Tragic Myth Vs. Romance Myth: The Moral Fate of Magic in Doctor Faustus & The Tempest

Abstract

This paper explores the function of myth and magic in Renaissance drama through a comparative analysis of Marlowe’s Doctor Faustus and Shakespeare’s The Tempest. It contends that the fate of magic in these plays is inseparably linked to the genre that contains it— whether tragedy or romance—since genre not only determines the direction of the narrative but also frames its moral and philosophical significance. In tragedy, magic becomes a symbol of transgressive ambition, epistemological overreach, and moral isolation; in romance, it enables reconciliation, ethical restoration, and communal renewal. Drawing on recent scholarship, including Jones-Davies’s (2024) analysis of Shakespeare’s ambivalence between transcendental values and empirical secularism, this paper situates dramatic magic within broader intellectual currents of the early modern period. It further engages with contemporary reappraisals of mythic dramaturgy to show how Renaissance playwrights used supernatural motifs to stage competing visions of human agency, moral consequence, and cultural aspiration. Methodologically, this paper employs close textual case-study analysis supported by recent peer-reviewed research. By tracing the divergent mythic structures—tragic overreach versus romantic restoration—it contributes to ongoing debates about genre, morality, and the metaphysical imagination in early modern theatre.