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

,4"
traditions" The form of the Tra,qtqêl-lllst'q,r'y is marked
by i;he trad-ition of earlier forns v¡hile at the same 'bime
heerìnr" vvs¿ +¡rÒ i-,he seed of a inuch richer cirarnati-c period.
ï''iarlov¡e1s tragedy represents the rransiiion of -l¡o'ch a
form and a theme at a critical point.
irÍarlov¡ers innovarions permit his treatrnent of -t,he
theme being called the first modern Faust tvork: In the
first instance, he has broken vuiih tradi'bion by embodying
in his texi a poi.'rerful defiance of authori'ty which re-
sults in the suggesi;ion of an inner or spiribual inNerpretation
oÍ' the na-r,u-re of tragedy" Secondly, he has
reconcilect the depariure by uniting this sense of tra$edy
wibh the elemen'cs of the morality play; this serves fo
deepen the sense of the irreparable dichotoln¡.. irinally,
j'[arlorve has presenteci the elernent of charac'ber developnent
whereby !'austus moves from absoluie self-assurance .uo
abjeci despair. -'
'fhe character of Ì"austus, tohose bod-y and. sou-I
have been damned ltoooby a su-rfeib of dead.ly sin...Ît 2"
is subject Eo a subtle but nonetireless relentless movemeni
dov¡nv¡ard, and the dramatic poufer of iuiarlovfers fragedy Ís
formed by the contrasting elements rvhicir clrive i'he root
action of tlie dra-r¿a onlva-rd, The rigiclity of the chorus,
angels, and Seven Deadly Sins have a contrapuntal relaiionship
bo the inner turmoil of a hr.irnan soul whicir