Good and Evil Angel

Good and Evil Angel The play begins with the Chorus informing the audience about the main character, Faustus, a scholar, like Icarus, [whose] waxen wings did mount above his reach (Prologue, 21). In the very first scene of the play, Faustus talks about philosophy, medicine, law, and theology and is hesitant about all. Lastly he chooses to study magic. He rejects theology. He is glutted more with conceit (Scene I, 18) and he prefers black magic to what he preferred before; he asserts: . . . Divinity, adieu! (Scene I, 48), that is, he rejects to be in heaven and reunite with God. The Good and the Evil Angel that appear in several parts of the play are both real and symbolic; they represent Faustus inner conflict. They appear in the most dramatic scenes where Faustus is in conflict. They appear offering advice as Faustus is preparing to sign in blood a contract so as to give his soul to Lucifer. They also appear at the time Faustus is talking to Mephistopheles about repenting. Here, while Good Angel urges Faustus to repent and wish Gods mercy, Evil Angel tells him not to repent. Finally he agrees with Evil Angel. GOOD ANGEL. O Faustus, lay that damned book aside, And gaze not on it, lest it tempt thy soul, And heap Gods heavy wrath upon thy head: Read, read the Scriptures; that is blasphemy. EVIL ANGEL. Go forward, Faustus, in that famous art, Wherein all natures treasury is contained: Be thou on earth as Jove is in the sky, Lord and commander of these elements. [Exeunt] (Scene I, 70-77) GOOD ANGEL. Sweet Faustus, leave that execrable art. FAUSTUS. Contrition, prayer, repentance: what of them? GOOD ANGEL. O they are means to bring thee unto heaven. EVIL ANGEL. Rather illusions, fruits of lunacy, That makes men foolish that do trust them most. (Scene V, 15-19) The angels do appear at the same time in the play; and they leave together as well. Interestingly enough, it is always the Good Angel that appears first and it is Evil Angel that speaks the last words. If we think of the angels symbolically, the Good Angels appearing first probably refers to Faustus conscience and Evil Angels last words may symbolize Faustus self-temptation. Valdes and Cornelius magicians will teach Faustus black arts. As Faustus is about to sign in blood a contract so as to give his soul to Lucifer, the Good and Evil Angels enter again. As Faustus signs the contract he asks about hell, however convince himself that hells a fable (Scene V, 126) despite Mephistopheles honest response: FAUSTUS. Was not that Lucifer an angel once? MEPHIST. Yes Faustus, and most dearly loved of God. FAUSTUS. How comes it then that he is prince of devils? MEPHIST. O, by aspiring pride and insolence, For which God threw him from the face of heaven. FAUSTUS. And what are you that live with Lucifer? MEPHIST. Unhappy spirits that fell with Lucifer, Conspired against our God with Lucifer, And are for ever damned with Lucifer. FAUSTUS. Where are you damned? MEPHIST. In hell. FAUSTUS. How comes it then that thou art out of hell? MEPHIST. Why this is hell, nor am I out of it. Thinkst thou that I, who saw the face of God, And tasted the eternal joys of heaven, Am not tormented with ten thousand hells In being deprived of everlasting bliss! O Faustus, leave these frivolous demands, Which strike a terror to my fainting soul. (Scene IV, 64-82) There is the question of choice in the play. Faustus has chosen to sign the contract. He is completely free in his choice since Mephistopheles is quite honest in his attitude. Faustus fault here is to ignore repentance as an alternative. He also misunderstands the concept of hell, thinking that it is just physical torment. Faustus is unaware about the fact that hell is a kind of psychological torment which is in fact a part of his tragedy. In the fifth scene, Faustus asks Mephistopheles who made the world (Scene V, 237). Mephistopheles avoids answering Faustus question and introduces seven deadly sins: Pride, Covetousness, Envy, Wrath, Gluttony, Sloth, and Lechery (Scene V, 276). In changing the spectacle to the Seven Deadly Sins, Marlowe has not only opened the way for some moral satire, but he has purposely and ironically presented the pageant as the visible gratification of Faustus. Faustus himself responds with the greatest delight, blasphemously comparing his joy in the procession with Adams joy at the sight of Paradise on the day of his creation. Delight in the Seven Deadly Sins is a far cry from the answer to who made the world, and it is not without point that, after this episode, Faustus makes no more speculative inquiries of any kind. (Cole 1962, 214) As Fermor asserts, the character of Faustus is not that of one man, but of man himself, of Everyman (Fermor 84). In Everyman the tragic flaw pride, wilfulness causes blindness to the nature and destiny of man; . . . hubris destroys the understanding of the nature and limitations of knowledge (Cole 1962, 234). Faustus actions are completely humane. As Cole has suggested, Faustus never causes anyones death (Cole 1995, 124); he causes his own damnation. Dr. Faustus suggests that because human beings are creatures in whom good and evil are tragically intermingled, the process of purification which the magicians described is impossible. The human aspiration to attain a godlike status and to exert benevolent control over history is almost inevitably corrupted by selfish desires for wealth, sensual indulgence, and political power. The refusal to admit this is Faustus fatal error, as is perfectly clear when he reads from Jeromes Bible: If we say that we haue no sinne, / We deceiue our selues (69-70). (Mebane 135) The theme of appearance versus reality is an important one throughout the play. Faustus confuses appearance and reality and wants to go beyond what he sees. By Aristotelian definition, a tragedy is about a hero whose fatal flaw ends himself. Doctor Faustus is a typical Aristotelian tragedy where a man of high importance a scholar out of pride, sells his soul to Devil. The tragic downfall of the hero is when he signs the contract with the devil. There is also catharsis in the Aristotelian sense; the audiences feel pity and fear; pity for Faustus suffering his tragedy, then fear of themselves putting themselves in Faustus place. Faustus can repent before the end of the play but he prefers not to; he misleads himself: FAUSTUS: My hearts so hardned I cannot repent! Scarce can I name salvation, faith, or heaven, But fearful echoes thunders in mine ears, Faustus, thou are damned (Scene V, 192-95) And long ere this I should have slain my self, Had not sweet pleasure conquered deep despair. Have not I made blind Homer sing to me Of Alexanders love, and Oenons death? (Scene V, 195-98). Why should I die then, or basely despair? I am resolved! Faustus shall neer repent. (Scene V, 205- 206) Doctor Faustus represents the attitudes of Renaissance England, it symbolizes the Renaissance individual who wants to go beyond his perception. Marlowe reflects the Renaissance perception of reason that gives human beings the power to discern, as well as the power to choose and finally forms the basis for moral responsibility (Cole 1995, 127). Thus Faustus himself is responsible for his own actions; it is Faustus who causes his own fall. He suffers from personal responsibility of free human choice and the inevitable consequences of his own choice. Primary Source(s) Marlowe, Christopher. Doctor Faustus Norton Anthology of English Literature sixth edition vol. 1. Ed. Abrams, M.H. New York: M.H. Norton Company: 1993. Secondary Sources Cole, Douglas. Christopher Marlowe and the Renaissance of Tragedy. Westport, CT.: 1995. _. Suffering and Evil in the Plays of Christopher Marlowe. Princeton, NJ. Princeton University Press: 1962. Fermor, U.M. Ellis. Christopher Marlowe. London, Methuen: 1927. Mebane, John S. Renaissance Magic and the Return of the Golden Age: The Occult Tradition and Marlowe, Jonson, and Shakespeare. Lincoln, NE., University of Nebraska Press: 1989.

Food Memoir Essay

During my early twenties, I developed a passion for cooking. The deeper I delved into the art of cooking quality food, the more I realized the amalgamating properties it held. Little did I know, this hobby was something my new wife Jenn and I did not share. The first indication that there might be a problem in the kitchen occurred with a simple request one evening after work: â€Å"Honey, I would like some bacon,† I said. To my astonishment, my bride declared, â€Å"I don’t know how to cook bacon, I don’t even like bacon! † I knew this woman for seven years—my high school sweetheart—and I never knew she didn’t like bacon. â€Å"Who doesn’t like bacon anyway? It’s un-American! † I said. No wife of mine would ever dislike bacon. And even if you didn’t like it, how could you not know how to cook it? Exasperated, I explained how you begin with a cold pan, as not to scorch it. I continued, showing her how not to overlap the bacon, but not to leave too much space either. The conversation continued and I took jabs where I could. She contended that she did not like bacon because of its texture; I argued it was because she did not know how to cook it right. I couldn’t really blame her though, she came by it honestly. My mother-in-law cannot cook—at all. She has a rotation of three to four meals that come from a can or a package. Hamburger Helper was commonplace growing up in that house. A simple meal such as spaghetti is a botched experiment in â€Å"homemade cooking. † Her recipe consists of un-doctored, canned sauce poured onto over-cooked, mushy noodles, that she stirs the entire time they are boiling. Sometimes, she’ll even add a couple of frozen meatballs from a bag. To our delight, most of our meals with the mother-in-law take place in a restaurant, where it’s safe. We are able to enjoy the occasion of food and family, while actually being able to stomach the food. It is the aforementioned reasons that my wife could not cook when we first got married; she simply was not taught or even exposed to the practice of cooking. She was also rather close-minded when it came to new things. After-all, Hamburger Helper only came in so many varieties. It was up to me to change all this—to teach her to cook, and open her mind to new flavors. I grew up with real home-cooked meals. My dad, now an engineer, was once the chef at a local restaurant in our hometown of Marion, Illinois. He imparted in me an appreciation for real food, and dispelled the myth in my mind, that â€Å"mom† was responsible for putting dinner on the table. Years later, dad is a still a major influence in my relationship with food, which in turn strengthens my relationship with him. For the past ten years, going to dad’s house for Sunday dinner has been tradition—first me, then my wife, and now our three children. Dad and I haven’t always seen eye-to-eye on certain things, but there is an emulsifying, unifying power that quality food possesses, that helped heal our relationship. Even before the modern days of Sunday dinner began, my dad was my inspiration to learn to cook, and I aspire to be the same for my children. One factor that enhanced my appreciation for cooking was the time I spent in my early twenties watching the Food Network. There, I watched Emeril Lagasse cook up his latest masterpiece with a â€Å"BAM! † I attempted to emulate many of his dishes, some even with success. It was in this time period that I actually began to develop some culinary skill. My mother was my faithful and willing test subject. Her only complaint was the disaster I left in my wake. I could cook, but would somehow manage to destroy the entire kitchen in the process. One of my favorite dishes I picked up in this time period was a simple bologna recipe I picked up from Emeril, which became an oft-requested Super Bowl staple. Emeril’s Favorite Brown Sugar-Crusted Baked Bologna1: An all-beef bologna, smothered in Dijon mustard and brown sugar, and slow-cooked for five hours. The resulting deliciousness is served on fresh, white bread with yellow mustard. I never would have thought bologna could become gourmet, and it was with this dish I learned it is often the simpler recipes that have the most impact. This taught me that delicious cuisine doesn’t necessarily take hours of preparation alongside fancy ingredients. Sometimes, all a simple recipe needs is a creative twist to turn it into something incredible. It took some time, but Jenn came around. The more I encouraged her to try new things, the wider her horizons became. She began to cook, and found she was actually a natural in the kitchen. And how did I finally get her to eat bacon? While she was pregnant with our first son, she would eat anything. I would come home from work to find family-size boxes of macaroni and cheese decimated. I knew this was my chance. I started sneaking bacon into dishes, and onto sandwiches—anywhere I remotely thought I could fit it in. Lo and behold, she found she actually liked it! Now that we both have a healthy appreciation of cooking, we keep a strong focus on it in our day to day lives. Despite our busy schedules, it is a priority of ours to eat together as a family whenever possible. Because of our passion for a unique blend of health and great taste in our diets, our children are always trying, and usually liking, new foods. We can already see in them an appreciation for good food, and an affinity for family meal time. What’s the number one request for just about any meal? Bacon, of course.

Women of The Color Purple Essay - 1046 Words

In the novel, The Color Purple, there are three main characters who demonstrate meaningful traits of women. Celie, the main character, is the most important of the three. She is influenced by other characters in the novel and is inspired to let herself seek their virtues. Celies two friends, Shug and Sofia, are both strong women who teach Celie how to achieve the happiness she desires. nbsp;nbsp;nbsp;nbsp;nbsp;Sofia is a woman with authority in her life. Her life has been a constant struggle and can no longer endure conflict. She is strong physically and that gives her confidence in herself. The only opinion of any value to her is her own. Sofia is very upset with Celie when she tells Harpo to beat her and she reveals to Celie†¦show more content†¦People just accept how she lives because she has a strong opinion of herself and is ready to argue it with anyone at anytime. One day, during a meal, Harpo warns Squeak not to laugh because it was bad luck for a woman to laugh. Sofia laughs in his face saying, I already had my bad luck. I had enough to keep me laughing for the rest of my life.; (208). Sofia has no trouble expressing herself at the expense of others, especially men. nbsp;nbsp;nbsp;nbsp;nbsp;Shug is a woman who does whatever she wants whenever she wants. She is a free spirit but she does have values and is a major contributor in the transformation of Celie. Shug enjoys her life and tries to spread the happiness to those around her. She is aware of her own physical beauty and uses it to control men. For women like Celie, it isnt that easy. Celies father tells Albert, She ugly. She aint smart either.; (9). This is where Celie develops her low self esteem. Shug tries to make Celie realize that she is a beautiful person by getting to know her and loving her. nbsp;nbsp;nbsp;nbsp;nbsp; Shug is an admirable woman because of her ability to love others. She tells Celie, If you was my wife, Id cover you with kisses instead of licks and work hard for you too,; and later says, I love you, Miss Celie.; (118). Here Celie realizes that sheShow MoreRelatedThe Experiences of Women in The Color Purple Essay1319 Words   |  6 PagesIntroduction In the film The Color purple women are strongly objectified by men, their worth being ruled by beauty, talent and what they could do. They were left uneducated to keep them submissive and beaten down to be put in place. Men however did as they please with no repercussions for their actions. White men were given the right to an education and all Characters Mr. is controlling and self centered without showing any regards to how Celie is feeling. He beats and conditions her toRead MoreWomens Rights In Alice Walkers The Color Purple1249 Words   |  5 PagesThe Color Purple, by Alice Walker should not be banned because of many different learning areas throughout the book. 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Modern Dance Is Never Static Essay - 1952 Words

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