You are on page 1of 3

Doctor Faustus

Christopher Marlowe
Background of Doctor Faustus
Incepted from the medieval era in Europe, the Faust legend has become one among the most
fascinating myths. The story of Doctor Faustus is thought to have its earliest roots in the New
Testament story of the magician Simon Magus. Other references to witchcraft and magic in the
Bible have always caused people to look upon the practice of magic as inviting eternal
damnation for the soul. Marlowe's rendition of the legend was popular in England and Germany
until the mid-seventeenth century, but eventually the Faust story lost much of its appeal.
The legend was kept alive in folk traditions in Germany, though, and was the popular subject of
pantomimes and marionette shows for many years. Goethe's great tragedy struck a responsive
chord throughout Europe and reinforced the new interest in the Faust story. Since his time, it
has stimulated many creative thinkers and has been the central theme of notable works in all
fields of expression.

Short Summary
The significant part of the plays initiation is that it is not related to war, love, or proud deeds, but
with the presentation of good and bad fortunes of Dr. John Faustus, who is born of base stock in
Germany and who goes to the University of Wittenberg, where he studies philosophy and
divinity. He so excels in matters of theology that he eventually becomes swollen with pride,
which leads to his downfall. Ultimately, Faustus turns to a study of necromancy, or magic.

Detailed Summary
Doctor Faustus, a respected German scholar, is bored with the traditional types of knowledge
available to him. He wants more than logic, medicine, law, and religion. He wants magic. His
friends, Valdes and Cornelius, begin to teach him magic, which he uses to summon a devil
named Mephistophilis. Faustus tells Mephistophilis to return to his master, Lucifer, with an offer
of his soul in exchange for twenty-four years of having Mephistophilis, and all his knowledge of
magic, at his beck and call.

Mephistophilis returns to Faustus with a contract for his soul, which Faustus signs in his own
blood. As soon as he signs the contract, words appear on his arm, which give him doubts about
what he has just done. Mephistophilis calms Faustus' doubts by giving him valuable gifts and a
book of spells to learn.
Later, Mephistophilis answers all Faustus' questions about the nature of the world, and refuses
to answer only when Faustus wants to know who created the universe. This sets off yet another
series of doubts in Faustus, but Mephistophilis and Lucifer quiet those doubts by bringing in the
seven deadly sins in human form to dance for Faustus.
Mephistopheles then takes Faustus on a wild chariot ride through the heavens, landing in
Rome, where Faustus torments Pope Adrian for his passing judgment on a rival pope by making
himself invisible and stealing Pope Adrian's food and smacking his ears. He becomes famous
for this and is invited to visit the German Emperor, Charles V, who is the enemy of Pope Adrian.
Faustus impresses the emperor by conjuring up an image of Alexander the Great. One of the
emperors' knights sneers at Faustus' magical powers and Faustus punishes him by making
antlers sprout from his head.
Meanwhile, Robin, the clown of Faustus' servant, Wagner, has picked up some magic on his
own and, with a stable hand named Rafe, uses his new magical skills to get free booze, and
even summons Mephistopheles, who threatens to turn them both into animals. Their
misadventures adds the comic relief to the play.
Faustus travels to England, where he sells an enchanted horse to a horse dealer. When the
man rides his new horse over water, it turns into a bale of straw. The Duke of Vanholt hears
about this and invites Faustus to visit him and his wife, the duchess. The horse dealer shows
up, along with Robin and Rafe, vowing to get even. Faustus casts a spell of silence on them so
that they cannot speak of his wrongs, and sends them on their way, which amuses the Duke
and Duchess of Vanholt.
As the end of his contract approaches, Faustus begins to dread his impending doom, and has
Mephistophilis call up Helen of Troy so that he might impress a group of his colleagues. An old
man urges Faustus to repent and turn back to God, but he sends Mephistophilis to torment the
old man, and drive him away. Faustus then summons up Helen again so that he might immerse
himself in her ancient beauty. But time grows short. Faustus, filled with dread, confesses his
misdeeds to a group of his colleagues, who vow to pray for him.

On the final night of his life, Faustus is overcome by fear and remorse. He begs for mercy, but it
is too late. The clock strikes midnight and a group of devils enter Faustus' study to claim his
soul. The next morning, his colleagues find his body torn limb from limb, and decide to give him
a proper burial.

Analysis of the Play


The technique of the chorus is adapted from the traditions of classic Greek drama. The chorus
functions in several ways throughout the play. It stands outside the direct action of the play and
comments upon various parts of the drama. The chorus speaks directly to the audience and
tells the basic background history of Faustus and explains that the play is to concern his
downfall. The chorus is also used to express the author's views and to remind the audience of
the proper moral to be learned from the play itself. The opening speech of the chorus functions
as a prologue to define the scope of the play.
The chorus speaks in very formal, rhetorical language and explains that the subject of this play
will not be that which is usually depicted in dramas. Instead of a subject dealing with love or war,
the play will present the history of a scholar. The purpose of this explanation is that, traditionally,
tragedy had dealt with such grand subjects as the history of kings, great wars, or powerful love
affairs. Consequently, Marlowe is preparing the audience for a departure in subject matter. Most
frequently, tragedy is concerned with the downfall of kings, and Marlowe's tragedy does not fit
into this formula since this drama deals with the downfall of a man of common birth.
The Icarus image is used in the opening passage to characterize the fall of Faustus. Icarus was
a figure in classical mythology who because of his pride had soared too high in the sky, had
melted his wax wings, and subsequently had fallen to his death. This classical image of the fall
of Icarus reinforces the Christian images of the fall of Lucifer brought out in Scene 3. Both
images set the scene for the fall of Dr. Faustus during the course of the drama.
Another image used by the chorus to describe the situation of Faustus is that of glutting an
appetite by overindulgence. Throughout the play, Faustus is seen as a person of uncontrolled
appetites. His thirst for knowledge and power lead him to make the pact with the devil which
brings about his downfall. The chorus points out the dangers involved in resorting to magic. It
makes clear that Faustus is choosing magic at the danger of his own soul.

You might also like