Context

B ORN IN CANTERBURY IN 1564, the same year as William Shakespeare, Christ pher !arl "e "as a# a$t r, p et, a#% play"ri&ht %'ri#& the rei&# ( Britai#)s *'ee# Eli+a,eth I -r'le% 155./160123 !arl "e atte#%e% C rp's Christi C lle&e at Cam,ri%&e U#i4ersity a#% re$ei4e% %e&rees i# 15.4 a#%15.53 Tra%iti #ally, the e%'$ati # that he re$ei4e% " 'l% ha4e prepare% him t ,e$ me a $ler&yma#, ,'t !arl "e $h se # t t 6 i# the mi#istry3 7 r a time, Cam,ri%&e e4e# "a#te% t "ithh l% his %e&ree, appare#tly s'spe$ti#& him ( ha4i#& $ #4erte% t Cath li$ism, a ( r,i%%e# (aith i# late8si9tee#th8$e#t'ry E#&la#%, "here :r testa#tism "as the state8s'pp rte% reli&i #3 *'ee# Eli+a,eth)s :ri4y C '#$il i#ter4e#e% # his ,ehal(, sayi#& that !arl "e ha% ;% #e her ma6esty & % ser4i$e< i# ;matters t '$hi#& the ,e#e(it ( the $ '#try3< This %% se='e#$e ( e4e#ts has le% s me t the ri+e that !arl "e " rke% as a spy ( r the $r "#, p ssi,ly ,y i#(iltrati#& Cath li$ $ mm'#ities i# 7ra#$e3 A(ter lea4i#& Cam,ri%&e, !arl "e m 4e% t > #% #, "here he ,e$ame a play"ri&ht a#% le% a t'r,'le#t, s$a#%al8pla&'e% li(e3 ?e pr %'$e% se4e# plays, all ( "hi$h "ere imme#sely p p'lar3 Am #& the m st "ell k# "# ( his plays are Tamburlaine, The Jew of Malta, a#% Doctor Faustus3 I# his "riti#&, he pi #eere% the 'se ( ,la#k 4erse@# #rhymi#& li#es ( iam,i$ pe#tameter@"hi$h ma#y ( his $ #temp raries, i#$l'%i#& William Shakespeare, later a% pte%3 I# 15A1, h "e4er, !arl "e)s $areer "as $'t sh rt3 A(ter ,ei#& a$$'se% ( heresy -mai#tai#i#& ,elie(s $ #trary t th se ( a# appr 4e% reli&i #2, he "as arreste% a#% p't # a s rt ( pr ,ati #3 O# !ay 10, 15A1, sh rtly a(ter ,ei#& release%, !arl "e ,e$ame i#4 l4e% i# a ta4er# ,ra"l a#% "as kille% "he# #e ( the $ m,ata#ts sta,,e% him i# the hea%3 A(ter his %eath, r'm rs "ere sprea% a$$'si#& him ( treas #, atheism, a#% h m se9'ality, a#% s me pe ple spe$'late% that the ta4er# ,ra"l mi&ht ha4e ,ee# the " rk ( & 4er#me#t a&e#ts3 >ittle e4i%e#$e t s'pp rt these alle&ati #s has $ me t li&ht, h "e4er3 Doctor Faustus "as pr ,a,ly "ritte# i# 15AB, alth '&h the e9a$t %ate ( its $ mp siti # is '#$ertai#, si#$e it "as # t p',lishe% '#til a %e$a%e later3 The i%ea ( a# i#%i4i%'al selli#& his r her s Christia# ( lkl re, #e that ha% ,e$ me atta$he% t the hist ri$al pers #a "h li4e% i# Derma#y s metime i# the early 1500s3 The imme%iate s 'r$e Derma# " rk ?ist ria 4 # E3 I ha# 7a'ste# ( 15.5, "hi$h "as tra#slate% 'l t the %e4il ( r k# "le%&e is a# l% m ti( i# ( C ha##es 7a'st's, a %isrep'ta,le astr l &er ( !arl "e)s play seems t ,e the a# #ym 's i#t E#&lish i# 15AB, a#% (r m "hi$h !arl "e

li(te% the ,'lk ( the pl t ( r his %rama3 Alth '&h there ha% ,ee# literary represe#tati #s ( 7a'st pri r t !arl "e)s play, Doctor Faustus is the (irst (am 's 4ersi # ( the st ry3 >ater 4ersi #s i#$l'%e the l #& a#% (am 's p em 7a'st ,y the #i#etee#th8$e#t'ry R ma#ti$ "riter C ha## W l(&a#& 4 # D ethe, as "ell as peras ,y Charles D '# % a#% Arri& B it a#% a symph #y ,y ?e$t r Berli +3 !ea#"hile, the phrase ;7a'stia# ,ar&ai#< has e#tere% the E#&lish le9i$ #, re(erri#& t a#y %eal ma%e ( r a sh rt8term &ai# "ith &reat $ sts i# the l #& r'#3

Plot Overview
E OCTOR 7AUSTUS, A WE>>8RES:ECTEE DER!AN s$h lar, &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$3 ?is (rie#%s Fal%es a#% C r#eli's i#str'$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 !ephast philis, a %e4il3 Eespite !ephast philis)s "ar#i#&s a, 't the h rr rs ( hell, 7a'st's tells the %e4il 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 ( ser4i$e (r m !ephast philis3 !ea#"hile, Wa&#er, 7a'st's)s ser4a#t, has pi$ke% 'p s me ma&i$al a,ility a#% 'ses it t press a $l "# #ame% R ,i# i#t his ser4i$e3 !ephast philis ret'r#s t 7a'st's "ith " r% that >'$i(er has a$$epte% 7a'st's)s ((er3 7a'st's e9perie#$es s me mis&i4i#&s a#% " #%ers i( he sh 'l% repe#t a#% sa4e his s 'lG i# the e#%, th '&h, he a&rees t the %eal, si&#i#& it "ith his ,l %3 As s # as he % es s , the " r%s ;? m ('&e,< >ati# ( r ;O ma#, (ly,< appear ,ra#%e% # his arm3 7a'st's a&ai# has se$ #% th '&hts, ,'t !ephast philis ,est "s ri$h &i(ts # him a#% &i4es him a , k ( spells t lear#3 >ater, !ephast philis a#s"ers all ( his ='esti #s a, 't the #at're ( the " rl%, re('si#& t a#s"er #ly "he# 7a'st's asks him "h ma%e the '#i4erse3 This re('sal pr mpts yet a# ther , 't ( mis&i4i#&s i# 7a'st's, ,'t !ephast philis a#% >'$i(er ,ri#& i# pers #i(i$ati #s ( the Se4e# Eea%ly Si#s t pra#$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 !ephast philis, 7a'st's ,e&i#s t tra4el3 ?e & es t the p pe)s $ 'rt i# R me, makes himsel( i#4isi,le, a#% plays a series ( tri$ks3 ?e %isr'pts the p pe)s ,a#='et ,y steali#& ( % a#% , 9i#& the p pe)s

ears3 7 ll "i#& this i#$i%e#t, he tra4els thr '&h the $ 'rts ( E'r pe, "ith his (ame sprea%i#& as he & es3 E4e#t'ally, he is i#4ite% t the $ 'rt ( the Derma# emper r, Charles F -the e#emy ( the p pe2, "h asks 7a'st's t all " him t see Ale9a#%er the Dreat, the (ame% ( 'rth8$e#t'ry B3C3 !a$e% #ia# ki#& a#% $ #='er r3 7a'st's $ #6'res 'p a# ima&e ( Ale9a#%er, a#% Charles is s'ita,ly 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 (r m his hea%3 7'ri 's, the k#i&ht 4 "s re4e#&e3 !ea#"hile, R ,i#, Wa&#er)s $l "#, has pi$ke% 'p s me ma&i$ # his "#, a#% "ith his (ell " sta,leha#%, Ra(e, he '#%er& es a #'m,er ( $ mi$ misa%4e#t'res3 At #e p i#t, he ma#a&es t s'mm # !ephast philis, "h threate#s t t'r# R ,i# a#% Ra(e i#t a#imals - r perhaps e4e# % es tra#s( rm themG the te9t is#)t $lear2 t p'#ish them ( r their ( lish#ess3 7a'st's the# & es # "ith his tra4els, playi#& a tri$k # a h rse8$ 'rser al #& the "ay3 7a'st's sells him a h rse that t'r#s i#t a heap ( stra" "he# ri%%e# i#t a ri4er3 E4e#t'ally, 7a'st's is i#4ite% t the $ 'rt ( the E'ke ( Fa#h lt, "here he per( rms 4ari 's (eats3 The h rse8$ 'rser sh "s 'p there, al #& "ith R ,i#, a ma# #ame% Ei$k -Ra(e i# the A te9t2, a#% 4ari 's thers "h ha4e (alle# 4i$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 $l se, 7a'st's ,e&i#s t %rea% his impe#%i#& %eath3 ?e has !ephast philis $all 'p ?ele# ( Tr y, the (am 's ,ea'ty (r m the a#$ie#t " rl%, a#% 'ses her prese#$e t impress a &r 'p ( s$h lars3 A# l% ma# 'r&es 7a'st's t repe#t, ,'t 7a'st's %ri4es him a"ay3 7a'st's s'mm #s ?ele# a&ai# a#% e9$laims rapt'r 'sly a, 't her ,ea'ty3 B't time is &r "i#& sh rt3 7a'st's tells the s$h lars a, 't his pa$t, a#% they are h rr r8 stri$ke# a#% res l4e t pray ( r him3 O# the (i#al #i&ht ,e( re the e9pirati # ( the t"e#ty8( 'r years, 7a'st's is 4er$ me ,y (ear a#% rem rse3 ?e ,e&s ( r mer$y, ,'t it is t late3 At mi%#i&ht, a h st ( %e4ils appears a#% $arries his s 'l (( t hell3 I# the m r#i#&, the s$h lars (i#% 7a'st's)s lim,s a#% %e$i%e t h l% a ('#eral ( r him3

Character List
Faustus 8 The pr ta& #ist3 7a'st's is a ,rillia#t si9tee#th8$e#t'ry s$h lar (r m Witte#,er&, Derma#y, "h se am,iti # ( 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 #e4er seems $ mpletely s're ( the %e$isi # t ( r(eit his s 'l a#% $ #sta#tly "a4ers a, 't "hether r # t t repe#t3 ?is am,iti # is a%mira,le a#% i#itially a"es me, yet he 'ltimately la$ks a $ertai# i##er stre#&th3 ?e is '#a,le t em,ra$e his %ark path "h lehearte%ly ,'t is als '#"illi#& t a%mit his mistake3 Mephastophilis 8 A %e4il "h m 7a'st's s'mm #s "ith his i#itial ma&i$al e9perime#ts3 !ephast philis)s m ti4ati #s are am,i&' 'sH # the #e ha#%, his (t8e9presse% & al is t $at$h 7a'st's)s s 'l a#% $arry it (( t hellG # the ther ha#%, he a$ti4ely attempts t %iss'a%e 7a'st's (r m maki#& a %eal "ith >'$i(er ,y "ar#i#& him a, 't the h rr rs ( hell3 !ephast philis is 'ltimately as tra&i$ a (i&'re as 7a'st's, "ith his m 4i#&, re&ret('l a$$ '#ts ( "hat the %e4ils ha4e l st i# their eter#al separati # (r m 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 st ry, pr 4i%i#& #arrati # a#% $ mme#tary3 The Ch r's "as $'st mary i# Dreek tra&e%y3 Old Man 8 A# e#i&mati$ (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$e the & % a#% e4il a#&els, "h , i# the (irst s$e#e, try t i#(l'e#$e 7a'st's)s ,eha4i r3 Good Angel 8 A spirit that 'r&es 7a'st's t repe#t ( r his pa$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#% %i4i%e% "ill ,et"ee# & % a#% e4il3 Evil Angel 8 A spirit that ser4es as the $ '#terpart t the & % a#&el a#% pr 4i%es 7a'st's "ith reas #s # t t repe#t ( r si#s a&ai#st D %3 The e4il a#&el represe#ts the e4il hal( ( 7a'st's)s $ #s$ie#$e3 Lucifer 8 The pri#$e ( %e4ils, the r'ler ( hell, a#% !ephast philis)s master3 Wagner 8 7a'st's)s ser4a#t3 Wa&#er 'ses his master)s , ks t lear# h " t s'mm # %e4ils a#% " rk ma&i$3

Clown 8 A $l "# "h ,e$ mes Wa&#er)s ser4a#t3 The $l "#)s a#ti$s pr 4i%e $ mi$ relie(G he is a ri%i$'l 's $hara$ter, a#% his a,s'r% ,eha4i r i#itially $ #trasts "ith 7a'st's)s &ra#%e'r3 As the play & es #, th '&h, 7a'st's)s ,eha4i r $ mes t resem,le that ( the $l "#3 Ro in 8 A# stler, r i##keeper, "h , like the $l "#, pr 4i%es a $ mi$ $ #trast t 7a'st's3 R ,i# a#% his (rie#% Ra(e lear# s me ,asi$ $ #6'ri#&, %em #strati#& that e4e# the least s$h larly $a# p ssess skill i# ma&i$3 !arl "e i#$l'%es R ,i# 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#% ( R ,i#3 Ra(e appears as Ei$k -R ,i#)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$3 "orse#courser 8 A h rse8tra%er "h ,'ys a h rse (r m 7a'st's, "hi$h 4a#ishes a(ter the h rse8$ 'rser ri%es it i#t the "ater, lea%i#& him t seek re4e#&e3 $he %cholars 8 7a'st's)s $ llea&'es at the U#i4ersity ( Witte#,er&3 > yal t 7a'st's, the s$h lars appear at the ,e&i##i#& a#% e#% ( the play t e9press %ismay at the t'r# 7a'st's)s st'%ies ha4e take#, t mar4el at his a$hie4eme#ts, a#% the# t hear his a& #i+e% $ #(essi # ( his pa$t "ith >'$i(er3 $he pope 8 The hea% ( the R ma# Cath li$ Ch'r$h a#% a p "er('l p liti$al (i&'re i# the E'r pe ( 7a'st's)s %ay3 The p pe ser4es as , th a s 'r$e ( am'seme#t ( r the play)s :r testa#t a'%ie#$e a#% a sym, l ( the reli&i 's (aith that 7a'st's has re6e$te%3 E&peror Charles ! 8 The m st p "er('l m #ar$h i# E'r pe, "h se $ 'rt 7a'st's 4isits3 'night 8 A Derma# # ,lema# at the emper r)s $ 'rt3 The k#i&ht is skepti$al ( 7a'st's)s p "er, a#% 7a'st's makes a#tlers spr 't (r m his hea% t tea$h him a less #3 The k#i&ht is ('rther %e4el pe% a#% k# "# as Be#4 li i# B8te9t 4ersi #s ( Doctor FaustusG Be#4 li seeks re4e#&e # 7a'st's a#% pla#s t m'r%er him3 (runo 8 A $a#%i%ate ( r the papa$y, s'pp rte% ,y the emper r3 Br'# is $apt're% ,y the p pe a#% (ree% ,y 7a'st's3 Br'# appears #ly i# B8te9t 4ersi #s ( Doctor Faustus3 )u*e of !anholt 8 A Derma# # ,lema# "h m 7a'st's 4isits3 Martino and Frederic* 8 7rie#%s ( Be#4 li "h rel'$ta#tly 6 i# his attempt t kill 7a'st's3 !arti# a#% 7re%eri$k appear #ly i# B8te9t 4ersi #s ( Doctor Faustus3

Anal+sis of Ma,or Characters

Faustus 7a'st's is the pr ta& #ist a#% tra&i$ her ( !arl "e)s play3 ?e is a $ #tra%i$t ry $hara$ter, $apa,le ( treme#% 's el ='e#$e a#% p ssessi#& a"es me am,iti #, yet pr #e t a stra#&e, alm st "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 6'st prepari#& t em,ark # his $areer as a ma&i$ia#, a#% "hile "e alrea%y a#ti$ipate that thi#&s "ill t'r# 't ,a%ly -the Ch r's)s i#tr %'$ti #, i( # thi#& else, prepares 's2, there is # #etheless a &ra#%e'r t 7a'st's as he $ #templates all the mar4els that his ma&i$al p "ers "ill pr %'$e3 ?e ima&i#es pili#& 'p "ealth (r m the ( 'r $ r#ers ( the &l ,e, reshapi#& the map ( E'r pe -, th p liti$ally a#% physi$ally2, a#% &ai#i#& a$$ess t e4ery s$rap ( k# "le%&e a, 't the '#i4erse3 ?e is a# arr &a#t, sel(8a&&ra#%i+i#& ma#, ,'t his am,iti #s are s &ra#% that "e $a## t help ,ei#& impresse%, a#% "e e4e# (eel sympatheti$ t "ar% him3 ?e represe#ts the spirit ( the Re#aissa#$e, "ith its re6e$ti # ( the me%ie4al, D %8$e#tere% '#i4erse, a#% its em,ra$e ( h'ma# p ssi,ility3 7a'st's, at least early # i# his a$='isiti # ( ma&i$, is the pers #i(i$ati # ( p ssi,ility3

B't 7a'st's als p ssesses a# ,t'se#ess that ,e$ mes appare#t %'ri#& his ,ar&ai#i#& sessi #s "ith !ephast philis3 ?a4i#& %e$i%e% that a pa$t "ith the %e4il is the #ly "ay t ('l(ill his am,iti #s, 7a'st's the# ,li#%s himsel( happily t "hat s'$h a pa$t a$t'ally mea#s3 S metimes he tells himsel( that hell is # t s ,a% a#% that #e #ee%s #ly ;( rtit'%e<G at ther times, e4e# "hile $ #4ersi#& "ith !ephast philis, he remarks t the %is,elie4i#& %em # that he % es # t a$t'ally ,elie4e hell e9ists3 !ea#"hile, %espite his la$k ( $ #$er# a, 't the pr spe$t ( eter#al %am#ati #, 87a'st's is als ,eset "ith % ',ts (r m the ,e&i##i#&, setti#& a patter# ( r the play i# "hi$h he repeate%ly appr a$hes repe#ta#$e #ly t p'll ,a$k at the last

m me#t3 Why he (ails t repe#t is '#$learH 8s metimes it seems a matter ( pri%e a#% $ #ti#'i#& am,iti #, s metimes a $ #4i$ti # that D % "ill # t hear his plea3 Other times, it seems that !ephast philis simply ,'llies him a"ay (r m repe#ti#&3 B'llyi#& 7a'st's is less %i((i$'lt tha# it mi&ht seem, ,e$a'se !arl "e, a(ter setti#& his pr ta& #ist 'p as a &ra#%ly tra&i$ (i&'re ( s"eepi#& 4isi #s a#% imme#se am,iti #s, spe#%s the mi%%le s$e#es re4eali#& 7a'st's)s tr'e, petty #at're3 O#$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 '#$ertai#ty stems, i# part, (r m the (a$t that %esire ( r k# "le%&e lea%s i#e9 ra,ly t "ar% D %, "h m 7a'st's has re# '#$e%3 B't, m re &e#erally, a,s l'te p "er $ rr'pts 7a'st'sH #$e he $a# % e4erythi#&, he # l #&er "a#ts t % a#ythi#&3 I#stea%, he traipses ar '#% E'r pe, playi#& tri$ks # y kels a#% per( rmi#& $ #6'ri#& a$ts t impress 4ari 's hea%s ( state3 ?e 'ses his i#$re%i,le &i(ts ( r "hat is esse#tially tri(li#& e#tertai#me#t3 The (iel%s ( p ssi,ility #arr " &ra%'ally, as he 4isits e4er m re mi# r # ,les a#% per( rms e4er m re '#imp rta#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% (r m me%i $rity, as the k# "le%&e ( his impe#%i#& % m rest res his earlier &i(t ( p "er('l rhet ri$, a#% he re&ai#s his s"eepi#& se#se ( 4isi #3 N ", h "e4er, the 4isi # that he sees is ( hell l mi#& 'p t s"all " him3 !arl "e 'ses m'$h ( his (i#est p etry t %es$ri,e 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 rest re% t his earlier &ra#%e'r i# his $l si#& spee$h, "ith its h'rrie% r'sh (r m i%ea t i%ea a#% its %espairi#&, Re#aissa#$e8re# '#$i#& last li#e, ;I)ll ,'r# my , ksI< ?e ,e$ mes #$e a&ai# a tra&i$ her , a &reat ma# '#% #e ,e$a'se his am,iti #s ha4e ,'tte% 'p a&ai#st the la" ( D %3 Mephastophilis The $hara$ter ( !ephast philis -spelle% !ephist philis r !ephist pheles ,y ther a'th rs2 is #e ( the (irst i# a l #& tra%iti # ( sympatheti$ literary %e4ils, "hi$h i#$l'%es (i&'res like C h# !ilt #)s Sata# i# :ara%ise > st a#% C ha## 4 # D ethe)s !ephist philis i# the #i#etee#th8$e#t'ry p em ;7a'st3< !arl "e)s !ephast philis is parti$'larly i#teresti#& ,e$a'se he has mi9e% m ti4es3 O# the #e ha#%, (r m his (irst appeara#$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$k the #ame ( D %, J A,6're the S$ript'res a#% his sa4i r Christ, J We (ly i# h pe t &et his &l ri 's s 'l< - 1345/4A23 It is !ephast philis "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#e4er 7a'st's $ #si%ers repe#ta#$e t $a6 le r threate# him i#t stayi#& l yal t hell3 Yet there is a# %% am,i4ale#$e i# !ephast philis3 ?e seeks t %am# 7a'st's, ,'t he himsel( is %am#e% a#% speaks (reely ( the h rr rs ( hell3 I# a (am 's passa&e, "he# 7a'st's remarks that the %e4il seems t ,e (ree ( hell at a parti$'lar m me#t, !ephast philis i#sists, [w]hy this is hell, nor am I out of it. Thinkst thou that I, who saw the face of Go , !n taste the eternal "oys of hea#en, !m not tormente with ten thousan hells In bein$ e%ri#e of e#erlastin$ bliss& '(.)*+,-. A&ai#, "he# 7a'st's ,lithely@a#% a,s'r%ly, &i4e# that he is speaki#& t a %em #@%e$lares that he % es # t ,elie4e i# hell, !ephast philis &r a#s a#% i#sists that hell is, i#%ee%, real a#% terri,le, as 7a'st's $ mes t k# " s # e# '&h3 Be( re the pa$t is seale%, !ephast philis a$t'ally "ar#s 7a'st's a&ai#st maki#& the %eal "ith >'$i(er3 I# a# %% "ay, #e $a# alm st se#se that part ( !ephast philis % 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#% !ephast philis ki#%re% spirits3 It is appr priate that these t" (i&'res % mi#ate !arl "e)s play, ( r they are t" 4erly pr '% spirits % me% t hell3

$he&es- Motifs . %+& ols

$he&es Themes are the fun amental an often uni#ersal i eas e/%lore in a literary work.

Sin, Redemption, and Damnation I#s (ar as Doctor Faustus is 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 %is ,ey D %, ,'t he $ #s$i 'sly a#% e4e# ea&erly re# '#$es ,e%ie#$e t him, $h si#& i#stea% t s"ear alle&ia#$e t the %e4il3 I# a Christia# (rame" rk, h "e4er, e4e# the " rst %ee% $a# ,e ( r&i4e# thr '&h the re%empti4e p "er ( Ces's Christ, D %)s s #, "h , a$$ r%i#& t Christia# ,elie(, %ie% # the $r ss ( r h'ma#ki#%)s si#s3 Th's, h "e4er terri,le 7a'st's)s pa$t "ith >'$i(er may ,e, the p ssi,ility ( re%empti # is al"ays pe# t him3 All that he #ee%s t % , the reti$ally, is ask D % ( r ( r&i4e#ess3 The play ((ers $ '#tless m me#ts i# "hi$h 7a'st's $ #si%ers % i#& 6'st that, 'r&e% # ,y the & % a#&el # his sh 'l%er r ,y the l% ma# i# s$e#e 1B@, th ( "h m $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# l yal t hell rather tha# seek hea4e#3 I# the Christia# (rame" rk, this t'r#i#& a"ay (r m 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 m me#t i# "hi$h 7a'st's is still ali4e ,'t i#$apa,le ( ,ei#& re%eeme%, !arl "e steps 'tsi%e the Christia# " rl%4ie" i# r%er t ma9imi+e the %ramati$ p "er ( the (i#al s$e#e3 ?a4i#& i#ha,ite% a Christia# " rl% ( r the e#tire play, 7a'st's spe#%s his (i#al m me#ts i# a sli&htly %i((ere#t '#i4erse, "here re%empti # is # l #&er p ssi,le a#% "here $ertai# si#s $a## t ,e ( r&i4e#3 The Conflict Between Medieval and Renaissance Values S$h lar R3!3 Ea"ki#s (am 'sly remarke% that Doctor Faustus tells ;the st ry ( a Re#aissa#$e ma# "h ha% t pay the me%ie4al 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%ie4al " rl% a#% the " rl% ( the emer&i#& Re#aissa#$e3 The me%ie4al " 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 m 4eme#t that ,e&a# i# Italy i# the (i(tee#th $e#t'ry a#% s # sprea% thr '&h 't E'r pe, $arryi#& "ith it a #e" emphasis # the i#%i4i%'al, # $lassi$al lear#i#&, a#% # s$ie#ti(i$ i#='iry i#t the #at're ( the " rl%3 I# the me%ie4al a$a%emy, the l &y "as the ='ee# ( the s$ie#$es3 I# the Re#aissa#$e, th '&h, se$'lar matters t k $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 re6e$ts the me%ie4al m %el3 I# his pe#i#& spee$h i# s$e#e 1, he & es thr '&h e4ery (iel% ( s$h larship, ,e&i##i#& "ith l &i$ a#% pr $ee%i#& thr '&h me%i$i#e, la", a#% the l &y, =' ti#& a# a#$ie#t a'th rity ( r ea$hH Arist tle # l &i$, Dale# # me%i$i#e, the By+a#ti#e emper r C'sti#ia# # la", a#% the Bi,le # reli&i #3 I# the me%ie4al m %el, tra%iti # a#% a'th rity, # t i#%i4i%'al i#='iry, "ere key3 B't i# this s lil ='y, 7a'st's $ #si%ers a#% re6e$ts this me%ie4al "ay ( thi#ki#&3 ?e res l4es, i# ('ll Re#aissa#$e spirit, t a$$ept # limits, tra%iti #s, r a'th rities i# his ='est ( r k# "le%&e, "ealth, a#% p "er3 The play)s attit'%e t "ar% the $lash ,et"ee# me%ie4al a#% Re#aissa#$e 4al'es is am,i&' 's3 !arl "e seems h stile t "ar% the am,iti #s ( 7a'st's, a#%, as Ea"ki#s # tes, he keeps his tra&i$ her s='arely i# the me%ie4al " rl%, "here eter#al %am#ati # is the pri$e ( h'ma# pri%e3 Yet !arl "e himsel( "as # pi 's tra%iti #alist, a#% it is tempti#& t see i# 7a'st's@ as ma#y rea%ers ha4e@a her ( the #e" m %er# " rl%, a " rl% (ree ( D %, reli&i #, a#% the limits that these imp se% # h'ma#ity3 7a'st's may pay a me%ie4al pri$e, this rea%i#& s'&&ests, ,'t his s'$$ess rs "ill & ('rther tha# he a#% s'((er less, as "e ha4e i# m %er# times3 O# the ther ha#%, the %isapp i#tme#t a#% me%i $rity that ( ll " 7a'st's)s pa$t "ith the %e4il, as he %es$e#%s (r m &ra#% am,iti #s t petty $ #6'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 am,iti '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 '#i4erse a#% t remake the map ( E'r pe3 Th '&h they may # t ,e e#tirely a%mira,le, these pla#s are am,iti 's a#% i#spire a"e, i( # t sympathy3 They le#% a &ra#%e'r t 7a'st's)s s$hemes a#% make his ='est ( r pers #al p "er seem alm st her i$, a se#se that is rei#( r$e% ,y the el ='e#$e ( his early s lil ='ies3

O#$e 7a'st's a$t'ally &ai#s the pra$ti$ally limitless p "er that he s %esires, h "e4er, his h ri+ #s seem t #arr "3 E4erythi#& is p ssi,le t him, ,'t his am,iti # is s meh " sappe%3 I#stea% ( the &ra#% %esi&#s that he $ #templates early #, he $ #te#ts himsel( "ith per( rmi#& $ #6'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 6 kes # simple ( lks3 It is # t that p "er has $ rr'pte% 7a'st's ,y maki#& him e4ilH i#%ee%, 7a'st's)s ,eha4i r a(ter he sells his s 'l har%ly rises t the le4el ( tr'e "i$ke%#ess3 Rather, &ai#i#& a,s l'te p "er $ rr'pts 7a'st's ,y maki#& him me%i $re a#% ,y tra#s( rmi#& his , '#%less am,iti # i#t a mea#i#&less %eli&ht i# petty $ele,rity3 I# the Christia# (rame" rk ( the play, #e $a# ar&'e that tr'e &reat#ess $a# ,e a$hie4e% #ly "ith D %)s ,lessi#&3 By $'tti#& himsel( (( (r m the $reat r ( the '#i4erse, 7a'st's is $ #%em#e% t me%i $rity3 ?e has &ai#e% the "h le " 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#% ser4e D %, ,'t part ( him -the % mi#a#t part, it seems2 l'sts a(ter the p "er that !ephast philis pr mises3 The & % a#&el a#% the e4il a#&el, , th ( "h m appear at 7a'st's)s sh 'l%er i# r%er t 'r&e him i# %i((ere#t %ire$ti #s, sym, li+e this str'&&le3 While these a#&els may ,e i#te#%e% as a# a$t'al pair ( s'per#at'ral ,ei#&s, they $learly represe#t 7a'st's)s %i4i%e% "ill, "hi$h $ mpels 7a'st's t $ mmit t !ephast philis ,'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 per4a%es Doctor Faustus, appeari#& e4ery"here i# the st ry3 A#&els a#% %e4ils (lit a, 't, ma&i$ spells are $ast, %ra& #s p'll $hari ts -al,eit ((sta&e2, a#% e4e# ( ls like the t" stlers, R ,i# a#% Ra(e, $a# lear# e# '&h ma&i$ t s'mm # %em #s3 Still, it is " rth # ti#& that # thi#& terri,ly si&#i(i$a#t is a$$ mplishe% thr '&h ma&i$3 7a'st's plays tri$ks # pe ple, $ #6'res 'p &rapes, a#% e9pl res the $ sm s # a %ra& #, ,'t he % es # t ('#%ame#tally reshape the " rl%3 The ma&i$ p "er that !ephast philis &ra#ts him is m re like a t y tha# a# a"es me, earth8shaki#& a,ility3 7'rtherm re, the real %rama ( the play, %espite all the s'per#at'ral (rills a#% pyr te$h#i$s, takes pla$e "ithi# 7a'st's)s 4a$illati#& mi#% a#% s 'l, as he (irst sells his s 'l t >'$i(er a#% the# $ #si%ers repe#ti#&3 I# this se#se, the ma&i$ is alm st i#$i%e#tal t the real st ry ( 7a'st's)s str'&&le "ith himsel(, "hi$h !arl "e i#te#%e% # t as a (a#tasti$al ,attle ,'t rather as a realisti$ p rtrait ( a h'ma# ,ei#& "ith a "ill %i4i%e% ,et"ee# & % a#% e4il3 Practical !o"es O#$e he &ai#s his a"es me p "ers, 7a'st's % es # t 'se them t % &reat %ee%s3 I#stea%, he %eli&hts i# playi#& tri$ks # pe pleH he makes h r#s spr 't (r m the k#i&ht)s hea% a#% sells the h rse8$ 'rser a# e#$ha#te% h rse3 S'$h ma&i$al pra$ti$al 6 kes seem t ,e 7a'st's)s $hie( am'seme#t, a#% !arl "e 'ses them t ill'strate 7a'st's)s %e$li#e (r m a &reat, pri%e('l s$h lar i#t a , re%, me%i $re ma&i$ia# "ith # hi&her am,iti # tha# t ha4e a la'&h at the e9pe#se ( a $ lle$ti # ( simplet #s3 %+& ols 0ymbols are ob"ects, characters, fi$ures, or colors use to re%resent abstract i eas or conce%ts. Blood Bl % plays m'ltiple sym, li$ r les i# the play3 Whe# 7a'st's si&#s a"ay his s 'l, he si&#s i# ,l %, sym, li+i#& the perma#e#t a#% s'per#at'ral #at're ( this pa$t3 ?is ,l % $ #&eals # the pa&e, h "e4er, sym, li+i#&, perhaps, his "# , %y)s re4 lt a&ai#st "hat he i#te#%s t % 3 !ea#"hile, Christ)s ,l %, "hi$h 7a'st's says he sees r'##i#& a$r ss the sky %'ri#& his terri,le last #i&ht, sym, li+es the sa$ri(i$e that Ces's, a$$ r%i#& t Christia# ,elie(, ma%e # the $r ssG this sa$ri(i$e pe#e% the "ay ( r h'ma#ki#% t repe#t its si#s a#% ,e sa4e%3 7a'st's, ( $ 'rse, i# his pr '% ( lly, (ails t take this path t sal4ati #3

#austus$s Re%ection of the &ncient &uthorities I# s$e#e 1, 7a'st's & es thr '&h a list ( the ma6 r (iel%s ( h'ma# k# "le%&e@l &i$, me%i$i#e, la", a#% the l &y@a#% $ites ( r ea$h a# a#$ie#t a'th rity -Arist tle, Dale#, C'sti#ia#, a#% Cer me)s Bi,le, respe$ti4ely23 ?e the# re6e$ts all ( these (i&'res i# (a4 r ( ma&i$3 This re6e$ti # sym, li+es 7a'st's)s ,reak "ith the me%ie4al " rl%, "hi$h pri+e% a'th rity a, 4e all else, i# (a4 r ( a m re m %er# spirit ( (ree i#='iry, i# "hi$h e9perime#tati # a#% i## 4ati # tr'mp the asserti #s ( Dreek phil s phers a#% the Bi,le3 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#% ser4e D %, the e4il a#&el 'r&i#& him t ( ll " his l'st ( r p "er a#% ser4e >'$i(er3 The t" sym, li+e his %i4i%e% "ill, part ( "hi$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

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