THE CONCEPT OF MARRIAGE IN CHRISTOPHER

MARLOWE’S DOCTOR FAUSTUS

Christopher Marlowe’s Doctor Faustus is a play that explores themes of ambition, knowledge,

power, and damnation. Within this tragic narrative, the concept of marriage plays a subtle yet

significant role. Marlowe uses the idea of marriage to highlight Faustus’s moral decline, his

rejection of Christian values, and his submission to Mephistopheles and Lucifer. The treatment

of marriage in the play reveals Faustus’s misguided desires and underscores the play’s central

theme of eternal damnation versus divine salvation.

One of the most striking moments concerning marriage in Doctor Faustus occurs when Faustus,

having sold his soul to Lucifer in exchange for twenty-four years of unlimited knowledge and

power, requests a wife. He asks Mephistopheles, his demonic servant, to procure him a spouse,

revealing his yearning for human companionship. However, Mephistopheles rebukes the

request and instead offers Faustus a courtesan, stating, “Marriage is but a ceremonial toy, and if

thou lovest me, think no more of it.” This rejection signifies the incompatibility of Faustus’s

diabolical pact with the sacred institution of marriage. Marriage, within the Christian tradition,

symbolizes divine unity and sanctity, something entirely at odds with Faustus’s allegiance to

Lucifer. Mephistopheles’s dismissal of marriage reflects the demonic world’s disdain for

Christian values and further illustrates Faustus’s descent into sin.

The denial of marriage in the play also reinforces Faustus’s rejection of redemption. Marriage,

in the Elizabethan era, was more than a social contract; it was a religious sacrament that

reflected God’s grace and human morality. By choosing a lustful, transient pleasure over a

committed, sanctified relationship, Faustus aligns himself with damnation. This moment in the
play serves as a stark contrast to the possibility of divine forgiveness that Faustus continually

ignores throughout the narrative.

Furthermore, Faustus’s preference for carnal satisfaction over genuine companionship signifies

his moral and intellectual corruption. Instead of seeking a wife, which would symbolize

stability, commitment, and spiritual fulfillment, he indulges in hedonistic pleasures, satisfying

his desires with conjured apparitions and transient relationships. This choice reflects his larger

failure to comprehend the true nature of fulfillment and the consequences of his actions. His

rejection of marriage parallels his rejection of God, demonstrating his ultimate downfall.

Additionally, Faustus’s relationship with Helen of Troy, who is conjured as an illusion for his

pleasure, further emphasizes his detachment from the sanctity of marriage. Instead of pursuing a

meaningful, earthly relationship, he becomes entranced by an image of perfection that is both

unattainable and illusory. His famous line, “Was this the face that launched a thousand ships,

and burnt the topless towers of Ilium?” encapsulates his misguided perception of love and

beauty. Helen, a symbol of ultimate desire, represents Faustus’s complete surrender to illusion

and damnation, in contrast to the stability and sanctity that a real marriage might have offered.

In conclusion, marriage in Doctor Faustus serves as a powerful symbol of moral order and

divine grace, elements that Faustus ultimately rejects. His dismissal of marriage in favor of

fleeting pleasure reflects his deeper moral decay and cements his fate as a damned soul.

Marlowe effectively uses the concept of marriage to contrast divine salvation with eternal

damnation, reinforcing the play’s tragic message. By refusing the sanctity of marriage, Faustus
seals his doom, demonstrating the consequences of unchecked ambition and the rejection of

spiritual redemption.

DR FAUSTUS AS A TRAGIC HERO

Christopher Marlowe’s Doctor Faustus presents a protagonist who embodies the characteristics

of a tragic hero as defined by Aristotle. Faustus is a man of great ambition and intelligence, yet

he possesses a fatal flaw (hamartia) that leads to his downfall. His relentless pursuit of

knowledge and power, his refusal to repent, and his eventual tragic demise establish him as one

of the most compelling tragic figures in English literature.

A key feature of a tragic hero is their noble stature or exceptional qualities. Faustus is

introduced as a highly learned scholar, well-versed in theology, philosophy, medicine, and law.

His intellectual brilliance sets him apart from ordinary men, making his downfall all the more

devastating. However, his dissatisfaction with human limitations drives him toward his fatal

mistake—his decision to sell his soul to Lucifer in exchange for worldly power. This choice

reflects his hamartia, or tragic flaw: excessive ambition, pride (hubris), and a disregard for

divine authority.

Faustus' downfall is not the result of fate alone but also of his own choices. His inability to

recognize the true nature of his bargain, despite multiple warnings from the Good Angel, the

Old Man, and even Mephistopheles, highlights his stubbornness and blindness to reality. Unlike

a typical villain, Faustus is not entirely evil; he experiences moments of doubt and even

considers repentance. However, his arrogance and fear prevent him from seeking salvation. His
tragic realization comes too late, as he laments, "O lente, lente, currite noctis equi!" ("Run

slowly, slowly, O horses of the night!")—a desperate plea to delay his inevitable doom.

Another element that defines Faustus as a tragic hero is his suffering and ultimate downfall.

Unlike traditional morality play protagonists, who find redemption, Faustus meets a tragic end,

fully aware of his mistakes but powerless to change his fate. His final soliloquy, in which he

begs for divine mercy but receives none, is one of the most powerful moments in the play,

reinforcing the idea that his destruction is both deserved and deeply tragic.

Marlowe's Doctor Faustus blends classical tragedy with Christian morality, making Faustus a

tragic hero who is both admirable and deeply flawed. His story serves as a cautionary tale about

the dangers of unchecked ambition and the consequences of rejecting divine grace. In the end,

Faustus is not just a victim of fate but of his own fatal choices, making his downfall all the more

tragic and unforgettable.

ROLE OF CHORUS IN DR FAUSTUS

In Doctor Faustus, the Chorus serves an important dramatic and thematic function, guiding the

audience’s understanding of the play and reinforcing its moral message. Unlike in Greek

tragedies, where the Chorus interacts with characters and comments on events throughout the

play, Marlowe’s Chorus appears only at key moments—prologue, middle sections, and the

epilogue. Through its speeches, the Chorus provides background information, offers reflections

on Faustus’s choices, and ultimately delivers the play’s final lesson on the dangers of ambition

and the consequences of defying divine law.

great learning and ambition. Instead of telling a story of war or royal intrigue, it declares that

Faustus' tale is one of intellectual and spiritual conflict. The opening lines, “Not marching now

in fields of Thrasymene / Where Mars did mate the Carthaginians,” establish that this is not a

typical heroic story but a tragedy centered on one man’s downfall. This introduction sets the

stage for Faustus’ journey and foreshadows his tragic fate.

As the play progresses, the Chorus occasionally reappears to provide insight into Faustus’s

experiences. For example, after he has gained magical powers, the Chorus describes his travels

across the world, highlighting how he uses his abilities for entertainment rather than the pursuit

of true knowledge. This moment subtly critiques Faustus, showing that his ambition, once

limitless, has been reduced to superficial displays of power. By presenting this information, the

Chorus ensures that the audience remains aware of the gap between Faustus’ grand aspirations

and his actual achievements.

The most significant role of the Chorus comes at the end of the play when it delivers the final

reflection on Faustus’ fate. In the epilogue, it warns the audience about the dangers of

overreaching ambition, stating, “Faustus is gone: regard his hellish fall, / Whose fiendful

fortune may exhort the wise, / Only to wonder at unlawful things, / Whose deepness doth entice

such forward wits, / To practice more than heavenly power permits.” This closing speech

reinforces the play’s moral lesson, reminding the audience that Faustus' downfall was caused

not just by his deal with the devil but by his own pride and unwillingness to repent.
Overall, the Chorus in Doctor Faustus serves as a framing device, offering context,

commentary, and moral reflection. It ensures that the audience understands Faustus’ journey as

a cautionary tale, emphasizing the destructive nature of unchecked ambition and the tragic

consequences of defying divine authority. Through its carefully placed appearances, the Chorus

helps shape the play’s meaning, ensuring that Faustus’ downfall is not just tragic but also serves

as a warning to others.

DISCUSS DR FAUSTUS AS A MORALITY PLAY

Christopher Marlowe’s Doctor Faustus is often regarded as a morality play due to its strong

moral and religious themes, its use of allegorical figures, and its exploration of the eternal

struggle between good and evil. While it differs from traditional medieval morality plays in its

complexity and tragic elements, it retains the fundamental purpose of teaching a moral lesson—

highlighting the consequences of sin, the dangers of ambition, and the importance of

repentance.

One of the defining characteristics of a morality play is the presence of personified abstract

concepts representing good and evil. In Doctor Faustus, these roles are fulfilled by the Good

Angel and the Evil Angel, who symbolize Faustus’s inner conflict. The Good Angel urges him

to repent and seek God’s mercy, while the Evil Angel tempts him with power and worldly

pleasures. This direct representation of moral struggle mirrors the structure of medieval

morality plays, where the protagonist must choose between salvation and damnation.

The play also aligns with the morality tradition through its emphasis on Christian doctrine,

particularly the concepts of sin, redemption, and divine justice. Faustus, driven by excessive
ambition and thirst for knowledge, turns away from God and makes a pact with Lucifer,

exchanging his soul for temporary power. This mirrors the biblical warning against pride and

disobedience. His repeated refusals to repent demonstrate the destructive nature of human

arrogance, reinforcing the central moral lesson: those who reject God’s mercy will inevitably

face eternal damnation. The presence of characters like Mephistopheles, who serves as both

tempter and tormentor, further emphasizes the religious message that worldly gains come at a

great spiritual cost.

Unlike traditional morality plays, however, Doctor Faustus incorporates elements of tragedy.

While morality plays typically end with the protagonist achieving redemption, Faustus meets a

tragic end, fully aware of his doom but unable to escape it. This shift from salvation to

damnation makes Marlowe’s play more complex, blending moral instruction with dramatic

tension. Despite this tragic structure, the play’s final message remains moralistic, warning

against unchecked ambition and the rejection of divine grace. Faustus’s last desperate cries

—“My God, my God, look not so fierce on me!”—serve as a powerful reminder of the

consequences of a life spent in defiance of God’s will.

Ultimately, Doctor Faustus functions as a morality play by illustrating the dangers of sin and

the importance of repentance. Marlowe uses the traditional framework of moral allegory but

adapts it into a more sophisticated narrative that combines religious teaching with human

tragedy. Through Faustus’s downfall, the play delivers a timeless warning: the pursuit of power

and knowledge without moral restraint leads to inevitable destruction.