DOUTOR FAUSTO, ENAMORADO DO MUNDO

The myth of Faustus, which would become a major example of a literary myth of universal occurrence, was born in Germany, in the beginning of the 16th century, with the historical character of Georg Faust, a virtual blend of physician and performer. Although, it would be with the work of Christopher Marlowe, The Tragical History of the Life and Death of Doctor Faustus, that it would acquire the dimensions it would have in the whole European literature. In this drama, Marlowe recovers some elements from Medieval Theatre, moralities in particular, recreating and, in a way, subverting them in order to express his own conceptions on moral and religion, which were very far from the Catholic precepts that had made use of such theatre as an indoctrination instrument. More importantly, Marlowe appropriated some means from a theatre which had didactic purposes in its origin, transfiguring them in order to express the inner conflicts of his character, providing him with the human dimension which would be the mark of Elizabethan Theatre, and giving him the features that would make Faustus one of the founding myths of modern man.O mito de Fausto, que viria a se tornar o maior mito literário moderno de ocorrência universal, surgiu na Alemanha da primeira metade do século XVI, com o personagem real Georg Faust, verdadeira combinação de médico e saltimbanco. Porém, seria com a obra de Christopher Marlowe, A trágica história da vida e da morte do Doutor Fausto, que iria assumir as dimensões que passaria a ter em toda a literatura européia. Neste drama, Marlowe retoma vários elementos do teatro medieval, sobretudo das moralidades, para recriá-los e, de certo modo, subvertê-los, expressando com eles suas próprias concepções acerca da moral e da religiosidade, muito distantes dos preceitos católicos que fizeram de tal teatro um instrumento de doutrinação. Mais importante do que isso, Marlowe apropriou-se de recursos de um teatro que era didático em sua origem, transfigurando-os para com eles expressar os conflitos interiores de seu personagem, conferindo-lhe assim uma dimensão humana que seria a marca do teatro elisabetano e fornecendo-lhe as feições que fariam de Fausto um dos mitos fundadores do homem moderno