Doctor Faustus (Christopher Marlowe)

This section explores the play Doctor Faustus by Christopher Marlowe, focusing on: the structure, setting, staging, characters, themes and the historical and cultural context of the play. Doctor Faustus is a tragic play by Christopher Marlowe, written around 1592 and first published in 1604. It is based on the legend of Doctor Johann Faustus, a scholar who makes a pact with the Devil in exchange for magical powers and worldly knowledge. The play explores themes of ambition, the human condition, sin, redemption, and the conflict between good and evil.

The story of Faustus has its roots in German folklore, but Marlowe’s version focuses on the intellectual and theological consequences of Faustus’ choices. Marlowe’s work is often regarded as a key example of Elizabethan drama that bridges the Renaissance period and the Early Modern era, combining elements of classical tragedy with contemporary issues of religion and philosophy.

Historical and Cultural Context

• Renaissance Humanism: Doctor Faustus was written during the Renaissance, a period of cultural rebirth in Europe that emphasised human potential and achievement. Humanist philosophy, which prioritised individual reason, the study of classical texts, and scientific exploration, is a key influence on Faustus’ character. His decision to seek forbidden knowledge and power through magic reflects the Renaissance quest for enlightenment and mastery over nature. However, his downfall also critiques the Renaissance hubris of overreaching human ambition.
• Religious Context: The play was written during a period of religious turbulence in England, with Protestantism and Catholicism in conflict following the English Reformation. Marlowe’s play grapples with themes of sin, repentance, and damnation. The theological debate at the time—whether a person could truly redeem themselves after sinning—echoes through Faustus' attempts to reconcile his actions with Christian doctrine. Faustus rejects the opportunity for salvation, which reflects Marlowe's exploration of the conflict between individual will and divine law.
• The Influence of Medieval Morality Plays: Doctor Faustus shares elements with earlier medieval morality plays, particularly Everyman, which depicted a character's struggle between good and evil. Marlowe’s play incorporates allegorical figures such as the Good Angel and the Evil Angel, who represent the moral choices available to Faustus. However, unlike Everyman, Faustus does not repent, offering a more tragic view of human nature and the consequences of unchecked ambition.
• Marlowe’s Life and Legacy: Marlowe himself was a controversial figure in his time. He was suspected of atheism and treason, and his works often explored themes that challenged the social and religious norms of the period. His portrayal of Faustus as a tragic hero who rejects God in favour of personal power can be seen as a reflection of Marlowe’s own questioning of religious and moral boundaries.

Structure

• The Play's Form: Doctor Faustus is a tragic play that follows the classical unities of time, place, and action to some extent, but it also deviates in its structure, especially with the inclusion of comic scenes. The play has five acts, with a continuous progression of Faustus’ moral decline, interspersed with moments of supernatural spectacle, and comic scenes that provide a stark contrast to the darker elements of the play.
• Scenes of Divine and Demonic Conflict: Marlowe alternates between scenes of Faustus’ soliloquies, his interactions with demons, and his encounters with angels, representing the internal conflict between good and evil. These dialogues often act as reflective moments for Faustus, showing his torment and vacillation.
• Comic Relief: The inclusion of comic subplots involving characters such as Wagner (Faustus’ servant) and the clowns adds a layer of satire and juxtaposition. These moments of levity provide contrast to the otherwise intense, tragic proceedings and highlight the play’s blend of tragedy and farce. They also serve to accentuate Faustus' tragic flaw—his inability to recognise the seriousness of his pact with the Devil.
• Faustus’ Internal Struggle: The structure often focuses on Faustus’ inner turmoil, particularly in his soliloquies, which are central to the character’s development. These moments allow the audience to explore Faustus’ psychological state and his wrestling with his conscience.
• Dramatic Irony and Time: The play is heavily characterised by dramatic irony—particularly in how the audience is aware of Faustus’ impending damnation while he remains ignorant or in denial. The time frame of the play is also significant. Faustus has made a 24-year pact with Mephistopheles, and the play’s pacing reflects the gradual but inevitable march towards the expiration of that period.

Setting

• Location: The setting of Doctor Faustus is largely unspecified, though it is often staged in an academic or domestic space that represents Faustus’ world of intellectual ambition. Key settings include Faustus’ study, which symbolises his scholarly pursuits, and various supernatural locations where he encounters Mephistopheles and performs magical acts, including the court of the Emperor and the Vatican.
• Symbolic Use of Space: The settings in the play serve to reflect the tension between the mundane and the divine. Faustus is initially confined to his study, which represents his intellectual limits, and his pact with the Devil leads him into fantastical, often chaotic environments. The supernatural settings emphasise Faustus’ break from the normal world and his descent into spiritual peril.
• Supernatural and Visual Spectacles: The inclusion of supernatural elements in the staging, such as the appearance of demons and the magical displays Faustus requests, was revolutionary in Elizabethan theatre. These spectacles would have been designed to impress the audience and heighten the sense of Faustus’ power, but they ultimately serve to underscore his tragic flaw—his inability to grasp the true cost of his desires.

Characters

• Doctor Faustus: The protagonist, Faustus, is a brilliant but arrogant scholar who, dissatisfied with the limits of traditional knowledge, makes a pact with the Devil in exchange for magical powers. He represents the Renaissance ambition to transcend human limitations through knowledge and personal achievement. However, his pride and refusal to repent lead to his tragic downfall. Faustus is a complex character—intelligent, yet deeply flawed—and his inner conflict forms the heart of the play.
• Mephistopheles: The demon who serves Faustus after he sells his soul to Lucifer. Mephistopheles is both a tempter and a tragic figure, as he reveals that he himself is damned and longs for redemption. He is often seen as a mirror to Faustus, showing what Faustus could become if he continues on his chosen path. Mephistopheles represents the seductive lure of power, as well as the futility of Faustus' desires.
• The Good Angel and The Evil Angel: These allegorical figures represent Faustus' internal moral struggle. The Good Angel urges Faustus to repent and save his soul, while the Evil Angel encourages him to continue in his pursuit of earthly pleasures. These figures highlight Faustus’ indecision and inner turmoil and contribute to the play’s exploration of free will and damnation.
• Lucifer: The ruler of Hell who receives Faustus' soul. Lucifer is a figure of ultimate temptation and evil. His role is to ensure that Faustus remains steadfast in his pact and does not repent, thus securing his eternal damnation.
• Wagner: Faustus’ servant, who also seeks knowledge and power through magic. While Wagner is less ambitious than Faustus, his role serves to highlight the disparity between Faustus’ grand aspirations and the more mundane results of his magical practices.
• The Scholars: Fellow scholars of Faustus who, unlike him, stay within the boundaries of academic tradition. They represent the more traditional, conservative values of the time and are often used to reflect on Faustus' arrogance and moral decline.
• The Clowns: Often seen as a comic subplot, the clowns are two minor characters who serve as a foil to Faustus and his tragic journey. They introduce elements of farce and add levity to the otherwise serious tone of the play.

Themes

• Ambition and Knowledge: One of the central themes of Doctor Faustus is the pursuit of knowledge and the dangers of unchecked ambition. Faustus, dissatisfied with the limits of traditional scholarship, turns to magic to gain ultimate power and understanding. This ambition, however, leads him to make a Faustian bargain that seals his damnation. The play critiques the Renaissance belief that knowledge can lead to human perfection, suggesting that there are limits to what humans should seek to control.
• Good vs. Evil: The play explores the moral struggle between good and evil, particularly through the conflict between Faustus and the Good and Evil Angels. This dichotomy is central to the play, as Faustus’ internal conflict reflects his inability to fully comprehend the consequences of his choices.
• Sin and Redemption: Faustus’ refusal to repent, despite numerous opportunities, raises questions about the possibility of redemption and the nature of sin. The play explores the Christian doctrine of salvation, with Faustus rejecting grace and choosing damnation, ultimately demonstrating the destructive power of pride and self-delusion.
• Free Will and Predestination: The theme of free will runs throughout the play, with Faustus repeatedly making choices that lead him further away from salvation. However, there is also the question of predestination—whether Faustus is doomed from the beginning or if he could have chosen differently. This tension between free will and divine fate is a key philosophical concern of the play.
• Tragic Heroism: Faustus is a classic tragic hero whose downfall is caused by his own flaws—his overreaching ambition, his pride, and his refusal to repent. The play follows the Aristotelian model of tragedy, with Faustus’ noble qualities ultimately leading to his tragic end.
• The Supernatural and the Occult: The play is rich with elements of the supernatural, including magic, demons, and visions. These elements reflect Renaissance fascination with the occult, alchemy, and the search for forbidden knowledge. The supernatural acts as both a source of Faustus’ power and a constant reminder of his spiritual corruption.

Staging and Performance

• Spectacle and Special Effects: The play’s supernatural elements—such as the appearance of Mephistopheles, conjuring of spirits, and magical displays—would have relied on elaborate stage effects, typical of Elizabethan theatre. The use of special effects served to create a sense of wonder and terror but also highlighted the gulf between Faustus’ expectations and the ultimate emptiness of his powers.
• Chorus: Like many plays of the period, Doctor Faustus includes a chorus, which provides commentary on the action, reflects on the moral lessons of the play, and engages directly with the audience. The chorus often speaks in the form of rhyming couplets, lending a formal, reflective quality to the performance.
• Use of Space and Characters: The play would have used both large, dramatic set pieces (for the supernatural events) and more intimate spaces (for Faustus' moments of self-reflection), allowing the director to emphasise the contrast between the grandeur of Faustus' desires and the ultimate tragedy of his fate.

Summary

Doctor Faustus is a profound exploration of ambition, knowledge, and human frailty. Marlowe’s play reflects the intellectual climate of the Renaissance while engaging with timeless themes of sin, redemption, and the moral limits of human endeavour. Through its tragic hero, spectacular supernatural elements, and philosophical questions, the play continues to resonate as a powerful commentary on the dangers of overreaching ambition and the inevitable consequences of rejecting divine grace.