“一名优秀的魔法师就是一尊伟大的神”：---克里斯托弗马洛《浮士德博士的悲剧》中的魔法研究

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硕士学位论文

摘要

克里斯托弗·马洛的《浮士德博士的悲剧》长期以来一直为国内外研究者所

忽视，而国内对其中魔法的研究到目前为止还几乎没有，这主要是因为魔法在东

西方语境下通常被习惯性地理解为是邪恶的。但是本文在对文艺复兴时期的魔法

研究的基础上发现浮士德的魔法受其影响。浮士德的魔法体现出文艺复兴时期神

秘主义哲学对基督教原罪的否定，对人性的近乎激进的赞美，以及对自然科学知

识的追求。但是这些思想与传统的基督教与新教教义是相违背的。通过阐明浮士

德的魔法在当时时代背景下的哲学内涵与意义，能够对浮士德的悲剧有更全面、

准确的理解。

本文的主体分为四个部分。

第一部分阐释了文艺复兴神秘主义哲学和魔法。神秘主义哲学比人文主义更

为激进，它对人的尊严、智慧和能力的肯定和赞美使浮士德为之着迷。

第二部分从分析浮士德的魔法仪式，浮士德与魔法师考内里亚斯．阿格里帕

（Cornelius Agrippa）之间的暗指关系，浮士德对天文学的学习，浮士德与忧郁

之间的关系四个方面来阐释神秘主义哲学及魔法对浮士德的影响。

第三部分论述了自然魔法对浮士德的影响。自然魔法是神秘主义魔法的一部

分，而且自然魔法在本质上就是自然科学，它对实验和经验的重视对培根提出实

证科学产生了一定的影响。因此它是一种实验科学。通过追求自然魔法浮士德不

仅希望学习自然科学知识、获得能力、征服自然，同时也希望通过科学的手段来

消除自己关于上帝究竟是否存在的疑惑。然而，他的努力终究将会失败，因为实

验主义科学不能解决形而上学的问题。然而浮士德通过思考上帝的本质，体悟到

宇宙中普遍的二元对立的基本原则，即世界的和谐体现在对立统一之中。这一认

识暂时消除了他内心中长久的对存在的焦虑。

第四部分首先论述了魔法在基督教背景下对于浮士德的意义，进而阐释了马

洛对魔法与宗教的批判。基督教的原罪观念使人有深深的负罪感，而神秘主义哲

学对人性的肯定为浮士德提供了一个庇护所。同时进一步揭示了仪式魔法与基督

硕士学位论文

教的共同本质。在宗教中也同样存在魔法的元素，两者都相信奇迹的存在，马洛

是无神论者。在他看来，仪式魔法和宗教仪式都是迷信。他一方面讽刺了基督教

的某些宗教仪式，暗示它们实际上就是宗教所抨击的魔法。另一方面，通过展示

浮士德学习魔法前后理想和行动的前后不一致来揭示神秘主义哲学的空想性，暗

示神秘主义哲学和传统教会都存在骄傲自大的弊端，都存在着私欲。督教的原罪

观念使人有深深的负罪感，而神秘主义哲学过分的乐观暴露出它的空想性。这种

对人的本性的贬低或过分夸大都是对人性的扭曲，都违背了人性。

因此可以看出，马洛对文艺复兴时期神秘主义哲学和魔法的态度是辩证的。

他肯定了其对人性的赞颂，肯定了其对自然科学的追求。但是他反对把人神话，那

样就违反了人的本性。

关键词：浮士德；克里斯托弗.马洛；魔法；文艺复兴神秘主义哲学；自然魔法；

自然科学

硕士学位论文

Contents

Introduction ................................................................................................................. 1

Chapter 1 Renaissance Occult Philosophy and Magic............................................. 3

1.1 Renaissance Occult Philosophy and Magic................................................. 3

1.1.1 The Philosophy of Ficino ..................................................................... 5

1.1.2The Philosophy of Pico ......................................................................... 7

1.2 Conclusion ................................................................................................... 9

Chapter 2 Renaissance Occult Philosophy and Magic in Doctor Faustus............ 11

2.1 The Magic Rite of Faustus......................................................................... 11

2.2 The Parallel Between Faustus and Agrippa............................................... 15

2.3 Faustus’ Pursuit of Astrology .................................................................... 19

2.4 Faustus’ Melancholy.................................................................................. 21

Chapter 3 Faustus’ Magic and His Pursuit of Natural Science............................. 25

3.1 Faustus’ Pursuit of Natural Science and Technology .................................... 25

3.2 The Relationship Between Natural Magic and Natural Science ................... 31

3.3 Natural Science and the Devil .....................................................34

3.4 Faustus’ pursuit of Natural Science and Metaphysics................................... 37

3.5 Marlowe’s Attitude Towards Natural Science and Magic............................. 41

Chapter 4 Magic and Christianity........................................................................... 45

4.1 Magic as a Solace for Faustus ....................................................................... 45

4.2 Marlowe’s Critique of Magic and Christianity.............................................. 48

Conclusion.................................................................................................................. 53

Bibiorgraphy.............................................................................................................. 55

硕士学位论文

Introduction

It seems that there exists a gray area in the study of magic in Marlowe’s Doctor

Faustus. The critical attention on this play is largely focused on the metaphysical and

ideological concerns. A lot of studies are devoted to such questions as whether Marlowe

challenges conventional Christian perspectives or confirms with them; whether Faustus

is sinful or a Renaissance hero. The importance of magic itself has always been

overlooked, or may be taken for granted as unnecessary to survey, as it is very obvious

that magic is prohibited in the context of Christianity in the Renaissance.

The word “magic”, was descended from the Greek word “magёia” and Latin

“magia”, while the two words comes from the “magoi” of the ancient Persians, which

“means not only genuine science but also universal wisdom.”(Clark, 1997: 215) Magic

is the art of manipulating aspects of reality either by supernatural means or through

knowledge of occult laws unknown to science. But the primary sense of the word is

“otherness” in both Greek and Latin. And magic is most often used as a label used to

identify ideas or persons that fall outside the norms of society and are thereby marked as

special or non-normative. (Ankarloo and Clark, 2002: 6) Magic is also seen as heretical

in the context of Christianity. According to the laws of Romans, magic can be divided

into black magic and white magic. Black magic is evil as the magician purposely causes

physical and physical harm on the victims. White magic, though intended to make

benefits for people, is often under suspicion as it is supposed to have the potential to do

harmful things. Thus a question may be raised: why does Faustus, the scholar, want to

pursue magic when he surely knows it is heretical? In order to understand Faustus’

motivations, we should survey the place of magic in the Renaissance intellectual

environment.

硕士学位论文

Based on a comparion between the English Faustus Book, which is the supposed

source of Marlowe’s creation, and the play, this essay finds that Marlowe deliberately

adds an episode in which two German magicians, Valdes and Cornelius teach Faustus

magic, and the two magicians do not reappear in the remaining sections of the play.

Marlowe’s adding this episode has long been neglected by critics. So Marlowe’s

purpose here is quite intriguing.

After a study of the history of the occult philosophy and magic in the Renaissance

period, it is astonishing to find that Doctor Faustus’ thought and behavior as well as his

life experience astonishingly parallel the famous German magician Henry Cornelius

Agrippa’s (1486-1535) at that time. Agrippa is a famous scholar and magician, but

throughout his life he was continually persecuted as a heretic. And there are hints to the

relationship between Faustus and Agrippa in the drama. It seems more than a

coincidence to note here that the name of the above mentioned German scholar

Cornelius is the same with the German magician Agrippa’s middle name. Besides,

Faustus once calls out the name of Agrippa in [1.1] that he “will be as cunning as

Agrippa was.” John Mebane states that in fact the legends that grew up about Agrippa

eventually combined with those involving Johann Faust (1989: 53). All the above

evidence taken into consideration, it can be inferred that Marlowe purposely treats

Faustus as a shadow of Agrippa, or Agrippa himself. Thus by adding this episode

Marlowe may purposely lead our attention to the renaissance occult philosophy



硕士学位论文

Chapter 1 Renaissance Occult Philosophy and Magic on

Faustus

1.1 Renaissance Occult Philosophy and Magic

In scene [1.1] of the 1604 version, after rejecting the traditional leanings one by

one, Faustus hails that

“A sound magician is a mighty god

Here, Faustus, try thy brains to gain a deity.”

(62-63)

The reason why he gives up his learning and starts learning magic has always been

traditionally interpreted as Faustus’s sin of pride. For example, J. C. Maxwell points out

that Faustus’ sin is the sin of pride. (Jump, 1969: 90) But what only concerns Faustus is

that all the traditional leanings can not fully reflect his learning potentials and power.

They can not prove his value of existence and his value of being a man. If this kind of

idea indicates that Faustus is a humanist, and then his wish to be a magician and a

demigod is too radical to be treated as an attribute of humanism.

In fact this kind of apparently radical words can not be traced back to the so-called

English Faustus Book, which is generally supposed as the immediate source of

Marlowe’s Doctor Faustus. In the English Faustus Book, Faustus wants to become a

spirit, not a god. This kind of radicalism in fact echoes the Renaissance occultist

Marsilio Ficino’s thought. Ficino once said that:

The immeasurable magnificence of our soul may be seen from this, that

humankind will not be satisfied with the power of command over this entire

world if we learn, having conquered this one, that another world remains

which we have not yet conquered…Thus human beings wish no superior and

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摘要：

硕士学位论文IV摘要克里斯托弗·马洛的《浮士德博士的悲剧》长期以来一直为国内外研究者所忽视，而国内对其中魔法的研究到目前为止还几乎没有，这主要是因为魔法在东西方语境下通常被习惯性地理解为是邪恶的。但是本文在对文艺复兴时期的魔法研究的基础上发现浮士德的魔法受其影响。浮士德的魔法体现出文艺复兴时期神秘主义哲学对基督教原罪的否定，对人性的近乎激进的赞美，以及对自然科学知识的追求。但是这些思想与传统的基督教与新教教义是相违背的。通过阐明浮士德的魔法在当时时代背景下的哲学内涵与意义，能够对浮士德的悲剧有更全面、准确的理解。本文的主体分为四个部分。第一部分阐释了文艺复兴神秘主义哲学和魔法。神秘主义哲学比人...

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