Harwell 1

Trinity Harwell

Ms. Winter

Advanced Placement British Literature, Period 2

13 October 2016

The Death of the Renaissance Man

The Renaissance Man is a man who has broad intellectual interests and is accomplished

in both the arts and the sciences, and, as the name suggests, was societys ideal man during the

Renaissance period (The American Heritage College Dictionary). However, Christopher

Marlowe, author of the play The Tragical History of Dr. Faustus (1604), and Oscar Wilde, author

of the novel The Picture of Dorian Gray (1891), both display the often overlooked detriments of

the Renaissance Mans extensive knowledge through the protagonists in their respective texts.

Marlowe and Wilde both write about men whose extraordinary intellects lead them to cause

harm. Marlow writes about a doctor named Faustus who thrusts himself and those around him

into danger in his extensive pursuit of knowledge and power outside of the physical world. Wilde

writes of an artist named Basil Hallward who inadvertently begins a series of catastrophic events

when he projects his complex thoughts onto his friends. The mens intellects provoke their

actions, and in the end they both die. Both Marlowe and Wilde decide to kill their protagonists to

prove that the knowledge of the Renaissance Man is too dangerous to thrive. People are not

supposed to possess such extensive information as Dr. Faustus and Basil, as peoples thoughts

are impressionable and easily manipulated towards evil.

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Marlowe writes the character Dr. Faustus as a Renaissance Man in order to dichotomize

his intellect into negative and positive attributes. The Chorus describes Dr. Faustuss history as

such:

So soon he profits in divinity,

The fruitful plot of scholarism gracd,

That shortly he was gracd with doctors name,

Excelling all whose sweet delight disputes

In heavenly matters of theology[.] (Marlowe 1)

Faustuss rapid ascension to the rank of doctor proves he is a Renaissance Man, as he is

accomplished in both the science and art of theology, and despite his great knowledge, he still

wishes to learn more. The Chorus says that as Dr. Faustus is gluttedwith learnings golden

gifts, / He surfeits upon cursed necromancy, describing his thirst for knowledge beyond that

which he already possesses (1). Upon a cursory reading, one may believe Dr. Faustuss

abundance of intellect and his aspiration to continue learning a good thing, though Marlowe

ascertains and displays the negativity in his pursuit of knowledge. Dr. Faustuss intellect is

positive in that he is aware of the world around him, though his indulgence of his intellect is

negative, as it influences him to surfei[t] upon cursed necromancy (1). Dr. Faustus admits,

O what a world of profit and delight, / Of power, of honour, of omnipotence / Is promisd to

the studious artisan [who studies necromancy] (5). His ideas are impressionable, and as he

knows his justification of evil deeds will result in his reward of knowledge and power, he allows

evil to manipulate them. The practice of necromancy bears negative consequences, and as his
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thirst for power and knowledge leads him to commit the act, by extension, his quest for

excellence is negative as well. Furthermore, Dr. Faustus is intelligent enough to determine a way

to justify his own dealings with the devil, suggesting he has the ability to justify a plethora of

other unorthodox actions and ideas as well, which is potentially dangerous to society.

Marlowe highlights the negative attributes of Dr. Faustuss intellect to inform readers of

the threat the ideological intellectual man poses to society, and to suggest that people must have

limits on their knowledge and power. The Chorus foreshadows Dr. Faustuss downfall when he

compares Dr. Faustus to Icarus, who, swollen with cunning, of a self-conceit, / did not

mount above his reach (1) and whom the Heavens conspird [to] overthrow (1) due to his

mistake of falling to a devilish exercise (1). As expected from The Choruss allusion, Dr.

Faustus fall[s] to a devilish exercise which takes his life in the end (1). Despite one good

angels begging Dr. Faustus to think of Heaven, and heavenly things, (19) and despite the

staying of his blood when he tries to sign his name in blood in the devils book, Dr. Faustus

continues to pursue his career in evil, selling his soul to the devil in exchange for twenty-four

years of service from one of Satans fallen angels (21). His sins include [stealing] away [the

Popes] meat from the table, (34) [striking the Pope] a blow on the face, (34) and

instructing Satans fallen angel to remov[e] the horns from a knights head (41). Each act

endangers those around him, as the Pope and the knight are both injured after their encounters

with him, and thus, he is a danger to society. He is also a danger to himself, as the chaos that

ensues in Dr. Faustuss life directly correlates to his overindulgence in his own expansion of

knowledge. People need restrictions on the amount of knowledge and power they possess, as

unchecked knowledge and power results in injury. Prior to Dr. Faustuss decision to sell his soul

to the devil, Marlowe includes the quote, Si una eademque res legatur duobus, alter rem, alter
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valorem rei, (4) which means, If one and the same thing is bequeathed to two persons, one

gets the thing and the other the value of the thing (4). After examining the quote and comparing

it to Dr. Faustuss positions in the beginning and end of the play, one can draw the conclusion

that Marlowe included the quote from Justinians law to prove that there is a point at which

knowledge is more dangerously misleading than it is beneficial. The fact that Dr. Faustus reads

and recites Justinian law in Latin proves, yet again, he is extremely intelligent, and he likely

believes what he reads. Thus, it is plausible Dr. Faustus believes his soul is both Satans and his

own when he makes the exchange; Satan gets the thing, (4) his soul, while Dr. Faustus keeps

the value of [it] (4). If Satan only received Dr. Faustuss soul in the exchange, Dr. Faustus

would remain free, only losing the material of his soul. However, in the end, when Dr. Faustus

meets his hellish fall, Satan receives his soul in its entirety (56). Marlowe includes the

deceiving Justinian law to represent Dr. Faustuss extreme knowledge, though it does not hold up

in the end, proving that it is misleading. Likewise, Dr. Faustus, a symbol of knowledge himself,

does not hold up in the end either, as Marlowe must kill him off to make his point stronger; the

knowledge and power of the ideological Renaissance Man is too dangerous to thrive, and people

must have restrictions on their knowledge and power.

Like Marlowes Dr. Faustus, Wildes protagonist Basil Hallward is also a Renaissance

Man whom Wilde uses to negate the ideal intellectual man. Basil is an artist with extraordinary

insight, though it is his insight that leads to his demise. In fact, Lord Henry tells Basil, you

have an intellectual expression, and all that, indicating his detailed paintings and knowledge

(Wilde 7). Basil affirms Lord Henrys statement through his impressive insight on peoples

strengths, as he sees them equally as flaws. He tells Lord Henry, Your rank and wealth, Harry;

my brains, such as they aremy art, whatever it may be worth; Dorian Grays good lookswe
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shall all suffer for what the gods have given us, suffer terribly (8). This deeper examination of

peoples attributes suggests that Basil has the capacity in his mind for complex thoughts, past

those of average men. Unfortunately, however, his intellect is responsible for a series of

destruction and chaos, including his own murder, and thus, he is a threat to society just as Dr.

Faustus is.

Just as Dr. Faustus, Basil also does not thrive in his intellect, and his knowledge results in

his own downfall. Although Basil does not knowingly harm others as Dr. Faustus does, his

influence is what ultimately leads to the chaos which ensues in his own life, as well as Dorian

Grays and all who surround them. Basil initiates the chaos, merely in planting the idea that

Dorian Gray is more than a just man, but rather a suggestionof a new manner (Wilde 14).

Basil states that Unconsciously, [Dorian Gray] defines for [him] the lines of a fresh school, a

school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that

is Greek. The harmony of soul and body (13). He states that Dorians personality has

suggested to [him] an entirely new manner in art, an entirely new mode of style. [That because of

Dorian he] see[s] things differently, [and] think[s] of them differently (13). These

proclamations, created through Basils advanced thought process, provide an opportunity for

Basils friend, Lord Henry, to vex Basil. Dorian Gray has an easily impressionable mind, and

Basil knows that, and tells Lord Henry, Dont try to influence him. Your influence would be

bad. The world is wide, and has many marvelous people in it. Dont take away from me the one

person who gives my art whatever charm it possesses (16). However, despite Basils wishes,

and besides that Lord Henry knows [t]here is no such thing as a good influence, he proceeds

to influence Dorian Gray anyhow, to irritate Basil (19). Lord Henry convinces Dorian Gray that

the picture, as Basil says, is greater than himself, and Dorian wishes to stay young forever, like
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the picture. His wish comes true and he commits the rest of his life to indulging in beauty and

scandal, and corrupting those around him so they feel the same. Dorian Gray turns to evil for

guidance, and one day, years after Basil paints the picture of Dorian Gray, Basil visits him.

Dorian, overcome with evil and hatred rushe[s] at him, and [digs a] knife into the great vein that

is behind the ear, crushing [Basils] head down on the tale, and stabbing it again and again until

Basil dies (132). Though Dorian Gray is responsible for Basils murder, as well as the deaths and

ruined lives of others, at the base of all Dorian Grays problems is Basil. Basil does not

intentionally provoke his own death, nor any other heinous crimes Dorian Gray commits. In fact,

in telling Lord Henry not to influence Dorian Gray, he is trying to avoid chaos as such. However,

Lord Henry only thinks to influence Dorian Gray due to Basils warning against it, and

furthermore, the idea that first possesses Dorian, that the painting represents more than merely a

canvas, is Basils original idea. Thus, despite that Basils chain reaction of death and destruction

is inadvertent, it is his intellect that ultimately instigated the entire affair.

It is important that both Marlowe and Wilde choose to kill their protagonists, as it

demonstrates the affects the characters actions have on themselves as well as others, and instills

their points that the idea of the Renaissance Man is too dangerous to thrive. Possessing

extraordinary knowledge and power as Dr. Faustus and Basil have seems beneficial, though it is

truly more dangerous than helpful as people are impressionable and extensive knowledge can

easily manipulate them to turn to evil. Dr. Faustus turns to necromancy merely as a study,

though, due to his impressionable mind, he engulfs himself fully in evil for the rest of eternity.

On the other hand, Basil does not turn to evil, but his words, through Lord Henry, influence

Dorian Gray and instigate the changes in his thoughts, personality, behavior, and actions.

Through the chaos and destruction caused as a result of Dr. Faustuss and Basils knowledge and
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power, Marlowe and Wilde solidify that as a result of the ease with which knowledge can

manipulate peoples minds, people must have restrictions on how much knowledge they have so

that all people are kept on more or less the same intellectual playing field.
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Works Cited

Marlowe, Christopher. The Tragical History of Dr. Faustus. New York: Dover Publication,

1994. Print.

The American Heritage College Dictionary. Fourth ed. Boston: Houghton Mifflin Company, n.d.

Print.

Wilde, Oscar. The Picture of Dorian Gray. New York: W. W. Norton & Company, 2007. Print.