CASEBOOK SERIES

JANE AUSTEN: 'Northanger Abbey' & 'Persuasion' B.C. Southam JANE AUSTEN: 'Sense and Sensibility', 'Pride and Prejudice' & 'Mansfield Park' B. C. Southam BECKEn: Waiting for Godot RubyCohn WILLIAMBLAKE: Songs ofInnocence and Experience Margaret Bottrall CHARLOnE BRONTE: 'Jane Eyre' & 'Villette' Miriam Allott EMILY BRONTE: Wuthering Heights (Revised) Miriam Allott BROWNING: 'Men and Women ' & Other Poems J. R.Watson CHAUCER: The Canterbury Tales J. J. Anderson COLERIDGE: 'The Ancient Mariner' & Other Poems Alun R. Jones & W.Tydeman CONRAD:' Heart ofDarkness', 'Nostromo' & 'Under Western Eyes' C. B.Cox DICKENS: Bleak House A.E.Dyson DICKENS: 'Hard Times: 'Great Expectations' & 'Our Mutual Friend" Norman Page DONNE:Songs and Sonnets Julian Lovelock GEORGE ELIOT: Middlemarch PatrickSwinden T.S. ELIOT: Four Quartets T.S. ELIOT: 'Prutrock ', 'Gerontion' & 'Ash Wednesday ' B. C. Southam T.S. ElIOT: The Waste Land C. B.Cox & Arnold P. Hinchliffe HENRY FIELDING: Tom Jones Neil Compton E.M. FORSTER:A Passage to India Malcolm Bradbury HARDY: The Tragic Novels (Revised) R. P. Draper HARDY: Poems James Gibson & TrevorJohnson GERARD MANLEY HOPKINS: Poems Margaret Bottrall HENRY JAMES: 'Washington Square' & 'The Portrait of a Lady' Alan Shelton JONSON: Volpone Jonas A.Barish JAMES JOYCE: 'Dubliners' & 'A Portrait of the Artist as a Young Man' Morris Beja KEATS: Odes G. S. Fraser KEATS: Narrative Poems JohnSpencer Hill D.H. LAWRENCE: Sons and Lovers Gamini Salgado D.H. LAWRENCE: 'The Rainbow' & 'Women in Love' Colin Clarke LOWRY: Under the Volcano Gordon Bowker MARLOWE: Doctor Faustus JohnJump MARLOWE: 'Tamburla ine the Great', 'Edward II' & 'The Jew ofMal ta ' J. R.Brown MILTON: Paradise Lost A.E. Dyson & JulianLovelock O'CASEY: 'juno and the Peycock', 'The Plough and the Stars' & 'The Shadow ofa Gunman ' RonaldAyling JOHN OSBORNE: Look Back in Anger John Russell Taylor PINTER: 'The Birthday Party ' & Other Plays Michael Scott POPE: The Rape of the Lock John Dixon Hunt SHAKESPEARE: A Midsummer Night's Dream Antony Price SHAKESPEARE: Antony and Cleopatra [Revlsed] JohnRussell Brown SHAKESPEARE: Coriolanus B.A. Brockman SHAKESPEARE: Early Tragedies NeilTaylor & Bryan Loughrey SHAKESPEARE: Hamlet John Jump SHAKESPEARE: Henry IVParts I and /I G. K. Hunter SHAKESPEARE: Henry V MichaelQuinn SHAKESPEARE:julius Caesar Peter Ure SHAKESPEARE: King Lear (Revised) FrankKermode SHAKESPEARE: Macbeth (Revised) John Wain SHAKESPEARE: Measure for Measure C. K. Stead SHAKESPEARE: The Merchant of Venice JohnWilders SHAKESPEARE: 'Much Ado About Nothing' & 'As You Like It ' John Russell Brown SHAKESPEARE: Othello [Revised] JohnWain SHAKESPEARE: Richard 1/ Nicholas Brooke SHAKESPEARE: The Sonnets Peter Jones SHAKESPEARE: The Tempest (Revised) D.J. Palmer SHAKESPEARE: Twelfth Night D.J. Palmer SHAKESPEARE: The Winter's Tale Kenneth Muir SPENSER: The Faerie Queene Peter Bayley SHERIDAN: Comedies Peter Davison STOPPARD: 'Rosencrantz and Guildenstern are Dead; 'jumpers' & 'Travesties' T.Bareham SWIFT: Gulliver's Travels Richard Gravil SYNGE: Four Plays RonaldAyling THACKERAY: Vanity Fair Arthur Pollard WEBSTER: 'The White Devil' & 'The Duchess ofMalfi' R.V. Holdsworth WILDE: Comedies WilliamTydeman VIRGINIA WOOLF: To the Lighthouse Morris Beja WORDSWORTH: Lyrical Ballads AlunR.Jones & WilliamTydeman WORDSWORTH: The Prelude W.J. Harvey & Richard Gravil YEATS: Poems 7979-35 ElizabethCullingford YEATS: Last Poems Jon Stallworthy

Issues in Contemporary Critical Theory Peter Barry Thirties Poets: 'The Auden Group' Ronald Carter Tragedy: Developments in Criticism R.P.Draper Three Contemporary Poets: Gunn, Hughes, Thomas A. E.Dyson The Metaphysical Poets Gerald Hammond Medieval English Drama Peter Happe The English Novel: Developments in Criticism since Henry james Stephen Hazell Poetry of the First World War DominicHibberd The Romantic Imagination John Spencer Hill Drama Criticism: Developments since Ibsen ArnoldP. Hinchliffe Three jacobean Revenge Tragedies R.V.Holdsworth The Language ofLiterature Norman Page Comedy: Developments in Criticism D.J. Palmer Studying Shakespeare John Russell Brown The Gothic Novel Victor Sage Pre-Romantic Poetry J. R.Watson Marlowe Doctor Faustus

A CASEBOOK

EDITED BY

JOHN JUMP Selection and editorial matter © john Jump 1969

AU rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this pubLication may be reproduced, copied or transmitted save with written permission or in accordance with * the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any Licence permitting limited copying issued by the Copyright licensing Agency, 90 Tottenham Court Road, london W1T 4lP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. Published by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N. Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin's Press, lLC and of PaLgrave Macmillan ltd. Macmillan(P) is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 978-0-333-09805-9 ISBN 978-1-349-89053-8 (eBook) DOI 10.1007/978-1-349-89053-8 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. A catalogue record for this book is availabLe from the British tibrary,

Transferred to digital printing, 2002 CONTENTS

Aclcnowledgements 7

General Editor's Preface 9

Introduction II

Part I: Extracts from Earlier Critics

WALTER SCOTT, P: 25 - HENRY MAITLAND, P: 2.5 • FRANCIS JEFFREY, p. 26 - WILLIAM HAZLITT, p. 2.7 • CHARLES LAMB, p. 29- J. W. VON GOETHE, p. 2.9 - JAMES BROUGHTON, p. 2.9 - JOHN PAYNE COLLIER, p. 30 • HENRY HALLAM, P: 30- GEORGE HENRY LEWES, P: 31• H. A. TAINE, P: 32 - A. W. WARD, P: 32 - WILHELM WAGNER, p. 33 - JOHN ADDINGTON SYMONDS, p. 35 • A. H. BULLEN, P: 36 - HAVELOCK ELLIS, P: 3'A- A. C. SWINBURNE, p. 38 - GEORGE SANTAYANA, p. 39 • FELIX E. SCHELLING, p. 40 - WILLIAM EMPSON, P: 41 • LEO KIRSCHBAUM, p. 42. - UNA ELLIS-FERM0R, p. 43 • PAULH. KOCHER,p. 44.

Part 2: RecentStudies

JAMES SMITH: Marlowe's DoctorFaustus 49 w. W. GREG: The Damnation ofFaustus 71 J. C. MAXWELL: The Sin ofFaustus 89 HELEN GARD NER: The Theme ofDamnation in DoctorFaustus 95 6 Contents NICHOLAS BROOKE: The Moral Tragedy ofDoetor Faustus 101 HARRY LEVIN: Science without Conscience 134 ROBERT ORNSTEIN: The ComicSynthesis in Doctor Faustus 165 J. P. BROCKBANK: DamnedPerpetually 173 J. B. STEANE: The Instabilityof Faustus 177 D. J. PALMER: Magic and Poetry in DoctorFaustus 188 L. C. KNIGHTS: The StrangeCaseof DoctorFaustus 2.04 CLEANTH BROOKS: The Unity ofMarlowe's Doctor Faustus 2.08 HAROLD HOBSON: AllThis and Helen,Too 2.2.2.

Select Bibliography 2.2.5 Notes onContributors 2.2.8 ACKNOWLEDGEMENTS

Havelock Ellis, Christopher Marlowe, in the Mermaid series (Ernest Benn Ltd, Hill & Wang Inc.); George Santayana, Three Philosophical Poets (Harvard University Press); Felix E. Schel• ling, English Drama (J. M. Dent & Sons Ltd, E. P. Dutton & Co. Inc.); William Empson, Seven Types ofAmbiguity (Chatto & Windus Ltd, New Directions Publishing Corporation; All Rights Reserved); Una Ellis-Fermer, The Frontiers ofDrama (Methuen & Co. Ltd); Professor James Smith, 'Marlowe's Dr Faustus', from Scrutiny, VIII (1939) (Cambridge University Press); W. W. Greg, 'The Damnation of Faustus', from Modem Language Review, XlI (1946) (Lady Greg and Cambridge University Press); J. C. Maxwell, 'The Sin ofFaustus', from The Wind and the Rain, IV (1947); 'Milton's "Satan" and the Theme of Damnation in Elizabethan Tragedy', from English Studies 1948, published for the English Association by John Murray (Publishers) Ltd and reprinted by Wm Dawson & Sons Ltd (Dame Helen Gardner, D.B.E., C.B.E.); Professor Nicholas Brooke, 'TheMoralTragedyof DoctorFaustus', from Cambridge Journal, V (1951-2) (Bowes & Bowes); Harry Levin, 'Science Without Conscience', from Christopher Marlowe: The Over• reacher (Faber & Faber Ltd, Harvard University Press; © the President and Fellows of Harvard College 1952); Robert Ornstein, 'The Comic Synthesis in Doctor Faustus', from Journal ofEnglish Literary History, XXII iii (1955) (The Johns Hopkins Press); J. P. Brockbank, 'Damned Perpetually', from Marlowe: Dr Faustus, ed. D. Daiches, in the Studies in English Literature series (Edward Arnold (Publishers) Ltd, Barron's Educational Series Inc.); J. B. Steane, Marlowe : A CriticalStudy (Cambridge University Press); D. J. Palmer, 'Magic and Poetry in Doctor 8 Achwwledgements

Faustus', from Critical Quarterly, VI (1964); 1. C. Knights, 'The Strange Case of Christopher Marlowe', from Further Explorations (Chatto & Windus Ltd, Stanford University Press; © 1. c. Knights 1965); Cleanth Brooks, 'The Unity of Marlowe'sDr Faustus', from To Nevill CoghillFrom Friends, ed. J. Lawlor and W. H. Auden; Harold Hobson, 'All This and Helen Too', from Sunday Times, 20 February 1966. GENERAL EDITOR'S PREFACE

EACH ofthis seriesof Casebooks concernseither one well-known and influential work of literature or two or three closely linked works. The main section consists of critical readings, mostly modem, brought together from journals and books. A selection ofreviews and comments by the author's contemporaries is also included, and sometimes comments from the author himself. The Editor's Introduction charts the reputation of the work from its first appearanceuntil the present time. What is the purpose of such a collection? Chiefly, to assist reading. Our first response to literature may be, or seem to be, 'personal'. Certain qualities of vigour, profundity, beauty or 'truth to experience' strike us, and the work gains a foothold in our mind. Later, an isolated phrase or passage may return to haunt or illuminate. Where did we hear that? we wonder - it could scarcelybe better put. In these and similar ways appreciation begins, but major literature prompts to very much more. There are certain facts we need to know if we are to understand properly. Who were the author's original readers, and what assumptions did he share with them? What was his theory ofliterature? Was he committed to a particular historical situation, or to a set of beliefs?We need historians as well as critics to help us with this. But there are also more purely literary factors to take account of: the work's structure and rhetoric; its symbols and archetypes; its tone, genre and texture; its use of language; the words on the page. In all these matters critics can inform and enrich our individual responses by offering imaginative recreations oftheir own. For the life of a book is not, after all, merely 'personal'; it is more like a tripartite dialogue, between a writer living 'then', a 10 General Editor's Preface reader living 'now', and whatever forces ofsurvival and honour link. the two. Criticism is the public manifestation ofthis dialogue, a witness to the continuing power of literature to arouse and excite. It illuminates the possibilities and rewards ofthe dialogue, pushing 'interpretation' as far forward as it can go. And here, indeed, is the rub: how far can it go? Where does 'interpretation' end, and nonsense begin? Why is one interpreta• tion superior to another, and why does each age need to interpret for itself? The critic knows that his insights have value only in so far as they serve the text, and that he must take account ofviews differing sharply from his own. He knows that his own writing will be judged as well as the work he writes about, so that he cannot simply assert inner illumination or a differing taste. The critical forum is a place ofvigorous conflict and disagree• ment, but there is nothing in this to cause dismay. What is attested is the complexity of human experience and the richness of literature, not any chaos or relativity of taste. A critic is better seen, no doubt, as an explorer than as an 'authority', but explorers ought to be, and usually are, well equipped. The effect of good criticism is to convince us of what C. S. Lewis called 'the enormous extension of our being which we owe to authors'. A Casebook will be justified only ifithelps to promote the sameend. A single volume can represent no more than a small selection ofcritical opinions. Some critics have been excluded for reasons of space, and it is hoped that readers will follow up the further suggestions in the Select Bibliography. Other contributions have been severed from their original context, to which some readers may wish to return. Indeed, if they take a hint from the critics represented here, they certainly will. A. E. DYSON