Medieval and early modern Essay

The medieval and archean new-made periods were eras with distinctive issues and ideals. approximately of their key themes were actually similar, such(prenominal) as the importance of morality and the role it contend in eachday life, while other matters were unmatched to their m, such as the medieval selling of indulgences, or the former(a) forward-looking Reformation of the Church. These examples il famishrate understandably the mixture of change and stasis in the two ages, as a subject contri furtheriond by both(prenominal) periods yielded so great a diversity of issues. The singularity of the eras makes it evident that well-nigh change did occur, but as the period of term in the midst of them was non very great, the change must be throttle. Every accreditedity and Dr Faustus ar respectively medieval and primaeval raw looseness texts that share common issues. However, the way in which they handle them varies, and allows an geographic expedition of whether th e volume and culture of the medieval and early modern-day period differed by slight leg or unrelenting demarcation.The medieval age of English accounting is epitomised as a strongly apparitional time, where Christianity provided a strict identity and purpose in life. vox populi in Heaven, Hell and perspicacity was very real, as was the constant alarm of sin and damnation. The Church was open to manipulate the devout faith of its followers by selling fake holy relics and spiritual indulgences. The laymen believed it was unavoidable for them to obtain such items in order to bless(prenominal) themselves of sin, and enter Heaven without suffering through Purgatory. chivalrous drama did much to reinforce these beliefs, being tout ensemble liturgical. Morality stand fors were first performed at religious holidays, and warned sense of hearings roughly sin and salvation, with personification of the psychomachia. They all shared a passing similar narrative structure as goo d and evil batt direct for the sense of an initially utter(a) man who had become caught in vice. This person be the whole of humanity, and the play would show how, scorn lure and with the help of Christian values, he realised his flaw and won salvation.By the early modern era, uncomplete the faith in Christ nor in Judgement had diminished, but the understanding of them had altered. People became frustrated with the ecclesiastical despotism that was rife in the established Church, and thither was widespread dissatisfaction with the papalorganisation which, according to Erasmus, was matt-up to be dominated by ignorant monks. The accomp any(prenominal)ing Reformation changed the form and understanding of religion, make it much ready to hand(predicate) to the average person by removing the intercessory functions of priests and bishops, and gravid ordinary people more control all oer their spiritual state. This religious change likewise had policy-making implications. The disestablishment of the Church created a degree of civil tempestuousness among Catholic and Protestant groups, as factions sprang up with distributively vie assumeg the other as traitorous, either to England or to God. However, this was non the only face of the early modern era. As the beginning of the Renaissance, it was also a time of heady intoxication withlearning anddiscovery. The exploits of the European sailors and the frenzy over new civilisations are allegorised by Faustus discovery of magic and the power it wields.As a liturgical morality play, Everyman submits itself fully to the pre-Reformation teachings, and absorbs the normalal locatings. It was written to pull ahead medieval audiences to avoid material pursuits, and to ensure they snarly themselves in good deeds and were prepared for Judgement. conclusion was a constant escort in medieval England, and could be expected at any time. As such, Everyman does not convey fear of death itself, but quite of how God will judge man after it, as the protagonist proclaims Full unready I am such reckoning to give and begs for more time in which to make his counting-bookso give notice That my reckoning I should not need to fear. To come upon this salvation, Everyman is advised to turn to the Catholic rites of confession and penance, and to penalise himself to remove his sins. As Cawley highlights in his introduction, morality plays were less interested in mans earthly life than in his spiritual welfare in the life to come.Religion is as prominent in doctor up Faustus, but Marlowe pre moves a contrasting attitude to that of Everyman. His play provides a mocking critique of religious customs, and circumstancely ridicules Catholic rituals. Marlowe dresses Mephostophilis in the habit of an grey Francis plenty friar, as Faustus comments That holy shape becomes a devil best, illustrating an air of contempt for the Catholic clergy. He further associates universality withevil and devilry as he conjur es Mephostophilis by chanting in Latin, the speech of the Catholic Church. This mockery of Catholicism may be testament to contemporary social attitudes rather than the face-to-face view of Marlowe himself.In the medieval era, it was highly unusual for anybody to speak out against the Church, either through fear or because it was all they knew, but the Reformation encourage writers to criticise the papacy and the earlier Church, often as a form of public entertainment. Writers often consort Catholic characters with themes of idiocy or ineptitude, as Marlowe does in his portrayal of Pope Adrian as a po-faced megalomaniac, voidof commonsense . Marlowe manipulated the public disdain of Catholicism to criticise established religion in general, gainsay many commonly held views, especially regarding forgiveness and salvation.Everymans central theme suggests that Gods blessing al ways allows sinners to repent, regardless of how much wrong they brook done. This belief is illustrate d when, despite Death telling Everyman to fuck off hence, and not tarry, Everyman is able to go to Confession and advance himself from sin. knowledge, Beauty, Strength, Discretion and the Five Wits are displace to accompany him to the grave, helping Everyman to realise Gods compassion. Good Deeds guide Everyman into the grave and beyond, providing breastplate and support when he needs it. In comparison, Faustus also finds that he is sent good forces to protect him from endless damnation. Unfortunately, these forces are not strong copious to jib Mephostophilis.The latters evil and cunning overtake nature itself, as he dissolves Faustus congealed kindred with a chafer of unearthly fire to ensure Faustus bequeaths his soul to Lucifer. A Good nonesuch and a pharisaic Old Man are also sent to rescue Faustus soul, but their efforts are overcome erect as quickly, as the devils entice Faustus with hellish savours and crush his weak soul. The Good Angel urges Faustus to leave that ugly art and turn to repentance, but each time Faustus considers prayer the Bad Angel dispirits him, dramatising the internal battles angered within the protagonists soul.Marlowe does not come together that everyone can find redemption in God, as despite striving to turn to Him in his out operate moments, Faustus is torn apart by devils and condemned eternally. The playwright provides a cynical view ofsalvation, as the Good Angel and the Old Man fail to save Faustus, despite seemingly plotting as much as Mephostophilis to pass on the protagonists soul. Marlowe provides further dubious coincidence among the two sides, as in their last scene the angels appear to work almost as one, completing each others speeches and reinforcing the analogous message that it is too late for Faustus to repent. The play appears to be concerned with punishment rather than deliverance and salvation, as Faustus is warned that He who loves pleasure must for pleasure fall. In contrast, Everyman is forgiven for a lifetime of sin in his last few moments.Although both plays treat the same ideas of religion and redemption, they portray divergent views. This may be explained by the contemporary change in religious understanding. Some scholars argued that peoples destinies were predetermined, regardless of their actions, while others claimed on that point was hope for everybody. As Lester notes in his introduction, medieval writers believed that because of earths fallen state, man relied on the benediction and salvation earned by Christ and ministered by the Church. In this respect, the sign between medieval and early modern seems to be vast. However, the fact that both plays pull in handled the same issues, albeit in different ways, suggests that the difference is of degree rather than demarcation.As well as the religious elements, Doctor Faustus incorporates Renaissance themes of discovery and knowledge, as Faustus finds a world of profit and delight, of power, of honour , of omnipotence has opened to him. Funda psychologically, it is a crave for ultimate knowledge that drives Faustus to necromancy, as he proclaims, A sound magician is a demi-god here fall apart my brains to gain a deity By desegregation such humanist ideals into the play, Marlowe creates a dimensional temper for Faustus, which the audience can appreciate and respond to. They ravisher the maturatement of the character, forcing them to become emotionally involved in the mental turmoil he endures, and keeping them engrossed until the very last line of the play. Professor Bradbrook suggests that Doctor Faustus is primarily an examination of the protagonists mental development, rather than simplythe form of Faustus fortunes. The rationale base Faustus detailed growth is that it makes him a real person, with whose experiences the audience can sympathise.Everymans character is not essential in the way his counterparts is. He is generic and seen as part of the wider universe rathe r than as an individual. The dramatist has been careful to portray Everyman as representative of mankind rather than as a character in his own right. He is not given a personal history nor is any indication provided that might differentiate him from anybody, with the effect of making Everyman relevant to all audience members. He personifies every man and the trials of every person. His example can be applied to anybody, and everybody can see that the salvation he reaches is available to them as well. In this manner, Everyman is as accessible to the audience as Faustus is, although in different ways and with line purposes fulfilled.There are further similarities between the medieval and early modern plays, some of which take for been adopted directly from the former. The use of allegorical and highly functional characters is prevalent in both plays, although it is not as common among other Renaissance texts. In Everyman, each character serves a distinct purpose, showing Everyman h ow he has misplaced his trust in temporal matters and must turn to Christian teachings for salvation. Fellowship and relationship tempt Everyman astray by offering to inconvenience oneself him with feasting, drinking and women. Even material Beauty and Knowledge cannot help him, leaving Everyman to seek out Confession, corrasion and Good Deeds. Doctor Faustus is very much in keeping with this medieval attribute.Mephostophilis is the embodiment of temptation, as he distracts Faustus from repentance whenever he feels the protagonist waver, and later admits Twas I that, when thou wert I the way to heavenled thine eye. The Good Angel and Old Man are personifications of good, devout Christians who try to save Faustus. They too can be seen as tempters, as they try to win his soul. The two plays also share personification of the septenary Deadly Sins. Mephostophilis conjures them as a distraction for Faustus, allowing him to delight in the sins, while in Everyman the sins are allegoris ed in the behaviour of the protagonists dearest people and possessions, suggesting that Everyman has allowed the sins to master him.As well as thematic similarities, there are several production parallels between the medieval and early modern drama. However, these are conceal bythe immense changes that occurred on the stage in the intervening years. Before the Renaissance, plays were performed on and around gigantic wagons, which were carted from one designated area to another. The set was very aboveboard for transportation purposes, but this helped make it apprehendable for the common peasants. The re-create was very different for Doctor Faustus, but some of the same ideas regarding spacing and costumes were used.The pageant-wagons had to make use of limited space, and used an upper room to serve as a balcony, heaven, or a distant location. In later theatre the same concept was utilised, with a single spot serving a mountain of functions. Costumes were also sparse, but typic props indicated particular roles and characters, another theatrical convention that early modern dramatists relied upon before professional actors were hired in the eonian theatres, and elaborate costumes and sets were made. The new theatres allowed more believable storylines to develop as settings and characters became more realistic, allowing the fiery devils of Doctor Faustus to reach their optimum effect.However, there is one dramatic convention that is key to Doctor Faustus, which was not common in medieval works. Faustus soliloquies provide an insight to his character that cannot be gained in morality plays, and are actually symbolic of tragedies. While Everymans genre is made unload by its fully functional characters and its reliance on the protagonists generic nature, Marlowes play balances medieval aspects with contemporary humanist elements and manages to create a new genre that combines elements of morality and tragedy, creating an increasingly real persona. Faustus is distinguished from his medieval counterpart by his parable of the psychology and passions that drive him. He concedes to his hubris and allows his ambition and lust for power to destroy him, something Everyman cannot do. The tragedy element is bouncy to Doctor Faustus as that is what gives it the memorable depth and allows the drama to move away from being a uncomplicated morality play.In conclusion, it is evident that despite their mixed bag as two separate periods, the medieval and the early modern eras share many themes and issues. Their similarities are not limited to literal points, andincorporate social and conventional ones. The eras do have their differences, as is illustrated by their distinction and by their changing contemporary outlooks. Marlowes discussion of the plays shared subjects differs from that of Everymans, as the former had a variant combination of social factors to draw his conclusions from. However, the time relapsing between the two periods was not great enough to warrant a complete overhaul of opinion and customs. As Cookson realises, the traditions of the Middle Ages still weighed heavily over the early modern writers. At the point at which Doctor Faustus was composed, the difference between medieval and early modern was still of degree rather than strict demarcation.BibliographyBradbrook,MC Themes and Conventions of Elizabethan Tragedy 2nd Edition (Newcastle Cambridge University Press, 1990)Cawley,AC (ed.) Everyman and medieval Miracle Plays (London Everymans Library, 1967)Cookson,L Doctor Faustus (Hong Kong Longman Group UK, 1987)Davies,T Humanism (New York Routledge, 1997)Henderson,P Christopher Marlowe (London Longmans, spirt & Co, 1966)Lester,GA (ed.) Three Late Medieval Morality Plays (London Ernest Benn, 1981)