Hell Itself
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Mc Caffrey 1 Gabrielle Mc Caffrey Dramatic Duos: Classical to Contemporary Dr. Todd Lidh 10 March 2009 Hell Itself From birth, society requires us to assimilate notions of morals, logic, and reason. Cultural, religious, social and other influences—or the absence thereof—act as formal guidelines and therefore define a personal concept of what occurs in the afterlife. When focusing on hell relative to the popular Heaven versus Hell dichotomy, Christopher Marlowe’s Doctor Faustus considers hell to be an arena for torment and torture to the metaphysical, or bodiless, soul. Contrarily, Jean-Paul Sartre’s No Exit distinguishes Hell as psychological warfare by entrapping the characters in a space with others who echo their faults superior to any mirror in the physical world. Where Doctor Faustus functions as a conventional perception of hell, Sartre manages to overturn and redefine this classification that lends itself to a more psychosomatic approach that uncovers and tears into one’s neurosis. These depictions are merely speculation, as it would be too late for anyone who found out to let us know how hell actually is, but also offer an alternative to the other, rather than representing similar theories. The character Mephistopheles in Doctor Faustus describes hell as “all places… that are not heaven” (II.i.126). In other words, hell is a place without any physical, mental, or emotional gratification described as a “vast perpetual torture-house”
Mc Caffrey 2 (V.ii.116). In this sense, Doctor Faustus and No Exit are similar. Both Dr. Faustus and the three characters from No Exit are eternally damned to endure certain forms of anguish; however the means in which they suffer stem from separate sources. Dr. Faustus willing submits and signs his soul away to the prince of hell, Lucifer. Often times throughout the play, Faustus is presented with opportunities to break this contract with and repent for God’s forgiveness. Each time, Faustus comes painfully close to saving his soul but rejects this initiative at the last second; until it is too late. Doctor Faustus explores the conventional religious doctrine of heaven and hell, and thus Faustus becomes sentenced to an eternal existence of blazing pitchforks. Such is the finale of Doctor Faustus as the devils ascend from hell to retrieve Faustus’ soul. No Exit characters Garcin, Estelle and Inez, come prepared to face “the instruments of torture” and “red-hot pincers” (4) which is ultimately what Faustus was greeted with at the gates of hell. Instead, they are forced to truly examine the means in which brought them to hell and suffer for their shortcomings, as well as the people around them, for all eternity. This was most considerably used to convey Sartre’s idea of “the other,” or the theory that in order to justify our existences, we must not only define ourselves to others but also separate ourselves from others. Garcin is forced to justify himself as brave rather than a coward to Inez, Inez pines to justify herself as an adequate lover to Estelle, and Estelle attempts to justify herself as a desirable woman to Garcin. Accordingly, then, it is Garcin who conveys this fate as torture when he concludes that “Hell is—other people” (45).
Mc Caffrey 3 Regardless of their similarities, whether No Exit supports Mephistopheles’ depiction of hell is virtually impossible to assert as both of the plays handle the perception of hell in two completely diverse fashions. Works Cited Marlowe, Christopher. Doctor Faustus and Other Plays. New York: Oxford UP, 2008.
Sartre, Jean Paul. No Exit and Three Other Plays. New York: Random House Inc, 1989.
Doctor Faustus 1. Who is Beelzebub?
2. Does Faustus speak Latin at all times, or is it interjected? 3. Why does Faustus refer to himself in the third-person? No Exit 1. Are there any contemporary metaphors implored by Sartre about Germany or Paris? 2. Does every character no have eyelids or just the Valet? 3. Is the paper knife meant to be comedic relief, some sort of satirical bout, or theory implored by Sartre?
Mc Caffrey 2 (V.ii.116). In this sense, Doctor Faustus and No Exit are similar. Both Dr. Faustus and the three characters from No Exit are eternally damned to endure certain forms of anguish; however the means in which they suffer stem from separate sources. Dr. Faustus willing submits and signs his soul away to the prince of hell, Lucifer. Often times throughout the play, Faustus is presented with opportunities to break this contract with and repent for God’s forgiveness. Each time, Faustus comes painfully close to saving his soul but rejects this initiative at the last second; until it is too late. Doctor Faustus explores the conventional religious doctrine of heaven and hell, and thus Faustus becomes sentenced to an eternal existence of blazing pitchforks. Such is the finale of Doctor Faustus as the devils ascend from hell to retrieve Faustus’ soul. No Exit characters Garcin, Estelle and Inez, come prepared to face “the instruments of torture” and “red-hot pincers” (4) which is ultimately what Faustus was greeted with at the gates of hell. Instead, they are forced to truly examine the means in which brought them to hell and suffer for their shortcomings, as well as the people around them, for all eternity. This was most considerably used to convey Sartre’s idea of “the other,” or the theory that in order to justify our existences, we must not only define ourselves to others but also separate ourselves from others. Garcin is forced to justify himself as brave rather than a coward to Inez, Inez pines to justify herself as an adequate lover to Estelle, and Estelle attempts to justify herself as a desirable woman to Garcin. Accordingly, then, it is Garcin who conveys this fate as torture when he concludes that “Hell is—other people” (45).
Mc Caffrey 3 Regardless of their similarities, whether No Exit supports Mephistopheles’ depiction of hell is virtually impossible to assert as both of the plays handle the perception of hell in two completely diverse fashions. Works Cited Marlowe, Christopher. Doctor Faustus and Other Plays. New York: Oxford UP, 2008.
Sartre, Jean Paul. No Exit and Three Other Plays. New York: Random House Inc, 1989.
Doctor Faustus 1. Who is Beelzebub?
2. Does Faustus speak Latin at all times, or is it interjected? 3. Why does Faustus refer to himself in the third-person? No Exit 1. Are there any contemporary metaphors implored by Sartre about Germany or Paris? 2. Does every character no have eyelids or just the Valet? 3. Is the paper knife meant to be comedic relief, some sort of satirical bout, or theory implored by Sartre?
