(The Tragical History of ) Dr Faustus READING GUIDE

Designed by Prof. Marina Cantarutti

We have all, in some place or another (even at “The Simpsons”!), heard of Faustus and
his pact with the devil. What Christopher Marlowe does in his marvellous play is to
recreate the German legend with the ingredients that Renaissance drama has added to
the well‐known Greek genre, and in that way engage the audience into pondering on,
and even questioning, the beliefs of the time.

As you may have read, Marlowe was an enigmatic character whose death was as
confusing as his life. He was said to have been a secret agent, an atheist and even a
performer of diabolical rites. Whatever the case, his creative genius cannot be ignored,
and the feelings that his plays arise in the audience as well as the thought‐stirring and
emotion‐pouring scenes depicted by him attest to it.

Dr Faustus is the first full work of literature we will be reading in this course, and it
may result difficult to tackle at first, given the fact that this play is written in Early
Modern English and in blank verse (see http://web.cn.edu/kwheeler/lit_terms_B.html
for a definition). This guide is aimed at helping you understand the play and the wider
issues embedded in it though we may not stop at every line. For that purpose, having
an annotated version will be of great help. You can read the text online here:
http://www.gutenberg.org/files/779/779‐h/779‐h.htm or here:
http://www.enotes.com/faustus‐text/dramtis‐personae (this text contains
annotations). Any of the two versions of the text (the so‐called “A Text” of 1604 or the
“B Text”, printed in 1606) will do.

As you read, pencil in hand, mark your findings in connection to these areas of analysis
and add them to your Index:

ƒ Characterisation
a. Faustus
b. Wagner
c. Faustus’ friends
d. Faustus’ fellow scholars
e. The Religious figures
f. The Good and Bad angels
 g. Mephistophilis, Lucifer, Beelzebub
h. Helen of Troy
i. The Old Man
ƒ Themes and oppositions
a. Predestination and free will
b. Salvation vs Damnation
c. Repentance
d. Despair
e. Master‐servant relationships
f. Thirst for knowledge
g. Deadly sins
h. Magic
i. Heaven and Hell
ƒ Allegorical and symbolic elements
ƒ Imagery
ƒ Morality play elements
ƒ Allusions
a. Religious
b. Scientific
ƒ The hero
ƒ Different “pursuits”
a. Knowledge
b. Riches
c. Fame
d. Pleasure
e. Power
ƒ Structure of the play
ƒ Language
a. References to
i. Flying
ii. Food
b. Hyperbolic language
c. Repetition (of words and lines)
d. Passages in prose and passages in verse

Detailed analysis

Dramatis Personae
If you take a look at the list of characters, you can already see a mixture of worlds:
earth, Heaven and Hell, present and past, reality and imagination, religion and
paganism.
This list also reveals elements which are typical of morality plays (see
http://www.luminarium.org/medlit/medievaldrama.htm to be reminded of what they
are): the Seven Deadly Sins and the Good and Bad Angels, for example.

Prologue
 ƒ The Chorus: read briefly about their role in Greek drama here:
http://www.britannica.com/EBchecked/topic/114599/chorus
ƒ This section is aimed at introducing the tragedy, providing information which is
not to be dwelled on, sometimes to advance the action and set the plot in a
particular place and time. What is the setting in place here? What factual
information is here presented about the hero?
ƒ Note the anaphora here. Interestingly enough it is made of negation and it
serves to introduce the Muse (poet), as an invocation.
ƒ “Patient judgements”: an invitation to the audience to judge?
ƒ “his waxen wings did mount above his reach”: clear reference to the myth of
Icarus: http://www.greekmyths‐greekmythology.com/myth‐of‐daedalus‐and‐
icarus/). Remember to stay alert for more mentions of this myth or the idea of
“flying”.
ƒ We get here a picture of Faustus and his areas of knowledge and likes. Which
things are presented as positive, and which as negative?
ƒ Notice that the end of each scene provides a final rhyming couplet. Which is
the couplet in this scene?

Act One, Scene One

ƒ Faustus talking to himself. Keep track of further instances of this, and give each
monologue a title. This will be helpful to trace character development.
ƒ Note the reference to Aristotle. Faustus appears to be saying that he is
“beyond” Philosophy, and he can move on to greater matters: Medicine. His
achievements are listed, and yet, he doesn’t believe they are enough. Later on,
he considers Law, and also criticizes it. How? Finally, Divinity (Theology) is
“ditched”. Why?(You will find further arguments of this kind later in this scene)
ƒ “heap up gold”: reference to alchemy (see
http://en.wikipedia.org/wiki/Alchemy)
ƒ “Yet art thou still but Faustus, and a man”. What do you make of this phrase?
ƒ What is Faustus’ view of money?
ƒ What appears to be the best discipline?
ƒ “The reward of sin is death”, Faustus reads, and rushes to conclusions.
However, if he had kept on reading, he would have read “but the gift of God is
eternal life through Jesus Christ our Lord”. First mistake in Faustus’ logic.
ƒ “We must die an everlasting death”, so we must always sin?
ƒ So now Faustus is ready to “dump” divinity for something, in his view, higher:
magic, necromancy.
ƒ “Oh, what a world…..to the studious artisan!”. Faustus’ view of knowledge.
Remember to keep references such as this one at hand.
ƒ Faustus presents his ambition in this scene. What is it?
ƒ The Good and Bad Angel appear. What is their advice? Which of the two
options appears as more “tempting”?
ƒ Note the fact that the Angels appear as the friends are announced. Make a
note of their appearance as part of the structure of the play.
ƒ “How am I glutted…”: keep track of words like this one!
ƒ Faustus introduces some ambitions and “pursuits” here. List them.
ƒ What historical elements appear here which already set the story in time?
 ƒ Valdes and Cornelius appear as friends and also as “tempters”, who appear to
have already talked Faustus into magic. What are their ambitions and what do
they tempt Faustus with? Note the reference to “we three”, a new Trinity?

Act One, Scene Two

ƒ This is a comic scene allowing for “comic relief”, a way of releasing tension. In
Elizabethan drama, these scenes tend to show lower characters, or clown
figures. Also note the use of prose and of “slapstick” comedy.
ƒ This whole scene appears to parody methods of reasoning in logic.l
ƒ “God in heaven knows”: note the irony here as well as in “the Lord bless
you…..my dear brethren”
ƒ The scholars here are already anticipating that something terrible will happen.

Act One, Scene Three

ƒ Keep track of the weather. Stage directions are also really telling and they
sometimes reflect mood swings or contribute to the tone and atmosphere of
the scene.
ƒ Note how Faustus conjures spirits using holy figures.
ƒ “Fear not….to be resolute”. What does this phrase imply? It may not be the last
time this will be used…
ƒ The conjure reveals a new trinity of water, fire and earth, an “Unholy Trinity”.
ƒ “Quid tu moraris?”, “why do you delay?”. What does this reveal?
ƒ Note the oxymoron “that holy shape….a devil best”. Also note the shape the
devil is asked to acquire. What do you make of this?
ƒ What is Faustus view of himself after performing magic? What is his “sin” here?
ƒ What does Faustus ask Mephistophilis to do, and what is his reply? What
theme of the ones listed above does this reflect?
ƒ We now get the story of Lucifer. What happened to him? What were his flaws?
Is there any similarity with Faustus?
ƒ Where is hell? How is this confusing? What is hell to Mephistophilis? How does
he feel about the Fall? How is this significant?
ƒ “Learn thou of Faustus….”. Another interesting “sin” of Faustus’ here….
ƒ What does Faustus ask Mephistophilis to decide on? What does this reveal of
Faustus’ character?

Act One, Scene Four

ƒ This scene appears as parallel to the previous one, providing comic relief. What
similarities with the previous scene do you see?
ƒ Note all the puns (play on words). Both figures play with the literal meanings of
words.

Act Two, Scene One

ƒ Faustus has already made up his mind….has he?
ƒ What is his logic around God?
ƒ The two Angels appear again. Mark these moments and compare them to each
other. What does each of them say? Which one sounds more convincing and
 why? What does the Good Angel stand for, what themes appear on his speech?
What about the Bad Angel?
ƒ Mephistophilis has brought Lucifer’s answer. What should Faustus do to have
Mephistophilis serve on him? And how should that be done?
ƒ Faustus wants to know what the use of his soul will be. What is Mephistophilis’
answer and what does he reveal in it? Note the quick change of topic into “But
tell me, Faustus…”. It looks as if Mephistopheles is hiding something….
ƒ How is Faustus tempted for the last time?
ƒ Describe how the pact is carried out.
ƒ What do you make of Mephistophilis’ criticism of Faustus’ way of writing the
deed?
ƒ What happens to Faustus while carrying out the pact? How does he interpret
that?
ƒ Note the Machiavellian aside by Mephistopheles. If you don’t remember who
Machiavelli was, check here: http://en.wikipedia.org/wiki/Machiavelli
ƒ Note the allusion to Christ’s death in Faustus’ words “consummatum est”.
ƒ What is it that appears on Faustus’ arm? What does this imply? How does he
feel about it?
ƒ Why do you think Mephistopheles puts up a show straightaway?
ƒ There is a clear “legal” aspect to the deed. What does it say and what does it
not say explicitly? How truly can Mephistopheles be said to be Faustus’
servant? What is the time‐span established? What else can Lucifer take away,
apart from Faustus’ soul?
ƒ What is Faustus’ first request? What is Hell like? What is Faustus’ statement on
Hell? This is an innovative view of Hell, not located anywhere “geographical”
but as a state of mind, an experience.
ƒ What else appears to be a “fable” to Faustus?
ƒ Note that this part of the scene appears to be a philosophical / theological
debate. What arguments are put forward? How are they defended? How are
they counteracted?
ƒ Any changes to Faustus speech you can identify already?
ƒ Cross‐dressing was a very common technique and theme, as all actors were
male during this time and women roles were played by men. However, it is
always interesting to analyse where in the play cross‐dressing takes place, and
if there is some sort of implication.
ƒ Another social ritual criticised here: marriage. What does Faustus appear to
believe about it?
ƒ The comment on Lucifer’s beauty appears to be a reference to homosexuality.
ƒ What is Faustus’ next request? What theme is being exploited here?
ƒ What do you make of the comment “O, thou are deceived?”

Act Two, Scene Two

ƒ What does Faustus complain about and why? How does Mephistophilis reply?
ƒ Note that Mephistophilis now introduces some information he did not confess
to Faustus before the deed…
ƒ What themes are exploited in this scene?
ƒ The Angels reappear. What is their proposal now?
 ƒ Which one does Faustus hear, given his words?
ƒ What does the Bad Angel say before exiting, and how is this telling?
ƒ We are introduced to a monologue now. Monologues in Elizabethan theatre
are moments of great emotional depth, where characters confess their inner
thoughts and fears, as well as their intentions. They ought to be analysed
carefully.
ƒ What does Faustus feel and what options does he consider?
ƒ Note that Faustus mentions things he has done which do not appear in the
previous scenes. This is a resource used to mark the passing of time.
ƒ What is his resolution?
ƒ Another theoretical debate follows, this time on astronomy. How is this carried
out? What is Faustus trying to do?
ƒ Note Mephistophilis’ use of the word fables. Does it ring a bell?
ƒ What is it that Mephistophilis cannot say? How does Faustus react? What does
the devil do once God is mentioned?
ƒ The Angels once more. We could say that the Bad Angel is somehow
deterministic, presents threats and warnings, whereas the Good Angel, though
calm and somehow “unattractive” in his pleas, does consider the possibility of
free will. Trace this in the play.
ƒ Who does Faustus summon, and who appears instead?
ƒ The Trinity of Hell. What is Faustus’ first impression? Some critics talk of these
devils as represented as “boogeyman”.
ƒ How is Faustus reprimanded here?
ƒ What does Lucifer say Faustus should be? How is this evidence of his having
been tricked?
ƒ The Seven Deadly Sins parade. What is this characteristic of? (Check on our
bibliography). Note that the parade is presented in prose, and not in blank
verse. Describe each sin. What do you make of the order in which the sins are
presented? Any relationship to Faustus’ own behaviour throughout?
ƒ What is Faustus’ next wish?

Act Two, Scene Three

ƒ Another scene for comic relief.
ƒ Remember the master‐servant theme here. Note how the idea of hierarchy is
present throughout the play.
ƒ Another typical Elizabethan “concern”: cuckholdry. You will surely find many
instances of jokes on the matter in Shakespeare!

Chorus One
ƒ Chorus. Another typical Greek element in drama. Read more about it here:
http://www.theatrehistory.com/ancient/chorus001.html
ƒ We learn about Faustus’ trip (which did not reach the so‐called “ninth sphere”,
the world of God, but kept within the “circumference”). The chorus here is both
telling us about the passing of time in the play while setting the action for the
new act.

Act Three, Scene One

 ƒ Faustus and Mephostophilis have travelled around Europe and are now in
Rome. Note the detailed description of the architecture.
ƒ Would you question the phrase “my four‐and‐twenty years of liberty”? Why?
ƒ The struggle for power between Mephistophilis and Faustus continues. Keep
track of other cases throughout the play.
ƒ Note how the idea of hierarchy and supremacy are also seen in the dialogues
by the Church members.
ƒ The idea of “overreaching”, seen in Faustus, appears not to be applied to him
alone. Who else in this scene is said to be an overreacher as well (however
fictitious)? There is also an indirect reference to Henry VIII.
ƒ Pay attention to the language used by these church leaders. What are they
discussing? How do they support their points?
ƒ Another instance of disguise is here, this time we see Faustus and
Mephistophilis dressed as cardinals.

Act Three, Scene Two

ƒ Both Faustus and the devil are having fun.
ƒ What is the Archbishop’s hypothesis? To what extent is it true and what it its
effect onto Faustus?
ƒ Are there any cases of foregrounding (anticipation) here? Stay alert!
ƒ “Bell, book and candle” refers to the Excommunication Ritual.
ƒ What is the view of the Catholic Church represented here?

Act Three, Scene Three

ƒ What is the topic in this secondary scene?
ƒ What do these men do and what happens to them as a result?
ƒ This scene also prepares us for the next setting.

Chorus Two
ƒ What happens to Faustus once he is at home? Why is he looked up on?

Act Four, Scene One

ƒ In this scene we get a description of Faustus as seen by others.
ƒ Note the irony on the line: "Speak softly....". Keep track of other references to
the devil in this scene. How is the figure of the devil seen? What is the overall
effect of these comments?
ƒ What is said about the Pope? Have you noticed the reference to
homosexuality?

Act Four, Scene Two

ƒ Why is Faustus summoned?

ƒ What do you make of the language Faustus uses?
ƒ What is Benvolio's reaction throughout? Why do you think Benvolio's speech
appears in prose?
ƒ What does Faustus do? What do you think that scene represents or
foregrounds?
 ƒ What is Faustus' warning? What has Faustus done to the Emperor? (Tip: it is
related to one of the themes being analysed for the play)
ƒ A new instance of the cuckholdry theme...but this time literal!
ƒ What is the condition for the removal of Benvolio's horns? What do you make
of it?

Act Four, Scene Three

ƒ What contrasts are presented in this scene? What principles and feelings does
Benvolio stand up for?
ƒ Analyse the different epithets (i.e. Names, titles) given to Faustus.
ƒ Another case of irony: "Hell take..."
ƒ What do they intend to do with Faustus?
ƒ What does Faustus say? Trace the comments he makes in connection to
freedom or his lack of it.
ƒ What do you think is the use of this scene?

Act Four, Scene Four

ƒ Note that these characters, Frederick and Benvolio are the only ones keeping as
sustained interaction with Faustus in the whole play. What do you make of
their decision to hide?

Act Four, Scene Five

ƒ How do you interpret the interaction with the horse‐dealer?

ƒ What is the effect of this interaction onto Faustus? Is there any change in
connection to the attitude he put on in previous scenes?
ƒ How is the apparent good will of Faustus reversed here?

Act Four, Scene Six

ƒ These last scenes appear to lack tension. However, we see a change in Faustus
from human to "spirit".
ƒ The first woman who talks appears on the play. What does she do and how is
she represented?
ƒ Note how we get to hear about further mischief by Faustus in this scene. This
could be said to be a "reporting scene".

Act Four, Scene Seven

ƒ More reporting of Faustus’ deeds.
ƒ What does he appear to do for these Duke and Duchess?
ƒ Note how Faustus shows off his knowledge here.
ƒ The clowns interact with Faustus in a main scene, different from previous
scenes where the clowns present some parallel action or mockery at what was
presented earlier.
ƒ Keep track of some covert references to Hell here.
 ƒ Why do the Duke and his wife enjoy Faustus' company? What is their reaction
to Faustus' maltreatment of the clowns?

Act Five, Scene One

ƒ Remember that stage directions are very important to help set the atmosphere.
ƒ What does Wagner reveal about Faustus? What do you make of Faustus’ will?
ƒ Note that the lady referred to is Helen of Troy. Read more about her here:
http://www.stanford.edu/~plomio/history.html
ƒ Notice that the scholar also speaks prose.
ƒ Why does Faustus say “Be silent, then, for danger is in words”?
ƒ The Old Man enters, a clear symbol. Of what, precisely? What is his role in the
play? What does he urge Faustus to do and why? Note that there is a certain
degree of argumentation here. How is the argument built?
ƒ Who is this Old Man? What is Faustus’ reaction? Anything odd about this
reaction?
ƒ It is important to understand that suicide is the most damnable sin, the “sin of
despair”. Committing suicide would mean definite damnation.
ƒ Tension builds up, between Faustus, Mephistophilis and the Old Man. Was the
Old Man’s reaction effective at first? Note how emotional the Old Man’s
speech is throughout, so different from the rationality seen in Faustus
throughout the play.
ƒ Another reference to Hell as a state of mind. Where?
ƒ The two options left for Faustus are either to repent, or to revolt and despair.
The audience appears to know which path he will choose, and the Old Man too.
How?
ƒ Who is “him” who he offended?
ƒ What is the “torment of Hell” compared to?
ƒ What is Mephistophilis really saying when he says “His faith is great….”?
ƒ Why does Faustus want to see Helen? Do you find his romantic words
believable? Or what is Faustus really doing here?
ƒ Note the “chivalric” tone of his words to Helen.
ƒ How is the Old Man’s speech different from the previous instances?

Act Five, Scene Two

ƒ More stage directions.
ƒ See how the devils describe Faustus’ current state, as do the scholars. What is
happening to Faustus now?
ƒ There are some notes of lunacy in Faustus as well. How has his speech
changed? Any other change, from the structural point of view?
ƒ What do the scholars do now? Any differences with the previous scenes?
Compare them with the roles of the angels.
ƒ For the third time we are told how much time has passed.
ƒ Faustus really thought the devil would be more powerful than God. What piece
of evidence do we get?
ƒ What does Mephistophilis confess? What is the implication of this confession in
terms of the issues of free will vs predestination?
ƒ The angels return. What do they do this time?
 ƒ Audiences would be really touched at the last two lines by the Good Angel. It is
both a farewell and a reprimand. But also a warning to the audience.
ƒ The Bad Angel, so appealing in his words at the beginning of the play, presents
Hell as a torture‐house. What is Hell like? And how do these Bad Angels and
devils in the end feel about Hell? They don’t appear to enjoy it….
ƒ What time is it? Is it relevant in some way? Among the powers Faustus had, he
could have stopped time, but this time he cannot do so.
ƒ The idea of flight is again presented here.
ƒ Analyse Faustus’ final speech. How is it structured? What ideas are presented
and later refuted? Why? Pay special attention to the ideas of predestination
and free will here.
ƒ There is a reference to the theory of Transmigration of Souls. Read more about
it here: http://www.jewishencyclopedia.com/articles/14479-transmigration-of-
souls
ƒ What are Faustus’ last words? What do you make of them?

Act Five, Scene Three

ƒ What scene do the scholars find? How would the audience have reacted to
that?
ƒ What will he be remembered for?
ƒ How do you feel about the “image” of his upcoming burial?

Epilogue
ƒ What is the final call by the Chorus?
ƒ What is odd about the warning given in connection to knowledge?

You have now finished reading one of the most renowned works of Elizabethan
literature. Hope you have enjoyed the play and this reading guide, which should
empower you to become more “eagle‐eyed” in your reading of other Elizabethan
plays!