Monday, April 16, 2012
INTERESTING
And may actually get me into Frankenstein, horrendously.
http://www.victorianweb.org/previctorian/mshelley/pva229.html
The last four or five paragraphs are really fascinating.
Just saying.
http://www.victorianweb.org/previctorian/mshelley/pva229.html
The last four or five paragraphs are really fascinating.
Just saying.
Sunday, April 15, 2012
Faustus describes Mephostopheles as a "bewitching fiend". To what extent do you agree with this view of him?
I agree with this view in that Mephistopheles has the ability to "bewitch" or cast spells upon people and that he is a "fiend" in that he is a demon and displays evil tendencies throughout the play. He can also be seen to get more intensely bewitching and more fiend-like as the play progresses.
There is evidence to suggest that he is bewitching in Act Two, Scene One as he brings forth a devil as Faustus' wife. She is dressed like a woman but is still hideous, which is shown through Faustus' reaction to the dressed up devil. It is possible that Faustus comes towards the devil at this point before seeing it's face, captivated by the thought of having a wife. This is then torn apart by the revelation that she is a devil. Mephistopheles' powers are shown through this scene in that he can both conjure his own devils and portray them as sweet, virginal creatures to entice Faustus, despite the fact that they are actually spirits from hell. Mephistopheles can also be seen as bewitching in this scene as he is using his powers to persuade Faustus of his way of thinking, though not directly onto Faustus himself. Painting a hideous picture of a wife may be Mephistopheles' way of showing Faustus that lechery and sinfulness is the best way to go, rather than through the virtues of marriage. His desire to gain Faustus' soul, as shown earlier in line 73, may be an explanation for why he is so determined to change Faustus into a man of sin, and why he uses his powers to do so.
The term bewitching can also apply to the spells Mephistopheles performs on Faustus and others during the play to change them physically rather than mentally or emotionally. In act 3, scene 1, Mephistopheles changes Faustus so that he becomes invisible to the Pope, allowing him to play tricks on he and his friars. He also changes Faustus physically in act 4, scene 1 when he allows his leg to be pulled off by the horse-courser in order to swindle even more money out of him. This is showing Mephistopheles as getting more bewitching, or using his powers more, as the play progresses, as before he used his powers to turn Faustus invisible but did not stretch to being able to keep him alive as a limb is ripped off. Later on again, in act 5, scene 1 Mephistopheles has power strong enough to create an image of Helen so strong she can kiss Faustus and possibly later make love to him, though there is no literary evidence of this. Previously when he conjured spirits in the shape of the dead, they did not last long and had very little physical contact with the mortal world. This is both evidence to suggest that Mephistopheles is bewitching and that his power is becoming stronger.
The evidence to suggest that Mephistopheles is a fiend can also be taken from some of these scenes, particularly act five, scene one. In act 2, scene one, Mephistopheles tries to convince Faustus that he would be better off with paramours and mistresses instead of taking a wife. As said, he does this by producing a disgusting image of a devil in the shape of a wife to tempt Faustus away. The effects of this are eventually seen in a5, s1 as Faustus sinks in moral character, possibly due to the imminent end of his unnatural life, and takes Helen of Troy as his lover. How far he sinks is not indicated explicitly, but the implication many scholars have found is that they were together very intimately, betraying the need for virginity at the time of marriage. This would likely have been seen as very lecherous and sinful in the context of the time. The only reason that can be found in evidence from the play for Faustus' moral decline is the influence of Mephistopheles.
Mephistopheles is also by dictionary definition a fiend. According to dictionaries, a fiend is "any evil spirit; demon" (http://dictionary.reference.com/browse/fiend). Mephistopheles is certainly either a spirit or demon, and so the only debate is whether or not he is evil.
Mephistopheles' immorality provides support to this claim. Evidence to suggest he is immoral comes from the scene again where he tries to persuade Faustus to take a lover instead of a wife and also when he allows Faustus to become invisible and encourages him to play tricks upon the Pope. The Pope is supposed to be a figure of morality for the Catholic faith and is partaking in a religious festival when he is taunted by Faustus (Act three, chorus, lines 8-11). This is a spectacularly immoral feat that Faustus could not have pulled off if he was not facilitated by Mephistopheles. Mephistopheles also besmirches the name of the church by suggesting that the feasts are events of gluttony, one of the seven deadly sins. The purpose of the Pope and the Vatican City is to provide a virtuous image and perhaps can be aspired to by those of the Catholic faith. Denouncing their holy events as sinful makes the Catholic church look like hypocrites. Although during the time period in which it would have been performed the Catholics were not looked on with respect, in a present context this would be deeply disrespectful and make Mephistopheles seem fiend-like to any Catholic or in fact anyone who believes that religion should be respected.
Depending on the interpretation an actor takes of Mephistopheles, he can be played in many different ways. One of these is of a truly evil character, hurting Faustus behind his back when he is considered by the doctor as his only friend. There is certainly no escaping that at the end of the play, Mephistopheles simply stands by and allows Faustus to be dragged into hell, possibly partaking in the dragging himself. He is definitely there and observes as a man who he has served and accompanied for twenty four years screams and struggles against the inevitable. He offers no vocal comfort to Faustus, no cushioning for his downfall, and because of the desperate tones in Faustus' final three lines of speech this paints Mephistopheles as an evil and unfeeling creature. The audience grows sympathetic towards the plight of Dr Faustus by the end of the play, despite the fact that he has doomed himself, and the rejection of his companion in his final moments of life can cause the audience to feel that Mephistopheles is really an evil character.
In conclusion, Mephistopheles is a bewitching fiend, because of his use of magic and witchcraft throughout the play and his demonic, sadistic personality.
There is evidence to suggest that he is bewitching in Act Two, Scene One as he brings forth a devil as Faustus' wife. She is dressed like a woman but is still hideous, which is shown through Faustus' reaction to the dressed up devil. It is possible that Faustus comes towards the devil at this point before seeing it's face, captivated by the thought of having a wife. This is then torn apart by the revelation that she is a devil. Mephistopheles' powers are shown through this scene in that he can both conjure his own devils and portray them as sweet, virginal creatures to entice Faustus, despite the fact that they are actually spirits from hell. Mephistopheles can also be seen as bewitching in this scene as he is using his powers to persuade Faustus of his way of thinking, though not directly onto Faustus himself. Painting a hideous picture of a wife may be Mephistopheles' way of showing Faustus that lechery and sinfulness is the best way to go, rather than through the virtues of marriage. His desire to gain Faustus' soul, as shown earlier in line 73, may be an explanation for why he is so determined to change Faustus into a man of sin, and why he uses his powers to do so.
The term bewitching can also apply to the spells Mephistopheles performs on Faustus and others during the play to change them physically rather than mentally or emotionally. In act 3, scene 1, Mephistopheles changes Faustus so that he becomes invisible to the Pope, allowing him to play tricks on he and his friars. He also changes Faustus physically in act 4, scene 1 when he allows his leg to be pulled off by the horse-courser in order to swindle even more money out of him. This is showing Mephistopheles as getting more bewitching, or using his powers more, as the play progresses, as before he used his powers to turn Faustus invisible but did not stretch to being able to keep him alive as a limb is ripped off. Later on again, in act 5, scene 1 Mephistopheles has power strong enough to create an image of Helen so strong she can kiss Faustus and possibly later make love to him, though there is no literary evidence of this. Previously when he conjured spirits in the shape of the dead, they did not last long and had very little physical contact with the mortal world. This is both evidence to suggest that Mephistopheles is bewitching and that his power is becoming stronger.
The evidence to suggest that Mephistopheles is a fiend can also be taken from some of these scenes, particularly act five, scene one. In act 2, scene one, Mephistopheles tries to convince Faustus that he would be better off with paramours and mistresses instead of taking a wife. As said, he does this by producing a disgusting image of a devil in the shape of a wife to tempt Faustus away. The effects of this are eventually seen in a5, s1 as Faustus sinks in moral character, possibly due to the imminent end of his unnatural life, and takes Helen of Troy as his lover. How far he sinks is not indicated explicitly, but the implication many scholars have found is that they were together very intimately, betraying the need for virginity at the time of marriage. This would likely have been seen as very lecherous and sinful in the context of the time. The only reason that can be found in evidence from the play for Faustus' moral decline is the influence of Mephistopheles.
Mephistopheles is also by dictionary definition a fiend. According to dictionaries, a fiend is "any evil spirit; demon" (http://dictionary.reference.com/browse/fiend). Mephistopheles is certainly either a spirit or demon, and so the only debate is whether or not he is evil.
Mephistopheles' immorality provides support to this claim. Evidence to suggest he is immoral comes from the scene again where he tries to persuade Faustus to take a lover instead of a wife and also when he allows Faustus to become invisible and encourages him to play tricks upon the Pope. The Pope is supposed to be a figure of morality for the Catholic faith and is partaking in a religious festival when he is taunted by Faustus (Act three, chorus, lines 8-11). This is a spectacularly immoral feat that Faustus could not have pulled off if he was not facilitated by Mephistopheles. Mephistopheles also besmirches the name of the church by suggesting that the feasts are events of gluttony, one of the seven deadly sins. The purpose of the Pope and the Vatican City is to provide a virtuous image and perhaps can be aspired to by those of the Catholic faith. Denouncing their holy events as sinful makes the Catholic church look like hypocrites. Although during the time period in which it would have been performed the Catholics were not looked on with respect, in a present context this would be deeply disrespectful and make Mephistopheles seem fiend-like to any Catholic or in fact anyone who believes that religion should be respected.
Depending on the interpretation an actor takes of Mephistopheles, he can be played in many different ways. One of these is of a truly evil character, hurting Faustus behind his back when he is considered by the doctor as his only friend. There is certainly no escaping that at the end of the play, Mephistopheles simply stands by and allows Faustus to be dragged into hell, possibly partaking in the dragging himself. He is definitely there and observes as a man who he has served and accompanied for twenty four years screams and struggles against the inevitable. He offers no vocal comfort to Faustus, no cushioning for his downfall, and because of the desperate tones in Faustus' final three lines of speech this paints Mephistopheles as an evil and unfeeling creature. The audience grows sympathetic towards the plight of Dr Faustus by the end of the play, despite the fact that he has doomed himself, and the rejection of his companion in his final moments of life can cause the audience to feel that Mephistopheles is really an evil character.
In conclusion, Mephistopheles is a bewitching fiend, because of his use of magic and witchcraft throughout the play and his demonic, sadistic personality.
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