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The power, pull and the problem of the pursuit of
knowledge Faust and Frankenstein
Michel Foucault elaborates knowledge as a “conjunction of power relation and information-seeking,” which he defines as knowledge/power (Mills 68). The pursuit of knowledge is much evidence to be named as the main theme in Mary Shelley’s Frankenstein and Christopher Marlowe’s The Tragical History of the Life and Death of Doctor Faustus. Despite the fact that the two literary works were written in two different eras, both of these work cover the issue of knowledge and how it relates to other aspects of human survival. Mainly, these two literally work, Frankenstein and Faustus wrap their stories using various characters that in the process of depicting the pursuit of knowledge, they endure several challenges and at the end, they strive to be the ubermensch in their world. Although there are enormous differences in the way content and plot are set in Mary Shelley’s Frankenstein and Christopher Marlowe’s Doctor Faustus, both of these literary work reveals that the desire to acquire knowledge is not just a just an easy or noble pursuit.
In Faust, it is revealed that the intelligent gentleman, Faust, decides to seek spiritual wholeness in knowledge. Faust seems to attain what most declares to be unattainable in the field of pursuing knowledge. Despite studying hard and becoming knowledgeable in science, religion, and math, Faust is unable to have any physical or romantic relationship with the outside world. He comes to realize that studying books will not get to satisfy his curiosity. He assumes and later on believes that what might fill in his gap would be sensual pleasures. In this process of creating this new lifestyle, it causes Faust to become unconcerned and develops a distance with all humanity and reality around him. For instance, when Faust sets his sights on an object, he would demand nothing less than what he wants. In the process of acquiring a better position over man, Faust becomes desperate and greed in filling up the lost potion. The local community and also Christianity condemn his pursuit, as they regard it to be unjust immoral and irresponsible as compared to their cultural norms. It may be considered that pursuing excellence and becoming ubermensch, one needs to value falling into inhuman of livelihood and get to concentrate on pursuing their set goals as they dismiss the world around them. At long last, the characters are revealed to regret their moves. I also have neither money nor treasures, nor worldly honors or earthly pleasures; no dog would want to live this way! (Marlowe p. 95)
Similarly, in Shelley’s Frankenstein, the literary work reveals how the pursuit of knowledge and power has led to ruin several lives. In the case of Frankenstein, he is depicted as so wrapped up in having the curiosity of creation, which leads him to ignore the outside world. Victor Frankenstein wants to build a life and be a mother who overcomes any need or emotion. This leads him to turn to the science of natural philosophy, which later no makes him develop desires and lust of going beyond the limits of set knowledge and having a thirst for making more discoveries. He remarks, “I became acquainted with the science of anatomy: but this was not sufficient. I must also observe the natural decay and corruption of the human body” (Shelley 48). So far, it can be said that both Frankenstein and Faust have the normality desire to lead and create, although it causes them to withdraw from society. In the process of making discoveries, Frankenstein creates a monster, made from pieces of dead bodies. This creature, however, turns into a vengeful murderer, and in the story, it ends up revenging upon the creator. It then leads to doom his pursuit of knowledge and that of his creator.
In Marlowe’s play, the German scholar’s over ambitiousness, pride, thirst for power, and knowledge drives him to persuade necromancy, which then ends up him being condemned to hell. He contracts to sell his soul to Mephistophilis, who is an emissary of the Devil. Faustus values to have a luxurious life, which would be full of illicit knowledge of the secret of the world and possessing magical powers. Despite receiving a warning from the Good Angel to “leave that execrable art” (Marlowe 2.1.14) and focus on anything that concerns heaven. Despite receiving the second chance from the Angel to rethink on this action and follow the right path, Faust considers sacrificing for twenty-four years to the Devil, and it is much evident in Act II, scene i as Faustus intervenes the devil agent and asks to be served with the offer. Faust takes further steps as he asks for several books that he believes to be necromantic books of heavenly concerns. He includes books that greatly commit necromancy, which consists of planets in heaven and book that concerns raising up spirits and soliloquy. After trying to comprehend what the books reveal, he cries out, “Come not, Lucifer! I’ll burn my books” (Marlowe, 5.3.192-193). This shows his regrets.
The protagonist, Victor Frankenstein, in Frankenstein, his ambitions to pursuit knowledge develops new species that, at long last, acquire fame and jeopardizes other people’s lives as well as placing their lives at risk and more so to it, causing great destruction. Similarly, in Marlowe’s play, it depicts the greed and ambitions of trying to perceive what appears to be of great joy, but in the real sense, it results in calamity and regrets. This is in reference to the necromancy practiced by Faust as dictated by the German scholar. Ultimately, greed for power and knowledge leads to suffering for even other persons not involved in the process as other parties try to gain for their own benefits. Therefore, it can be concluded that the search for knowledge is the cause of the downfall of both personalities discussed in the plays.
Work Cited
Marlowe, Christopher. Doctor Faustus. Ed. Kitty Datta. New York: Oxford University Press, 2002. Print.
Mills, Sara. “Power/Knowledge.” Michel Foucault. Ed. Robert Eaglestone. London: Routledge, 2003. Print.
Shelley, Mary. Frankenstein. Ed. Brantley Johnson. New York: Simon and Schuster Paperbacks, 2009. Print.