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Marlowe and God: The Tragic Theology of "Dr. Faustus"
This article began with the prolific nature of Marlowe's play and also it's controversy over the two publications (1604 and 1616). It then moves into some critiques of the movement from the light beginning to the tragic and desperate end of Faustus, and comparisons to Faustbook, the source for the pranks pulled by Faust in the play (how the book and the play differed, what was added, what was left out). The article then goes on to discuss in detail Marlowe's metaphysical motives for writing Faust, as well as looking at the dramatic structure of Faust as a Tragic Hero, comparing him to Hamlet, Macbeth and other such tragic heroes. The article makes the argument that his claims had less to do with commenting on religion or society itself (discussing the possibility that claims about his atheism are invalid) and that the play has more to do with his own existential questions. The article itself looks at ways in which Marlowe can be seen through his plays and how he is also not always accurately portrayed through his plays. For example Marlowe as a free thinker comes out in plays such as Tamburlaine and the Jew of Malta. But on the other hand Marlowe's specific theological views cannot be taken entirely from Faust. It is unclear whether or not the powerful, vengeful God in Faust really matches up with Marlowe's beliefs or not. The article goes on to dispel other scholarly misconceptions of the play as a whole, often attempting to correct such misconceptions by looking at the body of Marlowe's work, not just the one play.