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Soliloquies in Marlowe's Doctor Faustus and Shakespeare's Hamlet

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Soliloquies in Marlowe's Doctor Faustus and Shakespeare's Hamlet Soliloquies in Marlowe’s Doctor Faustus and Shakespeare’s Hamlet: How they reveal the main characters’ inner mind and character development Diplomarbeit zur Erlangung des akademischen Grades einer Magistra der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Katrin STABER am Institut für Anglistik Begutachter: Ao.Univ.-Prof. Mag. Dr.phil. Hugo Keiper Graz, im Oktober 2012 Table of Contents 1 Introduction ................................................................................................................. 1 2 Christopher Marlowe and William Shakespeare ........................................................ 2 2.1 Marlowe’s and Shakespeare’s lives as contemporaries ............................ 2 2.2 Christopher Marlowe as a dramatist ......................................................... 4 2.3 William Shakespeare as a dramatist ......................................................... 5 2.4 The relationship between Marlowe and Shakespeare ............................... 7 3 Definition and history of soliloquies......................................................................... 10 3.1 Definition ................................................................................................ 10 3.2 History..................................................................................................... 12 4 Analysis..................................................................................................................... 14 4.1 Doctor Faustus ....................................................................................... 14 4.1.1 Sources and editions of Doctor Faustus ............................................... 14 4.1.2 Summary of Doctor Faustus ................................................................... 16 4.1.7.1 “Settle thy studies, Faustus, and begin / To sound the depth of that thou wilt profess” (1.1.1-62) ........................................................................... 24 4.1.7.2 “How am I glutted with conceit of this!” (1.1.77-98) ............................. 27 4.1.7.3 “Now that the gloomy shadow of the night, / Longing to view Orion’s drizzling look” (1.3.1-31) ....................................................................... 29 4.1.7.4 “Had I as many souls as there be stars, / I’d give them all for Mephistopheles” (1.3.100-112) .............................................................. 30 4.1.7.5 “Now, Faustus, must thou needs be damned?” (2.1.1-13) ...................... 32 4.1.7.6 “Wealth? / Why, the seigniory of Emden shall be mine” (2.1.22-27) .... 33 4.1.7.7 “My heart is hardened; I cannot repent” (2.3.18-30) .............................. 34 4.1.7.8 “What art thou, Faustus, but a man condemned to die?” (4.4.21-26) ..... 36 4.1.7.9 “O Faustus, / Now hast thou but one bare hour to live” (5.2.132-185) .. 37 4.1.8 Doctor Faustus’ soliloquies - conclusion ................................................ 41 4.2 Hamlet ..................................................................................................... 41 4.2.7 Analysis of Hamlet’s soliloquies ............................................................ 51 4.2.7.1 “O that this too too solid flesh would melt” (1.2.129-159) .................... 51 i 4.2.7.2 “O all you host of heaven! O earth! What else?” (1.5.92-113)............... 54 4.2.7.3 “O, what a rogue and peasant slave am I!” (2.2.526-582) ...................... 56 4.2.7.4 “To be, or not to be; that is the question:” (3.1.58-92) ........................... 60 4.2.7.5 “’Tis now the very witching time of night” (3.2.358-369) ..................... 64 4.2.7.6 “Now might I do it pat, now a is praying, / And now I’ll do’t” (3.3.73-96) ................................................................................................................. 66 4.2.7.7 “How all occasions do inform against me” (4.4.9.22-9.56).................... 68 4.3 Comparison of Doctor Faustus and Hamlet ............................................ 72 5 Summary ................................................................................................................... 74 6 Bibliography ............................................................................................................. 75 6.1 Primary sources ....................................................................................... 75 6.2 Secondary sources ................................................................................... 75 ii 1 Introduction In drama, soliloquies have always had an especially impressive effect on readers as well as on the audience as it is in the soliloquies that characters most reveal their inner thoughts. Two plays in which soliloquies serve this important function are Marlowe’s Doctor Faustus and Shakespeare’s Hamlet. These two plays have been chosen for this analysis because, in addition to their use of soliloquies, the fact that Marlowe and Shakespeare were contemporaries makes a comparison particularly fascinating. The primary aim of this thesis is to determine the state of mind of the protagonists of Faustus and Hamlet by examining their soliloquies. After a description of each character, the protagonist’s motivations for speaking are examined in context, with emphasis on the character development shown and the dramatic consequences thereof. Chapter 2 introduces the reader to Christopher Marlowe and William Shakespeare. Their lives as contemporaries, their abilities as playwrights, and their relationship are discussed. Chapter 3 gives a definition of the soliloquy and aside and outlines the historical development, function, and importance of those literary devices. Chapter 4 is devoted to the detailed analysis of the two plays. 4.1 analyses Doctor Faustus as it was written first, and 4.2 discusses Hamlet. Both sub-chapters provide, first, details about the plays’ sources and plots. Secondly, character conceptions and character descriptions of both Doctor Faustus and Hamlet are given, including references to the texts and comparisons to other characters. Thirdly, the importance of the soliloquies of Doctor Faustus and Hamlet is shown in context. For each soliloquy, the main character’s reasons for speaking as well as the content are analyzed, the focus being on the character development of the protagonists. Sub-chapter 4.3 compares the characters of Doctor Faustus and Hamlet. Chapter 5 gives a summary of the most important findings concerning the soliloquies of Doctor Faustus and Hamlet. 1 2 Christopher Marlowe and William Shakespeare Chapter 2 provides an introduction to Christopher Marlowe and William Shakespeare, their lives as contemporaries, describes Marlowe and Shakespeare as dramatists, and compares Marlowe and Shakespeare as playwrights. There are speculations about their relationship and authorship which are discussed in this part of the thesis. 2.1 Marlowe’s and Shakespeare’s lives as contemporaries The 16th century was a time when, as Halliday (1986: 27) points out, the English drama was in a sorry state: “The Reformation had almost killed the religious drama, and as yet the Renaissance had produced no comparable secular drama to take its place” However, this would soon change with the birth of these two marvelous writers. Christopher Marlowe and William Shakespeare were both born in the year 1564 (Healy 1994: vi; Halliday 1986: 13). Marlowe’s and Shakespeare’s lives were different. In contrast to Shakespeare, Marlowe received formal education. After obtaining his MA from Cambridge University, Marlowe worked as a playwright in London and, at this time around 1587-8 (cf. Bevington and Rasmussen 1998: vii), created his groundbreaking works including Tamburlaine, The Jew of Malta, The Massacre at Paris, Doctor Faustus, Edward II and Hero and Leander (cf. Healy 1994: vi). While his interest in reading and writing could already be seen at an early age, Shakespeare began with his professional career without the benefit of a formal education, after having started a family (cf. Halliday 1986: 32-48). Compared with Shakespeare, there is less information on Marlowe as a dramatist but far more speculation about his thrilling life as an undercover agent who was proclaimed a heretic and finally killed in 1593 in a fight at a tavern (cf. Healy 1994: vi). Marlowe was a person even more fascinating than the statements above indicate; there were also accusations “that the playwright was a proselytizing atheist, a counterfeiter, and a consumer of ‘boys and tobacco’” (Riggs in Cheney 2004: 24). In contrast to Marlowe, 2 Shakespeare lived a simple family life and was only able to establish himself as playwright a year before Marlowe’s death in 1593 (cf. Halliday 1986: 51). There was a third major contemporary figure who can be seen as an influence on both Shakespeare and Marlowe, namely the playwright Thomas Kyd. Not only was he the one who shared rooms with Marlowe while studying, they also influenced each other’s writing (cf. Riggs in Cheney 2004: 29-33): e.g. “Marlowe’s The Jew of Malta contains verbal echoes of Kyd’s Spanish Tragedy, and bears family resemblances to Kyd’s intricate revenge plot” (Riggs in Cheney 2004: 33). Kyd’s work might also have been used by Shakespeare. Kyd’s Spanish Tragedy is perhaps the model for Hamlet, and Kyd might have been the author of the Ur-Hamlet, which may also have figured as a source for Shakespeare. Key elements can be found in that work, including a ghost who tempts the protagonist into seeking revenge, the protagonist’s fluctuation between real and played madness, the ‘soliloquy
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