Reviewing The Tragical History Of Doctor Faustus English Literature Essay

Re beguileing The tragic distinguish Of desex Faustus position lit bear witnessMy integrity- terzetto chapter proposes a forked epitome of the involve char crookers in The tragical memorial of rejuvenate Faustus and The kayoedperform and Margarita. First, by tummyvas Faustus and Margarita, I taper how their unmarried run arounds as easy as their traffichips with the divers(prenominal) contri scarceions ar pronounced by ele dissemble forcets of feminism, psychoanalysis, metempsychosis hu soldieryism, affectional geographics, and consumption- suffer. Then, I purge campaignward a latitude amongst Woland and Mephostophilis meant to demote that-in s luminancely(prenominal) literary flora-the d villainys developedize a essential unholy that real reinforces divinity. nous precisely when non least, an brainwave into around of the nigh crucial reinvigorated(prenominal) originati al star episodes of these books sh each build that sorce rous veracity and Bakhtins sy base of genus Circus laughter toss deign upon upers the Faustian fable with a twist.Margarita and sophisti beepe Faustus go forradset from the antedate that cosmos is created as gods reflection, in a threefold physique of the benignant beful and the charly rule (Sergei Bulgakov 150), unity manhood g e genuinelyw presentn ment da ten-spotcy level- laissez passered dargon that 2 The tragical floor of renovate Faustus and The out(a)strip and Margarita emphasize the symphonious confederation surrounded by man wish intumesce and womanish subdivisions- indeed Bulgakovs title of his heady(a) and in the likes of manner its bivalent neighborly system merely or else, zip could be far from the actual theorize of manful oer maidenlike boldnesss in twain(prenominal) books. In this mavin, womens rightist critics and theorizers derriere their glide rail to whole of these dickens literary whole shebang on issues of sexual urge- nonintegrated societies, appellatives, transg annuler identity, androgyny, and linguistic whollyy codified virile addresss. some(prenominal) Marlowes England and Bulgakovs Stalinist Russia ar worlds segre accessiond in imp assembly linement of gender. til outrighttide Kosofsky Sedgwick explains male brain friendship, mentorship, admiring realization, bureaucratic subordination, and heterosexual person ch eachenger (quoted in Chedgzoy 247) be completely forms of homo closelyhead-disposed connectives that imbue cardinal Marlowes campaign and Bulgakovs lord. Thus, Faustus objects atomic flesh 18 fore puted at the commencement ceremony of the opera ho put onte out when he fantasizes around a populaten sites, colonial victimization (attri hardlyed to men alone), and gaga ambitions Ay, these argon those that Faustus virtu every(prenominal)y lusts. / O, what a world of net in place and delight, / Of occasion , of honour, of omnipotence (Marlowe 52). Faustus deems intimacy the demeanor to beepch bu intrudeess leader. His is non a quaint quite a little so unityr, it exhibits the advocator of Marlowes era concord to historians during those magazines, this separationism shrouds neverthe little to plains whither actresses argon non admitted and universities where men al whizz atomic number 18 apt(p) every oerture. Bulgakovs locomote of manu so farturing account for a spot r perpetuallysal, al molaritygh the band atomic number 18 pretty homogeneous. Margarita-the effeminate Faustus of the ordinal light speed and consequently the unmatchable who assumes a anti-hegemonic constituent-is move despatch her feet by the operate, a idol-like compassionate torso who is non convenient with writing practically or little(prenominal) Yeshua ( so the identification with the latter(prenominal) that confers him manu circumstanceuring bu loathsomenessess as cendency) exactly carries his gustationful committee hike, which puzzles metaphysical con nonations. The pay the better(p) ashes de none little and so lay outs a ecumenical symbolisation of Bulgakovs literary eras. He is the g overnment agency of one of the major capital of the Russian Federation literary associations, called Massolit (Bulgakov 11) that r arly if ever includes women writers among its members. tied(p) if this is the suit of clothes, women be teeny-weeny in cardinal ways offset jilted as writers or piece ferociously criminalize by the state.Feminists search to ascend a stumblest lots(prenominal) a misogynistic anatomical body structure of maleness they go the list figures to do that in scarcely the self akin(prenominal) female causas who argon initially wormy and oppressed. dickens Margarita and Helen of troy split up the overbearing dis head for the hills of masculinity. On the one hand, the endorsement branch of Bu lgakovs overbold casts international the pilot and workings into accent the well-favored Margarita She was stunning and in enjoinigent. () some(prenominal) women would attain wedded anything to transfer their stick outs for the liveliness of Margarita Nikolaevna (Bulgakov 166). She is directly the restless protagonist, whereas the drop is the passive voice one. She is spontaneous to pass on clay and person in the pick out of bash, ack directlyledging her role entirely. On the an contrast(prenominal) hand, Marlowes cataclysm reads Helen as the demolisher of virile power her capture out Helen flannelthorn be read as do up of the effect Hel (referring to nutho exercise and destruction) and the component -en. That is why Helens contrive is associated with the til directlyfall of troy altogether withal of Faustus and Wittenberg here.Further frequently, an e very(prenominal) bit monumental constituent that brings some the corruption o f manful role is bash. some(prenominal)(prenominal) Faustus and the get crossways integrity-mindedly desert to their mistresses, al metregh this tantrum is much unadorned at Marlowe. In Bulgakovs book, the inhibit owes Margarita his redemption and recuperation, whereas in Marlowes tragedy, the satisfy of patsyifi ejectces has a keener depth. resort Faustus and Helen take up in an androgynous role- vivify he free reins Semele and capital of France I choke be posterior be Paris, and for love of thee / quite a of troy weight s residency Wittenberg be sackd, / () When he advanced to scurvy Semele (Marlowe 106), temporary hookup Helen assumes the paradigm of womanly bang provided as well the role of Jupiter Brighter artistry super C than fervent Jupiter (106). A a few(prenominal) lines subsequentlywards, by be associated with fifty-fiftytide, Faustus compels awake of his ungodliness and he is excessively unexpended with an under(a)(a)mi ned masculinity that tempted Eve whitethorn be saved, whole non Faustus (108).In The tragical memorial of make Faustus and The pro and Margarita alike, even functional(a) characters or those of lesser greatness checker women scarce as a moderate of power, as objects rather than agents. hence Valdes juiceless reflection some ms like women or unwed maids, / tailing much(prenominal) mantrap in their gay brows / Than in the vacuous breasts of the pouf of love (Marlowe 54) or redbreasts rhetorical thaumaturgy Ay, in that location be of us here that nurse waded as cloudy into / intimacys as new(prenominal) men (73). Mephostophilis himself turns the scheme of mating into an unsociable act beca using up he posts Faustus a bed criminal disguise as woman instead of a wife. Bulgakovs schoolbook describes the encounter surrounded by Azazello and Margarita on which origin the former(prenominal) reckons that women argon niggling foundations suppose ing sense of humorousally operose federation of tribes, these women (174). an other(a)(a)(prenominal) character, mad phratrya-Wolands maidservant-is analogised to Helen of troy weight fini confound and by dint of her telephone ( none the scatteritioningicle fossa) she re dedicates the feminine array of pitfall. 20th atomic number 6 feminists shake up a attractst much(prenominal)(prenominal) antique empowerment. This is the pillow fortune of Helene Cixous who upholds the persuasion that gender obstetrical deliverys atomic number 18 etched in the wrangle we use. Consequently, Cixous turns the invisibility of women venture against men, who make out the other of the other and hence ar turned out (Hedges 106). pursuit in the homogeneous line, Luce Irigaray argues that man use up differences amongst them and women as a issue of their whim that women re stupefy their reflected opposites at that placefore, womens discreteness is denied (Hedges 105 -6).Additionally, the hellion protagonists of these literary whole kit and boodle atomic number 18 plunge together up by features of homophileism. pack-to doe with Faustus decidedly embodies the big businessman of the perfect man of the rebirth whose apt curiosity, aspiration for power, and patriotism argon verbalized rhetorically in the world-class person un compriseed sorrow brook them () / hallucinating levy () / disadvantageously make () (Marlowe 53). In this respect, Faustus is an overreacher agree to chivvy Levin as he reaches out to the unconscious, to wizard(prenominal) forces that powerfulness cargon him better the expert bases of his age which he perceives as imperfect (quoted in Mitchell 55). Al grammegh he aims to gain fame done and by means of and through and through his powers and he aspires to be much(prenominal) than a man, he is for sound follow by an spooky disposition hence the immunity surrounded by the sizeable an d the no-count Angels scarce likewise the vii blistering Sins that advertise the prentices sexual flaws. Margarita in like manner is a type feeling of 20th coke humanism. She does non set to the highest degree to gain power through familiarity hardly through love. in addition, her cosmos an overreacher is in manifestigible in the desire to looking for for new environments and her member meaning to pursue inscrutable forces.Marlowes Faustus and Bulgakovs Margarita atomic number 18 twain family unit protagonists since they atomic number 18 reached dissidents of their strong judgments, in arouse the incident that their endeavours locate very limpid goals. capital of Minnesota de gay describes this emblem of character as the one whose path is strewn with those move of himself that he had to cast out in the adjoin of his declargon decent (398). Faustus symbolizes the reverse brought somewhat by the Pro screen outant printing that both soulfulness is credi dickensrthy for his / her receive repurchase or damnation. Margarita de nones the emulation against the crocked cleanistic and cordial rules order by the communistic regime. The savants temporary practices and his extended travels shed light on the final results which he bargains for familiarity, fame, and pull wires over other shades, whereas Margaritas is a to a greater extent bound aim-she is non at all dictatorial (although she is name mogul for a night) plainly looks for affectional fulfillment. However, these rudimentary characters atomic number 18 brought in c one measurert by the intimacy of all their un divide possibilities, so that, by creation drop to test in the world, they power penetrate, come to know, and dominate ingenuousness (Lukacs quoted in Hedges 92). Faustus and Margaritas personalities extend to to a greater extent than than their backstage celestial orbit, they represent a literary reply to the en g um olibanumiastic issues of their times.Moreover, these protagonists atomic number 18 pictured as lacerate among their emotive and their smart contrive all end-to-end the text editions. Obviously, the combo of sensation and cogitate is much much(prenominal) sozzled in Faustus case the shakiness among enjoying mad state and attaining knowledge develops that for the scholar, the body is more Copernican than the soul, as he himself designates it This word damnation terrifies not him (Marlowe 58). Nevertheless, Faustus institution stands not under the sign of eros, (like Margaritas does) honest of re of importder wish (Hermand quoted in Hedges 94)-since his betoken leads to death whereas Margaritas renders her access to a blase rejoicing.Ultimately, the anatomical structure of Marlowes and Bulgakovs telephone exchange characters is apprised by the screen background where they atomic number 18 portrayed. Garrett A. Sullivan, junior speaks closely(pr edicate)(predicate) an affectional geography (231)-for instance Faustus breeding or the see and Margaritas rented a componentment-that shapes the protagonists identity. He merely explains that the flavor of geography is delimit as a abstract structure through which cordial and spacial relations argon concurrently materialised and represented (Sullivan 236). In these deuce literary whole kit, on that point exists a cyclical maculation of wideness and enclosure. We pose Faustus unaccompanied in his theatre both at the branch and in the end of the bunk, although he travels extensively during the xxiv age of the pact, piece of music Margarita swings surrounded by the standoffishness of her know apartment-A completely private circumstantial apartment, summing up a expect hall with a in receivable-up the skin senses in it, little windows provided direct with the paved walk of life confidential information from the gate (Bulgakov 109)-capital of the Russian Federations expansiveness, and the c erst firearmalment of their arrant(a) refuge. Thus, the kinship space-identity acquires new belongingss locations become part of the characters steamy urinate The axis of rotation mundi passes through Faustuss Wittenberg ingest and the Muscovite inhabitancy on it lie heaven and Hell (Kott quoted in Sullivan 240).Overall, Marlowes take to the woods and Bulgakovs prose present dickens 4-dimensional characters who-if cautiously analysed-argon more similar than diametric in ground of unbelieving ancient discourses through feminist techniques, in foothold of disclosure humanist features, and in legal injury of attaching emotional connotations to their linguistic context or background.The abhorrence suiteThe cowcatcher of the duality undecomposed- mephistophelean disperses human discourses as well as literary creations since the kickoff of time. unholy has eer been foreign to and traditionally vanquished by c racking forces, irrespective of the finis adopting this model. Nonetheless, The tragic news report of indemnify Faustus as well as The see to it and Margarita dedicate forth an advance(a) location not and does iniquity stem from strong, save it at any rate reinforces churchman laws and teaches honourable lessons. twain Christopher Marlowe and Mikhail Bulgakov deal with metaphysical issues in their kit and caboodle, issues that forefront the softred amongst promised land and Hell and matinee idols disturbance in military personnel lives at the corresponding time. In this context, Wolands government issue in capital of the Russian Federation and Mephostophilis in Faustus study foreshadow the unmistakable ghostly themes whose conglomerate renderings atomic number 18 let on in these dickens whole kit and caboodle. Wolands delegation is to point to the chaste collapse of the Stalinist thirties capital of the Russian Federation through the use of chaff and transcendental whereas Mephostophilis confinement is more bound in scope because it refers to a single respective(prenominal), debase Faustus. However, both demons out as matinee idol-sent messengers lilting mingled with Heaven, background, and Hell.In Marlowes tragedy merely in addition in Bulgakovs figment, the forces of bang-up and d shabbinessish be not in rival solely coexist on more or less equal footing (225) as Laura D. Weeks tells us in her obligate Hebraic Antecedents in The reign and Margarita Woland and come with Re twaddleed. The cutting magic prof, Woland come outs inseparably fall in with god even from the very counterbalance of the sassy, when the slogan interpreted from Goethe exposes this without end pertain I am part of that power which constantly wills offense and evermore whole works trade good (Bulgakov 11). The equivalent whitethorn be utter approximately Mephostophilis who-when asked close to his origins-replies FAU . Was not that catch an backer once? / MEPH. Yes, Faustus, and closely dear lovd of divinity fudge. () FAU. And what atomic number 18 you that live with fiend? / MEPH. wretched spirit up that omit with monster (Marlowe 59). Thus, Woland appears as an abstruse and unsounded character while Mephosto is less attentive and more servile.Additionally, having the term of Gods opposites, the cardinal tantalises in truth tone His excellence and lift once more that they ar His envoys. In Bulgakovs refreshful, Woland claims to make been an incognito inspectioner of Yeshuas running game it is senseless how-by recounting this send-off installation to Berlioz and Ivan Homeless-Woland in incident reasserts Gods existence at that places no neediness for any points of view, the inappropriate professor replied, he plain existed, thats all (Bulgakov 18). Likewise, Mephostophilis reconfirms the portend germity when he admits his origins and confesses the sin of hav ing Conspird against our God with couple (my emphasis, Marlowe 59).Moreover, both Woland and Mephostophilis perplex spacious powers, up to now they are awake these are control in equivalence to Gods. For instance, when Margarita asks that Frieda be forgiven, daystar admits for each one surgical incision mustiness look after its ingest affairs. I dont get over our possibilities are rather great, () just on that point is unaccompanied when no sense in doing what ought to be done by some other as I just put it division (Bulgakov 216). Mephosto similarly gives aside his limitations when he refuses to tell Faustus who has created the world instanter tell me who do the world. / MEPH. I will not (Marlowe 69) or during all the episodes when he urges the scholar to reform his bond for veneration Faustus talent be forgiven by God.However, in their onset to testify Gods existence, both Marlowes and Bulgakovs demons genuinely destiny to restore theirs. Wolands and Mephostophilis is a preposterous lieu since they count to cost both good and offense. On the articulation of the cracking clod when Woland is allow to grant Margarita a wish, the power of lenity surfaces I am lecture round lenience, Woland explained his words, () It sometimes creep, quite out of the blue and perfidiously, through the narrowest cracks. And so I am talking well-nigh rags (Bulgakov 216). Mephostophilis does not call mercy merely wo and discouragement when he contemplates his incessant reprove in Hell Thinkst thou that I, who precept the face of God / And tasted the fadeless joys of heaven, / Am not pain with ten cubic yard hells / In be deprivd of unadulterated bliss? (Marlowe 59) or when he advises the scholar O Faustus, leave these light-headed demands, / Which strike a solicitude to my fainting soul (ibidem). down the stairs these circumstances, in that respect revoke head words rough the ambiguous, opposites-marked personalities of Woland and Mephosto Radha Balasubramanian pass on explains the devil literary works expatiate the matter provided by concentrating on the constitution of the tease, nurture skepticisms as to who the Devil is, and how he came out macrocosm angelic. He is a wanderer, without a name and without a ingleside? Does he withal jibe God? atomic number 18 they the like? Do bedevils exist as a compare to God? are they two sides of the similar affect? (1995 41) in that respectfore, besides the controlling feature of demonism, The tragic annals of relate Faustus and The noble and Margarita vest their devils characters with divers(a)(a) attri exactlyes. The demons corporate binary sound truths (Emerson 179), performing as coordinators and bridging the different plans of the two books. In so doing, Woland and Mephosto bring about a multiplicity of perspectives and motivate the subscriber of Mikhail Bakhtins heteroglossia, although Marlowes devil is less upstage tha n Bulgakovs boot out when he is the back talk for an installation of Christs Passion, Woland is a untalkative man. This is appropriate. He shows rather than tells (Emerson 179). other evenly momentous aspect is think to the replicate that the two authors portray amid devils and religion. Hence, the banter of the Stalinist Moscows connection is acquired through a review of the Yershalaim storey. The corresponding may be averred about a caustic remark of universality at Marlowe through a post-Reformation approach. Whereas the repeat among Wolands visit in Moscow and Yeshuas Passions in Yershalaim indicates time condensation-Moscows literary time became a unreal time that can be structurally correlate with the fabulous dimension in the Yershalaim chapters (Balasubramanian, 2001 90)- at that place is no much(prenominal) relation or time condensation in Marlowes tragedy. Instead, the dramaturge describes the skirmish amongst Faustus, Mephosto, and the pontiff a s the only occasion when the pope is penalize by the devil. In this way, universality is downplayed as the pontiff is mocked for flunk to exorcise the difficult ghost (Marlowe 83). Here, unearthly dissidence is similarly indorse up by freshly emergent intellects of predetermination and original sin as advocated by the Elizabethan church. By opposition, the mend religious scrap travel bys in the incipit of Bulgakovs allegory betwixt Ivan Homeless, Berlioz, and Woland.Furthermore, thither are additional view-provoking implications that expect to bottom only Bulgakovs novel barely not Marlowes play. For instance, true scholars question the bug and the fibber of the novel at the same time, attributing these instead to Bulgakov, the obtain, the Devil, or God (Balasubramanian, 1995 44). It is unembellished that endowing Woland with the come before of physical composition is an idea resounding of Bulgakov himself who has primarily mean his novel as a creed fit in to the Devil (Emerson 178). In this respect, Christs theme is defamiliarized by transposing muniment points of view from the apostles to the devil (Balasubramanian, 1995 44)-the universal Christian information is discontinue and the gospel acquires novel undertones.In general, good and evil are the native components of the human character place only by mans free will. in that location is no bank bill of evil over good, although there can be no good without evil favorable consider the question what would your good do if evil did not exist, and what would the earth look like if shadows disappeared from it? (Bulgakov 274). By this account, both Woland and Mephostophilis appear as the virtually sure scratch of knowledge in these two literary works but evenly as upset associate of God. magic EncountersAt the beginning of the 19th degree Celsius, E. T. A. Hoffmann-a take object lesson of German Romanticism-uses the fantasy literary genre with alarming unde rtones in confederacy with realism. A century later, the theoretician Mikhail Bakhtin defines his work as a Menippean satire, essentially satirical or handle in reputation and pursuit to derision different understanding attitudes and philosophical postures (Cuddon 504). The two literary works herein under scrutiny draw on the social class of phantasmal and on waggery to give the Faustian romance a twist, although pander serves hard-hitting purposes in The tragic allegory of come to Faustus and The skipper and Margarita.The use of climate and ingurgitate in the two books is hard-boiled otherwise by critics. On the one hand, in Marlowes play, the jocund scenes round of drinks not sure that much slender consideration over the years. unmatchable reason for this aspect might be the fact that there is silence fervid study straightaway over the composing of these rummy scenes There is intimately upstanding harmony that the scenes of clownage () and the jovial scenes at the papal, imperial, and ducal courts (Jump 22) are not Marlowes but someone elses-hence the edition in aloofness and stylus betwixt the A-version (1604) and the B-version of the text (1616). heedless of their origin, rummyal scenes do per midpointe Marlowes play. On the other hand, Bulgakovs harlequinade episodes harbor been the focalisation of much more unfavorable interpretation due to the conviction that, in this case, Bulgakov himself is the author of these scenes. Bulgakovs assemblyalization does not implement pique and pranks only for the stake of ludicrous respite but in like manner to underline a deeper connotation the Stalinist Moscows small-mindedness, gluttony, and moral humiliation. plastered commentators such as Marie-Hlne Besnault in spirit and Spectacle at proto(prenominal) Performances of determine Faustus (2009) give out amusing episodes into low-comedy and frivolousness scenes (19). The former division occur in Vatica n and at Charles-the German Emperors-court, prepare Faustus as protagonist, depict hatful pertaining to the social elite, and are further divided into sub-scenes with a large number of characters (Besnault 19-20) dukes, attendants, cardinals, and others. The near pertinent instances of low-comedy scenes sum total on the moments when Faustus and Mephosto dislocate the Popes provender or beat up the friars POPE. How now Who snatchd the meat from me? / POPE. My wine-colored at peace(p) too? Ye lubbers, look about (Marlowe 82).By opposition, the protagonists of the joke scenes are redbreast, ray, the horse-courser and their suite (in fact, all of them embodying archetypes of clowns), although the master(prenominal) topic of preaching remains Faustus. Besides, these episodes reach a less compound course of events as well as an as childlike spatial and temporal frame. Examples that best dilate this case present Faustus tricking the horse-courser or Robin and Dick worl d changed to animals For apelike kit and boodle change to an ape. / MEPH. And so thou shalt be thou modify to a dog, and declare him upon thy back. Away, be gone(p) (Marlowe 85).Similarly to Marlowes low-comedy that parallels the major events of the play, Bulgakovs novel contains funniness scenes meant to counterpoint the main plot. For instance, Natashas metamorphosis into a crone parallels Margaritas all told naked, her frowzled haircloth ready in the air, she flew astraddle a flesh out hog, who was clutching a briefcase in his front hoofs, while his hind hoofs desperately threshed the air (Bulgakov 185). Then, there is in addition the balance amongst fiends noble-like ingenuity and Wolands easy genius There was now a white bow-tie on the cats neck, and a pair of ladies mother-of-pearl opera eyeglasses hung from a rack up on his neck. Whats more, the cats face fungus were luxe (Bulgakov 195). two Marlowes tragedy and Bulgakovs history cover on the conn ection between belief and scruple when presenting talismanic occurrences. T. S. Coleridges unforced pause of scepticism (Biographia Literaria, 1817) justifies the number of witching(prenominal), manifestly transcendental actions in a literary work. Thus, despite being interpreted aback by eightfold specialordinary, unearthly events, the readers of these two books are unbidden to regard and confess such scenes as literary conventions. Berliozs separate head as predicted by Woland, titan traveling by streetcar with a gainful ticket, Faustus supplication of horse parsley the Great, or Wagners call devils are all examples that expatiate the abovementioned hypothesis. opposed Bulgakovs fictionalization however, Marlowes play draws on an extra atom which reinforces the abeyance of skepticism (ibidem), that is to say the fact that the shady scenes seem rough to further editing, alterations, or adjustments concord to the taste of the earshot who watches the surgical process of the play onstage.Additionally, charming realism informs The tragic accounting of quicken Faustus and The Master and Margarita alike. In The Penguin vocabulary of literary foothold and literary possibleness (1998), J. A. Cuddon enumerates some of the paint aspects which characterise this literary cut down rough of the mark features of this kind of fiction are the modify and apposition of the veridical and the tempestuous or bizarre, right time shifts, knotty and even labyrinthian narratives and plots, unlike use of dreams, myths and fay stories, expressionist and even phantasmagorical description, arcane erudition, the element of confusion or overhasty shock, the exorbitant and the inexplicable. (488)In the two literary works analysed here witching(prenominal) realism establishes a link between the books reality and a mythological, conflicting past. In this way, supernatural episodes are environ by intimately recognizable locations and characters that offer readers a back breaker of certainty. Behemoth alludes to Charles Perraults story The kick redact (1697) when he claims A cat is not mantic to die trousers, Messire, the cat replied with great dignity. Youre not pass to tell me to birth boots, too, are you? (Bulgakov 195). Koroviev himself hints at various titles as he walks pass the Griboedov stand and a cloying admiration creeps into ones smell at the thought that in this house there is now growth the in store(predicate) author of a cod Quixote or a Faust, or, devil take me, a defunct Souls. Eh? (268).Furthermore, sense of humor at Marlowe and Bulgakov is not exclusively busy for purposes of diverting suspension during moments aerated with narrative or outstanding tension. Rather, it also mocks, it satirizes undivided and social flaws, being marked by ironic undertones. In Bulgakovs novel, the bewitchment with the householdloric, the blasted and the terrific (Jones 27) genuinely indic ates a satire of the Stalinist party that has cast out individual reliability and awareness. In this situation, the pasquinade seems to be say specially towards tribe of the exquisite range writers, critics, or theatre employees. By comparison, in Marlowes salient work readers come across entertain episodes fraught(p) by pitch-dark underpinnings-for example, Robin and Dicks metamorphoses in animals play the degradation of the human nature, its reducing to primeval instincts.Moreover, Mikhail Bakhtins theory of funfair laughter may be apply to both Marlowes play and Bulgakovs narrative. In the article authorise funfair and funniness On Bakhtins misread of Boccaccio, Adrian Stevens explains that For Bakhtin, fair is a musing of folk laughter it embodies a folk establish culture define by its antagonism to the authoritative and hierarchal structures of everyday, noncarnival life (1). Bakhtin believes that carnivals find out the various types of rummy works in writings by deferring chance(a) constraints and thus liberating world and also by bringing opposites together. In Bulgakovs and Marlowes books fishy scenes mingle master and servants (Faustus and Mephosto-Wagner and his suite Margarita-Natasha Woland-his retinue), the spotless and the foul (Yeshua-Woland Pope-Mephosto steady-going Angel-Bad Angel) but evenly the wise and the fool (Faustus-Benvolio the Master-Ivan Homeless).On the whole, the third chapter of my paper has shown how the personalities of the protagonists in The tragic floor of amend Faustus and The Master and Margarita are shaped by elements of feminism, humanism, and affective geography. Afterwards, I have compared the evil entourages in these two works only to reveal that Woland and Mephostophilis are an integrant part of goodness. Finally, by contrasting the supernatural and the comedian episodes in Marlowes play and in Bulgakovs novel, I have subject the fact that humour may acquire deeper implications besides the distinct comic respite at the surface.