“I’ll Leap Up to my God: Who Pulls me Down?”: The Theatrics of the Fall in Christopher Marlowe’s The Tragical History of "Doctor Faustus"

Abstract

The article underpins the theatrics of the tragic hero’s fall in Marlowe’s Doctor Faustus. Theological concepts related to sin and damnation are applied to interpret the ironic inversions leading to the downfall of Faustus. The choice of “spectacle of blindness” emphasises the link between theatricality and irony. The concept of metatheatre is used to portray the fall of Faustus. Irony reaches grandeur thanks to the interweaving of metatheatre and the carnivalesque. The research legitimises the existence of the concept of the theatrics of irony. The research delves into the intricate layers of irony woven throughout the play as the titular character embarks on a fateful journey from humanity to damnation. Faustus’ relentless pursuit of perceived divine imperfections, his portrayal as a shrewd manipulator of thought, and his refusal to acknowledge the true nature of his transgressions are meticulously crafted into a dramatic spectacle by the playwright. Marlowe's adept use of irony is exemplified through intentional inversions and deviations from the play's source material, The English Faust book. Embracing irony as a spectacle of blindness, the analysis reveals the amalgamation of carnivalesque elements, comedy, burlesque, and metatheatre in the play’s theatrics of irony. Faustus’ tragic downfall unfolds as a nuanced interplay between serious, tragic consequences and moments of buffoonery or carnivalesque revelry. The analysis positions Doctor Faustus as a distinctive work, departing from traditional interpretations and venturing into new theatrical aesthetics, emphasising the spectacular and the metatheatrical.