"Religion hides many evils from suspicion" (I, ii, 279-280) Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Religion, as Barabas describes in this quote from The Jew of Malta, acts as a measure to defend one's actions as moral or right. Christopher Marlowe presents this use of religion in Doctor Faustus and The Jew of Malta. The protagonists of both works believe in an idea about the nature of religion similar to Marlowe's uncertainty. Marlowe's study of divinity is contradictory to his encouragement of atheism in his life and his double life as a spy. This struggle over the role of religions in society and politics appears in the characters of Doctor Faustus and Barabas. In Doctor Faustus and The Jew of Malta, the protagonists justify their corruption and their actions against social laws through religion. The character of Doctor Faustus displays a knowledge that Francis Bacon describes as "proud knowledge of good and evil, with the intent in man to make himself law and no longer to depend on the commandments of God which were the form of temptation" (Bacon 7) . Bacon believes that it is not the amount of knowledge that destroys humans, but the unhealthy goal of defying God. Faustus meets Bacon's destructive goal with his divine ambitions. He blames the religious limitations that Bacon emphasizes for his lack of spiritual understanding. He refuses to recognize these God-given limitations, and therefore forms an alliance with the evil spirit Lucifer. Faustus exchanges his soul for knowledge and the desire to "give himself law". He supports this decision due to the lack of conciliation between intellectual ambition and religion. Faustus wishes "Be on earth as Jupiter is in heaven, / Lord and commander of these elements" (i, 76-77). This reinforces his rejection of divine limitations as well as his problematic goals of knowledge. Like Marlowe, Faustus is a man aware of scholastic theology. He wants to go beyond human capabilities and pursue a divine and supernatural understanding of the universe. Lucifer and Mephastophilis represent another blame for Faustus' fall. Faust uses this pact to explain his desire to know all the answers to theological questions. "How full I am of the conceit of this! / I must make the spirits bring me what I like. / Clear me of all ambiguities" (i, 78-80). Diabolical characters exploit the wickedness of divine control, casting the decision to overpower God as an action these spirits bring upon the protagonist. Faust excuses the habit of playing God because the devil gives him this desire. Faustus uses magic to access information and creates his own universal laws. He flaunts his magic to gain control of his audience, impressing them with his evocations of powerful figures from history. This magic transcends human boundaries and proves that it attempts to become divine. The impression of the other through his powers fades when his damnation reveals selfish intentions and pride towards God. All human beings must balance these intellectual expectations with their beliefs. Marlowe shows this common struggle in the contrast between the scholars and Doctor Faustus. Scholars represent participation in positive academic learning that respects the laws of society and nature without religious manipulation. When Faust begins to abuse his magic, scholars comment on his situation. If he were a stranger and not my ally, I would have to cry for him. But come, let's go and inform the rector and see if he is near his tomb. the council canwin him back (ii, 33-35). This comment resembles Bacon's view towards scholasticism and religion: God has structured the mind of man as a mirror or glass capable of the image of the universal world and joyful in receiving the impression, as the eye delights in receiving the light, and not only in contemplating the variety of things and vicissitudes of the times, but raised also to discover and discern the ordinances and decrees which through all these changes are infallibly observed (Bacon 7). Bacon explains the need for healthy intellectual ambitions, and also warns against the abuse of learning to become divine. Marlowe approaches scholasticism the same way with the Scholars. They understand God's influence in their quest for knowledge, unlike Faustus. The scholars' concern for Faustus shows the greatness in their understanding of the world. They observe Faustus' magic and predict the final outcome of his death. This prophetic comment and the desire to save Faust reappear towards the end of the play, at a moment closer to Faust's death. «Yet Faust, look up to heaven; / remember that God's mercies are infinite /... Yet Faust calls upon God" (xiii, 13-14, 27). Marlowe contrasts the scholars' goals for knowledge with those of Faust to show the corrupt measures Faust takes in the name of religion to advance his knowledge. Faust rejects more than the intellectual limitations brought by religion. He uses the mixed messages and internal conflicts that arise in Protestantism to justify his continuation of following Lucifer. Faustus goes through a superficial conflict to find the true nature of repentance. He confronts a Good Angel and a Bad Angel in a debate between the desire for repentance and his inevitable damnation. His dilemma serves to demonstrate that his motivations are not completely against God. This leads readers to believe that Faustus' move towards salvation is honest, but the spirit Lucifer holds him back. However, it is his personal decision to stay in touch with the devil, and he only wants to invoke the public's mercy by blaming Lucifer. Furthermore, Faustus believes that confusion in Protestant theology offers reasons to reject God's grace. The Good Angel supports one aspect of Protestantism, presenting a merciful God who will save Faustus if he repents. The Evil Angel, on the other hand, believes that Faustus' transition into spiritual and magical power eliminates any possibility of forgiveness. These dueling ideas culminate in Faustus' apparent frustration as he faces this dilemma among the angels. My heart is so hardened that I cannot repent! I can scarcely name salvation, faith, or heaven, but fearful echoes thunder in my ears: "Faustus, you are damned"; then swords and knives, poison, pistols, halter and poisoned steel, are laid before me to kill myself: and long before this I would have killed myself, if sweet pleasure had not overcome deep despair... I am resolute! Faust will never repent (v, 194-201, 208). This conflict with the Protestant religion continues through the character of the Old Man: Through this sweet path you may reach the goal That will lead you to heavenly rest. Break the heart, shed blood, and mingle it with tears, tears that fall from the repentant heaviness of your vilest and most loathsome filth, the stench of which corrupts the inner soul with crimes so flagrant of heinous sins, which no compassion can expel; But mercy, Faustus, of their sweet savior, whose blood alone must wash away their guilt (xii, 28-37). The language of the Old Man provides two contradictory messages. It straddles two different Protestant ideas about redemption. Start by enhancing themercy of God and the possibility of forgiveness of Faustus. He switches to violent language about the corruption that Faustus embodies, claiming little hope in Faustus' salvation. The contradiction continues when he acknowledges the involvement of the human will in proactively seeking God's grace, a praise of Faustus' apparent desire to repent, but then states that mercy may not be possible. Faust blames this theological confusion for his spiritual and physical death. He cannot repent while Christian messages compete and vary. The scholars' faith in prayer and repentance along with the Old Man's confusion about God's wrath pushes Faustus further into the magical world and makes his attempt to conquer the divine more powerful. The only character he encounters with strengthening beliefs is Lucifer who never strays from his pact. The character Mephastophilis, however, represents what Faust becomes after death. Because this is hell and I'm not even out of it. Do you believe that I, who have seen the face of God, and have tasted the eternal joys of heaven, am not tormented by ten thousand hells in being deprived of eternal bliss? O Faust, leave these frivolous requests, which strike terror into my fainting soul (iii, 77-83). Like Faust, the character Mephastophilis refuses to accept the power of God. While mortal, he participates in the internal struggle common to humanity. The reader finds glimmers of remorse in his warnings to Faustus. He embarks on a wicked and magical quest for knowledge. Mephaistophiles' refusal to repent turns him into an unhappy spirit cast out of heaven. Faustus does not heed the warning, and therefore will never be satisfied with his magical abilities but will rest eternally in the torments of hell. Cleanth Brooks argues that “Faustus learns something in the course of the play and in the learning he undergoes changes and becomes a different man” (Brooks 105). The way Faustus plays with the nature of repentance in the text contradicts the idea that he changes intellectually. He remains a hypocritical character, deceptively struggling with repentance only to use religious issues to justify transforming into a magical spirit. For example, Faust fears repentance due to possible rejection of God. However, he then uses repentance as a threat to Mephastophilis. This calls into question the sincerity of Faustus' desire to pursue God and end his devotion to Lucifer. «When I contemplate the sky, then I repent / And I curse you, wicked Mephaestheles, / Because you have deprived me of these joys» (v, 177-179). Faustus' attempts at reconciliation with repentance are not credible struggles, just artificial words uttered in situations useful to his justification for having acquired supernatural powers. Another irony occurs with Faustus' dedication to Lucifer. Beelzebub, to whom Faustus dedicates himself. This word damnation does not terrify him, since it confuses hell in Elysium: his ghost is with the ancient philosophers (iii, 57-61). Faust claims loyalty to Lucifer; however he aims to be above all spirits, including the devil. The protagonist of The Jew of Malta also abuses religious ideas to claim and access power. The play opens with Barabbas' self-characterization as a Jew. His Jewish faith serves as the reason for his abundant wealth. He defines his status and social ambition as "Blessings promised to the Jews" (I, I, 102) but "they will not rise to be kings" (I, I, 126). This proud declaration of Jewish heritage contradicts a later message after he lost his property: My gold, my gold and all my wealth are gone. Ye partial heavens, have I deserved this plague? What will you oppose me to this, unfortunate stars, to make me desperate in mypoverty? (I, ii, 256-259). The association with the divine makes Barabbas appear as a devout and conscious member of the Jewish community. This manifests itself in more detail after the government imposed its tax policy on the Jews. David Bevington argues for the falsity of Barabas's religious justification: Readers are "suddenly faced with the irony of finding Barabas the sympathetic victim of Christian betrayal... Barabas's defense becomes, by a curious inversion, one man's defense offended, sensitive and defenseless person" (Bevington 36). Marlowe offers the first clues to Barabas' deceptive nature, questioning the sincerity of his religious justifications for justice and power. His self-definition as a Jew contrasts with his selfish obsession with wealth. "No, let them fight, conquer and kill everyone, / So they will spare me, my daughter and my riches" (I, I, 149-150). He shows indifferent feelings for the state of Malta, and only for himthe invariable passion throughout the work lies in its wealth. The fact that he opens the play with evil thoughts makes his religious motivations for claiming power incredible. Furthermore, Barabas admits to having committed crimes against non-Christians. “As for me, at night I go abroad / And kill the sick who groan under the walls: / Sometimes I go about and poison the wells” (II, iii, 175-177). He hates “invalids, orphans, and helpless people without distinction of sect or nationality” (Bevington 38). Furthermore, his abuse of the law and evil towards others are present before he asserts Christian prejudice against Jews as justification for violence and revenge. Despite his previous life of greed and crime, the play focuses primarily on Barabas' problematic interaction with Christians. This begins with a confrontation between the governor and Barabbas that sparks vengeful anger for the rest of the play. This situation portrays Barabas as the sympathetic character mentioned earlier because of the cruelty the governor, as a Christian, inflicts on the Jews. No, Jews, like the infidels. For through our suffering of your hateful lives, which stand cursed in the sight of heaven, these taxes and afflictions have happened, and therefore we are determined (I, ii, 63-65). This scene gives Barabas several religious reasons to avenge his power and pride. The Christian-influenced government follows the idea that religion defines character; therefore they justify the taxation of the Jews with the historical treatment of Christians, mainly with the persecution of Jesus. The hateful action against the Jews demonstrates their political use of faith. They accuse Barabas of coveting wealth, yet they exhibit theft. How ironically the Governor is making the theft, not only of Barabas' possessions but also of scriptural sanctions, the foundation of his religion, and how forcefully can Barabas bring the charge against these Christians' faces for their unjust behavior (Cutts 154). Furthermore, these Christians are guilty of another religious abuse: they threaten the baptism of Jews as punishment. This places even greater negativity towards the value of the Christian religion at this point in the play. Barabas uses the Christian treatment of the Jews as an excuse for his destructive actions. He gives in to the governor's motives as Barabbas shows the same malice towards them that he uses before to describe Christians in general. This initial injustice he experiences "provides an understandable motivation for the Jew's hatred and his subsequent acts of revenge. He is put in the position of having to fight back, so that his misanthropic behavior is made plausible" (Bevington 37). The first act of destructive deception that Barabas participates inoccurs with the encouragement of Abigail to feign interest in convent life. He does this for his personal gain because he has hidden money in his seized house and wants Abigail to recover the wealth. "But remain, what star shines yonder in the East? / The Loadstarre of my life, if Abigall" (II, I, 41-42). This quote comments on the confusion surrounding religious sincerity in the play. Here Barabbas compares Abigail to an eastern star. The star symbol represents the arrival of Christ, or a savior figure. Abigail's reclamation of her father's wealth serves as salvation for Barabas. The idea of ​​his own offspring saving his world gives Barabas an unsettling association with a divine power. This is ironic considering that, as a Jew, he does not follow the New Testament idea of ​​the bright star connected to the coming of Christ the savior. “We Jews can fauna like Spaniels when we want / And when we smile we bite, yet our appearance / is as innocent and harmless as a lamb” (II, iii, 20-22). Barabbas uses cunning and deception to destroy the lives of others. He reaffirms that his actions are cursed by his Jewish faith. His destruction of Lodowicke and Mathias hurts not only the Christian governor, but also Abigail, and also develops Barabas as a man who claims to attack Christianity but proves to be acting from selfish motives of power and control. First be empty of these affections, compassion, love, vain hope and heartless fear, do not be moved by anything, see pity for anyone, but smile to yourself when Christians groan (II, iii, 170-174). Barabas' ruthlessness shines through when he pits two of Abigail's suitors, Lodowicke and Mathias, against each other. He gives each of these men his blessing in wooing Abigail, deceiving them with his innocent, lamb-like appearance. His bite lies in his cunning involvement in the situational killing of men. He reaffirms the need for their deaths in retaliation against the unjust policies of the Christian governor. Lodowicke and Mathias embody the attitude of love despite religious beliefs or wealth. “It is not their wealth, but its esteem, / Yet I ask your consent” (II, iii, 299-300). This concept is foreign to Barabbas who lives only for his own gain. “But I have sworn to frustrate both their hopes, / And to take revenge on the governor” (II, iii, 144-145). The process (of evil) does not unfold logically, but elaborates and intensifies with repeated examples...Each subsequent episode becomes more ridiculous and more improbable than the previous one, as the realm of pure vice becomes more and more separated from its original motive ( Bevington 41). At the end of the play, Barabas loses the basis of his argument associating Christians with his necessary violence. He manages to kill Lodowicke, Mathias, Abigail, two friars and countless nuns, all innocent victims, not involved in the tax conflict. The separation from the motif described by Bevington culminates in the artificial alliance with Calymath, a Turkish invader. Now, as for Calymath and her consorts, here I have created a lovely Gallery, the floor of which, this hollow being cut, falls to pieces; so that he sinks into a deep abyss beyond recovery (V, v, 32-36). Barabas befriends Calimat to overthrow the governor and usurp control over Malta. However, he turns against Calymath and places a deadly trap in his path. The plan fails when the governor warns Calymath and Barabas falls victim to his own trap, burying himself in a fiery cauldron. Marlowe incorporates a wide variety of characters in The Jew of Malta. Although it focuses on the abuse of religion in Barabas, other characters display hypocritical beliefs. For example, the friar's response to the impending death of, 1995.