As in Everyman, the most succesful English morality play, the human world meets meets strangely with the spiritual world.
Phisichology and allegory meet in the pact that Faustus makes with the Devil, and in the character of the Mephostophilis the modern and antique are perfectly blended create an unforgettable dramatic character.
From the Classical Greek concept of the Chorus, a single dramatic voice, through later Roman developments towards three dramatic voices: protagonist, deteragonist and tritagonist, drama developed a modern concept of character.
The Medieval vision of typical or allegorical characters also developed into a modern vision of individual personalities.
The influence of the Renaissance and the effects of Cristian Humanism estabilished the importance of a central heroic character around whom the action of the drama evolves.
Just as Renaissance man was the centre of the spiritual universe and became the master of his own destiny, the Renaissance hero was the centre of the stage, the centre of the drama, no longer a plaything of the gods as Oedipus or Odysseus had been.
The tragic destiny of char acters was less bound to fate, destiny or the gods and more to the tragic flaw of the hero, to the society around him or to the villainy of his follow men.
In Renaissance tregedy in Shakespeare for example, but also in Marlowe the hero follows a tragic path to his own destruction.