Overstepping Theological Boundaries

Overstepping Theological Boundaries

William Shakespeare and Christopher Marlowe were prominent writers during the Renaissance- a time of change, a period of flourishing artistic and scientific advancements, and an era ensuring the rebirth of European culture. It witnessed major developments and modifications to the European lifestyle, with traditions and social values often being challenged. A prime example, during the Protestant Reformation, the Catholic Church's beliefs on purgatory and papal infallibility were questioned. An examination of the works of renaissance literature shows other moments in society to break away from theologically set boundaries. Macbeth and Doctor Faustus are classic texts that show evident tension involving traditional concepts of evil, sinning, and the beliefs associated with the Christian God and Church.

In Macbeth, the characters begin to believe in a witches' prophecy and they credit evil with power believed to be reserved to God. For example, Banquo questions a theological doctrine which states that only "true prophecy, the real knowledge of things to come was a power reserved to God alone" . When the first part of the witches' prophecy becomes a reality, Banquo asks, "What can the devil speak true" . Because it was believed that only God has real knowledge of the future, how is it that these "instruments of darkness" tell these truths? Although Banquo acknowledges these tensions he does not completely believe in them. He explains that these "truths" are put in place in order to "win us to our harm... in deepest consequence" . The three witches' prophesize that Banqou's children will becomes royalty, but because he did not fully believe that the manifestation of evil can bring forth pure truth, he does not yield to evil.

In contrast, Macbeth does yield to evil and that is why he falls in the play. This form of evil stems from three witches which prophesize that Macbeth will become king. In England at that time, prophesies given by witches were believed to have been generated directly from the devil - a manifestation of evil. These concepts are challenged in the play because Macbeth carries out actions to ensure that the prophecy from evil becomes true. Macbeth is not a wicked man by nature, but pressure from Lady Macbeth and other characters hasten his actions to commit murder. Most importantly, without the prophecy from the witches, it is doubtful that he would have carried out the murder.

Macbeth believes that these evil sources could embody truths and he begins to struggle with his faith in God throughout the play. For example, on the return from murdering the king, some men were saying: "'God Bless us!' and 'Amen'" , but Macbeth had an "Amen" stuck in his throat. He wanted to praise the Lord, but was not successful because his action, murder, transgresses the social and theological boundary that murder is a sin. His struggle between good and evil is also evident when he offers his regrets about the murder he committed. He says:

Had I but lived an hour before this chance,

I had lived a blessed time; for, form this instant,

There is nothing serious in mortality;

All is but toys: renown, and grace is dead;

The wine of life is drawn. And the mere lees

Is left this vault to brag of.

Macbeth is contemplating the morality associated with his action. His words come forth in a regretful and depressive state because his "grace is dead"- a reference to salvation under Christian doctrine. He has lost the ability to gain redemption and to seek forgiveness from his Lord, Jesus Christ. The transient world and the material possessions associated with his goal to become king will not fulfill his desires because he has lost something valuable in return for something that is not. His regret and outward struggle that he has with his conscience indicates that he stepped out of the boundary of a theologically set moral code.

The play's imagery also suggests that a boundary is crossed. The Old Man and Ross reflect over the many signs in nature that they believe are a direct result of the murder. Ross says, "Thou seest the heavens, as troubled with man's act...that darkness does the face of earth entomb/ When living light should kiss it?"(II.iv.5-9). In this instance, there is no light on the earth, a symbol of evil and corruption. Also, Ross mentions that Duncan's horses have "turned wild in nature, broke their stalls, flung out,/ Contending 'gainst obedience as they would/ Make war with mankind" . The horses' unnatural action serves as an indication of a broken boundary.

The boundaries of evil and corruption are crossed in Doctor Faustus. In the play, there is tension between committing sins and evil without repentance and that is essential for the forgiveness of sins under Christianity. For example, in John 1:8, it says, "If we confess our sins, He is faithful and just to forgive us our sins, and to cleanse us from all our sins" . Faustus does not seek repentance for the evil and sins he committed, he says, "When I behold the heavens, then I repent" . His lack of desire to repent unless he has power equivocal to God indicates that there was a struggle during the renaissance with people seeking forgiveness from God for the sins they committed.

The intention of Faustus to violate divine order is also presented in the beginning of the play. He is interested in having power inside God's jurisdiction just as he would consider repentance if he owned the heavens. For example, he implies that he would only be interested in the field of medicine if his power "Couldst thou make men live eternally/ Or, being dead raise them to life again,/ Then this profession were to be esteemed.' The power of immortality is exclusive to God and only through God can one bring the dead back to life. Here, Faustus displays interest in the field of medicine only if it can fulfill his desire to seek power beyond the dimensions