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In the realm of tragic and serious plays, dramatists employ a device known as tragic relief to alleviate the audience's emotional tension. Tragic relief, manifested through comic scenes or episodes, serves as a necessary counterbalance to the inherent seriousness of tragedy. In the Elizabethan era, the demand for such comic interludes was pronounced, stemming from both audience expectations and theatrical producers keen on ensuring the success of a play.
This essay examines the introduction of comic scenes in Christopher Marlowe's "Dr.
Faustus," probing the controversies surrounding their integration into the tragic narrative. While these scenes aim to offer respite and refresh the audience, critics question their quality, often labeling them as crude and verging on buffoonery. The very essence of "Dr. Faustus" is scrutinized, with debates on whether certain scenes are later interpolations rather than originating from Marlowe's pen.
Before delving into the specifics of "Dr. Faustus," it's crucial to understand the motivations behind Marlowe's incorporation of comic relief. Three primary purposes emerge: meeting the demands of the groundlings for crude buffoonery, providing temporary relaxation amidst the tension of serious scenes, and expressing Marlowe's personal sentiments, particularly his disdain for the church and the Pope.
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Faustus"
The success of a play in Elizabethan times hinged on the inclusion of comic scenes. The groundlings, a significant segment of the audience, demanded such interludes. In "Dr. Faustus," a meticulous study reveals a total of fourteen scenes, with five or six designated as comic interludes. Critics argue that the quality of the comic elements in these scenes is questionable, often described as low, vulgar, and filled with coarse buffoonery.
Moreover, there's a contentious debate on the authenticity of these scenes, with claims that some were later interpolations rather than original compositions by Marlowe.
The timing of the play's publication further adds complexity — the first edition emerged in 1604, while the second, in 1616, introduced additional scenes, suggesting potential alterations not from Marlowe's pen.
Critics have expressed varying opinions on Marlowe's adeptness at incorporating comic relief. T.S. Eliot, for instance, defends Marlowe, asserting that he possessed a highly developed sense of humor and should not be evaluated by Shakespearean standards. This diversity in viewpoints highlights the ongoing discourse about the merit and intention behind the comic scenes in "Dr. Faustus."
Some critics contend that Marlowe's dislike for clownish conceits is evident, citing lines from the prologue of "Tamburlaine." However, these arguments are countered by those who maintain that Marlowe's plays, including "Dr. Faustus," should be evaluated within their own context, detached from a rigid adherence to comedic standards.
The authenticity of the comic scenes is a subject of dispute. The assertion that certain scenes are later interpolations, not originating from Marlowe, gains traction. The Ralph-Robin episode in Act-IV, for example, is deemed to have little connection with the main theme, raising questions about its originality.
Understanding Marlowe's motivations for introducing comic scenes is essential. Firstly, the playwright succumbed to the prevalent demand for crude buffoonery, acknowledging that it was a stock-in-trade for Elizabethan dramatists. This necessity stemmed from the audience's appetite for entertainment that aligned with their tastes.
Secondly, the introduction of comic scenes served the purpose of providing a temporary reprieve from the tension inherent in serious scenes. In the midst of Faustus's dealings with the supernatural, moments of humor allowed the audience to relax momentarily, preventing emotional fatigue.
Thirdly, Marlowe's inclusion of scenes where Faustus teases and troubles the Pope sheds light on the playwright's personal sentiments. It becomes a platform for Marlowe to express his disdain for the church and the Papacy. This element of personal expression adds depth to the analysis of the play and its creator's intentions.
Turning our attention to specific scenes in "Dr. Faustus," a nuanced examination reveals a range of qualities and significances. Act-I, Scene IV, for instance, where Wagner engages in a debate with the Clown, is considered closely integrated with the main tragic theme. Critics argue that this scene, unlike others, may genuinely originate from Marlowe's pen.
Contrastingly, the scene in Act-IV, where Faustus teases the Pope, is deemed too crude and vulgar to align with Marlowe's usual style. The Ralph-Robin episode in Act-IV, while exhibiting little connection with the main theme, adds an element of farce, catering to the taste of the groundlings but raising questions about its congruence with the overall narrative.
Some critics go further, claiming that except for Scene IV in Act-I and Scene I in Act-III, all other comic scenes are later interpolations. The debate intensifies with assertions by scholars like Boas, who specifically identify the Ralph-Robin scenes as interpolations. The lack of consensus among critics underscores the complexity of evaluating the comic elements in "Dr. Faustus."
Regardless of the authenticity of each comic scene in "Dr. Faustus," the overall impact is crucial to evaluating Marlowe's prowess in blending tragedy with comedy. Wynn's insightful commentary on the "utter incongruity" in many scenes underscores a potential flaw in Marlowe's construction of "Dr. Faustus."
While acknowledging the potential incongruity, it's vital to consider external factors, such as the demands of the Elizabethan audience and the playwright's own motivations. Whether or not every comic scene can be attributed to Marlowe, the playwright should not be solely blamed for the perceived incongruity. The evolving nature of theatrical productions, with potential interpolations over time, adds layers of complexity to the analysis.
In essence, the inclusion of comic relief in "Dr. Faustus" serves multifaceted purposes — from meeting audience expectations to providing moments of respite and expressing Marlowe's personal sentiments. Evaluating these elements requires a nuanced understanding of both the playwright's intentions and the context of Elizabethan theatrical conventions.
Striking a Balance Between Tragedy and Comedy in 'Dr. Faustus'. (2016, Nov 13). Retrieved from https://studymoose.com/the-comic-scenes-in-doctor-faustus-essay
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