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   Faustus°ü·Ã Áú¹®2

Áú¹® 1. Scene 12¿¡ ³ª¿À´Â ÇÐÀÚ 3¸íÀº ¹«½¼ ¿ªÇÒÀΰ¡¿ä?

¿©±â ³ª¿À´Â scholar´Â ±×³É Faustus °¡±îÀÌ¿¡¼­ ¿Ô´Ù°¬´ÙÇÏ´Â ¸»µ¿¹«, Ä£±¸, ÇÏÀÎ ºñ½ÁÇÑ ¿ªÇÒ·Î ±×·¸°Ô Áß¿äÇÏÁö ¾Ê½À´Ï´Ù.

2. ȨÆäÀÌÁö¿¡ ¿Ã·ÁÁֽŠFaustus ±Û Áß °¡Àå ¸¶Áö¸· ±Û¿¡¼­¿ä!

Suspense

Marlowe maintains the audience's attention by making them wonder when, if ever, Faustus will repent and what consequences his actions will have. Until the last act, there is still a possibility that Faustus will appeal to God for forgiveness. This "will he or won't he" scenario—-combined with the question of whether God would actually accept the Doctor's penance were it offered—-keeps the viewer guessing.

Àú´Â ȸ°³¸¦ ÇÏÁö ¾Ê°í ²ø·Á°¡´Â °ÍÀ¸·Î ¸¶¹«¸®µÈ °É·Î ¾Ë°í ÀÖ¾ú´Âµ¥ ÀÌ ºÎºÐÀ» º¸¸é ¿­¸° °á¸»ÀÎ °Í °°¾Æ¼­¿ä! Àß ÀÌÇØ°¡ °¡Áö ¾Ê½À´Ï´Ù..!

´äº¯: °á±¹ ȸ°³¸¦ ÇÏÁö ¾Ê°í ²ø·Á°¡´Â °Å ¸Â±¸¿ä, ÀÛ°¡ÀÎ Christopher Marlowe°¡ ÀϺη¯ Faust°¡ ȸ°³¸¦ ÇÒ µí, ¸» µí ¸Á¼³ÀÌ°Ô ¸¸µé¾î¼­, µ¶ÀÚ/ûÁßÀ¸·Î ÇÏ¿©±Ý FaustÀÇ È¸°³ ¿©ºÎ¿¡ ´ëÇØ ¾Æ½½¾Æ½½ÇÏ°Ô È¤Àº ±Ã±ÝÇÏ°Ô ¸¸µç´Ù´Â ¶æ.

3. Good and Evil

Ethical issues are central to Doctor Faustus. Even Faustus knows that justice demands he be punished for selling his soul to the devil, though his pride blinds him to the fact that divine mercy could in time forgive his transgression. After all, aside from his demonic exchange (admittedly, a big exception) Faustus does not do anything truly evil. He plays a few cruel jokes, but he does not really cause any permanent damage or harm. In the entire play, though he plays a few cruel pranks, he never performs any truly evil actions against other people. He does do evil, of course, when he renounces God and embraces Lucifer, but while he knows this is wrong, he acts based on a mistaken understanding of scripture. Believing himself to be damned and alienated from God, aligning himself with the devil seems the best remaining alternative. In that sense, Faustus acts out of a mistaken idea of good.

Faustus acts out of a mistaken idea of good.

ÀÌ ¹®Àå¿¡¼­¿ä, ¼±ÀÇ À߸øµÈ »ý°¢À» ¹ÙÅÁÀ¸·Î ÇൿÇÑ´Ù. ¶ó°í ¹ø¿ªÀÌ µÉ ¼ö ÀÖÀݾƿä. ÀÌ ¸»ÀÌ ¼º°æ¿¡ ´ëÇÑ À߸øµÈ ÀÌÇظ¦ ¹ÙÅÁÀ¸·Î ÇൿÇÑ´Ù´Â Àǹ̶ó°í º¼ ¼ö ÀÖ³ª¿ä?
´äº¯: ³×. Faustus´Â ¼º°æ¿¡¼­ ¸»ÇÏ´Â ¼±ÀÇ Àǹ̸¦ À߸ø Çؼ®ÇÏ°í ÀÖ¾î¿ä. ±×°ÍÀÌ Faustus°¡ ÆĸêÇÏ´Â ÀÌÀ¯. ¸»ÇÏÀÚ¸é Faustus´Â ¼±¾ÇÀÇ ÆÇ´ÜÀ» ½Å¿¡°Ô ¸Ã±âÁö ¾Ê°í ÀڱⰡ ÇÏ°í ÀÖ´Â °Ô ¹®Á¦. ±×¸®°í ±âµ¶±³¿¡¼­ ¸»ÇÏ´Â ¼±/¾ÇÀÇ °¡Àå Å« ±âÁØÀº ½ÅÀ» ¹Ï´À³Ä ¾Æ´Ï³Ä ÇÏ´Â °Í. ¼¼¼ÓÀûÀÎ ±âÁØ¿¡¼­ ¾Æ¹«¸® ÂøÇÑ ÀÏÀ̶ó°í ¹Þ¾Æµé¿©Áö´Â ÀÏÀ» ÇÏ´õ¶óµµ, ±×°ÍÀÌ ½Å¿¡ ´ëÇÑ ¹ÏÀ½¿¡ ±Ù°ÅÇÏÁö ¾ÊÀ¸¸é ¼Ò¿ëÀÌ ¾ø´Â °ÍÀÓ.


4. ù ¹ø° ppt¿¡¼­ the story of "the damnable life"(Faustbuch) ¶ó´Â ¼ÒÁ¦¸ñÀÌ ³ª¿À´Âµ¥¿ä. ¿©±â¿¡¼­ damnableÀ» ÀûÀýÈ÷ ¹ø¿ªÇÑ Çѱ¹¸»ÀÌ ¹»±î¿ä? »çÀü¿¡¼­ ã¾ÆºÃ´õ´Ï, Áö±ßÁö±ßÇÑ, Áöµ¶ÇÑ ÀÌ·± ½ÄÀ¸·Î ³ª¿À´Âµ¥ ÀûÀýÇÑ Ç¥ÇöÀΰ¡¿ä? ´Ü¾î°¡ ¿Í´êÁö ¾Ê¾Æ¼­ ¿©Â庾´Ï´Ù¤Ì

´äº¯: ÀúÁÖ¹Þ¾Æ ¸¶¶¥ÇÑ, ¸¶¶¥È÷ ÆĸêµÉ ¼ö ÀÖ´Â

5. Antithesis

The antithesis of something is its direct opposite. One example is the Good and Bad Angels who appear to save and tempt Faustus, though other figures which appear to be antithetical are God and Lucifer, Helen and the Old Man, and Faustus and Mephistopheles.

Çï·»°ú ¿Ãµå¸ÇÀÌ ¼­·Î ¹Ý´ëÀÎ ÀÌÀ¯´Â °£´ÜÈ÷ ¸»Çؼ­ ¿Ãµå¸ÇÀº ÆĿ콺ƮÀÇ È¸°³¸¦ °£Ã»ÇÏ°í Çï·»Àº ÆĿ콺ƮÀÇ ¿µÈ¥À» ¾Ñ¾Æ°¡¼­ ¶ó°í ºÁµµ µÉ±î¿ä?

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6.

Both the Bad Angel and the Chorus at the play's end seem to suggest that man can only know so much without falling to evil, but other voices in the play suggest that knowledge is good if it is understood and used within proper contexts.

¹ØÁ٠ģ ¹®ÀåÀÌ¿ä! ¡®¾Ç¿¡ ºüÁöÁö ¾Ê°í¼­´Â ¸¹Àº °ÍÀ» ¾Ë ¼ö ¾ø´Ù.¡¯ ¶ó°í ÀÌÇØÇÏ¸é µÉ±î¿ä?

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