Download Histories of the Devil: From Marlowe to Mann and the by Jeremy Tambling PDF

By Jeremy Tambling

This ebook is set representations of the satan in English and eu literature. Tracing the fascination in literature, philosophy, and theology with the irreducible presence of what should be referred to as evil, or comedy, or the carnivalesque, this publication surveys the components performed via the satan within the texts derived from the Faustus legend, seems to be at Marlowe and Shakespeare, Rabelais, Milton, Blake, Hoffmann, Baudelaire, Goethe, Dostoevsky, Bulgakov, and Mann, traditionally, speculatively, and from the viewpoint of severe idea. It asks: Is there a unmarried desiring to be assigned to the assumption of the diabolical? What worth lies in considering diabolically? Is it nonetheless the definition of a great poet to be of the devil's get together, as Blake argued?

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Extra resources for Histories of the Devil: From Marlowe to Mann and the Manichees

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Was to make them ‘knowing both good and evil’. But it is said of God after his creation, ‘And God saw everything that he had made, and behold, it was very good’. Knowledge of evil therefore has no object. There is no evil in the world. It arises in man himself, with the desire for knowledge, or rather for judgment. (233, compare SW1 71–72) Benjamin argues that if God created everything good, there can be no knowledge of evil; to know evil is only to know an abstraction because there is nothing there.

2220–225), his devilish methodology being ‘policy’ (the word is used thirteen times). When Faustus wonders if it is too late to repent, the angels return, echoing him, and there seems a strange equivocation in the Good Angel: EVIL ANGEL: Too late. GOOD ANGEL: Never too late, if Faustus can [will – B] repent. 80) ‘Can’ leaves open the question whether he has resolved and can undo that. Hamlet knows how resolution unravels: Thus conscience does make cowards of us all And thus the native hue of resolution Is sicklied o’er with the pale cast of thought.

This breakup into separate sentences does not appear to make Faustus irresolute; rather, ‘resolution’ would complete his damnation, in ending irresolvable ‘ambiguities’. The first set of voices are answered by another (‘O something soundeth . . ’), its exhortation quoted: ‘Abjure . . ’. ’). Is that diabolical, or the protest of another voice, which feels unloved by God? Faustus, saying that something sounds in his ear, does so though no external voice has been heard; whereas in Act 2 Scene 3, he contemplates repenting, and immediately the angels appear: GOOD ANGEL: Faustus, repent yet, God will pity thee.

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