Doctor Faustus Movie Download

[Frederic Laureano]

TheTragical History of the Life and Death of Doctor Faustus, commonly referred to simply as Doctor Faustus, is an Elizabethan tragedy by Christopher Marlowe, based on German stories about the title character Faust. It was probably written in 1592 or 1593, shortly before Marlowe's death. Two different versions of the play were published in the Jacobean era several years later.[2]

The Admiral's Men performed the play 24 times in the three years between October 1594 and October 1597. On 22 November 1602, the diary of Philip Henslowe recorded a 4 payment to Samuel Rowley and William Bird for additions to the play, which suggests a revival soon after that date.[3]

The powerful effect of the early productions is indicated by the legends that quickly accrued around them. In Histriomastix, his 1632 polemic against the drama, William Prynne records the tale that actual devils once appeared on the stage during a performance of Faustus, "to the great amazement of both the actors and spectators". Some people were allegedly driven mad, "distracted with that fearful sight." John Aubrey recorded a related legend, that Edward Alleyn, lead actor of The Admiral's Men, devoted his later years to charitable endeavours, like the founding of Alleyn's College, in direct response to this incident.[3]

Given its source in the Historia von D. Johann Fausten, published as a chapbook in Germany in 1587, and the fact that the earliest known translation of the latter work into English was in 1592, the play was probably written in 1592 or 1593.[4] It may have been entered into the Stationers' Register on 18 December 1592, though the records are confused and appear to indicate a conflict over the rights to the play. A subsequent Stationers' Register entry, dated 7 January 1601, assigns the play to the bookseller Thomas Bushell (variant written forms: Busshell or Bushnell),[5] the publisher of the 1604 first edition. Bushell transferred his rights to the play to John Wright on 13 September 1610.[6][7]

The 1604 version was once believed to be closer to the play as originally performed in Marlowe's lifetime, simply because it was older. By the 1940s, after influential studies by Leo Kirschbaum[9] and W. W. Greg,[10] the 1604 version came to be regarded as an abbreviation and the 1616 version as Marlowe's original fuller version. Kirschbaum and Greg considered the A-text a "bad quarto", and thought that the B-text was linked to Marlowe himself. Since then scholarship has swung the other way, most scholars now considering the A-text more authoritative, even if "abbreviated and corrupt", according to Charles Nicholl.[11]

The 1616 version omits 36 lines but adds 676 new lines, making it roughly one third longer than the 1604 version. Among the lines shared by both versions, there are some small but significant changes in wording; for example, "Never too late, if Faustus can repent" in the 1604 text becomes "Never too late, if Faustus will repent" in the 1616 text, a change that offers a very different possibility for Faustus's hope and repentance.

Another difference between texts A and B is the name of the devil summoned by Faustus. Text A states the name is generally "Mephistopheles",[12] while the version of text B commonly states "Mephostophilis".[13] The name of the devil is in each case a reference to Mephistopheles in Faustbuch, the source work, which appeared in English translation in about 1588.[14][15]

The relationship between the texts is uncertain and many modern editions print both. As an Elizabethan playwright, Marlowe had nothing to do with the publication and had no control over the play in performance, so it was possible for scenes to be dropped or shortened, or for new scenes to be added, so that the resulting publications may be modified versions of the original script.[16]

In the past, it was assumed that the comic scenes were additions by other writers. However, most scholars today consider the comic interludes an integral part of the play, regardless of their author, and so they continue to be included in print.[17][18] Their tone shows the change in Faustus' ambitions, suggesting Marlowe did at least oversee the composition of them.[citation needed] The Clown is seen as the archetype for comic relief.[citation needed]

Doctor Faustus is based on an older tale; it is believed to be the first dramatisation of the Faust legend.[14] Some scholars[19] believe that Marlowe developed the story from a popular 1592 translation, commonly called The English Faust Book.[20] There is thought to have been an earlier, lost[21] German edition of 1587, the Historia von D. Johann Fausten, which itself may have been influenced by even earlier, equally ill-preserved pamphlets in Latin (such as those that likely inspired Jacob Bidermann's treatment of the damnation of the doctor of Paris, Cenodoxus (1602)).

Several soothsayers or necromancers of the late fifteenth century adopted the name Faustus, a reference to the Latin for "favoured" or "auspicious"; typical was Georgius Faustus Helmstetensis, calling himself astrologer and chiromancer, who was expelled from the town of Ingolstadt for such practices. Subsequent commentators have identified this individual as the prototypical Faustus of the legend.[22]

Blank verse is largely reserved for the main scenes; prose is used in the comic scenes. Modern texts divide the play into five acts; act 5 being the shortest. As in many Elizabethan plays, there is a chorus (which functions as a narrator), that does not interact with the other characters but rather provides an introduction and conclusion to the play and, at the beginning of some Acts, introduces events that have unfolded.

Along with its history and language style, scholars have critiqued and analysed the structure of the play. Leonard H. Frey wrote a document entitled In the Opening and Close of Doctor Faustus, which mainly focuses on Faustus's opening and closing soliloquies. He stresses the importance of the soliloquies in the play, saying: "the soliloquy, perhaps more than any other dramatic device, involved the audience in an imaginative concern with the happenings on stage".[24] By having Doctor Faustus deliver these soliloquies at the beginning and end of the play, the focus is drawn to his inner thoughts and feelings about succumbing to the devil.

The soliloquies also have parallel concepts. In the introductory soliloquy, Faustus begins by pondering the fate of his life and what he wants his career to be. He ends his soliloquy with the solution: he will give his soul to the devil. Similarly in the closing soliloquy, Faustus begins pondering, and finally comes to terms with the fate he created for himself. Frey also explains: "The whole pattern of this final soliloquy is thus a grim parody of the opening one, where decision is reached after, not prior to, the survey".[24]

The Chorus explains that Faustus was low-born, but quickly achieved a doctorate in theology at the University of Wittenberg. However, his interest in learning and his pride soon led him to necromancy.

In the first scene of the play, Faustus expresses his boredom and impatience with the various branches of knowledge and concludes that only magic is worth learning. He asks his servant Wagner to return with the magicians Valdes and Cornelius, who have been trying to interest him in magic for some time. While he waits, he is visited by a Good Angel, who tries to dissuade him from this path, and a Bad Angel, who encourages him. Valdes and Cornelius arrive and declare that if Faustus devotes himself to magic, great things are indeed possible with someone of Faustus's learning and intelligence.

While Faustus is at dinner with the magicians, two scholars notice Faustus's absence and ask Wagner about his whereabouts. When Wagner tells them he is with Valdes and Cornelius, the scholars worry that the magicians have corrupted him and leave to inform the rector of the university.

Faustus attempts to conjure a devil, and Mephistophilis arrives. Faustus believes that he has summoned him, but Mephistophilis says that he came of his own accord, and that he serves Lucifer, and cannot do anything without his leave. Faustus questions Mephistophilis about Lucifer and Hell, and tells him to speak to Lucifer and return. The next scene is a comedic reflection in which Wagner calls two devils, with which he scares the Clown into serving him.

Mephistophilis returns, and Faustus signs a contract in his own blood: Mephistophilis will serve him for 24 years, at which point Lucifer will claim him, body and soul. Once the contract is signed, Faustus asks for a wife, but Mephistophilis declines, saying marriage is "but a ceremonial toy"; he asks for books of knowledge, and Mephistophilis provides a single book. In the corresponding comedic scene, Robin, a hostler, has stolen a conjuring book, and plans mischief with it.

Faustus begins to waver and think about God, and is visited again by the Good and Bad Angels. Lucifer arrives to remind him of his contract, and entertains him with a show of the Seven Deadly Sins. Faustus and Mephistophilis then travel Europe, eventually arriving in Rome, where they play tricks on the Pope. Next, Robin and Rafe (A version) or Dick (B version), having been caught for stealing a goblet, call on Mephistophilis, who arrives and angrily turns them into animals before returning to attend on Faustus. Faustus has been called to the court of the Holy Roman Emperor, where he and Mephistophilis conjure Alexander the Great and his paramour and give a knight cuckold's horns for being a heckler. In the A version, the emperor asks Faust to relent, and he does; in the B version a longer scene follows in which the knight and his friends attack Faustus; all are given horns. In both versions, Faustus then plays tricks on a horse dealer. Faustus and Mephistophilis then put on a magic show for the Duke and Duchess of Vanholt.

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