octor Faustus, Marlowe allows
             for a dynamic interaction of these two visions, and, as is the result of any genuine dialogue, creates true newness that
             neither of the parts possesses separately.
             For many critics, the choice of reading Dr.Faustus as a morality used to immediately presuppose a Christian
             interpretation of it, while choosing to view the play as a tragedy, would just as certainly classify it as atheistic, or at
             least heterodox. Thus in the essay "The Possibility of a Christian Tragedy," Laurence Michel (in Tragic Theory:
             Recent Exercises, 1976) asserts that the extent to which the play is tragic is the extent to which it is not Christian,
             because Christianity is best represented dramatically as a comedy of redemption. I would argue with this statement
             and assert that Faustus is a Christian tragedy of damnation. Conflicting two genres, Marlowe presents his unique
             attempt at patterning the experience, which is not so much irreverent as re-visional. The play's interpreters have not
             been very appreciative of this asset of Doctor Faustus until very recently, viewing it rather as the work's most
             problematic aspect. In contemporary literary criticism, there exist two approaches that support the drama's more
             holistic reading, one is the Kierkegaardian philosophy of despair (s
             ...