Medieval and early modern Essay Example for Free

gothic and earlier recent EssayThe gothic and advance(prenominal) moderne periods were eras with distinctive issues and ideals. Some of their key themes were actu every last(predicate)y similar, such as the importance of religion and the role it stageed in e preciseday life, while different matters were unique to their time, such as the knightly selling of indulgences, or the early modern Reformation of the Church. These examples decorate clearly the mixture of transmit and stasis in the two ages, as a subject shargond by both(prenominal) periods yielded so great a diversity of issues. The musical note of the eras makes it evident that some change did occur, yet as the period of time between them was non very great, the change must be limited. Every popular and Dr Faustus are respectively gallant and early modern gambol texts that share common issues. However, the way in which they traction them varies, and allows an exploration of whether the people and cult ure of the mediaeval and early modern period differed by slight breaker point or strict demarcation.The medieval age of English history is epitomised as a strongly phantasmal time, where Christianity provided a strict identity and purpose in life. Belief in Heaven, Hell and Judgement was very current, as was the constant fear of sin and damnation. The Church was adapted to manipulate the devout faith of its following by selling fake consecrate relics and religious indulgences. The laymen believed it was necessary for them to obtain such items in prescribe to purify themselves of sin, and enter Heaven without suffering through Purgatory. Medieval drama did a great deal to reinforce these beliefs, universe completely liturgical. Morality plays were first performed at religious holidays, and warned listenings about sin and salvation, with personification of the psychomachia. They all shared out a highly similar narrative structure as good and nefariousness battled for the s oul of an initially virtuous man who had become caught in vice. This person represented the whole of humanity, and the play would show how, disdain temptation and with the help of Christian values, he sureised his error and won salvation.By the early modern era, n both the faith in Christ nor in Judgement had diminished, provided the understanding of them had altered. People became baffle with the ecclesiastical despotism that was rife in the established Church, and there was widespread dissatisfaction with the papalorganisation which, concord to Erasmus, was felt to be dominated by ignorant monks. The subsequent Reformation changed the form and understanding of religion, qualification it more than accessible to the average person by removing the intercessory functions of priests and bishops, and giving ordinary people more see over their spiritual state. This religious change also had political implications. The disestablishment of the Church created a degree of urbane unr est among Catholic and Protestant groups, as factions sprang up with each viewing the other as traitorous, either to England or to God. However, this was not the only face of the early modern era. As the beginning of the Renaissance, it was also a time of heady intoxication withlearning and uncovering. The exploits of the European sailors and the excitement 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 conventional attitudes. It was written to come on medieval audiences to avoid material pursuits, and to ensure they involved themselves in good deeds and were prepared for Judgement. goal 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 rather 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 clear That my reckoning I should not need to fear. To achieve this salvation, Everyman is certified to reverse to the Catholic rites of confession and penance, and to scourge himself to remove his sins. As Cawley highlights in his introduction, morality plays were less interest in mans e machinationhly life than in his spiritual welfare in the life to come.Religion is as prominent in prepare Faustus, but Marlowe presents a contrasting attitude to that of Everyman. His play provides a quizzical critique of religious customs, and particularly ridicules Catholic rituals. Marlowe dresses Mephostophilis in the habit of an old Francis female genitals friar, as Faustus comments That holy shape becomes a devil best, il longingrating an air of contempt for the Catholic clergy. He further associates universality withevil and devilry as he conjures Mephostophilis by chanting in Latin, the language of the Catholic Church. This mockery of Catholicism may be testament to contemporary social attitudes rather than the personal view of Marlowe himself.In the medieval era, it was highly uncommon for anybody to speak out a establishst the Church, either through fear or because it was all they knew, but the Reformation encouraged writers to criticise the papacy and the earlier Church, often as a form of public entertainment. Writers often allied Catholic contributions with themes of idiocy or ineptitude, as Marlowe does in his portrayal of Pope Adrian as a humourless megalomaniac, voidof commonsense . Marlowe manipulated the public disdain of Catholicism to criticise established religion in general, challenging many commonly held views, especially regarding forgiveness and salvation.Everymans central theme suggests that Gods mercy always allows sinners to repent, unheeding of how much wrong they have done. This belief is illustrated when, despite Death telling Everyman to Come hence, and not tarry, Everyma n is able to go to Confession and purify himself from sin. Knowledge, Beauty, Strength, Discretion and the Five Wits are sent to accompany him to the grave, circumstances Everyman to realise Gods compassion. Good Deeds guide Everyman into the grave and beyond, providing protection and support when he needs it. In comparison, Faustus also finds that he is sent good forces to protect him from eternal damnation. Unfortunately, these forces are not strong bountiful to withstand Mephostophilis.The latters evil and cunning defeat nature itself, as he dissolves Faustus congealed blood with a chafer of unearthly fire to ensure Faustus bequeaths his soul to Lucifer. A Good Angel and a pious ancient world are also sent to rescue Faustus soul, but their efforts are overcome just as quickly, as the devils entice Faustus with hellish delights and overpower his weak soul. The Good Angel urges Faustus to leave that execrable art and make to repentance, but each time Faustus considers prayer t he Bad Angel dispirits him, dramatising the internal battles raging in spite of appearance the protagonists soul.Marlowe does not conclude that everyone can find redemption in God, as despite striving to turn to Him in his final 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 win the protagonists soul. Marlowe provides further dubious similarity between the two sides, as in their utmost(a) scene the angels appear to work almost as one, completing each others speeches and reinforcing the alike(p) message that it is overly 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 delectation must for pleasure fall. In contrast, Everyman is forgiven for a lifetime of sin in his last few moments.Although bot h plays treat the identical 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 there was hope for everybody. As Lester notes in his introduction, medieval writers believed that because of humanitys fallen state, man relied on the grace and salvation earned by Christ and ministered by the Church. In this respect, the distinction between medieval and early modern seems to be vast. However, the fact that both plays have handled the same issues, albeit in different ways, suggests that the difference is of degree rather than demarcation.As well as the religious elements, rejuvenate 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 psychically, it is a craving for supreme knowledge that drives Faustus to necromancy, as he proclaims, A sound magician is a demi-god here tire my brains to gain a deity By integrating such humanist ideals into the play, Marlowe creates a dimensional personality for Faustus, which the audience can appreciate and respond to. They witness the development 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 gear up Faustus is in general an examination of the protagonists mental development, rather than simplythe form of Faustus fortunes. The rationale behind Faustus detailed growth is that it makes him a real person, with whose experiences the audience can sympathise.Everymans character is not developed in the way his counterparts is. He is generic and seen as part of the wider universe rather than as an individual. The dramatist has been careful to portray Everyman as re presentative 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 variant purposes fulfilled.There are further similarities between the medieval and early modern plays, some of which have been adopted directly from the former. The use of allegorical and highly functional characters is overriding in both plays, although it is not as common among other Renaissance texts. In Everyman, each character serves a distinct purpose, showing Everyman how he has misplaced his trust in worldly matters and must turn to Christian teachin gs for salvation. Fellowship and Kinship tempt Everyman astray by offering to distract him with feasting, drinking and women. change surface material Beauty and Knowledge cannot help him, leaving Everyman to seek out Confession, Contrition 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 discover 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 Seven Deadly Sins. Mephostophilis conjures them as a amazement for Faustus, allowing him to delight in the sins, while in Everyman the sins are allegorised in the behaviour of the protagonists dearest people and possessions, suggesting that Every man has allowed the sins to lord him.As well as thematic similarities, there are several production parallels between the medieval and early modern drama. However, these are veiled bythe immense changes that occurred on the stage in the interpose years. Before the Renaissance, plays were performed on and around large wagons, which were carted from one designated area to another(prenominal). The set was very simple for conveying purposes, but this helped make it apprehendable for the common peasants. The staging 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 unity spot serving a multitude of functions. Costumes were also sparse, but symbolic props indicated particular roles and characters, another theatrical convention that early modern dra matists relied upon before professional actors were hired in the permanent theatres, and magnify 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 achieve their optimal 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. term Everymans genre is made clear 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 illustration of the psychology and passions tha t 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 vital to Doctor Faustus as that is what gives it the memorable depth and allows the drama to move away from being a simple morality play.In conclusion, it is evident that despite their mixture 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 customary ones. The eras do have their differences, as is illustrated by their distinction and by their changing contemporary outlooks. Marlowes handling of the plays shared subjects differs from that of Everymans, as the former had a variant cabal of social factors to draw his conclusions from. However, the time lapse between the two periods was not great enough to justify a complete overhaul of thinking 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, Green Co, 1966)Lester,GA (ed.) Three Late Medieval Morality Plays (London Ernest Benn, 1981)