The feud between the values of the medieval world and the emerging fortitude of the sixteenth-century Renaissance has often been construed or portrayed through Doctor Faustus. Throughout the medieval times in Europe, God as well as Christianity lay at the core of academic life. While theology was becoming more popular and known as the queen of the sciences, scientific query began to vanish. Medieval art and literature, focused on the livelihood saints and the prodigious rather than those of mundane people, as frankly described in Dante ˜s, The Inferno. The arrival of the Renaissance was an acknowledgment of free individualism and the scientific investigation of nature. In Christopher Marlowe's, Doctor Faustus, Faustus represents the energy of the Renaissance. With his representation is the protest against the medieval times, its religious-centered universe and its grasp of all capabilities of humans, which, in contrast, are strong points throughout Dante ˜s, The Inferno.
Doctor Faustus is a magician and not a scientist; this peculiarity is more plainly drawn today compared to the sixteenth century. In his early stages of magical acquirement he personifies human capabilities. Without God's sanction, and his yearning for knowledge and hegemony over nature, Faustus exemplifies the more worldly spirit of the emerging Renaissance era.
Marlowe imply the character of the modern era in the play's first scene, when Faustus overtly eliminate all the medieval influences including Galen in the field of medicine, Justinian in the field of law, Aristotle in the field of logic, and the Bible in the field of religion. When Faustus arrived to theology of religion he turns to the Bible which reads "if the reward on sin is death... If we say that we have no sins, We decide ourselves, and there's no truth in us (Marlowe 30). Faustus interpreted this as "What will be shall be Divinity, adieu (35)!â