ScholarScript

While written in the Renaissance language that often challenges high school and college students,Christopher Marlowe's Doctor Faustus is a play for the ages. In a culture laden with books, movies,television shows and video games about black magic, the subject matter alone will captivate

contemporary young adults. And with its themes of ambition, desire, fate, and free will, Marlowe's drama is excellent comparison material to works both old and new. As a genre study, Dr. Faustus is a morality play, a historical allegory, the tale of a hero gone bad due to the dilemmas presented by

an ever changing world. When Faustus is confronted by the Renaissance preference for analytical reason over the medieval deference to God, he must choose the course he believes is right, and in the process, loses his soul.Today's teachers are in a unique position to share the historic and cultural significance of Dr.Faustus. In a society where Dan Brown's The DaVinci Code continues to challenge the foundations of religion, art, and history, and where a good portion of our youth have either read or viewed Brown's work, Dr. Faustus offers students a forum to study and react to such controversial topics as Renaissance humanism and the history of the Roman Catholic Church. Marlowe's play provides

more than enough of the conflict and challenge high school and college students enjoy, engendering a host of topics for classroom discussion, debate, speech, essays, and projects.

This guide is designed to assist teachers in planning a unit that is accessible and attractive to readers of various reading levels, and to provide lessons that reach students of various learning styles. Ideas include opportunities for listening, speaking, writing, and creating. Pre-reading activities are provided to prepare students for reading a Renaissance play, and to challenge students to think about the dilemmas Faustus faces. During-reading activities ask students to read the text more

critically. And Post-reading activities encourage students to evaluate the significance of Dr. Faustus by analyzing Marlowe's style, researching historical and cultural components, and comparing the play to other works. The scope and variety of activities offered in this guide can be used selectively by teachers in focusing on the objectives of their course and their students.

LIST OF CHARACTERS

MAIN CHARACTERS

Doctor Faustus: a German doctor of divinity and medicine

Lucifer: Prince of Devils

Mephostophilis, Belzebub: devils

Chorus

CHARACTERS BY RELATIONSHIP

FAUSTUS' COLLEAGUES

Wagner: his student and servant

Valdes, Cornelius: magicians

Three Scholars

FAUSTUS' CONSCIENCE

Good Angel

Bad Angel

4 A Teacher's Guide to the Signet Classics Edition of Christopher Marlowe's Doctor Faustus

COMIC CHARACTERS

Robin, Dick: clowns

Horse-courser, Carter, Vintner, Hostess

Martino, Frederick, Benvolio: gentlemen at the Emperor's court

CONJURED CHARACTERS

(By Lucifer)

Pride, Covetousness, Envy, Wrath, Gluttony, Sloth, Lechery: The Seven Deadly Sins

(By Faustus)

Darius of Persia, Alexander the Great, Alexander's Paramour, Helen of Troy, Devils, Piper, Cardinals,

Monks, Friars, Attendants, Soldiers, Servants, Two Cupids: Mute Characters

POLITICAL CHARACTERS

Pope Adrian

Raymond: King of Hungary

Bruno, Rival Pope appointed by the Emperor

Two Cardinals

Archbishop of Rheims

Friars

Charles the Fifth: German Emperor

Duke of Saxony

Two Soldiers

Duke of Vanholt

Duchess of Vanholt

MINOR CHARACTERS

Servant

Old Man

SYNOPSIS OF THE PLAY

I. FAUSTUS' TEMPTATION

PROLOGUE

The chorus enters and explains Marlowe's purpose, which is not to discuss war, history, or love, butto "perform the form of Faustus' fortunes, good or bad" (3). The chorus explains how Faustus was born in Wittenberg, Germany, of "parents base of stock," how he was raised by relatives, earned degrees in divinity, but then like the Greek Icarus, strove to "mount above his reach" through thestudy of black magic.

ACT I, SCENE I

Dr. Faustus is in his study, lamenting the fact that he has achieved all he can in medicine and divinity. Acknowledging the fact that all men are sinners, Faustus says adieu to divinity in favor of the "heavenly" art of necromancy, or black magic. Vowing to be in command of emperors and kings, Faustus bids his servant Wagner to fetch fellow magicians Valdes and Cornelius. Meanwhile, a good angel and an evil spirit each argue their positions as to Faustus' future course of action. Further convinced that his new vocation will reward him with riches and powers, Dr. Faustus asks his fellow magicians to teach him all they know. Faustus vows to conjure for the first time that night.

ACT I, SCENE II

Two scholars enter and ask Faustus' servant, Wagner, the whereabouts of his master. After much equivocation, Wagner informs them that Faustus is dining with Valdes and Cornelius, to which the scholars react with dread. They vow to entreat their friend to give up his new goal.

II. FAUSTUS' BARGAIN

ACT I, SCENE III

Preceded by thunder, Lucifer and four devils await Faustus' bidding. Faustus conjures a devil, who, too ugly for Faustus' taste, is ordered to go and return as a friar. Next, Faustus asks for Mephostophilis, ordering him to "do whatever Faustus shall command." Replying that only Lucifer can command such obedience, Mephostophilis explains that though Faustus ordered him to appear, Mephostophilis was able to be conjured only because Faustus has damned himself. Faustus next questions Mephostophilis about the nature of Lucifer, and the devil explains that Lucifer, too, was thrown from the face of heaven by "aspiring pride and insolence." Admitting that

God's damnation is a form of hell on earth, Mephostophilis urges Faustus to reconsider his vow to align with Lucifer. Yet Faustus does not relent, and instead strikes a bargain for twenty-four years of ultimate power in exchange for the surrender of his soul.

ACT I, SCENE IV

In this comic relief scene, Wagner and the clown Robin parody Faustus' bargain with the devil. Wagner threatens to tear Robin into pieces if the clown does not bind himself into Wagner's servitude for seven years. When Robin refuses, Wagner easily conjures two devils, and Robin reconsiders the arrangement, as long as Wagner promises to teach him how to conjure.

III. FAUSTUS' DOUBT

ACT II, SCENE I

Dr. Faustus appears once again in his study, voicing his doubts over the bargain he has just made. Resolving to remain resolute, Faustus is approached again by the good angel, who bids Faustus to think of heaven, and the bad angel, who orders Faustus to think of honor and wealth. Siding with the evil spirit, Dr. Faustus conjures Mephostophilis to appear and bring news of Lucifer. Mephostophilis reports that Lucifer has assented to Faustus' wish for supreme power provided that

Faustus sign the deed in blood. Faustus agrees, but upon stabbing his arm, finds that his blood congeals. Seeing this as a sign from God, Faustus reconsiders. Upon seeing the inscription "Fly, man" upon his arm, Faustus is wracked with doubt, but Mephostophilis recaptures his attention with a show of crowns and riches to be given to Faustus once he commits to Lucifer. Faustus hears the reading of the deed and signs his soul to the devil. Faustus questions Mephostophilis about the nature of hell, to which the devil surprisingly replies, "all places shall be hell that is not heaven." Faustus orders the devil to conjure a wife, but Mephostophilis is unable to do so, conjuring instead a devil. Redirecting Faustus' interests with

the promises of courtesans and riches, Mephostophilis gives the doctor a conjuring book, and they retire to Faustus' study.

ACT II, SCENE II

Dr. Faustus curses Mephostophilis for depriving him of heaven's joys, to which the devil reminds Faustus that it was Faustus' "own seeking" that led him to this point. Faustus once again considers repenting, and the two angels vocalize his conflicted thoughts. But Faustus believes his "heart is

hardened" and cannot turn back. He questions Mephostophilis about the movement of the moon and planets and asks the devil to name the maker of the world.As in the case of marriage, the devil cannot deny the realm of God, and Faustus is again filled withfear and doubt. The two angels reappear, the good angel advising Faustus to repent, the bad angel

threatening to tear Faustus in pieces shall he dare to do so. Faustus cries aloud for Christ to help him, but Lucifer himself appears with Mephostophilis and Belzebub. They advise Faustus to think not on God, but on the devil. Faustus vows "never to look to heaven," and the devils reward him with a show of the Seven Deadly Sins. The sight delights Dr.Faustus, to whom Lucifer promises, "in hell is all manner of delight." Faustus returns home with Mephostophilis to study his conjuring book.

ACT II, SCENE III

Dick and Robin once again provide comic relief as they discuss what they can conjure with the use of Faustus' book. The two clowns decide to try their wits at free drinks in the nearby tavern.

IV. FAUSTUS' REIGN

ACT III, CHORUS

The chorus relays how Faustus has been studying astronomy on an eight-day tour of the clouds, planets, stars, and poles. After a brief rest, he is now studying cosmography and plans to alight in Rome to see the Pope during the celebration of St. Peter's feast.

ACT III, SCENE I

Faustus and Mephostophilis recall their recent visits to Paris, Naples, and Venice, and discuss the topography of Rome. While Faustus wants to see the city's monuments, Mephostophilis urges him to seek an audience with the Pope in order to cross the church and "dash the pride of this solemnity." The Pope and the King of Hungary arrive, attended by bishops and cardinals, as well as Bruno,the Pope Pretender, appointed by the Emperor. Bruno attempts to ascend the throne, but the Pope prevails. Sending the cardinals away to decide Bruno's fate, the Pope remains with King Raymond. Faustus sends Mephostophilis to charm the cardinals to sleep while he plots to fool the Pope. As Bruno and the Pope move aside to discuss the Emperor's audacity, as well as other historical challenges by the government against the church, Dr. Faustus and Mephostophilis return disguised

as cardinals. Faustus advises the Pope that the decision has been made to burn the heretic Bruno at the stake, and the Pope releases Bruno to their charge. The Pope orders a banquet.

ACT III, SCENE II

As the banquet is brought in, Faustus and Mephostophilis return in their own shapes and witness the confusion as the actual cardinals announce their decision, enrage the Pope, and realize that Bruno has gone free. Next, Faustus amuses himself by snatching the Pope's drink and food, and finally, by striking the Pope after His Holiness enrages Faustus by crossing himself in prayer. True to Mephostophilis' prediction, Faustus is excommunicated "with bell, book, and candle" by the Pope, but replies by striking the friars who carry out the ceremony, then leaving.

ACT III, SCENE III

Robin and Dick play a trick on the Vintner by stealing a cup and conjuring Mephostophilis to join in the fun. Mephostophilis tells the clowns to disperse and returns to Faustus, who after a rest at home, is now at court again, this time with the Holy Roman Emperor, Charles V.

ACT IV, CHORUS

The chorus explains that Faustus has been impressing friends and strangers alike with his knowledge and skill and is currently visiting the Emperor for the purposes of providing a conjuring show.

ACT IV, SCENE I

Martino and Frederick, gentleman at the Emperor's court, awake their friend Benvolio to come witness Faustus' act, but he chooses to watch from his window.

ACT IV, SCENE II

The Emperor welcomes Dr. Faustus to his court and vows to spread Faustus' fame and honor throughout Italy. Faustus thanks him and asks the Emperor's command. When Charles responds that he wishes to see Alexander the Great and his Paramour, Faustus orders Mephostophilis to conjure the couple. From his window, the sleepy Benvolio casts aspersions on Faustus' ability, joking that he would be turned into a stag before Faustus could achieve success. When the couple appears, along with King Darius, the Persian King, Emperor Charles tries to embrace them, but Faustus

reminds him that the two are merely conjured images. The Emperor is delighted nonetheless, and

then notices the horns on Benvolio's head. The Emperor urges Faustus to remove the horns, and when Faustus complies, Benvolio vows revenge.

ACT IV, SCENE III

Benvolio, Martino, Frederick, and soldiers attack Dr. Faustus on his way out of town, cutting off the doctor's head. As they joke about what to do with his beard, eyes, and various body parts, Faustus rises and tells them to keep his head - he'll make another. Conjuring Mephostophilis and other devils, Faustus orders them to pitch the courtiers in hell. When the soldiers attempt to defend the courtiers, they, too, are driven out, complete with drums and fireworks.

ACT IV, SCENE IV

Benvolio, Martino, and Frederick reappear bloodied, muddied, and horned. Benvolio takes them to his castle near the woods, vowing they'd "rather die with grief than live with shame."

ACT IV, SCENE V

Dr. Faustus sells a horse to a horse-courser, but warns him not to ride the horse into water. Now Faustus reflects on his impending death with despair and doubt, and before falling asleep, recalls Christ's promise to the thief that he would be with Christ in paradise. The horse-courser returns wet and attempts to awake Faustus for the purpose of recouping his forty dollars. Unable to awake the doctor, the horse-courser pulls Faustus' leg off his body, Faustus cries murder, but then laughs and replaces the leg. When Wagner enters and advises Dr. Faustus that the Duke of Vanholt wishes an audience with him, Faustus sets out.

ACT IV, SCENE VI

Robin, Dick, the Horse-courser and a Carter joke with a hostess. The Carter relates how Dr. Faustus tricked him by eating all his hay on a bet. The horse-courser tells his Faustus tale as well, including how he tore off Faustus' leg. Robin plans to seek Faustus, but only after drinking with the others.

ACT IV, SCENE VII

The Duke and Duchess of Vanholt thank Faustus for his conjuring, particularly the enchanted castle in the air. Faustus next offers the pregnant duchess whatever she desires, to which she replies a dish of ripe grapes. Faustus produces them, using his knowledge of the hemispheres to explain how

summer grapes can be acquired in the winter. When the clowns disturb the Duke's and Duchess's audience with Faustus, the Doctor asks them to allow them in for amusement. When the Horsecourser, Carter, Dick, and the Hostess accuse him, the Doctor charms them into silence. Once again, the Duke and the Duchess sing Faustus' praises.

V. FAUSTUS' FATE

ACT V, SCENE I

Back in Faustus' study, Wagner advises Mephostophilis and other devils that his master means to die soon, and that he has left his fortune to Wagner. Meanwhile the Doctor is dining with two scholars who request to see Helen of Troy, the most beautiful woman in all the world. Faustus asks Mephostophilis to conjure her, and Helen appears. After the scholars leave, an old man appears and urges Faustus to repent. He asks to be alone to contemplate his sins. When he voices his dilemma,

Mephostophilis once again threatens to tear Faustus' flesh. Faustus curses the old man and asks to see Helen of Troy again. When she appears, the Doctor reflects on "the face that launched a thousand ships," and pledges that Helen shall be his paramour.

ACT V, SCENE II

Lucifer, Belzebub and Mephostophilis gather to witness Faustus' last night. They predict his "desperate lunacy" as he struggles with his debt but acknowledge it will all be in vain. Faustus and Wagner enter, discussing Faustus' will. The scholars enter as well, and question Faustus' fear. When

they remind him to look to heaven and ask for mercy, Faustus explains his agreement with the devil,and says that he feared being torn to pieces. The scholars promise to pray for Faustus and leave. Mephostophilis reminds Faustus to think only upon hell, and Faustus blames him for the loss of "eternal happiness." Mephostophilis willingly takes the blame, but reminds Faustus that Fools that will laugh on earth, most weep in hell." The good and bad angels visit a final time, the good angel reprimanding Faustus for not listening. The bad angel remains to witness with Faustus the "perpetual torture-house" of hell. The clock strikes eleven, and Faustus spends his final hour lamenting his choice, bargaining with Christ to eventually end his time in hell, cursing his parents, but finally accepting that only he and Lucifer are to blame.

ACT V, SCENE III

The three scholars remark on the "dreadful night's" shrieks and cries and discover Faustus's "mangled limbs." Because he was once an admired German scholar, they promise to give him a Christian burial.

ACT V, CHORUS

The chorus remarks on Faustus's wayward path: "Cut is the branch that might have grown full straight/And burned is Apollo's laurel bough/That sometime grew within this learned man."Warning the audience to "regard his hellish fall," the chorus ends with a reminder of what happens to those who "practice more than heavenly power permits."

### CHARACTER OF DOCTOR FAUSTUS

Introduction: The Tragic Hero

All the tragic heroes of Marlowe are towering figures of superman size rising head and shoulders above all other minor characters of the plays and completely dominating over them. By the side of these titanic characters the minor ones look like tiny Lilliputians moving around towering Gulliver.

Marlowe seems to have conceived his titanic heroes more or less in keeping with Aristotle's conception of a tragic hero. The hero should essentially be a superior person and according to Aristotle he must have some 'tragic flaw'--that is some great defect-which ultimately brings about his ruin and disaster. His destiny or choice is to go down fighting rather than submit to insurmountable odds and thus to pluck a moral victory from a physical defeat. So in Doctor Faustus also we find Marlowe concentrating all his powers of delineation of character on Faustus. Mephistophilis may get a little bit of care but all other characters pale into insignificance before Faustus's dazzling and dominating personality. "Each and all of these subordinate characters are dedicated to the one main purpose of expressing the psychological condition of Faustus from various points of view."

Doctor Faustus and His Tragic Flaw

Before the drama opens we know from the Chorus that Faustus was born in a town in Germany and his parents were 'base of stock'. We also come to know that he got his higher education at Wittenberg and got his degree of doctor of Divinity from there. He also excelled all those who liked to take part in discussions relating to theology. The Chorus also tells us that he became puffed up with pride for his vast knowledge and scholarship and started indulging in black art of magic to attain super-human powers. As a result he was destined to have a great fall just like Icarus who tried to fly too near the sun with 'his waxen wings'.

So in the very first scene of the drama we find that Faustus is disappointed with all branches of knowledge that he has so far mastered. Physic, Philosophy, Law and Divinity--all are absolutely inadequate for his purpose. In spite of mastering all these great branches of knowledge

"Yet art thou still but Faustus, and a Man."

The soul of Faustus is afire with inordinate ambition yearning for limitless knowledge and with a craze for superhuman powers and supreme sensuous pleasures, he utters these memorable lines: ............"Divinity Adieu: These metaphysics of magicians,

And necromantic books are heavenly: ..................................................

O' what a world of profit and delight,

Of power, of honour, of omnipotence,

Is promised to the studious artizan!

All things that move between the quiet poles

Shall be at my command;

..................................................

A sound magician is a mighty God: Here, Faustus, tire thy brains to gain a deity."

So herein lies the great tragic flaw in his character: he wants 'to gain a deity.' In spite of all his greatness and other humane qualities we sadly witness how this great flaw or drawback in his character brings about his ultimate doom and destruction. He perfectly knows that to achieve his purpose he will have to abjure God and the Trinity. He was also not void of conscience and that is why we find the Good Angel and the Bad Angel, the symbols of virtue and vice in his soul making their first appearance just after Faustus's final decision in favour of cursed necromancy. In spite of all scepticism and atheistic bias of Faustus--and Faustus is decidedly a self-portrait of Marlowe, his emotional attachment to the medieval doctrines of Christianity is too deep to be rooted out. So the Good Angel, his voice of conscience, urges him to shun 'that damned book' and to read the scriptures. But the Evil Angel, the voice of his passion, scores a victory by luring away Faustus with the assurance that by mastering the black art of magic Faustus will be: "Lord and commander of the elements."

Then at the end of third scene of Act I we find Faustus telling Mephistophilis that he has already abjured the Trinity of his own will and has firmly made up his mind to sell his soul to the Devil to gain limitless powers with the help of Mephistophilis as his abject slave and 'to live in all voluptuousness' for twenty-four years. Then in the first scene of Act II we find Faustus finally surrendering his soul to the Devil and writing the bond with his own blood. It may be noted that Marlowe was a child of the Renaissance with its dreams and desires and Faustus expresses the ideas and aspirations of his creator quite faithfully.

Spiritual or Inner Conflict

Before accomplishing the object act of surrendering his soul to the Devil, Faustus experiences the trick of conscience and the two angels appear again to externalise the spiritual conflict in his soul between vice and virtue, between will and conscience. And henceforth, we find that the entire action of the play is fluctuating between the weak and wavering loyalties of Faustus to these two opposing forces. Generally this inner conflict takes place when a man is faced with two alternatives one of which he must have to choose but finds himself pulled in opposite directions. And Nicoll has rightly observed: "In Doctor Faustus Marlowe attempted something new, the delineation of struggle within the mind of the chief figure. This struggle is certainly somewhat primitive in its expression but it is a foretaste of those 'inward characteristics' towards which drama in its development inevitably tends. Faustus in this respect is unquestionably the greatest tragic figure in sixteenth century literature outside the work of Shakespeare." In fact there is very little external action in this play--the delineation of a psychological or spiritual conflict in the mind of the hero is the chief thing. And with what great dramatic skill Marlowe has depicted this spiritual struggle, these waverings and vacillations in his mind! To gain limitless power and pelf, Faustus may discard godly order, may denounce the doctrines of Christianity and may take to necromancy. Faustus may discard and denounce God and the Trinity, but he is definitely attached to them emotionally. So a guilty conscience dogs him from the beginning to the end. And the heart of Faustus turns out to be the field where the forces of good and evil are trying to overwhelm each other. We can follow this tragic conflict and troubled career of Faustus to its terrible end.

Eternal Damnation

In the closing scene of the drama the spiritual conflict of a doomed and dejected soul reaches its climax and then culminates in an overwhelming catastrophe. Faustus realises to his utter dismay that he is doomed to eternal damnation with the least hope for redemption. The poignant soliloquy of Doctor Faustus starting just before an hour of his final doom reveals in a very forceful manner the deep agony of a horror-struck soul facing its impending doom. His last minute frantic appeal to the 'ever-moving spheres of heaven' to stand still or to the 'Fair Nature's eye' to rise again to make perpetual day--'That Faustus may repent and save his soul'--is absolutely of no avail--

"The stars move still, time runs, the clock will strike,

The Devil will come, and Faustus must be damn'd."

And when the final hour strikes, there is thunder and lightning and the Devil's disciples come and snatch away the trouble torn soul of Faustus to hell to suffer eternal damnation.

To conclude we may quote the very relevant remarks of E.A. Baker regarding this great tragedy: "This great symbolic tragedy deals with a theme which was part, not only of the author's inner experience but of the very stuff which nourished the Renaissance spirit. The pride of intellect by which both the Faustus of Marlowe and the Lucifer of Milton fell, was the most subtlest and dangerous temptation of the age. After wandering for centuries through the mists of ignorance, man found himself once more before the tree of knowledge. There, within his reach, burned 'like a thousand lamps the coveted fruits of his desire; but there, too, coiled about the roots, lay the old serpent, still unconquered, still thirsting for his soul's blood."

Role and Significance of Dr. Faustus in the Play

It has already been mentioned, that on Faustus, however, Marlowe concentrates all his attention and all his powers of subtle character-portrayal. He has achieved the very difficult task of laying bare Faustus's mind at some extraordinary and critical moments. The play opens with Faustus in his study, taking stock of his accomplishments and considering the plans he should pursue in the future. Seeing one by one the books in the shelf before him, Faustus realises how logic, law, physics and divinity which have yielded up their treasures to him, have not been able to quench his intellectual thirst. They have proved to be but feeble instruments for the display of the forces of his will, and afforded him no opportunity of surrounding himself with beaming manifestations of the transcendent might of his own will. Dissatisfied with mere knowledge and philosophy, Faustus (in the first scene) is in the mood of a man, "who wakes from a dream of mountain tops to find himself still in the plains, or of a man who, having reached the mountain-top, is more than ever oppressed by his earth-bound nature and by the mocking distance of the skies towards which he had seemed to be climbing; yet art thou still but Faustus, and a man." Faustus recognises the power of magic--'a sound magician is a mighty God.' And it is magic, that ravishes him; and nothing shall daunt his determination to command all things that move between the quiet poles-with the help of the metaphysics of magicians and heavenly necromantic books. Valdes and Cornelius, professed magicians, are sent for by Faustus to help him in his efforts at mastery of magic. Meanwhile the Good Angel and the Bad Angel--'who dramatically objectify the double impulses of appetite and conscience'--appear on the scene, the one discouraging and the other encouraging his resolve. Valdes and Cornelius serve the purpose of inflaming Faustus further, 'with the splendid pictures of material pomp and sensual delights' they present. They lend him books and instruments of magic with instructions for their proper use at the proper time.

At night, in a solitary grove, Faustus begins his incantations to conjure forth Mephistophilis. As the spirit appears, Faustus realises the virtue in his heavenly words, the efficacy of his spells and the force of magic. His vanity is inflated, and he hails himself as a conjurer-laureate who can command great Mephistophilis. For 'letting him live in all voluptuousness', and for the unconditional service of Mephistophilis during this period of time, Faustus brushes aside the timely warnings of conscience and enters into a compact with the Devil, signing the bond with his own blood.

Faustus takes the utmost possible advantage of the service of Mephistophilis. It is this fallen angel with his sinister sincerity and unaffected frankness that resolves for Faustus the doleful problems of damnation, and indirectly helps to heighten the intrepidity of the sin-steeped scholar and his spiritual arrogance. It is Mephistophilis that clears Faustus's doubts in astronomy and cosmography, helps him to ride triumphantly in a chariot round the world, scanning the planets in the firmament and the Kingdoms of the earth. It is with the help of Mephistophilis, the embodiment of his dearly purchased power, that Faustus surfeits his sense with carnal pleasures, not coarse delights, however, but highest and deepest enjoyments. His longing is for the fairest maid of Germany, for the beauty of Helen that makes man immortal with a kiss. He chooses no other song but that of Homer, no music but that shaken from Amphion's harp. He uses sweet pleasure to conquer deep despair. Faustus's mind is delighted with the dumb-show of Devils that Mephistophilis presents before him. Even the repulsive masque of the Seven Deadly Sins attracts and soothes him for the time being.

Travelling far and wide, Faustus displays his new-won power. He fools the Pope and the Friars to the top of his bent, calls up the Spirits of Dead Alexander and his paramour before the Emperor, and plays a practical joke on the horse-courser. In the midst of all this, however, the horror of damnation seizes him every now and then. It increases with the passing of years and the drawing near of the end. He is unable to take advantage even of the last chance that is given to him by the Old Man. He would well have listened to the advice of the Old Man, repented for his sin and rectified his character, but the pull of the evil forces with which he had associated himself for long, is too much for Faustus to resist. Moreover, Mephistophilis is there near at hand threatening--

Thou traitor, Faustus, I arrest thy soul

For disobedience to my sovereign lord;

Revolt, or I'll in piecemeal tear thy flesh.

Faustus's own pleasant vices turn into instruments to plague him. The last scene in which Faustus is torn between conflicting feelings, is the best of its kind, the most memorable in Marlowe's plays, the most poignant in English tragedy. The Good Angel and the Bad Angel-- 'Faustus's own thoughts objectified'--do their duty for the last time. Faustus spends the last hour in bursting out in a powerful soliloquy--counting the minutes by the 'sand-grains of his agony.' He implores the 'ever-moving spheres of heaven to stand still' calls upon the sun to rise 'and make perpetual day.' But what do they care for his prayers and pathetic appeals?--

The stars move still, time runs, the clock will strike

The devil will come, and Faustus must be damned.

One is always alone in suffering. Faustus's fate is not different. No response is there to his cries of anguish and his appeals for mercy. He longs to leap up to Heaven, but where are the wings to his spirit? In the heat of his anguish, he beholds Christ's blood streaming in the firmament. One drop of that blood, he realises, will save him. But then his heart is rent by the Devil for the very naming of Christ.

'A threatening arm, an angry brow' torment his mind. He appeals to the hills to hide him, to the mountains to fall on him, to the earth to harbour him, to the stars to save him. He curses himself, his birth, his parents, and Lucifer. There is no more salvation for him, only damnation. As the clock strikes twelve, Faustus is borne away to hell by the devils and we recall his words: The reward of sin is death: that's hard.' And we listen to the Chorus who speaks the epilogue and points the moral. Faustus is a tremendous figure of terrible tragic stature as delineated by Marlowe. The well-versed Wittenburg scholar rises to be the ally of Lucifer and the enemy of God. Insatiable hunger for knowledge and the power that knowledge gives is the dominant passion of Faustus. And this becomes as fatal a passion as the consuming lust of power is in the case of Tamburlaine. "Faustus is the Paracelsus of Marlowe. Over the soul of the Wittenburg doctor the passion for knowledge dominates, and all influences of good and evil, the voices of damned and of blessed angels reach him faint and ineffectual as dreams, or distant music or the suggestions of long forgotten odours, save as they promise something to glut the fierce hunger and thirst of his intellect." It is interesting to note how in Faustus, the scholar never disappears in the magician. He is ever a student and a thinker. He wants all ambiguities to be resolved, and all strange philosophies explained. Even in the last scene, when the two scholars take leave of him, Faustus retains about him an 'atmosphere of learning, of refinement, of scholarly urbanity.'

Faustus is made of the stuff of which heroes are made. He has an unbridled passion for knowledge infinite, a limitless desire for the unattainable, a spirit of reckless adventure and a tremendous confidence in his own will and spirit. And, too, he has dignity, tenacity, patience, profundity, and a vein of unsuspected humanity and tenderness. But all these are thrown into the background by the isolation of his position and the horror of the course he pursues. He weaves the threads of his tragedy with his own hands, signs his own death warrant. Himself the battlefield for one of the greatest mental conflicts of man, Faustus creates in us a feeling of loss and a sense of waste. What abiding wonders would he not have achieved in the realms of the mind had he pursued pure scholarship and legitimate studies. Missing the honour of a master-mind, he has only the recognition of a magician. He would have been a scholar-prince, but he chose to be a conjuror-laureate.