Faust

Dr. Faustus the protagonist of Christopher Marlowe’s great tragedy can be considered as a tragic hero similar to the other tragic characters such as Oedipus or Hamlet. Dr. Faustus who sells his soul to Lucifer in exchange of twenty four years of knowledge ought to have some special features in order to be considered as a tragic hero. But first of all let me present Aristotle’s definition of a “Tragic hero” and then I will elaborate on each element in relation to the tragedy of “Dr. Faustus”.

According to Aristotle, “the tragic hero evokes both our pity and terror because he is neither good nor thoroughly bad but a mixture of both; this tragic effect will be stronger if the hero is better than we are. Such a hero suffers from a change of happiness to misery because of his mistaken choice which is led by his hamarcia (error of judgment). The tragic hero stands against his fate or the gods to demonstrate his power of free will. He wants to be the master of his own fate. He decides to make decisions but mostly the decision making would lead to weakness or his own downfall. Now according to Aristotle’s definition of a “tragic hero” it is time to elaborate on the clues in details in order to conclude that Dr. Faustus can also be a tragic hero according to following reasons: Firstly because Dr. Faustus as a tragic hero evokes our pity. We feel some form of connection with him because he has a sense of realism. Dr. Faustus makes mistakes which can be also all human condition. He wants to gain more knowledge that is also another part of human condition to learn and understand more. We sympathize with Dr.

Faustus because his feelings are similar to other human beings at the end we really want him to repent in order to change his fate radically. We sympathize with him at the end of the drama when it is time for a farewell to his soul. Although he has done many faults but we really want God not to be so fierce towards a human being. He desires: O soul, be changed to little water drops And fall into the ocean. Ne’re be found. My God, my God, look not so fierce on me! ( Act V, Scene ii: lines 180-182) Secondly because Dr.

Faustus is a well-known and prosperous character, so the reader notices to his reputation as a well-respected scholar inevitably. In Act I, Scene i ; he calls for his servants and students in his speech about various fields of scholar ship which suggests him to be a prosperous intellectual. Philosophy is odious and obscure, Both law and physic are for petty wits, Divinity is basest of the three, Unpleasant, harsh, contemptible, and vile; ‘Tis magic, magic that hath ravished me. ( Act I, Scene i: lines 107-111 ) His reputation as a scholar has been mentioned both in the beginning and at the end.

It is one of the clues to present Dr. Faustus as a tragic hero so that the readers would be able to sympathize with him throughout the whole drama. In the closing lines the scholars put emphasis on this aspect more when they lament about their respectful professor’s death. Yet for he was a scholar once admired For wondrous knowledge in our German schools, We’ll give his mangled limbs due burial; And all the students, clothed in mourning black, Shall wait upon his heavy funeral. (Act V, Scene iii: Lines 14-19) Thirdly because Dr. Faustus’ mistaken choice, exchange of his soul to Lucifer, results in his downfall.

His agreement with the devil blinds him in choosing between right and wrong. In the opening speech, in Act I, Faustus tells that he is skillful in different sciences but he wants to know more. FAUSTUS. How am I glutted with conceit of this! Shall I make spirits fetch me what I please, Resolve me of all ambiguities, Perform what desperate enterprise I will? I’ll have them fly to India for gold, Ransack the ocean for orient pearl, And search all corners of the new-found world For pleasant fruits and princely delicates; I’ll have them read me strange philosophy, And tell the secrets of all foreign kings;

I’ll have them wall all Germany with brass, And make swift Rhine circle fair Witttenberg; I’ll have them fill the public schools with silk, Wherewith the students shall be bravely clad; I’ll levy soldiers with the coin they bring, And chase the Prince of Parma from our land, And reign sole king of all the provinces; Yea, stranger engines for the brunt of war, Than was the fiery keel at Antwerp-bridge, I’ll make my servile spirits to invent. ( Act I, scene i: lines 79-98 ) Actually the desire for learning is part of human nature but he chooses the wrong way without some sense of guilt.

His hasty desire for power and honor did not allow him to repent. He was so confused that he couldn’t decide on following the ways of God or the path of Lucifer. Fourthly because Dr. Faustus wanted to support his own plot to make his own decision. This aspect of his character was as a result of the Renaissance period, unlike the medieval period, the dominance of fate upon human life became as a matter of ignorance. It was time for secular matters. Therefore, the dominance of science shadowed upon individuals thought . Dr. Faustus wanted to take destiny in his own hands to demonstrate the power of free will against fate.

A case in point is when he passionately demanded Mephistophilis to: Go, bear these tidings to great Lucifer: Seeing Faustus hath incurred eternal death By desperate thoughts against Jove’s deity, Say, he surrenders up to him his soul, So he will spare him four and twenty years, Letting him live in all voluptuousness; Having thee ever to attend on me, To give me whatsoever I shall ask, To tell me whatsoever I demand, To slay mine enemies, and to aid my friends, And always be obedient to my will. Go, and return to mighty Lucifer, And meet me in my study at midnight, And then resolve me of thy master’s mind. ( Act I, Scene iii: lines 91-104 )

He did not want to be a puppet dancing to the strings of destiny, despite the fact that tragedy functions paradoxical towards human destiny. Hence according to the aspects which I elaborated on, I can describe Dr. Faustus as a tragic hero. Although he devoted himself completely to Lucifer, never choosing right and making a tragedy out of his own downfall, but I found the drama as an optimistic and didactic one. I believe that Marlowe wanted to teach Christian faith besides a chance for salvation. Marlowe uses the tragic irony of Dr. Faustus as his ultimate intention to illustrate the downfall of a tragic hero.

A Comparison of “Everyman” and Christopher Marlowe’s “Doctor Faustus” Everyman and Doctor Faustus are both Morality Plays, these are specifically plays that existed within the Medieval period. They were popular during this period as they were intended to instruct the audience in the Christian way and attitudes to life. The morality play is essentially an allegory written in dramatic form. In the fourteenth Century, morality plays were mainly based on the seven deadly sins as in everyman with each character representing each sin. Everyman centers around allegory.

It focuses on the allegorical representations of moral issues with the inclusion of figures that represent abstractions of the issues that are confronted. Doctor Faustus follows the general five-act structure of an Elizabethan Romantic Tragedy. However Christopher Marlowe used the structure of an older Medieval form of English Drama, the morality play as a model. Morality plays tended to show the moral struggle of mans soul and the conflict of good and evil. This is evident in the play of Doctor Faustus who is embroiled in a battle between the temptation of the devil and God.

You could argue that Doctor Faustus is not classed as a morality play. Because in the tradition of a morality play God and the devil are external forces that affect the individual. However, in Doctor Faustus it is far more of an internal drama inside Faustus? own mind. Both are entirely didactic in nature, they were made with the intent to educate their audience in one respect or another. There was a moral to each that conveyed similar messages. Therefore the term ? morality play? correctly defines each one.

The medieval time period in which Everyman was written contained a society that revolved around religion (Ecclesiasticism) The fact that Everyman can get nowhere without turning to religion directly reflects on the attitudes of the middle ages. There is constant references to the beliefs and ideas of the Catholic Church such as confession, penitence and the Virgin Mary this suggests the catholic centered society in which the play existed. It concentrates on the qualities of the catholic religion that are important in the journey to heaven. Everyman is a symbol of the human condition and how t is understood by medieval Catholicism. Whereas in the sixteenth century in which Doctor Faustus was written, saw a shift of Christian ideals. No longer was there only the strict belief in God but also the equal belief in the existence of the devil and the ? work of the devil.? The medieval world placed God at the centre of existence, leaving the individual and the natural world in second place. The emergence of the Renaissance is evident in Doctor Faustus by the clash between the church and the introduction of knowledge through science.

The Reformation caused a dramatic change at that particular time, England had converted from predominantly catholic to a protestant country. This shift becomes apparent in Doctor Faustus in the scenes with the Pope. The Renaissance was also a time when the bubonic plague was at its peak of destruction. As a result the plague was a great concern of the theatre, audiences and writers. The plague was a large part of Marlowe? s life and work. Marlowe refers to the plague regularly in Doctor Faustus with examples such as ? A Plague on her.?

Here Marlowe is using specific language to reflect certain aspect of the precise period, being Reformation. When considering the audience of each play, this can again create disagreement concerning the meaning of the term ? morality play.? Morality plays, as I have mentioned like Everyman, primarily express aspects of moral doctrine to the audience. In the Play Everyman, the anonymous author may have been a priest or teacher who was explaining the Christian values to an uneducated society. It is written by and for people of catholic religion. This would fit accurately into the description as a ? orality play.? However, some may argue that Doctor Faustus is more comically delivered as opposed to morally. Elizabethan audiences often viewed great tragedies such as this in a slightly humorous manner. Scenes such as the one with the Pope? s food and drink being stolen highlights this point. Also Marlowe includes numerous comical characters such as Wagner and Faustus? servant. Therefore can we still group this together with the other morality plays such as Doctor Faustus? Contrary to this, it is clear that the audience of the play Doctor Faustus are not simply an audience of ?

Commoners or clowns,? they have to employ a certain level of intelligence and education to understand the symbolism and allegory present in the play. We can acknowledge the play of Doctor Faustus as one from the Elizabethan period as its verbs differ from modern day usage, with phrases such as ? What see you?? and ? You look not well.? Also Elizabethan playwrights wrote in blank verse or iambic pentameter, as its evident here. Marlowe uses various Christian phrases to summon the devil, who is providing the power. The most obvious reference to Christian language is shown through Faustus?

Latin Chant which is used to raise the devil. Marlowe? s technique of hyperbole is demonstrated by his regular usage of blasphemy in the play. By using exaggeration like this, Marlowe is affecting the audience? s perception of the character of Faustus. The language used gives the character heroic stature. Contrast to Doctor Faustus, The language in Everyman is solely based on religion. There is reference to the original sinner Adam and the seven deadly sins, this mainly focuses on the notions of Christianity. The language used in both Everyman and Doctor Faustus represents the conflict between power and Christianity.

In conclusion, Marlowe borrows many of the conventions of a morality play especially with the inclusion of the good and bad angels. This symbolizes his divided will. This is mirrored in the play Everyman where there is an obvious spiritual crisis of an individual who must chose between good and evil. Both Everyman and Doctor Faustus effectively reflect the periods in which they were written. Faustus is the product of an era that was deeply torn, it stands in the threshold between two periods-The Renaissance and the Middle Ages.

It includes the notions of Good and evil, sin and salvation, as did religious dramas of the medieval period such as Everyman. Although some may see this comparison as the rejection of the medieval due to further emphasis on the individual rather than God. After all, the opening scene of Doctor Faustus was praising science and magic in favour of God. So where do we draw the line? Everyman statically reflects the period of medieval whereas Doctor Faustus focuses on the actual change in that particular period of the Reformation. Therefore it is possible to see the alteration from one period to another.

Alfonso Villarreal Mrs. Bohn World Literature Honors April 9, 2012 Analyzing the Tragedy of Dr. Faustus The struggle between good and evil is arguably the most significant theme in the play. This struggle is most evident within the main character Faustus. He is torn and undecided about whether or not he should repent for sinning and return to God or follow through with the contract he signed with Lucifer. His internal struggle lasts almost the entire play, as part of him wants to be good serving God while the other part seeks the power Mephastophilis promises. Metaphastophilis himself has mixed motives and symbolizes this theme.

On one hand he pursues Faustus’ soul, intending to carry it to hell while on the other he persuades Faustus to reject the contract because of the horrors he would encounter in hell. This theme, mostly existing within Faustus, provides interest and intrigue as to wonder if whether or not the highly intellectual doctor will finally come to his senses and repent. The play would be significantly less enjoyable if it followed a less interesting man, a man who morally feels no regret in giving up any chance of a positive afterlife for temporary powers. This indecision within Faustus also provides the central drama of the play.

The struggle between good and evil is best symbolized by the Good and Evil Angels. Each angel struggled to pull Faustus towards its side as Faustus himself struggled between his human reason or logic and his lustful desire for power. Good and evil battle once more when Faustus encounters the Old Man in the final scene. The Old Man is another symbol which replaces the Good and Evil Angels from earlier scenes. He persuades Faustus to repent and renounce his powers while it’s not too late. Marlowe uses in a rather clever way in this particular work.

They provide the audience with a more interesting play and extends the limits of the play’s subject if even slightly. One of the most significant allusions was one performed in Faustus’ visit to Charles V’s court. Charles V pleads Faustus to perform sorcery for him, an allusion of Alexander the Great and his lover. Faustus performs a simple trick and Alexander suddenly appears before the emperor’s eyes. The purpose of this allusion is to show another great feat performed by Faustus and one that certainly brings interest to one of the most powerful men in the world.

Marlowe was in some aspects a Renaissance writer and his work was a product of the age. He uses these allusions in the play to illuminate the transition between old beliefs and new ideas and knowledge. This transition served as one of the essential elements in the movement and Marlowe applies it with ease in his great work. “What art thou, Faustus, but a man condemned to die? ” (IV, v, 25) The quote above addresses many essential aspects of the play. One of these aspects is the struggle between good and evil, a theme represented most by Faustus and his indecision. This quote indicates this theme of the play more than any other.

Yes, Faustus is speaking his most troubled thoughts. What is he if not a fool who sold his soul for a temporary power only to perish in an eternal fire? Again it is evident that he struggles with his two most important principles, his lust for power and his reason. He ponders whether or not he made the right choice. The fact that he even struggles with this is ironic at the very least. One of the most intelligent men of his time is too blind to see the horror in Hell. This quote is also significant in that it represents his tragic fall as his corrupt morality prevents him from repenting in time and ultimately dooms him to an eternity in Hell.

Literature offers a great beginning to anything. From literature come so many ideas and characters that can fill up one’s imagination and carry on a certain tradition for ages. Many supernatural characters, like demons, have eventually been carried over from old literature. An example of one would be Mephistopheles. Mephistopheles is one of the seven chief demons from hell (Faust). He was originally featured in European literary traditions, German to be exact (Wikipedia). He starts as a cruel and cold-hearted fictional character, in the Legend of Faust, and carries on making appearances in other novels, plays, and songs.

The name Mephistopheles came from Hebrew, where Mephitz means “destroyer” and tophel means “liar” (Etymonline). Others believe Mephistopheles may also mean “he who shuns the light” (White Roses Garden). The Legend of Faust by Johann Wolfgang van Goethe, written in 1773, introduces the character of Mephistopheles (Donald Tyson). Mephistopheles is a shape shifter who can shape into many forms, and his main purpose in the legend is to destroy and tempt Faust (White Roses Garden).

Basically, he tries to trick Faust into selling his soul (Faust). Through Goethe’s book, he is known as a “fallen angel” as he clearly states to Faust” (Faust). “A late comer in the infernal hierarchy, Mephistopheles never became an integral part of the tradition of magic and demonology that predated by him for thousands of years. Mephistopheles achieves tragic grandeurs as he is torn between satanic pride and dark despair” (Encyclopedia Britannica). Other than the Faust legend, the name Mephistopheles is mentioned in various forms of modern culture. He takes place as “Mephistophilus” in Shakespeare’s Merry Wives of Windsor (Act 1, Sc 1, line 128) and in a book by John Banville (1911 Encyclopedia).

The name Mephistopheles has been mentioned in songs by Radiohead, Watain, the Police, and much more. He is all too familiar in television and movies like: SNL, Family Guy, South Park, Batman Begins, The Dark Knight, and Ghost Rider. Mephistopheles also occurs in video games, board games, operas, comics, stage plays, and other literature (Wikipedia). “Mephistopheles is one of the demons of hell according to Christian literature and legend. He is mentioned in virtually every version of the Faust story as the infernal agent who entices the scholar to sell his soul to the devil” (White Roses Garden).

This name has become well known and been mentioned in several forms of modern and pop culture (Faust). “The host of hell has also inspired numerous plays, paintings, and works of music” (White Roses Garden). Mephistopheles is a character who can be used in many forms of culture and has been created from the Legend of Faust. His dark and brooding personality makes him stand out, and it is likely that he will be remembered for generations to come.

Works Cited

1. Changeri, Heather. “Mephistopheles. ” White Roses Garden. 2007. October 11, 2010 Harper, Douglas. “Mephistopheles. ” Etymonline. 2010. October 10, 2010 n. p. “Mephistopheles. ”
2. Wikipedia. October 8, 2010. October 13, 2010 n. p. “Mephistopheles. ” Faust. 2006. October 11, 2010 n. p. “Mephistopheles. ”
3. Encyclopedia Britannica. 2008. Encyclopedia Britannica Online. October 13, 2010. n. p. “Mephistopheles” 1911 Encyclopedia. 2009. 1911
4. Encyclopedia Online. October 11, 2010. n. p. “List of Cultural References of Mephistopheles” Wikipedia. 12 September2010.

Doctor Faustus (play) From Wikipedia, the free encyclopedia Jump to: navigation, search The Tragical History of the Life and Death of Doctor Faustus Frontispiece to a 1620 printing of Doctor Faustus showing Faustus conjuring Mephistophilis. Written byChristopher Marlowe CharactersDoctor Faustus Chorus Wagner Good Angel Bad Angel Valdes Cornelius Three scholars Lucifer Mephistophilis Robin Beelzebub Seven Deadly Sins Dick Pope Adrian VI Raymond, King of Hungary Bruno Two Cardinals Archbishop of Rheims Friars Vintner Martino Frederick Benvolio Charles V Duke of Saxony Two soldiers Horse courser Carter

Hostess of a tavern Duke and Duchess of Vanholt Servant Old man MuteDarius Alexander the Great Alexander’s Paramour Helen of Troy Devils Piper Date premieredc. 1592 Original languageEnglish GenreTragedy Setting16th century Europe The Tragical History of the Life and Death of Doctor Faustus, commonly referred to simply as Doctor Faustus, is a play by Christopher Marlowe, based on the Faust story, in which a man sells his soul to the devil for power and knowledge. Doctor Faustus was first published in 1604, eleven years after Marlowe’s death and at least twelve years after the first performance of the play. No Elizabethan play outside the Shakespeare canon has raised more controversy than Doctor Faustus. There is no agreement concerning the nature of the text and the date of composition… and the centrality of the Faust legend in the history of the Western world precludes any definitive agreement on the interpretation of the play… “[1] Contents •1 Performance •2 Text o2. 1 The two versions o2. 2 Comic scenes •3 Sources •4 Structure •5 Synopsis o5. 1 Faustus learns necromancy o5. 2 The pact with Lucifer o5. 3 Wasting his skills o5. 4 Damnation or salvation o5. 5 The Calvinist/anti-Calvinist controversy 6 Quotations •7 Themes and motifs •8 Mephistophilis •9 Adaptations •10 Critical history •11 See also •12 Notes •13 References •14 External links [edit] Performance The Admiral’s Men performed Doctor Faustus twenty-five times in the three years between October 1594 and October 1597. On 22 November 1602, the Diary of Philip Henslowe recorded a ? 4 payment to Samuel Rowley and William Bird for additions to the play, which suggests a revival soon after that date. [2] The powerful effect of the early productions is indicated by the legends that quickly accrued around them.

In Histriomastix, his 1632 polemic against the drama, William Prynne records the tale that actual devils once appeared on the stage during a performance of Faustus, “to the great amazement of both the actors and spectators”. Some people were allegedly driven mad, “distracted with that fearful sight”. John Aubrey recorded a related legend, that Edward Alleyn, lead actor of The Admiral’s Men, devoted his later years to charitable endeavors, like the founding of Dulwich College, in direct response to this incident. [3] [edit] Text

The play may have been entered into the Stationers’ Register on 18 December 1592—though the records are confused, and appear to indicate a conflict over the rights to the play. A subsequent Stationers’ Register entry, dated 7 January 1601, assigns the play to the bookseller Thomas Bushnell, the publisher of the 1604 first edition. Bushnell transferred his rights to the play to John Wright on 13 September 1610. [4] [edit] The two versions Two versions of the play exist: 1. The 1604 quarto, printed by Valentine Simmes for Thomas Law; sometimes termed the A text.

The title page attributes the play to “Ch. Marl. “. A second edition (A2) in 1609, printed by George Eld for John Wright, is merely a reprint of the 1604 text. The text is short for an English Renaissance play, only 1485 lines long. 2. The 1616 quarto, published by John Wright, the enlarged and altered text; sometimes called the B text. This second text was reprinted in 1619, 1620, 1624, 1631, and as late as 1663. The 1616 version omits 36 lines but adds 676 new lines, making it roughly one third longer than the 1604 version.

Among the lines shared by both versions, there are some small but significant changes in wording; for example, “Never too late, if Faustus can repent” in the 1604 text becomes “Never too late, if Faustus will repent” in the 1616 text, a change that offers a very different possibility for Faustus’s hope and repentance. A major change between texts A and B is the name of the devil summoned by Faustus. Text A states the name is generally “Mephastophilis”, while the version of text B commonly states “Mephostophilis”. 5] The name of the devil is in each case a reference to Mephistopheles in Faustbuch, the source work, which appeared in English translation in about 1588. [6][7] The relationship between the texts is uncertain and many modern editions print both. As an Elizabethan playwright, Marlowe had nothing to do with the publication and had no control over the play in performance, so it was possible for scenes to be dropped or shortened, or for new scenes to be added, so that the resulting publications may be modified versions of the original script.

The 1604 version is believed by most scholars to be closer to the play as originally performed in Marlowe’s lifetime, and the 1616 version to be a posthumous adaptation by other hands. However, some disagree, seeing the 1604 version as an abbreviation and the 1616 version as Marlowe’s original fuller version. [edit] Comic scenes In the past, it was assumed that the comic scenes were additions by other writers. However, most scholars today consider the comic interludes, whoever wrote them, an integral part of the play. [8][9] Their tone shows the change in Faustus’s ambitions, suggesting Marlowe did oversee the composition of them. citation needed] The clown is seen as the archetype for comic relief. [citation needed] [edit] Sources Doctor Faustus is based on an older tale; it is believed to be the first dramatization of the Faust legend. [6] Some scholars[10] believe that Marlowe developed the story from a popular 1592 translation, commonly called The English Faust Book. [11] There is thought to have been an earlier, lost, German edition of 1587, which itself may have been influenced by even earlier, equally unpreserved pamphlets in Latin, such as those that likely inspired Jacob Bidermann’s treatment of the damnation of the doctor of Paris, Cenodoxus (1602).

Several soothsayers or necromancers of the late fifteenth century adopted the name Faustus, a reference to the Latin for “favoured” or “auspicious”; typical was Georgius Faustus Helmstetensis, calling himself astrologer and chiromancer, who was expelled from the town of Ingolstadt for such practices. Subsequent commentators have identified this individual as the prototypical Faustus of the legend. [12] Whatever the inspiration, the development of Marlowe’s play is very faithful to the Faust Book especially in the way it mixes comedy with tragedy. citation needed] However, Marlowe also introduced some changes to make it more original. Here, he made three main additions in the play: •Faustus’s soliloquy in the Act 1 on the vanity of human science •Good and Bad Angels •substitution of Seven Deadly Sins for a pageant of Devils He also emphasized his intellectual aspirations and curiosity and minimized the vices in the character of Faustus to lend a Renaissance aura to the story. [edit] Structure The play is in blank verse and prose in thirteen scenes (1604) or twenty scenes (1616).

Blank verse is largely reserved for the main scenes while prose is used in the comic scenes. Modern texts divide the play into five acts; act 5 being the shortest. As in many Elizabethan plays, there is a chorus that does not interact with the other characters but rather provides an introduction and conclusion to the play and gives an introduction to the events that have unfolded at the beginning of some acts. Along with history and language style, scholars have critiqued and analyzed the structure of Doctor Faustus and its effects on the play as a whole. Leonard H.

Frey wrote a document entitled “In the Opening and Close of Doctor Faustus,” which mainly focuses on Faustus’s opening and closing soliloquies. He stresses the importance of the soliloquies in the play, saying: “the soliloquy, perhaps more than any other dramatic device, involved the audience in an imaginative concern with the happenings on stage”. [13] By having Doctor Faustus deliver these soliloquies at the beginning and end of the play, the focus is drawn to his inner thoughts and feelings about succumbing to the devil. The soliloquies have parallel concepts.

In the introductory soliloquy, Faustus begins by pondering the fate of his life and what he wants his career to be. He ends his soliloquy with the solution and decision to give his soul to the devil. Similarly in the closing soliloquy, Faustus begins pondering, and finally comes to terms with the fate he created for himself. Frey also explains: “The whole pattern of this final soliloquy is thus a grim parody of the opening one, where decision is reached after, not prior to, the survey”. [14] [edit] Synopsis [edit] Faustus learns necromancy As a prologue, the Chorus tells us what type of play Doctor Faustus is.

It is not about war and courtly love, but about Faustus, who was born of lower class parents. This can be seen as a departure from the medieval tradition; Faustus holds a lower status than kings and saints, but his story is still worth telling. It gives an introduction to his wisdom and abilities, most notably in academia, in which he excels so tremendously that he is awarded a doctorate. During this opening, we also get our first clue to the source of Faustus’s downfall. Faustus’s tale is likened to that of Icarus, who flew too close to the sun and fell to his death when the sun melted his waxen wings.

This is indeed a hint to Faustus’s end as well as bringing our attention to the idea of hubris (excessive pride) which is represented in the Icarus story. Faustus comments that he has reached the end of every subject he has studied. He appreciates Logic as being a tool for arguing; Medicine as being unvalued unless it allowed raising the dead and immortality; Law as being upstanding and above him; Divinity as useless because he feels that all humans commit sin, and thus to have sins punishable by death complicates the logic of Divinity. He dismisses it as “What doctrine call you this?

Que sera, sera” (What will be, shall be). He calls upon his servant Wagner to bring forth Valdes and Cornelius, two famous magicians. The Good Angel and the Bad Angel dispense their own perspective of his interest in Satan. Though Faustus is momentarily dissuaded, proclaiming “How am I glutted with conceit of this? “, he is apparently won over by the possibilities Magic offers to him. Valdes declares that if Faustus devotes himself to Magic, he must vow not to study anything else and points out that great things are indeed possible with someone of Faustus’s standing.

Faustus’s absence is noted by two scholars who are less accomplished than Faustus himself. They request that Wagner reveal Faustus’s present location, a request which Wagner haughtily denies. The two scholars worry about Faustus falling deep into the art of Magic and leave to inform the King. Faustus summons a devil, in the presence of Lucifer and other devils although Faustus is unaware of it. After creating a magic circle and speaking an incantation in which he revokes his baptism, Faustus sees a devil named Mephistophilis appear before him.

Faustus is unable to tolerate the hideous looks of the devil and commands it to change its appearance. Faustus, in seeing the obedience of the devil (for changing form), takes pride in his skill. He tries to bind the devil to his service but is unable to because Mephistophilis already serves Lucifer, the prince of devils. Mephistophilis also reveals that it was not Faustus’s power that summoned him but rather that if anyone abjures the scriptures it results in the Devil coming to claim their soul.

Mephistophilis introduces the history of Lucifer and the other devils while indirectly telling Faustus that hell has no circumference and is more of a state of mind than a physical location. Faustus inquiries into the nature of hell lead to Mephistophilis saying: “Oh, Faustus, leave these frivolous demands, which strikes a terror to my fainting soul”. [edit] The pact with Lucifer Using Mephistophilis as a messenger, Faustus strikes a deal with Lucifer: he is to be allotted twenty-four years of life on Earth, during which time he will have Mephistophilis as his personal servant.

At the end he will give his soul over to Lucifer as payment and spend the rest of time as one damned to Hell. This deal is to be sealed in Faustus’s own blood. After cutting his arm, the wound is divinely healed and the Latin words “Homo, fuge! ” (Flee, man! ) then appear upon it. Despite the dramatic nature of this divine intervention, Faustus disregards the inscription with the assertion that he is already damned by his actions thus far and therefore left with no place to which he could flee. Mephistophilis brings coals to break the wound open again, and thus Faustus is able to take his oath that was written in his own blood. edit] Wasting his skills Faustus begins by asking Mephistophilis a series of science-related questions. However, the devil seems to be quite evasive and finishes with a Latin phrase, “Per inoequalem motum respectu totius” (“through unequal motion with respect to the whole thing”). This sentence has not the slightest scientific value, thus giving the impression that Mephistophilis is untrustworthy. Two angels, one good and one bad, appear to Faustus: the good angel urges him to repent and revoke his oath to Lucifer.

This is the largest fault of Faustus throughout the play: he is blind to his own salvation. Though he is told initially by Mephistophilis to “leave these frivolous demands”, Faustus remains set on his soul’s damnation. Lucifer brings to Faustus the personification of the seven deadly sins. Faustus fails to see them as warnings and ignores them. From this point until the end of the play, Faustus does nothing worthwhile, having begun his pact with the attitude that he would be able to do anything. Faustus appears to scholars and warns them that he is damned and will not be long on the earth.

He gives a speech about how he is damned and eventually seems to repent for his deeds. Mephistophilis comes to collect his soul, and we are told that he exits back to hell with him. [edit] Damnation or salvation The text leaves Faustus’s final confrontation with Mephistophilis offstage, and his final fate obvious. The scene following begins with Faustus’s friends discovering his clothes strewn about the stage: from this they conclude that Faustus was damned. However, his friends decide to give him a final party, a religious ceremony that hints at salvation.

The discovery of the clothes is a scene present only in the later ‘B text’ of the play — in the earlier version of the play devils carry Faustus off the stage. [15] [edit] The Calvinist/anti-Calvinist controversy The theological implications of Doctor Faustus have been the subject of considerable debate throughout the last century. Among the most complicated points of contention is whether the play supports or challenges the Calvinist doctrine of absolute predestination, which dominated the lectures and writings of many English scholars in the latter half of the sixteenth century.

According to Calvin, predestination meant that God, acting of his own free will, elects some people to be saved and others to be damned — thus, the individual has no control over his own ultimate fate. This doctrine was the source of great controversy because it was seen by the so-called anti-Calvinists to limit man’s free will in regard to faith and salvation, and to present a dilemma in terms of theodicy. At the time Doctor Faustus was performed, this doctrine was on the rise in England, and under the direction of Puritan theologians at Cambridge and Oxford had come to be considered the orthodox position of the Church of England. 16] Nevertheless, it remained the source of vigorous and, at times, heated debate between Calvinist scholars, such as William Whitaker and William Perkins, and anti-Calvinists, such as William Barrett and Peter Baro. [17] The dispute between these Cambridge intellectuals had quite nearly reached its zenith by the time Marlowe was a student there in the 1580s, and likely would have influenced him deeply, as it did many of his fellow students. [18] Concerning the fate of Faustus, the Calvinist concludes that his damnation was inevitable.

His rejection of God and subsequent inability to repent are taken as evidence that he never really belonged to the elect, but rather had been predestined from the very beginning for reprobation. In his Chiefe Points of Christian Religion, Theodore Beza, the successor to John Calvin, describes the category of sinner into which Faustus would most likely have been cast: To conclude, they which are most miserable of all, those climb a degree higher, that their fall might be more grievous: for they are raised so high by some gift of grace, that they are little moved with some taste of he heavenly gift: so that for the time they seem to have received the seed… But this is plain, that the spirit of adoption, which we have said to be only proper unto them which are never cast forth, but are written in the secret of God’s people, is never communicated to them, for were they of the elect they should remain still with the elect. All these therefore (because of necessity, and yet willingly, as they which are under the slavery of sin, return to their vomit, and fall away from faith) are plucked up by the roots, to be cast into the fire. 19] For the Calvinist, Faustus represents the worst kind of sinner, having tasted the heavenly gift and rejected it. His damnation is justified and deserved because he was never truly adopted among the elect. According to this view, the play demonstrates Calvin’s “three-tiered concept of causation,” in which the damnation of Faustus is first willed by God, then by Satan, and finally, by himself. 20] As Calvin himself explains it in his Institutes of Christian Religion: We see therefore that it is no absurdity, that one self act be ascribed to God, to Satan, and to man: but the diversity in the end and manner of doing, causeth that therein appeareth the justice of God to be without fault, and also the wickedness of Satan and man, bewrayeth itself to their reproach. [21] The anti-Calvinist view, however, finds such thinking repugnant, and prefers to interpret Doctor Faustus as a criticism of such doctrines.

One of the greatest critics of Calvinism in Marlowe’s day was Peter Baro, who argued that such teachings fostered despair among believers, rather than repentance among sinners. He claimed, in fact, that Calvinism created a theodical dilemma: What shall we say then? That this question so long debated of the Philosophers, most wise men, and yet undetermined, cannot even of Divines, and men endued with heavenly wisdom, be discussed and decided? And that God hath in this case laid a crosse upon learned men, wherein they might perpetually torment themselves? I cannot so think. 22] Baro recognized the threat of despair which faced the Protestant church if it did not come to an agreement of how to understand the fundamentals. For him, the Calvinists were overcomplicating the issues of faith and repentance, and thereby causing great and unnecessary confusion among struggling believers. Faustus himself confesses a similar sentiment regarding predestination: “The reward of sin is death. ” That’s hard. … “If we say that we have no sin, We deceive ourselves, and there’s no truth in us. ” Why then belike we must sin, And so consequently die.

Ay, we must die an everlasting death. What doctrine call you this? Che sera, sera, “What will be, shall be”? Divinity, adieu! [23] Ultimately, however, the theology of Marlowe and the text of Doctor Faustus remain far too ambiguous for any kind of conclusive interpretation. [edit] Quotations Faustus includes a well-known speech addressed to the summoned shade of Helen of Troy, in Act V, scene I. The following is from the Gutenberg project e-text of the 1604 quarto (with footnotes removed). Faustus “Was this the face that launch’d a thousand ships, And burnt the topless towers of Ilium–

Sweet Helen, make me immortal with a kiss. — ”[kisses her]” Her lips suck forth my soul: see, where it flies! — Come, Helen, come, give me my soul again. Here will I dwell, for heaven is in these lips, And all is dross that is not Helena. I will be Paris, and for love of thee, Instead of Troy, shall Wertenberg be sack’d; And I will combat with weak Menelaus, And wear thy colours on my plumed crest; Yea, I will wound Achilles in the heel, And then return to Helen for a kiss. O, thou art fairer than the evening air Clad in the beauty of a thousand stars; Brighter art thou than flaming Jupiter

When he appear’d to hapless Semele; More lovely than the monarch of the sky In wanton Arethusa’s azur’d arms; And none but thou shalt be my paramour! ” Excerpts from this speech appear in the film Shakespeare in Love and the Star Trek episode “The Squire of Gothos”; it also served as inspiration for the title of Volume 1 of the popular Age of Bronze comic book. Another well-known quote comes after Faustus asks Mephistophilis how he is out of Hell, to which Mephistophilis replies: “Why this is hell, nor am I out of it. Think’st thou that I, who saw the face of God,

And tasted the eternal joys of heaven, Am not tormented with ten thousand hells In being deprived of everlasting bliss? ” This quote comes from a translation of Saint John Chrysostom, and implies that Mephistophilis has both a deep knowledge of God and a desire to return to heaven. [edit] Themes and motifs One theme in Doctor Faustus is sin. Throughout the play, Faustus is continuously making wrong choices. His first sin was greed. Faustus began his downfall by making a pact with the devil. Doctor Faustus is a German scholar who is well known for his accomplishments.

He grows sick of the limitations on human knowledge, which leads him to his interest with magic. [24] Faustus summons a demon, Mephistophilis, ordering him to go to Lucifer with the offer of Faustus’s soul in return for twenty-four years of servitude from Mephistophilis. At the news of acceptance from Lucifer, Faustus begins his years filled with sinful nature. Faustus feeds sin with his need for power, praise, and trickery. [25] He becomes absorbed in the way people look up to him, believing him to be a sort of ‘hero’. In the end, Faustus realizes his mistake in believing power will bring him happiness.

At the end of his twenty-four years, Faustus is filled with fear and he becomes remorseful for his past actions, yet this comes too late. When fellow scholars find Faustus the next morning, he is torn limb from limb, with his soul carried off to hell. In terms of historical context, a major thematic idea is that related to knowledge and the quest for it. With Enlightenment thinkers demonstrating the extent to which the sciences and rational speculation could inform human knowledge of the cosmos and other pressing mysteries of the age, Marlowe presents the idea of hubris which undamentally relates to the search for knowledge in a religious age. Marlowe also draws significant attention to feelings experienced both by himself and other thinkers of his time: the unsatisfying nature of the answers found as part of this quest and the impossibility of learning everything in a lifetime as brief as that of a human. Satanism and death are also prevalent themes. Marlowe sets the story in Wittenburg, Germany with Faustus selling his soul to the devil and declaring his servitude to Satan, Mephistophilis: “I am a servant to great Lucipher and may not follow thee without his leave.

No more than he commands we must perform” (p 13 line 39-41). Marlowe shows throughout the play that his vow to forever be a servant of Satan negatively affects his life and how had he known what he was getting into, then he would never have made a deal with the devil. Magic is also a motif that plays a major role in Dr. Faustus. Faustus’s downfall began with his love of knowledge, which leads for his need to use magic. Faustus loves the praise that he gets when people view him as a ‘genius’, which supports his need to have ‘special powers’. 26] Faustus enjoys playing tricks on people by using his powers, and even goes so far as to use his powers on a dragon. He summons demons with magic, and later brings Helen of Troy to comfort him in his final hours. The use of magic is a show of Faustus’s ‘demoralization’. He no longer wants to be a mere mortal… he wants to be as powerful as the devil himself. [27] One of the most apparent themes in Doctor Faustus is the battle between good and evil. At the beginning of the play, Faustus finds himself torn between good and evil, knowing the distinction and consequences of the two, but overwhelmed by his desire for worldly pleasures.

Faustus’s desire for mortal satisfaction is personified through the seven deadly sins who all speak to him and tempt him. Nicholas Kiessling explains how Faustus’s sins brings about his own damnation, saying: “Faustus’s indulgence in sensual diversions, for, once being committed to the pact with Satan, Faustus partakes of the sop of sensuality to blot out his fears of impending damnation”[28] Another illustration of Faustus’s battle between good and evil is shown through the good and evil angels which try to influence his decisions and behavior.

Kiessling says, “Although Faustus does not heed the plea, Marlowe very evidently implies that the chance for redemption still exists”. [29] Although Faustus recognizes the consequences of choosing to listen to the evil spirit over the good spirit, he cannot resist the temptations of the devil and the worldly and mortal pleasures he offers. [edit] Mephistophilis Mephistophilis is a demon which Faustus conjures up while first using his magical powers. Readers initially feel sympathy for the demon when he attempts to dissuade Faustus from giving his soul to Lucifer.

Mephistophilis gives Faustus a description of hell and the continuous horrors it possesses. He wants Faustus to know what he is getting himself into before going through with the plan. “Think’st thou that I who saw the face of God And tasted the eternal joy of heaven Am not tormented with ten thousand hells In being deprived of everlasting bliss? O Faustus, leave these frivolous demands Which strikes a terror to my fainting soul! ” [30] Sadly, his attempts fail with Faustus believing that supernatural powers were worth more than a lifetime in hell. Say he (Faustus) surrender up to him (Lucifer) his soul So he will spare him four and twenty years, Letting him live in all voluptuousness Having thee (Mephistophilis) ever to attend on me” (Marlowe 15) Some scholars argue that Mephistophilis depicts the sorrow that comes with separation from God. Mephistophilis is foreshadowing the pain Faustus would have to endure, should he go through with his plan. [31] In this facet, Faustus can be likened to Icarus, whose insatiable ambition was the source of his misery and the cause of his plight. [edit] Adaptations

The play was adapted for the screen in 1967 by Richard Burton and Nevill Coghill, who based the film on an Oxford University Dramatic Society production in which Burton starred opposite Elizabeth Taylor as Helen of Troy. A stage production at the Greenwich Theatre in London in 2009, which was directed by Elizabeth Freestone and which starred Tim Treolar as Mephistopheles and Gareth Kennerley as Faustus, was filmed for DVD release by Stage on Screen. It played in repertoire with School for Scandal. [edit] Critical history Doctor Faustus has raised much controversy due to its interaction with the demonic realm. 32] Before Marlowe, there were few authors who ventured into this kind of writing. After his play, other authors began to expand on their views of the spiritual world and how quickly and easily man can fall. [33] [edit] See also •Solamen miseris socios habuisse doloris, line from the play, commonly translated as “misery loves company” •Faust •Deal with the Devil [edit] Notes 1. ^ Logan and Smith, p. 14. 2. ^ Chambers, Vol. 3, p. 423. 3. ^ Chambers, Vol. 3, pp. 423-4. 4. ^ Chambers, Vol. 3, p. 422. 5. ^ Bevington, David M; Rasmussen, Eric (1962).

Doctor Faustus A- and B- texts (1604, 1616): Christopher Marlowe and his collaborator and revisers. Manchester, England: Manchester University Press. p. xi. ISBN 0-7190-1643-6. 6. ^ a b Christian, Paul; Nichols, Ross (translator); (1952). The History and Practice of Magic 1. London: Forge Press. p. 428. “The name has many forms: Marlowe writes Mephistophilis… ” 7. ^ Jones, John Henry (1994). The English Faust Book, a critical edition. Cambridge, England: Cambridge University Press. p. 1. ISBN 978-0-521-42087-7. 8. ^ Tromly, Frederic (1998). “Damnation as tantalization”.

Playing with desire: Christopher Marlowe and the art of tantalization. University of Toronto Press. p. 135. ISBN 978-0-8020-4355-9. 9. ^ Cantor, Paul A (2004). “The contract from hell”. In Heffernan, William C. ; Kleinig, John. Private and public corruption. Lanham, MD: Rowman & Littlefield. p. 98. ISBN 978-0-7425-3492-6. 10. ^ Leo Ruickbie, Faustus: The Life and Times of a Renaissance Magician (The History Press, 2009), p. 15 11. ^ The History of the damnable life, and deserved death of Doctor Iohn Faustus by P. F. , Gent, 12. ^ Keefer, Michael (2008). Introduction”. Doctor Faustus: a critical edition. Ontario: Broadview. pp. 67–8. 13. ^ Frey, Leonard H. “ANTITHETICAL BALANCE IN THE OPENING AND CLOSE OF DOCTOR FAUSTUS. ” Academic Search Premier. EBSCO. Saint Louis University, Saint Louis. 26 Mar. 2009 p350 14. ^ (352) 15. ^ Bevington; Rasmussen (1962: 46) 16. ^ p. 157. Milward, Peter. Religious Controversies of the Elizabethan Age: A Survey of Printed Sources. University of Nebraska Press, 1977. 17. ^ p. 157-163. Milward. 18. ^ p. 249. Princiss, G. M. “Marlowe’s Cambridge Years and the Writing of Doctor Faustus. Studies in English Literature 33. 2 (1993). 19. ^ 5. 5. Beza, Theodore. “A Brief Declaration of the Chief Points of Christian Religion Set Forth in a Table. ” 1575. Early English Books Online. 10 2 2007. http://eebo. chadwyck. com. 20. ^ p. 292. Stachniewski, John. The Persecutory Imagination: English Puritanism and the Literature of Religious Despair. Oxford University Press, 1991. 21. ^ 2. 4. 2. Calvin, John. “The Institutes of Christian Religion. ” 1585. Early English Books Online. 10 2 2007. http://eebo. chadwyck. com. 22. ^ p. 510. Hyperius, Andreas. A Special Treatise of God’s Providence With an Appendix by Peter Baro. ” 1588. Early English Books Online. 10 2 2007. http://eebo. chadwyck. com. 23. ^ 1. 1. 44-50. 24. ^ (Fetzer, John. Perceptions of Thomas Mann’s Doctor Faustus : criticism 1947-1992 . New York City: Camden House , 1996. ) 25. ^ (Fetzer 21) 26. ^ (Kiessling , Nicolas . “Doctor Faustus and the Sin of Demoniality . ” Studies in English Literature, 1500-1900 15(1975): 205-211) 27. ^ (Kiessling, 207) 28. ^ (Kiessling, Nicolas. “Doctor Faustus and the Sin of Demoniality. ” Academic Search Premier. EBSCO. Saint Louis University. 6 Mar. 2009 p205). 29. ^ (207) 30. ^ (Marlowe 14) 31. ^ (Snydre, Susan. “Marlowe’s Doctor Faustus as an Inverted Saint’s Life. ” Studies in Philology 63(1966): 565-577. ) 32. ^ (Hamlin , William M. . “Casting Doubt in Marlowe’s Doctor Faustus. ” Studies in English Literature 1500-1900 (2001): 257-275. ) 33. ^ (Hamlin, 258). [edit] References •Chambers, E. K. The Elizabethan Stage. 4 Volumes, Oxford, Clarendon Press, 1923. •Logan, Terence P. , and Denzell S. Smith, eds. The Predecessors of Shakespeare: A Survey and Bibliography of Recent Studies in English Renaissance Drama.

Lincoln, NE, University of Nebraska Press, 1973. [edit] External links Wikisource has original text related to this article: The Tragedy of Doctor Faustus •The Tragical History of Doctor Faustus librivox. org audio •1616 quarto online •The Tragical History of Doctor Faustus From the Quarto of 1604 by Christopher Marlowe at Project Gutenberg •The Tragical History of Doctor Faustus From the Quarto of 1616 by Christopher Marlowe at Project Gutenberg •Doctor Faustus (play) at the Internet Broadway Database •v •t •e Christopher Marlowe Plays •Dido, Queen of Carthage Tamburlaine the Great, Parts One and Two •The Jew of Malta •Doctor Faustus •Edward II •The Massacre at Paris Poems •Lucan’s Pharsalia •Ovid’s Elegies •The Passionate Shepherd to His Love •Hero and Leander People•Thomas Nashe •Philip Henslowe •Thomas Heywood •Ingram Frizer •Eleanor Bull •Nicholas Skeres •Robert Poley •George Chapman •Edward Alleyn Fictional representations•Marlowe (Rost) •The School of Night (Whelan) •Tamburlaine Must Die (Welsh) •A Dead Man in Deptford (Burgess) •It Was Marlowe (Zeigler) •Kit Marlowe (David Grimm) •The Marlowe Papers (Ros Barber)

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On the 14th November 2012 we went to the Rose’s Theatre in Tewkesbury to watch Scene Productions perform the tragedy ‘Doctor Faustus’ which was filled with disappointment and unexpected aspects. However, it did bring forward a message throughout the play which is showed clearly and effectively. This message was that people who give into temptation because of greed get punished; this is based on a religious concept. At first we got told the whole performance was going to be an hour, this straight away made me have doubts about the play and allowed me to think that it was going to be rushed which I felt like happened. Despite this, there were some promising scenes which made me as the audience have a mixture of emotions.

When I first arrived into my seat, the first thing I noticed was the set placed on stage. It seemed like a very simple set, but also very effective. It clearly showed the time the performance was set and allowed us to have a personal interpretation of the character Doctor Faustus without even meeting him. Whilst the lights were still on and people were coming into the theatre, it seemed like the production started as we are first introduced to two characters walking around in a sinister sort of manor, whether it was because people were late into the theatre or it was planned, it was a huge distraction and it was hard to focus on the dilemma which is occurring on stage, as I kept on turning my head to the loud talking of people arriving, not only this the harsh lights were still on which helped me to not focus on the characters on the stage whatsoever.

The character of Doctor Faustus played by Ben Elder was introduced as a puppet, this was effective as it allowed us to realise that compared to hell he was seen as vulnerable and small. It also helped to distance the audience and showed to us that we are not watching reality; it was simply an interpretation of an urban legend. However, I also felt that it would have been much more effective if it was an actual actor performing because then perhaps we as the audience would be able to view his acting skills.

The music throughout the play was purposely sinister to reflect on the major theme of the production which was death. The music helped to build the climax, create atmosphere and to determine the audience’s emotion. The constant screaming and howling in the soundtrack helped to portray hell as a dangerous and horrific place to be. The music started to begin before the play even started this was effective as it allowed us to have an interpretation on the whole play and gave off an eerie atmosphere beforehand.

There were a few mistakes made in the whole performance which disheartened me and made it seem messy and disorganised. When organising props and having costume changes behind the actual set, it became distracting if ever a noise was made or the sheet was accidently knocked. This decreases its effectiveness as it clearly distracted me from the performance. Small incidents were made, from tripping up the stairs whilst getting on the stage, to a door not opening fully for Faustus to get through backwards. However these little mistakes were acceptable but it brought up climaxes for nothing.

They developed Doctor Faustus’s thoughts by presented them as an angel and a devil on either side trying to convince him to go onto their side. They were seen as a black card with wings on either side and hid their bodies. The persistent flapping of their wings showed their persevering and their urge to not give up. Though sometimes the angel and devils got a bit stupid

They also interacted with the audience which effectively broke the fourth wall, as it engaged the audience and it felt like we were part of the play. The use of the sign saying ‘clap’ or ‘gasp’, I thought was a quite over exaggerated as it completely distracted you from the entire play. It also brought a comical feel to the whole performance which changes the whole theme, did they intend to make you laugh or feel sympathy for Faustus? They made a member of the audience feel uncomfortable and separating the performer both physically and verbally. This makes the audience member feel apprehensive about going on stage due to the distinctive and eerie atmosphere, however this can easily be criticised as I felt that due to this I was watching more of a pantomime rather than a dramatic performance which I thought it was going to be as it struggled to create a powerful meaning, although it helped to patronise the audience which created a scary atmosphere, breaking the conventions of a normal and evil play.

The lighting throughout the play was effective as it demonstrates the major motif which is morally evil. I was constantly engaged when the arrogant protagonist who makes a pact with Lucifer to gain forbidden power and outstanding knowledge. He then finds himself getting dragged into the murky mist of hell. The low budget performance consisted of a mass of creativity, as the set didn’t change throughout the whole thing. There were small candles used to illuminate the stage and set which cleverly symbolized the heat that burns in life and death. The Candles also represented beauty which is highly ironic, as hell is an evil and sinister place, and is nowhere near beautiful.

In conclusion, I felt that the narrative was creative but the way they presented it was filled with disappointment, perhaps without the humour it would be classed as a dramatic play which is what it is originally supposed to be. I myself would not go see it again as it did not appeal to me whatsoever; it got exhibited as a pantomime and made me feel like a child. Though I would recommend this production to the older generation as it is filled with complexities and enigmas, though it would also engage children as they get attracted the humour.

In Goethe’s Faust, Mephistopheles is presented as a servant of the Devil. His chief function is to search for corrupt men and collect their souls. Mephistopheles’ appearance to Faust signifies that Faust’s soul is in danger of damnation. Some scholars claimed that Mephistopheles, although a servant of Satan, is not entirely evil. In the third part of the play, Mephistopheles even warned Faustus not to sell his soul t Lucifer. There are indications that he even advised Faust to seek and reenter God’s favor by foregoing his unwarranted desires.

In post-classical literary criticism, Mephistopheles is even depicted as a protector of souls in danger of damnation – a fallen angel who retained some good. Some scholars argued that Mephistopheles is the material manifestation of Faust’s bad conscience. He is perceived to be an angel who permitted Faust to act on endless possibilities. This limitless freedom is synonymous to a life free from God. Indeed, according to some scholars, Mephistopheles represents this limitless freedom.

However, it should be noted that Mephistopheles is not merely a symbolic representation of evil. In the play, he is portrayed as a fallen angel – a servant of Satan who collects the soul of damned individuals. The traditional definition of evil is, however, retained in Mephistopheles’ character. The first scene of the play is somehow imitated from one of the most popular stories in the Bible, the story of Job. Faust is a humble teacher and doctor to the poor. He is the proof that there are still men who are truly dedicated to God.

Mephistopheles approaches God and mocks Faust for his endless search for understanding. He tells God that such character is a weakness – that it is impossible to fully understand the cosmos. God allows Mephistopheles to ‘tempt’ Faust. Mephistopheles is overtly happy, presumably because he knew that he could easily sway Faust away from God. In his study table, Faust reads some commentaries on the Bible and philosophical tracts. He is deeply sad because after studying so many tracts and books, he still cannot understand the mysteries of the universe.

At some point in time, he considers committing suicide. It is Easter Morning. Faust reads the first chapter of the Gospel of John. Mephistopheles then suddenly appeared disguised as a scholar. The two men talk and after which, Faust convinces him to return. . Mephistopheles then appears to Faust, this time in his true form. He offers Faust all the wonders of the world in exchange for his soul. Faust immediately agrees (believing that the soul is not immortal) on the condition that he must experience the greatest pleasure that can be possibly attained.

Mephistopheles agrees. A blood pact is then signed. Note the overt traditionalism of the first chapter of the play. Contrary to post-modernist criticism of the play, Mephistopheles is depicted not only as the agent of Satan but also as the bearer of true evil. His proud stature as a fallen angel is a proof that he is fully capable of swaying men away from God. Indeed, Mephistopheles is not only Faust’s bad conscience; he is an incarnate of evil – a creature whose existence is independent from that of either Faust or his conscience.