『파우스터스 박사』: 르네상스 개인주의와 신교 개인주의
Doctor Faustus: Renaissance Individualism and Protestant Individualism
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General criticism of Doctor Faustus is to view that the play dramatized a conflict between the values of radical humanism and the morality tradition. On the one hand, some critics interpret the play by discussing whether the play represents Christian orthodoxy or heretical ideas. However, the Renaissance was basically a Christian era, as P.O. Kristeller explains, so Renaissance people were involved with the Christian faith although some people questioned concerning the orthodoxy. At the same time the Reformation prevailed in the period. When Marlowe wrote the play, especially the Calvinist theology grew increasingly in English church. Thus, it is seen that the two historical backgrounds permeate the play. In this paper, I explore Faustus’ inner world, which vacillates between the aspiration of humanism and the creed of Calvinism. Obsessed with Calvinistic dogma, Faustus is occupied with his inner world. He deeply feels sense of sin and despair because he assumes that God doesn’t love him. To him, God is justice not love. He is not able to believe in his own potential salvation, thinking and feeling that he is damnable. As a result, he determines to be committed to magic not only because magic is one way of escaping this doomed view of human existence but also because magic will give him power to get a deity. Some critics criticize Faustus, for his desire to obtain the power through magic is to serve his lusts. However, in Renaissance, the idea of being a demi-God is based upon the occult doctrine that individual can unite with God by attaining universal knowledge. Faustus’s desire to attain power through knowledge can be interpreted in this context. Faustus achieves some things he desires through magic, but he is unhappy and unsatisfied with those things he has fulfilled, repenting losing the joys of heaven. This indicates that he believes in the existence of heaven and the thing he really longs for is God’s love and grace. Throughout the play, Faustus is trying to rebel against the Calvinist doctrine, from which, nevertheless, he cannot escape. He reveals a considerable sense of guilt about his desires and expresses great anxiety for the possibility of being saved in terms of Calvinism. At the same time, he represents humanist’s aspiration for human capability and its unlimited potential. Renaissance individualism and Protestant individualism seem to contradict each other, but they share a common desire to become one with God. In Doctor Faustus, it is witnessed that the two forms of individualism exist.
Abstract
General criticism of Doctor Faustus is to view that the play dramatized a conflict between the values of radical humanism and the morality tradition. On the one hand, some critics interpret the play by discussing whether the play represents Christian orthodoxy or heretical ideas. However, the Renaissance was basically a Christian era, as P.O. Kristeller explains, so Renaissance people were involved with the Christian faith although some people questioned concerning the orthodoxy. At the same time the Reformation prevailed in the period. When Marlowe wrote the play, especially the Calvinist theology grew increasingly in English church. Thus, it is seen that the two historical backgrounds permeate the play. In this paper, I explore Faustus’ inner world, which vacillates between the aspiration of humanism and the creed of Calvinism. Obsessed with Calvinistic dogma, Faustus is occupied with his inner world. He deeply feels sense of sin and despair because he assumes that God doesn’t love him. To him, God is justice not love. He is not able to believe in his own potential salvation, thinking and feeling that he is damnable. As a result, he determines to be committed to magic not only because magic is one way of escaping this doomed view of human existence but also because magic will give him power to get a deity. Some critics criticize Faustus, for his desire to obtain the power through magic is to serve his lusts. However, in Renaissance, the idea of being a demi-God is based upon the occult doctrine that individual can unite with God by attaining universal knowledge. Faustus’s desire to attain power through knowledge can be interpreted in this context. Faustus achieves some things he desires through magic, but he is unhappy and unsatisfied with those things he has fulfilled, repenting losing the joys of heaven. This indicates that he believes in the existence of heaven and the thing he really longs for is God’s love and grace. Throughout the play, Faustus is trying to rebel against the Calvinist doctrine, from which, nevertheless, he cannot escape. He reveals a considerable sense of guilt about his desires and expresses great anxiety for the possibility of being saved in terms of Calvinism. At the same time, he represents humanist’s aspiration for human capability and its unlimited potential. Renaissance individualism and Protestant individualism seem to contradict each other, but they share a common desire to become one with God. In Doctor Faustus, it is witnessed that the two forms of individualism exist.
참고문헌 (19)
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