FAUSTUS
T
his education pack has been designed to be used in conjunction with the Jamie Lloyd Company
Production starring Kit Harrington staged Spring/Summer 2016 at the Duke of York’s Theatre,
London. It can be used pre-performance visit to prepare students for the show or post-performance as a reflective tool.
The pack has been written with an awareness of the assessment objectives and criteria of various
A Level English exam boards in mind and all tasks can be adapted and tailored to suit the specific
weighting and requirements of each board.
Activities are also provided for English teachers who want to develop students understanding through
practical exploration. These activities are also suitable for students of A Level Drama who may be
responding to the production as part of the ‘Live Theatre’ component of their course.
For both English and Drama it is intended that students will use the production to inform and deepen
their own understanding and interpretation of the play and its characters and themes. Please note
that where quotation is used and text-tasks are suggested, extracts from the new script (Christopher
Marlowe and Colin Teevan 2016) are provided. All other quotations are taken from Doctor Faustus,
edited by M.Keefer, (2nd Edition, Broadview, 2007)
If students are then quoting from this material you are advised to check whether your chosen
specification uses a required edition in their own essay responses.
DOCTOR FAUS TUS
2
CHRISTOPHER MARLOWE
P
laywright and poet, Christopher Marlowe, was born early in 1564 and baptized in Canterbury. His
father was a shoemaker and Marlowe was educated first as a scholar at the Kings School Canterbury before moving to study at Cambridge.
Once resident in London, from sometime in 1587, Christopher Marlowe seemed as busy with his
writing as with his brushes with the law and work for the authorities, possibly as a spy. Marlowe
wrote several distinguished plays and poems before his untimely death, most notably as well as Doctor
Faustus, Dido, Queen of Carthage, Edward II and The Jew of Malta. Tamburlaine the Great, his first
success on stage, brought him recognition on the London theatre scene and was famed for its use of
blank verse. This unrhymed form of iambic pentameter, became the popular style for dramatic writing
in the period and Shakespeare and Milton are now famed for their popularising of the form. In Doctor
Faustus Marlowe’s use of the form allows the conversational tone between Faustus and the Devil to
have greater impact and as T.S Eliot stated brings both ‘melody’ and ‘intensity’ into the writing.
THE PLAY
W
ritten sometime between 1588 and 1592 and first published in 1604, The Tragicall History
of Doctor Faustus, more commonly known now as simply Doctor Faustus, is arguably Christopher Marlowe’s most well-known and performed play. In structure and narrative, the play
takes inspiration from the morality plays that had been a popular part of the European drama scene since
the Middle Ages, peaking in popularity in the 15th and 16th centuries, which sought to use allegory to
merge liturgy with secular drama. The result were plays in which a central figure representing mankind
grapples with the temptations of the world personified as actual characters such as death and must chose
a path between sin and redemption.
Known for his suspected atheism, in the play Marlowe presents the audience with a disillusioned
famous scholar who has grown dissatisfied with and irked by the limits of conventional knowledge,
most particularly law and religion, and who, as one of Marlowe’s many rule-breakers, looks to the
darker side of black magic and the supernatural to explore the limits of his powers. Once equipped
with the necessary skills he invokes a devil, Mephistopheles.
The central bargain of the play, its origins in the German source text from which Marlowe took
inspiration, is now well known: Faustus enters into a bargain with the devil – selling his soul for
24 years of unchallenged power and unrelenting pleasure. Despite expressing various misgivings and
concerns as he plays with his new found power, Faustus refuses to or is unable to repent until it is too
late and he heads towards his inevitable demise.
DOCTOR FAUS TUS
3
K E Y CH A R AC T ER S
Dr Faustus
O
riginating from humble beginnings, Faustus has for some years lived and studied in Wittenberg
and has now mastered all elements of the main disciplines of law, religion, philosophy and divinity. Frustrated and seeking intellectual power and fulfilment elsewhere he makes a bargain
with his life for ultimate power with the devil. Faustus spends much of the play wavering between fulfilment in his power and doubt in the deal he has struck. Riddled with doubt, he considers and struggles
with repentance but seems incapable or unwilling to hear and heed the warnings of those around him.
Faustus, for all his knowledge, is perhaps blinded by his gifts, and is unable to resist the temptations of
the devil when he has the chance to do so.
Faustus has been said to represent a renaissance man in a medieval world. He embodies much of the
concern of the time with self-pursuit and fulfilment and a shift towards a more secular thought over
and above the doctrine of religion. It is in the futility of the middle of the play that Faustus realises
the pointlessness of much of his power and is reduced to petty performance and tricks. Still, however,
he cannot extract himself from his bargain and his eventual damnation.
Mephistopheles
(*I n line with the casting of this production, M ephistopheles is referred to as a female throughout this pack)
A servant of Lucifer, Mephistopheles is charged with the task of collecting souls for Satan. Some critics
regard him as merely an agent acting as a fairly passive bystander as Faustus enacts decisions that
lead to his own damnation despite Mephistopheles making clear at their first meeting the suffering
she herself endured. Others see Mephistopheles as a master of persuasion, expertly tempting and
manipulating the wavering Faustus away from salvation. She is, however, a broadly honest character
reminding Faustus of the outcome of his bargain and of his own suffering. At times playful, at others
utterly in earnest, Mephistopheles serves not only to illuminate a character existing in a perpetual
hell and as a constant reminder of the consequence of rejecting God, but also as a counterpoint to
Faustus as through their relationship we learn much about Doctor Faustus and his own weaknesses
and foibles.
Lucifer
Appearing in the 2016 production as also the voice of the chorus, Lucifer is the embodiment of the
devil himself. His scenes are brief but in them he demonstrates power, control and utter conviction in
his own authority. His utterances are short and precise and he continually seeks to direct Faustus away
from any thoughts of God promising him ‘delights in hell’.
Wagner
A student of Doctor Faustus, and so evidently a character of some intellectual ability, Wagner offers a
useful portrayal of a more typical servant in the ongoing theme of servitude and mastery. Seemingly
devoted to Faustus for much of the play, the character attempts to protect but also at times act alongside
Faustus, pursuing some of the same skills with far less effect. In the 2016 production, Wagner is used
to explore how Faustus is no longer capable, though desirous of goodly emotion and action. Even after
the actions and exploits of Faustus’ travels, Wagner remains devoted until their own spiritual salvation
comes under pressure and they find they must flee.
DOCTOR FAUS TUS
4
ENGAGI NG W IT H CRIT ICA L V IEWS
I
t is important that these views contribute to students’ views and help develop their argument. They
should generally not be used in exam responses as quotations where the focus is on the students’
own understanding and interpretation of the text, but they can be used to inform analysis and
understanding. Possible tasks:
•
students can be allocated a view to debate or defend
•
they can rate the statements out of 10 based on the extent that they agree with them
•
they can find quotations from the text that refute or support the view
“This character (Faustus) may be considered as a personification of pride of will and eagerness of curiosity,
sublimed beyond the reach of fear and remorse…he is devoured by a tormenting desire to enlarge his knowledge to
the utmost bounds of nature and art, and to extend his power with his knowledge…The idea of witchcraft and
necromancy, once the dread of the vulgar and the darling of the visionary recluse, seems to have had its origin in
the restless tendency of the human mind, to conceive of and aspire to more than it can achieve by natural means”
W.Hazlitt ‘Lectures on the Age of Elizabeth’ 1820
“Marlowe’s Faustus is the living, struggling, natural, personal man, not the philosophic type which Goethe has
created, but a primitive and genuine man, hot-headed, fiery, the slave of his passions, the sport of his dreams,
wholly engrosses in the present, molded by his lusts, contradictions, and follies, who amidst noise and starts, cries
of pleasure and anguish, rolls, knowing it and willing it, down the slope and crags of his precipice.”
H.A. Taine ‘History of English Literature’ 1863-4
“Marlowe’s Faustus is anything but a hero. He gives up heaven and sells his soul to the Devil; but he does not
derive the slightest benefit from his agreement, as he never becomes the master of the Spirit who has sworn to serve
him, and employs his agency for mere frivolous uses.”
W. Wagner ‘Christopher Marlowe’s Tragedy of Doctor Faustus’ 1877
“Faustus under the immediate imminence of his doom gives the highest note of beauty, the quality of absolute
fitness and propriety, to the sheer straightforwardness of speech in which his agonising horror finds vent even more
and more terrible from the first to the last equally beautiful and fearful verse of them tremendous monologue which
has no parallel in all the range of tragedy.”
A.C. Swinburne ‘The Age of Shakespeare’ 1908
“This excellent Faustus is damned by accident or by predestination; he is brow-beaten by the devil and forbidden
to repent when he has really repented. The terror of the conclusion is thereby heightened; we see an essentially
good man, because in a moment of infatuation he had signed away his soul, driven against his will to despair and
damnation.”
G.Santayana ‘Three Philosophical Poets’ 1910
“The sin is pride which, according to theologians, is the form and fount of all other sin. Moreover Faustus commits
it formally, that is deliberately, without the shadow of an excuse or reason save his will to do so…As all men have
sinned, Faustus has sinned, and he is already involved in death. This he rejects outright, preferring his own idea of
what a fact is or should be to what, if he will open his eyes, he can see that it is. Thus he commits the sin of pride.”
J. Smith Marlowe’s Doctor Faustus’ 1939
DOCTOR FAUS TUS
5
“For earthly learning, earthly power, earthly satisfaction, Faustus goes down to horrible and everlasting
perdition. It does not matter what you think of Hell or what Marlowe privately thought of Hell. What
does matter is that in terms of the play, Faustus is a wretched creature who for lower values gives up
higher values – that the devil and Hell are omnipresent, potent and terrifying realities.”
L.Kirschbaum ‘Marlowe’s Faustus: A Reconsideration’ 1943
“Urged by the Old Man, Faustus has attempted a last revolt; as usual he has been cowed into submission,
and has renewed the blood-bond. He has sunk so low as to beg for revenge upon his would-be saviour
“Torment, sweet friend, that base and aged man”… and it is in the first place as a safeguard against
relapse that he seeks possession of Helen…Love and revenge are alike assurances against salvation.
‘Helen’ is then a spirit and in this play a spirit means a devil. In making her his paramour Faustus
commits the sin of demonality; that is bodily intercourse with demons.”
W.W. Greg ‘The Damnation of Faustus’ 1946
“Some kinds of knowledge, like some kinds of experience, Faustus has shut himself of from…it is a
chosen path he follows to the end. Marlowe does all he can by the device of the two angels to keep
before us that Faustus is still a man, and that repentance is open to him…but he persists. His rewards
are the delights of the imagination, sweet and terrible fantasies, culminating in the vision of Helen,
and the exercise of what power Mephistopheles allows him, for the practical jokes probably represent a
debasing rather than an alteration of Marlowe’s intention. But knowledge and felicity he has exchanged
for shadows, and for power he gets slavery.”
H. Gardner ‘The Theme of Damnation in Doctor Faustus’ 1948
“But the pull of the magic stage is not dependent on spectacle alone, and what Marlowe cannot present
in material form, he conjures in lyrical, almost ecstatic poetry, so that we are caught up in Faustus’
swelling aspirations of becoming a ‘demi-god’”
D.J. Palmer ‘Magic and Poetry in Dr Faustus’ 1964
“Faustus is a man who is all dressed up with no place to go. His plight is that he cannot find anything
to do really worthy of the supernatural powers that he has come to possess. Faustus never carries out
in practice his dreams of great accomplishments…the magical world lacks substance.”
“On a purely legalistic basis, of course, Faustus’ case is hopeless. He has made a contract and he has
to abide by it. This is the point that the devils insist on relentlessly. Yet there are plenty of indications
that Faustus was not the prisoner of one fatal act…The devils, in spite of the contract, are evidently not
at all sure of the soul of Faustus. They find it again and again necessary to argue with him, to bully
him, and to threaten him…Mephistopheles in particular goes to a great deal of trouble to keep Faustus
under control.”
“Faustus may appear at times frivolous, but he is honest with himself. With all his yearning for the
state of grace that he has lost, he always acknowledges the strength of his desire for illicit pleasures and
powers…Faustus is the prisoner of his own conceptions and indeed preconceptions. It is not so much
that God has damned him as that he has damned himself.”
C. Brooks ‘The Unity of Marlowe’s Dr Faustus’ 1966
DOCTOR FAUS TUS
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ESSAY QUEST IONS
Please
ensure th at questions are used in line w ith specific
r e q u i r e m e n t s f o r d i ff e r e n t e x a m b o a r d s .
Th e m at ic
questions:
1. ‘When man acts entirely with self-interest he will always suffer the greatest punishment’ Discuss
in relation to one literary text that you have studied.
2. ‘Such is our fascination with that we cannot know, stories about heaven and hell will always
intrigue’. Discuss in relation to one literary text that you have studied.
3. ‘Morality tales must always demonstrate a clear sense of right and wrong’. Discuss in relation to
one literary text that you have studied.
4. ‘Violence and sin will always excite more than tales of love and romance’. Discuss in relation to
one literary text that you have studied.
5. ‘The central figure of a play must always have virtues and traits that the audience can recognise
and feel sympathy for’. Discuss in relation to one literary text that you have studied.
Te x t- ba s e d
questions:
1. ‘Faustus is a man more sinned against than sinner’ How far do you agree with this statement, you
should explain your response with close reference to and examples from the text.
2. To what extent is this a play about free will? Discuss with close reference to the text.
3. ‘Mephistopheles is the villain of the play’ Discuss the extent to which you agree with this statement
using examples from the text.
4. ‘Ultimately we still feel great sympathy for Doctor Faustus’. Discuss the extent to which you agree
with this statement using examples from the text.
5. ‘The final scene makes clear that this is a play about sin being punished rather than celebrated’.
Discuss this view with examples from throughout the play.
6. ‘Mephistopheles is simply an agent – bound by her own damnation – rather than a figure who
enjoys punishing Faustus’. Discuss the extent to which you agree with this view using examples
from the text.
7. To what extent do you agree with the view that in the play Marlowe shows how attractive evil can
be?
8. ‘Doctor Faustus is as modern an anti-hero as you are likely to find’ Discuss, with close reference
to examples from the play, whether you agree with this statement.
9. ‘It is Faustus’ inability to repent not his sinful actions that condemn him’. How far do you agree
with this reading of the character?
10. Consider the significance of blood and the body in the Doctor Faustus?
11. Consider the significance of the wider political setting particularly in terms of power and religion
in Doctor Faustus?
12. To what extent do you agree that Faustus is suffering for the whole play?
13. ‘Faustus is aware of, and even wills his own death, to the point that an audience feels little sympathy
for him’. To what extent do you agree with this view?
14. ‘This is a play about knowledge as much as about power’ With specific reference to the recurring
symbolism of books and documents in the play, discuss the extent to which you agree with this
view.
15. Consider the significance of the comic scenes and characters in the play. What do they add beyond
light relief?
DOCTOR FAUS TUS
7
PERFORM ANCE QUESTIONS:
1. Write about a production you have seen in which the performance of one actor created a strong
response from the audience.
2. Write about a production you have seen in which two or more performers work together to create
a relationship onstage.
3. Write about a production you have seen in which one or more performers use vocal and physical
skills to transform as a character throughout a play.
4. Write about a production you have seen in which one or more performers demonstrate high
emotion onstage.
5. Write about a production you have seen in which one or more performers were able to engage the
audience with their opposing characters.
6. Write about a production you have seen in which one or more performers worked together to
create moments of impact.
7. Evaluate a live production you have seen explaining how closely that performance reflected the
conventions for that style of drama.
8. Evaluate a live production you have seen explaining how closely how that performance created
engaging characters.
9. Discuss the performances of two actors you have seen in a live production and consider how they
were effective in demonstrating emotion to the audience. Your answer should refer to specific
moments in the production.
10. Write about a production you have seen in which lighting and sound were used together to create
a strong sense of mood and atmosphere.
11. Write about a production you have seen where costume was used to effectively convey character
and symbolism
12. Write about a production you have seen in which set contributed to the thematic understanding
of the play.
DOCTOR FAUS TUS
8
T E X T- B A S E D AC T I V I T I E S
1 . C o m p a r i n g
the
Prologues:
In the production a shorter prologue is delivered by Lucifer acting as Chorus. Compare this shorter
version with the longer version from the A text.
• Consider the effect and impact of a shorter prologue and it’s delivery by Lucifer. Why might this
production chose to use a shorter prologue? What impact does this have on the audience?
• Is there anything that is omitted that surprises you? Consider how knowing about Faustus’
background effects our interpretation of him as a character?
• Practical – In small groups consider and improvise several ideas exploring how the Prologue might
be staged to enhance the following:
»» Dramatic impact
»» Sense of foreboding
»» Faustus’ past and upbringing
»» Hell and magic
»» The world surrounding Faustus (scholars etc.)
Marlowe/Teevan 2016:
LUCIFER
Only this, gentles: we must perform
The form of Faustus’ fortunes, good or bad.
Nothing so sweet as magic is to him,
Which he prefers before his chiefest bliss,
And this the man that in his study sits.
Exit.
Marlowe (ed. Keefer) 1604:
CHORUS.
Not marching now in fields of Thracimene,
Where Mars did mate the Carthaginians;
Nor sporting in the dalliance of love,
In courts of kings where state is overturn’d,
Nor in the pomp of proud audacious deeds
Intends our Muse to vaunt her heavenly verse.
Only this, gentlemen: we must perform
The form of Faustus’ fortunes, good or bad:
To patient judgments we appeal our plaud,
And speak for Faustus in his infancy:
Now is he born, his parents base of stock,
In Germany, within a town call’d Rhodes;
Of riper years, to Wittenberg he went,
Whereas his kinsmen chiefly brought him up.
So soon he profits in divinity,
The fruitful plot of scholarism grac’d,
That shortly he was grac’d with doctor’s name,
Excelling all whose sweet delight disputes
DOCTOR FAUS TUS
In heavenly matters of theology;
Till swoln with cunning, of a self-conceit,
His waxen wings did mount above his reach,
And, melting, heavens conspir’d his
overthrow;
For falling to a devilish exercise,
And glutted now with learning’s golden gifts,
He surfeits upon cursed necromancy;
Nothing so sweet as magic is to him,
Which he prefers before his chiefest bliss:
And this the man that in his study sits. Exit
9
T E X T- B A S E D AC T I V I T I E S
2.
First Impressions
of
D r Fau s t u s :
It is immediately clear that Faustus has devoted his life to study and has achieved a great deal. He is,
with some impatience it seems, reflecting on the limitations of the areas of study that he has already
mastered and he is clearly on the brink of seeking out something new to challenge, fulfil and excite
him.
• Looking at Faustus’ opening speech identify what he says about each of the areas of study he has
devoted time to. How does he regard them now? You may also wish to identify the comment he
makes later in the scene to Valdes and Cornelius on the same topic.
• What are our first impressions of Doctor Faustus? Identify key lines that give us insight into his
views but also his personality and state of mind at this point.
• How, in performance, is a sense of Faustus’ frustration made clear – does he appear tired,
disappointed and ambivalent or eager, restless and disparaging? Create a list of your own adjectives
to describe his feelings and mood at this point.
• Practical – In pairs with one student taking the role of director break the speech down into units of
action. Taking one section at a time identity Faustus’ main emotion in the section and improvise
how this might be staged in performance. You may wish to consider the effect of Faustus directing
some speech directly to the audience.
Marlowe/Teevan 2016 Scene 2:
FAUSTUS
Settle thy studies, Faustus, and begin
To sound the depth of that thou wilt profess.
Having commenced, be a divine in show,
Yet level at the end of every art,
And live and die in Aristotle’s works;
Sweet Analytics, ’tis thou hast ravished me!
(He reads.)
‘Bene disserere est finis logices.’
Is to dispute well logic’s chiefest end?
Affords this art no greater miracle?
Then read no more. Thou hast attained the end.
A greater subject fitteth Faustus’ wit.
Bid On kai me on farewell. Galen, come!
Be a physician, Faustus. Heap up gold,
And be eternised for some wondrous cure.
(He reads.)
‘Summum bonum medicinae sanitas.’
The end of physic is our body’s health.
Why Faustus, hast thou not attained that end?
Is not thy common talk sound aphorisms?
Are not thy bills hung up as monuments,
Whereby whole cities have escaped the plague
And thousand desp’rate maladies been eased?
Yet art thou still but Faustus, and a man.
Wouldst thou make man to live eternally?
Or, being dead, raise them to life again?
DOCTOR FAUS TUS
Then this profession were to be esteemed.
Physic, farewell!
When all is done, divinity is best.
Jerome’s Bible, Faustus, view it well.
(He reads.)
‘Stipendium peccati mors est.’ Ha!
The reward of sin is death. That’s hard.
(He reads.)
‘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 serà, serà,
What will be, shall be? Divinity, adieu!
10
T E X T- B A S E D AC T I V I T I E S
3.
M agic
“Nothing so sweet as magic is to him” we learn in the Prologue and in the first scene featuring Doctor
Faustus he quickly turns his attention to the first of many books on magic that he owns or is given:
dark, black magic known also as necromancy. Faustus appears fascinated and magic is clearly the object
of his desire and his next pursuit. During the first section of the play the acquisition of greater magical
potency and power is Faustus’ main concern.
• What appeal does Faustus suggest that there is in magic? What does he appear keen to achieve
and master?
• How, through the verse and through performance, is the capacity of the magic brought to life?
• How, in performance, does Faustus change once the book of magic has been picked up? Are there
noticeable changes in pace, energy and vocal and physical skills?
• Looking at the second section given below when Faustus is conversing with Valdes and Cornelius,
what more do we learn about what Faustus may wish to achieve through magic? What values and
ambitions do these views attest to? You may wish to cross reference to this section to various critical
readings on aspects of Faustus as a Renaissance man.
• Valdes and Cornelius appear only briefly at the start of the play. Why is their presence significant?
• Practical – In small groups select one of the three sections to stage. Consider:
»» How to make the world of magic seem alluring
»» How to show Faustus’/Valdes and Cornelius’ excitement
»» How to suggest that this group have had some conversation on this topic before
»» How to enact the ritual and incantation
Marlowe/Teevan 2016:
Section One FAUSTUS
(He picks up a book of magic.)
These metaphysics of magicians
And necromantic books are heavenly:
Lines, circles, signs, letters, and characters –
Ay, these are those that Faustus most desires.
O, what a world of profit and delight,
Of power, of honour, of omnipotence,
Is promised to the studious artisan!
All things that move between the quiet poles
Shall be at my command. Emperors and kings
Are but obeyed in their several provinces,
Nor can they raise the wind or rend the clouds;
But his dominion that exceeds in this
Stretcheth as far as doth the mind of man.
A sound magician is a mighty god.
Here, Faustus, tire thy brains to gain a deity.
DOCTOR FAUS TUS
11
Section Two –
Section Three –
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 Wittenberg.
I’ll levy soldiers with the coin they bring,
And reign sole king of all our provinces.
FAUSTUS
Now that the gloomy shadow of the earth,
Longing to view Orion’s drizzling look,
Leaps from th’Antarctic world unto the sky,
And dims the welkin with her pitchy breath,
Faustus, begin thine incantations,
And try if devils will obey thy hest,
Seeing thou hast prayed and sacrificed to them.
Enter VALDES and CORNELIUS.
FAUSTUS
Valdes, sweet Valdes, and Cornelius,
Know that your words have won me at the last,
To practice magic and concealèd arts.
Yet, not your words only, but mine own fantasy,
That will receive no object, for my head,
But ruminates on necromantic skill.
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.
Then, gentle friends, aid me in this attempt.
He draws a circle.
Within this circle is Jehovah’s name,
Forward and backward anagrammatised,
The breviated names of holy saints,
Figures of every adjunct to the heavens,
And characters of signs and erring stars,
By which the spirits are enforced to rise.
Then fear not, Faustus, but be resolute,
And try the uttermost magic can perform.
Sint mihi dei Acherontis propitii! Valeat numen
triplex Jehovae! Ignei, aerii, aquatici, terreni, spiritus,
salvete! Orientis princeps Lucifer, Beelzebub, inferni
ardentis monarcha, et Demogorgon, propitiamus
vos, ut appareat et surgat Mephistopheles! Quid
tumoraris? Per Jehovam, Gehennam, et consecratam
aquam quam nunc spargo, signumque crucis quod
nunc facio, et per vota nostra, Ipse nunc surgat nobis
dicatus Mephistopheles!
VALDES
Faustus, these books, thy wit, and our experience
Shall make all nations to canonize us.
As Indian Moors obey their Spanish lords,
So shall the subjects of every element
Be always serviceable to us three.
If learnèd Faustus will be resolute.
DOCTOR FAUS TUS
12
T E X T- B A S E D AC T I V I T I E S
4 . T h e A n g e l s
Throughout the play comment is giving on Faustus’ actions and choices by the dual figures of the good
and bad angel. They always appear together and try to dissuade or persuade Faustus in his ungodly and
devilish ways according to their character. Only at the end of the play do they seem to comment merely
on his now inevitable damnation rather than trying to influence his actions.
• What does the presence of the angels and their advice suggest about the nature of the bond and
of Faustus’ opportunity to achieve salvation from damnation?
• To what extent would you describe the angels as Faustus’ conscience? Track their appearances
in the play and look closely at what they say and suggest compared to Faustus’ thoughts and
misgivings.
• Is there a difference between the two angels in the language that they use and the way in which
they present their arguments? Does one seem stronger than the other?
• How, in performance, were the angels presented? Can Faustus react to and interact with them
or are they mere voices? How do they compare with the other apparitions or figures such as
Mephistopheles, Lucifer or the Seven Deadly Sins? Consider how you might chose to represent
them – do they have distinct personalities or are they identical but from two opposite views? You
may wish to research how other productions have staged these characters.
• Looking at the B text section (section three below), you may wish to consider the stage direction
regarding the throne as this is the only symbol of heaven that appears onstage in the play. What
might it also suggest or be reminiscent of?
• Practical – staging symbolic characters can be challenging.
»» In pairs first identify the various positions onstage these figures could occupy – you may wish
to consider that in all likelihood in Marlowe’s time they were positioned above in a small
central balcony looking down on the action – what is the effect of this?
»» Improvise staging one section of the Good and Evil angel’s text. Consider the effect when:
* They move in an identical manner
* They move differently in accordance with their character
* They are always linked
* They are always apart
Section One:
Enter the GOOD ANGEL and the EVIL ANGEL.
GOOD ANGEL
O Faustus, lay that damnèd book aside,
And gaze not on it, lest it tempt thy soul,
And heap God’s heavy wrath upon thy head.
Read, read the Scriptures. That is blasphemy.
EVIL ANGEL
Go forward, Faustus, in that famous art
Wherein all nature’s treasury is contained.
Be thou on earth as Jove is in the sky;
Lord and commander of these elements.
DOCTOR FAUS TUS
13
FAUSTUS
Now, Faustus, must thou needs be damned,
And canst thou not be saved?
What boots it then to think of God or heaven?
Away with such vain fancies and despair!
Despair in God and trust in Beelzebub.
Now go not backward: no, Faustus, be resolute.
Why waverest thou? O, something soundeth in mine
ears:
‘Abjure this magic, turn to God again!’
Ay, and Faustus will turn to God again.
To God? He loves thee not.
The god thou servest is thine own appetite,
Wherein is fixed the love of Beelzebub.
To him I’ll build an altar and a church,
And offer lukewarm blood of new-born babes.
Enter the GOOD ANGEL and the EVIL ANGEL.
GOOD ANGEL
Sweet Faustus, leave that execrable art.
FAUSTUS
Contrition, prayer, repentance – what of them?
GOOD ANGEL
O, they are means to bring thee unto heaven.
EVIL ANGEL
Rather illusions, fruits of lunacy,
That makes men foolish that do trust them most.
GOOD ANGEL
Sweet Faustus, think of heaven and heavenly things.
EVIL ANGEL
No, Faustus; think of honour and of wealth.
Exit ANGELS.
Section Three: Taken from Marlowe (ed. Keefer) 1616
(B Text)
Enter the Good Angel and the Bad Angel at
several doors.
GOOD.
Oh Faustus, if thou hadst given ear to me,
Innumerable joys had follow’d thee.
But thou didst love the world.
DOCTOR FAUS TUS
BAD.
Gave ear to me,
And now must taste hell’s pains perpetually.
GOOD.
O, what will all thy riches, pleasures, pomps,
Avail thee now?
BAD.
Nothing but vex thee more,
To want in hell, that had on earth such store.
Music while the throne descends.
GOOD.
O, thou hast lost celestial happiness,
Pleasures unspeakable, bliss without end.
Hadst thou affected sweet divinity,
Hell, or the Devil, had had no power on thee.
Hadst thou kept on that way, Faustus behold
In what resplendent glory thou hadst set
In yonder throne, like those bright shining saints,
And triumph’d over hell; that hast thou lost,
And now, poor soul, must thy good angel leave thee:
The jaws of hell are open to receive thee. Exit.
[The throne ascends] Hell is discovered.
BAD.
Now Faustus, let shine eyes with horror stare
Into that vast perpetual torture-house.
There are the furies tossing damned souls
On burning forks; their bodies broil in lead.
There are live quarters broiling on the coals,
That ne’er can die. This ever-burning chair
Is for o’er-tortur’d souls to rest them in.
These, that are fed with sops of flaming fire,
Were gluttons, and lov’d only delicates,
And laugh’d to see the poor starve at their gates.
But yet all these are nothing: thou shalt see
Ten thousand tortures that more horrid be.
FAUSTUS
O, I have seen enough to torture me!
BAD.
Nay, thou must feel them, taste the smart of all;
He that loves pleasure must for pleasure fall.
And so I leave thee, Faustus, till anon.
Then wilt thou tumble in confusion. Exit.
14
T E X T- B A S E D AC T I V I T I E S
5.
D r Fau s t u s
and
Mephistopheles
From the moment that Mephistopheles appears the dynamic between this agent of the devil and Faustus is of great importance. Mephistopheles makes it clear from the start that she, despite Faustus’ initial confidence in his power over the devil he believes that he has conjured (‘How pliant is this Mephistopheles’), serves Lucifer and Lucifer alone can give permission for Faustus’ demands and requests.
The uneven power dynamic in their relationship is made even more apparent as the play goes on.
• Look at Section One below. This is the first meeting between Faustus and Mephistopheles.
Identify all of the questions Faustus asks – what is he keen to find out about? Is this surprising?
What prior knowledge from earlier in the play suggests that he may have questions to which he
desires an answer before making his requests for the power and goods mentioned earlier? Consider
the importance of questions here and in Faustus’ monologues.
• How does Faustus make clear his devotion to Lucifer/Beelzebub in this opening scene and
elsewhere? What questions does this raise about faith and belief beyond a belief in God?
• What is your first impression of Mephistopheles from the text and in performance? Does anything
surprise you about the characterisation of Mephistopheles in performance? How are vocal and
physical skills used to suggest that they are a devil or do they appear as other ‘human’ characters?
• What do we learn about Mephistopheles past and how does she talk about God?
• It is Faustus that outlines the terms of the ‘deal’ or bargain with the devil. What does the bargain
entail and what does this tell us about Faustus and how he progressed since the beginning of the
play?
• Look at Section Two below. In this new scene Mephistopheles has disguised herself as Wagner to
enter into a vicious and lustful sexual encounter with Faustus. She then reveals her true identity
and seek to remind Faustus that he cannot live for virtue only damnation. List all the magical
powers Mephistopheles demonstrates in the play including her transfiguration into Wagner’s
body. Why has she needed to take such drastic measures?
• In the text and performance, to what extent does Mephistopheles appear to enjoy the tricks played
on Faustus or to what extent are they seen as a chore and frustration?
• What does Mephistopheles say about love and free will in the scene? How does this link to the
wider theme of free will verses fate in the play? Why does Mephistopheles so emphatically and
repetitively state ‘send her back’? What does Wagner represent?
• Look at Section Three below. This is Faustus’ final attempt at redemption and repentance but
he is again persuaded by Mephistopheles that damnation is the only possible outcome. Look back
through the play and make a list of the many times Faustus wavers and considers or attempts
repentance. For each time look at what stops or prevents him, looking particularly at the range of
tricks and techniques Mephistopheles uses to keep him from repenting.
• What is the symbolic significance of signing (or resigning) in blood?
• Practical – In threes with one student assuming the role of director select one section to prepare.
Consider:
»» How to present Mephistopheles – does she move and speak differently as a figure from hell or
do they appear as if an earthly character?
»» How do Faustus and Mephistopheles interact? Who appears more powerful and dominant?
Experiment with different proxemics and positioning onstage.
»» Which figure should the audience feel more of a connection with and why? How might a
director play with an audience’s responses to Mephistopheles?
DOCTOR FAUS TUS
15
Section One
And pray devoutly to the prince of hell.
Enter a DEVIL (MEPHISTOPHELES).
FAUSTUS
So Faustus hath
Already done, and holds this principle:
There is no chief but only Beelzebub,
To whom Faustus doth dedicate himself.
This word ‘damnation’ terrifies not him,
For he confounds hell in Elysium.
His ghost be with the old philosophers!
But leaving these vain trifles of men’s souls,
Tell me what is that Lucifer thy lord?
FAUSTUS
I charge thee to return and change thy shape.
Thou art too ugly to attend on me.
Exit DEVIL (MEPHISTOPHELES).
FAUSTUS
I see there’s virtue in my heavenly words.
Who would not be proficient in this art?
How pliant is this Mephistopheles –
Full of obedience and humility –
Such is the force of magic and my spells!
Now, Faustus, thou art conjuror laureate,
That canst command great Mephistopheles.
Re-enter MEPHISTOPHELES disguised.
MEPHISTOPHELES
Now, Faustus, what wouldst thou have me do?
FAUSTUS
I charge thee wait upon me whilst I live,
To do whatever Faustus shall command,
Be it to make the moon drop from her sphere,
Or the ocean to overwhelm the world.
MEPHISTOPHELES
I am a servant to great Lucifer
And may not follow thee without his leave.
No more than he commands must we perform.
FAUSTUS
Did not he charge thee to appear to me?
MEPHISTOPHELES
No, I came hither of mine own accord.
FAUSTUS
Did not my conjuring speeches raise thee? Speak.
MEPHISTOPHELES
That was the cause, but yet per accidens.
For when we hear one rack the name of God,
Abjure the Scriptures and his Saviour Christ,
We fly in hope to get his glorious soul;
Nor will we come unless he use such means
Whereby he is in danger to be damned.
Therefore, the shortest cut for conjuring
Is stoutly to abjure the Trinity,
DOCTOR FAUS TUS
MEPHISTOPHELES
Arch-regent and commander of all spirits.
FAUSTUS
Was not that Lucifer an angel once?
MEPHISTOPHELES
Yes, Faustus, and most dearly loved of God.
FAUSTUS
How comes it then that he is prince of devils?
MEPHISTOPHELES
O, by aspiring pride and insolence,
For which God threw him from the face of heaven.
FAUSTUS
And what are you that live with Lucifer?
MEPHISTOPHELES
Unhappy spirits that fell with Lucifer,
Conspired against our God with Lucifer,
And are for ever damned with Lucifer.
FAUSTUS
Where are you damned?
MEPHISTOPHELES
In hell.
FAUSTUS
How comes it then that thou art out of hell?
MEPHISTOPHELES
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?
O Faustus, leave these frivolous demands,
16
Which strike a terror to my fainting soul!
FAUSTUS
What, is great Mephistopheles so passionate
For being deprivèd of the joys of heaven?
Learn thou of Faustus’ manly fortitude,
And scorn those joys thou never shalt possess.
Go bear these tidings to great Lucifer:
Seeing Faustus hath incurred eternal death,
By desp’rate 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 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.
MEPHISTOPHELES
I will, Faustus.
Exit MEPHISTOPHELES.
FAUSTUS
So? I will know love for ten years.
MEPHISTOPHELES
You’ll be lucky if love lasts the one. The same face,
the same body, day-in-day-out, night-in-night-out?
And when the kids come? Mewling, pissing, puking.
You’ll soon begin to miss the old magic. Remember
your parents. What love there was died long before
the crash. Love is a crash. One minute you’re flying
though the air, the next you are all over the road in
pieces. Get rid of her, Faustus, send her back.
FAUSTUS
But you knew love.
MEPHISTOPHELES
No. I discovered the lie of love. And I hated God for
what he did to me. Just as you Faustus hated him for
taking away your parents.
We hated him that his creation could cause such
pain. And that our pain was part of his creation.
Send her back, Faustus.
FAUSTUS
But without pain there would be no free will, we
would all be bound to be good.
Section Two
He pushes the sofa out of the way, and there behind it is
MEPHISTOPHELES, immaculate, dressed in the same
underwear she wore as Wagner.
MEPHISTOPHELES
Hope you didn’t mind me borrowing your body, dear.
Well you don’t think I was going to put mine through
all that? And with him? Don’t worry, it will only
hurt badly for a while. But there again, what are the
agonies of the body compared to the torments of the
immortal soul? Time you went back to Wittenberg.
As you can see, I can satisfy his needs from here on
in.
MEPHISTOPHELES goes towards the door. WAGNER
looks to FAUSTUS. Pause.
FAUSTUS
We’ll both go back to Wittenberg. I’ll return to my
researches. That will be enough for us. We’ll live out
quietly the rest of our days.
MEPHISTOPHELES
You only have ten years.
DOCTOR FAUS TUS
MEPHISTOPHELES
What free will? Man is bound. Don’t you see? God’s
creation is grandest illusion, a spectacle full of light
and sound and beauty, which man thinks he moves
through at his own free will. But he is just a player
in that spectacle. And to love, to procreate is to
perpetuate the show, to play along with the whole
charade. To play along with the Grand Illusionist.
The only power, the only freedom, the only real
autonomy man can have is to destroy. To destroy
what God has created. Destroy it, Faustus, destroy
love. Send her back.
FAUSTUS
But what of redemption? What of salvation?
MEPHISTOPHELES
For some perhaps it might be possible, Faustus, but
not for you.
You stood up to him, Faustus, so he hates you. God
hates you.
Send her back.
Pause. FAUSTUS sits. He is in despair.
17
Section Three
FAUSTUS cuts his arm and writes with his blood.
FAUSTUS
Where art thou, Faustus? Wretch, what hast thou
done?
Damned art thou, Faustus, damned! Despair and die!
Hell calls for right, and with a roaring voice
Says, ‘Faustus, come! Thine hour is almost come.’
FAUSTUS
Torment, sweet friend, that base and righteous soul
That durst dissuade me from thy Lucifer,
With greatest torments that our hell affords.
MEPHISTOPHELES gives him a dagger.
FAUSTUS
And Faustus will come to do thee right.
WAGNER
Oh, stay, good Faustus, stay thy desperate steps!
I see an angel hover o’er thy head,
And with a vial full of precious grace,
Offers to pour the same into thy soul.
Then call for mercy and avoid despair.
FAUSTUS
Ah, my sweet friend, I feel thy words
To comfort my distressèd soul.
Leave me a while to ponder on my sins.
WAGNER
I go, sweet Faustus, but with heavy cheer,
Fearing the ruin of thy hopeless soul.
Exit WAGNER.
FAUSTUS
Accursèd Faustus, where is mercy now?
I do repent, and yet I do despair.
Hell strives with grace for conquest in my breast.
What shall I do to shun the snares of death?
MEPHISTOPHELES
Thou traitor, Faustus, I arrest thy soul
For disobedience to my sovereign lord.
Revolt, or I’ll in piecemeal tear thy flesh.
FAUSTUS
I do repent I e’er offended him.
Sweet Mephistopheles, entreat thy lord
To pardon my unjust presumption,
And with my blood again I will confirm
My former vow I made to Lucifer.
MEPHISTOPHELES
Do it then quickly, with unfeignèd heart,
Lest greater dangers do attend thy drift.
DOCTOR FAUS TUS
18
T E X T- B A S E D AC T I V I T I E S
6.
D r Fau s t u s t e s t s h i s p ow e r s
– r e w r i t t e n s c e n e s by C ol i n Te e v e n 2 016
This production uses several new vibrant and contemporary scenes to cover the middle section of the
play where Faustus is seen to test and exploit his power. It is believed that these sections were, in fact,
written by Marlowe’s collaborator and this may account for the differences in Faustus’ personality in
this section or it may be that imbued with his magical powers he has become more greedy, foolish and
ambivalent to his future. He is certainly less prone to reflection on his ‘bargain’ in this section than
elsewhere. Three sections from new scenes, which broadly mirror elements of the original A and B
texts, are given below.
• For each section consider:
»» What we learn about Faustus? What kind of man has be become?
»» Which elements from the A and B texts do they correlate to?
»» What is the effect of the contemporary setting and language? How do these correlate with the
A and B text characters and settings?
»» How do the themes of greed and sin pervade these scenes?
»» What sins does Faustus commit in these scenes?
»» What is the effect of the dark comedy in these scenes?
»» Do the updated versions retain the key themes of the original scenes – find evidence for references to God, the seven deadly sins, repentance, free will and power.
»» Consider in small groups how these rewritten scenes contribute to a ‘modern’ understanding
of the play – do they draw out the darkness of contemporary society?
»» Looking particularly at Section Two with Wagner, what does this scene add to the audience’s
understanding of and response to Faustus? Identify some of Wagner’s key lines that link to the
theme of goodliness and godliness.
»» Looking particularly at Section Four with the Pope, how does this scene link to the discussions of religion in the play? Using your contextual knowledge of the original period and
today, what might Marlowe and Teevan in the updated scenes be exploring in relation to
religion and power?
• Practical – It is interesting to consider what we learn about Faustus in the mid-section of the play
as he moves further and further away from academia and the pursuit of higher knowledge into a
world that appears rather futile and vacuous. His questions, however, remain and his inquisitive
mind is clear. In small groups select one section of the rewritten scenes below. First consider
what you would want the audience to think, feel or understand from the scene – this is the aim.
Working as a group consider how the scene might be staged to:
»» Enhance comic effect
»» Demonstrate Faustus’ character
»» Suggest Mephistopheles power
»» Demonstrate your chosen aim to the audience
DOCTOR FAUS TUS
19
Section One – Faustus and rock band
FAUSTUS grabs ROBYN’s crotch.
SAXON BRUNO
Long and winding road back to the old vecchio
castello. I’ll leave you to your two clams, man, that
one [Wagner], and the razor one [Mephistopheles].
But one thing, hermano, the reason I dropped by,
we’ve got a tour coming up, and…
FAUSTUS
(Excited.)
Yes?
SAXON BRUNO
I was wondering whether you might be interested in,
you know. . .
FAUSTUS
(Excited.)
Joining the band?
SAXON BRUNO
(Laughing/scoffing.)
You? Joining the Necros? What would you play?
Fucking air guitar? I meant come do the special
effects man.
SAXON BRUNO
Hey man, hands off my taco.
FAUSTUS
It’s all yours.
FAUSTUS grabs SAXON BRUNO’s crotch.
SAXON BRUNO
Oi you fucking poof.
FAUSTUS releases them.
SAXON BRUNO
What the fuck? I’ve done better tricks with my dick.
FAUSTUS
Not any more.
ROBYN’s dress rises.
ROBYN
O my God, Sax, O my God!
FAUSTUS
The special effects?
SAXON BRUNO
What the…?
ROBYN
Sax and the boys love illusions.
SAXON BRUNO peeks into his jeans. He is aghast.
FAUSTUS
Illusions?
FAUSTUS
Maybe you need to hang with the pussies for a
change.
SAXON BRUNO
Yeah man, you could come be our pyro man. A few
stage bombs, a few tricks.
ROBYN
O my God, Sax, what do I do? It’s like I’ve no control
over it.
FAUSTUS
Tricks?
Involuntarily ROBYN’s new genitalia homes in on
BRUNO’s. He runs to escape her. FAUSTUS plays an
air guitar solo. Eventually BRUNO escapes and exits.
ROBYN follows. FAUSTUS has a moment of jubilation,
and then is deflated.
SAXON BRUNO
Hey, what gives? It’s an honour to be asked.
Beat.
FAUSTUS
You want to see a new trick?
SAXON BRUNO
Yeah, sure man. Why not?
DOCTOR FAUS TUS
FAUSTUS
They say you should never meet your heroes.
MEPHISTOPHELES
Is this not what you wanted?
FAUSTUS, to the accompaniment of the real sounds,
20
smashes his air guitar in a temperamental outburst.
Section Two – Faustus and Wagner
FAUSTUS
If you could do anything by magic, Wagner, what
would it be?
WAGNER
I can’t do magic.
FAUSTUS
But if you could, would you use it to do something
big, something good? Like wars, or hunger?
WAGNER
If something like that were possible, someone would
have tried it long ago.
FAUSTUS
Maybe there hasn’t been someone with my powers.
(Not unaffectionate.)
Get off! You’ve got a show to do and I’ve got a
million and one
things to sort for the afters.
Beat.
FAUSTUS
(Risking it, serious.)
Do you like me, Wagner?
WAGNER for the briefest moment stops what she’s
doing, then starts again.
WAGNER
(Attempted nonchalance.)
What kind of a question’s that?
FAUSTUS
You know.
Beat.
WAGNER
Yeah, sure. Dream on!
(Thinking as she works.)
But even if you could fix something by magic, like
wars or hunger, they wouldn’t stay fixed. You’d have
to fix people. And to fix them you’d have to fix their
abilities to fuck things up. Which is sort of what
makes us human.
WAGNER smacks FAUSTUS’ hand as he reaches for
another canapé.
FAUSTUS
But if I had real magic?
WAGNER
In which case, you’d be, like, God? In which case,
what would you be waiting for? The world is full of
people trying to be God, or thinking they’re God.
The best we can do is try to be decent to those
around us, and then maybe if the next person does
that, and the next… Maybe then.
WAGNER
Yeah, sure. But lots of people like you. You’re famous,
remember.
WAGNER starts to fold napkins. FAUSTUS goes to
help her, by copying what she’s doing, unsuccessfully.
FAUSTUS
But as a person, do you like me as a person?
WAGNER
You seem happier with many people liking you.
FAUSTUS
You think I’m shallow?
WAGNER
I didn’t say that. Some people want to be loved by
many. Others just want to love one person, and be
loved by one person in return. The first are called
celebrities, the second…losers, I suppose.
WAGNER goes to lift a crate of glasses.
Awkward beat. FAUSTUS looks for something to say.
FAUSTUS
Let me.
FAUSTUS
What’s your first name, Wagner? You never told me.
FAUSTUS attempts to take them from her.
WAGNER
Grace.
FAUSTUS
WAGNER
DOCTOR FAUS TUS
21
Grace. Call me John, Grace.
If you care to sign this contract, I’ll be happy to
return your cheque to you.
Beat.
Section Three – Faustus and his audience
A thronged party is in full swing in the narrow confines
of FAUSTUS’ dressing room. Guests are high spirited
and throb in dance as one beast. Amidst the throng are
the POPE, the QUEEN, a MINISTER, a BANKER,
a MEDIA MOGUL, MEPHISTOPHELES with
FAUSTUS at the centre of it. Through the throbbing
throng WAGNER struggles valiantly with plates of canapés
and trays of champagne. FAUSTUS escapes momentarily
as WAGNER goes for fresh supplies.
FAUSTUS
What did you think of the show, Grace?
WAGNER
Not bad.
FAUSTUS
So you thought it was good?
MEPHISTOPHELES produces a contract.
The BANKER reads.
MEDIA MOGUL
Hi there, I’ll have my cheque back too, if you don’t
mind.
MEPHISTOPHELES
And you are?
MEDIA MOGUL
I am a media mogul. And I didn’t spend my life
building an empire to give it away to poor people.
MEPHISTOPHELES hands the MEDIA MOGUL a
contract.
MINISTER
Hello, I’m Chancellor of the Exchequer, I couldn’t
help but overhear but that money wasn’t really mine
to give away –
WAGNER gives FAUSTUS a peck on the cheek. She
blushes. FAUSTUS smiles and takes the last glass of
champagne from her tray and returns to the throng.
BANKER and MEPHISTOPHELES above the throng.
MEPHISTOPHELES conjures a third contract.
BANKER
Don’t I know you from someplace?
MEPHISTOPHELES
Only applicable in the event you have one.
MEPHISTOPHELES
What was it you said you did?
BANKER
Banking.
BANKER, MEDIA MOGUL and MINISTER are
relieved. They frisk themselves for pens.
MEPHISTOPHELES cuts open their arms as she did
FAUSTUS’ earlier.
They sign their contracts in blood.
MEPHISTOPHELES
Yes, you know me.
MEPHISTOPHELES
Gentlemen, your cheques.
BANKER
Say, that cheque the conjuror had me hand over.
It rains down a confetti of cheques. The BANKER,
MINISTER and
MEDIA MOGUL are delighted. They are once more
drawn back into the throng. FAUSTUS has caught a piece
of the confetti.
MEPHISTOPHELES
What about it?
BANKER
What’s all this about the soul?
BANKER
I took a lot of trouble to avoid that tax, I’m not
handing it over to some charity.
MEPHISTOPHELES
DOCTOR FAUS TUS
22
Section Four: Faustus and the Pope
more wayward predecessors in the Middle Ages.
FAUSTUS deeply troubled, takes another glass of wine
and goes to him.
The POPE strokes the book.
FAUSTUS
It wasn’t a trick, I punished the hypocrisy of those
who claim to be good.
POPE
I have long been a fan of conjuring.
POPE
The only magic in the world is that of God’s creation.
The rest is showmanship. All the devil was ever good
for. His tricks are as nothing. He longs for there to be
nothing. But creation keeps confounding him.
FAUSTUS
Bread into flesh, water into wine and all that?
POPE
How it might appear to those of little faith. But you
strike me Dr Faustus as a man of some faith.
FAUSTUS
Faith in what? That is the question.
POPE
In the existence of the Lord, Our Saviour.
The POPE, has hit a nerve, he smiles.
POPE
Since, as a man of learning you must accept, that
to believe in the antithesis, one must believe in the
thesis itself. That is why they say Lucifer is so sulky,
since to revolt against God is to acknowledge his
existence.
(Chuckling.)
Every time Lucifer destroys something, he
acknowledges God’s creation.
WAGNER comes round with some canapés.
POPE
Ah, black truffles with caviar. A fine creation. Black
on black, one might say. But what is black? Is there
such a thing as pure, sightless black? Or is there
always some light, some contour to the dark that
offers hope? Evil is so very interesting, don’t you
think?
Since it gains its existence only from mankind’s
abjuration of good, it is itself a product of God’s
goodness. But you know this, of course.
FAUSTUS struggles with himself.
FAUSTUS
Sometimes I think of hell, of how long eternity is,
and I despair, Holy Father.
MEPHISTOPHELES
(Approaching.)
I’m afraid Dr Faustus must be going, the President –
POPE
To despair is hell, Faustus, that is what you must
guard against.
The hell within. To despair is the greatest sin. And
you will be damned to play out your despair night
after night, for eternity.
Hope is the light. Remember the light.
The POPE stands and smiles. He strokes
MEPHISTOPHELES’ cheek.
POPE
Mephistopheles, such an evocative name.
MEPHISTOPHELES
Nothing would give me greater pleasure than to
entertain you, Holy Father.
POPE
I’m sorry, I must forego such undoubted pleasures.
While the Church of Rome is unchanging and
eternal, we have, over time been forced to mend
some of our more indulgent indulgences.
FAUSTUS does not respond.
Even in the darkest night, you can only perceive
the dark thanks to the light of our Lord. That trick
where you had me damn those priests to hell, I’ve
read of this trick before. We have this book in the
Sistine Library you see. It was obtained by one of my
DOCTOR FAUS TUS
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T E X T- B A S E D AC T I V I T I E S
7. D r Fau s t u s
and
Helen –
a final sin
In this section we see Dr Faustus make his final request of Mephistopheles in asking to see Helen of
Troy, the most beautiful woman in the world. It is one of the most famous moments in the play and
is famed for its poetic lyricism.
• Why might this be Faustus’ last request?
• Look closely at the two rhetorical questions in the speech – what does the link between desire and
violence suggest and how does this link to Faustus and his plight?
• What is the significance of the kiss? Why does Faustus crave it so? What do we learn about his
feelings from the line “make me immortal”?
• Looking at the second half of the speech what imagery does Faustus invoke? How does he appear
to want to be seen and/or remembered?
• Practical – It is very interesting to consider how you would perform the role of Faustus in this
scene. Working individually select a section of not more than five lines to work with and consider:
»» What is Faustus feeling at this point?
»» How would you convey through vocal and physical skills his state of mind?
»» How do you demonstrate Faustus’ response to Helen’s beauty?
»» How would you want the audience to respond to him?
DOCTOR FAUS TUS
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FAUSTUS
One thing, good servant, let me crave of thee
To glut the longing of my heart’s desire,
That I might have unto my paramour,
That heavenly Helen which I saw of late,
Whose sweet embracings may extinguish clean
Those thoughts that do dissuade me from my vow,
And keep mine oath I made to Lucifer.
MEPHISTOPHELES
Faustus, this, or what else thou shalt desire,
Shall be performed in twinkling of an eye.
Enter HELEN, brought in by MEPHISTOPHELES.
FAUSTUS
Was this the face that launched a thousand ships
And burnt the topless towers of Ilium?
Sweet Helen, make me immortal with a kiss.
They kiss.
FAUSTUS
Her lips suck forth my soul. See where it flies!
Come, Helen, come, give me my soul again.
They kiss again.
FAUSTUS
Here will I dwell, for heaven is in these lips,
And all is dross that is not Helena!
Enter WAGNER.
FAUSTUS
I will be Paris, and for love of thee
Instead of Troy shall Wittenberg be sacked,
And I will combat with weak Menelaus,
And wear thy colours on my plumèd 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 appeared to hapless Semele,
More lovely than the monarch of the sky
In wanton Arethusa’s azure arms;
And none but thou shalt be my paramour.
Exit FAUSTUS and HELEN.
DOCTOR FAUS TUS
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T E X T- B A S E D AC T I V I T I E S
8.
Final Speech
In this final scene Faustus has only one hour to live and time is slipping away as he has lost his chance
to repent and now only damnation remains. The production omits the allegorical figure of the Old
Man and so Faustus’ final scenes seem to accelerate towards his demise. Read the speech closely and
consider the overall effect on the audience.
• Look back at Faustus’s first speech. How has he changed?
• What is the significance of time? How do the repeated references to it affect the audience?
• Identify the features of language that make clear Faustus’ despair – questions, exclamations, pleas.
How are these heightened in performance?
• Notice all of the juxtapositions between the soul and the body – highlight all of these references
and consider how they are significant to the play but also what they reveal in these final moments
about the nature of man?
• Consider your emotional response to the scene both in the text and in performance – how does
the final scene make you feel? What are your final impressions of Faustus?
• Highlight the three lines that you believe are the most significant in the following terms:
»» In revealing Faustus’ character
»» The play’s plot
»» The play’s key themes
»» Creating dramatic effect
• Practical – Working in pairs assign one student a section on speech of not more than ten lines
from the first scene of the play and one student the same line allocation from the last scene of the
play. Working together consider how you might stage the two speeches in parallel action aiming to
show the extent of Faustus’ decline. You will need to decide:
»» How to divide the text – you may each speak a line or two lines at a time intersecting each
other, you may choose to have some overlap, or even some lines delivered at the same time.
»» How to use vocal and physical skills to show the transition from the beginning of the play
»» How the two versions of Faustus might interact
»» How to use the space onstage to juxtapose the two versions of Faustus
»» How much sympathy you wish the audience to feel
DOCTOR FAUS TUS
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The clock strikes eleven
FAUSTUS
Ah, Faustus,
Now hast thou but one bare hour to live,
And then thou must be damned perpetually.
Stand still, you ever-moving spheres of heaven,
That time may cease and midnight never come!
Fair nature’s eye, rise, rise again, and make
Perpetual day; or let this hour be but
A year, a month, a week, a natural day,
That Faustus may repent and save his soul!
O lente, lente currite noctis equi!
The stars move still; time runs; the clock will strike;
The devil will come, and Faustus must be damned.
O, I’ll leap up to my God! Who pulls me down?
See, see, where Christ’s blood streams in the
firmament!
One drop would save my soul, half a drop. Ah, my
Christ!
Ah, rend not my heart for naming of my Christ!
Yet will I call on him. O, spare me, Lucifer!
Where is it now? ’Tis gone; and see where God
Stretcheth out his arm and bends his ireful brows!
Mountains and hills, come, come and fall on me,
And hide me from the heavy wrath of God!
No, no!
Then will I headlong run into the earth.
Earth, gape! O, no, it will not harbour me.
You stars that reigned at my nativity,
Whose influence hath allotted death and hell,
Now draw up Faustus like a foggy mist
Into the entrails of yon labouring cloud,
That when you vomit forth into the air,
My limbs may issue from your smoky mouths,
So that my soul may but ascend to heaven.
But mine must live still to be plagued in hell.
Curst be the parents that engendered me!
No, Faustus, curse thyself, curse Lucifer,
That hath deprived thee of the joys of heaven.
The clock strikes twelve.
FAUSTUS
O, it strikes, it strikes! Now, body, turn to air,
Or Lucifer will bear thee quick to hell.
Thunder and lightning.
FAUSTUS
O soul, be changed into little waterdrops,
And fall into the ocean, ne’er be found!
My God, my god, look not so fierce on me!
Enter LUCIFER, MEPHISTOPHELES and other
DEVILS.
FAUSTUS
Adders and serpents, let me breathe a while!
Ugly hell, gape not. Come not, Lucifer!
I’ll burn my books: Ah, Mephistopheles!
Exit DEVILS with FAUSTUS.
The clock strikes the half-hour.
FAUSTUS
Yet for Christ’s sake, whose blood hath ransomed me,
Impose some end to my incessant pain.
Let Faustus live in hell a thousand years,
A hundred thousand, and at last be saved.
O, no end is limited to damnèd souls.
Why wert thou not a creature wanting soul?
Or why is this immortal that thou hast?
Ah, Pythagoras’ metempsychosis, were that true,
This soul should fly from me and I be changed
Unto some brutish beast.
All beasts are happy, for, when they die,
Their souls are soon dissolved in elements;
DOCTOR FAUS TUS
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RESPONDING TO THE PRODUCTION
H
ere are some questions to guide your thoughts after seeing the production. You should aim to
make as many notes as possible as soon as you can after the performance. The level of specific
detail required in your responses will depend on the subject and exam board that is being
studies but remember that performance interpretation examples can be used in English A level essays
as examples of other readings but students will need practice to assimilate these into their essays.
• How was a sense of time and place created?
• What was the stage/audience configuration? What was the effect of this?
• Were any casting decisions surprising and what was their effect?
• How did the performers use their vocal and physical skills to create their characters and to show
any changes in their characters?
• How did the performers work together in specific moments?
• What were the most significant performance moments for the key characters Faustus and
Mephistopheles? Note specific moments within scenes and try and link to key sections of script
for precision.
• What mood and atmosphere was created at various moments and how? Link to specific examples.
• What kind of effects were used to create a sense of hell and magic?
• At what moments did you have the strongest response?
• After the performance what did you feel was the most significant theme of the play?
• How was sound and lighting used?
• How were transitions between scenes managed?
• Was there any direct engagement with the audience?
• Were any props particularly relevant?
• Describe the costumes used
• How was stage space used? Were they any levels and how were they used?
• What was the effect on the updated scenes?
• Which moments created the greatest comic effect?
• Did any moments shock or surprise you?
• How did you feel at the interval and at the end of the production?
• What was the overall effect of the production?
DOCTOR FAUS TUS
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DOCTOR FAUS TUS
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