the iĄaculty oÍ' Graduate Ątudies April, L96[ - MSpace at the ...

Ci.il{PfdR T|IREE
T'f-Ìiì-{E PúlìSPåCTIVüS ûF'l'iis !'ÀUS'f 'r.'i-jilìvli
Chris'ûopher i,rarlor¡e: 'I.t^re Traåi-cal History of Dr. :.rauqtus
fire vigour and- potential magnitude of the
Pnraeel sus ;ili¡th could not be contained bv the irarrov,¡
canvas provided. by Spies in his !'a}:-ebbgch of L587,
but as Nhe work does not claiin io 'be anything else than
a folk-bool< it cannot be criticised for what it did not
intend. Yet rn¡hat this work lacks in depth and self-
nernei;r:at,i np' i nlmediacv i,s exnressed i n full measLire in
J *"
Christopher i'larlorrrets fi-nal play: The Ïrqgica-l l{istory
of ür" Fausius" If ¡tarlor'.¡e ha-s variecl his v¡ork onlv
slightly in action from its German predecessor, he has
creaied a new d-imensioä by gras,oj-ng the dynamic qu.ality
in the rnyfh and by re-casting il in the innovations of
iris d.ramatic form" this re-creation draws its streng|h
from a vivid sense of actuality which continues to in-
forr¿r f he Faust theme.
i{arlowe 1s often called a predecessor of
Shakespeare, bu't he gains in stature by being called a
man of transition. He is a dranratist who has spa.nned
the distance betr¡¡een ihe stereotypes of ¡he lvloralicy
Play ancl the all-too human humanity of Sha.kespearels
dramas" Like lraracelsus, he is ihe r'iensch der ititte:
a balance betr'ueen two worlds, a focal point between two