“That which feeds me ... destroys me”
— The Latin inscription found on quite possibly the only painting of Christopher Marlowe found in 1953 at Corpus Christi College in Cambridge.
Perhaps it was an ongoing theme in his life of heterodoxy, or perhaps it was prescient of his future as one of the most misunderstood playwrights. In Christopher Marlowe’s most famous work “Doctor Faustus,” a mortal man is willing to do anything not for fame and fortune but for knowledge and youth. Is this greed or ambition taken to its ends where the temptation of the streams of beauty that flow through life be quietly re-routed to benefit just one human? Or is this another higher level of ambition where the experience of a life devoted to education is outweighed by a vampiric afterlife set into motion by acts that no mortal man steeped in logic would dare consider?
We have no true answer. If Marlowe’s life is one of whirlwind creation only to reside historically in the shadow of the Bard, then Marlowe’s death must also be shrouded in mystery. From the beginning of “Faustus,” we are receiving a full explanation of Marlowe’s unorthodox philosophy filtered through Faustus’s ability to impose logic on anything. In Faustus' life, the admissions that the father cannot completely disinherit the son and that “the reward for sin is death” are words emerging from Marlowe, a known atheist.
O, what a world a profit and delight
Of power, of honour, of omnipotence
Is promised to the studious artisan!
Marlowe, famous 400 years later (although not as famous as you-know-who,) lives on largely because of his life of uncertainty. As a playwright in the Elizabethan age, Marlowe’s position commanded no real respect. In fact, it is likely he was embroiled in some scheme with his peers that resulted in the imbroglio where a cut two inches above the eye proved fatal. Is this line, possibly sarcasm? After all the knowledgeable Faustus (and Marlowe) are both products of “common stock.”
Then before Faustus can summon his most trusted friends, Valdes and Cornelius, he must be visited by angels that are both good and evil. The Good Angel is cautious but does not admonish him for “blasphemy.” So his counterpart can only appeal to his sense of control and greed in knowledge. Faustus is immediately faced with a twisted equation: loss of innocence versus the ultimate experience as his teacher. So, Faustus uses his knowledge (and parallel incidents from history namely subduing oppressors) to belittle religion (“Divinity is the basest of the three,” he says acidly.) Valdes and Cornelius only goad him further toward “magic,” which from their rapt perspective is alluring because it is indescribable. (Although, Cornelius quickly demonstrates his pure avarice. In addition, his liege Wagner wants to be like him but uses knowledge as a bludgeon. Both leave you to wonder how smart Faustus truly is to have these as his confidantes.) As a young man, Marlowe made his way through primary school when Protestantism was the way and Catholicism was tolerated and secretly taught. Here he is with his command of Latin intact as the first to wield blank verse saying “Catholics are the aggressors” while privately accused of composing placards against the Queen, the Church of England, and living under the scrutiny of censors.
As you can easily discern, Faustus conjures the Devil (it should be noted that initial appearances of this character on stage were known to cause audience members to "go mad.") Mephistophillis appears and it is only through simple logic and, as Faustus puts it, "humility" that we learn, like Wagner, he is only a liege for the Lucifer. What is ironic here is how Marlowe puts the words of God in Faustus' mouth first, and Mephistophillis mentions almost in passing that one should "abjure the Trinity" and Faustus without hesitation complies. So far, Faustus has ruminated upon everything through allusions to history and mythology, creating syllogisms out of thin air. However, Mephistophillis, who he did not really even summon, merits instant devotion. Fortunately, somewhere in the middle of his encomium, his logic rattles back in. The lies of Mephistophillis and confirmation of the Christian liturgy are blended with a chilling ease that suppresses doubt and weirdly earns trust. This man with his voluminous knowledge is so easily assuaged to now make an offer.
Say he surrenders up to him his soul,
So he will spare him four-and-twenty years,
Letting him live in all voluptuousness
No demand to see Lucifer. No guarantees against this "bargain" making him an instrument, only a frightening naked lust for power.
Had I as many souls as there be stars,
I'd give them all for Mephistophillis
"Doctor Faustus" by Christopher Marlowe is being performed by Southern Miss Theatre on Fri, November 3rd at 7:30 pm and Sunday, November 5th at 2 pm.
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Mik Davis is the record store manager at T-Bones Records & Cafe in Hattiesburg.
New Music This Week
THE BEATLES - "Then and Now" [7"/12"](Apple Corps/Capitol/UME) • All eyes are on the quickly announced and ushered-out "last Beatles song." Paul and Ringo have clearly completed the labor of love that is their legacy. From a cassette tape of John playing piano and singing found by Yoko, the remaining members of the Fab Four managed to string together George's guitar parts with present-day processing, mastering, and contributions from Paul and Ringo. The cover does not exactly sell it as the spectacle it should be, but underplaying history gives it the best chance to stand on its own merit (against a class struggle recently reflected in the savage beating that some of the current critics gave The Rolling Stones' stellar "Hackney Diamonds.")
JIMMY BUFFETT - Equal Strain on All Parts [BLUE LP/CD] (Sun/Thinkindie) • Speaking of Sir Paul, he and a few other friends of the late, great Jimmy Buffett make appearances on his final album. "Equal Strain" is everything you expect from the son of a son of a sailor. Joined by Emmylou Harris, Angelique Kidjo, and The Preservation Hall Jazz Band, Buffett made this one largely for the fans. His humor and joie de vivre permeates all 14 cuts.
JASON ALDEAN - Highway Desperado [CD](Broken Bow) • CAROLINE POLACHEK - Desire, I Want To Turn Into You [LP/CD](Perpetual Novice/The Orchard/Sony) • Not here to say there is anything wrong with obvious reaches for chart success and fame. Jason Aldean has chalked up 10 straight Top 10 albums, yet the last pair saw significant sales drops despite successful singles. Still riding high on the charts with his controversial lead single, the other pre-release songs are strictly by the numbers. "Whiskey Drink" tries to out-Morgan Wallen Morgan Wallen. "Let Your Boys Be Country" kicks "its red dirt" to the Jelly Roll/HARDY side of the road, while "Tough Crowd" stretches out to either old Kenny Chesney or new Luke Combs as a call to arms. Congratulations on the late-period Billboard #1, but have to say the song's "girls with tattoos, good ol'boys in cowboy hats and dirt-turnin' diesel-burnin' hard-workin' nine-to-fivers" are listening to more Zach Bryan now - yet he cannot break through to Country radio.
Formerly a singer with Chairlift, Caroline Polachek changed channels from her Avant-Pop on 2019's "Pang" to more overt Dance and Hip-hop-infused beats on this new one. After touring with Dua Lipa and guesting on Charli XCX, the evolution is understandable. However, Polachek has too much of a unique voice to be used for cooing Pop. Her tough rhythms, and striated songs sometimes work ("Bunny Is A Rider") and at others ("Hopedrunk Everlasting") never take off. While it is admirable that Polachek wants to be the next Kate Bush or Peter Gabriel, her spinning vision of music lacks consistency to do anything but produce singles (the new "Dang" which is totally by the numbers EDM Pop.)
KEVIN ABSTRACT - Blanket [CD](RCA) • As a founding member of BROCKHAMPTON, Kevin Abstract pushed the group in a variety of different directions. Clearly having so many voices and personalities at his disposal affected his vision of "an album." So with "Blanket," Abstract has made some of his most challenging music (the howling title cut) and still styles his verses to resemble the familiar Hip-Hop flow but twists them into weirdly childlike-melody laden Indie Pop ("What Should I Do?") Abstract being cut loose from any expectations, runs wild with synths, easy drum-kit beats, and unleashes the creativity within his single voice.
JAIME WYATT - Feel Good [LP/CD](New West/Redeye) • BONNIE MONTGOMERY - River [CD](Gar Hole/AMPED) • From its title, Wyatt sends the immediate message that her follow-up to the honest "Felony Blues" and well-written "Neon Cross" is going to be different. Working with Adrian Quesada (Black Pumas,) Wyatt emotes like Bobbie Gentry ("Althea") over soulful Americana songs with bending Psychedelic guitars and Al Green-like backdrops. When she finally reaches back for her wail in "Love Is A Place" it is less raw emotion than before and more a singer/songwriter finding her place of confidence in this world.
Arkansas' Bonnie Montgomery's massive swelling voice allows her to triumph over some cliched writing and ill-fitting production. "I'll Know" only makes its way to emerging as a great single on her power alone, as musically it treads a little too close to Bob Seger's "Still The Same." "Modern-Day Cowgirl's Dream" adds Waylon-esque guitar to the mix but still cannot outdo her voice (which is questionably sunk in the mix.) Finally, "River" is a beautiful showcase for her upper range that would also sound amazing with only an acoustic guitar.
