer is victimized by
the devil: they fall into the snares of Satan, and become
Sorcerers” (Lemon, 2016) [15]
.
The play proposes other choices that even after Doctor
Faustus has signed the pledge, the Good Angel is seen,
impelling and urging him to repent; confirming that God
will pity him. Also, at several points in the play, it appears
significant to Mephostophilis to befuddle Doctor Faustus
from expressing sorrow for his sins, so some form of
reunion between Faustus and God might be probable.
Ultimately, the Old Man attends just in time to stop Doctor
Faustus from committing suicide, at Mephostophilis’s
provocation and instigation, and he as well holds out the
likelihood of mercy. In every case, though, Doctor Faustus
fails to accept as true that forgiveness can alleviate his sin,
which he understands deserves castigation.
According to Peter Davison, the particular moment of
Doctor Faustus’s damnation comes when he kisses the
incarnation of Helen of Troy. As Doctor Faustus first
summons up her spirit, he cautions the audiences neither to
talk with nor touch her because verbal or corporeal
association with spirits is inexcusable. Later, however,
Doctor Faustus makes his act of delivering from sin or
saving from evil impossible by giving a kiss with the sense
of Helen asking her to make him immortal, not God. As he
kisses, he says, "Her lips suck forth my soul" (p. 106). By
doing so, Doctor Faustus substitutes the ‘heaven’ of Helen’s
lips for the real paradise of divine happiness. The critic
Davison stated that Doctor Faustus has prevailed in going
beyond man’s earthly limits; nonetheless, he has been
concurrently cursed and it is as a cursed soul that he will be
‘eternalized. The Old Man is seen before Doctor Faustus
kisses Helen still having the opportunity of salvation,
nonetheless when the Old Man comes back after the kiss, he
declares:
Accursed Faustus, miserable man,
That from thy soul excludest the grace of heaven
And fliest the throne of his tribunal seat (p. 106)!
The play Doctor Faustus raises and creates a desire in
behaviors both medieval and modern similar to the
Renaissance period itself, that mixed antique and
contemporary thoughts. The play, known as morality where
Doctor Faustus sees the procession of the Seven Deadly
Sins, displays a medieval view of sin. If we take the
thoughts of Sanders, we might say that Marlowe’s
introduction of the evil spirits who are medieval in mood
resuscitates the earlier psychomachia form (the combat for
the soul of which eleventh century Everyman is the finest
example. The more contemporary clue that punishment may
be emotional comes from Mephostophilis’s portrayal of Hell
as not a residence but a mood or a state of mind or
mentality. As stated by a critic, Marlowe’s practice of
demonic apparatus to express emotional states and in such
sense, his example of enticement appears essentially
contemporary and psychological. It is said that “the devils
are always in some sense mirrors of the inner states of the
persons to whom they appear” (Jump, 2017, p. 217) [11]
.
These two places share a common view that would no doubt
approve that the dramatist has been studying the conflict
between the ancient wisdom of sin, blessing and salvation,
and the recent wisdom of humanist flawlessness.
As first printed in 1604, Doctor Faustus has no act
divisions; however, it comprises thirteen scenes. The Chorus
presents and comments on the prologue and as well as the
epilogue. Most of the dialogues of the main character,
Doctor Faustus and other characters of high rank are in the
famous blank verse or what is known as the unrhymed
iambic pentameter. The dialogues of ordinary characters
such as his servant Wagner are inconsistent prose. In the
prologue, the Chorus comments and clarifies that Doctor
Faustus is not about bold actions, war, or even love, but
about the affluence, and good and bad of the leading actor
Doctor Faustus. He was born of unprivileged parents in
Roda, Germany, and raised by kinsfolks in Wittenberg.
There he joined the university, in which he studied theology,
divinity and mysticism and achieved the degree of Doctor of
Divinity. Doctor Faustus did extremely well on everyone in
the argument on matters of divinity until he became
distended with pride and, comparable with Icarus of
classical legends, who flew too high in the sky but fell with
the same speed to his ruin. By his father’s craft, the boy
Icarus used wings of feathers fixed with wax in order to fly
close to the sun, at which point the wax melted consequently
Icarus fell into the sea and died. Saturated with learning,
Doctor Faustus fed his craving for knowledge by turning to
the magical spells that harness occult forces or evil spirits to
produce unnatural effects in the world, which became to
him the pleasing thing in the world but it is during this point
in which his catastrophe started. It is the wrong pleasant
thing, magic.
The German humanist Heinrich Agrippa of Nettesheim,
who died in 1535, demonstrates the relations between magic
and other features, characteristics and phases of Renaissance
humanism. Of that period, of the historical Faust, Agrippa
studied philosophy, medicine, and science, as well as
various occult ethnicities as magic, alchemy, and
neoplatonic mysticism. In Three Books of Occult
Philosophy (2004), Agrippa followed some humanists of the
Renaissance, notably the Italy’s P. d. Mirandola (1463-94),
in declaring magic practices as a way of grasping confirmed
knowledge of nature and God. However, shortly later he
rejected both science and the occult arts, criticizing them in
a composition translated to English in 1569. After his
passing away, he has supposed feats of magic merged with
anecdotes of the historic Faust; Christopher Marlowe has his
imaginary Doctor Faustus mention Agrippa as a prototype
whose wisdom, learning, knowledge and experience he
yearns to emulate and contemplate what he has learned.
Doctor Faustus longs for a superior issue to fit his genius
and mastermind. He is familiar with the philosophy of life
and recognizes the works the earliest Greek medical
specialists used by medieval physicians known as Galen;
indeed, his medical dexterities have protected many cities
from the plague. However, he is a man who cannot make
others eternal, that might be a medical achievement worth
studying. Pertaining to the area of law, Doctor Faustus
confirms that it is appropriate only for an avaricious worker.
He declares:
This study fits a mercenary drudge
Who aims at nothing but external trash,
5. International Journal of English Research
8
Too servile and illiberal for me. (p. 52).
According to him, Divinities is best, on the one hand, as it is
seen in the first scene, he quotes two passages from the
scripture that propose all people are sinful and must
ultimately die. On the other, he decides, what he most
wishes is to study the undisclosed books of conjurers:
O, what a world of profit and delight,
Of power, of honour, of omnipotence,
Is promis’d to the studious artisan!
All things that move between the quiet poles
Shall be at my command: emperors and kings
Are but obey’d in their several provinces.
Nor can they raise the wind or rend the clouds;
But his dominion that exceeds in this
Stretcheth as far as doth the mind of man: 60
A sound magician is a demi-god;
Here tire, my brains, to get a deity (p. 52)!
The philosopher Doctor Faustus asks Wagner, his servant to
summon his friends Valdes and Cornelius, who might assist
him. Wagner leaves, and as Doctor Faustus waits, a Good
Angel and an Evil Angel visit him. “Good and evil angels
vying for the attention of the protagonist, but at the same
time Marlowe’s potent verse internalizes the struggle within
Faustus’s soul” (Hattaway, 2003, p. 481). The Good Angel
advises Doctor Faustus to lay the study of mystery books
aside and focus on the scriptures before his soul is drawn
and then suffers the anger of God. On the other hand, the
Evil Angel encourages him:
Go forward, Faustus, in that famous art.
Wherein all nature’s treasury is contain’d:
Be thou on earth as Jove is in the sky, (p. 52)
After doing their roles with advice, the angels leave, and
Doctor Faustus imagines the material and intellectual
returns that magic brings him. He contemplates:
How am I glutted with conceit of this!
Shall I make spirits fetch me what I please,
Resolve me of all ambiguities,
Perform what desperate enterprise I will?
I’ll have them fly to India for gold,
Ransack the ocean for orient pearl,
And search all corners of the new-found world
For pleasant fruits and princely delicates (p. 53);
He dreams of fetching gold from India, treasures and pearls
from the deep seas, delightful foods from the recently
discovered Americas. He is going to command spirits to
read him books of striking philosophy and reveal to him the
secrets of ancient overseas kings. He dreams also achieve
political power, becoming sole emperor of the land and
charging the spirits to create prevailing new weapons of
fighting for him.
In the third scene, Doctor Faustus commences conjuring. He
pronounces a Latin spell rebuffing the Holy Trinity and
welcoming a demonic trinity of Lucifer and other
influencing devils like Beelzebub and Demogorgon, the
mysterious and terrifying deity of the underworld - and then
calls the executive devil Mephostophilis. Mephostophilis is
seen but is very ugly that Doctor Faustus sends him back,
compelling him to reemerge in the shape of a friar. The time
Mephostophilis does so, Doctor Faustus imagines that the
evil spirit has come to accomplish his bidding.
Mephostophilis instead declares that he obeys only Lucifer’s
orders. It was not Doctor Faustus’s summons that brought
him too much as the renunciation, disavowal and
renunciation of the Trinity, which is “the shortest cut for
conjuring” (p. 58) and always brings evil spirit hoping to
imprison the abjurer’s soul.
Doctor Faustus asks about Lucifer, the leader of the evil
spirit. Mephostophilis informs him that Lucifer was some
time ago God’s most greatly loved angel, until his “aspiring
pride and insolence” (p. 59) made God to expel him “from
the face of heaven” (p. 59). Mephostophilis and other evil
spirit are those who disobeyed and defied God with Lucifer
and were thus ejected with him. Doctor Faustus asks to
Where they were cast. Mephostophilis responses, they were
cast out to Hell. Doctor Faustus continues asking
Mephostophilis: in that case, why is he now out of Hell?
The evil spirit replies that Hell is not so much a residence; it
is the nonappearance of heaven.
Doctor Faustus disdains Mephostophilis’s fervent longing
for the “joys of heaven” (p. 59) and notifies him to acquire
and obtain some of Doctor Faustus’s own “manly
fortitude” (p. 59). Here readers and critics realize a clear
portrait of the influence of desire, lust and gluttony urged by
the evil spirits against moderation, goodwill, mind, and
virtue. Doctor Faustus then sends Mephostophilis back to
Lucifer with a bargain: such a bargain tells that if Lucifer
will permit whatever Doctor Faustus requests for twenty-
four years, Doctor Faustus will subsequently submit his
soul, body and flesh to Lucifer in trade. He tells the evil
spirit to see him during his learning at midnight with a
response. “Mephistophilis distracts him by giving Faustus a
book that reveals the answers to all his questions about
natural science and that gives him control of riches and
power over warriors” (Cook, 2006, p. 167). Then he leaves
and Doctor Faustus envisages all the authority that his deal,
bargain, and pact with Lucifer will offer him.
Conclusion
Doctor Faustus exceeds in many areas of learnings;
nevertheless, unfortunately, his over ambitions led him to
detour his path searching for indefinite power and authority
but negatively. The paper challenged some critical and
judgmental areas in Elizabethan theatre and on the behavior
of Doctor Faustus as a person of excessive ambition. His
vast experience in learning made him rejects natural
sciences and seeks metaphysical powers. Such ontological
power and authority work in Faustus through spiritual
temptation. This study in this first part could raise to the
readers the malign result to Faustus through eternal
suffering.
The realms in the mentality of Doctor Faustus make the
situation controversial since experience and science have
restrictions. Doctor Faustus does not believe in his limited
knowledge; consequently, he is not in the safe side, but he
has been detouring backward to his destruction; to his
doom. It is the natural result because he insisted on refusing
all the invitations, offers, and requests to seek the mercy of
God. It is the natural result to wait for the hegemony of
darkness eternally demanding his soul.
References
1. Agrippa of Nettesheim. Heinrich Cornelius. Three
Books of Occult Philosophy, translated by James
6. International Journal of English Research
9
Freake, edited by Donald Tyson, MN: Llewellyn
Publication.
2. Ashley LRN. The Complete Book of Devils and
Demons. New York: Skyhorse Publishing Inc, 2011.
3. Bevington, David. And Eric Rasmussen. Dr. Faustus:
The A- and B- Texts (1604, 1616) Christopher
Marlowe. Manchester and New York: Manchester
University Press, 2014.
4. Bluestone, Max. Norman Rabkin, Shakespeare’s
Contemporaries: Modern Studies in English
Renaissance Drama. N. J.: Englewood Cliffs, Prentice-
Hall, 1970.
5. Braunmuller AR, Michael Hattaway. The Cambridge
Companion to English Renaissance Drama. Cambridge
and other cities: Cambridge University Press, 2003.
6. Cook, James Wyatt. Encyclopedia of Renaissance
Literature. New York: Facts on File, Inc, 2006.
7. Deats, Sara Munson. Doctor Faustus: A Critical Guide.
London and other cities: Bloomsbury, 2012.
8. Eliot, Charles W. Faust Egmont, etc.: Doctor Faustus
Marlowe. New York: Cosimo Classicsm 2009.
9. Hattaway M. A Companion to English Renaissance
Literature and Culture. Oxford and other cities:
Blackwell Publishers Ltd.
10. Hirt R. Is Not Thy Soul Thine Own?”: An Analysis of
Second Person Pronouns in Christopher Marlowe’s
Doctor Faustus and The Jew of Malta, English Studies.
2018; 99(3):243-254.
11. Jump J. Marlowe: Doctor Faustus. New York:
Macmillan International Higher Education, 2017.
12. Johnson, Claes. Dr. Faustus of Modern Physics.
Retrieved on April 18, 2019, from, 2011,
https://books.google.com.sa/books?id=DJKNmZ-
uETsC&dq=dr+faustus&source=gbs_navlinks_s
13. Knights LC. Selected Essay in Criticism. Cambridge
and other cities: Cambridge University Press, 1981.
14. Ladegaard J. The Comedy of Terrors: Ideology and
Comedy in Marlowe’s Doctor Faustus, Textual
Practice. 2017; 31(1):179-195.
15. Lemon, Rebecca. Scholarly Addiction: Doctor Faustus
and the Drama of Devotion. Renaissance Quarterly 69,
VOLUME LXIX, NO. 2016; 3:865-98.
16. López MM. Overreaching Flesh and Soul: The Theme
of Damnation in Christopher Marlowe’s Doctor
Faustus and Tirso de Molina’s Don Juan. Retrieved on
April 17, 2019, from
https://www.academia.edu/9268354/Overreaching_Fles
h_and_Soul_The_Theme_of_Damnation_in_Christoph
er_Marlowes_Doctor_Faustus_and_Tirso_de_Molinas_
Don_Juan
17. Macdonald JR. Calvinist Theology and “Country
Divinity” in Marlowe’s Doctor Faustus. Studies in
Philology, University of North Carolina Press,. 2014,
821-844.
18. Marlowe C. Doctor Faustus. Edited by John D. Jump.
London and New York: Routledge, 2005.
19. Marlowe C. Tamburlaine, London: A. & C. Black,
1992.
20. Tydeman, William. Doctor Faustus: Text and
Performance. London: Macmillan, 1984.
21. Verity AW. The Influence of Christopher Marlowe on
Shakespeare's Earlier Style. Cambridge: Macmillan and
Bowes, 1886.