the tragic history of doctor faustus, christopher marlowe

8/13/2019 The Tragic History of Doctor Faustus, Christopher Marlowe

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Context

B ORN INCANTERBURY IN1564,the same year as William Shakespeare, Christpher !arl"e "as a# a$tr, pet, a#%

play"ri&ht %'ri#& the rei ( Britai#)s *'ee# Eli+aeth I -r'le% 155./16023 !arl"e atte#%e% Crp's Christi Clle&e at

Camri%&e U#iersity a#% re$eie% %e&rees i# 15.4a#%15.3 Tra%iti#ally, the e%'$ati# that he re$eie% "'l% hae

prepare% him t e$me a $ler&yma#, 't !arl"e $hse #t t i# the mi#istry3 7r a time, Camri%&e ee# "a#te% t

"ithhl% his %e&ree, appare#tly s'spe$ti#& him ( hai#& $#erte% t Cathli$ism, a (ri%%e# (aith i# late8si9tee#th8$e#t'ry

E#&la#%, "here :rtesta#tism "as the state8s'pprte% reli&i#3 *'ee# Eli+aeth)s :riy C'#$il i#tere#e% # his ehal(,

sayi#& that !arl"e ha% ;%#e her maesty &% seri$e< i# ;matters t'$hi#& the e#e(it ( the $'#try3< This %% se='e#$e

( ee#ts has le% sme t theri+e that !arl"e "rke% as a spy (r the $r"#, pssily y i#(iltrati#& Cathli$ $mm'#ities

i# 7ra#$e3

A(ter leai#& Camri%&e, !arl"e me% t >#%#, "here he e$ame a play"ri&ht a#% le% a t'r'le#t, s$a#%al8pla&'e%

li(e3 ?e pr%'$e% see# plays, all ( "hi$h "ere imme#sely pp'lar3 Am#& the mst "ell k#"# ( his plays

are Tamburlaine, The Jew of Malta,a#% Doctor Faustus3 I# his "riti#&, he pi#eere% the 'se ( la#k erse@##rhymi#&

li#es ( iami$ pe#tameter@"hi$h ma#y ( his $#tempraries, i#$l'%i#& William Shakespeare, later a%pte%3 I# 15,

h"eer, !arl"e)s $areer "as $'t shrt3 A(ter ei#& a$$'se% ( heresy -mai#tai#i#& elie(s $#trary t thse ( a#

appre% reli&i#2, he "as arreste% a#% p't # a srt ( prati#3 O# !ay 0, 15, shrtly a(ter ei#& release%, !arl"e

e$ame i#le% i# a taer# ra"l a#% "as kille% "he# #e ( the $mata#ts stae% him i# the hea%3 A(ter his %eath,

r'mrs "ere sprea% a$$'si#& him ( treas#, atheism, a#% hmse9'ality, a#% sme peple spe$'late% that the taer# ra"l

mi&ht hae ee# the "rk ( &er#me#t a&e#ts3 >ittle ei%e#$e t s'pprt these alle&ati#s has $me t li&ht, h"eer3

Doctor Faustus"as praly "ritte# i# 15, alth'&h the e9a$t %ate ( its $mpsiti# is '#$ertai#, si#$e it "as #t

p'lishe% '#til a %e$a%e later3 The i%ea ( a# i#%ii%'al selli#& his r her s'l t the %eil (r k#"le%&e is a# l% mti( i#

Christia# (lklre, #e that ha% e$me atta$he% t the histri$al pers#a ( ha##es 7a'st's, a %isrep'tale astrl&er

"h lie% i# Derma#y smetime i# the early 1500s3 The imme%iate s'r$e ( !arl"e)s play seems t e the a##ym's

Derma# "rk ?istria # 3 Iha# 7a'ste# ( 15., "hi$h "as tra#slate% i#t E#&lish i# 15, a#% (rm "hi$h !arl"e

li(te% the 'lk ( the plt (r his %rama3 Alth'&h there ha% ee# literary represe#tati#s ( 7a'st prir t !arl"e)s

play, Doctor Faustusis the (irst (am's ersi# ( the stry3 >ater ersi#s i#$l'%e the l#& a#% (am's pem 7a'st y the

#i#etee#th8$e#t'ry Rma#ti$ "riter ha## Wl(&a#& # Dethe, as "ell as peras y Charles D'#% a#% Arri& Bit

a#% a symph#y y ?e$tr Berli+3 !ea#"hile, the phrase ;7a'stia# ar&ai#< has e#tere% the E#&lish le9i$#, re(erri#& t

a#y %eal ma%e (r a shrt8term &ai# "ith &reat $sts i# the l#& r'#3

Plot Overview

OCTOR 7AUSTUS, A WE>>8RES:ECTE DER!ANs$hlar, &r"s %issatis(ie% "ith the limits ( tra%iti#al (rms (

k#"le%&e@l&i$, me%i$i#e, la", a#% reli&i#@a#% %e$i%es that he "a#ts t lear# t pra$ti$e ma&i$3 ?is (rie#%s Fal%es a#%

Cr#eli's i#str'$t him i# the la$k arts, a#% he e&i#s his #e" $areer as a ma&i$ia# y s'mm#i#& 'p !ephastphilis, a

%eil3 espite !ephastphilis)s "ar#i#&s a't the hrrrs ( hell, 7a'st's tells the %eil t ret'r# t his master, >'$i(er, "ith

a# ((er ( 7a'st's)s s'l i# e9$ha#&e (r t"e#ty8('r years ( seri$e (rm !ephastphilis3 !ea#"hile, Waer, 7a'st's)s

sera#t, has pi$ke% 'p sme ma&i$al aility a#% 'ses it t press a $l"# #ame% Ri# i#t his seri$e3

!ephastphilis ret'r#s t 7a'st's "ith "r% that >'$i(er has a$$epte% 7a'st's)s ((er3 7a'st's e9perie#$es sme mis&ii#&sa#% "#%ers i( he sh'l% repe#t a#% sae his s'lG i# the e#%, th'&h, he a&rees t the %eal, sii#& it "ith his l%3 As

s# as he %es s, the "r%s ;?m ('&e,< >ati# (r ;O ma#, (ly,< appear ra#%e% # his arm3 7a'st's a&ai# has se$#%

th'&hts, 't !ephastphilis est"s ri$h &i(ts # him a#% &ies him a k ( spells t lear#3 >ater, !ephastphilis a#s"ers

all ( his ='esti#s a't the #at're ( the "rl%, re('si#& t a#s"er #ly "he# 7a'st's asks him "h ma%e the '#ierse3

This re('sal prmpts yet a#ther 't ( mis&ii#&s i# 7a'st's, 't !ephastphilis a#% >'$i(er ri#& i# pers#i(i$ati#s ( the

See# ea%ly Si#s t pra#$e a't i# (r#t ( 7a'st's, a#% he is impresse% e#'&h t ='iet his %'ts3

Arme% "ith his #e" p"ers a#% atte#%e% y !ephastphilis, 7a'st's e&i#s t trael3 ?e &es t the ppe)s $'rt i# Rme,

makes himsel( i#isile, a#% plays a series ( tri$ks3 ?e %isr'pts the ppe)s a#='et y steali#& (% a#% 9i#& the ppe)s


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ears3 7ll"i#& this i#$i%e#t, he traels thr'&h the $'rts ( E'rpe, "ith his (ame sprea%i#& as he &es3 Ee#t'ally, he is

i#ite% t the $'rt ( the Derma# emperr, Charles F -the e#emy ( the ppe2, "h asks 7a'st's t all" him t see

Ale9a#%er the Dreat, the (ame% ('rth8$e#t'ryB3C3!a$e%#ia# ki#& a#% $#='err3 7a'st's $#'res 'p a# ima&e (

Ale9a#%er, a#% Charles is s'italy impresse%3 A k#i&ht s$((s at 7a'st's)s p"ers, a#% 7a'st's $hastises him y maki#&

a#tlers spr't (rm his hea%3 7'ri's, the k#i&ht "s ree#&e3

!ea#"hile, Ri#, Waer)s $l"#, has pi$ke% 'p sme ma&i$ # his "#, a#% "ith his (ell" staleha#%, Ra(e, he

'#%er&es a #'mer ( $mi$ misa%e#t'res3 At #e pi#t, he ma#a&es t s'mm# !ephastphilis, "h threate#s t t'r#

Ri# a#% Ra(e i#t a#imals -r perhaps ee# %es tra#s(rm themG the te9t is#)t $lear2 t p'#ish them (r their (lish#ess3

7a'st's the# &es # "ith his traels, playi#& a tri$k # a hrse8$'rser al#& the "ay3 7a'st's sells him a hrse that t'r#s

i#t a heap ( stra" "he# ri%%e# i#t a rier3 Ee#t'ally, 7a'st's is i#ite% t the $'rt ( the 'ke ( Fa#hlt, "here he

per(rms ari's (eats3 The hrse8$'rser sh"s 'p there, al#& "ith Ri#, a ma# #ame% i$k -Ra(e i# the A te9t2, a#%

ari's thers "h hae (alle# i$tim t 7a'st's)s tri$kery3 B't 7a'st's $asts spells # them a#% se#%s them # their "ay, t

the am'seme#t ( the %'ke a#% %'$hess3

As the t"e#ty8('r years ( his %eal "ith >'$i(er $me t a $lse, 7a'st's e&i#s t %rea% his impe#%i#& %eath3 ?e has

!ephastphilis $all 'p ?ele# ( Try, the (am's ea'ty (rm the a#$ie#t "rl%, a#% 'ses her prese#$e t impress a &r'p

( s$hlars3 A# l% ma# 'r&es 7a'st's t repe#t, 't 7a'st's %ries him a"ay3 7a'st's s'mm#s ?ele# a&ai# a#% e9$laims

rapt'r'sly a't her ea'ty3 B't time is &r"i#& shrt3 7a'st's tells the s$hlars a't his pa$t, a#% they are hrrr8stri$ke# a#% resle t pray (r him3 O# the (i#al #i&ht e(re the e9pirati# ( the t"e#ty8('r years, 7a'st's is er$me y

(ear a#% remrse3 ?e e&s (r mer$y, 't it is t late3 At mi%#i&ht, a hst ( %eils appears a#% $arries his s'l (( t hell3 I#

the mr#i#&, the s$hlars (i#% 7a'st's)s lims a#% %e$i%e t hl% a ('#eral (r him3

Character List

Faustus 8 The prtaist3 7a'st's is a rillia#t si9tee#th8$e#t'ry s$hlar (rm Witte#er&, Derma#y, "hse amiti# (r

k#"le%&e, "ealth, a#% "rl%ly mi&ht makes him "illi#& t pay the 'ltimate pri$e@his s'l@t >'$i(er i# e9$ha#&e (r

s'per#at'ral p"ers3 7a'st's)s i#itial tra&i$ &ra#%e'r is %imi#ishe% y the (a$t that he #eer seems $mpletely s're ( the

%e$isi# t (r(eit his s'l a#% $#sta#tly "aers a't "hether r #t t repe#t3 ?is amiti# is a%mirale a#% i#itially

a"esme, yet he 'ltimately la$ks a $ertai# i##er stre#&th3 ?e is '#ale t emra$e his %ark path "hlehearte%ly 't is als

'#"illi#& t a%mit his mistake3

Mephastophilis 8 A %eil "hm 7a'st's s'mm#s "ith his i#itial ma&i$al e9perime#ts3 !ephastphilis)s mtiati#s are

ami&''sH # the #e ha#%, his (t8e9presse% &al is t $at$h 7a'st's)s s'l a#% $arry it (( t hellG # the ther ha#%, he

a$tiely attempts t %iss'a%e 7a'st's (rm maki#& a %eal "ith >'$i(er y "ar#i#& him a't the hrrrs ( hell3

!ephastphilis is 'ltimately as tra&i$ a (i&'re as 7a'st's, "ith his mi#&, re&ret('l a$$'#ts ( "hat the %eils hae lst i#

their eter#al separati# (rm D% a#% his repeate% re(le$ti#s # the pai# that $mes "ith %am#ati#3

Chorus 8 A $hara$ter "h sta#%s 'tsi%e the stry, pri%i#& #arrati# a#% $mme#tary3 The Chr's "as $'stmary i#

Dreek tra&e%y3

Old Man 8 A# e#i&mati$ (i&'re "h appears i# the (i#al s$e#e3 The l% ma# 'r&es 7a'st's t repe#t a#% t ask D% (r

mer$y3 ?e seems t repla$e the &% a#% eil a#&els, "h, i# the (irst s$e#e, try t i#(l'e#$e 7a'st's)s ehair3Good Angel 8 A spirit that 'r&es 7a'st's t repe#t (r his pa$t "ith >'$i(er a#% ret'r# t D%3 Al#& "ith the l% ma# a#%

the a% a#&el, the &% a#&el represe#ts, i# ma#y "ays, 7a'st's)s $#s$ie#$e a#% %ii%e% "ill et"ee# &% a#% eil3

Evil Angel 8 A spirit that seres as the $'#terpart t the &% a#&el a#% pri%es 7a'st's "ith reas#s #t t repe#t (r

si#s a&ai#st D%3 The eil a#&el represe#ts the eil hal( ( 7a'st's)s $#s$ie#$e3

Lucifer 8 The pri#$e ( %eils, the r'ler ( hell, a#% !ephastphilis)s master3

Wagner 8 7a'st's)s sera#t3 Waer 'ses his master)s ks t lear# h" t s'mm# %eils a#% "rk ma&i$3


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Clown 8 A $l"# "h e$mes Waer)s sera#t3 The $l"#)s a#ti$s pri%e $mi$ relie(G he is a ri%i$'l's $hara$ter, a#%

his as'r% ehair i#itially $#trasts "ith 7a'st's)s &ra#%e'r3 As the play &es #, th'&h, 7a'st's)s ehair $mes t

resemle that ( the $l"#3

Roin 8 A# stler, r i##keeper, "h, like the $l"#, pri%es a $mi$ $#trast t 7a'st's3 Ri# a#% his (rie#% Ra(e lear#

sme asi$ $#'ri#&, %em#strati#& that ee# the least s$hlarly $a# pssess skill i# ma&i$3 !arl"e i#$l'%es Ri# a#%

Ra(e t ill'strate 7a'st's)s %e&ra%ati# as he s'mits t simple tri$kery s'$h as theirs3

Rafe 8 A# stler, a#% a (rie#% ( Ri#3 Ra(e appears as i$k -Ri#)s (rie#% a#% a $l"#2 i# B8te9t e%iti#s ( Doctor

Faustus3

!aldes and Cornelius 8 T" (rie#%s ( 7a'st's, th ma&i$ia#s, "h tea$h him the art ( la$k ma&i$3

"orse#courser 8 A hrse8tra%er "h 'ys a hrse (rm 7a'st's, "hi$h a#ishes a(ter the hrse8$'rser ri%es it i#t the

"ater, lea%i#& him t seek ree#&e3

$he %cholars 8 7a'st's)s $llea&'es at the U#iersity ( Witte#er&3 >yal t 7a'st's, the s$hlars appear at the e&i##i#&

a#% e#% ( the play t e9press %ismay at the t'r# 7a'st's)s st'%ies hae take#, t marel at his a$hieeme#ts, a#% the# t

hear his ai+e% $#(essi# ( his pa$t "ith >'$i(er3

$he pope 8 The hea% ( the Rma# Cathli$ Ch'r$h a#% a p"er('l pliti$al (i&'re i# the E'rpe ( 7a'st's)s %ay3 The

ppe seres as th a s'r$e ( am'seme#t (r the play)s :rtesta#t a'%ie#$e a#% a syml ( the reli&i's (aith that

7a'st's has ree$te%3

E&peror Charles ! 8 The mst p"er('l m#ar$h i# E'rpe, "hse $'rt 7a'st's isits3

'night 8 A Derma# #lema# at the emperr)s $'rt3 The k#i&ht is skepti$al ( 7a'st's)s p"er, a#% 7a'st's makes

a#tlers spr't (rm his hea% t tea$h him a less#3 The k#i&ht is ('rther %eelpe% a#% k#"# as Be#li i# B8te9t ersi#s

( Doctor FaustusG Be#li seeks ree#&e # 7a'st's a#% pla#s t m'r%er him3

(runo 8 A $a#%i%ate (r the papa$y, s'pprte% y the emperr3 Br'# is $apt're% y the ppe a#% (ree% y 7a'st's3 Br'#

appears #ly i# B8te9t ersi#s ( Doctor Faustus3

)u*e of !anholt 8 A Derma# #lema# "hm 7a'st's isits3

Martino and Frederic* 8 7rie#%s ( Be#li "h rel'$ta#tly i# his attempt t kill 7a'st's3 !arti# a#% 7re%eri$k appear

#ly i# B8te9t ersi#s ( Doctor Faustus3

Anal+sis of Ma,or Characters

Faustus

7a'st's is the prtaist a#% tra&i$ her ( !arl"e)s play3 ?e is a $#tra%i$try $hara$ter, $apale ( treme#%'s

el='e#$e a#% pssessi#& a"esme amiti#, yet pr#e t a stra#&e, almst "ill('l li#%#ess a#% a "illi#ess t "aste

p"ers that he has &ai#e% at &reat $st3 Whe# "e (irst meet 7a'st's, he is 'st prepari#& t emark # his $areer as a

ma&i$ia#, a#% "hile "e alrea%y a#ti$ipate that thi#&s "ill t'r# 't a%ly -the Chr's)s i#tr%'$ti#, i( #thi#& else, prepares

's2, there is ##etheless a &ra#%e'r t 7a'st's as he $#templates all the marels that his ma&i$al p"ers "ill pr%'$e3 ?e

ima&i#es pili#& 'p "ealth (rm the ('r $r#ers ( the &le, reshapi#& the map ( E'rpe -th pliti$ally a#% physi$ally2,

a#% &ai#i#& a$$ess t eery s$rap ( k#"le%&e a't the '#ierse3 ?e is a# arr&a#t, sel(8a&&ra#%i+i#& ma#, 't his

amiti#s are s &ra#% that "e $a##t help ei#& impresse%, a#% "e ee# (eel sympatheti$ t"ar% him3 ?e represe#ts the

spirit ( the Re#aissa#$e, "ith its ree$ti# ( the me%ieal, D%8$e#tere% '#ierse, a#% its emra$e ( h'ma# pssiility3

7a'st's, at least early # i# his a$='isiti# ( ma&i$, is the pers#i(i$ati# ( pssiility3

B't 7a'st's als pssesses a# t'se#ess that e$mes appare#t %'ri#& his ar&ai#i#& sessi#s "ith !ephastphilis3

?ai#& %e$i%e% that a pa$t "ith the %eil is the #ly "ay t ('l(ill his amiti#s, 7a'st's the# li#%s himsel( happily t "hat

s'$h a pa$t a$t'ally mea#s3 Smetimes he tells himsel( that hell is #t s a% a#% that #e #ee%s #ly ;(rtit'%e


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mme#t3 Why he (ails t repe#t is '#$learH 8smetimes it seems a matter ( pri%e a#% $#ti#'i#& amiti#, smetimes a

$#i$ti# that D% "ill #t hear his plea3 Other times, it seems that !ephastphilis simply 'llies him a"ay (rm repe#ti#&3

B'llyi#& 7a'st's is less %i((i$'lt tha# it mi&ht seem, e$a'se !arl"e, a(ter setti#& his prtaist 'p as a &ra#%ly tra&i$

(i&'re ( s"eepi#& isi#s a#% imme#se amiti#s, spe#%s the mi%%le s$e#es reeali#& 7a'st's)s tr'e, petty #at're3 O#$e

7a'st's &ai#s his l#&8%esire% p"ers, he %es #t k#" "hat t % "ith them3 !arl"e s'&&ests that this '#$ertai#ty

stems, i# part, (rm the (a$t that %esire (r k#"le%&e lea%s i#e9raly t"ar% D%, "hm 7a'st's has re#'#$e%3 B't, mre

&e#erally, asl'te p"er $rr'pts 7a'st'sH #$e he $a# % eerythi#&, he # l#&er "a#ts t % a#ythi#&3 I#stea%, he

traipses ar'#% E'rpe, playi#& tri$ks # ykels a#% per(rmi#& $#'ri#& a$ts t impress ari's hea%s ( state3 ?e 'ses

his i#$re%ile &i(ts (r "hat is esse#tially tri(li#& e#tertai#me#t3 The (iel%s ( pssiility #arr" &ra%'ally, as he isits eer

mre mi#r #les a#% per(rms eer mre '#imprta#t ma&i$ tri$ks, '#til the 7a'st's ( the (irst (e" s$e#es is e#tirely

s"all"e% 'p i# me%i$rity3 O#ly i# the (i#al s$e#e is 7a'st's res$'e% (rm me%i$rity, as the k#"le%&e ( his impe#%i#&

%m restres his earlier &i(t ( p"er('l rhetri$, a#% he re&ai#s his s"eepi#& se#se ( isi#3 N", h"eer, the isi# that

he sees is ( hell lmi#& 'p t s"all" him3 !arl"e 'ses m'$h ( his (i#est petry t %es$rie 7a'st's)s (i#al h'rs, %'ri#&

"hi$h 7a'st's)s %esire (r repe#ta#$e (i#ally "i#s 't, alth'&h t late3 Still, 7a'st's is restre% t his earlier &ra#%e'r i#

his $lsi#& spee$h, "ith its h'rrie% r'sh (rm i%ea t i%ea a#% its %espairi#&, Re#aissa#$e8re#'#$i#& last li#e, ;I)ll 'r# my

ks< ?e e$mes #$e a&ai# a tra&i$ her, a &reat ma# '#%#e e$a'se his amiti#s hae 'tte% 'p a&ai#st the la" (

D%3

Mephastophilis

The $hara$ter ( !ephastphilis -spelle% !ephistphilis r !ephistpheles y ther a'thrs2 is #e ( the (irst i# a l#&

tra%iti# ( sympatheti$ literary %eils, "hi$h i#$l'%es (i&'res like h# !ilt#)s Sata# i# :ara%ise >st a#% ha## #

Dethe)s !ephistphilis i# the #i#etee#th8$e#t'ry pem ;7a'st3< !arl"e)s !ephastphilis is parti$'larly i#teresti#& e$a'se

he has mi9e% mties3 O# the #e ha#%, (rm his (irst appeara#$e he $learly i#te#%s t a$t as a# a&e#t ( 7a'st's)s

%am#ati#3 I#%ee%, he pe#ly a%mits it, telli#& 7a'st's that ;"he# "e hear #e ra$k the #ame ( D%, J A're the S$ript'res

a#% his sair Christ, J We (ly i# hpe t &et his &lri's s'l< -34/423 It is !ephastphilis "h "it#esses 7a'st's)s pa$t

"ith >'$i(er, a#% it is he "h, thr'&h't the play, steps i# "he#eer 7a'st's $#si%ers repe#ta#$e t $ale r threate# him

i#t stayi#& lyal t hell3

Yet there is a# %% amiale#$e i# !ephastphilis3 ?e seeks t %am# 7a'st's, 't he himsel( is %am#e% a#% speaks (reely

( the hrrrs ( hell3 I# a (am's passa&e, "he# 7a'st's remarks that the %eil seems t e (ree ( hell at a parti$'lar

mme#t, !ephastphilis i#sists,

[w]hy this is hell, nor am I out of it.

Thinkst thou that I, who saw the face of Go,

!n taste the eternal "oys of hea#en,

!m not tormente with ten thousan hells

In bein$ e%ri#e of e#erlastin$ bliss&

'(.)*+-

A&ai#, "he# 7a'st's lithely@a#% as'r%ly, &ie# that he is speaki#& t a %em#@%e$lares that he %es #t eliee i# hell,

!ephastphilis &ra#s a#% i#sists that hell is, i#%ee%, real a#% terrile, as 7a'st's $mes t k#" s# e#'&h3 Be(re the

pa$t is seale%, !ephastphilis a$t'ally "ar#s 7a'st's a&ai#st maki#& the %eal "ith >'$i(er3 I# a# %% "ay, #e $a# almst

se#se that part ( !ephastphilis %es #t "a#t 7a'st's t make the same mistakes that he ma%e3 B't, ( $'rse, 7a'st's

%es s a#y"ay, "hi$h makes him a#% !ephastphilis ki#%re% spirits3 It is apprpriate that these t" (i&'res %mi#ate

!arl"e)s play, (r they are t" erly pr'% spirits %me% t hell3

$he&es- Motifs . %+&ols

$he&es

Themes are the funamental an often uni#ersal ieas e/%lore in a literary work.


5/7

Sin, Redemption, and Damnation

I#s(ar as Doctor Faustusis a Christia# play, it %eals "ith the themes at the heart ( Christia#ity)s '#%ersta#%i#& ( the "rl%3

7irst, there is the i%ea ( si#, "hi$h Christia#ity %e(i#es as a$ts $#trary t the "ill ( D%3 I# maki#& a pa$t "ith >'$i(er,

7a'st's $mmits "hat is i# a se#se the 'ltimate si#H #t #ly %es he %isey D%, 't he $#s$i'sly a#% ee# ea&erly

re#'#$es e%ie#$e t him, $hsi#& i#stea% t s"ear alle&ia#$e t the %eil3 I# a Christia# (rame"rk, h"eer, ee# the

"rst %ee% $a# e (r&ie# thr'&h the re%emptie p"er ( es's Christ, D%)s s#, "h, a$$r%i#& t Christia# elie(, %ie%

# the $rss (r h'ma#ki#%)s si#s3 Th's, h"eer terrile 7a'st's)s pa$t "ith >'$i(er may e, the pssiility ( re%empti# is

al"ays pe# t him3 All that he #ee%s t %, thereti$ally, is ask D% (r (r&ie#ess3 The play ((ers $'#tless mme#ts i#

"hi$h 7a'st's $#si%ers %i#& 'st that, 'r&e% # y the &% a#&el # his sh'l%er r y the l% ma# i# s$e#e 1@th (

"hm $a# e see# either as emissaries ( D%, pers#i(i$ati#s ( 7a'st's)s $#s$ie#$e, r th3

Ea$h time, 7a'st's %e$i%es t remai# lyal t hell rather tha# seek heae#3 I# the Christia# (rame"rk, this t'r#i#& a"ay

(rm D% $#%em#s him t spe#% a# eter#ity i# hell3 O#ly at the e#% ( his li(e %es 7a'st's %esire t repe#t, a#%, i# the (i#al

s$e#e, he $ries 't t Christ t re%eem him3 B't it is t late (r him t repe#t3 I# $reati#& this mme#t i# "hi$h 7a'st's is

still alie 't i#$apale ( ei#& re%eeme%, !arl"e steps 'tsi%e the Christia# "rl%ie" i# r%er t ma9imi+e the %ramati$

p"er ( the (i#al s$e#e3 ?ai#& i#haite% a Christia# "rl% (r the e#tire play, 7a'st's spe#%s his (i#al mme#ts i# a sli&htly

%i((ere#t '#ierse, "here re%empti# is # l#&er pssile a#% "here $ertai# si#s $a##t e (r&ie#3

The Conflict Between Medieval and Renaissance Values

S$hlar R3!3 a"ki#s (am'sly remarke% that Doctor Faustustells ;the stry ( a Re#aissa#$e ma# "h ha% t pay the

me%ieal pri$e (r ei#& #e3< While sli&htly simplisti$, this ='tati# %es &et at the heart ( #e ( the play)s $e#tral themesH

the $lash et"ee# the me%ieal "rl% a#% the "rl% ( the emer&i#& Re#aissa#$e3 The me%ieal "rl% pla$e% D% at the

$e#ter ( e9iste#$e a#% sh'#te% asi%e ma# a#% the #at'ral "rl%3 The Re#aissa#$e "as a meme#t that e&a# i# Italy i#

the (i(tee#th $e#t'ry a#% s# sprea% thr'&h't E'rpe, $arryi#& "ith it a #e" emphasis # the i#%ii%'al, # $lassi$al

lear#i#&, a#% # s$ie#ti(i$ i#='iry i#t the #at're ( the "rl%3 I# the me%ieal a$a%emy, thel&y "as the ='ee# ( the

s$ie#$es3 I# the Re#aissa#$e, th'&h, se$'lar matters tk $e#ter sta&e3

7a'st's, %espite ei#& a ma&i$ia# rather tha# a s$ie#tist -a l'rre% %isti#$ti# i# the si9tee#th $e#t'ry2, e9pli$itly ree$ts the

me%ieal m%el3 I# his pe#i#& spee$h i# s$e#e 1, he &es thr'&h eery (iel% ( s$hlarship, e&i##i#& "ith l&i$ a#%

pr$ee%i#& thr'&h me%i$i#e, la", a#% thel&y, ='ti#& a# a#$ie#t a'thrity (r ea$hH Aristtle # l&i$, Dale# # me%i$i#e,

the By+a#ti#e emperr 'sti#ia# # la", a#% the Bile # reli&i#3 I# the me%ieal m%el, tra%iti# a#% a'thrity, #t

i#%ii%'al i#='iry, "ere key3 B't i# this slil='y, 7a'st's $#si%ers a#% ree$ts this me%ieal "ay ( thi#ki#&3 ?e resles, i#

('ll Re#aissa#$e spirit, t a$$ept # limits, tra%iti#s, r a'thrities i# his ='est (r k#"le%&e, "ealth, a#% p"er3

The play)s attit'%e t"ar% the $lash et"ee# me%ieal a#% Re#aissa#$e al'es is ami&''s3 !arl"e seems hstile t"ar%

the amiti#s ( 7a'st's, a#%, as a"ki#s #tes, he keeps his tra&i$ her s='arely i# the me%ieal "rl%, "here eter#al

%am#ati# is the pri$e ( h'ma# pri%e3 Yet !arl"e himsel( "as # pi's tra%iti#alist, a#% it is tempti#& t see i# 7a'st's@

as ma#y rea%ers hae@a her ( the #e" m%er# "rl%, a "rl% (ree ( D%, reli&i#, a#% the limits that these impse% #

h'ma#ity3 7a'st's may pay a me%ieal pri$e, this rea%i#& s'&&ests, 't his s'$$essrs "ill & ('rther tha# he a#% s'((er

less, as "e hae i# m%er# times3 O# the ther ha#%, the %isappi#tme#t a#% me%i$rity that (ll" 7a'st's)s pa$t "ith the

%eil, as he %es$e#%s (rm &ra#% amiti#s t petty $#'ri#& tri$ks, mi&ht s'&&est a $#trasti#& i#terpretati#3 !arl"e may

e s'&&esti#& that the #e", m%er# spirit, th'&h amiti's a#% &litteri#&, "ill lea% #ly t a 7a'stia# %ea% e#%3

Power as a Corrupting Influence

Early i# the play, e(re he a&rees t the pa$t "ith >'$i(er, 7a'st's is ('ll ( i%eas (r h" t 'se the p"er that he seeks3 ?e

ima&i#es pili#& 'p &reat "ealth, 't he als aspires t pl'm the mysteries ( the '#ierse a#% t remake the map ( E'rpe3

Th'&h they may #t e e#tirely a%mirale, these pla#s are amiti's a#% i#spire a"e, i( #t sympathy3 They le#% a

&ra#%e'r t 7a'st's)s s$hemes a#% make his ='est (r pers#al p"er seem almst heri$, a se#se that is rei#(r$e% y the

el='e#$e ( his early slil='ies3


6/7

O#$e 7a'st's a$t'ally &ai#s the pra$ti$ally limitless p"er that he s %esires, h"eer, his hri+#s seem t #arr"3

Eerythi#& is pssile t him, 't his amiti# is smeh" sappe%3 I#stea% ( the &ra#% %esis that he $#templates early

#, he $#te#ts himsel( "ith per(rmi#& $#'ri#& tri$ks (r ki#&s a#% #leme# a#% takes a stra#&e %eli&ht i# 'si#& his

ma&i$ t play pra$ti$al kes # simple (lks3 It is #t that p"er has $rr'pte% 7a'st's y maki#& him eilH i#%ee%, 7a'st's)s

ehair a(ter he sells his s'l har%ly rises t the leel ( tr'e "i$ke%#ess3 Rather, &ai#i#& asl'te p"er $rr'pts 7a'st's

y maki#& him me%i$re a#% y tra#s(rmi#& his '#%less amiti# i#t a mea#i#&less %eli&ht i# petty $elerity3

I# the Christia# (rame"rk ( the play, #e $a# ar&'e that tr'e &reat#ess $a# e a$hiee% #ly "ith D%)s lessi#&3 By

$'tti#& himsel( (( (rm the $reatr ( the '#ierse, 7a'st's is $#%em#e% t me%i$rity3 ?e has &ai#e% the "hle "rl%, 't

he %es #t k#" "hat t % "ith it3

The Divided ature of Man

7a'st's is $#sta#tly '#%e$i%e% a't "hether he sh'l% repe#t a#% ret'r# t D% r $#ti#'e t (ll" his pa$t "ith >'$i(er3

?is i#ter#al str'&&le &es # thr'&h't the play, as part ( him ( "a#ts t % &% a#% sere D%, 't part ( him -the

%mi#a#t part, it seems2 l'sts a(ter the p"er that !ephastphilis prmises3 The &% a#&el a#% the eil a#&el, th (

"hm appear at 7a'st's)s sh'l%er i# r%er t 'r&e him i# %i((ere#t %ire$ti#s, symli+e this str'&&le3 While these a#&els

may e i#te#%e% as a# a$t'al pair ( s'per#at'ral ei#&s, they $learly represe#t 7a'st's)s %ii%e% "ill, "hi$h $mpels

7a'st's t $mmit t !ephastphilis 't als t ='esti# this $mmitme#t $#ti#'ally3

Motifs

Motifs are recurrin$ structures, contrasts, or literary e#ices that can hel% to e#elo% an inform the te/ts ma"or themes.

Magic and the Supernatural

The s'per#at'ral pera%es Doctor Faustus, appeari#& eery"here i# the stry3 A#&els a#% %eils (lit a't, ma&i$ spells are

$ast, %ras p'll $harits -aleit ((sta&e2, a#% ee# (ls like the t" stlers, Ri# a#% Ra(e, $a# lear# e#'&h ma&i$ t

s'mm# %em#s3 Still, it is "rth #ti#& that #thi#& terrily sii(i$a#t is a$$mplishe% thr'&h ma&i$3 7a'st's plays tri$ks

# peple, $#'res 'p &rapes, a#% e9plres the $sms # a %ra, 't he %es #t ('#%ame#tally reshape the "rl%3 The

ma&i$ p"er that !ephastphilis &ra#ts him is mre like a ty tha# a# a"esme, earth8shaki#& aility3 7'rthermre, the real

%rama ( the play, %espite all the s'per#at'ral (rills a#% pyrte$h#i$s, takes pla$e "ithi# 7a'st's)s a$illati#& mi#% a#% s'l,

as he (irst sells his s'l t >'$i(er a#% the# $#si%ers repe#ti#&3 I# this se#se, the ma&i$ is almst i#$i%e#tal t the real stry

( 7a'st's)s str'&&le "ith himsel(, "hi$h !arl"e i#te#%e% #t as a (a#tasti$al attle 't rather as a realisti$ prtrait ( a

h'ma# ei#& "ith a "ill %ii%e% et"ee# &% a#% eil3

Practical !o"es

O#$e he &ai#s his a"esme p"ers, 7a'st's %es #t 'se them t % &reat %ee%s3 I#stea%, he %eli&hts i# playi#& tri$ks #

pepleH he makes hr#s spr't (rm the k#i&ht)s hea% a#% sells the hrse8$'rser a# e#$ha#te% hrse3 S'$h ma&i$al

pra$ti$al kes seem t e 7a'st's)s $hie( am'seme#t, a#% !arl"e 'ses them t ill'strate 7a'st's)s %e$li#e (rm a &reat,

pri%e('l s$hlar i#t a re%, me%i$re ma&i$ia# "ith # hi&her amiti# tha# t hae a la'&h at the e9pe#se ( a $lle$ti#

( simplet#s3

%+&ols

0ymbols are ob"ects, characters, fi$ures, or colors use to re%resent abstract ieas or conce%ts.Blood

Bl% plays m'ltiple symli$ rles i# the play3 Whe# 7a'st's sis a"ay his s'l, he sis i# l%, symli+i#& the

perma#e#t a#% s'per#at'ral #at're ( this pa$t3 ?is l% $#&eals # the pa&e, h"eer, symli+i#&, perhaps, his "#

%y)s relt a&ai#st "hat he i#te#%s t %3 !ea#"hile, Christ)s l%, "hi$h 7a'st's says he sees r'##i#& a$rss the sky

%'ri#& his terrile last #i&ht, symli+es the sa$ri(i$e that es's, a$$r%i#& t Christia# elie(, ma%e # the $rssG this

sa$ri(i$e pe#e% the "ay (r h'ma#ki#% t repe#t its si#s a#% e sae%3 7a'st's, ( $'rse, i# his pr'% (lly, (ails t take

this path t salati#3


7/7

#austus$s Re%ection of the &ncient &uthorities

I# s$e#e 1, 7a'st's &es thr'&h a list ( the mar (iel%s ( h'ma# k#"le%&e@l&i$, me%i$i#e, la", a#% thel&y@a#%

$ites (r ea$h a# a#$ie#t a'thrity -Aristtle, Dale#, 'sti#ia#, a#% erme)s Bile, respe$tiely23 ?e the# ree$ts all ( these

(i&'res i# (ar ( ma&i$3 This ree$ti# symli+es 7a'st's)s reak "ith the me%ieal "rl%, "hi$h pri+e% a'thrity ae all

else, i# (ar ( a mre m%er# spirit ( (ree i#='iry, i# "hi$h e9perime#tati# a#% i##ati# tr'mp the asserti#s ( Dreek

philsphers a#% the Bile3

The 'ood &ngel and the (vil &ngel

The a#&els appear at 7a'st's)s sh'l%er early # i# the play@the &% a#&el 'r&i#& him t repe#t a#% sere D%, the eil

a#&el 'r&i#& him t (ll" his l'st (r p"er a#% sere >'$i(er3 The t" symli+e his %ii%e% "ill, part ( "hi$h "a#ts t %

&% a#% part ( "hi$h is s'#k i# si#3

'e+ Facts

F/LL$0$LE K :'lishe% i#itially as The Tra$icall 1istory of D. Faustus, the# asThe Tra$icall 1istory of the 2ife an Death of

Doctor Faustus

A/$"OR K Christpher !arl"e

$1PEOFWOR' K :lay

GE2RE K Tra&e%y

LA2G/AGE K E#&lish

$0MEA2)PLACEWR0$$E2 K Early 150sG E#&la#%

)A$EOFF0R%$P/(L0CA$0O2 K The A te9t "as (irst p'lishe% i# 1604, the B te9t i# 16163

P/(L0%"ER K U#$ertai#G pssily :hilip ?e#sl"e, a theatri$al e#trepre#e'r

2ARRA$OR K N#e (r the mst part, 't the Chr's, "hi$h appears i#termitte#tly et"ee# s$e#es, pri%es a$k&r'#%

i#(rmati# a#% $mme#ts # the a$ti#

PO02$OF!0EW K While he smetimes $e%es the sta&e t the Chr's r the lesser, $mi$ $hara$ters, 7a'st's is $e#tral

(i&'re i# the play, a#% he has seeral l#& slil='ies that let 's see thi#&s (rm his pi#t ( ie"3

$O2E K Dra#%ise a#% tra&i$, "ith $$asi#al mme#ts ( l" $me%y

$E2%E K The Chr's, "h pri%es the #ly #arrati#, alter#ates et"ee# the prese#t a#% past te#ses3%E$$02G3$0ME4 K The 15.0s

%E$$02G3PLACE4 K E'rpe, spe$i(i$ally Derma#y a#% Italy

PRO$AGO20%$ K $tr 7a'st's

MA5ORCO2FL0C$ K 7a'st's sells his s'l t >'$i(er i# e9$ha#&e (r t"e#ty8('r years ( imme#se p"er, 't the %esire t

repe#t e&i#s t pla&'e him as the (ear ( hell &r"s i# him3

R0%02GAC$0O2 K 7a'st's)s st'%y ( %ark ma&i$ a#% his i#itial $#ersati#s "ith !ephastphilis

CL0MA6 K 7a'st's)s seali#& ( the pa$t that prmises his s'l t >'$i(er

FALL02GAC$0O2 K 7a'st's)s traeli#& ( the "rl% a#% per(rmi#& ( ma&i$ (r ari's r'lers

$"EME% K Si#, re%empti#, a#% %am#ati#G the $#(li$t et"ee# me%ieal a#% Re#aissa#$e al'esG asl'te p"er a#%

$rr'pti#G the %ii%e%#ess ( h'ma# #at're

MO$0F% K !a&i$ a#% the s'per#at'ralG pra$ti$al kes%1M(OL% K Bl%G 7a'st's)s ree$ti# ( the a#$ie#t a'thritiesG the &% a#&el a#% the eil a#&el

FORE%"A)OW02G K The play $#sta#tly hi#ts at 7a'st's)s 'ltimate %am#ati#3 ?is l% $#&eals "he# he tries t si

a"ay his s'lG the "r%s ?m ('&e, mea#i#& ;7ly, ma#

the tragic history of doctor faustus, christopher marlowe

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