eives answers which are sometimes tantalizing and mysterious, and sometimes confirmations of the commonly held ideas of the time.(96)
             Starting by the Faust legend, for the medieval one, Faustus was considered as "a faker who lived by his wits," (Zane pub. 24) a swindler. Others who were more impressed by him, considered him as a "sorcerer in league with evil spirits." (Zane pub.24). However, during the Renaissance period, where the exciting possibilities of knowledge wit the advance of science and the revival of classical learning, Faustus was regarded as "a hero whose thirst for knowledge leads to salvation" (Zane pub. 25), mainly by Goethe, the German Poet.
             The play opens with the chorus, which is "adapted from the traditions of classic Greek drama" (Fitzwater 15), thus a Renaissance attitude. Not only that but also this chorus has introduced the main hero in the play, who was a peasant's son, different from the traditional way in having noblemen and kings as heroes. Faustus was "a self-made man, with a strong skepticism toward much of the establishment around." (Zane P: 28). He had excelled all the studies available for his time, following the clerical path that includes the "heavenly matters of theology" (Norton 770), a Medieval study. However, this was not sufficient for him, since his aim in pursing knowledge was limitless. So he turned his attention to necromancy, a devilish exercise of black magic. This thirst for knowledge mirrors him with Icarus, a figure in classical mythology, who because of his pride, soared so high until his wax wings were melted and dies". Si
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