르네상스 영국 연극과 마법
Magic in selected Renaissance Plays
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This article aims at the analysis of magic in three Renaissance plays: Christopher Marlowe's Dr. Faustus, Robert Greene's Friar Bacon and Friar Bungay, and Shakespeare's The Tempest. Faustus is a man of intelligence who seeks for knowledge and power like Prometheus. To realize his Renaissance ideals, he becomes a witch, selling his soul to the Devil for 24 years. However, his rewards from the Devil are trivial and less important than he had expected because he made a poor bargain with the Devil. Faustus is a victim who was deceived by Devil because all his requests were only poorly or partially answered. Most of people in the Elizabethan England really believed what they saw on the stage. That means the miraculous events displayed by magicians on the stage were much more significant to them than to contemporary theater-goers. It is generally agreed that Friar Bacon is a direct imitation of Marlowe's Dr. Faustus. Both plays deal with magicians but Robert Greene could never reach the higher level of tragic beauty which Marlowe created in Dr. Faustus. Though they are all magicians, Friar Bacon, Friar Bungay, or German Vandermast are far less sublime than the tragic hero Dr. Faustus. In The Tempest, we see a great magician who attains the highest position in the Great Chain of Being. Controlling the natural world of four elements, Prospero transcends human limitations and restrictions though he never trades with devils, nor sells his soul like Faustus. Adopting conventional magic tools, such as a staff, gown, or books, Shakespeare, utilizing the attractive effects of magic, shows us an ideal type of Elizabethan magus, who wished to be a demi-god. Where Marlowe and Greene failed, Shakespeare, by his magic art of dramaturgy, succeeded in creating a great model of Renaissance wish-fulfillment. Nevertheless, the three playwrights could not remove the dangerous quality of magic in their plays. They were well aware that magic was still connected to the black art of the devils. This is suggested by the fact that all the magicians give up willy-nilly their magic at the end of the plays. The terrible death of Dr. Faustus is a serious warning given to the Elizabethan audience against the use of black magic. Friar Bacon returns to God, seeking recompense for his bad choice. Prospero swears to abjure his magic, forever discarding his magic tools.
Abstract
This article aims at the analysis of magic in three Renaissance plays: Christopher Marlowe's Dr. Faustus, Robert Greene's Friar Bacon and Friar Bungay, and Shakespeare's The Tempest. Faustus is a man of intelligence who seeks for knowledge and power like Prometheus. To realize his Renaissance ideals, he becomes a witch, selling his soul to the Devil for 24 years. However, his rewards from the Devil are trivial and less important than he had expected because he made a poor bargain with the Devil. Faustus is a victim who was deceived by Devil because all his requests were only poorly or partially answered. Most of people in the Elizabethan England really believed what they saw on the stage. That means the miraculous events displayed by magicians on the stage were much more significant to them than to contemporary theater-goers. It is generally agreed that Friar Bacon is a direct imitation of Marlowe's Dr. Faustus. Both plays deal with magicians but Robert Greene could never reach the higher level of tragic beauty which Marlowe created in Dr. Faustus. Though they are all magicians, Friar Bacon, Friar Bungay, or German Vandermast are far less sublime than the tragic hero Dr. Faustus. In The Tempest, we see a great magician who attains the highest position in the Great Chain of Being. Controlling the natural world of four elements, Prospero transcends human limitations and restrictions though he never trades with devils, nor sells his soul like Faustus. Adopting conventional magic tools, such as a staff, gown, or books, Shakespeare, utilizing the attractive effects of magic, shows us an ideal type of Elizabethan magus, who wished to be a demi-god. Where Marlowe and Greene failed, Shakespeare, by his magic art of dramaturgy, succeeded in creating a great model of Renaissance wish-fulfillment. Nevertheless, the three playwrights could not remove the dangerous quality of magic in their plays. They were well aware that magic was still connected to the black art of the devils. This is suggested by the fact that all the magicians give up willy-nilly their magic at the end of the plays. The terrible death of Dr. Faustus is a serious warning given to the Elizabethan audience against the use of black magic. Friar Bacon returns to God, seeking recompense for his bad choice. Prospero swears to abjure his magic, forever discarding his magic tools.
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