Doctor Faustus by Christopher Marlowe detailed summary with critical analysis

 The Tragical History of the Life and Death of Doctor Faustus (1592)

 

“The awful daring of a moment's surrender which an age of prudence  can never retract. by this, and only this, we have existed.” - T.S. Eliot, The Waste Land

 Prologue

The Chorus introduces the chief character of the play, Doctor John Faustus who, although born of peasant stock, has achieved eminence as a brilliant academic in the University of Wittenburg. The speaker gives a brief summary of the main theme , telling how Faustus dabbles in black magic which results in his final damnation.

The chorus explains that the play tells the story of a scholar named Faustus, who, like Icarus, “his waxen wings did mount above his reach.” 

In the myth of Icarus, he flew using wings made of wax and feathers. Ignoring his father’s warnings, Icarus flew too close to the sun and met a tragic end.

The Chorus concludes with a lament for Faustus's preference for these 'devilish exercises'.

Act I

Faustus is sitting in his study considering the principal academic disciplines. One by one they are rejected. First he casts aside the study of the great Greek philosopher, Aristotle. Medicine is dismissed because it has found no cure for death. Next Divinity (Theology) is rejected because of the apparent harshness of God's judgement. He chooses to follow black magic, or necromancy, which he believes will bring him immense worldly power and riches. Valdes and Cornelius , two black magicians, are invited to visit Faustus . This decision precipitates the appearance of two figures, the Good Angel representing Faustus's conscience and the Bad Angel who encourages his baser instincts. The Good Angel pleads with Faustus to reconsider his decision while the Bad Angel urges him towards black magic. However Faustus is determined to pursue his aim. His mind is brimming with only the material success. Encouraged by his evil visitor, he dreams of becoming extravagant and exotic. He is so glutted with such exciting prospects that Faustus determines to conjure the Devil by following the instructions of his evil counsellors.

In this scene the intelligent , learned Faustus makes a fatally unwise decision. Ignoring the advice of his conscience, he makes a deliberate choice to adopt black magic as his chief study by rejecting Divinity.  The constant reappearance of good and bad angels in the play whenever Faustus is wavering in his decisions is highly symbolic. The Good Angel is a constant reminder of the possibility of repentance and salvation. The Bad Angel is the agent of Satan seducing Faustus into evil by visions of richness and power.

 

In response to an enquiry from two students as to the whereabouts of Doctor Faustus, his servant, Wagner, reveals that his master is dining with the notorious necromancers, Valdes and Cornelius. The scholars are immediately alarmed at contact with a 'damned art' which made them unsettled.

The servant Wagner introduces as a comic element in the play. He uses full of academic jargon, presumably picked up from his master, and he successfully outsmarts the two scholars in argument.

To the accompaniment of thunder and with Lucifer and his devilish attendants observing his actions, Faustus begins the process of conjuration. He draws a circle round himself, inscribing on the circumference the Hebrew. His invocation in Latin calls on Lucifer, prince of the east, Belzebub, monarch of burning Hell, and Demogorgon (the devilish trio equivalent to the heavenly Trinity of God: the Father, Son and Holy Ghost) to send forth Mephistophilis. At first there is no response, so he scatters holy water and makes the sign of the cross. Mephistophilis appears, but in the shape of an ugly dragon. Faustus orders him to return and reappear in the disguise of a Franciscan friar. Mephistophilis comes back dressed in a friar's habit. He is not at all terrified by threats of damnation  (eternal punishmnent). Mephistophilis describes Lucifer, Prince of Hell, as once beloved by God, but cast out of Heaven because of an attempted usurpation of God's throne . Angels who joined the conspiracy with Lucifer were also damned and expelled to Hell. Faustus urges him to cease these necromantic practices and remains unmoved by this surprisingly passionate outburst. Instead he proposes an agreement with Lucifer that, in exchange for twenty-four years of voluptuous living and earthly eminence, he will surrender his soul to the Devil.

This is one of the most important scenes in the play. It firmly establishes Faustus's determination to employ his necromantic power, and it introduces the vital contract with Lucifer. But it also reveals the complex character of Mephistophilis. His desire to catch the soul of Faustus.

Wagner has picked up some of his master's conjuring skills which he shows off to a rather foolish way.

This is the first of a series of comic episodes which offer a contrast to and parody of the main events of the play. Wagner, unlike his master, effortlessly conjures up devils without risk to his soul. The devils appear at his bidding and obey his instructions unquestioningly. (a kind of illusion)

 

Act II

The exultation that Faustus experienced is now replaced by grave uncertainty. Thoughts turning him to God and Heaven battle with a resolution to maintain trust in Belzebub. This inward turmoil is outwardly demonstrated by the appearance of two figures: the Bad Angel who urges him to continue his allegiance to Lucifer, and the Good Angel who commends repentance. Having offered these contradictory pieces of advice, the angels vanish. Faustus , consoling himself with visions of wealth , summons up Mephistophilis to hear the outcome of his proposal to Lucifer. He learns that the promise must be enshrined in a formal deed written in blood. Although he remains curious as to the value of his soul to Lucifer, Faustus stabs his arm to obtain the bloody ink. However, to his surprise and puzzlement, the supply dries up and Mephistophilis is despatched to bring fire to revive the flow. Having been warmed, the blood liquefies and the deed is completed. At the place of the wound , disturbing words appear: 'Homo fuge' (Flee , O Man), but Faustus determines to resist this advice and stay with Mephistophilis. Mephistophilis conjures up devils who make presents of a headdress and rich garments. Thus diverted, the conditions are read over and the signed document delivered. Faustus is eager to ask questions, but he scornfully rejects Mephistophilis's description of the universality of Hell.  Soon Faustus discovers limitations to his newly acquired power. His request for a wife is refused. Instead he is offered a devil dressed as a woman or any courtesan he Wishes , as well as a series of books on conjuring, the planets and botany. These gifts seem to content him.

The scene identifies the first of a series of moments when Faustus has doubts about his decision. Part of his mind or conscience clings to thoughts of God whilst the rest stays with the Devil. This conflict is personified by the two angels. Whenever that doubt erupts we will notice their appearance. Faustus agrees the contract with the Devil. In place of a wife he is offered a courtesan and is easily diverted by gifts of books, rather like sweets given to a child.

 Faustus's conscience again troubles him. Consequently the Good and Bad Angels appear to give their contradictory advice. Faustus tries to reduce his despair with thoughts of pleasure. Much of the information supplied by Mephostophilis is already known . When a question about Heaven arises, an answer is refused. They succeed in diverting Faustus's attention with the Show of the Seven Deadly Sins: Pride, Covetousness (strong wish to have something that belongs to someone), Envy, Wrath (anger), Gluttony, Sloth (lazy) and Lechery (lust). This spectacle has the desired effect and a delighted Faustus is presented with further magic books.

 .

Robin, who has stolen one of Faustus's books, shows off his conjuring abilities to Dick, the ostler (horseman). His halting invocation imitates Faustus's words. His chief boast is of a magic power that will provide wine at the local hostelry without payment. This scene offers a comic version of the serious episode of Faustus's conjuration.

 

By the interjection of the chorus, the action is quickly moved from Germany to Rome. So far Faustus's magic actions have been described rather than demonstrated. In fact, the only necromancy we have seen him perform is the conjuration of Mephostophilis.

 

Act III

Faustus describes to Mephistophilis his journey through Europe and together they plan to cause mischief in Rome on the occasion of the Pope's celebration of St Peter's Feast. A great procession arrives headed by cardinals and bishops, accompanied by chanting monks and friars. With the Pope is Raymond , King of Hungary, followed by the chained captive Bruno. The prisoner is used as a footstool for the Pope to ascend his throne. Mephistophilis puts them to sleep. In the meantime they liberate  Bruno.

The release of Bruno is probably the last serious act that we see Faustus perform. What follows is a series of comic episodes in which Faustus's actions are hardly distinguishable from those of his servants.

 

Faustus and Mephistophilis prepare to enjoy the discomfort they will create . Faustus is given a magic belt that renders him invisible, they make the pope exasperate. That include the snatching of food and wine by the gleefully invisible Faustus and Mephistophilis.

 
This slapstick scene of schoolboy practical jokes is Marlowe's most daring comedy. He pokes fun at the Pope, whose holy person is subject to tricks and physical abuse. The ceremonial of Rome is shattered. However, the episode could be regarded as an ironic comment on the character of Faustus, making increasingly frivolous use of his dearly bought power.

 

Robin and Dick play jokes with those stolen things. They call Mephistophilis to their aid, but he, irritated by this interruption to his duties , transforms Dick into an ape and Robin into a dog.

Act IV

Meanwhile, he became sensationally popular all across the world. King Charles, the German Emperor, invites him for a dinner and requests to perform some medical activities. He recalls the spirit of alexander the great to please the emperor. He also invokes other figures as well. 

 The Emperor is so impressed that he moves to embrace the figures, but Faustus warns him 'these are but shadows' and cannot be touched.

Whilst the magic show undoubtedly delighted the German Court , the theatre audience would also enjoy the spectacular conjuration. We are aware, however, of a lack of serious purpose in these scenes which serve to illustrate the trivial use to which Faustus is putting his necromantic skills.

 

Faustus is now the guest of the Duke and Duchess of Vanholt . The lady is presented , at her request , with a dish of out-of-season grapes. This episode ends the sequence of comic scenes in which Faustus does little more than demonstrate amusing conjuring tricks.

 

Act V

Faustus senses that the end of his life is near. A discourse with his scholars concerning who was the most beautiful woman in the world results in the conjuration of  Helen of Troy, whom they all admire. As the scholars depart, an old man appears urging Faustus to give up his devilish necromantic pursuits and turn his mind towards repentance. But this urgent appeal produces in Faustus only deep despair. The feeling is so terrible that Faustus seems willing to accept from Mephistophilis a dagger in order to commit suicide. Although the old man reappears, stressing the power of God's mercy, Faustus cannot shake off his feelings. Faustus re-conjures 'that heavenly Helen'. This time Faustus embraces the spirit and feels his soul drawn from his body . The old man who witnessed the embrace realises that all is lost and now Faustus is indeed damned. The devils are unable to harm the old man, who is also at the end of his life. The most important event in the scene is the conjuration of Helen. Faustus delights in her embrace little realising her devilish power.

As Faustus engages in settling his earthly affairs, the hordes of Hell assemble to gather up their victim.  He then reveals the details of his secret contract with the Devil. The entry of the Good and Bad Angels confirm that the time for repentance is past. The Good Angel speaks of the futility of worldly possessions and the Bad Angel enlarges on the horrors of Hell. As the clock strikes eleven, Faustus recognises that his last hour has come. Whatever his wish, the time cannot be slowed down. He faces perpetual damnation . As midnight strikes the devils drag him down into Hell.

This scene depicts the profound horror of Faustus's last moments, vividly contrasting the sense of frivolity of the preceding scenes. Faustus suffers the consequences of his pursuit of necromancy . In signing the contract with Lucifer he rejected advice both from the Good Angel and the old man. Power which he has used so foolishly has been bought at the price of his own damnation.

The savaged mortal remains of Faustus are discovered by the scholars and taken away for decent burial.

 

Epilogue

The Chorus reminds the audience of the dangers associated with the pursuit of practices forbidden by God. The temptation is particularly great for those who consider themselves wise.

The final scene and the epilogue are very similar in style to the formal conclusion of a late medieval morality play. The unrepentant sinner is punished.