Archive for June, 2008

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The Scholar’s Scholar:

A Literary Essay on The Tragical History of Doctor Faustus

 

 

            William Shakespeare and other play writes of the 1500’s – 1600’s usually made but one attempt when writing a script or producing a play, and that goal, as simply as it may seem, was to direct the play to the common man (“Shakespeare”). Modern day students may wonder why the old plays were filled with such violence, crude sexual humour and other pleasantries and the fact is that that’s what the crude and violent man wanted. He wanted (as some still do) to watch a man dress up as a woman and prance across the stage getting into all sorts of trouble for their amusement. An attribute that can still be seen in much of today’s cinema, even Shakespeare wrote in some sexual jokes for the guy with the tomatoes.

            One odd exception was found to be a tragically funny script by none other than the rumoured Shakespeare himself, Christopher Marlowe. Though filled with gaudy humour, one-sided violence and an enjoyably tragic ending it was not at all written for the common man. In fact, if a regular working class man had gone to watch the play all that he would have understood would have been the jokes and violence. Even with today’s student crowd the meanings escape the readers because, unlike Doctor Faustus, they are not scholars. In today’s English classes it is only through careful interpretation, deciphering and research that the true meanings can be obtained. It is only through mimicking the work of an ancient scholar that the common man can fully read Faustus. This is because as The Tragical History of Doctor Faustus is the tale of a scholar written for scholars, one must understand Latin, German, and the informal integration of both languages to have a grasp on the story.

            The ancient indo-European language of Latin left Rome to become the language of science and scholarship until the 17th century (“Latin”). As the general folk of Marlowe’s time couldn’t read they couldn’t read Latin either. If the many citizens of Europe were unable to write their own name they couldn’t possibly have been expected to understand lines of a play written in the vernacular. After every few stanzas of Doctor Faustus, a jumble of Latin mumblings, incantations or curses crop up, that none of the spectators would have understood. While the element of confusion may have added a bit of mystery and imagination to the play, while elevating the status of the actors of academia, it took away from the comprehension of the plot line, as only the lone scholars watching would understand.

            For instance, as Faustus slowly begins his first rant of the play, the first notion he gives of ending his career as a man of education is written as “Bene disserere est finis logices”(36). The line translates to “Beneficial is the end of logic”(“Latin”) and is insightful into the mind of the protagonist, but nobody would have known that.

            Later, when casting the spell to raise Mephistopheles there is a long paragraph in indecipherable Latin. A distinct section of the text, however, “ Valeat numen triplex Jehovoe”(144-145) translates to “The divine will of Jehovah” (“Latin”). If this phrase has only been in English most of the audience could have grasped the religious reference, however as this section of the play was left in its academic form only the scientists of the audience were not left in the dark.

            To confuse the public even more Christopher Marlowe decided to throw some German (the native language of Faust) into the play. Unless, the European audience happened to be from Germany or picked up some of the dialect from their travels they would have been confused by that twist as well. Outside of Germany, the language is spoken primarily in Austria and Switzerland, as well as within small communities elsewhere in Europe (such as Belgium). It is not a dominant language in England, Marlowe’s native land.

            While a select few of the audience members could have picked up on the fact that the actors were speaking Latin and connected it to their evident appearance as scholars, the German would have really thrown them off. Even if a spectator had remembered that the character of Doctor Faustus was from Germany they wouldn’t have clued into “Exhoereditare”(60) translating to “Exhibitionist”(“Latin”), a title that is used in reference to scholars in the context of the text. Though this comparison between the educated and the exhibitioner provides insight into Faustus’s views hardly any of the watches would have caught it. Only those studying germa would have made the link.

            Often, the name “Faustus” is referred to in its shorter version of “Faust”. Ironically, this name is also a German translation, for the term fist (“German language”). Faust punches the pope in the face, metaphorically raises his fists in anger to god and raises them in desperation, and ironically the German translation is fist. Only a scholar, knowledgeable in German to English translation could have caught this.

            Most troubling of all is how Marlowe both mocks the public and flaunts his excellence through the use of these two languages, fitting with the theme of the play. Marlowe knew his audience and knew that they would understand neither Latin nor German, unless they were reflective of the characters of the play and were educated, and yet he mingled both dialects. While every foreign phrase was primarily written in Latin every so often some German would be added in. Not only that, but often words are used that have meanings in both languages.

            To state that the scholarly view death as a sin as “Stipendium peccati mors est” (68) is reflective of those that you understand the message. “Stipendium” being a German word and “peccati mors est” being Latin creates an academic phrase that fuses both languages together. All the while it says to the audience who understand that you, as a Scholar, view death as a sin. It’s a warning to pay attention and avoid the path of Doctor Faustus.

            Used in line 42 is the word “incipit”. In Latin, the term refers to the beginning. Taken from the Latin term is its English use as the opening words of a poem. Appropriate is the use of the word as it is used in Faustus’s first body of text and it introduces his character.

            Contrary to all other plays of the generation is Christopher Marlowe’s Doctors Faustus. The clever playwright used attributes of the scholar to portray and likes of a scholar, while incorporating all aspects of the popular plays of the time. Like with the movies of today while most of the audience was laughing at the man getting a pie in the face there was still a man in the corner smiling to himself for getting the joke, the real joke.


Selected References

“German Language.” Wikipedia. 2008. Wikimedia. 8 Jun 2008 <http://en.wikipedia.org/wiki/German_language#Cognates_with_English>.

 

“Latin.” Wikipedia. 2008. Wikimedia. 8 Jun 2008 <http://en.wikipedia.org/wiki/Latin >.

“Shakespeare.” Wikipedia. 2008. Wikimedia. 8 Jun 2008 <http://en.wikipedia.org/wiki/William_Shakespeare#London_and_theatrical_career >.

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How Now Brown Bow

Faust Lesson Plan, continued.
Methodology:

1. Jayme presents her 3-D timeline, each point being explored by Ilayda who will
orally present the biography. (10 minutes)

2. Stephanie will read the class her ‘children’s story’ that will present the themes, symbols and motifs of
the play as well as a summary of the play. (10 minutes)

3. Mary will test the class as they will participate in a board game based on the presentation and the play.
(10 minutes)

4. Students will also be able to visit the blog in order to watch a sock puppet presentation of the play.
Being that the group can’t organize their time to include the making of this presentation, it will be
competeed over the weekend, and will be available for viewing by Monday.

Faust Summary – Rough

The play opens with a well-respected German Scholar, dissatisfied with his accomplishements
and the taditional forms of knowledge (science, philosophy, etc.). Seeking ultimate knowledge he turns
to that dark arts or magic, disobeying his religious self. Two new friends, Vales and Cornelius, instruct
him in their Harry Potter ways, and before long Dr. Faustus had performed his first act of magic: raising
the demon Metistopholise.
Despite Mephists honestly about the horrors of hell silly Fautus trades gives his soal to Lucifer
in exchange for twenty-four years of service from Mesphit. Why he didn’t ask for more, i’ll never know.
All the while Faust’s servant Wagner has picked up a little magic as well and uses it to congure up demons
that peruade young clown Robin.
Throughout it all Faustus is constantly considering repenting to god, however he is consistently
diswaded and signs the deal with Lucifer in his own blood, and immediately after “Homo Fuge” or O man,
Fly appears branded on his arm.
The event if fallowed by many bouts of missgivings from Fautus. Mephist responds by giving
him gifts, a book of spells and answering all questions of the nature of the univerise, except of course
“who created the universe”, as they both know it was god. Personifications of the seven deadly sins
are also brought forth by Lucifer to parade around if front of Faustus and ease his mind.
Armed with Supernatural powers Fautus travels to Rome on a dragon chariot to play practical
jokes on the pope while invisible. He then travels to Europe, his fame spreading as he goes. Invited
to the King’s court and is asked to bring back Alexander the Great as the King is not pleased with his
level of power

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The Religiously Non-Religious (ISU TWO)

      It is important to note that this posted version of my second ISU will have messed up formating because Edublogs hates me. Enjoy.
       In the inexact words of the great preacher, Sunday school teacher and modern dictionary the incomprehensibly difficult word to define: religion is the recognition of supernatural controlling power and often of a personal ‘God’ entitled to obedience. As vague as the definition tries to be it fails in its attempt to encompass all forms of religious belief that exist. As a collective, explanations of the term tend to ignore those systems that do not fit into the traditional mould, such as those surrounding multiple gods and goddesses, like paganism, and blur the inequality between the words Christianity and religion. Often, religions such as that written in Robert A. Heinlein’s Stranger in A Strange Land are forgotten.
      Unfortunate to the academic study of religion is its constriction to what is observable, which gives it but a small view of all that it entails. Rituals, scriptures, symbols, teachings, etc. are but the observable aspects of a religion and it is only through entering into the non-observable dimension that true meaning and purpose can be found. For true religious belief shines through personal spirituality and grokking (”Philosophy of Religion”).

      What is crucial to recognize when literary work is up for religious interpretation is the difference between a religious belief system and a general belief system. To be spiritual is to deal with matters of the personal spirit. This idea greatly contrasts with theism; the belief in one or more divinities. Often aspects of a religious system are incorporated into a belief system but this is not always the case. Certain components must be met.

      Another line must be drawn to distinguish the religious from the philosophical. They often seek to answer the same variety of questions, such as “Why are we here?”, however, unlike philosophy, religion distinctly separates the profane from the acceptable (”Religious Belief”).

      As all is not equal in today’s brutal world, all is not equal in the realm of the religious. At the core of the most publicized of religious belief systems are three components; the first being the presence of a god or higher principle, the second a sense of self or jiva and lastly there are rituals or customs which provide the spiritual connection between the two. When all else is stripped away, these three basics are all that is needed to found a religion. However, most often there is also a set of myths or sacred beliefs.

        Narrowing the focus, a religious belief system can also fall into numerous categories, such as pluralism, universalism and so on. To identify a specific nest as a religious group it must first be decided where to place them.

      Unlike the most popular of religions those with Pluralist beliefs tend to find no distinctions between any of the hundreds of religions practiced. To them, each belief system is valid within the particular culture in which it is practiced and is this worthy of validity from everyone. One step further is the view of the Syncretist, who attempts to blend various religious ideas into a unique fusion that suits their own personal beliefs and needs.

      Other religions choose to utilize incorporation and project the deity into all aspects of their daily lives. Instead of thanking the lord solely on Sunday’s during the weekly visit to church the gods are thanked every morning for letting the sun rise and blamed when the cows go dry. This sort of belief is that of Universalism.

      A belief system categorized as systemization; such as Buddhism is reflective of its name and allows each believer to progress religiously by following the specified spiritual path (”Religious Belief”).

      The cause for wanting to be religious varies greatly on the situation. Reasons include a personal experience or emotion, a sense of fulfillment, spiritual and physiological gain, a sense of community and culture and so on. By comparison, there are also many reasons why one would not choose to believe, such as life restrictions, irrelevancy, alternative explanations, the promotion of ignorance, etc. These factors divide the religious world from the world of the non-believer, as it has always been.

      Yet, come 1961 an alien idea appeared, resting on the line of separation. This new belief system was the satirical realization of Robert A. Heinlein and was described in the seemingly innocent form of the allegorical novel the Stranger. Its dialogue littered with philosophical viewpoints quickly became the bible to a new generation, and whether it had been the intention of the author or not a new religion had been formed. His work hed clearly risen to religious heights and yet disproved traditional religion entirely, while being supported by the public. With fictional Martian Valentine Smith as its deity Heinlein fathered a new religiously fallowed anti-religious viewpoint.

       While an individual could consider any text or object to be ‘holy’, traditionally, for a literary work to be considered a “religious text”, as with a belief system to be considered religious, there are requirements. As most religions are hundreds of years old the associated holy writ is usually equally as ancient.

       It’s reign and secrecy varies from religion to religion. For some the scripts are readily available for all to read, but for others they are hidden away; the values and stories simply known. All differences aside, one thing remains the same, for most religions the scripts are seldom altered (”Religious Texts: Views”)

      Recurrent patterns are easily visible across all religious texts. For instance, “The Qur’an, the central religious text of Islam, contains references to over fifty people also found in the Bible, typically in the same or similar narratives” (”Qur’an”). As many characters and tales are shared amongst the religions if a new text originating from the same views were to develop, it could very easily grow a large following.

                Although the narratives of the Stranger operate on many different levels the main interpretation seems to be quite obvious, for the title, Stranger in a Strange Land, in itself is a quote from the bible. Comparable to Mike Gershom “said, I have been a stranger in a strange land”  Exodus 2: 21-22 (KJV). Mr. Smith seemingly takes on the literary role of Jesus, labeling the novel as an allegory for human religious belief.

                As the novel progresses Jubal Harshaw falls into the role of “father”, and teacher to Mike. Yet, his failed attempts to change those religions he views as false cause him to succumb to the realization that he knows as little as those he is attempting to change. It is in this grand attempt to “change” that Heinlein appears to model the story of Christ.

                However, through careful analysis of the novel it is seen that it is not at all a direct biblical allegory, for while there are obvious biblical parallels, they aren’t even slightly exact, and reader sympathies do not lie solely with Mike, the presumed Christ-like character but rather with Jubal. It is for this reason that the novel is an entirely different religious scripture as it greatly differs from biblical ideas.

                The ability to read the novel from a strictly allegorical standpoint quickly breaks down, as Jubal, the father, does loses his religious attitude. While classically, it is Jesus’ trail to remain faithful in his father, the roles switch in the novel and the unbelieving Jubal must try to hold onto his faith in Mike, even though he begins a controversial religious process.

                Holding true to the practice of Syncretism the elements of the novel compare to many human religions. “Besides traditional Christianity, he presents Islam, evangelicalism, atheism, astrology, and even irreligionï” (”Literary Qualities”).

                People of all beliefs can make connections between the Stranger and their personal beliefs. As the religion of all worlds is fused from many different belief systems it is a unique teaching that can be appreciated by all. For instance “Ghanaians are very similar in their fusion of beliefs. They incorporate Christian or Muslim beliefs into the traditional tribal beliefs without any problem” (”Stranger in a Strange Land”).

                Almost as prevalent is the evidence of an in-acceptance of religion within the novel but not of Atheism (the rejection of the existence of gods). Instead the stranger speaks not of a disbelief in gods but of the absurdity in religious belief. It is these two contradicting elements that bond to form the Martian religion.

One of the most scientific beliefs countering many religions is that of evolution, a theory that the Stranger does support. The process of evolution is clear by comparing what is known about the Martian species and what is true about the human species. The median, Smith, even partakes on his own, individual, process.

                From the fictional evidence it is clear that the Martians are a much more advanced civilization than Heinlein’s humans as they have excluded all elements of human life deemed unneeded. Had Mike continued to grow on Mars than on earth he would have evolved past his unnatural human nature, and would not have formed the religion of all worlds.

                Unlike human society the Martians of the novel held no form of government or money and had no sense of violence or deceit. These four aspects, often considered necessary to the human race were not used by the advanced race simply because they had brown beyond individual intellect.

                The mental capabilities of the Mars race vouch for their superiority. The alien abilities to bring themselves into near death states for long periods of time, withstand extreme temperatures and make all that is “wrong” disappear are clear improvements upon the less resilient nature of humanity.

                All aspects of Heinlein’s Martian life; their language, maps, art and ceremonial death were extremely more complex then those of the modern human race. Pushing all things aside, the greatest change of all was the growth from the need to physically bond to ability to mentally bond. Physical closeness or sexuality had subsided in to allow for mental closeness or grokking. While humanity was limited to physical relationships with only others of the same species, the Martians could grok and reach “beyond a purely conceptual understanding and [enter] a mode of being in relationship with the world” (”Grokking”).

                The ability to grok goes “beyond ordinary and even extraordinary levels of comprehension moving far into the vestigial core of being human and possessing, as well as using qualities rarely engaged these days” (”Grokking”). Hence, the Martian race had minds that were far superior to than those of the humans, because they were higher on the evolutionary chain.

                Valentine Smith is a more selective example of this process. From his beginnings as an innocent egg to becoming a masterful leader of men and self-appointed Messiah, he clearly adjusted, but it is his final action, his self-sacrifice, that serves as proof for his evolution, and supports the fact that no religion was present in the novel at all.

                Smith’s self sacrifice could have one of two reasons behind it, or both, the first being that it was done as a catalytic act. His position in the religious nest could be seen not as a preacher but as an accelerator to aid in the grokking of the rest of the members so that all of them could reach the “next level” or next evolutionary step. If he continued to intervene he could have instead become a hindrance and to the progress thus allowed his life to come to an end. It was done to set the nest free and allow them to come of age.

                The second reason for his saddening choice was that of evolution. Smith made the choice to evolve to the next level and graduate to archangelic status (”Stranger than Fiction”).

                Biologically, evolution is the process by which organisms develop by means of random mutation and eventual genetic recombination. While Smith’s process was much faster than that seen in the animal kingdom, and involved voluntarily action it is an excellent example of fictional evolution in the novel as it is driven by the same mechanisms as natural evolution.

                Naturally, two mechanisms drive the process of evolution, the first being natural selection. Deemed self-evident natural selection describes the evolutionary fitness of a species. At one point a heritable variation occurred in the Martian species giving it evolutionary advantage over the human race, which over much time, is the reason why Martians had physical and mental power over humans (such as their ability to make bad things ‘disappear’).

                Natural selection also aids the process of adaptation, which is itself a form of evolution, and is something that Mr. Smith learned to do quite well. Though not detailed on a biological level it is evident through the progress of the novel that he adapts to human customs, intellects, etc, as he adjusts to the need for money, sex, etc. (”Evolution”).

                Being that the Stranger supports a condensed viewpoint on biological evolution and yet contains all of the elements, which consider it to be a religious, it is ultimately a religious script for non-religious aliens.

                The already popular 60’s counterculture influenced by sexual freedom, self-responsibility and individual freedom immediately took the novel as somewhat of a manifesto.

                Like many other influential works of literature the piece soon made a contribution to the world of language with the popularization of the word “grok”. As it rapidly became common parlance among the younger generation it found it’s way into the Oxford English Dictionary, defined as “to understand intuitively or by empathy; to establish rapport with” and “to empathize or communicate sympathetically (with); also, to experience enjoyment” (”Grok”).

                As it become more apparent that the fictional Martian belief system was growing, the greatest of events occurred: the foundation of the Church of All Worlds in 1962. It not only borrowed its name from Smith’s religious movement but was also modeled after the fictional organization in many ways. “This spiritual path included several ideas from the book, including polyamory, non-mainstream family structures, social libertarianism, water-sharing rituals, an acceptance of all religious paths by a single tradition, and the use of several terms such as “grok”, “Thou art God”, and “Never Thirst”" (”Literary Significance”).

    While the alien idea that non-religious were simply in an off religion had long been floating around it was never formalized or written down as such until Heinlein concluded his religious text, Stanger in a Strange Land. While embodying the attributes of a true syncretist bible the story had little similarities to actual religious stories and closely followed the process of evolution, poking fun at the ridiculousness of religion between every line. Thus, as humanity began to read and accept the new satirical, free willed, opposing belief system it was ignored that religion was evidently unneeded and simply a comfort. Though all of the followers knew it, they also grokked it in its fullness and supported the nothing they had to support.

 

 

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I Grok Spok.

THEMES

Hypocrisy

Marlowe’s Doctor Faustus also uses clever ironic dialogue to point out the hypocrisy of others.

Doctor Faustus, the criticism of the baseness of religion versus the “higher” form of learning, which is education and knowledge for Faustus, and is further is expounded upon when Faustus goes to visit the Pope. When he gets the Pope’s men rowdy, he begins taunting them with what he sees as their own hypocrisy. “How! Bell, book, and candle; candle book and bell, / Forward and backward, to curse Faustus to hell” (Marlowe 78). This lone alone is evidence for Faustus’/Marlowe’s view on the rituals of the Catholic religion and he uses their rituals against them to point out how meaningless he thinks they are. It seems as though Marlowe as an author inserts his views on religious hypocrisy as well, since he writes the these clergymen as saying nonsense and ironic chants to refute Faustus, “Cursed be he that struck his holiness a blow to the face. Maledictat Dominus.” This ironic, satirical use of “papal” language here to illustrate the church’s petty response allows us to glimpse Marlowe’s own views of religious hypocrisy.

 

At the same time however, there seems to be another layer of hypocrisy at play in this text. While on the one, more surface level, we have Faustus pointing out the hypocrisy of the church, he himself is guilty of hypocrisy, since he spent a majority of the text thinking about what he would do with his new-found powers. It seemed at first that he didn’t want to be a petty magician, but we find him “performing” for both the Pope and later the Emperor. Irony and hypocrisy seem intertwined in both texts. While in The Importance of Being Earnest, it was more on the level of dialogue, in Doctor Faustus, the emphasis was more on the actions of both the main character and the author himself. Even though these texts are separated by several centuries, no matter what the literary devices and means of attaining the revelation of hypocrisy, it still seems to be a valid theme to explore in literature.

Good and Evil

 

One of the most important and prominent themes in Doctor Faustus is by far the conflict between good and evil in the world and the human soul.

In the play, Doctor Faustus is frequently accompanied by two angels, one good and one evil.  Both spirits try to advise him on a course of action, with the evil one usually being more influential over his mind.  These two angels embody the internal battle that is raging inside of Faustus.  On one hand, he has an insatiable thirst for knowledge and supreme power; on the other hand, Faustus realizes that it is folly to relinquish heavenly pleasures for fleeting mortal happiness.

In Doctor Faustus, Marlowe shows the reader that everything in the mortal world is a double-edged sword.  In his never-ending quest for knowledge, Faustus exemplifies how even scholarly life can have evil undertones when studies are used for unholy purposes.  Doctor Faustus’s miserable defeat against the forces of evil within and without enlighten the reader to beware a surfeit of anything.

Greed

Like many of Marlowe’s heroes, Faustus was self-driven by greed and ambition.  In this case, the Doctor tries to satiate his appetite for knowledge and power.  These heroes forget their responsibilities to God and their fellow creatures. 

While Faustus is amused by the seven deadly sins, he does not realize that he is guilty of every single one, namely avarice and jealousy.

In effect, Marlowe presents to the reader a good soul gone bad-a brilliant scholar who squanders his time with necromancy and is later courted by the devil himself.  Although he is frequently surrounded by powerful heads of state, beautiful women and servile devils, Faustus is never truly happy.  He tries to bury his unrest with luxury and debauchery, to no avail.  What Faustus does not realize is that he craves happiness and salvation, not wealth and damnation.  Instead, in a tragic cycle of greed and despair, Faustus sadly wallows in riches up to the time of his miserable death.

Salvation through Prayer

While Doctor Faustus is an example of what happens to a wayward soul, the old man represents the devout Christian soul.  The old man begs Faustus to repent, regardless of the tortures that the devils inflict on him for this.  He clings to his faith to the very end and even Mephostophilis is wary of harming him because of his good soul.  Thus, the old man serves as a foil to Faustus’s misery and damnation.

Tragic Hero

Despite his unholy soul, Faustus is often viewed by audiences with pity and compassion.  A tragic hero is a character that the audience sympathizes with despite his/her actions that would indicate the contrary.  Faustus is not the mere shell of a man in the play, existing only to represent the evil in the world.  He is a veritable human being with a range of emotions and thoughts.  He displays pride, joy, contrition and self-doubt quite frequently.  At many times, Faustus alternately displays his cowardice and foolish strength against the devils.  Thus, Faustus’s one saving grace with the audience is his identifiable character. 

Sin and Damnation

First, there is the idea of sin, which Christianity defines as acts contrary to the will of God. In making a pact with Lucifer, Faustus commits what is in a sense the ultimate sin: not only does he disobey God, but he consciously and even eagerly renounces obedience to him, choosing instead to swear allegiance to the devil. In a Christian framework, however, even the worst deed can be forgiven through the redemptive power of Jesus Christ, God’s son, who, according to Christian belief, died on the cross for humankind’s sins.

Medievel vs. Rennaisance Values

Scholar R.M. Dawkins famously remarked that Doctor Faustus tells “the story of a Renaissance man who had to pay the medieval price for being one.” While slightly simplistic, this quotation does get at the heart of one of the play’s central themes: the clash between the medieval world and the world of the emerging Renaissance. The medieval world placed God at the center of existence and shunted aside man and the natural world. The Renaissance was a movement that began in Italy in the fifteenth century and soon spread throughout Europe, carrying with it a new emphasis on the individual, on classical learning, and on scientific inquiry into the nature of the world. In the medieval academy, theology was the queen of the sciences.

The Divided Nature of Man

 

Faustus is constantly undecided about whether he should repent and return to God or continue to follow his pact with Lucifer. His internal struggle goes on throughout the play, as part of him of wants to do good and serve God, but part of him (the dominant part, it seems) lusts after the power that Mephastophilis promises. The good angel and the evil angel, both of whom appear at Faustus’s shoulder in order to urge him in different directions, symbolize this struggle. While these angels may be intended as an actual pair of supernatural beings, they clearly represent Faustus’s divided will, which compels Faustus to commit to Mephastophilis but also to question this commitment continually.
Motifs (recurring structures)
SuperNatural/Magic
The supernatural pervades Doctor Faustus, appearing everywhere in the story. Angels and devils flit about, magic spells are cast, dragons pull chariots (albeit offstage), and even fools like the two ostlers, Robin and Rafe, can learn enough magic to summon demons. Still, it is worth noting that nothing terribly significant is accomplished through magic. Faustus plays tricks on people, conjures up grapes, and explores the cosmos on a dragon, but he does not fundamentally reshape the world.

 

Practical Jokes
Once he gains his awesome powers, Faustus does not use them to do great deeds. Instead, he delights in playing tricks on people: he makes horns sprout from the knight’s head and sells the horse-courser an enchanted horse. Such magical practical jokes seem to be Faustus’s chief amusement, and Marlowe uses them to illustrate Faustus’s decline from a great, prideful scholar into a bored, mediocre magician with no higher ambition than to have a laugh at the expense of a collection of simpletons.
Symbols
Blood
Blood plays multiple symbolic roles in the play. When Faustus signs away his soul, he signs in blood, symbolizing the permanent and supernatural nature of this pact. His blood congeals on the page, however, symbolizing, perhaps, his own body’s revolt against what he intends to do.
Rejection of Ancient Authorities
In scene 1, Faustus goes through a list of the major fields of human knowledge—logic, medicine, law, and theology—and cites for each an ancient authority (Aristotle, Galen, Justinian, and Jerome’s Bible, respectively). He then rejects all of these figures in favor of magic. This rejection symbolizes Faustus’s break with the medieval world, which prized authority above all else, in favor of a more modern spirit of free inquiry, in which experimentation and innovation trump the assertions of Greek philosophers and the Bible.

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