Analysis Of The Novel Wide Sargasso Sea - 772 Words

Wide Sargasso Sea is a novel known for its approach on the post-colonial view of the colonizer and the colonized. It connects the 1800s view of the English (Mr. Rochester) and the West Indies (Antoinette), in which it expresses the complex social standards of society. Although, this view is prevalent in the novel, another issue is clearly expressed throughout the novel, female enslavement. Women are constantly devalued in the novel, showing as not having the same importance or significance as the colonizers, which in this case is Mr. Rochester. The colonial dominance demonstrate how treacherous women are portrayed, as a result, the novel shows how Antoinette became impelled into her insanity. Considering Christophine attempted to help†¦show more content†¦Rochester lacked explains the force behind his evil schemes towards Antionette. However, the pinnacle of Antionette’s abuse was when Mr. Rochester states, â€Å"I will destroy your hatred. My hate is colder, stronge r and you’ll have no hate to warm yourself. You will have nothing† (Rhys 154). At that point the author illustrates that Antionette’s abuse was so severe that â€Å"all the pain went from her eyes† and â€Å"she was only a ghost†¦Nothing left but hopelessness† (Rhys 154). Behind all of this, Rochester wants to show that he is the dominate one in the house and he is the one that is in charge. To further prove his point, the novel shows that the colonizer (Mr. Rochester) compelled his power to control other women. Abiding from the psychological abuse, the colonizer (Mr. Rochester) controlled women through sexual methods. In one scenario, Mr. Rochester behaves like a slave owner in his sexual relationship with the servant, Amelie. In this situation, Mr. Rochester took advantage of Amelie because he is the dominant one in the house. He shows that he can use women for his sexual desires because of his dominance. This coincides the colonial point of view because the colonizer resembles women with the same principles. Th colonizers dehumanize women into labeling them as pieces of property. To make matters worse, Mr. Rochester knows that his wife is in the â€Å"thin partition room† next to them, but he commits adultery either way (Rhys 127). Clearly, women have noShow MoreRelated Contrasting Gender Differences in in Medea versus Wide Sargasso Sea1722 Words   |  7 PagesGender Differences in in Medea versus Wide Sargasso Sea Stereotypical attributes traditionally associated with women, such as having a propensity to madness, or being irrational, frivolous, dependent, decorative, subordinate, scheming, manipulative, weak, jealous, gossiping, vulnerable and deceitful were common in the times relevant to both works, i.e. Ancient Greece and in the 19th and early 20th Century. Masculine attributes in Euripides time were more along the lines of being valiant, heroicRead MoreFire in Hean Rhy ´s Wide Sargasso Sea Essay2032 Words   |  9 Pageshumans. Physiologically fire can provide protection, hope, and direction. (thesis) In Jean Rhys’s novel Wide Sargasso Sea fire is the symbol used to represent the motif of trauma. This motif of trauma connects to Rhys’ theme that unless people who suffer trauma eventually learn to cope with it, it will build psychologically and will eventually be released harmfully. The novel Wide Sargasso Sea commences with tension between the recently emancipated slaves in Jamaica and a wealthy family ofRead MoreGaining Agency Through Sex : A Critical Analysis Of Wide Sargasso Sea1152 Words   |  5 PagesGaining Agency Through Sex: A Critical Analysis of Wide Sargasso Sea Almost none of the characters introduced in â€Å"Wide Sargasso Sea† by Jean Rhys have control of their lives. In fact, control, or lack thereof, is a major dilemma seen from the two perspectives in the novel. To obtain control of their choices and actions, or gain agency, some of the characters use sex, though this doesn’t work out in everyone’s favor. The only characters who can use sex to gain agency are Rochester, the protagonist’sRead More Revision of Master Narratives within Jane Eyre and Wide Sargasso Sea2157 Words   |  9 Pagesto Cinderella loosing her slipper in the fairytale, and that being the key to the prince finding her. Once viewed in this light, the question of whether Bronte does in fact revise any master narratives can be brought up. Lowood is crucial in the analysis of this suggestion, here, as I spoke before, she becomes ‘disciplined and subdued’, the opposite of the fiery strong character we have come to view her as. Is it possible that Jane Eyre is not in fact as ground breaking as suggested? During her timeRead MoreThree Dreams in Wide Sargasso Sea2449 Words   |  10 PagesOutline Thesis statement: the interpretation of the content of the three dreams and the analysis of the function of them in Wide Sargasso Sea. I. Introduction The three dreams of Antoinette, the heroine in Wide Sargasso Sea, serve as a significant role throughout the novel. This essay aims at interpreting the context of the three dreams and analyzing the function of them. II. Body: A. the interpretation of the underlying content of the three dreams 1. The theory of symbolism 2Read MoreOf mimicry and man1676 Words   |  7 Pages Homi Bhabha explains the weaknesses of colonial discourse by suggesting that the techniques which ‘broadcast the dominance and impenetrability’ (Kumar-Das 1992:362) of the subject causes its weaknesses to arise. Bhabha makes a psychoanalytic analysis based on the work of Jacques Lacan and Frantz Fanon, among several authors. His definition of colonial mimicry takes the form of discussing the issues within colonial discourse whilst reflecting on his own personal views of the matter. In this wayRead MoreBeing the Meat in the Sandwich: Implications of the double colonisation of empire and patriarchy by the female characters in Wide Sargasso Sea2201 Words   |  9 Pagespost-colonial purposes’. (Tiffin, 1987) Such a revolutionary literary project is evidently realised in Wide Sargasso Sea by Jean Rhys, a prequel that ‘writes back the centre’ of Charlotte Brontà «Ã¢â‚¬â„¢s Jane Eyre (1847). Rhys is categorical about her conscious authorial intention: â €˜I immediately thought Id write a story as it (the story of Bertha/Antoinette) might really have been.’ (Rhys, 1986) The novel revitalizes Bronte’s Bertha Mason, the madwoman in the attic, as Antoinette Cosway, a hyper-sensitiveRead More`` Oranges Are Not The Only Fruit And Jean Rhys s Wide Sargasso Sea Essay1965 Words   |  8 Pagesrather fragile. In feminist literature, we see this fragility come through at incredible rates. While simply looking at a couple of novels, it is possible to evaluate how the power dynamic of masculinity puts up its walls when facing the smallest threats to its power. Through analysis of Jeanette Winterson’s Oranges Are Not the Only Fruit and Jean Rhys’s Wide Sargasso Sea, it is possible to see how the figureheads of masculinity panic as soon as they are posed with the smallest threat. The protagonistsRead MoreAnalysis Of Antoinette Cosways Defiant Journey In Wide Sargasso Sea1920 Words   |  8 PagesThe Importance of Self-Truth and Active Protest: Analysis on Antoinette Cosway’s Defiant Journey in Wide Sargasso Sea Wide Sargasso Sea by Jean Rhys calls forth ideas of feminism and self-worth in the fight against colonization during the 19th century. Antoinette Cosway lived in Jamaica her entire life, and yet, as a white woman, remains alienated from her neighbors throughout the novel. Just a few short years after the Emancipation Act, her family is still greatly suffering from the loss of slaveRead MoreCreolisation in the Caribbean1893 Words   |  8 PagesThe term itself has been receiving international recognition because of its ability to include cross cultural relationships and interdetermacy. It was the product of these intersecting influences—the inauguration of a Creole society in the Caribbean Sea—that became the subject of the text Eloge de la crà ©olità ©/In Praise of Creoleness (1989). Written by Raphaà «l Confiant and Patrick Chamoiseau, two Martinican novelists, in conjunction with Jean Bernabà ©, a Guadeloupean linguist, this manifesto can be seen

Abraham Lincoln s Lifetime And Presidency - 945 Words

A humble, honest man who stayed true to his word, and a historical figure to be remembered indefinitely are both phrases that can be used to describe the way James McPherson views Abraham Lincoln throughout his lifetime and presidency. In writing Abraham Lincoln, McPherson sought to concisely capture the most important events of Lincoln’s life along with his input on why he felt that Lincoln was such a tremendous leader. The three main points of his argument include Lincoln’s prior government experience and stance on issues, his changes while in office, and the overall opinions of the general public during his time in office. Lincoln highly disliked his father’s way of parenting, giving him a basis for his future political endeavors. From a young age, Abraham was interested in learning and forwarding his education, much to the disdain of his farmer father who saw him as â€Å"lazy [for his] preference of reading over work† (McPherson, 3). This quickly deri ved into a passion for politics in 1833, shortly after he became an adult and moved to New Salem. McPherson states that Lincoln, though not winning candidacy multiple times throughout his career — from the legislature to the presidency — was always a popular figure. His semi-radical way of thinking throughout the mid 1800s caught many Americans attentions. This, along with his marvelous speaking ability allowed him to persuade large numbers of citizens, both in the government and living throughout the divided ConfederacyShow MoreRelatedThe Legacy Of Abraham Lincoln1117 Words   |  5 Pagesoften seen as the greatest political figure that served during the time of the Civil War. The sixteenth President, Abraham Lincoln, administered in the oval office during this time of chaos. Lincoln’s presidency revolved around many issues that were tearing the nation apart. His duty was to ease tension with regards to slavery and emancipation, cease secession, and preserve the Union. 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The Secret of Ella and Micha Chapter 20 Free Essays

Ella â€Å"So is this what you used to do all the time?† Lila relaxes back in the lawn chair. â€Å"Just sit around and watch them work on cars all day? God, that must have been nice.† I slurp on my Icee, my eyes fastened on Micha and Ethan working on the car on the opposite side of the garage. We will write a custom essay sample on The Secret of Ella and Micha Chapter 20 or any similar topic only for you Order Now They’re trying to work too fast and it’s making me nervous. â€Å"No, I used to work on the cars with them.† She dumps a bag of MM’s into her hand. â€Å"Do you want to go help them right now?† â€Å"I can hang out here with you,† I say and stick out my hand. â€Å"Besides, I’m kind of enjoying myself.† She dumps some candy into my hand and I pour the chocolate into my mouth. â€Å"I know you are.† She sets the candy on the floor and picks up her soda. â€Å"You’re practically glowing.† I rest my face in my hand to hide the alleged glowing. â€Å"This makes me nervous.† â€Å"What does?† â€Å"Racing when the car’s not running good.† Lila pulls her hair out of the ponytail and tousles it with her fingers. â€Å"Why? Can something go wrong?† â€Å"With racing, anything can go wrong,† I say, mad at myself for getting Micha into this mess. Micha I kick a tool box out of the way and step up onto the bumper, staring down at the engine. â€Å"So what do you think?† Ethan wipes his hands on a rag as he shakes his head. â€Å"I have no clue if this quick fix is going to hold up or not and we don’t have time to check the tie rods. If you got hit hard enough, they’re probably bent and your whole steering is going to be fucked up.† â€Å"I guess we’ll find out when we get it going.† I glance over at Ella and Lila, laughing in the corner of the garage. â€Å"You’re not going to take her with you when you race, are you?† Ethan rounds the back of the car and starts checking the tire pressure. â€Å"Not with the car running like it is.† â€Å"And what if she gives you a hard time.† â€Å"She won’t.† I check the oil. â€Å"At least I think she won’t.† Ethan wipes his hands on his jeans. â€Å"I think that all depends on which Ella you’re dealing with. The nice, polite one or the one who got you into this mess.† I look over at Ella again as she bends over to get a soda from the cooler behind the chairs. Her short shorts ride up and the bottom of her ass peeks out. After getting a drink, she drops back in her chair and opens it up, laughing at something Lila said. I adjust myself and slam the hood of the car down. â€Å"I think she might be a little of both.† *** â€Å"Why are there so many more people tonight?† Lila asks from the backseat, gaping at the cars parked up and down the road. â€Å"It wasn’t this bad the last time we were here.† The girl is scared shitless and I kind of feel bad for her. â€Å"Mikey likes to draw a crowd.† â€Å"To watch him lose?† she asks, prodding Ella with her elbow. â€Å"Maybe,† I say with a heavy sigh, psyching myself out as I climb out of the car. The three of them follow me out and Ella takes my hand as we hike through the crowd where Mikey’s talking smack to some skater dude who drives a Honda in the middle of the crowd, showing off for everyone. There’s a bonfire burning over near The Hitch and people sitting on tailgates, drinking beers, waiting for the race to start. I push my way through the crowd, keeping a hold of Ella’s hand. When we step out into the open, everyone looks at us and gossip starts flowing. Mikey stops talking and claps his hands loudly. â€Å"Holy crap, I didn’t think you’d actually show up.† â€Å"Do I ever not show up?† I say. â€Å"You’re the one that backed out the last time we tried to race.† He spits on the ground and crosses his arms. â€Å"So which one of you’s racing? The little one with the big mouth that got you into this mess? Or are you gonna race me yourself?† Ella starts to move forward. â€Å"I’m – â€Å" â€Å"I am.† I squeeze her hand, pulling her behind me. â€Å"Micha,† she hisses. â€Å"This is my thing. I can handle it.† I shake my head, not looking at her. â€Å"Let’s line up and get this over with.† Mikey grins, rubbing his hands together. â€Å"What? You eager to get your ass kicked?† â€Å"No, I’m eager for you shut up.† With that I turn away and head back to the car with Ella in tow. â€Å"Micha Scott,† she says, tugging on my arm and planting her feet in the dirt, trying to get me to stop walking. Ethan and Lila are a ways back and Ethan’s trying to explain to Lila the rules of racing. I keep walking forward, dragging her along with me, refusing to let her have her way this time – not with this. â€Å"Stop being all noble and just let me drive,† she says hotly. â€Å"It’s much better for me to lose to him then for you to. He’ll bug you about it for the rest of your life.† I stop just in front of the car and turn to her and brush the pad of my thumb across her cheek. â€Å"Hey, who said anything about losing?† She gathers some strands of hair out of her face and stares at the front end of the car. The glow of the fire highlights the worry in her eyes. â€Å"I know Ethan and you didn’t get everything fixed. You were working too fast and I’m sure you didn’t do that great of a job.† â€Å"The car’s fine,† I assure her. â€Å"But you need to sit this one out.† â€Å"No way,† she argues, folding her arms over her chest defiantly. â€Å"I’m going to at least sit in the passenger seat and ride with you. â€Å" I shake my head. â€Å"Not this time, pretty girl.† She starts to fume, so I lean in and kiss her right in front of everyone, cupping the back of her head and grabbing her ass, letting people know she’s mine. Her body trembles as she kisses me back, even when someone whistles. When I pull away, she has this glazed look in her eyes. â€Å"Now take Lila and go sit over by the finish line.† She opens her mouth, then seals her lips shut and nods. Ethan and her trade places and she walks off with Lila over toward the line. Once they’re out of sight, Ethan says, â€Å"You sure you want to do this?† I nod, my gaze tracking the line of the road and the trees next to it. â€Å"You sure you want to do this?† â€Å"Absolutely,† he says. â€Å"I have nothing better to do.† We bump fists and climb into the car. I rev up the engine a few times, then inch it forward across the dirt and through the crowd toward the lineup area in front of The Hitch. â€Å"How’s the steering?† he asks rolling down the window, and letting the night air flow in. I veer it from side to side, testing it. â€Å"It’s shaky.† â€Å"Left or right?† â€Å"To the right.† â€Å"Make sure you do your turnaround to the left then.† I nod as we roll up to the lineup and Mikey’s already waiting for us. Ella and Lila are just off to the side, near the trees, sitting on the tailgate of someone’s truck. She has her eyes glued to us as Lila talks to her, swinging her legs. I thrum my fingers on the top of the steering wheel, eyeing the end of the road. â€Å"Quit psyching yourself out,† Ethan says and snatches up the iPod. â€Å"I think it’s time for a little tunes.† He scrolls through the music and â€Å"The Distance† by Cake flips on. He cranks it up so the base is bumping and we start nodding our heads. When it hits the chorus we start singing and Ethan taps his fingers on the dash, like he’s playing the drums. The more the song goes on, the more we get into it. I catch Ella laughing and shaking her head at us, because she knows this is Ethan and mines thing, but usually she’s in the car with us. â€Å"Hey, are we going to race?† Mikey shouts, slipping out his window and looking at us from over the roof with his hands in the air. â€Å"Or are we going to sit around and listen to music?† I floor the pedal so loud the sound rumbles through the night and his eyes widen slightly. He gets back into his car and throttles his own pedal. It’s half as loud and Ethan and I laugh at him. â€Å"Dude, quit wasting time and get your girl over here to start us off,† he calls out over the music. I turn it down a notch. â€Å"Get Chandra to do it.† â€Å"No man, you know the rules,† he says with a smirk. â€Å"The girlfriend of the one being challenged has to start off the race.† I roll my eyes, knowing Ella’s not going to like this, the old or the new version. I slide out of the window, cup my hands around my mouth, and shout over the roof at her. â€Å"Ella May, get your beautiful ass over here.† Lila has her distracted and she jumps. Her eyebrows furrow as I wave her over. She holds up a finger to Lila and hops of the hood, looking at me perplexedly as she makes her way through the crowd and over to me. I sit back in the car as she reaches the window and she lowers her head down, looking into the cab. â€Å"You have to start us off,† I tell her and she instantly makes a face. â€Å"It’s the rules. You know that.† â€Å"Those rules are sexist,† she says. â€Å"Let Mikey’s slutty girlfriend do it.† â€Å"You know he’s not going to let that happen.† â€Å"I could make him let it happen.† I press my lips together as her spitfire personality burns through all her fake politeness. â€Å"Can you just do it for me?† She rolls her eyes, then leans in and kisses my cheek. â€Å"But only for you.† Then she backs out of the car, with an exaggerated sway of her hips, making fun of the ordeal, but still looking hot as hell in her little shorts. Ethan and I bust up laughing as she turns around with a big embellished grin on her face. â€Å"Well, at least she’s entertaining,† he says, patting the side of the door with his hand to the beat of the music. I pump the gas a few times, my gaze attached to hers as she elevates her hands above her head. She looks at me as she counts down. When her arms drop, the tires squeal as we peel out. Ella I walk back through the cloud of dirt and hop on the tailgate with Lila. I spot Grantford through the crowd and when he sees me, he hurries away, ducking into the crowd, knowing Micha’s around. Lila swings her legs, taking in the surroundings. â€Å"What was that about?† â€Å"Rules,† I sigh, leaning forward so I can get a better view of the road. It’s hard to tell because it’s dark, but it looks like Micha is winning. I start to grow restless the farther away the taillights get and I jump off the tailgate and pace the dirt. â€Å"You’re nervous,† Lila observes. â€Å"And you’re making me nervous.† I bite on my fingernails, unable to settle down. â€Å"I don’t know what my problem is. Usually, I’m not this jumpy.† But I think deep down, I know exactly what my problem is. My feelings for Micha have been freed and now they consume me, own me, bind me to him. The crowd starts moving, nearly trampling me as they stare down the road, waiting for the turnaround. I hear the scared tones in their voices first before the crash. It’s like a train wreck, metal crushing and snapping apart. Lila’s eyes snap wide. â€Å"What the hell was that?† I spin around and shove my way to the front of the crowd. There are a few cars on the side backing up onto the road. â€Å"Shit,† someone says. â€Å"I think one of them wrecked.† I feel my heart crumble as I take off down the road. â€Å"Ella!† Lila shouts. â€Å"Where are you going?† I keep running, stumbling through the dark, searching for their lights. My flip flops fall off somewhere, but I keep going, needing to know. Cars are pulling out behind me and headlights shine at my back. Seconds later, Mikey’s car zooms by and he shouts something foul at me. Halfway down the road, the air turns to dirt and the sound of â€Å"The Distance† by Cake floods the air, only it’s stuck and keeps saying the same line over and over again. Spotting the outline of the car, I slow down. Suddenly, I’m back to the night my mom died. The Chevelle is smashed against the trunk of a large tree, the windshield smashed to pieces, and two of the tires are blown out. Somehow it must have flipped around and the driver’s side took most of the impact. I know whatever’s inside the car is bad, just like when I opened the bathroom door the night I found my mom and I won’t be able to do anything about it. I almost turn away and run, not wanting to see it, but the passenger side door swings open and Ethan stumbles out, clutching at his upper arm. There’s a path of blood dripping down his arm and his cheek is scraped. I snap out of my own thoughts and rush to him. â€Å"Are you okay?† â€Å"Ella, go get some help.† He coughs, nearly buckling to his knees. â€Å"No.† My voice comes out sharp and high-pitched and vomit burns at the back of my throat. I gently push him aside and climb into the car, which is filled with dirt and the air is muggy. â€Å"Micha.† I cover my mouth and shake my head. His head is flopped back against the headrest and turned away from me and his arms are slack to the side. Branches are poking in through the window and it looks like one of them might be lodged into his shoulder. His head turns toward me and his eyes widen. â€Å"Fuck. Ethan, get her out of here.† Ethan reaches in to pull me back, but I climb onto the console, taking in the long, thin stick stabbed in his shoulder. I can’t breathe. I can’t lose him. I can’t do this again. â€Å"Ella May, look at me.† His voice is hoarse as he locks eyes with me. â€Å"I’m okay, now back out of the car so Ethan can get me out of here.† My eyes scan his body, looking for any more wounds that could be hiding from me. â€Å"It’s just the branch? That’s the only place you’re hurt?† He nods lethargically. â€Å"A few stitches and I’m as good as new.† Kissing his forehead, I take a deep breath, hating to leave him as I back out of the car. Ethan’s walking up the road toward me with Benny at his side. He’s still clutching his arm and there’s a little bit of a limp to his walk. â€Å"Someone’s got to have two good arms to pull it out,† he says to Benny and I see him glance at me with concern in his eyes. Benny nods and hops into the car, while Ethan and I wait impatiently on the outside. Cars start to pull up, headlights lighting up the accident as people rubberneck. One of the cars is a Camaro and Mikey stands in front of it, laughing with his girlfriend at his side. â€Å"Fucking asshole swerved at us,† Ethan tells me as he glares at Mikey. Rage engulfs me and this time I let it take me over. I march up to him and shove him hard so he stumbles back into the front end of his car. â€Å"You think this is funny?† I shout. â€Å"They crash into a tree because of you and you keep driving. What the hell’s wrong with you?† His eyes darken and he steps toward me. â€Å"I won and that’s all that matters.† Shaking my head, I lift up my leg and knee him in the balls, hard. He groans, his face reddening as he hunches over and his girlfriend runs to his side to coddle him. I start to leave when he straightens back up. Cradling his injured guy parts, he charges, ready to hit me. Ethan blocks him and shoves him back with his good arm. â€Å"If you touch her, I’ll slam my good fist into your face.† This is not the first time he’s had to say that to someone on my behalf. Mikey backs down from the fight, muttering something about it not being worth it as Benny helps Micha out of the car. The branch is out of his shoulder. Left in its place is a hole, which is bleeding down his arm and shirt, but he’s alive and breathing and that’s all that matters. We get him into the front seat of Benny’s GTO and then Ethan and Lila get in the back. Micha has me sit on his lap, and he nuzzles his head into my chest. I hold onto him tightly as we speed off into the night. How to cite The Secret of Ella and Micha Chapter 20, Essay examples

MEdieval Renaissance conflict in Dr Faustus free essay sample

Doctor Faustus is a play written by Christopher Marlowe. It was first published in 1604. Marlowe developed the play around the Faust legend-the story of a man who sold his soul to the devil to procure supernatural powers-which was a very popular story in Germany during the early part of the fifteenth century. In the play, the protagonist, Doctor Faustus, is a well-respected German scholar who grows dissatisfied with his studies of medicine, law, logic and theology. He wants a career to match the scope of his ambition, a subject to challenge his enormous intellect; therefore, he decides to turn to the dangerous practice of necromancy, or magic. He makes a pact with Mephistophilis to sell his soul to Lucifer in return of twenty-four years of absolute power. Later, in his study, when Faustus begins to despair, a Good Angel and a Bad Angel appear to him; each encourages him to follow his advice. We will write a custom essay sample on MEdieval Renaissance conflict in Dr Faustus or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Mephistophilis appears and Faustus agrees to sign a contract in blood with the devil even though several omens appear which warn him not to make this bond. Faustus begins to repent of his bargain as the voice of the Good Angel continues to urge him to repent. To divert Faustus, Mephistophilis and Lucifer both appear and parade the seven deadly sins before Faustus. After this, Mephistophilis takes Faustus to Rome and leads him into the popes private chambers, where the two become invisible and play pranks on the pope and some unsuspecting friars. After this episode, Faustus and Mephistophilis go to the German emperors court, where they conjure up Alexander the Great. At this time, Faustus also makes a pair of horns suddenly appear on one of the knights who had been sceptical about Faustus powers. After this episode, Faustus is next seen selling his horse to a horse-courser with the advice that the man must not ride the horse into the water. Later, the horse-courser enters Faustus study and accuses Faustus of false dealings because the horse had turned into a bundle of hay in the middle of a pond. After performing other magical, nonsensical tricks Faustus returns to his study, where at the request of his fellow scholars, he conjures up the apparition of Helen of Troy. An old man appears and tries to get Faustus to hope for salvation and yet Faustus cannot. He knows it is now too late to turn away from the evil and ask for forgiveness. When the scholars leave, the clock strikes eleven and Faustus realizes that he must give up his soul within an hour. As the clock marks each passing segment of time, Faustus sinks deeper and deeper into despair. Finally, the Doctor Faustus ends with Faustus awaiting the final hour of his life before he is carried off to eternal damnation by the agents of the underworld. THE MEDIEVAL AND RENAISSANCE CONFLICT Scholar R. M. Dawkins famously remarked that Doctor Faustus tells â€Å"the story of a Renaissance man who had to pay the medieval price for being one. † This quotation throws light on one of the play’s central themes- The conflict between Medieval ideals and the Renaissance ideals, and how Faustus is caught in the grip of the changing times. Certain aspects of the drama can be used to support an interpretation of Faustus as a Renaissance hero and other aspects suggest he is a medieval hero. According to medieval view of the world, everything revolved around God and religion whereas the Renaissance view put more emphasis on the individual, on classical learning, and on scientific inquiry into the nature of the world. In the middle ages any attempt or ambition to go beyond the assigned place was considered a great sin of pride. For the medieval person, pride was one of the greatest sins that could be committed. This concept was based upon the fact that Lucifers fall was the result of his pride when he tried to revolt against God. Thus, for the medieval person, aspiring pride became one of the cardinal sins. The Medieval View According to the medieval view, Faustus has a desire for forbidden knowledge. In order to gain more knowledge than he is entitled to, Faustus makes a contract with Lucifer, which brings about his damnation. In the prologue, Marlowe writes â€Å"Till swollen with cunning, of a self-conceit, His waxen wings did mount above his reach. † With these lines, he portrays an image of Icarus, who flew too close to sun which melted his waxed wings. This story was popular as an image of self-destructive will and ambition. Also, at the end of the play, Faustus learns that supernatural powers are reserved for the gods and that the person who attempts to handle or deal in magical powers must face eternal damnation. So, by the medieval standpoint, Faustus deserves his punishment hence the play is not so much a tragedy as it is a morality play. The ending is an act of justice, when the man who has transgressed against the natural laws of the universe is justifiably punished. The chorus at the end of the drama re-emphasizes this position when it admonishes the audience to learn from Faustus damnation and not attempt to go beyond the restrictions placed on humanity. The Renaissance View According to the Renaissance view, Faustus rebels against the limitations of medieval knowledge and the restriction put upon humankind decreeing that he must accept his place in the universe without challenging it. In his opening soliloquy in scene I, Faustus considers and rejects this medieval way of thinking. He resolves, in full Renaissance spirit, to accept no limits, traditions, or authorities in his quest for knowledge, wealth, and power. He even goes to the extent of selling his soul to Satan in his quest for enlightenment and absolute power. His desire, is to transcend the limitations of humanity and rise to greater achievements and heights. In the purest sense, Faustus wants to prove that he can become greater than he presently is. Because of his desire to go beyond human limitations, Faustus is willing to chance damnation in order to achieve his goals. Faustus, thus, may be considered as a ‘Renaissance Hero’- a hero of the new modern world, a world free of God, religion, and the limits that the medieval ideas had imposed on humanity. CONCLUSION Christopher Marlowe lived the time of the Middle Ages and the start of the Renaissance. These were two very different historical eras with quite different values, One of the reasons for the popularity of his play was that it dramatized the tug-of-war between the admonitions of the church and the exciting possibilities of knowledge suggested by the advance of science and the revival of classical learning. Marlowe’s own attitude toward the clash between medieval and Renaissance values is quite ambiguous. He seems hostile toward the ambitions of Faustus, and keeps his tragic hero squarely in the medieval world, where eternal damnation is the price of human pride. The disappointment and mediocrity that follow Faustus’s pact with the devil, as he descends from grand ambitions to petty conjuring tricks, might suggest that the new, modern spirit, though ambitious and glittering, will lead only to a Faustian dead end. On the other hand, his renaissance ideologies are reflected in Faustus’s character, he hears Renaissance voices which tell him just the opposite extend the boundaries of human knowledge. Seek wealth and power. Live this life to the full because tomorrow youll be dead. This theme of eat, drink, and be merry for tomorrow we die was a popular theme during the Renaissance period.